Dopo aver dato, nella prima puntato, qualche ragguaglio sulla vita tormentata della fondamentale compositrice settecentesca Gustava Dandolo in Culfranti, eccomi pronto a farvi parte del mio sapere profondo da vero musicologo enunciandovi le fonti con le quali s'è ricostruita la partitura della cantata "La Topa e il Sacro", data per la prima volta alle scene a Parma nel 1765.
Innanzittutto facciamo un po' d'ordine riguardo alle edizioni antiche e moderne: parti dello spartito, e in particolar modo le arie della protagonista iperfemminile vennero stampate sin dal 1801 in quel di Roma (provincia di Sampietro) dalla tipografia inglese Moot 'n Day, con la nota "ad uso delle savie donzelle", e più sotto, al frontespizio "edizione di arie della marchesa Culfranti dagli originali". Di quali "originali" si parla questo è difficile da stabilirsi, giacché molte soluzioni armoniche (v.g.: progressione SI LA DO nella prima aria della Topa) not to be found in the recently rediscovered autograph (VD below). E 'likely that the words "from the original" is misleading, or that the anonymous editor has decided to change the harmonic structure of the songs. In chronological order below, in an anthology of arias written for the family of the Oceans printed in 1827 for the types of failures made of arrows, an air of the Holy "I am stronger, I'm better looking" indicated "is the pars secunda" without further specify the location within the song. To find later printed sources must make a leap of 80 years: in 1907 it is the first reconstruction of fragmented work, edited by Missa Gianciotto Halyard, printed "on behalf of Dandolo family "in Venice. In reality there is a family" Dandolo "directly linked to Culfranti, but it is assumed that under this name in the Venice of the first 900 was hiding an association of mutual assistance aimed at those who, at times so dark , was undergoing, as the Dandolo, the change himself. In the brief preface, dark, Missa Halyard lists the material consulted in order to restore the integrity of "the Topa." I bring you the paragraph in its entirety:
" In order to patch up bit by bit, piece by piece, the singers who gather there the SV for their great enjoyment, I had to try and search again in the Royal Library of half of Europe, whereupon the sources told me that the Topa had been given there I went to verify their existence. It was my wanderings along the shelf in the shelf, shelf and shelf, in Topa Topa, managed to get sufficient track to conclude this work. Of particular help to me were the following mss: - The Codex Frocini Library in Riga Checchese - Prurigo The codex in the Bibliotheque Nationale de France, in Lutetia - The Missionaries codex kept in the private archive of Conte D Semele 'Aigratie to Culotta.
grace Finally I found some of the greatest opera arias of a Genoese named Ferrari, and as the song ended so it seemed a little full, I added, the to my will, but certainly there would have been welcome. "
From these words it is clear how the habit of believing that the work of Ferrari" The vulva and the tailbone "is the model of the cantata comes from the Dandolo This edition contaminated. But in this regard a future consecrate my usual illuminating essay.
The three manuscripts listed by vigorous Missa Halyard no longer exist, because war and robbery have made them disappear: in particular, affects the sad fate of the Archive Count D'aigratia private Semele, dismembered by the last heir of the lineage and probably ended up in the hands of countless individuals.
But in the end it matters little, since in 1950, Princes at the Library of the Oceans in Parma, in hard binding of a series of nineteenth-century volumes on the Art of bird free hand, have been found as many as 50 cards handful of Dandolo, the Topa contetenti in almost all its superb completeness. But the pages were in fierce disorder, and since the 1907 edition seemed quite unreliable about the reconstruction of the synopsis, and given the absolute astratezza argument, scholars were unable to publish a complete edition of the cantata, but only individual tunes in random order, in one volume, printed in 1955 in the province of Croctone Islamabad.
Only in 1978, with the discovery of entirely by chance, the original libretto of Topa (Vd attached picture), a miscellaneous code that belonged to the Felistrozzo Ozean and signed by the far more famous singer Marfesina Puledrotti on the run, and great lover of Felistrozzo first interpreter of Franz de Maid Maniscala Pallen, you could establish a complete edition and critical masterpiece of Dandolo. And that came directly from god Esar cage for the types of the publisher of Dark Medioli on Martesana.
Innanzittutto facciamo un po' d'ordine riguardo alle edizioni antiche e moderne: parti dello spartito, e in particolar modo le arie della protagonista iperfemminile vennero stampate sin dal 1801 in quel di Roma (provincia di Sampietro) dalla tipografia inglese Moot 'n Day, con la nota "ad uso delle savie donzelle", e più sotto, al frontespizio "edizione di arie della marchesa Culfranti dagli originali". Di quali "originali" si parla questo è difficile da stabilirsi, giacché molte soluzioni armoniche (v.g.: progressione SI LA DO nella prima aria della Topa) not to be found in the recently rediscovered autograph (VD below). E 'likely that the words "from the original" is misleading, or that the anonymous editor has decided to change the harmonic structure of the songs. In chronological order below, in an anthology of arias written for the family of the Oceans printed in 1827 for the types of failures made of arrows, an air of the Holy "I am stronger, I'm better looking" indicated "is the pars secunda" without further specify the location within the song. To find later printed sources must make a leap of 80 years: in 1907 it is the first reconstruction of fragmented work, edited by Missa Gianciotto Halyard, printed "on behalf of Dandolo family "in Venice. In reality there is a family" Dandolo "directly linked to Culfranti, but it is assumed that under this name in the Venice of the first 900 was hiding an association of mutual assistance aimed at those who, at times so dark , was undergoing, as the Dandolo, the change himself. In the brief preface, dark, Missa Halyard lists the material consulted in order to restore the integrity of "the Topa." I bring you the paragraph in its entirety:
" In order to patch up bit by bit, piece by piece, the singers who gather there the SV for their great enjoyment, I had to try and search again in the Royal Library of half of Europe, whereupon the sources told me that the Topa had been given there I went to verify their existence. It was my wanderings along the shelf in the shelf, shelf and shelf, in Topa Topa, managed to get sufficient track to conclude this work. Of particular help to me were the following mss: - The Codex Frocini Library in Riga Checchese - Prurigo The codex in the Bibliotheque Nationale de France, in Lutetia - The Missionaries codex kept in the private archive of Conte D Semele 'Aigratie to Culotta.
grace Finally I found some of the greatest opera arias of a Genoese named Ferrari, and as the song ended so it seemed a little full, I added, the to my will, but certainly there would have been welcome. "
From these words it is clear how the habit of believing that the work of Ferrari" The vulva and the tailbone "is the model of the cantata comes from the Dandolo This edition contaminated. But in this regard a future consecrate my usual illuminating essay.
The three manuscripts listed by vigorous Missa Halyard no longer exist, because war and robbery have made them disappear: in particular, affects the sad fate of the Archive Count D'aigratia private Semele, dismembered by the last heir of the lineage and probably ended up in the hands of countless individuals.
But in the end it matters little, since in 1950, Princes at the Library of the Oceans in Parma, in hard binding of a series of nineteenth-century volumes on the Art of bird free hand, have been found as many as 50 cards handful of Dandolo, the Topa contetenti in almost all its superb completeness. But the pages were in fierce disorder, and since the 1907 edition seemed quite unreliable about the reconstruction of the synopsis, and given the absolute astratezza argument, scholars were unable to publish a complete edition of the cantata, but only individual tunes in random order, in one volume, printed in 1955 in the province of Croctone Islamabad.
Only in 1978, with the discovery of entirely by chance, the original libretto of Topa (Vd attached picture), a miscellaneous code that belonged to the Felistrozzo Ozean and signed by the far more famous singer Marfesina Puledrotti on the run, and great lover of Felistrozzo first interpreter of Franz de Maid Maniscala Pallen, you could establish a complete edition and critical masterpiece of Dandolo. And that came directly from god Esar cage for the types of the publisher of Dark Medioli on Martesana.
