By Johann Sebastian Bach & Abel Carlevaro
A method research and interpretation of J. S. Bach s Chaconne (BWV 1004) provided by way of the outstanding virtuoso, composer and instructor, Abel Carlevaro. The transcription relies at the unique rating for violin and has been tailored for guitar retaining the unique kind and spirit. Contents comprise sections on basic issues, Mechanical points, The song ranking of the Chaconne, The Manuscript of the Chaconne and thesaurus of Technical phrases.
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Gluck, “Manifesto of the ‘Dramma per Musica,’” in Alfred Einstein, Gluck, trans. Eric Blom (New York: McGraw Hill, 1972), 98 –100, at 98 –99. 33 However, the rhetoric of this instillation (with its demand for a controlling arbiter of dramatic meaning) and the concomitant demand for the “natural” interpretation of a work prior to its presentation suggested the need for a new kind of director on a new kind of operatic stage. 36 In the next chapter, we will see how the legacy of Wagner’s particular preoccupation with a “natural” dramatic integrity led to the emergence of two opposing schools of opera production: a rear-guard protectionism on the one hand and what we might term an avant-garde explorationism on the other.
In this way, I hope to jump-start a discussion of how we might read opera’s performance text and what we might gain in doing so. Given the vagaries of the term “text,” I want to be clear about the claim I am making. 22 Rather, I want to argue that Barthes’s sense of the text corresponds in fruitful ways to opera’s peculiar and deﬁning surfeit of signifying systems—a surfeit that these productions render in interesting (or at least symptomatic) ways and, in so doing, to which they alert us. Thus, throughout this book, I will use the term “opera text” to designate opera’s agitated and multiple signifying systems—for instance, the score, the libretto, stage directions—prior to performance.
2, vol. 4 of The History of Italian Opera, ed. Bianconi and Pestelli (Chicago: University of Chicago Press, 1998), 165 –228, at 192 –207; see also Eric Levi, “Towards an Aesthetic of Fascist Opera,” in Fascism and Theatre: Comparative Studies on the Aesthetics and Politics of Performance in Europe, 1925–1945, ed. : Berghahn, 1996), 260 –76. Levi’s account is primarily concerned with compositional aesthetics; it barely touches upon questions of staging. 54. See Lehmann, Postdramatic Theatre, 37.
Abel Carlevaro Guitar Masterclass IV: Bach Chaconne by Johann Sebastian Bach & Abel Carlevaro