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A RTARIA E DITIONS Editorial Board Allan Badley • CLIFF EISEN Robert Hoskins • Bertil van Boer

domenico cimarosa

Overture to Il padre alla moda Edited by Simone Perugini AE ARTARIA EDITIONS

AE588 DOMENICO CIMAROSA Overture to Il padre alla moda Source – Biblioteca Statale di Montecassino (1-B-6/7) Editor – Simone Perugini Series Editor – Allan Badley Engraving & Layout – Promethean Editions Limited © Artaria Editions Limited 2019 Published by Artaria Editions (Hong Kong) Limited in Hong Kong ISBN 978-988-8529-40-7 (print) ISBN 978-988-8529-41-4 (digital) ISMN 979-0-805700-20-5

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FOREWORD THE LIFE AND WORKS OF DOMENICO CIMAROSA

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omenico Cimarosa was one of the most important and famous composers of the second half of the 18th Century. He was born in Aversa, a small town in the South of Italy which, during the composer’s time, was part of the Neapolitan kingdom and that is now in the province of Caserta. Cimarosa was born on 17 December 1749 and his exact day of birth is confirmed by the original Baptismal Registers still kept in the church of Sant’Audeno, where he was baptized by his father. In the birth certificate, the composer’s name is written as “Domenico Nicola Cimmarosa”. But, in spite of the presence of a double “m” in his surname, the composer signed all his holograph scores as “Cimarosa”, with a single “m”. Cimarosa was the son of a builder, Gennaro, and his wife Anna Di Francesca. The family moved to Naples (probably in 1753) where Gennaro died as a consequence of a site accident. Gennaro had been employed in the building of Capodimonte Palace; he fell from a scaffolding and died instantly. Gennaro and Anna probably did not have other children and, after her husband’s death, Anna sent Domenico, in 1761, to study at the Conservatory of Santa Maria di Loreto. The young Cimarosa studied music with Gennaro Manna, Antonio Sacchini and Fedele Fenaroli who were famous composers and music teachers of the time. During his years of study, Cimarosa composed various sacred works traditionally considered fundamental to the learning of harmony and counterpoint, two very important elements of composition technique. Many of these compositions are still extant in the San Pietro a Majella Conservatory Library in Naples: among them the Messa a tre con violini e corni (1765) [Mass for three voices with violins and French horns], in F Major, the earliest extant score written in the composer’s hand, stands out for its musical quality. In the Conservatorio di Santa Maria di Loreto, the young musician also studied singing with the famous castrato Giuseppe Aprile. After his years of study at the Music Conservatory, Cimarosa probably took further lessons in composition technique with Niccolò Piccinni, the most important Neapolitan opera composer of the previous generation. It was Francesco Florimo1 who passed down information about the relationship between Piccinni and Cimarosa. Florimo was composer and Director of the Library of the Conservatorio di San 1 Francesco Florimo, Cenno sulla scuola musicale di Napoli, 2 vol., Naples, 1871

Pietro a Majella and, in his important book about the Music Conservatories in Naples, he stated that it had been Paolo Cimarosa, Domenico’s son, who had supplied him with such information. Paolo Cimarosa, in fact, became a composer and teacher at the San Pietro a Majella Conservatory. Another important sacred work by Cimarosa is also kept in Naples, the Messa a più strumenti [Mass for many instruments], in C Major, that he composed in 1772: in the same year, Cimarosa also made his début as an opera composer. It is impossible to know the biographical events that induced Cimarosa to compose his first comic opera, the Commedia in tre atti [Comic opera in three acts] Le Stravaganze del Conte [The Eccentricities of the Count], performed, at its prima, in tandem with another opera by Cimarosa, a farce in one-act, Le Magie di Stellidaura e Zoroastro [The Magic of Merlin and Zoroaster]. The two libretti were written by Pasquale Mililotti. These two operas were performed during the Carnival season in 1771/1772 at the Teatro dei Fiorentini in Naples. In 1773, Cimarosa composed, for another Neapolitan theatre, the Teatro Nuovo, the comic opera in three acts La Finta Parigina [The Fake Parisienne] on a libretto by Francesco Cerlone, a famous opera poet who also wrote many libretti for Giacomo Tritto and Giovanni Paisiello. Even if these early works were well accepted by the public, Cimarosa did not compose any operas during the next three years. Probably, as Takashi Yamada2 says in his recent essays, the young Aversan composer had to wait for the departure of Piccinni for Paris and of Paisiello for St. Petersbug in 1776; only after this did Cimarosa have the run of the Neapolitan theatres that they had previously dominated. Once he had gained access to the most important stages in the city Cimarosa wrote many comic operas starting from 1777, for example, with L’Armida Immaginaria [The Imaginary Armida], Le Stravaganze d’Amore [The Eccentricities of Love] and Il Fanatico per gli Antichi Romani [The Fanatic for Ancient Romans]. Thanks to these works, Cimarosa became in a short time one of the most acclaimed composers in the Neapolitan Kingdom. After winning the favour of the Neapolitan public, Cimarosa’s reputation crossed the borders and quickly reached Rome; for this city he composed, in 1777, the Intermezzo3 in two acts I Tre Amanti, [The Three Lovers], on 2 Takashi Yamada, ‘Domenico Cimarosa in Russia’, in Domenico Cimarosa, Atene edificata e Coro di guerrieri, CD recording. (Bolognia: Bongiovanni GB 2428-2, 2008). 3 In Rome, the word Intermezzo meant a comic opera in two acts. The term Intermezzo during the second half of the 18th century, in the Roman area, was totally different from the 18th-century Neapolitan Intermezzo written at the beginning of the 18th cen-

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a libretto by Giuseppe Petrosellini, that was performed at the Teatro Valle during the Carnival season. For the same theatre the musician composed, during the next year, a new comic opera in two acts, Il Ritorno di Don Calandrino [The Return of Don Calandrino]. In the same year he set to music another Intermezzo on a libretto by Giuseppe Petrosellini, L’Italiana in Londra [The Italian Girl in London]. This work became in a very short time his greatest success to date. L’Italiana in Londra was also staged in Dresden, Gorizia, Prague, Warsaw, Trieste, Paris, Lugano and St. Petersburg. Thanks to the great success of his previous works, Cimarosa was engaged to inaugurate a new Neapolitan Opera House, the Teatro del Fondo, with a new work, L’Infedeltà fedele [The Faithful Infidelity], on a libretto written by Giovan Battista Lorenzi, which was premiered on 20 July 1779. In this libretto there were many dramaturgic innovations (this is a semi-seria opera actually, and it inaugurated a new dramatic genre in which both comic and dramatic elements coexist. The semi-seria opera gained popularity in Italy only many years later). Joseph Haydn was impressed by this text and decided two years later to compose a new musical version for the Esterhàza Theatre. The Austrian composer made some minor modifications to the words and changed the title: the new version was La fedeltà premiata. In 1779 Cimarosa was appointed Organista soprannumerario della Cappella Reale [Supernumerary Organist of the Royal Chapel], an office that the composer filled until 1785 and that brought him a monthly sum of 8 ducats. In 1780 Cimarosa was engaged by the Teatro delle Dame in Rome to compose his first opera seria. According to 18thcentury convention, young composers got to be known by the greater public through their comic operas which were performed in modest opera houses, but they rose to fame and managed to make more money only through opera seria, the only operatic genre performed in the major theatres. For the Roman opera house Cimarosa wrote Cajo Mario, a drama in three acts on a libretto by Gaetano Roccaforte. During the 1780 opera season, the composer worked both in Rome and in Naples, realizing many operas, such as the two-act comic Intermezzo Le donne rivali [Female Rivalry] on an anonymous libretto that Lorenzo Da Ponte adapted (copying it almost completely) for a new musical project in collaboration with Mozart. This new musical project was intended to transform Cimarosa’s obsolete work into a new tury. This second type of Intermezzo was a little comic opera, in two parts, with a few characters, that was interpolated between the acts of the major works. (For example, Pergolesi’s famous Neapolitan Intermezzo La Serva padrona was written to be interposed between the three acts of the opera Il Prigionier Superbo).

opera titled Lo sposo deluso. Mozart composed only part of the work and that was never performed. For the Neapolitan Teatro dei Fiorentini Cimarosa composed the Commedia per musica in due atti [Comic opera in two acts] I Finti Nobili [The Fake Noblemen] that was performed together with a little farsetta in un atto [Farce in one act] Li sposi per accidenti [The Accidental Marriage] written by Cimarosa on a libretto by Giuseppe Palomba. After his conquest of the stages in central and southern Italy, the composer began his rise to fame in the north, composing, for the Accademia Filarmonica di Verona the opera seria in two acts Giunio Bruto, written on a libretto by a famous Italian man of letters, Giovanni Pindemonte (who signed the text with the pen name Eschilio Acanzio). After this success in Verona, Cimarosa went on to Venice for the first time where he composed, for the San Samuele Theatre, the two-act comic opera Giannina e Bernardone on a libretto by Filippo Livigni, performed in 1781. The following year he wrote, for the same theatre, another comic work, Il Convito [The Banquet], on a libretto written again by Livigni. In her book Nel Primo Centenario di Domenico Cimarosa (Venice, 1900), Maria Storni Trevisan relates that in Venice, on the occasion of the opera’s first performance, the public’s enthusiasm was so great that at the end of the evening Cimarosa was carried in triumph to his house by torchlight. Other performances of Il Convito took place in Prague, Trieste, Dresden, Nice, Frankfurt, Warsaw, Madrid, Mannheim, Salzburg, Marseilles, Lisbon, Paris and Florence. During this period Cimarosa was one of the most soughtafter composers in Italy and his name appeared on the playbills of all the major Italian theatres. In 1784 Cimarosa was appointed Maestro di Cappella of the Neapolitan Royal Chapel, which was a prestigious and delicate assignment. In the same year, the composer moved to Florence and wrote, for the Teatro alla Pergola, the dramma giocoso in two acts La Vanità Delusa ossia il Mercato di Malmantile on a libretto by Carlo Goldoni (who signed the libretto with the pen name Polisseno Fregeio). Goldoni originally wrote this opera for Giuseppe Scarlatti, a Neapolitan composer, in 1758. The Scarlatti opera was performed for the first time at the Teatro San Samuele in Venice. Cimarosa recovered the libretto and asked an anonymous librettista of the Florentine Court to adapt it to the taste of the contemporary public. The anonymous poet added some concerted pieces and cut some arias from the original Goldoni text. During his stay in Florence for the staging of La Vanità Delusa, Cimarosa met and became a friend of Pietro Leopoldo of Lorena, Grand Duke of Tuscany and the future Austrian Emperor, who later appointed Cimarosa Court Composer in Vienna.

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After the composition of La Vanità Delusa, Cimarosa went back to Naples and in 1786 composed, for the Teatro Nuovo, a new comic opera in two acts, Il Credulo [The Gullible One] which was performed twice in the same Carnival season: the first time coupled with the Farsa per musica La Baronessa Stramba [The Baronessa Stramba] and the second one with another Farsetta on a libretto by Giuseppe Maria Diodati, L’Impresario in Angustie [The Impresario in Distress]. The libretto of Il Credulo was written by Giuseppe Maria Diodati whereas the one of La Baronessa Stramba was by Pasquale Mililotti. L’Impresario in Angustie was the last work written by Cimarosa before his departure for St. Petersburg where the tsarina Catherine II had invited him to take up the position of Court Composer. The tsarina loved European art and she had wanted at artists at her court like the Italian architects Carlo Rossi and Bartolomeo Rastrelli, the sculptor Antonio Canova, and the most important Italian composers of her time. First Giovanni Paisiello (who remained in St. Petersburg from 1776 to 1783), served as Principal Composer, then Giuseppe Sarti (Catherine’s Court Composer from 1784 to 1786) moved to St. Petersburg. After Sarti, probably thanks to the influence of Duke Antonio di Serra-Capriola4, Catherine the Great called Cimarosa who moved from Naples to St. Petersburg in July 1787 with his second wife, Gaetana Pallante, and his daughter. In December, after some short stays in Florence, Parma, Vienna, Cracow and Warsaw, the Cimarosa family arrived at Catherine’s Court. The first works that the composer wrote for the Court in 1787 were the Missa pro defunctis a 4 voci con Vvni, [Violini] Corno da caccia obligato e Basso5, the cantatas La felicità inaspettata and Atene edificata, performed on the 23 March 1787, and on 29 June 1788 respectively. The first lyric drama written for the tsarina was La Vergine del Sole [The Sun Virgin], probably performed on 22 September 1788, to mark the anniversary of Catherine’s coronation. La Vergine del Sole is an opera seria on a libretto by Ferdinando Moretti. In 1787 another serious drama came to light, La Cleopatra, again on a libretto by the same poet. Between 1790 and 1791, Cimarosa composed two more cantatas: La Sorpresa [The Surprise] and La Serenata non Preveduta [The Unexpected Serenade]. For reasons that are still unclear, the composer left Russia in 1791 after a few years of activity. The tsarina was probably not deeply interested in the composer’s music and, after his​ departure, she invited the Spanish composer (but Italian by 4 Nick Rossi and Talmage Fauntleroy, Domenico Cimarosa. His life and his operas (London: Greenwood Press, London, 1999, 112). 5 This Mass was composed by Cimarosa on the occasion of the unexpected death of Duchess Serra Capriola on her husband’s commission.

adoption) Martin y Soler. During the return voyage the Cimarosa family (increased by a second son, Paolo, who was born during the Russian stay) stopped in Warsaw and Vienna. In Vienna the composer’s professional and economic circumstances changed radically. Cimarosa arrived in the Habsburg capital in December 1791; the ex Grand Duke of Tuscany, Leopold, was now Emperor Leopold II. He was a close friend and great admirer of the Aversan composer and appointed him Kapellmeister with a yearly salary of 12,000 ducats and accommodated him in a sumptuous flat in the Royal Palace. The sum granted to the composer was very high, considering that Mozart, in the same year, was paid the sum of 800 ducats6 by the court. In the Habsburg capital the Aversan musician composed his most famous opera Il Matrimonio Segreto [The Secret Marriage], on a libretto by Giovanni Bertati (the successor of Lorenzo Da Ponte as Court Poet at the Italian Theatre), that was performed for the first time at the Burgtheater on the evening the 7 February 1792. The opera was such an enormous success and the Emperor was so enthusiastic about it that he demanded the entire opera be repeated as an encore the same evening. In Vienna the composer also wrote a new farsa in one act Amor rende sagace [Love Makes One Shrewd] on a libretto by Bertati and, probably, La Calamita dei Cuori [Attraction of Hearts], on a second-hand libretto by Carlo Goldoni adapted for this new revival, perhaps, by Bertati. It is not possible to ascertain if Cimarosa really composed this opera, because no copy of the libretto or score has yet been discovered. In Vienna the composer had not only the task of composing new operas but probably he also had to adapt, to the Viennese taste, his earlier operas (originally written for Italian theatres) that had enjoyed great success in the imperial capital.7 When Leopold II died, his successor Franz II appointed Antonio Salieri Kapellmeister and Cimarosa was compelled to go back to Naples, followed, after a few months, by Giovanni Bertati. In Naples, the composer enjoyed a triumphant reception thanks to the reputation he had obtained in Vienna with Il Matrimonio Segreto. A modified version of the original Viennese work was performed in Naples to great acclaim.8 6 On 7 December 1787, Wolfgang Amadeus Mozart, by an Emperor’s decree, was appointed Musico da Camera at the Viennese Court with a yearly salary of 800 ducats. 7 For information on Cimarosa’s activity in Vienna as music supervisor and adapter of his works, and about the production practice at the Viennese Court between 1791 and 1793, see the foreword to the volume: Domenico Cimarosa, L’Impresario in angustie, ed. Simone Perugini (Wellington: Artaria Editions) 8 For further information about the Neapolitan version of Il Matrimonio Segreto, see

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The first new opera that Cimarosa composed after his return to Naples was I Traci Amanti [The Thracian Lovers] that premiered at the Teatro Nuovo in the evening of 19 June 1793; on 29 August 1794, the Teatro Dei Fiorentini hosted the first performance of the new comic opera in two acts Le Astuzie Femminili 9 [The Cunning Women], on a libretto by Giuseppe Palomba, which was a great success. Along with Il Matrimonio Segreto, it is still the most frequently performed work by the composer. On 8 November 1796 Cimarosa was appointed Primo Organista [First Organist] at the Royal Chapel with a salary of 10 ducats for each religious ceremony he accompanied on the organ. In December of the same year, he moved to Venice and, for a new commission by the Teatro La Fenice, he composed his most famous opera seria, Gli Orazi e i Curiazi [The Horatii and Curiatii] on a libretto by Simeone Antonio Sografi. Cimarosa supported the Neapolitan insurrection which broke out at the end of 1798 and led to the foundation of the Neapolitan Republic. The composer actually had never been interested in politics and his support to the new government was due to his desire for security and advantage in his professional position. The new government gave Cimarosa and Paisiello very prestigious tasks: the former was appointed Direttore della musica nazionale [National Director of Music], the latter became a member of the Commissione dei teatri [Theatrical Commission]. Both composers supported the newly-founded Neapolitan Republic with their services and operas. Cimarosa, in particular, composed an Inno Patriottico (a Patriotic Hymn) on a text by Luigi Rossi. But the Neapolitan Republic did not last long: in June 1799, with the help of Russian and English forces, the monarchy was restored and King Ferdinando IV was given back his throne. The Aversan composer, guilty in the king’s eyes of supporting the revolutionaries and composing new music to celebrate them, tried to win back the king’s favour by composing a new Cantata a tre voci, con cori, espressamente composta dal Sig. Domenico Cimarosa in occasione del bramato ritorno di Ferdinando IV, nostro amabilissimo Sovrano [Cantata for three voices, with choirs, expressly composed by Mr. Domenico Cimarosa for the desired return of Ferdinando IV, our very lovable sovereign]. The King, however, was not convinced by this sudden political change in the composer’s spirit and had him arrested. After being released from prison, Takaski Yamada, ‘La Versione Napoletana de Il Matrimonio Segreto (1793, Naples) di Cimarosa; Sulle Due Arie della Partitura ritrovata nella Collezione del Kunitachi Music College in Giappone’, Japanese Rossini Society «Rossiniana», vol. 28 (2005), pages 1-33. 9 The opera Le Astuzie Femminili actually is a rewriting of the one-act farce Amor Rende Sagace that Cimarosa composed in Vienna after Il Matrimonio Segreto. For further information see: Giuliano Tonini, Amor Rende Sagace, (essay published in the CD booklet), CD recording, Bongiovanni, Bologna (Italy), GB 2126/27-2.

the composer went into exile in Venice where his operas had always been a great success. The time and manner of Cimarosa’s release are unknown, still shrouded in legend: it seems possible to the musician’s biographers (as, for example, Mary Tibaldi Chiesa) that the Russian Court’s intercession and the political power of some influential fans were decisive. For the Venetian stages, Cimarosa composed his last opera, Artemisia, a drama based on the same subject that he had set to music some years before. In 1797, in fact, he had written another drama titled Artemisia, regina di Caria [Artemisia, Queen of Caria] for the Teatro San Carlo in Naples. The libretto of the second Artemisia was written by Count Giovanni Battista Colloredo who signed the opera with the pen-name of Cratisto Jamejo. The opera, unfinished, had its prima on 17 January 1801, after the composer’s death. The score was completed by an anonymous assistant (probably he was one of Cimarosa’s students). In Venice Cimarosa fell ill, probably of a colon tumour and at 2:00pm on 11 January 1801 he passed away in his room at the Albergo Tre Stelle [Tre Stelle Hotel], in Palazzo Duodo – Campo Sant’Angelo, after receiving the extreme unction10. The funeral, celebrated with a solemn ceremony, took place in Sant’Angelo Church in Venice where the composer was buried. Some musical pieces by Ferdinando Bertoni, who was Maestro della Basilica di San Marco [Principal Composer and Conductor of San Marco’s Basilica], and the Concerto Lugubre per Flauto traverso [Lugubrious Concerto for Flute] specially composed by Luigi Giannella on some musical themes from Cimarosa’s Gli Orazi e i Curiazi were performed during the office. The funeral finished with the performance of the Messa da Requiem composed by Bertoja.

10 The composer’s death certificate is still kept in the Venetian State Archive.

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THE OPERA OVERTURES

the partial holograph manuscripts of the composer kept at the San Pietro a Majella Conservatory library are described. All the operas have been listed by year of composition, with the indication of the title, the name of the theatre where they were performed for the first time and a concise analysis of the overture (with the indication of the number of movements, the tonality, tempo and the time signatures). Cimarosa uses two musical structures current in his time in all of his overtures: the three-movement and the onemovement forms; the second of these often being introduced by a short lento section. Very rarely does Cimarosa use also a two-movement structure that is only a simplification of the three movement cycle. The three-movement overtures, typical of the Neapolitan operatic tradition, and whose origin goes back to Alessandro Scarlatti, consist of a rapid first movement in which Cimarosa introduces thematic episodes made up of quick rhythmical elements, generally assigned to the first violins (the second violins typically double this at the lower octave or play broken chord accompaniment figures similar to an Alberti bass). The violas double the bass line (realized by the violoncellos and double basses) at the upper octave or, on occasion, double the first violin part at the lower octave. In the Aversan composer’s Overtures it is impossible to find a real characteristic Primo Tema. Cimarosa’s figures never have a strong melodic identity which might justify the

formal definition of a theme. Rather, they are motifs, thematic fragments that Cimarosa uses again, often with minimum elaboration, for other overtures belonging to different operas. With this almost neutral characteristic, the motifs can be exchanged, connected, used in different dramaturgic contexts but with the a same formal structure. This modus operandi is quite similar to the composition technique of the Comedy of Art Scenari. At times, after an obvious cadence (in the tonic or the dominant tonality), the composer introduces, as in the overture written for the opera I Tre Amanti, a second motif (that occasionally may present the characteristics of a musical theme proper), often played by the strings but also sometimes by the oboes or, very rarely and only in the late operas, by the clarinets. In the absence of a second theme the movement finishes with a reprise of the principal motifs (often shortened) after a brief elaboration of the musical materials. The first movement is always written in a duple metre, generally C, but sometime also alla breve). The second movement has a freer formal structure than the first; it is generally quite short and scored for strings alone except in the case of the overture to La Finta Frascatana to which Cimarosa adds a solo flute. The central movement, with its slow tempo, always offers a more melodic breadth than either the first or the third even if it is brief and scored in the same way; the theme is assigned to the first violins, with the second violins realizing a delicate accompaniment doubling the firsts at the lower octave. The violas double the bass at the upper octave or double, at the lower octave or tenth, the first violins. The tonal contrasts between the first and second movements of an overture are not very numerous: the second movement may be in the submediant, or the subdominant, dominant or in the relative minor; in only one case (the overture to Le Stravaganze del Conte Overture) are all three movements in the same tonality. The Allegro third movement is almost always written in triple time or compound metre (in most cases the time signature is 6/8, sometimes also 3/8). In some overtures both the time signatures are present.13 The third movement tonality is always the same as the first one;14 it does not retain any common rhythmic or melodic element. The dancing rhythm, often an explicit reference to the Neapolitan Tarantella, suggests to Cimarosa the adoption of melodic phrases with more

11 See: Jennifer Johnson, Gordana Lazarevich, the headword «Cimarosa» in New Grove, 2005, vol. 5, 850-855. 12 For further information about the Maestro Terzo profession in the Neapolitan practice of the second half of the 18th Century, see: Takashi Yamada, Il Sistema di Produzione del Recitativo nella Seconda Metà del Settecento a Napoli: il caso di Giuseppe Benevento fra Piccinni, Paisiello, Cimarosa e Tritto, Forthcoming.

13 In some cases, Cimarosa interchanges, during the third movement, 6/8 with 3/8 time signatures. When the composer uses the 3/8 time signature, in a movement written in 6/8, he does not write, as in the modern way, the new time signature, but marks it only with an “X” sign, placed at the top of the measure, the ones written in 3/8. 14 This harmonic cycle, where the tonality is the same for the first and third movement, is typical of the musical form formulated by Scarlatti.

D

uring his career Domenico Cimarosa probably composed about 70 operas.11 The library of the Neapolitan San Pietro a Majella Conservatory in Naples keeps the partially holograph scores of 54 works. The manuscripts have been catalogued as “partially holograph” because in the greater part of them almost all the overtures, arias and ensembles are written in the hand by the composer, who often added to the volumes a title page with the opera title, the date of first performance and the name of the theatre where the work was first performed, but the Recitativi Secchi [Recitativos composed only with the accompaniment of Basso Continuo] were composed by the socalled Maestri Terzi [Third Composers].12 Except for very rare cases Cimarosa prepared an introductory overture for all his works. There is a table at the conclusion of this section where all

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thematic features, even if very similar in the course of the various overtures, than the ones used in the first movements. The typical orchestration of the three-movement overtures, according to the original disposition of the instruments in the holograph scores, is: 2 horns, 2 oboes, and strings (Vln I, II, Vla, B). Very rarely does Cimarosa support the oboes with two flutes, but he never writes an independent part for the flutes. The composer labels the flutes Traversieri. More problematic for the editor is the presence of the bassoon in the orchestra. The composer never gives an independent staff to these instruments, except in the overture to L’Amante Combattuto dalle Donne di Punto. It is probable that Cimarosa counted on the bassoon’s presence in the orchestra as the bass of the wind choir, playing the same part as the cellos and double basses with some possible rhythmic simplification by the performer himself. The omission of the doubling part in the score may have been a time saving measure. The two-movement overtures, rarely used by Cimarosa, employ the same formal structure as those in three movements but omit the central section. The two parts are always composed in the same tonality. From the composition of the comic opera L’Armida immaginaria (Teatro Dei Fiorentini, 1777), Cimarosa quite regularly used the one-movement structure. The one-movement overtures are inclined to be more interesting not only because of his use of ‘real’ themes but also because of the tonal links between thematic groups. The single movement is divided into three different sections (even if realized without a thought of continuity): the first consists of a group of linked themes in the tonic with a clear rhythmic character and often introduced by a thunderous introduction for full orchestra. To these the composer at times adds a second motivic/thematic group, performed by the strings, that may also appear in the dominant tonality.15 In the middle part of the movement, a new theme, more cantabile and relaxed, is interpolated; this is also generally performed by the strings. The range of the tonal relationships between the two themes is substantial: sometimes the first part of the overture ends in the dominant tonality (confirmed by a cadence) and the second theme, after some measures of harmonic transition, reaches the sixth scale degree of the dominant tonality (that is the third degree of the tonic).16 In other cases the second theme, after the usual dominant cadence may appear in the relative minor tonality.17 During his career the composer 15 In rare cases, such as in the overture for I finti nobili, may the theme may also be performed also by wind instruments. 16 This is the case, for example, in the overture written for L’Armida Immaginaria and L’Infedeltà Fedele. 17 This harmonic link is present, for example, in the overture to I Finti Nobili.

also used other harmonic relationships between the first and second parts of a single-movement overtures. In this way he made the traditional tonal links more varied and sometimes also unexpected. After the exposition and a brief elaboration of the second theme, the composer inserts a retransitional passage which is followed by a full or an abbreviated reprise of the first thematic group, to which Cimarosa adds a coda that brings the overture to its end. Starting with the overture to La Vergine del Sole  Cimarosa at times inserts a slow and very free introduction, made up of a few measures based on a rhythmic pattern that is martial in character.18 The scoring employed by Cimarosa in his single-movement overtures varies over the years of composition. At the beginning of his career, following the Italian practice, he follows the model of the three-movement overture with two oboes, two horns and strings. Starting with his later operas, particularly from La Vergine del Sole and the compositions for the Russian Court, horns (or trumpets) and strings, two flutes, two clarinets, two Bassoons (with an independent line often freed from the one of the Basso) and the timpani are also used frequently.19 Last but not least is an observation about the tonalities used by Cimarosa in his overtures: D major is used with embarrassing frequency (see the table below); only in some cases does the composer choose to use BÏ; and very rarely does he use the EÏ major, G major and F major 20. No overture is written in a minor key. The principal key of a piece, according to the Italian tradition, also influenced the choice of the brass used in the orchestration. The overtures composed in D and G, always have horns in the orchestra; when the composer wrote a piece in a flat key, the horns were replaced by the trumpets. In the first part of his career (i.e. until his return to Naples from the Vienna in 1793), Cimarosa adheres to this standard 21; in his late operas, however, he has no hesitation in using the horns in the flat keys if it was warranted by the project.

18 In some cases, such as in the overture to the original version of Gli Orazi e i Curiazi, the slow introduction may be broader and have unequivocal thematic features. 19 The timpani were also used by Cimarosa also in some early works, such as Il Convito and I Finti Nobili. 20 Only the overture written for Artemisia (1800–1801), after a slow introduction in EÏ major, was cast in C major. 21 Many Neapolitan composers, among them contemporaries of Cimarosa, such as Paisiello and Tritto who were among the most famous of the time, followed this rule which they probably learned from the Maestri of the four Neapolitan conservatories where they studied.

AE588 – viii

DATE

TITLE

THEATRE

STRUCTURE

DATE

TITLE

THEATRE

STRUCTURE

1772

Le stravaganze del conte (Performed, at its prima, with Le Pazzie di Stellidaura e Zoroastro)

Teatro dei Fiorentini, Naples.

3 Movements: I – D Major; Allegro vivace, 4/4. II – F Major, Andantino, 2/4. III – This movement is a Ripresa of the 1st one.

1781

Il Pittor Parigino

Teatro Valle, Rome.

3 Movements: I – D Major, Allegro brioso molto, 4/4. II – G Major, Andantino grazioso, 2/4. III – D Major, Allegro molto, 2/4.

1773

La Finta Parigina

Teatro Nuovo, Naples.

In the holograph score there is no Overture.

Alessandro nell’Indie

1776

I Sdegni per Amore

Teatro Nuovo, Naples.

3 Movements: I – D Major; Allegro assai, 4/4. II – B flat Major; Andantino grazioso, 4/4. III – D Major; Allegro ma non tanto, 6/8.

Teatro Argentina, Rome.

3 Movements: I – D Major, Allegro con brio, 4/4. II - B flat Major, [Andante], 3/4 III – D Major, Allegro moltissimo, 2/4

Il Convito

Teatro San Samuele, Venice.

3 Movements: I – D Major, Allegro brioso, 4/4. II – B flat Major, Rondò, Andantino con moto, 2/4. III – D Major, Allegro presto, Half Time.

La Biondolina

Teatro dei Fiorentini, Naples.

1 Movement: B flat Major, Allegro con spirito, 4/4

Giannina e Bernardone

Teatro San Samuele, Venice.

1 Movement: D Major, Allegro assai con spirito, 4/4

Giunio Bruto

Accademia Filarmonica, Verona.

1 Movement: D Major, Allegro con brio, 4/4.

L’Amor Costante

Teatro Valle, Rome.

In the holograph score there is no Overture.

La Ballerina Amante

Teatro dei Fiorentini, Naples.

1 Movement: D Major, Molto Allegro spiritoso, 4/4.

L’Eroe Cinese

Teatro San Carlo, Naples.

3 Movements: I – D Major, Ad libitum 4/4, Allegro con spirito, Half Time. II – B flat Major, Andantino grazioso, III – D Major, Allegro presto assai, 6/8.

Li Due Baroni di Rocca Azzurra

Teatro Valle, Rome.

3 Movements: I – D Major, Molto Allegro con brio, 4/4. II – B Flat Major, Andantino frizzante, Half Time. III – D Major, Allegro molto con brio, 6/8.

La Circe

Teatro alla Scala, Milan.

3 Movements: I – D Major, Allegro molto con spirito, 4/4. II – B flat Major, Andantino grazioso, 2/4. III – D Major, Allegro molto, 6/8.

Oreste

Teatro San Carlo, Naples.

1 Movement: D Major, Molto Allegro con brio, 4/4.

La Villana Riconosciuta

Teatro del 2 Movements: Fondo, Naples. I – D Major, Allegro con spirito, 4/4. II – D Major, Allegro, 6/8.

La Finta Frascatana

1777

I Tre Amanti

Il Fanatico per gli Antichi Romani

1778

1779

1780

Teatro Nuovo, Naples.

Teatro Valle, Roma.

3 Movements: I – B flat Major, Allegro di molto, 4/4. II – E flat Major, Andantino con moto, Half Time. III – B flat Major, Allegro molto, 3/8. 3 Movements: I – B flat Major, [Allegro molto]. II – E flat Major, [Andantino con moto], Half time. III – B flat Major, Allegro molto, 3/8.

Teatro dei Fiorentini, Naples.

3 Movements: I – B flat Major, [Allegro molto]. II – G minor, Andantino grazioso, 3/4 III – B flat Major, Allegro assai, 6/8.

L’Armida Immaginaria

Teatro dei Fiorentini, Naples.

1 Movement: D Major; Allegro spiritoso, 4/4.

Le Stravaganze d’Amore

Teatro dei Fiorentini, Naples.

3 Movements: I – D Major, Allegro con brio, 4/4. II – D Minor, Andantino. III – D Major, Allegro assai, 6/8.

Il Ritorno di Don Calandrino

Teatro Valle, Rome.

3 Movements: I – D Major, Allegro assai, 4/4. II – G Major, Andantino, 3/4 III – D Major, Allegro con spirito, 2/4.

L’Italiana in Londra

Teatro Valle, Roma

3 Movements: I – B flat Major; Allegro con spirito, 4/4. II – G Major; Andantino; 2/4. III – B flat Major; [Allegro assai], 2/4

L’Infedeltà Fedele

Teatro del 1 Movement: Fondo, Naples. B flat Major, Allegro spiritoso, 4/4.

Le Donne Rivali

Teatro Valle, Rome.

3 Movements: I – D Major, Allegro assai spiritoso, 4/4. II – B flat Major, Andantino alla scozzese , 2/4. III – D Major, Allegro assai (Giga), 2/4.

I Finti Nobili (Performed, at its prima, with Li sposi per accidente)

Teatro Nuovo, Naples.

1 Movement: D Major, Allegro spiritoso assai, 4/4.

Il Falegname

Teatro dei Fiorentini, Naples.

1 Movement: D Major; Allegro molto; 4/4.

Cajo Mario

Teatro delle Dame, Rome.

3 Movements: I – D Major, Allegro con brio, 4/4. II – B flat Major, Andante, 2/4. III – D Major, [Allegro], 3/8,

1782

1783

AE588 – ix

DATE

TITLE

THEATRE

STRUCTURE

DATE

TITLE

THEATRE

STRUCTURE

1784

Chi dell’Altrui si veste presto si spoglia

Teatro dei Fiorentini, Naples.

1 Movement: D Major, Allegro con brio, 4/4

1789

La Cleopatra

Hermitage Theatre, St. Petersburg.

1 Movement: F Major, Larghetto con moto/ Allegro assai, 4/4.

L’Apparenza Inganna, ossia La Villeggiatura

Teatro dei Fiorentini, Naples.

1 Movement: B flat Major, Allegro con brio, Half Time.

1792

Il Matrimonio Segreto

Burgtheater, Wien.

1 Movement: D Major, Largo/Allegro molto, Half Time.

La Bella Greca

Teatro Valle, Rome.

3 Movements: I – D Major, Allegro con molto brio, 4/4. II – G Major, Andantino grazioso, 3/4 III – D Major, Rondò/Allegro giusto, 2/4.

1793

Amor Rende Sagace

Burgtheater, Wien

La Vanità delusa, ossia il Mercato di Malmantile

Teatro Alla Pergola, Florence.

1 Movement: B flat Major, Allegro con brio, Half Time. (It is the same Overture that Cimarosa originally wrote for the opera L’apparenza inganna.)

There is no holograph score extant of this opera; but a manuscript copy is kept in the Archive of the Toggenburg Collection in Bolzano (Italy); In this manuscript there is the same Overture that Cimarosa composed for the opera I finti nobili.

I Traci Amanti

Teatro Nuovo, Naples.

1 Movement: G Major; Allegro con spirito (4/4)/Andante sostenuto (4/4)/ Allegro (Half Time).

L’Olimpiade

Teatro Eretenio, Vicenza.

This Overture is the same that Cimarosa wrote for the opera La vanità delusa.

1794

Le Astuzie Femminili

Teatro Dei Fiorentini, Naples.

1 Movement: D Major, Largo/Allegro, 4/4.

I Due Supposti Conti

Teatro alla Scala, Milan

3 Movements: I – D Major, Larghetto staccato/ Allegro. II – F Major/A Minor, Larghetto grazioso alla Francese, 6/8. III – D Major, Allegro molto, 2/4.

1795

Penelope

Teatro Del 2 Movements: Fondo, Naples. I – F Major; Largo con moto (4/4) II – F Major, Allegro vivace, Half Time.

Artaserse

Teatro Regio, Turin.

3 Movements: I – D Major, Allegro moltissimo con brio/Andante/Allegro molto, Half Time. II – F Major, Larghetto con moto, 3/4 III – D Major, Allegro come prima, Half Time.

L’Impegno Superato

Teatro Del 1 Movement: Fondo, Naples. D Major, Allegro con spirito, 4/4.

L’Amante Disperato

Teatro del Fondo, Naples.

This opera is a revision, by the composer, of Il marito disperato and the holograph score contains the same Overture.

I Nemici Generosi

Teatro Valle, Rome.

1 Movement: B flat Major; Largo/Allegro con brio, Half Time.

Gli Orazi e i Curiazi (first performance version)

Teatro La 1 Movement: Fenice, Venice. B Flat Major, Larghetto, Allegro, Half Time.

Achille all’Assedio di Troia

Teatro Argentina, Rome.

This Overture is a revision of the Overture originally composed for Gli Orazi e i Curiazi.

L’Imprudente Fortunato

Teatro Valle, Rome.

1 Movement: D Major, Largo/Allegro vivace, Half Time.

Artemisia, regina di Caria

Teatro San Carlo, Naples.

1 Movement: D Major, Allegro con spirito, Half Time.

1798

L’Apprensivo Raggirato

Teatro dei Fiorentini, Naples.

1 Movement: B flat Major; Andante sostenuto/ Allegro con brio, Half Time.

1801

Artemisia

1785

1786

1787

1788

Il Marito Disperato

Teatro Dei Fiorentini, Naples

1 Movement: D Major, Allegro assai, Half Time.

La Donna Sempre al Suo Peggior s’appiglia

Teatro Nuovo, Naples.

1 Movement: D major, Allegro molto con spirito, Half Time.

Le Trame Deluse

Teatro Nuovo, Naples.

2 Movements: I – E flat Major, Allegro vivace, 4/4. II – E flat Major, Allegro, 6/8.

Il Credulo

Teatro Nuovo, Naples.

1 Movement: B flat Major, Allegro con brio, Half Time.

La Baronessa Stramba (performed, at its prima, with Il Credulo)

Teatro Nuovo, Naples.

1 Movement: D Major, Allegro spiritoso, 4/4.

L’Impresario in Angustie (original version – performed, at its prima, with Il Credulo).

Teatro Nuovo, Naples.

In the holograph score there is no Overture.

Volodimiro

Teatro Regio, Turin.

1 Movement: D Major, Molto allegro con brio, 4/4.

Il Fanatico Burlato

Teatro del Fondo, Naples.

2 Movements: I – D Major, Larghetto/Allegro vivace, 4/4. II – D Major, Allegro, 2/4.

La Vergine del Sole

Hermitage Theatre, St. Petersburg.

1 Movement: D Major, Largo/Allegro, 4/4.

1796

1797

Teatro La 1 Movement: Fenice, Venice. E flat Major, Larghetto, 4/4. C Major, Allegro con brio, 4/4.

C

imarosa composed the two-act Commedia per Musica, I Traci Amanti under a commission from the Teatro Nuovo in Naples. The work was scheduled as the second opera of the 1793 season and Giuseppe Palomba, an experienced playwright who had collaborated many times with Cimarosa, wrote the libretto. The performers of the opening night were Nicola Perrotti, Benedetta Marchetti, Gennaro Luzio, Andrea Ferraro, Assunta Martinelli, Vincenzo

AE588 – x

Praun and Orsola Mattei. I Traci Amanti met with immediate success and was subsequently staged in many of the leading European opera houses in Europe; during 1794 and 1795, in Turin and Madrid, then in London, Lisbon (under the title Gli Turchi Amanti), Dresden, Venice, Vienna, Paris, Florence and Milan. The partially holograph score is preserved into the library of Music Conservatory “San Pietro a Majella”, Naples, under the shelfmark 14.7.1-2. The ‘oriental’ plot of the opera, very fashionable during late eighteenth century, as well as a number of new instrumental effects in the score –the use of a Banda sul palco (an on-stage windband) at the beginning and during the Act I Finale, for example, contributed to the great success that the opera enjoyed at its premiere. In 1795 the opera was mounted for a second time at Teatro Nuovo, Padua, with the new title Il padre alla moda. For this occasion, Cimarosa composed two additional arias for the characters of Mustanzir and Lenina and a new overture. A manuscript copy of the overture is preserved in the State Library of Montecassino (Italy) under the shelfmark 1-B-6/7. In this edition the style and notation of articulation and dynamic markings have been standardized throughout and, where missing from the source, markings have been editorially applied. These are indicated by the use of dotted slurs or brackets. Whenever the composer adds the pleonastic indication stacc. under a series of staccato marks, the indication has been omitted in order not to dull the musical text. The disposition of the instruments has been modernized: more precisely, the placement of the staves for the horns/trumpets which Cimarosa, as in all his autographs, puts at the top of the system above the oboes. These have been moved to conform with modern practice. The bassoon line has been added only when it is written in the holograph score or when some elements of Cimarosa’s writing could indicate their real presence in the orchestra. A particular problem in all Cimarosa’s holograph scores concerns his notation of the horn part since the composer seems not to have had a logical and consistent approach to transposition. In the present edition the part is edited as it appears in the holograph score with emendations made according to modern practice. All the abbreviations and repetition marks in Cimarosa’s autograph have been deleted and the passages printed in full. Simone Perugini

AE588 – xi

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œ œ. œ œ. œ

w [h] #w [h] w [h] w [h]

œ œ œ œ #œ œ œ œ œ œœœœœ œ J ‰ h œ œ œ œ œ œ œ œ œ œ œœœœœœœœœœœœœœœœ œ œ œ œ œ œ h œ œ œ œ œ œ œ œ œ œ #œ œ œ œ œ œ œ œ œ œ œ œœ œ h œ œ œ œ œ œ œ œ ∑ ∑ h Œ

## w ## w w w

œ

‰

œ œœœœ œœœœœ J ‰ J ‰

˙

œ #œ œ œ œ œ œ œ œ œ J ‰ J ‰

˙

w

w

w

w

j œ œœœœ œœœœœ ## œ œ œ œ œ ‰ œ œ œ œ œ œ J ‰ J ‰ œ œ œ & œ J # # œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ # œ œ œ œJ ‰ œ œ œ œ œJ ‰ & œ œ œ œ œ œ œ B ## œ ? ## œ œ œ œ œ œ œ œ

œ œ

œ œ œ œ #œ œœœ œ œ #œ œ œœœœ

œ œ œ œ œ œ œ œ œ œ œ œ #œ œœœ œ #œ œ œ œ œ œ œ œ nœ #œ œ œ œœœ

œ œ œ œ œ œ œ #œ

œ

œ

œ

œ

œ

œ œ

œ œ œ #œ œ œ œ

œ

œ

œ

œ

œ

œ œ

AE588 – 4

œ

# & # œ

32 Ob I

œ

œ

&

œ

œ

˙

œ

&

œ

œ

˙

œ

&

Tba I

Tba II

Vn II

Va

Vc&B

œ

œ ˙ ‰ J

Ob II

Vn I

œ ˙ ‰ J

##

# & # œ

œ œœœœœœœœ œ ‰ J œ

? ## œ œ œ œ œ œ œ œ

&

Tba I

&

Tba II

&

Vn II

Va

Vc&B

œ

˙

w

œ

˙

œ ˙ ‰ J

## w w ˙

#œ œ

˙

Œ Œ

Œ

#œ œ œ . œ œ œ

œ.

‰

œ J

œ

œ.

œ

œ

œ

? ## œ œ œ œ #œ œ œ œ

œ #œ œ œ œ

AE588 – 5

œ œœœœ ‰J

œ

œ #œ œ œ œ #œ ‰J

w

œ œœœ œ œ œ œ œ

w

#œ œ œ . œ œ œ

œ #œ œ œ œ

œ

œ œœœ œ œ œ œ œ

œ œ œ. œ œ œ

œ

Œ

œ

œ œ œ. œ œ œ

## œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ & œœœœœœœœœœœœœœœœ B ## œ œ œ œ #œ œ œ œ

œ

‰

œ J

‰

œ J

œ

œ

œ œœœœœœœœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœœœœœœœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ J œ œ œ œ œ œ œ œ œ œ œ œ œ

w #œ

‰

œ J

w

œ œœœœœœœœ œ ‰ J

w

. . # # œ œ ‰ œJ œ œ ‰ œJ &

w

œ œ œ œ œ œ œ œ

. . # # œ œ ‰ œJ œ œ ‰ œJ &

Ob II

Vn I

œ

œ œœœœœœœœ œ ‰ œ œœœœœœœœ œ ‰ J œ œ œ œ œ œ œ œ œ œ œ B ## # & # œ

35 Ob I

œ ˙ ‰ J

j œ œœœœ ‰ œJ œ œ œ œ

œœ

œ #œ œ œ œ #œ ‰J

œœœ œœ œœ œœœœ œœœ œœ œœ œœœœ

œ

Œ Œ

Œ Œ

œ œ œ. œ œ œ œ œ. œ œ

œ œ œ. œ œ œ œ œ. œ œ

œ #œ œ œ œ œ #œ œ œ œ

œœœ œœœ

39 Ob I

&

Ob II

&

Tba I

&

Tba II

&

Vn I

Vn II

Va

Vc&B

&

Ob II

Tba I

Tba II

Vn I

Vn II

Va

Vc&B

œ

## œ

##

œ œœœœ ‰J

œ œ œ œ

œ œœœ œ œ œ œ œ

œ œ œ œ

œ œ œ œ

œ œœœ œ œ œ œ œ

œ œ œ œ

œ œ œ œ

œ

œœ œœ œœ œœ

œœ œœ œœ œœ

## œ

j œ œœœœ ‰ œJ œ œ œ œ

? ## œ œ œ œ œ œ œ œ

&

œ œ œ œ

## œ

[a] # œ & # [a]

œ

Œ Ó

œ #œ œ œ œ #œ œ œ œ #œ œ œ œ #œ ‰J Œ Ó

œ #œ œ œ œ #œ œ ‰J œœ œœ & œ œœ œœœœ œ œ B ## œ

45 Ob I

##

œ œ C œ œ C

œ œ œ œ

œ œ œ œ

œ œ œ œ

œ

œ Œ Ó œœ Œ Ó

∑

œ Œ Ó [g]

∑

œ Œ Ó [g]

∑

œ Œ Ó [g]

∑

œ œ Œ œJ ‰ J ‰ œJ ‰ J ‰ œ . œ œ œ œ œ œ a

œ œ #œ œ œ œ #œ œ œ œ œ œ œ œ Œ Ó œ œ œ œ œ œ œ œ œ

#œ

œ Œ Ó

œ Œ Ó [g]

Œ

œ g œœœœœœœœ œ Œ J g g œ Œ Ó œ Œ g

œ. œ œ. œ. a . . œ. œ. œ œ. a Ó

œ. œ œ. œ. œ œ. . . . œ. œ. œ œ. œ œ. . ∑

œ

œ

œ

œ

œ

œ

#œ

œ

œ

[h] ˙

˙

œ

[h] ˙ [h]

œ

œ

&

˙ œ œ [h] œœœœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ #œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ J J C h œœœœ œœœœœœœœœœœœœœœœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ #œ œ œ œ œ œ œ œ h C j œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

# & # # & # B ## ? ##

œ œ œ œ œ œ œ œ

œ œ

œ

∑

œ

œ

w [a

∑

œ

œ. # œ .

&

C]

œ

˙

œ. # œ .

œ œ AE588 – 6

œ œ

œ

j œ œ œ œ œ œ œ œ

# w & #

48 Ob I

Ob II

# w & #

Tba I

&

Tba II

&

Vn I

Vn II

Va

Vc&B

˙

œ

œ

˙

œ

œ

B ##

œ

Ob II

# & # Œ ≈ œ œ #œ œ œ œ œ # & # Œ ≈ œ œ #œ œ œ œ œ &

Tba II

&

Vn I

Vn II

Va

Vc&B

˙

˙ ˙

? ## œ œ œ œ œ œ œ œ

Tba I

˙

œ

œ

œ

œ

œ

Œ

Ó

œ Œ

Ó

œ Œ

Ó

œ Œ

Ó

œ Œ

Ó

œ

51 Ob I

#˙

œ œ œ œ œ œ œ œ #œ œ œ œ œ œ œ œ œ #œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœœœœœœœ œ ≈ J a œœœœœœœœ œ œ œ œ œ œ œ œ #œ œ œ œ œ œ œ œ œ œœœœœœœœ œ œ œ œ œ œ œ œ œœœœœœœœ œ ≈ œ œ œ œ #œ œ œ œ œ œ œ a œ œ œ œ œ œ œ œ œ œ œ œ Œ Ó œ œ œ œ œ

## œ œ & J # & #

˙

Ó Ó

œ œ œ œ œ œ œ œ

## œ ≈ & œ œ #œ œ œ h ## ≈ & œ œ œ #œ œ œ h œœ B ## Œ ≈ œ œ #œ h ? ## Œ ≈ œ œ #œ œ œ h

œœœœœ œœœœœ œœœœœ œœœœœ

œ

œ

œ

œ

Œ

Ó

œ Œ

Ó

œ Œ

Ó

œ Œ

œ

Ó

œ œ œ œ

Œ ≈ œ œ #œ œ œ œ œ

œ

Ó

œ œ œ œ

Œ ≈ œ œ #œ œ œ œ œ

œ #œ œ œ

Ó

œ œ œ œ

œ œ œ œ œ œ œ œ

#œ œ œ œ œ œ œ œ œ œ œ œ ≈œœ ≈ œ œ #œ œ œ a h œ œ ≈ œ œ #œ œ œ œ œ œ œ œ œ œ ≈ œ œ #œ œ œ a h œ œœ Ó Œ ≈ œ œ #œ œ Œ h œ œ Ó Œ ≈ œ œ #œ œ œ Œ h AE588 – 7

œ œ œ

œœœœœ œœœœœ œœœœœ

œ œ œ œ œ œœ œ œ #œ œ œ œœœ œœ œœ œ œ œ œ œ œ

œœœœœœ œ

œ œ œ

55 Ob I

Ob II

&

&

Tba II

&

Vn II

Va

Vc&B

&

Ob II

Tba I

Tba II

Vn I

Vn II

Va

Vc&B

œ œ œ œ œ œ œ œ

##

# & # B ##

œ œ #œ œ œ œœ œœ œœ œ œ œ #œ œ œœ œ œ œ œ œ œ œ œ œ

? ## œ œ œ œ

60 Ob I

œ œ #œ œ

## œ œ œ œ &

Tba I

Vn I

##

&

##

# & # & & &

∑ ∑

œ

‰

œ

Œ Œ

œ

œ œ

œœœ

‰

œ

œ œ œ œ œ œ

œœœ

œ

œ

œ

œ

œ

œœœ

‰

œ œ œ œ

œ œœœ

‰

œ œ œ œ

œ œ œ œ œ œ œ œ

‰ ‰

œœœ œœœ

Œ Œ ‰ ‰

œ œ œ œ ‰ ≈ r Œ œœ œ œ œ œ ‰ ≈ œr œ Œ

œ

œ

œ

œ

œœœ œœœ

œ Œ

œ Œ

œ Œ

œ Œ

œ œ œ œ ‰ ≈ r Œ œœ œ œ œ œ ‰ ≈ œr œ Œ

œ œ œ œ œ œ œ œ œ œ œœ ‰ ≈R Œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœ œ œ ‰ ≈R Œ œ œ œ œ œ œ

Œ Œ

∑

r œ

œ œœ œ œ

r œ

a œ #œ œ œ œ a

∑ . . . # # œ œ œ. œ. œ. œ. œ. œ œ.

# # œ. œ. œ. œ. œ. œ. œ. œ. œ. &

Œ

∑

Œ

∑

Œ Œ

r œ r œ

œœœœœ œœœœœ

˙ [g]

Ó

˙ [g]

Ó

˙ [g]

˙ [g]

Ó

˙ g

Ó

Œ

Ó

k ‰ œœœ ‰

Ó

∑

∑

∑

Ó

. . . . . . . . . ‰ œ œ œ œ œ œ œ. œ. œ. œ œ œ

Œ

Œ

k œœœ

k ‰ œœœ k

j œ œ œj ‰ œ œ œ ‰ Œ

‰ j‰ Œ œ œ œj œ œ œ œœœœœœœœ œœœ œ œœœœ œœœœœœœœ œœœ œ œœœœ œœœœœœœœ B ## ? ##

∑

Œ

Œ

‰

œœœ

Œ

∑

Œ

œ. œ. œ.

a œ. œ. œ. ‰ a ˙ g œ œ œ œ œ œ œ j œ ga

∑

Œ

Ó ‰

˙ g

∑

œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. ‰

Ó

∑

∑

AE588 – 8

∑

∑

65 Ob I

Ob II

& &

Tba I

&

Tba II

&

Vn I

Vn II

Va

Vc&B

& &

## œ œ œ

##

? ##

&

##

Ob II

# & #

Tba I

&

Tba II

&

Vn I

Vn II

Va

Vc&B

œœœ œ œ œ

##

B ##

70 Ob I

## œ

œœœ

œ œ œ œ # œ œ œ. œ. œ. œ. Ó ˙ J l g . œ œ œ œ œ # œ œ œ. œ œ. œ. ˙ œ Ó J l g œ œœ œ ‰ Œ œ Ó J œ. œ. œ. œ ˙ . [g] œ j œ œ œ œ ‰ Œ Ó œ. œ. œ. œ ˙ . [g] œ # œ œ œ. œ. œ. . œ ∑ ‰ ‰ ˙ l g œ # œ œ œ. œ. œ. . œ ∑ ‰ ‰ ˙ l g . . . œœœœœ œ œ œ œœœœ ‰ # œ œ œ œ. œj l g a . . . œ œ œ ∑ ‰ # œ œ œ œ. ˙ Ó l g

∑

Œ

∑

Œ

r œ

œœœœœ

r œ

œœœœœ

Œ

Ó

Œ

Ó

∑

∑

Ó

∑

∑

Ó

. # # œ œ. œ. œ. œ. œ. œ. œ. œ. & # # œ. œ. œ. œ. œ. œ. œ. œ. œ. &

Œ

Œ

Œ

Œ

∑

Œ

∑

Œ

∑

∑

œ. œ. œ. œ. œ. œ. œ. œ. a œ. œ. œ. œ. œ. œ. œ. œ. a œœœ œœœœœ

œœ ‰ [k] ‰ œœ [k] œœ ‰ [k] ‰ œœ [k]

∑

AE588 – 9

r œ

a œ #œ œ œ œ a

. œ. œ. œ œ. . œ. œ. œ œ.

Œ

‰

œ. œ. œ.

. œ. . ‰œ œ

œ œœœœ ∑

œœœ

œ œ

œœœ

œ œ

Œ

∑

Œ

œœœ œœœ

œ œ

œ œ

Œ

∑

∑

j œ œ œj ‰ œ œ œ ‰ Œ

∑

œ œœœ œ

∑

œœœ œœœ

œ œ œ œJ œ œ œ œ œ ‰ œ œ œ ‰ œJ œ œ œ œ œ œ œ œ ‰ œJ œ œ œ œ œ ‰ œJ œ œ

∑

‰ j‰ Œ ∑ œ œ œj œ œ œ œœœœœœœœ œœœ œ œœœœ œœœœœœœœ œœœœœœœœ B ## ? ##

r œ

∑

∑ ∑ ∑ ∑

# œ ‰ œJ œ œ œ œ œ œ œ œ œ œ œ œ & # h ## œ œ œ œœœœ œ œ œ œ œ œ œ ‰ J & h œ œ œ œ œ œ œ œ œ œ & œ ‰ J h œ œ œ œ œ œ œ & œ ‰ J œ œ œ h

75 Ob I

Ob II

Tba I

Tba II

Vn I

Vn II

Va

Vc&B

&

##

# & # B ## ? ##

∑

∑

∑

∑

∑

∑

∑

∑

## œ œ œ œ œ œ œ œ &

80 Ob I

Ob II

# œ œ œ œ œ œ œ œ & #

Tba I

&

Tba II

&

Vn I

Vn II

Va

Vc&B

œ œ œ œ œ œ œ œ

œ œ œ œ œ œ

œ

Œ Ó

∑

Œ Ó

∑

œ œ œ

œ

Œ Ó

∑

œ œ œ

œ Œ Ó

∑

œ œ œ œ œ œ h œ œ œ œ h œ œ œ œ h œ œ œ œ h

œ

œ. œ. œ œ œ. . . œ œ œ œ Œ a œ Œ œ œ œ œ . . œ œ œ. œ. œ. a œ Œ Ó ∑ œ

Œ Ó

œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ∑ ∑

œ œ œ œ œ œ œ œ

# & # œœ h ## & œœ h # B # œ h ? ## œ h

œ

. . œ. œ œ œ. œ. œ.

∑

œ œ

Œ

Œ

Œ

Œ

w g w g

œœœœœœœœœœœœœœ œœœœœœœœœœ œ œ œ œ œ œ œœ

Œ

Œ

œ œ gœ œ g

œ œ g

œœœœœœœœœœœœœœ œœœœœœœœœœ œœœœœœœœœœœœœœœ œ œ œ œ œ œ gœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ g œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œJ œ œ œ œ œ œ œ g AE588 – 10

83 Ob I

&

##

œ œ œ œ œ

## œ œ œ œ œ

œ ‰ J œ ‰ J

j œ

œ

œ

j œ

œ

œ

Ob II

&

Tba I

&

w

w

Tba II

&

w

w

Vn I

Vn II

Va

Vc&B

&

& &

Tba I

&

Tba II

&

Vn II

Va

Vc&B

œ ‰ J

? ## œ œ œ œ œ œ œ œ

Ob II

Vn I

œ œ œ œ œ

# & # œœœœœœœœœœœœœœœœ œ œ œ œ œ œ B ## œ œ

87 Ob I

##

&

## ˙ ## ˙

##

j œ

œ

Œ

œ œ œ œ œ

œ œ

Œ

œ

œ œ œ œ œ

œ œ

Œ

œ ‰ J

œœœ

˙

œœœ

˙

w

œ Œ

œ

œ

w

œ

œ

œ

œ ‰ J

œ œ œ œ œ

œ ‰ J

Œ

œœœœ œ

œ

œ

œ œ œ œ œœœœœœœœœœœœœœ œœœœœœœœœœœœœœœ œ œ œ œ œ œ œ œ œ œ œ œ nœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ J

nœ œ œ œ nœ œ œ œ

˙

˙

˙

˙

˙

œ

w

œ

œ œ nœ œ œ œ

œ œ œ œ œ œ œ œ

œ nœ œ œ œ

w

œ

œ œ

Œ Œ

œ

œ

w

œ

œ

w

œ nœ œ œ œ œ œ

œ

œ

œ

œ

œ œ œ nœ œ œ œ

nœ œ œ œ nœ œ œ œ

œ œ nœ œ œ œ

œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ & œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ nœ œ œ œ œ œ œ œ œ œ œ œ B ## ##

? ## œ œ œ œ œ œ œ œ

œ

œ

œ œ nœ œ œ œ

AE588 – 11

œ œ œ œ œ œ œ œ

90 Ob I

&

## œ ## œ

Ob II

&

Tba I

&

œ

Tba II

&

œ

Vn I

Vn II

Va

Vc&B

&

# œ & # œ

‰

œ #œ œ œ œ œ œ œ œ

Ó

Œ

Ó

∑

Ó

‰

œ #œ œ œ œ œ œ œ œ œ #œ œ œ œ œ œ œ œ

&

œ œ œ œ œ œ œr œ œ ‰ œ #œ œ œ œ œ œ œ œ ≈ œ ≈

œœœ œœœ œœ œ ∑

? # # œJ œ œ œ

##

‰

Ó

‰

œ œ œ œ œ œr œ œ œ œ œ œ œ œ œ # œ œ œ œ ‰ ≈ ≈

œ œœ œœ œ ‰ œ œ œ

Œ

œœœ B # # œJ

94 Ob I

## œ

‰

œ #œ œ œ œ œ œ œ œ

œ

w

œ

œ

w

œ œ œ œ œ œr œ œ ‰ œ #œ œ œ œ œ œ œ œ ≈ œ œ ≈

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