reception. If there is much said about later performances, the term is “performance
history.” Although a program note may be lengthy (even a whole book), it is accessi-
ble to nonspecialist readers; it is not footnoted and does not present original material.
In contrast to the program note, there is “analysis,” which describes a work inten-
sively with regard to its form, structure, harmonic and melodic elements, style, and
technique. The analyst aims at specialized readers and endeavors to provide an original
viewpoint that to some extent “explains” a work. Documentation of previous analyses
(footnotes, bibliography) is a typical feature. Analysis may have diverse starting points
or theoretical premises; indeed, specialists in analysis may be gathered under various
headings or “schools,” just as literary critics may be identified with distinctive labels.
Length of presentation does not distinguish a program note from an analysis, nor
does the author’s announced intention. Finally, it should be stressed that neither mode
is superior sui generis; each may serve its purpose well or poorly, and both purposes
are worthy. In scholarly writing, however, there is a clear trend away from program
notes toward some kind of analysis, so a large proportion of the recent writing cited
here will represent analytic approaches.
From the immense literature on major composers, only a handful of titles could
be included. These are, for the most part, recent scholarly works, or “classic” studies,
or works with strong bibliographic orientations (those that guide the reader to other
writings). For lesser-known composers it has been necessary to select from what is
available, but if a composer or opera is more thoroughly treated in NGDO or another
encyclopedic source than in any monograph or journal articles, no entries appear.
Preference has been given to writing in English, French, German, Italian, and
Spanish, but material in other languages is included as required by the circumstances.
Antonio Maria Abbatini (1609 [or 1610]–1677 [or 1679])
- Murata, Margaret. Operas for the Papal Court, 1631–1668.Ann Arbor,
Mich.: UMI Research, 1981. x, 474p. ISBN 1-8357-1122-6. ML1733.8 .R6
M97.
Based on the author’s dissertation (U. of Chicago, 1975). Attention is focused
on Giulio Rospigliosi (see #274 and #275). Two of his texts were set by Abba-
tini: Dal male il bene(1654; with Marazzoli) and La comica del cielo(1668);
both are analyzed from historical and stylistic viewpoints. Appendix of
sources: manuscripts, library locations, editions, anthologies. Expansive index
of names, titles, and topics; first-line index to arias. Bibliography of about 250
entries.
Adolphe Adam (1803–1856)
There is no recent writing of substance on Adam’s operas. Plots, brief reports, and
impressions are listed in:
- Studwell, William E. Adolphe Adam and Léo Delibes: A Guide to Research.
Garland Composer Resource Manuals, 5. New York: Garland, 1987. x, 248p.
ISBN 0-8240-9011-X. ML134 .A34 S8.
A thorough, annotated bibliography of writings on both composers. Adam’s
operas have 88 entries, but most are story summaries in books of opera plots.
One older work is still useful:
104 Opera