Cambridge Opera Journal, 28, 2, 175–178 doi:10.1017/S0954586716000197 © Cambridge University Press, 2016 Anti-Historical, but Nonetheless There… Verdi, ‘Tutte le feste’ (Gilda), Rigoletto, Act II MARY ANN SMART* A song without a date presents a special challenge. In the quest to explore how the music we write about mattered to a specific group of historical listeners, a common – even compulsory – first move is begin with a laser focus on a place and a moment in time to assemble a detailed and concrete picture of the surroundings in which that music was performed and heard. Through an intuitive process of triangulation, the music historian can zero in on events, opinions, sensory details; gradually constructing a densely populated landscape of social and material signifiers related, sometimes obliquely, to the musical works or practices from which she began. Without a date, though, this apparently logical and natural research plan is derailed: the advanced search function in Google Books cannot be harnessed to yield up those intriguing, slightly alien nuggets of commentary; nor can the music in question be pencilled into a chronology that might also list battles, scientific discoveries or obscure inventions. 1 With such possibilities for exegesis and imaginative interconnection withdrawn, the music historian may feel a kind of horror vacui, a panic induced by the realisation that the only options left are to hazard an educated guess, to devise some non-bankrupt way to generate meaning from features of the music (itself) or to write about something else altogether. That, at least, captures something of my own reaction when I realised that it would be impossible to establish solid dates of creation or performance for the objet trouve I’ll consider here. This bit of music has a history that dates back to 1966, or to 1873, or to 1851, depending on how you count it. It was in 1966 or thereabouts that the Italian folk singer and songwriter Rudi Assuntino captured on tape a haunting rendition of a famous melody by Giuseppe Verdi sung by a group of villagers in Medicina, a rice-growing town east of Bologna. 2 His recording project was part of a many-pronged attempt to collect and archive Italian political song, organised by the Institute for Ethnography and Social History at the University of Bologna and a new Milanese * Mary Ann Smart, University of California, Berkeley; masmart@berkeley.edu. My thoughts here are inspired in part by Benjamin Walton, ‘Quirk Shame’, Representations 132 (2015), 121–9. Walton’s article and some other contributions to the forum on ‘Quirk Historicism’ in Representations 132 implicitly acknowledge that the research trajectory I describe here is one that is most common among historians of eighteenth- and nineteenth-century music. The song’s text appears on the site Il Deposito, an archive of Italian political and protest songs, which is where I first came upon it (www.ildeposito.org/archivio/canti/la-morte-del-padre-ugo-bassi). Assuntino’s recording is included on the LP Camicia rossa: Antologia della canzone giacobina e garibaldina (Dischi del Sole, DS 1117/19, 1979) and can be heard on YouTube where one can also find a more burnished, high-art performance from 2008 by the Turin-based Coro Michele Novaro. Downloaded from http:/www.cambridge.org/core. Access paid by the UC Berkeley Library, on 06 Oct 2016 at 22:26:13, subject to the Cambridge Core terms of use, available at http:/www.cambridge.org/core/terms. http://dx.doi.org/10.1017/S0954586716000197

中文翻译：

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反历史的，但仍然有……Verdi，《 Tutte le feste》（吉尔达），Rigoletto，第二幕

剑桥歌剧杂志，第28、2、175–178页，doi：10.1017 / S0954586716000197©Cambridge University Press，2016反历史，但尽管如此……威尔第，《 Tutte le feste》（吉尔达），里戈列托，第二幕玛丽·安·斯玛特* A没有约会的歌曲提出了一个特殊的挑战。为了探索我们撰写的音乐如何影响特定的历史听众群体，常见的（甚至是必修的）第一步是从着眼于某个地点和时间的一刻开始，以整理出详细而具体的照片。表演和聆听音乐的环境。通过直观的三角剖分过程，音乐历史学家可以将事件，观点和感官细节归零；逐步构建人口稠密的社会和物质指称物景观，有时甚至是倾斜的相关事物，她开始的音乐作品或做法。但是，如果没有日期，这个看似合乎逻辑的自然研究计划就出轨了：无法利用Google图书中的高级搜索功能来产生那些有趣的，有点陌生的评论。所涉及的音乐也不能编入年表，其中也可能会列出战斗，科学发现或晦涩的发明。1有了这样的释经和想象的相互联系的可能性，音乐史学家可能会感到一种恐怖的真空，这是由于认识到剩下的唯一选择就是危害有根据的猜测，设计某种非破产的方式来产生意义而引起的恐慌。从音乐（本身）的特征，或者完全写一些其他的东西。至少 当我意识到不可能为我将在此处考虑的对象问题确定可靠的创建或性能日期时，我捕捉到了自己的反应。这部分音乐的历史可以追溯到1966年，1873年或1851年，具体取决于您如何计算。大约在1966年左右，意大利民间歌手和词曲作者鲁迪·阿松蒂诺（Rudi Assuntino）在录音带上捕捉到了由一群村民在博洛尼亚以东的水稻种植镇Medicina演唱的朱塞佩·威尔第（Giuseppe Verdi）演唱的著名旋律的令人难以忘怀的再现。2他的录音项目是博洛尼亚大学人种与社会历史研究所和新的米兰人组织的一次多方尝试，旨在收集和存档意大利政治歌曲。masmart@berkeley.edu。我的想法在某种程度上受到本杰明·沃尔顿（Benjamin Walton）的启发，“奎尔克·萨姆（Quirk Shame）”，《代表》（Representations）132（2015），第121–9页。沃尔顿（Walton）的文章以及对“表示形式132”中的“古尔克历史主义”论坛的其他贡献，都隐含地承认，我在这里描述的研究轨迹是18世纪和19世纪音乐史学家中最普遍的一种。这首歌的文字出现在Il Deposito网站上，该网站是意大利政治和抗议歌曲的档案库，这是我第一次来访的网站（www.ildeposito.org/archivio/canti/la-morte-del-pad-padre-ugo-bassi） 。Assuntino的唱片收录在LP Camicia rossa唱片中：Antologia della canzone giacobina e garibaldina（Dischi del Sole，DS 1117 / 19，1979年），并且可以在YouTube上听到，在那儿您还可以找到2008年以来更光彩的，高艺术的表演。位于都灵的Coro Michele Novaro。从http://www.cambridge.org/core下载。UC Berkeley图书馆于2016年10月6日22:26:13支付访问费用，但须遵守Cambridge Core使用条款，该条款可从http://www.cambridge.org/core/terms获取。http://dx.doi.org/10.1017/S0954586716000197