Noah Kay Theory 202 Verdis Aida Act II Finale Aidas Telltale Harmonies

E flat major is a key that is often associated with triumph and heroism, especially in the works of Beethoven, most notably his 3rd symphony (Eroica) and 5th piano concerto (Emperor). The way Verdi treats the key of E-flat major at the end of the second act of Aida, though, contains a different quality within this triumph. His E-flat major is untrue and forced, much like the political propaganda and religious rituals that it accompanies, as shown by clues throughout the score. At the beginning of the A section of the Act II Grand Finale, brass instruments sound a fanfare in eighth note triplets (111/1/1)1. This ushers in what we will refer to as the Gloria theme and motif: it is a quarter note followed by a snappy, eighthsixteenth rhythm. The music remains static for a little while, building a dominant B flat major triad over the course of 111/2/1-111/4/1. In measure 111/4/4, we are introduced tofor the first time in this Grand Finalethe altered scale degree flat 6 (or flat 3, if viewed in the dominant), one that will play a key role in symbolizing the underlying dread of the rest of the act and opera.2 Here, it is in the form of a D flat (one of its more common forms). Verdi continues to build on the Gloria motif, finally

All citations will be in the form of page/stanza/measure and will be derived from the Ricordi vocal score. 2 See musical example A.
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rising chromatically and introducing the triumphal Chorus of People beginning in 112/1/1, establishing the key of E-flat major. This section begins with an irregular interrupted period, with a half cadence at measure 112/1/4 and a perfect authentic cadence in E-flat at measure 113/1/2. The listener receives another hint that something is amiss here; when the People sing about the King for the first timeAl Re che il Delta reggeinni festosi alziam!Verdi sneaks in some more mixture notes that would normally not be common to E-flat major. These harmonic alterations represent the nature of the Kings tyranny as well as the propaganda surrounding the war against the Ethiopians. It is the second phrase of the irregular period that gives this away: Verdi first writes a C flatthe telltale flat 6on the downbeat of 112/2/2, forming an A flat minor chord. He follows this with more mixture, introducing a flat scale degree 3 (G flat) in measure 112/2/3, as well as outlining a second inversion E flat minor triad in the soprano. Despite this interruption, the music cadences in E flat major in measure 113/1/2. Following this, the Gloria theme and motif resurface, this time punctuated by the actual word Gloria in the form of an accented half note-eighth note figure displaced by a quarter note rest. This happens twice on a unison B flat in all four voice parts, followed by a D, and then finally an F, this time just in the soprano and tenor, moving down the scale into a B flat major cadence (113/1/4-114/1/3). This is similar to what was heard in the introduction: the outlining of a B flat major triad. The D flat returns in measure 114/2/2, this time disguised as flat 7, shortly before the womens chorus enters in 115/2/3. The music remains within the general E-flat

major tonality until measure 116/3/1, of which the downbeat is a G flat. This leads to a D flat on the downbeat of the next measure, followed immediately by a C flat. These mixture pitches are sung over the words mistiche carole, or mystic praises, letting us know that there is an sense of unnaturalness due to the religious and political propaganda surrounding the ongoing celebration. Verdi takes the liberty of including one more flat scale degree 6, a C flat, in measure 117/1/1, both in the soprano 2 (beat 3) and the soprano 1 (final 16th note of beat 4), before finishing with a perfect authentic cadence in E flat major in measure 117/1/3. The Priests, led by Ramphis, start a mini-fugue beginning in measure 117/2/1 of which the first note is (once again) a C flat. At this point, the nature of the flat scale degree 6 becomes even clearer to the listener. The fugue begins in the key of C flat major, the flat 6th scale degree of the Grand Finales central key, E flat major. The accented quarter notes and dotted eighth-sixteenths that accompany this tonality represent the forcefulness of what the priests are saying: Della vittoria gli arbitri / Supremi il guardo ergete; / Grazie agli Dei rendete / Nel fortunato d. They are commanding the Egyptian people to praise the gods after this triumph, and the music fits occasion, revealing the aforementioned, true meaning behind the text. The fugue ends with a half cadence in measure 119/1/2, and finally cadences in E flat major in measure 120/1/3. The music from the ballet scene in the Act II finale contains undertones of the chaos and tragedy for Aida. As the Egyptian army returns from battle having defeated the Ethiopians, a trumpet sounds a militaristic melody, first in A flat major, moving to C flat major, and then back to A flat major. However, this is short lived:

triplet E flats in a second trumpet beginning in 122/3/4 set up the ominous C minor music in 122/5/1. Onstage, the Egyptians appear to be celebrating, as the army has returned with the spoils of war after their triumphant victory. The music, though, tells a different story. After two periods in C minor (arranged antecedent + antecedent + consequent + consequent), Verdi takes us into F minor for quite a long timethis large, multi-faceted section spans from 123/4/1 to 124/1/2. It begins with a rather unusual, Middle-Eastern-flavored melody in the piccolo and the oboe, achieved by hinting at the Phrygian mode with the addition of a G flat on the last beat of 123/4/2. This exotic, trill-and-grace-note-laden section leads to an accented figure with a stomping-like quality beginning at 124/3/1. This is the first parallel interrupted period that we encounter in this ballet scene, and it is punctuated by repeated sixteenth-note figures accented middle Cs, continuing the underlying sense of doom that permeates the opera. Following this F minor section is a brief visit to its parallel key, F major, beginning in 124/4/2. This section initially appears much more dolce and mellow than anything that preceded it, with slurred, rise-and-fall melodies in the strings. Upon deeper analysis, however, one may observe a slight edge: the low strings play a rushed, sixteenth-note figure on the second beat of every other measure, reminding us of the unrest that still exists in the music and in the plot. Verdi makes this feeling increasingly obvious in the next section of F major music, with half-note sforzandos on D flats and Cs. This repeated event alters the F major tonality, with the flat D flat, or flat 6, acting as a mixture note from F minor.

The short and troubled stay in F major gives way to some B flat minor music, characterized by triplets in the upper woodwinds and V-I motion in the low woodwinds. This section is slightly ambiguous and/or nonstandard in form. The figure in 125/4/1 references back to the similar one in the F major section, but it is slightly more crazed and angry this time around. Suddenly and without warning, the music halts on a trilled A flat, and arpeggiated figures let us know that we have moved to the key of D flat major. This too, though, contains rude interruptions to remind us of the state of the opera, with accented B double flats on offbeats beginning in 126/3/3. Just as quickly as Verdi takes us into D flat major, however, he moves to E major, and this is an even shorter stay: a mere five total measures before another move, this time to C major. This music begins rather harmlessly, but soon adds accidentals, adding to and confirming the foreign tone of this ballet. The music stays in C major until a sort of retransition on V of F minor begins in 127/5/3, another violent figure marked forte. This continues with a hurried violin melody and accented fortissimo chords below them, finally landing on 128/3/1. Strangely enough, Verdi brings back his second theme and key area first, moving back to F major and finally once again to C minor, in which the piece ends definitively. Verdi takes us on a harmonic and melodic journey that moves rapidly through several key areas with unusual interruptions throughout. Each modulation in the ballet (and to and from the rest of the E flat major music) is sudden and ambiguously prepared. The fact that Verdi composes in this manner for this particular scene foreshadows a horrible end, one that does ultimately befall Aida,

Radames, and all others involved, as well as the forced political and religious religious rituals previously discussed. After the ballet, the Egyptians enter with carts filled with Ethiopian slaves3 following a heavy, accented E flat minor chord in 137/1/4 and a sudden bar of rest follows in measure 138/1/2. Following this, the A section remains in E flat major for the most part, though it is definitely not a completely triumphant, royal E flat. The Priests theme makes sure to remind us of this E flats true nature, making an appearance in measure 142/1/1 through 143/1/3. When the section finally comes to close with a drawn-out, emphatic cadence in measure 146/1/3-146/1/6, it does not feel like the music has reached a true conclusion due to the ambiguous music that preceded it. One cannot help but think of another work in which there is a hidden meaning beneath the joyful tonality: the finale of Shostakovichs 5th symphony is very similar. The long-sustained A naturals at the end of the movement, despite the seemingly joyous brass fanfare, reveal the truth: it is a false triumph, a forced victory, rendering the D major conclusion trite. The abrupt modulations paired with the altered scale degrees that occur in this section give the E flat major tonality a similar effect: victory, but at a great cost. In the A section, we witness the culmination of Radames emotional journey throughout the act. In the beginning of the Grand Finale, he is triumphant, having won the battle against the Ethiopians. The E flat major music, as discussed previously, still foreshadows what is to come. At the very end of the act, this triumph comes crumbling down; despite his having won for his people, Radames soon
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Metropolitan Opera broadcast, 1989, Domingo/Millo

receives an unexpected surprise from the King. He is to marry Amneris, while his feelings lie with Aida. This realization brings back a more explosive version of the opening theme of the A section beginning in measure 180/1/2, punctuated by accented chords and percussion hits on the 4th beat of every other measure until 181/1/3. Then, a new theme is introduced in measure 182/1/3, as the Priests sing again about praise to Isis. Sure enough, a C flat, or flat scale degree 6, appears within this new melody in measure 183/2/1, developing further the hidden idea of forced religious worship and propaganda. Aida then enters with a melody of her own, also embellished with a C flat, lamenting about how little hope she has left (184/1/2184/1/3). This melody is magnified to gargantuan proportions at the end of the act and laced with all of the aforementioned altered scale degrees as it finally comes to a close in that same forced, E flat major tonality. The music at the in the second act of Aida, though it may appear noble at first listening, actually contains undertones of the dramatic issues that permeate the opera. Political propaganda, forced religious ritual, and destroyed love are represented by altered scale degrees within the E flat major tonality central to the act. Verdi was able to use all of these aspects together to create dramatic plot movement as well as set the pacing of the music for the operas libretto.