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Text of Copyright by Melody Marie Rich 2003 · PDF fileMelody Marie Rich 2003. The Treatise Committee...

Copyright

by

Melody Marie Rich

2003

The Treatise Committee for Melody Marie Rich certifies that this is the approved version of the following treatise:

Pietro Cimara (1887-1967): His Life, His Work, and Selected Songs

Committee:

_____________________________Andrew DellAntonio, Supervisor

_____________________________Rose Taylor, Co-Supervisor

_____________________________Judith Jellison

_____________________________Leonard A. Johnson

_____________________________Karl Miller

_____________________________David A. Small

Pietro Cimara (1887-1967): His Life, His Work, and Selected Songs

by

Melody Marie Rich, B.M., M.M.

Treatise

Presented to the Faculty of the Graduate School of

the University of Texas at Austin

in Partial Fulfillment

of the Requirements

for the Degree of

Doctor of Musical Arts

The University of Texas at Austin

May 2003

ACKNOWLEDGEMENTS

The journey to discovering Pietro Cimara began in 1996 at a summer workshop

where upon first hearing Ben venga amore, I instantly knew that I had to have more of

Cimaras music. Since then, the momentum to see my research through to the finish would

not have continued without the help of many wonderful people whom I wish to formally

acknowledge.

First, I must thank my supervisor, Dr. Andrew DellAntonio, Associate Professor

of Musicology at the University of Texas at Austin. Without your gracious help and

generous hours of assistance with Italian translation, this project would not have happened.

Ringraziando di cuore, cordiali saluti! To my co-supervisor, Rose Taylor, your nurturing

counsel and mounds of vocal wisdom have been a valuable part of my education and my

saving grace on many occasions. Thank you for always making your door open to me. To

each of the members of my committee at UT, thank you for your encouragement, your

wisdom, and your willingness to help me reach beyond myself to accomplish this

memorable achievement.

Cimaras incredible music was brought to life with the help of my fabulous pianist,

coach, and friend Kristin Roach. Thank you for imparting your musicality so unselfishly

and for holding my hand until I could do it myself. To Gilda Cruz-Romo, for sharing

yourself and your beautiful artistry and for your perseverance in making me a true artist in

every way, I wish you many more years of beauty, love, and good health.

To my proof readers, editors, and partners in spacing, Laura Grindle and Jennifer

Anderson, I am eternally indebted. Right up to the last minute you were there helping me

iv

to find the right words! Special thanks to Annalisa Mendiola and her father George DeLeon

whose expertise of opera singers and conductors made my job lighter. To Joan Ahrens, I

can never repay or thank you enough for all of your research talents and your endless

supply of support.

Much of the information provided in this research came from publishers and their

archive files. I am indebted to Gaetano Consolo of Casa Editrice A. Forlivesi & C. who has

been so gracious in providing music scores, copies of the letters from the poets of Cimaras

songs, copies of the Certificates of Copyright Renewal, and the only photograph of Pietro

Cimara that I was able to obtain. Those items have kept my hope alive at times when it

seemed that all the research was leading to dead ends. Mille grazie Signor Consolo. I am

equally indebted to Giancarlo Bongiovanni of F. Bongiovanni Edizione Musicale and Maria

Pia Ferraris of BMG Ricordi for their many hours of assistance in collecting valuable

historical data concerning the songs that are published by their companies and for their

patience in answering my repeated requests for more information.

A treasure-filled package arrived one day in the mail from John Pennino, Assistant

Archivist from the New York Metropolitan Opera Association Archives, who sent me

Pietro Cimaras file of his years as Maestro with the Metropolitan Opera. From this, much

valuable information was provided that has not been found anywhere else.

Thank you John Koopman for your beautiful writing about Cimaras song

Nostalgia in Unsung Songs, which has been a great inspiration to me. I also must

acknowledge John Conyers from the University of Texas at San Antonio Library who has

been instrumental in helping me retrieve musical scores not found in general access sources.

My research and effort would have been nearly impossible were it not for the army

of friends and family who have made completion a reality. The members of the Chancel

v

Choir at Christ Episcopal Church in San Antonio and Owen Duggan, Minister of Music,

have been my faithful extended family, supporting my progress across the years. I wish to

thank my mother, Sonia Rich, and my sister, Lois McCoy, for holding the pieces of my life

together when my hands were too full. To my life-support team: Susan Blake, Elaine

Christian, June Taylor, Tonya Lapinski, Madolyn Fallis, Irma Taute, and Christine Debus,

please never stop cheering!!! And most of all, to the greatest four-year-old on earth who

has had to wait for his turn at the computer and for his mommy to be done yet, I owe

you a lifetime of bedtime songs and kisses, son. Thank you for coming into my life!

vi

Pietro Cimara (1887-1967): His Life, His Work, and Selected Songs

Publication No. ________

Melody Marie Rich, D.M.A.The University of Texas at Austin, 2003

Supervisors: Andrew DellAntonio and Rose Taylor

To describe Pietro Cimara solely as an Italian conductor is to diminish Cimara's

numerous talents and accomplishments, yet, unfortunately, such is the reality in the all-

too-brief biographic entries about him in journals and encyclopedias. Cimara's life was

one as servant to music, resulting in a career that would span the gamut of his talents from

violinist to pianist to composer and, ultimately, to that of a gifted conductor. With the

use of scant newspaper articles, periodical and journal entries, encyclopedia entries from

both Italy and the United States dating from the 1940s to the present, obituaries,

correspondence with publishing houses in Italy, internet research, immigration

documentation, the Social Security Administration, archive files from the Metropolitan

Opera, first editions of music scores obtained from libraries throughout the United States

using Interlibrary Loan, subsequent reprints of music scores from Italian publishers,

information from audio recordings, biographies of singers, forwards in music anthologies,

and with the generous assistance of Dr. Andrew Dell'Antonio, Associate Professor of

Musicology at the University of Texas at Austin, the many accomplishments of Pietro

Cimara are all pieced together into a biographical sketch that establishes his important place

vii

in music history. Still largely elusive, Cimara's private life may forever remain unknown

because of the lack of written accounts and because of the absence of personal witnesses

who could attest to his life story. As little is written about his life, this collection of facts

must serve to form a picture of the composite Cimara: the son, the brother, the violinist, the

student, the friend, the husband, the father, the accompanist, the conductor, and the

composer--ultimately a man who would spend all the years of his working life making

music both for and with the greatest legends in music today.

viii

TABLE OF CONTENTS

LIST OF TABLES ....................................................................................................xi

LIST OF ILLUSTRATIONS ................................................................................... xii

CHAPTER ONE CIMARA: HIS EARLY YEARS ..........................................1

CHAPTER TWO CIMARA: THE CONDUCTOR AND ACCOMPANIST..8

CHAPTER THREE CIMARA: THE MAN, THE HUSBAND, THE FATHER.13 CHAPTER FOUR CIMARA: THE COMPOSER ............................................ 24

CHAPTER FIVE SELECTED SONGS .......................................................... 37

Stornello .................................................................... 37

Fiocca la neve .............................................................40

Maggiolata .................................................................44

Stelle Chiare .............................................................. 47

A una rosa ................................................................. 50

Non pi ..................................................................... 52

Canto di Primavera ........................................ ........... 56

Ben venga amore ....................................................... 60

Trittico Primaverile.................................................... 63no. 1: Febbraio............................................... 64no. 2: Pioggia di Marzo.................................. 65no. 3: Aprile................................................... 67

ix

CHAPTER SIX CONCLUSION .......................................................

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