Simone Caputo
Simone Caputo completed his Ph.D in Music History and Analysis at Sapienza University of Rome in 2011. He is Adjunct Professor of Musicology at University of L'Aquila (Department of Human Studies) and Research Fellow at Sapienza University of Rome.He collaborates with: Istituto Giovanni Treccani (Dizionario Biografico degli Italiani)
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Il trionfo di Clelia è l’ultimo dramma per musica di Niccolò Jommelli. Composto su testo di Pietro Metastasio, il dramma fu rappresentato il 6 giugno 1774 al Teatro da Ajuda di Lisbona, per celebrare il compleanno di José I, re di Portogallo: il dramma passò sotto silenzio e non fu più ripreso. Giuseppe Sigismondo, musico ‘dilettante’, coadiuvò Jommelli nell’ultimo anno di vita, allorché malato, alla stesura della partitura, che fu poi adattata alle esigenze del teatro portoghese da João Cordeiro da Silva, compositore al servizio della Real Casa.
Il testo musicale di questa edizione restituisce fedelmente, quale fonte principale, la lezione della copia della partitura redatta da Giuseppe Sigismondo (I-Nc, 28.4.1), emendandone gli errori, risolvendone le ambiguità e colmandone le lacune con l’aiuto delle fonti secondarie. Al contempo, al termine di ogni atto sono riportate quelle arie e quei recitativi della versione portoghese, rimaneggiata da Cordeiro da Silva (P-La, 44-X-54/56), che più differiscono dalla fonte principale.
La disposizione degli strumenti in partitura segue l’uso moderno. Le parti vocali, solistiche, d’assieme o corali, sono collocate secondo l’uso dell’epoca sopra la linea del basso.
Edition based on the manuscript preserved in Biblioteca Marciana of Venice
collocazione / marking: Ms. It. IV, 939 (=10721)
A cura di / Edited by Giulio Prandi e Simone Caputo
www.ghislieri.it
© 2019 - Edizioni del Centro di Musica Antica della Fondazione Ghislieri
Papers by Simone Caputo
figli, a seguito della promulgazione delle leggi razziali da parte del regime fascista. Le
difficoltà economiche derivanti dal trasferimento in terra straniera lo portarono nel 1940 a firmare un contratto di collaborazione con la casa di produzione cinematografica Metro-Goldwyn-Meyer, per cui lavorò fino al 1943; in seguito continuò a comporre per il cinema, ma in qualità di free-lance. Nel complesso, l’esperienza cinematografica lo vide autore di film score, original music e stock music. Il contributo illustra l'attività di compositore di musiche per il cinema di Castelnuovo-Tedesco — e con essa, per riflesso, di alcune dinamiche che caratterizzarono negli anni Quaranta e Cinquanta la collaborazione tra compositori di formazione accademica e gli studios di Hollywood — analizzando tre casi studio (le musiche per i film And Then There Were None, 1945, di René Clair, Down the Earth, 1947, di Alexander Hall e Everybody Does It, 1949, di Edmund Goulding), e accennando a quei brani di Castelnuovo-Tedesco liberamente utilizzati dagli studios, indipendentemente dalla volontà del compositore, per film prodotti a basso costo.
To answer these queries, the essay is structured into two different parts. In the first one, there is a philological research aimed at tracking the origin of the double numbering; in the second one, the entire compositional activity of Sgambati known to us through synoptic tables is organized.
All the most important biographic profiles, all the dictionary terms dedicated to Sgambati during the 1900s have always offered a double numbering, without providing the specific origin. In the essay, two original sources are identified: Giovanni Sgambati: Katalog seiner hauptsächlichsten Werke bis auf die Neuzeit vervollständigt (printed in 1910 by Schott, publisher of the majority of Sgambati’s works) and the essay I musicisti italiani contemporanei: Giovanni Sgambati (“Rivista musicale italiana”, xix, 1912), written by Alberto De Angelis under the supervision of the composer. From the comparison of the two different numerical orders, inconsistencies, gaps and discrepancies arise. In the essay it is shown how some of these gaps can be completed thanks to archive sources. Where the support of the sources is missing, the historic research helps. One must reflect upon the last years of the composer’s life, upon the image of himself he wanted to leave behind and how deriving from the latter changes of heart on the nature and dimension of the corpus of his works.
The second part of the essay offers the catalogue of Sgambati’s works. It does not contain information related to the status of the manuscript sources nor to the subsequent printed editions and it does not correlate them with the biographic data, but it organizes, integrates, completes and corrects the lists of works so far prepared by numerous scholars researching Sgambati’s figure (among others Domenico Carboni, Dudley Newton and Sergio Martinotti). The catalogue is divid- ed into five sections. The first one contains all the numbered compositions. The numbering follows and compares Schott’s and De Angelis’ numeration. In the second and third sections, all the numbered compositions, dated or not dated, are listed. In the fourth, all Sgambati’s works which have been transcribed by other composers. Finally, the last contains all the didactic works.
The bulk of textual and scenic-dramaturgical preliminary materials that leads from the first draft, tentatively titled Il potere, to the 1965 Scene del potere and its Palermo debut, is of a multifold entity. Its amount of sources, formative elements and programmatic intents is both fascinating and confusing in its labyrinthine combinations.
Let it suffice to point out that the textual and scenic-dramaturgical preparatory materials consist of more than one hundred pages of handwritten and typed notes, summaries, sketches, drawings, and newspaper and magazine clippings, preserved by the Domenico Guaccero Fund. It is therefore no wonder that the essays written on Scene del potere have mainly focused on the groundwork and the complex process that brought from the first outline of Il potere to the three-act structure of 1968’s final version and the composer’s programmatic intent.
The present article aims at offering an in-depth examination of Scene del potere seen not as its initiatory process but as observed in its completion: the final version of 1968. Through a detailed study of the score, RAI television’s filmed footage of the performance and the reading of critical reviews dating back to the days following the premiere, it is possible to determine whether and how the composer’s programmatic intent found its fulfillment in the ultimate outcome of his work.
Il trionfo di Clelia è l’ultimo dramma per musica di Niccolò Jommelli. Composto su testo di Pietro Metastasio, il dramma fu rappresentato il 6 giugno 1774 al Teatro da Ajuda di Lisbona, per celebrare il compleanno di José I, re di Portogallo: il dramma passò sotto silenzio e non fu più ripreso. Giuseppe Sigismondo, musico ‘dilettante’, coadiuvò Jommelli nell’ultimo anno di vita, allorché malato, alla stesura della partitura, che fu poi adattata alle esigenze del teatro portoghese da João Cordeiro da Silva, compositore al servizio della Real Casa.
Il testo musicale di questa edizione restituisce fedelmente, quale fonte principale, la lezione della copia della partitura redatta da Giuseppe Sigismondo (I-Nc, 28.4.1), emendandone gli errori, risolvendone le ambiguità e colmandone le lacune con l’aiuto delle fonti secondarie. Al contempo, al termine di ogni atto sono riportate quelle arie e quei recitativi della versione portoghese, rimaneggiata da Cordeiro da Silva (P-La, 44-X-54/56), che più differiscono dalla fonte principale.
La disposizione degli strumenti in partitura segue l’uso moderno. Le parti vocali, solistiche, d’assieme o corali, sono collocate secondo l’uso dell’epoca sopra la linea del basso.
Edition based on the manuscript preserved in Biblioteca Marciana of Venice
collocazione / marking: Ms. It. IV, 939 (=10721)
A cura di / Edited by Giulio Prandi e Simone Caputo
www.ghislieri.it
© 2019 - Edizioni del Centro di Musica Antica della Fondazione Ghislieri
figli, a seguito della promulgazione delle leggi razziali da parte del regime fascista. Le
difficoltà economiche derivanti dal trasferimento in terra straniera lo portarono nel 1940 a firmare un contratto di collaborazione con la casa di produzione cinematografica Metro-Goldwyn-Meyer, per cui lavorò fino al 1943; in seguito continuò a comporre per il cinema, ma in qualità di free-lance. Nel complesso, l’esperienza cinematografica lo vide autore di film score, original music e stock music. Il contributo illustra l'attività di compositore di musiche per il cinema di Castelnuovo-Tedesco — e con essa, per riflesso, di alcune dinamiche che caratterizzarono negli anni Quaranta e Cinquanta la collaborazione tra compositori di formazione accademica e gli studios di Hollywood — analizzando tre casi studio (le musiche per i film And Then There Were None, 1945, di René Clair, Down the Earth, 1947, di Alexander Hall e Everybody Does It, 1949, di Edmund Goulding), e accennando a quei brani di Castelnuovo-Tedesco liberamente utilizzati dagli studios, indipendentemente dalla volontà del compositore, per film prodotti a basso costo.
To answer these queries, the essay is structured into two different parts. In the first one, there is a philological research aimed at tracking the origin of the double numbering; in the second one, the entire compositional activity of Sgambati known to us through synoptic tables is organized.
All the most important biographic profiles, all the dictionary terms dedicated to Sgambati during the 1900s have always offered a double numbering, without providing the specific origin. In the essay, two original sources are identified: Giovanni Sgambati: Katalog seiner hauptsächlichsten Werke bis auf die Neuzeit vervollständigt (printed in 1910 by Schott, publisher of the majority of Sgambati’s works) and the essay I musicisti italiani contemporanei: Giovanni Sgambati (“Rivista musicale italiana”, xix, 1912), written by Alberto De Angelis under the supervision of the composer. From the comparison of the two different numerical orders, inconsistencies, gaps and discrepancies arise. In the essay it is shown how some of these gaps can be completed thanks to archive sources. Where the support of the sources is missing, the historic research helps. One must reflect upon the last years of the composer’s life, upon the image of himself he wanted to leave behind and how deriving from the latter changes of heart on the nature and dimension of the corpus of his works.
The second part of the essay offers the catalogue of Sgambati’s works. It does not contain information related to the status of the manuscript sources nor to the subsequent printed editions and it does not correlate them with the biographic data, but it organizes, integrates, completes and corrects the lists of works so far prepared by numerous scholars researching Sgambati’s figure (among others Domenico Carboni, Dudley Newton and Sergio Martinotti). The catalogue is divid- ed into five sections. The first one contains all the numbered compositions. The numbering follows and compares Schott’s and De Angelis’ numeration. In the second and third sections, all the numbered compositions, dated or not dated, are listed. In the fourth, all Sgambati’s works which have been transcribed by other composers. Finally, the last contains all the didactic works.
The bulk of textual and scenic-dramaturgical preliminary materials that leads from the first draft, tentatively titled Il potere, to the 1965 Scene del potere and its Palermo debut, is of a multifold entity. Its amount of sources, formative elements and programmatic intents is both fascinating and confusing in its labyrinthine combinations.
Let it suffice to point out that the textual and scenic-dramaturgical preparatory materials consist of more than one hundred pages of handwritten and typed notes, summaries, sketches, drawings, and newspaper and magazine clippings, preserved by the Domenico Guaccero Fund. It is therefore no wonder that the essays written on Scene del potere have mainly focused on the groundwork and the complex process that brought from the first outline of Il potere to the three-act structure of 1968’s final version and the composer’s programmatic intent.
The present article aims at offering an in-depth examination of Scene del potere seen not as its initiatory process but as observed in its completion: the final version of 1968. Through a detailed study of the score, RAI television’s filmed footage of the performance and the reading of critical reviews dating back to the days following the premiere, it is possible to determine whether and how the composer’s programmatic intent found its fulfillment in the ultimate outcome of his work.