Bellini: La sonnambula
Imported and typically ships within 1-2 weeks.
- Composer: Vincenzo Bellini (1801-1835)
- Format: Full Score
- Instrumentation: Opera
- Work: La sonnambula
- Binding: Hardcover
- ISMN:
- Urtext / Critical Edition
Description
As with many other scores of 19th century Italian opera, the edition of La sonnambula used up until now is the result of numerous manipulations made over the course of its long performance tradition, especially toward the end of the 19th century, and thus reflects a performing aesthetic very different from that of Bellini's own time. The critical edition aims to restore Bellini's score to its original and very personal sound-texture and dramatic structure. in the case of Sonnambula the manipulations did not affect the form (e.g. excised or added pieces) so much as, instead, the tonal structure, the orchestration, and at times the melodic design.
The score currently used in performance presents three key numbers (Cavatina Elvino, Duettino, Scena and Aria Elvino of the second act) and part of the First Finale transposed to different keys with respect to the autograph score. in one case, the number had been broken into two sections and each section was subjected to a different transposition, which even distorted the internal tonal logic. A similar distortion occurs in the First Finale, where only the "stretta" was transposed. Altogether, about 40% of the opera was shifted to different keys with respect to Bellini's original conception, at times also with heavy changes to the orchestration. The restoration of the original text will allow us to rediscover Bellini's intentions regarding the logic of tonal concatenation and the original sonority of these pieces.
Some of the transpositions were of course dictated in the past by the difficult tessitura of Elvino's part, a problem that even a modern performer will face. Bearing this practical issue in mind, the editors of the new critical edition have gone back to draw from coeval sources to suggest, in some cases, transpositional solutions that are less awkward than those currently employed, and which more closely respect both Bellini's concept and contemporary performance practice. Another issue is connected in part to the question of transpositions, but is also present in other pieces as well: the question of orchestration. Bellini's original is often more subtle – with textures that are more "chamber-like", with careful attention to the nuances of each timbre – than the currently used score, which at times has introduced gratuitous doublings (especially in the woodwinds) of octave shifts which alter the overall timbric color as well as the balance and rapport with the voices on stage. Conceivably, these changes were added over the years as the Bellini operas were increasingly performed by singers with late-19th century tastes, of the more "drammatic" and "verismo" schools. But the present-day efforts by singers to recapture the correct Bellini vocal style cannot be disjoined, clearly, from the need to restore the correct orchestral texture.
Vocal embellishments were another aspect of the score often altered over the years in subsequent scores. Bellini indicated them with great richness of detail and a highly personal style, often in the form of alternative proposals. Restoring them will give modern singers stimulating material with which to work. Even in matters of melodic design, over the years a certain number of errors of detail have become fixed parts of the modern score; as singers know, even matters of detail can alter the effect of Bellini's melodic line (for instance in the second phrase of "Ah, non credea mirarti""). Further, the extreme detail with which Bellini write indications of expression has often been ignored by the current score; this is a level a detail which of course the critical edition restores. The result should give rise to a more animated musical logic, filled with contrasts and refined effects, less monumental and stodgy than many current performances. Finally, the critical edition restores certain moments which were probably omitted even in the earliest years, due to difficulty of performance (though there should be no difficulty for modern performers), but which Bellini nonetheless certainly considered to be an integral part of the score. in particular, the splendid solo for "keyed trumpet" in the introduction of the Scena and Aria Elvino (Act 2), a passage of enormous dramaturgical and musical importance; in fact if it is omitted, the numerous subsequent musical citations which derive from it, lose their sense.
Publishers use a lot of words to describe what they sell, and we know it can be confusing. We've tried to be as clear as possible to make sure you get exactly what you are looking for. Below are descriptions of the terms that we use to describe the various formats that music often comes in.
Choral Score
A score for vocalists that only contains the vocal lines. The instrumental parts are not there for reference. Generally, cheaper than a vocal score and requires multiple copies for purchase.
Facsimile
Reproductions of the original hand-written scores from the composer.
Full Score
For ensemble music, this indicates that the edition contains all parts on a single system (there are not separate parts for each player). In larger ensembles, this is for the conductor.
Hardcover
Hardbound. Generally either linen-covered or half-leather.
Orchestral Parts
Similar to a wind set, this is a collection of parts. In the case of strings, the numbers listed are the number of copies included, though generally these are available individually (often with minimum quantities required).
Paperback
When publishers offer multiple bindings (e.g. hardcover) or study scores, this is the "standard" version. If you're planning to play the music, this is probably what you want.
Performance / Playing Score
A score of the music containing all parts on one system, intended for players to share. There are not separate parts for each player.
Set of Parts
For ensemble music, this indicates that there are separate individual parts for each player.
Solo Part with Piano Reduction
For solo pieces with orchestra, this is a version that contains a piano reduction of the orchestra parts. For piano pieces, two copies are typically needed for performance.
Study Score
A small (think choral size) copy of the complete score meant for studying, and not playing. They make great add-ons when learning concertos and small chamber works.
Vocal Score
A score prepared for vocalists that includes the piano/organ part or a reduction of the instrumental parts.
Wind Set
For orchestral music, this is a collection of wind and percussion parts. The specific quantities of each instrument are notated.
With Audio
In addition to the printed music, the edition contains recordings of the pieces. This may be an included CD, or access to files on the internet.
With / Without Fingering (Markings)
Some publishers prepare two copies - a pure Urtext edition that includes no fingering (or bowing) suggestions and a lightly edited version that includes a minimal number of editorial markings.
Bellini: La sonnambula
