In this section, I will aim to extract all the characteristics of bel canto through excerpts from various works by Luigi Legnani. I will analyze how Legnani incorporates elements such as melodic ornamentation, phrasing, and expressiveness, which are typical of this Italian vocal style. These examples will allow us to appreciate the beauty of his music and understand his connection to the bel canto tradition in the guitar repertoire.
The bel canto era had a significant impact on the development of musical technique and the training of musicians. In this context, the importance of learning according to levels of difficulty became a fundamental principle for the training of performers, both vocal and instrumental. The existence of works such as Legnani's and Paganini's caprices reflects this training philosophy. The caprices, structured with variations and different levels of difficulty, served as exercises and repertoire to refine technical skills. Musicians learned through the practice of these studies, allowing them to gain confidence and mastery in their performance.
Paganini had an innovative approach to the guitar, which he used to experiment with chords and harmonies that he later incorporated into his compositions for violin and orchestra. Although his relationship with the guitar primarily developed during his youth and focused on creating works that highlighted the instrument, this connection can be interestingly related to the "Caprices" of Luigi Legnani.
Legnani, a contemporary of Paganini, is known for his own "Caprices," a series of virtuosic pieces for guitar. Like Paganini on the violin, Legnani sought to explore the technical and expressive possibilities of the guitar. In many of the fingerings of Legnani's "Caprices," it can be noted that they can be played on the same string, similar to the techniques Paganini employed in his performances. This is something that Pavel Steidl mentioned to me, highlighting how these fingerings reflect the influence of Paganini's style.
Thus, although their artistic paths are different, the relationship between Paganini's works and Legnani's "Caprices" underscores the growth and evolution of the guitar in 19th-century classical music, as well as the interconnection between these two great composers.
Moreover, the figure of the virtuoso, who became an icon of the era, demanded not only technical skill but also a deep understanding of style and musical expression. The training of musicians focused on mastering technique while also emphasizing the ability to communicate emotions through their interpretation, a fundamental aspect of bel canto.
Bars (1-2)
It is very important to pay attention to the phrasing, using the technique of messa di voce with the guitar. This involves managing breath capacity before starting a phrase, understanding that the first beat should be slightly longer to give meaning to the musical agogics, while opening and closing dynamics.
In bars 1 to 3, staccato is employed in the middle voice, while the melody in the middle is performed in legato. This combination allows for a clear differentiation of the voices, creating a contrast that reflects the various tessituras encountered when singing simultaneously. This practice is reminiscent of bel canto, where clear articulation and emotional expression are sought through variation in vocal style. By integrating these techniques, a more dynamic and expressive effect is achieved, enriching the musical interpretation.
From bars 1 to 5, the melody is performed very cantabile with a continuo bass, requiring careful attention due to the long phrase that demands proper breath control and the use of measured rubato in the first beats of each bar to give direction to the phrase. It is essential to explore the interplay of the middle voices on the guitar, working on finger independence while incorporating vibrato to sustain the notes. Additionally, the use of portamento, a technique associated with bel canto, enhances the expressiveness of the performance, allowing for smooth transitions between pitches and emphasizing the lyrical quality of the melody. This approach not only showcases technical skill but also aligns with the principles of bel canto.
From bars 1 to 8, vocal technique is essential for singing, and the same applies when interpreting this caprice by Legnani on the guitar. It is crucial to think of the sixteenth notes as a single movement, articulating them well for a proper understanding. To achieve this, one must know where to take breaths to gain momentum. In bars 20 to 26, the use of coloratura is employed, incorporating Rossinian movements in the phrases to find small points of rest through the articulation of certain notes, providing clarity to the phrases. This attention to detail enhances the overall musical expression and aligns with the stylistic elements of the piece.
The recitative in bel canto is a form of musical expression used for the declamation of text, allowing the singer to convey the meaning and emotion of the words in a more natural and flexible manner. This technique is characterized by its free rhythm, which adapts to speech, and by the use of a simpler melody compared to arias. The recitative allows characters to advance the plot of the opera or vocal work, providing a bridge between the more melodic and ornamented sections, such as arias. In bel canto, recitative is also performed with attention to vocal technique, ensuring that the clarity of the text and emotional expression remain priorities in the interpretation.
In bars 44 to 49, the use of legato in the accompanied melody is essential for achieving a smooth and connected interpretation, highlighting the clarity of the guitar's sound. This approach allows the notes to flow continuously and clearly.
When comparing it to bel canto, we see that singers also use legato to connect the notes and express emotions. Both in guitar and voice, the connection between notes and clarity are key to conveying the musicality and feeling of the piece.
In bars 5 to 9, the use of chromatic scales is significant as it adds color and complexity to the melody. These scales allow for smooth transitions between notes and enrich emotional expression, creating an effect of tension and resolution that is very effective in musical storytelling.
In bel canto opera, chromatic scales are employed to enhance vocal technique and expressiveness. Singers use these scales to ornament their melodic lines, showcasing their virtuosity and technical skill. Additionally, chromatic scales help to emphasize dramatic moments, contributing to the emotional depth of the performance. In both cases, the use of these scales is fundamental in enriching the musical and narrative experience.
In bars 25 to 50, the use of coloratura involves repeating phrases, allowing for intricate vocal embellishments that enhance the melodic line. This technique can be interpreted with shifts in chiaroscuro, where the contrast between light and dark tones adds depth to the performance.
The importance of breath control is crucial here, as it allows for dynamic contrasts and smooth transitions between the ornate passages. This technique is closely related to bel canto, where singers utilize similar vocal techniques to achieve expressiveness and showcase their abilities. The interplay of dynamics and coloratura not only highlights the singer's skill but also serves to convey the emotional nuances of the music, enriching the overall narrative.
In this example (bars 44/55), we can observe a technique reminiscent of Rossini, where the sensation of speed is created even though the tempo remains the same. This is achieved by adding more figurative elements per beat, which gives the impression of increased energy and movement.
This approach aligns closely with the principles of bel canto, where singers often ornament melodies and add embellishments to enhance expressiveness. By incorporating these intricate details, performers can create a dynamic and engaging interpretation, allowing the music to feel more vibrant and lively, even within a consistent tempo. This technique not only showcases the singer's technical prowess but also enriches the emotional impact of the performance.
The use of "dolce" and "morendo" towards the end is particularly significant, as it evokes a sense of tenderness and gradual fading. Giuliani often emphasized these expressions in his specifications, encouraging performers to pay attention to the nuances of sound and emotion. This combination of legato and dynamic shading not only showcases the technical skill of the guitarist but also deepens the emotional resonance of the piece, making it a poignant moment in the performance.
In this caprice, there is a clear use of the ostinato bass, which highlights the melody effectively. The guitar seeks to create the effect of hearing two guitars simultaneously, enriching the overall texture of the piece.
To achieve this, it is important to utilize circular phrasing, a technique borrowed from singing. Circular phrasing involves shaping musical lines in a way that creates a sense of continuity and flow, allowing for seamless transitions between phrases. This approach is essential for executing dynamics, as it helps maintain a natural ebb and flow in the performance, emphasizing the contrast between loud and soft passages while ensuring that the melodic line remains expressive and connected. This technique not only enhances the guitar's sound but also aligns it closely with vocal traditions, adding depth and emotion to the interpretation.
For bars 1 to 89, we find Section A. This section includes a Subsection of Introduction, which contains theme A1, corresponding to theme 1 and developed in bar 18. Regarding the bars, bars 1 and 18 are highlighted. The tonality in this section is Am - E, as well as in the key of A. The chord progressions are i - V and I.
In bars 90 to 243, we address Section B. Within this section, there are several subsections: the first is B1, which acts as a bridge; the second, B2, corresponds to theme 2, developed in bars 99 to 107; and the third, B3, addresses theme 3 in bars 137 to 139. The key bars highlighted in this section are 90, 99, and 137. The tonality in this part is E, and it repeats the key of E, as well as the chord progression V.
Continuing with bars 90 to 243, there is also another Section B. Here, new subsections are presented: B4, B5, B6, and B7. Important bars in this section include bar 191, which acts as a bridge, as well as bars 200, 215, and 232, which also serves as a bridge. The tonality remains in E, with a chord progression that spans from C - E, and includes the keys A, A, and V, as well as IIIb - V. The chord progressions conclude with I and I.
Finally, in bars 244 to 370, we introduce Section A'. This section includes several subsections: A'1, which develops theme 1 in bars 244; A'2, which addresses theme 2 in bars 284 to 292; and A'3, presented as the coda. Relevant bars in this section are 244 and 284. The tonality in this part is A, and it repeats the key of A, with a chord progression that concludes in I and I. [14]
Bernal Carrasquilla, Esteban. Guía de análisis para una interpretación musical, “Fantasía para guitarra opus 19” en la mayor de Luigi Legnani. Bogotá D.C.: Pontificia Universidad Javeriana, Facultad de Artes, Departamento de Música, 2009. [14]
Relationship between bel canto and this work.
When I attended the Groningen festival, I was lucky to participate in a masterclass taught by the Italian guitarist Alberto Mesirca. He was discussing this piece with other student, I also have been working on it with my teacher, Pavel Steidl. During the class, I took a series of notes.
The masterclass began with the overture, where one must work on contrasts, something typical of the Rossini era. In the tension chords, a sudden forte should be used to create tension. Legnani wanted the orchestra to focus on the guitar, so the effects need to be somewhat exaggerated to simulate the orchestra. It is important to adjust the dynamics based on the tension of the harmony, seeking diversity in the repeated phrases, as well as executing the descending intervals towards the piano.
Just before the allegro, there is a series of deployed chords. Six measures before the allegro, two literally identical phrases appear. That’s where the overture of the piece ends. It is essential to treat the dynamics clearly, as in the orchestra, to create the appropriate contrasts.
Mesirca also talked about the importance of silence and the drama it can create. Interestingly, this piece is full of fermatas that connect parts of the work, and one can achieve that drama by using them to take small pauses, breathe, and continue playing. He also commented on the relevance of small details and the need to avoid a schematic interpretation. In this type of music, it is easy to fall into the trap of performing it quickly and technically, but the truly beautiful aspect is that, in addition to that, music is made. Pavel tells me that the third time a motif is repeated, it must be varied, and this is something that constantly arises in this work and in pieces from this era.
In this work, materials appear in different tonalities. For example, on page 3, after the fermata, and on page 5, at the double bar. It is important to play these repeated motifs homogeneously; in this case, it is a very beautiful melody accompanied. One should imagine that a soprano is reciting it to breathe adequately through the phrases. Mesirca spoke about the importance of breathing to stabilize oneself, especially just before a technically challenging passage.
The relationship between this work and bel canto is evident in several aspects. Bel canto, which emphasizes the beauty of the voice and emotional expression, finds a parallel in how Legnani uses the guitar to emulate the fluency and musicality of the human voice. Attention to dynamic contrasts, silences, and drama are fundamental elements in both bel canto and the interpretation of this piece.
The focus on breathing and phrasing also reflects the vocal technique of bel canto, where the ability to control breathing is crucial for expressive interpretation. The idea that each repetition of a motif should be varied is equally relevant in singing, where ornamentation and expression are essential to maintain interest and beauty in the performance.