Music Reviews
2022; Routledge; Volume: 78; Issue: 5 Linguagem: Inglês
10.53830/vtge6584
ISSN2769-4046
Autores Tópico(s)Discourse Analysis and Cultural Communication
ResumoMusic Reviews Kathleen Roland-Silverstein (bio) I have the great pleasure of exploring and introducing two wonderful new publications by Breitkopf & Härtel, both highlighting the work of unusual and little known composers. These include the work of nineteenth century singer, scholar, and polyglot, Pauline Viardot-Garcia, and an excellent compilation of Chinese art songs. NewMusicShelf, a dynamic publisher headed by Dennis Tobienski, has been reviewed here before for an excellent new art song anthology (2019). Their latest contribution is an exciting addition to a fast growing field of interest in vocal literature and pedagogy. Viardot-Garcia, Pauline (1821–1910). Viardot-Garcia: Ausgewählte Lieder für Singstimme und Klavier, Band I (Selected Songs for Voice and Piano, Volume I). Miriam-Alexandra Wigbers, editor. Urtext, Breitkopf & Härtel, 2020. Twelve Settings of Russian Texts: “Das Blümlein”/”Цветок” (Alexander Puschkin); “Auf Grusiens Hügeln”/”На холмах Грузии” (Alexander Puschkin); “Ruhige, heilige Nacht”/”Тихая, звёзднаяночь” (Afanassi Fet); “Mitternächtige Bilder”/”Полуночные образы” (Afanassi Fet); “Flüstern, atemscheues Lauschen”/”Шёпот, робкое дыханье” (Afanassi Fet); “Die Beschwörung”/”Заклинание” (Alexander Puschkin); “Die Meise”/”Синица” (Iwan Turgenejew); “Zwei Rosen”/”Две розы” (Afanassi Fet); “Des Nachts”/”Мой голос для тебя и ласковый и томный” (Alexander Puschkin); “Der Gefangene”/”Узник” (Alexander Puschkin); “Das Vöglein”/”Птичка божия” (Alexander Puschkin); “Die Sterne”/”Звёзды” (Afanassi Fet). 5 Canti Populari Toscani: “Fiorentinische Ständchen”/”Serenata Fiorentina”; “Die Verlassene”/”C’era una volta”; “Die Dorfsängerin”/”Non vi maravigliate”; “Die Unglückliche”/”Povera me”; “Doppel-Liebe”/”L’innamorate.” Pauline Viardot-Garcia was an extraordinary figure in the musical world of the nineteenth century. An acclaimed opera singer, voice teacher, and collaborator with opera composers such as Giacomo Meyerbeer, she was also a prolific composer, mainly of art song. Her talent, her travels, and the salon culture that formed around her, all inspired and drew together some of the greatest minds in music, culture, and literature. Her celebrated and dynamic personality entranced the likes of George Sand, Clara Schumann, Richard Wagner, Charles Dickens, Ivan Turgenev, and Hector Berlioz, only a handful of the luminaries who were drawn to Madame Viardot and her work. She began her career as a pianist, studying at one time with Franz Liszt. Her sister, Maria Malibran, was at that time the most celebrated soprano in Europe. She encouraged and supported the budding pianist and included her in her own concertizing. Viardot-Garcia also accompanied voice lessons in her father’s studio, which no doubt enhanced her knowledge of the singing voice and repertoire. Viardot-Garcia’s own career as a singer, which continued for many decades, emerged from what might have been the shadow of her talented older sister, when Maria died at the age of twenty-eight from a tragic riding accident. Viardot-Garcia’s father was Manuel Garcia (senior), for whom the role of Almaviva in Il barbiere di Siviglia was created. Her brother, acclaimed pedagogue Manuel Garcia, invented the laryngoscope. In short, she was part of a powerful musical dynasty, and her gifts reflect the sphere in which she grew up. After retiring from public performance in her early forties, Viardot-Garcia continued her work as a song composer, and it is during this period in her life that the songs under review here were completed, and began to be published by Breitkopf & Härtel. This newly published offering from the same publishing house is the first critical edition of these songs, released in 2021 to commemorate the composer’s birthday. In addition to the original Russian texts by Pushkin, Tergenjev, and Fet, the collection includes their German language singing translations, originally created by Friedrich Bodenstedt, as well as phonetic translations for the original Russian texts. For the Canti Populari Toscani, German singing translations (translator unknown) of Giuseppe Tigri’s poems are included. Editor Wigbers’s preface is a fascinating account of the songs’ provenance, and a thoughtful discussion of the composer’s creative personality and life. There is also a link on the publisher’s website of a recording by the editor of the songs. [End Page 663] Those songs included in the Breitkopf & Härtel anthology display the composer’s remarkable sensitivity to text and language. She had a natural affinity for languages, which was bolstered by her family’s concertizing across many continents and countries while she was a young girl, and by her lifelong travels abroad...
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