Messa da Requiem: For the Anniversary of the Death of Manzoni, 22 May 1874, Study Score [Critical Edition] 9780226425412, 9788881920020, 9780226425559, 022642541X

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Messa da Requiem

THE WORKS OF

LE OPERE DI

GIUSEPPE VERDI SERIES III: SACRED MUSIC . SERlE III: MUSICA SACRA VOLUME 1 Editorial Board . Comitato di Rednzione

Philip Gossett General Editor

. Direttore responsabile

Julian Budden Martin Chusid Francesco Degrada Ursula Giinther Giorgio Pestelli Pierluigi Petrobelli Gabriele Dotto Managing Editor

.

Redattore coordinatore

This edition was made possible through the generosity of the late ANNA EMERY HANSON (in honor of Brena D. and Lee A. Freeman) and by grants from the NATIONAL ENDOWMENT FOR THE HUMANITIES

GIUSEPPE VERDI

MESSA DA REQUIEM Study Score from the Critical Edition

Edited by  •  A cura di David Rosen

The University of Chicago Press Chicago and London

RICORDI Milano

The Critical Commentary for this volume, in English and Italian, is available free of charge at VerdiEdition.org.

The University of Chicago Press, Chicago 60637 The University of Chicago Press, Ltd., London Casa Ricordi Srl Original edition © 1990 by The University of Chicago and CASA RICORDI s.r.l. Study score edition © 2016 by The University of Chicago and CASA RICORDI s.r.l All rights reserved. Published 2016. Printed in the United States of America 25 24 23 22 21 20 19 18 17 16   1 2 3 4 5 ISBN-13: 978-0-226-42541-2 (paper) (University of Chicago Press) ISBN-13: 978-88-8192-002-0 (paper) (Casa Ricordi Srl) ISBN-13: 978-0-226-42555-9 (e-book) (University of Chicago Press) The introduction to Messa da Requiem was translated from the English by Gabriele Dotto. L’introduzione alla Messa da Requiem è stata tradotta dall’inglese da Gabriele Dotto.

This paper meets the requirements of ANSI/NISO Z39.48–1992 (Permanence of Paper).

Indice

Contents

PREFACE

vii

PREFAZIONE

xxxvii

ACKNOWLEDGMENTS

ix

RlNGRAZIAMENTI

xxxix

INTRODUCTION 1

The History

2

The Sources: General Observations

3

Problems in Editing

INTRODUZIONE Xl

1

La storia

xli

xxvi

2

Le fonti: osservazioni genera1i

lvii

3

Problemi redazionali

and Perfonning the

Messa da Requiem

e di esecuzione della xxviii

Messa da Requiem

lix

FACSIMILES

lxvii

FACSIMILI

lxvii

INSTRUMENTS OF THE ORCHESTRA

lxxv

ORGANICO

lxxv

VOCAL PARTS

lxxv

PART! VOCALI

lxxv

INDEX OF NUMBERS

lxxvii

INmcE DEI PEZZI

MEssA DA REQUIEM

lxxvii

Preface

The Works of Giuseppe Verdi (WGV), a joint publication of the University of Chicago Press and Casa Ricordi, is an edition of the music of Verdi both rigorously faithful to authentic sources and suitable for perfonnance. It is divided into six series: I. II. III. IV. V. VI.

Operas Songs Sacred Music Cantatas and Hymns Chamber Music Juvenilia

Each volume begins with a three-part introduction: the historical background of the work or works; an overview of the sources; and special problems in editing and performing. A Critical Commentary, normally published in a separate volume, provides detailed treatment of the sources as well as critical notes giving alternative readings and explaining editorial decisions. Derivative piano-vocal reductions and orchestral and choral parts are available. When works exist in two distinct versions (I Lombardi/Jerusalem, Simon Boccanegra, etc.), each is published separately. Less extensive revisions are accommodated in appendixes. The main text reflects the definitive state of a work, not necessarily its final state. Should more of Verdi's musical sketches become available, they will be published in a separate series. The music is derived from a principal source, almost always the composer's autograph manuscript. Additions to it from other sources in Verdi's hand are placed in pointed brackets: < >. Other additions are differentiated typographically:

1. In italics: dynamics (I, p, cresc., dim.) trills (tr); missing words or syllables in the vocal lines; tempo markings (Andante); the number of woodwind or brass instruments playing (Solo, I. a 2); metronome markings (J = 88), etc. 2. In broken lines: slurs or partial slurs; crescendo and diminuendo hairpins or partial hairpins. 3. In smaller symbols: pitches; staccati; accents; fermatas. (Symbols that replace other symbols, e.g., ~ for A or J I for J, are printed full size. The replaced symbol is given in a footnote.) Additions that extend symbols present in the principal source are not bracketed. Those derived from secondary sources (a manuscript copy, the first edition of the piano-vocal score, performing materials) are placed in parentheses: ( ). The source of such additions is specified in the Commentary. When an entire class of additions, (e.g .• metronome markings or indications of 1 or a 2) is derived from a specific secondary source, this is stated in the introduction to the score and not repeated each time in the Commentary. Finally, additions deemed essential by the editor but not found in the sources are placed in square brackets: [ J. As an exception, stage directions derived from the principal source for the libretto (usually the first printed edition) are given in roman type and placed in parentheses. The appearance of the music is modernized in a number of ways:

1. Current conventions for the order of instruments and voices are usually followed. The arrangement of the autograph is given in the Commentary. 2. Vocal lines employ only treble, tenorized treble, and bass clefs. The original clefs, together with the range of each part, are specified in the list of characters. 3. Verdi's use of accidentals is adapted to modern practice. Only when doubt exists about his meaning are bracketed accidentals introduced. 4. Verdi's abbreviations and signs of repetition are realized according to modern conventions, as are his instructions for one instrumental line to be read from another. Only when entire musical sections are involved

(e.g., "DalI'A al B") or where the notation is equivocal (e.g., when violas are instructed to play "col Basso") are these abbreviations listed in the Commentary. 5. When two or three woodwind or brass instruments are notated on a single staff, Verdi writes "Solo" to instruct the first instrument (Ob. I, Tr. I) to play alone. WGV preserves this notation. When the part continues to a new system, WGV adds a roman I. Verdi uses double stems to instruct both instruments to play the same part. WGV eliminates the second stem and adds, in roman type, "a 2." 6. Three trombones are frequently placed on a single staff. Verdi is insufficiently explicit as to how many instruments should play when only one or two notes are present. Whenever possible, WGV seeks contemporary evidence from performance materials, annotating the trombones "(I)," "(11.111)," etc. 7. When two parts written on a single staff play homorhythmically, WGV uses a single articulation for both parts even if Verdi provides two(e.g.,

r~~

() ).

8. Abbreviations are spelled out without notice ("AII.o"

=

"AUegro"). 9. Minor elements are nonnalized without note: whole rests added, signs of triplets or sextuplets ("3," "6") standardized, short slurs from a grace note to a principal note provided. A single missing staccato in the midst of a group of staccati is added without being differentiated typographically, etc. There are, on the other hand, certain aspects of Verdi's notation that have not been modernized: I. Transposing instruments follow the principal source. 2. The notation of percussion instruments is left unchanged, as are the tenns Verdi uses to designate them. Particular problems affecting the timpani and cassalgran cassa parts are discussed in the introduction to the score. 3. Verdi's original instrumentation is given in WGV. When unusual or obsolete instruments (e.g., cimbasso) are involved, suggestions for modern perfonnance are made in the introduction to the score. 4. Verdi's manner of beaming notes together is preserved whenever it can be musically justified. 5. WGV follows Verdi's notation of a reduced score for the Banda sui palco. A possible interpretation is provided with the perfonning materials. The principal musical source is also considered to be the principal source for the literary text of an opera. A complete collation is made with principal sources for the libretto. Only where Verdi's text is demonstrably erroneous does the reading of the libretto prevail. Verdi's incomplete punctuation is supplemented from sources for the libretto. Manipulations of the punctuation are noted in the Commentary only when they are significant. Likewise, Verdi's spelling is preserved when it reflects a historically correct alternative to the libretto or to modern practice. The syllabic division of words, on the other hand, is modernized. Punctuation is omitted at the close of stage directions. Many elements of a Verdi autograph can be equivocal:

==- )

1. Accents (» and diminuendi ( cannot always be distinguished. WGV seeks a musically convincing interpretation of the principal source; uncertain passages are mentioned in the Commentary. 2. There are occasions in which Verdi's slurs are ambiguous to the point of incomprehensibility, especially when a general legato is intended. WGV offers an interpretation. From the score, footnotes, and Commentary, it is possible to reconstruct the original notation. 3. Some perfonnance markings (crescendi, dynamics, etc.) cannot be assigned unequivocally to one staff. or another in the context of an

vii

viii

PREFACE

orchestral tutti. WGV nonetheless prints them as if they were associated with a single part.

are noted; the most significant ones in footnotes, others only in the Commentary.

Solo vocal lines for the most part follow precisely the principal source. Singers will find in the critical edition all the evidence they need to develop a personal interpretation of a role. Serious inconsistencies in orchestral and choral parts or in larger ensembles, on the other band, are not allowed to stand. WGV seeks musically acceptable readings as close as possible to the principal source. All deviations from that source

A complete set of editorial norms is available from the University of Chicago Press. Departures from these norms necessitated. by unusual situations in the sources or in the musical context are discussed in the Commentary. Philip Gossett General Editor

Acknowledgments

It is a great pleasure to remember and to acknowledge some of the people and institutions who provided assistance in the preparation and publication of this edition. The edition was made possible by a generous gift from the late Anna Emery Hanson (in honor of Brena D. and Lee A. Freeman) and by grants from the National Endowment for the Humanities. * In addition, during the long gestation of this edition I received support from the National Endowment for the Humanities, the American Philosophical Society, the American Council of Learned Societies, and from the Graduate School of the University of Wisconsin-Madison for various Verdian research projects, including the edition itself. I am grateful to the Museo Teatrale alia Scala (Milan) for allowing me to consult the autograph manuscript of the Messa da Requiem for extended periods, and I apologize to the museum's vistors who, as a result of my labors, saw not the actual autograph manuscript normally exhibited in the Verdi room, but rather a copy of the published facsimile. My thanks go to Giampiero Tintori and Lorenzo Siliotto for help of various kinds during my work there. Casa Ricordi has made me feel welcome from my first visit to its Archivio Storieo more than twenty years ago. Luciana Pestalozza, Carlo Clausetti, Fausto Broussard, and Cristina Giorgi at the production office and archives, and Mimma Guastoni and Teresita Beretta in the downtown office, have all been extraordinarily helpful in making materials available-both for consultation in situ and on film-and answering inquiries. lowe a special debt to the late Raffaele Tenaglia, who was able to direct me to the Messa per Rossini manuscripts in the vault of the archives. Ever since November 1966, when my wife and I arrived in Parma as refugees from the Florence flood, the Istituto di Studi Verdiani has been a very special place for me-not only for its rich holdings and the ease of consulting them, but for the extraordinary friendliness and helpfulness of the people there: its Director, Pierluigi Petrobelli, and the staff, Marisa Di Gregorio Casati and Lina Re. Especially valuable for this edition were the films of Verdi's correspondence and Franca Cella's unpublished transcriptions of the voluminous Verdi-Ricordi correspondence. The following libraries hold manuscripts and contemporary printed sources that proved especially important for the edition: the library of the Conservatorio di Musica "G. Verdi" of Milan, the Biblioteca Nazionale Braidense (Milan), the Biblioteca Queriniana (Brescia), the Civico Museo BibJiografico Musicale of Bologna, the Bibliotheque Nationale (Paris), the British Library (London), the Pierpont Morgan Li-

* Although this work was made possible in part through research grants from the National Endowment for the Humanities, the opinions set forth do not necessarily reflect those of the Endowment.

brary (New York), the Library of the Curtis Institute (Philadelphia), the Newberry Library (Chicago), the library of the Chicago Symphony Orchestra, and the private collections of Sidney Cox and James Fuld. I also made use of the fine collection of Verdi material amassed under the direction of Martin Chusid for the American Institute for Verdi Studies located in New York University. Pierluigi Petrobelli spent days at the Villa Verdi in S. Agata checking the autograph of Verdi's 1869 Libera me movement and incorporating variant readings into a provisional edition of the movement which I had prepared on the basis of an inaccurate manuscript copy, the only source then available to me. I greatly appreciate his careful examination of the autograph, as well as his suggestions about editing the movement. Subsequently, under his direction, the Istituto di Studi Verdiani obtained the generous permission of Alberto and Gabriella Carrara Verdi to publish the facsimile of Verdi's autograph. We all owe them our thanks for making this valuable source available. I want to congratulate and to thank the editors of previous volumes in the series, Martin Chusid, Claudio Gallico, and Roger Parker. Their research and editorial decisions have been of great use in my own work, and, as attentive readers will notice, I have even on occasion pilfered language from their Critical Commentaries and introductions. lowe a great deal to Philip Gossett, the general editor of The Works of Giuseppe Verdi. He has considered every note, every slur, with exactly the same care as if this edition were his own. I am more grateful than I can say for his conscientiousness and his consummate skill at teasing out elegant and coherent solutions from the recalcitrant readings of the sources. I have learned much by working with him. In addition to Philip Gossett, Francesco Degrada and Jeffrey Kallberg examined the first draft of the musical text and offered sound advice and probing questions. Degrada also provided me with some interesting documents about the genesis of the Mass. Although Gabriele Dotto joined The Works of Giuseppe Verdi when work on the Messa da Requiem was well advanced, he was in time to influence the shaping of the Critical Commentary and introduction. His assistance has been much appreciated, and his wit and encouragement have made the final stages more pleasant than they might otherwise have been. I also want to thank the following, who helped me in a variety of ways: Franca Cella, H. Robert Cohen, Marcello Conati, Paolo Fabbri, Ursula Giinther, James A. Hepokoski, Tom Kaufman, David Lawton, Renato Meucci, Monsignor Moneta, Roger Parker, Andrew Porter, Katherine Preston, and Beverly Taylor. My wife, Carol, was on call to offer advice about Latin grammar and the sfumature of some passages from the Italian documents cited. Indeed, she has been of great help with all matters Italian, including helping me to learn the language many years ago. David Rosen

ix

INTRODUCTION

1. The History Planning the M esSil per Rossini The story of Verdi's Messa da Requiem begins with the death of Gioachino Rossini (13 November 1868) and Verdi's reaction to it:

To honor the memory of Rossini I would wish the most distinguished Italian composers (Mercadante at the head, if only for a few bars) to compose a Requiem Mass to be performed on the anniversary of his death. I would like not only the composers, but all the performing artists, in addition to lending their services, to offer also a contribution to pay the expenses. I would like no foreign hand, no hand alien to art, no matter how powerful, to lend us assistance. Otherwise, I would withdraw at once from the association. The Mass should be performed in San Petronio, in the city of Bologna, which was Rossini's true musical home. This Mass should not be an object of curiosity or of speculation; as soon as it has been performed, it should be sealed and placed in the archives of the Iiceo musicale of that city, from which it should never be taken. Exception could perhaps be made for His anniversaries, if posterity should decide to celebrate them. If I were in the good graces of the Holy Father, I would beg him to allow women to take part in the performance of this music, at least this once, but since I am not, it would be best to find a person more suitable than I to achieve this end. It would be best to set up a committee of intelligent men to take charge of the arrangements for this performance, and especially to choose the composers, assign the pieces, and watch over the general form of the work. This composition (however good the individual numbers may be) will necessarily lack musical unity; but if it is wanting in this respect, it will serve nonetheless to show how great in all of us is the veneration for that man whose loss the whole world I)Iourns.'

Russian newspapers.'" More to the point, Verdi received letters from the acting mayor of Bologna and from the Accademia Filarmonica of the city expressing their SUpport.4 Had the project come to fruition, Verdi's idealistic but stringent conditions would have added moral prestige to it. Knowing as we do that the project was doomed to failure, however, it is easy enough to see how these idealistic conditions limited its chances for success. His insistence that the composition not be an "object of speculation" shifted the responsibility for organization and financing from the impresario and the publisher to a committee and to the composers and performers themselves, who were asked not only to conlribute their labor but to subsidize the performance. Even other sources of disinterested support were ruled out: from "foreign" hands, from hanlb "alien to art." As a supposedly national event, it competed with the countless local celebrations. And finally. when these considerations were to lead to difficulties-the immediate cause being the refusal of the impresario of the Bologna Teatro Comunale to make his singers, chorus, and orchestra available--Verdi's stipulation and continued insistence that the event must take place in San Petronio on the anniversary of Rossini's death made it impossible to perform the work at all. As for the problem of the female singers mentioned in the antepenultimate paragraph of Verdi's leiter, it is ironic that Rossini himself, in 1866, had felt sufficiently "in the good graces of the Holy Father," Pius IX. to attempt-unsuccessfully-to persuade him to reverse the ban on female singers in church.' But in Bologna the problem of receiving permission for women to lake part was easily solved. As the Bologna city council pointed out, San Petronio was administered by the mayor, hence "the lack of the Pope's permission to allow women to lake part in the musical performance should not create an obstacle." 6 Armed with that information, the committee for the Messa per Rossini (see below) would decide that having the participation of women-rather than the "false voices of boys"-was a necessity and would seek permission directly from the Bolognese government. "The committee decided unanimously not to make any request to the Holy Father, since, according to investigations already undertaken. we would receive an absolute refusal-a refusal that would deal a serious blow to the question under consideration." 7 The defensive stance of the final paragraph of Verdi's letter testifies to serious doubts about the probable aesthetic quality of the composition in general, and its lack of unity in particular. He would consistently maintain. however, that the aesthetic value of the Messa per Rossini was less important than its value as an essentially patriotic ritual:

As was to be expected, Verdi's plan "received the warmest praise everywhere; it was even reported in all the French, English, German, and

What dnes it matter, !ben, that the composition lacks unity, !bat the con-

A great name has disappeared from the world! His was the most widespread, the most popular reputation of our time, and it was a glory of Italy! When the other one who still lives is no more, what will we have left? Our ministers, and the exploits of Lissa and Custoza! I The other "glory of Italy" was of course the writer Alessandro Manzoni, and Verdi's exclamation therefore links both great Italians whom he would wish to honor with a Requiem Mass. Four days after Rossini's death Verdi sent the following proposal to Tito Ricordi, his publisher in Milan. Ricordi printed it in the Ricordi house journal, the Gazzetta musicale di Milano (22 November 1868), and also brought it to the attention of other Italian newspapers.

1. leIter of 20 November 1868 10 Coun_ Clara Maffei, in / Copialettere di Giu.eppe Verdi, edited by Gaetano Cesori and Alessandro Luzio (Milan, 1913), p. 20611. Translation after William Weaver, Verdi. A Documentary Study (London, [1977)), p. 221. The battles of Lissa and Custoza were humiliating, though not crucial, Italian defeats in the 1866 war for Venice. Many citations from Verdi's correspondence have been checked With the original documents or with microfilms of lhem: there will thus he occasional deviations from publislicd secondary sources. 2. Carlo Matteo Mossa. "Una Messa per la storia,'~ in Messa per Rossini-La storia. it tew, la mU$ica, ediled by Michele Girardi and Pierluigi Petrohelli (Parma-Milan 1988), vol. 5 in the series Quaderni dell'/slit.to di studi verdiani, p. 57. The translation is after Weaver, p. 221. Mossa includes also the accompanying comments of Tito Rioordi. Thi. article is the most complete som, 0 perfino un punto di staccato. Mentre nella maggioranza dei casi si riesce a stabilire il bumero di "p" in un'indicazione di dinamica (per distinguere tra pp e ppp), puo essere a volte difficile capire se un determinato segno e If 0 fff, sia a causa dell'ambiguitll inerente al segno stesso (un f solo puo essere tracciato con uno oppure due tratti verticali sopra un unico tratto orizzontale) sia per l'entusiasmo (0 perfino la violenza) con cui a volte Verdi Ii scrive. Alcune indicazioni possono essere radicalmente abbreviate oppure stilate in modo trascurato: puo essere difficile decifraie a volte un'indicazione di "solo" oppure di "rnf". WGV realizza tacitamente per esteso Ie abbreviazioni quando c' e una sola interpretazione logica; altrimenti, la parte della parola fomita redazionalmente appare in corsivo. Ad esempio, "dolcis" viene realizzato come "dolcissimo", mentre "dole" viene reso come "dolcissimo" oppure Hdolce" secondo i casi.

c,

1

Incoerenze I problemi maggiori derivano, tuttavia, non dalla difficoltll di interpretare la grafia verdiana bensi dalla presenza nell'autografo di indicazioni contraddittorie. Capire il processo compositivo verdiano non solo e interessante come fine in se stesso: e di grande importanza anche nella preparazione di un'edizione. Le ragioni di cio si possono cosl sintetizzare: 1. n metodo lavorativo di Verdi contribul a creare involontarie incoerenze-nel fraseggio, nelle indicazioni di dinarnica e perfino nel valore ritrnico delle note-tra presentazioni para1lele di una frase musicale.

2. Raramente il compositore si preoccupO di tomare sulla partitura finita per appianare tali incoerenze. Le intenzioni di Verdi son~ dunque svelate non tanto dall'aspetto fiJiale della partitura, quanto da una ricostruzione sia dei segni sia dell'ordine in cui furono scritti. Due aspetti del problema nascono dalle abitudini compositive e di scrittura di Verdi. Come abbiamo visto, egli dapprima stendeva nell'autografo 10 strato della partitura scheletro, completando solo in seguito la strurnentazione. Questi due strati compositivi possono presentare Iezioni diverse, a volte contraddittorie, di coloriti e valori ritmici. Inoltre, Verdi utilizzo spesso dei segni di richiamo per i passi ripetuti (ad esempio, Ie varie riprese del passu di musiea che si presenta per la prima volta alI'inizio del Dies ira:). In questo caso, egli scrisse il passo per esteso la prima volta e in seguito-alle riprese-annotO Ie partie vocali e, di norma, Ie parti di violoncello e/o eontrabbasso: nelle parti riscritte si possono avverare delle divergenze con la prima slesura.213 Incoerenze simili si trovano anche quando Verdi annotO per esteso, alI'interno dello slesso strato compositivo, passi del tutto para11eli. Delle nuove incoerenze potevano inoltre venir create dai successivi emendamenti fatti dall' autore: dopo aver risolto un problema Verdi a volte tralascio di tnettere d'accordo tutti gli aspetti della notazione 0 di ritoccare gli altri ponti analoghi, speciaimente se cio significava ritornarc ad un passo 0 a una pagina precedente. WGV accetta come principio I'ipotesi che alcune di queste incoerenze son~ volute, come accade ad esempio quando Verdi scrive segni di fraseggio 0 di dinamica diversi per il coro e per gli strumenti che 10 raddoppiano, oppure quando assegna livelli dinamiei diversi, in orchestra, alia melodia e alI'accompagnamento.2 14 Ma la maggior parte delle incoerenze sono il risultato delle abitudini compositive di Verdi e del suo atteggiamento in genere verso la funzione della partitura. Di questo, forse, la prova pill lampante e la varietll di segni di fraseggio che si trovano nelle varie presentazioni di un soggetto 0 controsoggetto neil'esposizione delle tre fughe incluse in questa edizione. m Sebbene certi elementi rimangano fissi, altri variano di molto e senza una logica evidente. Apparentemente certi segni d'articolazione avevano per Verdi significati che erano tra loro simili 0 che coincidevano in qualche modo, cosicche il suo concetto sonoro poteva venir rappresentato graficamente in piii modi. (Vedi la discussione sugli accenti alia fine di questa sezione.) Potrebbe perO anche darsi che la concezione sonora che egli aveva di una qualche idea musicale (iKI esempio il soggetto di una fuga) non comportasse un fraseggio fisso, e che dunque Ie diverse presentazioni dell'idea offrissero una varietll di fraseggi accettabili, di modi in cui egli "sentiva" il tema. Troviamo impossibile pensare che Verdi abbia "scelto" (consapevoimente 0 ineonsapevolmente) oppure che abbia preferito mantenere un' altemanza apparentemente casuale dei fraseggi. Nel far conformare tra loro Ie involontarie divergenze si puo a volte accettare il principio di rispettare Ie decisioni piii tarde del compositore. E questo certamente il casu con Ie correzioni: esse vengono favorite ed estese (dove Verdi omise di farlo) dove necessario. Nei casi di divergenze tra 10 strato della partitura scheletro e quello dell'orchestrazione, Ie lezioni presenti in quest'ultimo rappresenterebbero Ie decisioni pill tarde. 216 WGV adotta in genere questo principio, riconoscendo pero che Ie parti vocali non devono necessariamente essere conformate a quelle strurnentali. Tuttavia, i casi di divergenze tra il primo modello di un passo, seritto per esteso, e Ie successive riprese abbreviate, sembrano richiedere un ragionamento diverso, e cine che Verdi avrebbe posto pill 213. C'. un esempio importanle nella sezione "Quam olim Abrah.... dell'Offertorio. Sis il quartetto di solisti si.I'orehestra entraDO .Ilivello dinamico p; ma, alia rip"'s" Ie voci (seritte per esteso) vengono segnate f, rn.entre all'orchestra viene dato un semplice rimando alia precedente cOIllpllnll di quell. music•. Vedi I. Nota 163-185 nel Commento critico. 214. In un discorso d.to al Sixth InternaliOlUlI Verdi Congress (University of California, Irvine, 1980) Philip Gossett, basandosi su un esame di Rigo/eno, trattO il problema delle dinamiche contraddiUorie. Tra Ie sue conclusioni:

Negli aceordi a livello dinamico forte tenuti 0 ripetuti. suonad dall'intera orchestra, incoerenze nelle indicazioni dinamiche risultano dalla disaltenzione del compositore • vanna dunque in genere normalizzate tnt 10m. A volte Verdi slabilisce livelli dinamici diversi per I. melodia e il suo accompagnamento, oppure per parti stnunentali che possiedono caratteristiche che Ii distinguono dal resto dell'orchestra. Tali divergenze vanno lasciate come SODO e devono servire

come base per altre integrazioni. 215. Vedi il Commento critlco per il Sanctus, il Libem me e I. prima vel'8ione del "Liber scriptus" (Appendice 1).

211. Vedi la trattazione sulla "direzione d'orchestra" neU'introduzione a Giuseppe CUI1l di Roger Parker (Chicago·Milano, 1987), p. xlvi. 212. Questi solehi privi d"inchiostro non SODa quasi mai visibili nel facsimile den'autografo e spesso sfuggirono anche ai copisti chc: JavoravanQ col documento. In genere,

216. Vedi Martin Chusid, "Editing Rigoletto" t in Nuove prospettive nella ricerca verdiona: Alii del convegno internazionale in occasione delJtJ prima del URigoleuo" in

WGV interpreta questi ,egni come rappresentativi delle intenzioni di Verdi.

edizione crilica- VieIWl12-J3 marzo 1983 (Parma·Milano, 1987), pp. 49-56.

Verdi, Nabucodonosor,'

Ixi

INTRODUZIONE

attenzione alia stesura del primo modello. Cio nonostante, i modelli successivi possono fomire ulteriori informazioni su come Verdi "sentiva" il passo; in qualche Caso tali indicazioni sono state adottate ed estese a tutte Ie presentazioni del passo.

AlIre formute d' abbreviazione Accorgimenti grafici d'abbreviazione creano problemi ad ogni livello strutturale. Abbiamo gia menzionato i problemi che sorgono quando Verdi ricorre a segni di richiamo per passi di musica piuttosto lunghL Anche per passi pill brevi egli utilizza delle fonnule d' abbreviazione per segnalare una ripetizione. A volte, tuttavia, I'inserto ripreso letteralmente non si congiunge in modo ftuido con il materiale circostante: Verdi si dimentica del registro di una certa parte strumentale, 0 perfino che un certo strumento stesse suonando. Problemi del genere sono di DOnna facili da risolvere (per il caso pill complicato nella Messa da Requiem vedi la Nota 70-72 al Lux leterna). Quando una battuta singola viene ripetuta lettera1mente non sempre possibile ripeterne anche iI fraseggio, in quanto potrebbe essere diversa la continuazione successiva del passo. Ogni caso viene valutato indipendentemente, riprendendo iI fraseggio del modello iniziale laddove sembra appropriato, 0 alterandolo (e segnalando l'intervento nel Commento critico) dove sia necessario. Verdi impiego inoltre delle fonnule per indicare che uno strumento doveva raddoppiare la parte di un altro (i violoncelli, ad esempio, quasi sempre raddoppiano i contrabbassi). Raramente questo crea problemi, soprattutto pereh6, nell'autografo della Messa, Verdi non indica pill aile viole (come aveva fatto in precedenza) di suonare "col basso" (la pill problematica di tali indicazioni di raddoppio).217 In questi casi, Verdi scrive di nanna un'indicazione all'inizio del passo segnita da trattini diagonali sulle stanghette delle battute successive; dopo una voltata di pagina, pew, i tratti diagonali vengono a volte omessi. In genere WGV prosegue comunque col raddoppio finch6 I'indicazione iniziale non venga annullata da un' altra indicazione 0 da una pausa. In ogni caso dubbio 10 stato dell'autografo viene descritto nel Commento critico. Nei fiati non e sempre possibile detenninare, in presenza di una sola parte, quanti strumenti debbano suonare: di norma, Verdi scrive gambi doppi per indicare un' esecuzione .. a 2", ma vi sonG numerose eccezioni. lnoltre, quando nei tre tromboni, seritti di norma sullo stesso pentagramma, appaiono solo due parti, bisogna decidere se affidare al secondo trombone iI raddoppio del primo 0 del terw. Come gilt rieordato, i suggerimenti di WGV sono, a meno di indieazione contraria, sostenuti da pUS-Cso.

e

Legature d' espressione Forse iI problema redazionale pill difficite da risolvere nella Messa da Requiem I'interpretazione delle legature d'espressione. Spesso esse sono tracciate in modo approssimativo, ed esempi di fraseggi contraddittori si trovano anche all'interno della stessa parte. 2I8 Sovente Ie Iegature d'espressione sono palesemente imprecise, come nel Lux reterna, dove Ia legatura ad 83 nei violini primi si estende sulle tre battute di pausa successive, e perfino dentro il margine della pagina (sulla pagine seguente, poi, si trovano altre battute di pausa). n pill delle volte Ie legature tracciate iniziano e terminano negJi span tra Ie note. Ma oltre alIa difficolta di stabilire con precisione quali note vadano incluse nella legatura c' e il problema ancora pill difficile di capire it signlficato esatto del segno: una legatura in una parte vocale puo avere un peso diverso da una legatora nei violini. II criterio seguito da WGV e stato espresso bene da Roger Parl .

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Plate 3. Messa da Requiem, autograph manuscript, Museo Teatrale alia Scala, vol. 2, p. 91: mm. 19-23 of N. 5, Agnus Dei. Notice the inconsistent, often conflicting slurring, and the breath marks, suppressed in many sources.

Tavola 3. Messa da Requiem, manoscritto autografo, Museo teatrale alia Scala, vol. 2, p. 91: batt. 19-23 del N. 5, Agnus Dei. Da notare ilfraseggio incoerente, spesso contraddittorio, e i segni di respiro che furono ommessi da molte fonti.

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p "A' Fl' 56-57 are blank. See Note 54-61. . .. 56-57 sono vuote. Vedi Nota 54-61.

-

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32 57

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33 62 Il

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34 74

Solo

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35

: 78

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90 fino

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423

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••A' Verdi wrote "judicandus homo reus" in MSs. SC, and CC; another hand emended the text in SC and ce. See Commentary. . Verdi scrisse ":;udicant:lw homo reus" in MSs. SC e CC: un'allra mana cambio it testo in SC e Ce• Vedi Note.

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....A. Dynamic markings are discussed in the Commentary .

. 1 .fegni di dinamica sono trattati lie/Ie Note.

:>

..-

129 683

dolcissimo

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II

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130 687

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sulla 4" corda _______________________________________________ ~".?~}I.!I1_~~ _-, II

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pp

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131

morendo ed allargando

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132

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137

53

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>

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f - - - - ____________ I

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animando

110

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PI.

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·A: Cor. UI IV =

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:=-0

146

Adagio 118 a 2

J

=66

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P

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•

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dolcissimo calmo lente Ie semicrome ...... -...,

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J = 66

pp

147

126 'n

doI' . C1SSImo

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157

187 'II

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. = 66)

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mf

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B

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Allegro J

= 112

-See the Critical Commentary for a complete listing of readings of A altered in WGV (e.g., It. for :> or vice-versa, minor adjustments in slurs, etc.). Only the most important variants ate footnoted here. 51 veda iI Commento Crltico per J' eleneD campleta de; ctunbiamenti elfellUati riD WGY nelle lezioni di A. (ad 8.1., A p6r :> 0 vlcever3D, ltnt aggiustamentt nBlle legature. ecc.). So/tanto Ie VQrianti pi/J significative sonG stampate a pli di pagfna.

**A: VI.

[=

[In

tAo sell =

IJ~ J JJ I

163

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13

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267

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staccate assai e pianissimo

PPP PPP

senza tempo

280

pianissimo

aneor pill piano pppp

7 Soprani '" pp

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8

Li - be -ra me, Do-mi - ne, de mOf-te a:-ter-na, in di - e Contralti PP .,;-.

... "" ... 7' ....

iI -Ia Ire - men-da:

quan-docre-Ii mo-ven-di sunt et WPP

""""""""71'........ .."..."..".."..". il - la tre - men -da:

1>+' ++ + + + :# =# =# quan-doca:-li mo-ven-di sunt et PPPP

"II"

Li - be-ra me, Do-mi-ne, de mor.:te IC-ter-na,indi- e Tenori PP

Li - be-ra me, Do- mi-ne, de mor-te a:-ter~a,in di - e Bassi pp

iI -Ia Ire - men -da:

quan - do cre-li mo- yen -di sunt et pppp

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