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Indiana University Press
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Giacomo Puccini is one of the most frequently performed and best loved of all operatic composers. In Il Trittico, Turandot, and Puccini's Late Style, Andrew Davis takes on the subject of Puccini's last two works to better understand how the composer creates meaning through the juxtaposition of the conventional and the unfamiliar -- situating Puccini in past operatic traditions and modern European musical theater. Davis asserts that hearing Puccini's late works within the context of la solita forma allows listeners to interpret the composer's expressive strategies. He examines Puccini's compositional language, with insightful analyses of melody, orchestration, harmony, voice-leading, and rhythm and meter.

Table of Contents

  1. Cover
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  1. Contents
  2. p. vii
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  1. Acknowledgments
  2. pp. ix-x
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  1. Note on Scores, Librettos, and Translations
  2. pp. xi-xiii
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  1. Introduction: Hearing Puccini
  2. pp. 1-7
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  1. One Stylistic Plurality, Narrative, Levels of Discourse, and Voice
  2. pp. 8-27
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  1. Two The Romantic Style in Late Puccini
  2. pp. 28-65
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  1. Three Expressive Uses of Convention in Il tabarro
  2. pp. 66-107
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  1. Four Formal Multivalence in Suor Angelica
  2. pp. 108-137
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  1. Five Humor and Filmic Effects in the Structure of Gianni Schicchi
  2. pp. 138-167
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  1. Six Puccini’s Solution: Integrating the Conventional and Unconventional
  2. pp. 168-221
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  1. Epilogue: Late Style and Puccini
  2. pp. 222-238
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  1. Notes
  2. pp. 239-275
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  1. Bibliography
  2. pp. 277-299
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  1. Index
  2. pp. 301-309
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