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Giovanni Pacini

My Artistic Memoirs

Stephen Thomson Moore , Editor
Stephen Thomson Moore , Translator
February 28, 2018

180 pp.

8 illustrations

ISBN: 978-1-57647-316-0

6 $42.00

Purchase on Boydell & Brewer

Description

Giovanni Pacini (1796-1867) donned many hats throughout his life—as an Italian opera composer, preeminent pedagogue, civil servant, and military officer of the early to mid-nineteenth century. Pacini, despite periods of trials and stardom throughout his compositional career, showed an unceasing commitment to Italianate musical style, a flexible sense of professional resourcefulness, and self-possession with his artistry and craftsmanship. While Pacini may not be acknowledged within the grand narrative of early- to mid-century Italian opera alongside Rossini, Bellini, Donizetti, and Verdi, he was assuredly one of their most prominent colleagues. Throughout his career, Pacini furthermore collaborated with some of the most famous singers, impresarios, and librettists of the time. Pacini himself detailed these facets of his career within his Artistic Memoirs, which he composed during the last three years of his life, from 1864-1867. Pacini’s Memoirs offer a first-hand perspective—albeit, colored by retrospection—not only of the works of Rossini, Bellini, Donizetti, and other lesser known contemporaries such as Saverio Mercadante, but how they were regarded in the public eye during the height of their fame. Presenting a voice of keen involvement during this historical moment, Pacini paints a colorful picture of the operatic world, filled candid critiques of audiences, trial-and-error edits to suit singers’ voices, negotiations with a notorious impresario, and dialogues that illuminated contemporary musical aesthetics. He provides an insider’s perspective to a composer’s work within the business-oriented milieu of operatic production in the early to mid-nineteenth century. The Memoirs were first published in serial form in an Italian music journal. Tom Moore’s new translation into English is complemented by an informative foreword by opera scholar Jane Sylvester.

Authors

Stephen Thomson Moore , Editor: Tom Moore holds degrees in music from Harvard and Stanford and studied traverso with Sandra Miller. He is presently Head of the Sound & Image Department of the Green Library, Florida International University, Miami, Florida. Before moving to Miami he was a freelance translator from Portuguese, Spanish, French, German, and Italian, doing scientific and technical translation in a wide variety of subject areas. His translation from the Italian of Why We Like Music, by Silvia Bencivelli, was published by Music Word Media in 2012. From 2004 to 2007, he was visiting professor of music at the University of Rio de Janeiro (UniRio), where he co-directed the early music ensemble, Camerata Quantz. On traverso he has recorded with Kimberly Reighley and M�lomanie for Lyrichord (USA), and with Le Triomphe de l'Amour for Lyrichord and A Casa Discos (Brazil). He participated as flutist and interviewer for the CD released in Oct. 2006 marking ten years of music for flute by Sergio Roberto de Oliveira. Dr. Moore writes about music for Flute Focus, Flute Talk, Flutist Quarterly, BrazilMax, Musica Brasileira, 21st Century Music, Opera Today, and other journals. He contributes a composer interview to each quarterly issue of Sonograma, published in Barcelona, and has been the CD Review Editor for Early Music America since 2008. He has also sung professionally with the Symphonic Chorus of Rio de Janeiro, including performances of the Mahler symphonies no. 2 and 8 under Karabtschevsky, and with Concert Royal and Pomerium Musices of New York.
Stephen Thomson Moore , Translator: Tom Moore holds degrees in music from Harvard and Stanford and studied traverso with Sandra Miller. He is presently Head of the Sound & Image Department of the Green Library, Florida International University, Miami, Florida. Before moving to Miami he was a freelance translator from Portuguese, Spanish, French, German, and Italian, doing scientific and technical translation in a wide variety of subject areas. His translation from the Italian of Why We Like Music, by Silvia Bencivelli, was published by Music Word Media in 2012. From 2004 to 2007, he was visiting professor of music at the University of Rio de Janeiro (UniRio), where he co-directed the early music ensemble, Camerata Quantz. On traverso he has recorded with Kimberly Reighley and M�lomanie for Lyrichord (USA), and with Le Triomphe de l'Amour for Lyrichord and A Casa Discos (Brazil). He participated as flutist and interviewer for the CD released in Oct. 2006 marking ten years of music for flute by Sergio Roberto de Oliveira. Dr. Moore writes about music for Flute Focus, Flute Talk, Flutist Quarterly, BrazilMax, Musica Brasileira, 21st Century Music, Opera Today, and other journals. He contributes a composer interview to each quarterly issue of Sonograma, published in Barcelona, and has been the CD Review Editor for Early Music America since 2008. He has also sung professionally with the Symphonic Chorus of Rio de Janeiro, including performances of the Mahler symphonies no. 2 and 8 under Karabtschevsky, and with Concert Royal and Pomerium Musices of New York.

Reviews

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