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strange_complexAn indulgence re-read, undertaken partly just because I love it so much, and partly with an eye to the fact that it will be the 150th anniversary of Moreschi's birth on November 11th this year. Besides, re-reading it gives me a reason to actually review it here - something I've kind of meant to do ever since the first time around. That, however, was back in the autumn of 2005, shortly after I'd got hold of Moreschi's recordings on CD at last, and was going through a massive process of joyous discovery. At the time, I wasn't yet in the habit of reviewing everything I read on my LJ, and somehow, I just never got round to it.
Of course, I'm reading it in a rather different way now from the way I did three years ago. Then, I was discovering Moreschi for the first time, and Clapton was my guide. In the intervening time, I've systematically hunted down and read almost all of both the primary and the secondary sources which Clapton used to write the book. I've made myself into an amateur Moreschi expert - and it's been a wonderful journey.
From that perspective, though, I am actually all the more impressed with this biography now that I return to it. Considering that its author trained as a musician and musicologist, not as a historian, it is really very well researched and presented. He's made good use of existing works, like Buning's thesis, but he's also made really valuable contributions of his own that have allowed him to add a lot to Moreschi's story. Above all, this has clearly included extensive research among the Vatican archives, which contain all sorts of primary documents about the activities of the Sistine Chapel Choir, including many in Moreschi's own hand.
There are perhaps a few refinements which could be made. There are stories and sources which haven't quite made it into the book: for instance, the delightful anecdote from the time of 1902 recording session when some of the cotton wool used to pack the wax master discs caught fire, and the 'male sopranos' present (which must have included Moreschi) ran for the door, where they got jammed together, and which appears in Fred Gaisberg's memoirs. Clapton also follows Buning on the subject of Moreschi's death certificate, which I've griped about before: though he does include slight reservations on the topic which Buning did not.
But you can't include everything, and what is here is wonderfully rich, involving and detailed, especially considering how little relevant primary documentation is now (or ever was, in fact) available for reconstructing Moreschi's story. Every page overflows with a deep fascination and respect for its subject: and as someone who feels much the same way about Alessandro Moreschi, I can't help but approve. In any case, it appears that Clapton has taken the opportunity to improve upon his original publication. In the course of visiting his website to check details for this post, I found out that he's just released a revised and expanded edition of it, now titled Moreschi: The Angel of Rome. I've just ordered it.
Click here to view this entry with minimal formatting.
Of course, I'm reading it in a rather different way now from the way I did three years ago. Then, I was discovering Moreschi for the first time, and Clapton was my guide. In the intervening time, I've systematically hunted down and read almost all of both the primary and the secondary sources which Clapton used to write the book. I've made myself into an amateur Moreschi expert - and it's been a wonderful journey.
From that perspective, though, I am actually all the more impressed with this biography now that I return to it. Considering that its author trained as a musician and musicologist, not as a historian, it is really very well researched and presented. He's made good use of existing works, like Buning's thesis, but he's also made really valuable contributions of his own that have allowed him to add a lot to Moreschi's story. Above all, this has clearly included extensive research among the Vatican archives, which contain all sorts of primary documents about the activities of the Sistine Chapel Choir, including many in Moreschi's own hand.
There are perhaps a few refinements which could be made. There are stories and sources which haven't quite made it into the book: for instance, the delightful anecdote from the time of 1902 recording session when some of the cotton wool used to pack the wax master discs caught fire, and the 'male sopranos' present (which must have included Moreschi) ran for the door, where they got jammed together, and which appears in Fred Gaisberg's memoirs. Clapton also follows Buning on the subject of Moreschi's death certificate, which I've griped about before: though he does include slight reservations on the topic which Buning did not.
But you can't include everything, and what is here is wonderfully rich, involving and detailed, especially considering how little relevant primary documentation is now (or ever was, in fact) available for reconstructing Moreschi's story. Every page overflows with a deep fascination and respect for its subject: and as someone who feels much the same way about Alessandro Moreschi, I can't help but approve. In any case, it appears that Clapton has taken the opportunity to improve upon his original publication. In the course of visiting his website to check details for this post, I found out that he's just released a revised and expanded edition of it, now titled Moreschi: The Angel of Rome. I've just ordered it.
Click here to view this entry with minimal formatting.
