studi musicali
22
studi musicali nuova serie . anno 04 . 2013 . numero 01 Accademia Nazionale di Santa Cecilia . Fondazione . . . . . .
Transcript of studi musicali
studi musicali .
nuova serie .04 .
2013 .n. 01
studi musicalinuova serie . anno 04 . 2013 . numero 01nuova serie . anno 04 . 2013 . numero 01
Accademia Nazionale di Santa Cecilia . Fondazione
studi musicaliAccademia Nazionale di Santa Cecilia . www.santacecilia.it
9 788895 341514
ISBN 978-88-95341-51-4
ISSN 0391-7789
euro 50,00
......
Studi musicali. Nuova serieRivista semestrale di studi musicologici
DirettoreAgostino Ziino
RedazioneTeresa M. Gialdroni
Studi musicaliNuova serie, iv, 2013, n. 1
Questo volume è stato pubblicato in collaborazione con ARCUS SpA
Art DirectorSilvana Amato
ImpaginazioneRaffaella Barbetti
Composizione tipografica in Cycles di Summer Stone
«Studi musicali» pubblica articoli riguardanti tutti i campi della ricerca musicologica in italia-no, inglese, francese, tedesco e spagnolo. Gli articoli proposti per una eventuale pubblicazionepossono essere inviati in copia cartacea al seguente indirizzo: Agostino Ziino, Via GiovanniAntonelli, 21, 00197 Roma, e, in allegato a una e-mail, all’indirizzo [email protected] pubblicazione è subordinata al parere di due studiosi specializzati cui l’articolo sarà sot-toposto in forma anonima. Una volta accettato, l’articolo dovrà essere redatto secondo lenorme editoriali della rivista disponibili in italiano e in inglese al seguente indirizzo:http://studimusicali.santacecilia.it.
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issn 0391-7789isbn 978-88-95341-51-4
© 2013 Accademia Nazionale di Santa Cecilia – Fondazione, RomaTutti i diritti riservati
www.santacecilia.itstudimusicali.santacecilia.itstudimusicali@santacecilia.it
Soci Fondatori dell’Accademia Nazionale di Santa CeciliaIstituzionali: Stato Italiano, Roma capitale, Provincia di Roma, Camera di Commercio diRoma, Regione Lazio, Privati: enel, bnl-Paribas, Telecom, Autostrade per l’Italia, Astaldi, Poste Italiane, Ferrovie dello StatoSponsor istituzionale: LottomaticaMedia Sponsor: La Repubblica
007 Alejandro PlanchartThe Geography of Italian Proper Tropes
039 Anthony CummingsOn the Testimony of Fragments (or, Alessandro Striggio the Elder and the Genesis of the Genere Concitato)
061 Warren KirkendaleZu Handschriften von Händel und Caldara in der Santini-Sammlung
077 Berthold OverEmanuele d’Astorga und Marchese Francesco Maria Ruspoli
101 Thomas GriffinSome Late Scarlatti Recovered: Part Two of Alessandro Scarlatti’s Serenata Erminia (1723)
115 Laurie McManusHearing and Seeing Nineteenth-Century Augenmusik: the Case of Brahms’s Requiem
145 Patrizio BarbieriThe Italian piano: laborious industrial growth 1810-2010
2030 Daniela TortoraDa * selon Sade a La Passion selon X. Intorno alla Passion selon Sade di Sylvano Bussotti
Sommario
1 Alessandro Scarlatti, Erminia. Serenata, ed. Thomas Griffin, Roma, Istituto Italiano per laStoria della Musica, 2010. The edition provides the music for part one only of the serenata. The score
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During the first decade of the 21st century, in preparation for the 2010 celebrationof Alessandro Scarlatti’s 350th anniversary of birth, a group of leading musicalinstitutions and individuals in Italy began planning a series of conferences andconcerts as well as a comprehensive series of publications dedicated to the com-poser’s work. The success of this undertaking, of course, would depend greatlyon government support, in particular the financial backing of institutions in Sici-ly, the proud island of Scarlatti’s birth. In the prosperous early years of thatdecade a generous level of funding seemed assured. Alas, the financial crash of2008, even before the recent crippling austerità, put an end to many of thoseambitious plans. Today Alessandro Scarlatti still remains a major composer ofthe Italian Baroque without a coherent edition of his works. Despite the financial setback, several important conferences were held in 2010
(the proceedings of which should soon be available) and the Istituto Italiano per laStoria della Musica under the direction of Prof. Agostino Ziino published thiswriter’s edition of Scarlatti’s last major work, the serenata Erminia from1723.1Edward Dent, in his still useful 1905 study of Scarlatti, spoke highly of it, although
Some Late Scarlatti Recovered: Part Two of Alessandro Scarlatti’s SerenataErminia (1723)Thomas Griffin
the English musicologist thought the serenata «apparently unfinished» since onlythe music for part one of this large two-part cantata survived.2 Evidence that thecomposer had indeed completed the work emerged later. Around the middle ofthe 20th century the Neapolitan scholar Ulisse Prota-Giurleo called attention to anextract from the «Gazzetta di Napoli» reporting the serenata’s performance inthe Palazzo Stigliano at Naples on 13 June 1723.3 It was given in celebration of anoble wedding, that of Lady Maria Luisa Caracciolo, of the Princes of Santo-buono, with Don Ferdinando Colonna, the Prince of Stigliano. All the nobles ofNaples, including the Austrian Viceroy, attended this festa di gala. In 1973 thiswriter discovered a libretto marking the occasion in the Biblioteca Casanatense atRome, the only exemplar of this print known to have survived. It preserves thepoetic text for both parts one and two of the serenata.4Several mysteries still surround Scarlatti’s Erminia. The libretto, of course, is
based on Torquato Tasso’s epic Gerusalemme liberata. Part one of the serenataexpands on an episode often referred to as the pastorale di Erminia. Here thebeautiful young Moslem princess Erminia disguises herself in the arms of thepagan warrioress Clorinda and flees Jerusalem in search of her beloved Tancre-di. In an earlier episode of the poem he took part in the siege of Antioch, whereErminia’s father ruled. After its capture Tancredi freed father and daughter,treating them with exemplary courtesy. Erminia in turn dressed Tancredi’swounds and fell hopelessly in love with the Christian knight. Now, wearingClorinda’s armor, the terrified Erminia is hotly pursued by a squad of Chris-tians knights seeking to kill her, until she finds shelter in the woods near the
received a memorable performance by the Concerto de’ Cavalieri directed by Marcello Di Lisa in thePalazzo Stigliano at Naples in October 2011. Sample pages, the complete libretto, a list of errata, andan introduction to the work with a plea for the discovery of the music of part two may be consulted onthe web at hyperlink “http://www.ascarlatti2010.net/main_page/erminia_info” www.ascarlat-ti2010.net/main_page/erminia_info .2 Edward J. Dent, Alessandro Scarlatti, new impression with preface and additional notes by FrankWalker, London, Edward Arnold, 1960 (1st ed. 1905), p. 169.3 Ulisse Prota-Giurleo, Breve storia del Teatro di Corte e della Musica a Napoli nei sec. XVII-XVIII,in Felice De Filippis - Ulisse Prota-Giurleo, Il Teatro di Corte del Palazzo Reale di Napoli,Napoli, L’arte tipografica, 1952, p. 94.4 The libretto is printed in the introduction to the edition of Erminia and on the web site men-tioned above. Alessandro Scarlatti is named prominently in the libretto as composer, but the poetof the text is nowhere named.
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5 Erminia’s final recitative and aria from Part one was edited by Raymond Meyan, Erminia: Rezitativund Arie für Sopran, Streicher und Basso Continuo, Frankfurt, Henry Litoff’s Verlag, [1971].6 Translated by Longfellow as «Love, that exempts no one beloved from loving».7 The present writer expresses his gratitude to Prof. Agostino Ziino, who recognized this famousliterary allusion during the preparation of the Erminia edition.8 In the introduction of the edition, however, I point out a few clumsy passages in the printedtext that were evidently amended by the composer. These cases demonstrate that Scarlatti, notthe poet, exercised ultimate artistic control over the serenata. They also suggest that the poet maynot have been an experienced professional librettist.
river Jordan with a humble shepherd and his family. In this rustic setting shefinds some measure of solace, but as part one of the serenata ends she is still tor-mented by Love.5Since the serenata celebrated a wedding, a happy ending was certainly expect-
ed. Tasso’s poem, however, fails to provide it. Thus the unnamed poet of Scarlat-ti’s text is forced into greater originality in part two. In several recitative solilo-quies Erminia reveals her desperate passion for Tancredi. He is much enamoredwith Clorinda, however, and begs Erminia’s pardon for not returning her love.Finally, at the evidence of such long-suffering, sincere and painful love for Tan-credi, his colleague and fellow knight Polidoro berates the hero, reminding himof his duty with a famous line from Canto v of Dante’s Divina Commedia. «Amor,ch’a nullo amato amar perdona».6 Spoken by Francesca da Rimini in Dante, itexemplifies the ideals of the twelfth-century treatise The Art of Courtly Love byAndreas Capellanus. The basic premise here, and a truism of amor cortese, is thatreciprocity in love is obligatory.7At hearing these words the ever courteous Tancredi renounces his love for
Clorinda and responds immediately to Erminia’s pleas for acceptance. She inturn is overjoyed. The dilemma is resolved and the happy ending of the serenataassured. The old Shepherd too is overcome with joy at this turn of events. Heswoons, seeing in a vision his rude countryside transformed into a splendid city,bella Napoli, and his rough cottage changed into a glorious abode, the palazzoStigliano. The serenata ends with general rejoicing. Who could have written such a text in 1723? Although it borrows much from
Tasso, and a little from Dante, in many places the libretto demonstrates anadmirable command of the poetic conventions employed in early eighteenth-century opera, cantata and oratorio.8 Because the young Farinello sang the roleof Erminia, Roberto Pagano has suggested that this might be an unrecognized
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part two of alessandro scarlatti’s serenata erminia (1723)
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9 Roberto Pagano - Giancarlo Rostirolla - Lino Bianchi, Alessandro Scarlatti, Torino,eri, 1972, p. 232. Pagano’s suggestion, of real merit, is discussed at greater length by this writer inthe introduction to the edition.10 They are preserved in the Library of the Naples Conservatory, in the musical archive at Mon-tecassino, and in the Library of the Royal College of Music at London. Other scores of ErminiaPart one, of later provenance and almost certainly copied from one of the above, also survive, butwere not used for this edition.11 http://opac.rism.info.12 The British Library (GB-Lbl) Add. 14166, f.81r-83v. Hyperlink“http://opac.rism.info/search?doc-umentid=806154101” http://opac.rism.info/search?documentid=806154101.13 Published in the same eri 1972 volume containing Pagano’s biography of the composercited above.
text by the young Metastasio.9 Both the singer and poet started their meteoriccarriers in tandem at Naples around this time. But there were many other ablewriters at Naples who might have provided this libretto. The distinguished poetSilvio Stampiglia, one of the founders of the Roman Arcadian Academy, was thenliving in retirement at Naples. One might even suspect the Viceroy CardinalMichele Federico d’Althann as the poet. The «Gazzetta di Napoli» mentions hisdiscreet attendance, in an unofficial capacity, at the performance of Erminia. LikeScarlatti and Stampiglia he was a member of Arcadia and must have harbored lit-erary ambitions which could never be revealed publicly because of his status asan aristocrat. In any case, the poet’s identity remains to be discovered.Three manuscript scores for the first part of Erminia survive and serve as the
basis for the published edition of the serenata.10Two scores in Italy are copied bythe same hand, and all three sources preserve remarkably complete and similarreadings of the music. In Scarlatti’s day they would have been called originali, faircopies probably made under the composer’s direct supervision, and most likelyfrom his autograph, which has not survived. But where is the music for part two?In early 2012 Michael Talbot suggested searching the rism database of incipits,now online.11 But a search in January 2012 turned up nothing from part two of theserenata. Later that year, however, Agostino Ziino received good news from Jen-nifer Ward in the rism office at Frankfurt. While researching records from Britishlibraries newly entered into the rism database, she came across an aria incipit,Mentr’ella offesa langue, attributed to Alessandro Scarlatti in a music manuscript,12
but not listed in Giancarlo Rostirolla’s catalog of Scarlatti’s works.13 Searching theweb for possible clues, Ward found the complete libretto of Erminia, online at
part two of alessandro scarlatti’s serenata erminia (1723)
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hyperlink“http://www.ascarlatti2010.net/” www.ascarlatti2010.net, and iden-tified a match with aria 38 in part two of the serenata. Informed by Ward of thehappy news that some of the music for part two may have survived, Prof Ziinokindly forwarded this information to the present writer. In the mean time Wardreceived confirmation from her colleague at the British Library that the completetext of aria 38 in the libretto is the same as that in the musical source.Further searches through rism online and in the published catalog14 of the
British Library reveal four arias, one duet, and a recitative from Erminia. Nonehave been reported in the musicological literature. Manuscripts Additional14209 and 14166, which preserve these pieces, were part of a large collectionacquired by Spencer Joshua Alwyne Compton, Marquess of Northampton (1790-1851), perhaps as early as 1811 or 1812, from the Neapolitan musician and biblio-phile Gaspare Selvaggi (1763-1847). Northampton presented this collection tothe British Museum in April 1843.
1) Che piacer! Che diletto!, Add. 14209 f. 92r-99v2) Quando irato il toro mugge, Add. 14209 f. 106r-15v3) Mentre quel solco ara il bifolco, Add. 14209 f.116r-23r4) Vado al gregge e meco viene, Add. 14209 f. 132r-45r5) Mentr’ella offesa langue. Aria del Cavaliere Alessandro Scarlatti, Add. 14166 f.81r-83v
Numbers 1-4 above are all copied by the same hand, while a second hand is respon-sible for number 5, found in the manuscript identified by Jennifer Ward. Neither ofthese hands is found among manuscripts close to the composer or his era, and assources these pieces would not be considered particularly significant except thatnumbers 1 and 5 preserve the only known music from the second part of Erminia.Of considerable interest is the fact that all these newly recovered pieces were
written for the distinguished bass D. Antonio Manna, who sang the role of Pas-tore, the old Shepherd.15While all four soloists in Erminiawere certainly of the
14 Augustus Hughes-Hughes, Catalogue of manuscript music in the British Museum, London,The British Museum, 1906.15 Vado al gregge e meco viene is a duet between Erminia (sung by Farinello) and Pastore (Manna).Che piacer! Che diletto!, a recitative and aria that begins with a few words sung by Tancredi,Erminia and Polidoro, is otherwise sung by the Shepherd.
first rank, it is clear that the eighteen-year-old castrato Carlo Broschi, calledFarinello, who sang the role of Erminia, was the star of the serenata. But in 1723Broschi must have been known at Naples only as a locally promising soprano.The older bass D. Antonio Manna, called the Abbate Camerino, had a true inter-national reputation and in certain respects a voice equal to Farinello. The D. orDon before his name was in recognition of his status as a priest, having takenorders in 1700. From 1699 through 1704 Manna sang in the Imperial CourtChapel at Vienna. Returning to Italy in 1708, he found employment under Scar-latti in the Royal Chapel at Naples. He is mentioned repeatedly in the «Gazzettadi Napoli», often as singing in the many serenatas heard in the capital.16To nameonly a few of these, in 1716 Manna interpreted the role of Giove in Scarlatti’sserenata La Gloria di Primavera. He is likely to have sung the role of Providenza inthe composer’s Amore, Pace e Providenza of 1711 and Glauco in Partenope, Teti,Nettuno, Proteo e Glauco in 1718.17On preliminary page vi of the Erminia editionthe lowest note of Manna’s voice is listed as an E, one ledger line below the bassstaff. With the recovery of Mentr’ella offesa langue we find this extraordinaryvoice descending a third lower to C.It is sobering to think that the very complete and well organized Hughes-
Hughes catalog of music in the British Museum appeared in 1906, only one yearafter Dent’s pioneering study of Scarlatti, yet these pieces lay unrecognized untiltoday. Let us hope that, thanks to the continuing effort of the rism staff and theworld-wide availability of this valuable bibliographic service, many more musi-cal treasures are discovered, including the remaining music for Alessandro Scar-latti’s last major work, the serenata Erminia.
16 See, for example, Ausilia Magaudda-Danilo Costantini, Serenate e componimenticelebrativi nel Regno di Napoli (1677-1754), in La Serenata tra Seicento e Settecento: musica, poesia,scenotecnica, a c. di Nicolò Maccavino, Reggio Calabria, Laruffa, 2007, pp. 116-117 and theindex to their magisterial study Musica e spettacolo nel Regno di Napoli attraverso lo spoglio della«Gazzetta» (1675-1768), Roma, Ismez, 2009.17 Scores for these serenatas are available at hyperlink “http://www.ascarlatti2010.net/”www.ascarlatti2010.net.
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Notes on the Sources
Mentr’ella offesa langue
The key signature appears only on the first page of the aria (f. 81r). It containsfive flats, but most are misplaced. Since the note D is almost always prefacedwith an accidental throughout the aria, Scarlatti must have indicated a key signa-ture of three flats. Rarely if ever does Scarlatti exceed three flats or sharps in thekey signature of his works. The copyist indicates cut time (alla breve) at thebeginning of the aria, but considering the tempo indication Andante, that toomust be in error.
Che piacer! Che diletto!
This is the recitative in which the Shepherd swoons, seeing a vision of his roughworld transformed into the beautiful city of Naples. The indication [arpeggiato]at measure 18, and its cancellation [semplice] are not found in the source, but areadded in imitation of recitative 26 in part one of the serenata. The capitalizationof colonna and leon in the text is not found in the musical source, but fol-lows the usage in the printed libretto.
Quante i boschi han piante
This copyist uses a flat, rather than a natural sign, to cancel a sharp applied as anaccidental to an earlier note, for example at measure 95 in the voice part.
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part two of alessandro scarlatti’s serenata erminia (1723)
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