TraviataDuetAnalysis

TraviataDuetAnalysis - 5B. (Eb minor, 6/8) Germont responds...

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1.Opening Scena (the scena is an evolved form of recitative, always with orchestra, some more “sung” passages) 2.(Ab major, 4/4) Germont, “Pura siccome un angelo” (about his daughter) 3.(C minor, 6/8) Violetta, agitated singing (“Non sapete quale affetto”—you don’t know my anguish) These are “parallel” verses, a separate statement for each character, but the music is completely different for each “verse.” 4A. (F minor, 2/4) Short transition, then Germont sings about the inconsistency of men (“Un dì, quando le veneri”). Violetta murmurs occasionally over his singing, “è vero” (it’s true)
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4B. (Db minor, 2/4) Simultaneous singing. Germont repeats some of what he just said; Violetta sings to herself with him, (“ah! Cruel world, no hope remains”) 5A. (Eb major, 6/8) Violetta, “Dite alla giovine,” (tell your daughter, then), a super-slow waltz
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Unformatted text preview: 5B. (Eb minor, 6/8) Germont responds Piangi, o misera, (mourn, grief-stricken girl) using tu rather than voias if she were his own child. He switches back to formal address once this is over. 5C. (Eb major, 6/8) Violetta repeats her words (Dite alla giovine) and her waltz; now Germont sings in musical concord with her, but their individual melodies are still distinct. 6. A quasi-scena : conversational stretch where they discuss what Violetta will be doing 7. (G minor, 4/4) Morro! (I shall die)rhythmically incisive and faster. Violetta sings her verse, then Germont repeats her music: for the first time, they actually sing the same thing. Ends in simultaneous singing, recalling the cabaletta by suggestion rather than instantiation....
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This note was uploaded on 04/04/2012 for the course MUSC 030 taught by Professor Carolynabbate during the Spring '12 term at UPenn.

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TraviataDuetAnalysis - 5B. (Eb minor, 6/8) Germont responds...

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