Alternatives to an Existing Theme

If the composer's objective is to tell a story his task is to translate the music into intelligible language. How does he accomplish this seeming incongruous feat? A possible solution may be provided by offering an alternative to an existing theme. A good example presents itself in Act I of Verdi's "La Traviata". Violetta left alone after Alfredo's ardent avowal of his love for her, struggles with her mixed feelings whether to go off with him or to continue her present life of partying and entertaining. According to the music of "Sempre Libera" [Forever Liberated], Violetta chooses the latter possibility. But in Act II we find her living with Alfredo. Clearly, we've missed something; logic would dictate that we raise an eyebrow of wonderment. Opera-goers traditionally ignore what is a clearly illogical situation. Of greater importance to them is: How the soprano sang the scene; Were the coloratura passages negotiated accurately and effortlessly? How did the evening's Violetta compare to others of past glory etc? These considerations fall short of the composer's true resolve to tell a story. If we are true to our innate quest for logic we must search for a plausible solution. Verdi does not disappoint. He provided a reasonable cause for Violetta's decision. How? The evidence is found in the duet between Alfredo and Violetta beginning with "Un di felice" [One happy day]. https://youtu.be/4oJwdMG-eeA (15:05 - 15:45). Note the presence of an upbeat, a sixteenth note. The melody then flows elegantly with slight skips (dotted eighth notes to which are attached sixteenth notes). One gets the feeling of a smooth line - of an experienced dancer gliding along on the dance floor. This is how Verdi presents Alfredo to Violetta when they are alone. Verdi chooses this musical line. The message is clear. I am suave, experienced; I am dynamic. Violetta responds to Alfredo's elegant and aristocratic advances with mixed - even contradictory emotions. She tells Alfredo she knows nothing of love and can offer him only friendship. She is somewhat reserved and remote but her music tells a different story. There are leaps and bounds in her music, a leap of a minor sixth going to a minor seventh followed by several descending bounds and coming to rest. This sequence is repeated; the leaps and bounds are sung for a total of four times. (16:40 - 17:07). Hearing Violetta's music one can easily envision a Springbok in full flight from a chasing predator. Despite her efforts to maintain her poise, Violetta is in a panic; Alfredo's ardent pursuit makes her terribly uncomfortable. The evidence is the quandary of feelings Violetta expresses after Alfredo's departure. The reader may be tempted to question this reading of the scene. But take a step back and contemplate the following alternative. We have Verdi's choice on record but what if...? Suppose Verdi had written Alfredo's music to "Un di felice" in a straightforward meter of 3/8. All the notes would have had a value of eighth notes or higher; the dotted eighth notes followed by the sixteenth notes would be gone. The melody would have sounded drab, plodding and singularly uninteresting. Now compare it to the actual music with its verve and dynamics filling the air. The latter represents Violetta's suitor as a veritable thoroughbred racehorse the former would represent a run of the mill suitor the likes of which Violetta would have turned away by the dozens. Not only that but Violetta's response would no doubt have been casual and have indicated her boredom. If we explore the potential possibilities that were available to Verdi we begin to realize the vast riches of the composer's understanding of the human condition and indeed his genius to translate the music into an intelligible language. We now can understand Violetta's decision; we now have a logical story to tell about the intricacies of human interaction, and all because we dared consider an alternative to an existing theme.