Investigating Nineteenth-Century Transcriptions through History of Opera and Music Publishing: Mauro Giuliani’s Sources for Two Themes in Le Rossiniane No. 2, Op. 120, and No. 3, Op. 121
DOI:
https://doi.org/10.37134/mjm.vol8.2.2019Keywords:
arrangements, Giuliani, guitar, Le Rossiniane, opera, Rossini, transcriptionsAbstract
In a letter to the publisher Ricordi dated 6 February 1821, the Italian guitarist and composer Mauro Giuliani wrote that, after getting acquainted with Gioachino Rossini in Rome, Rossini lent him many autographs of his operas so that the guitarist could transcribe whatever he liked from them. From this loan were born Le Rossiniane Opp. 119–124, six potpourris for solo guitar which are considered Giuliani’s greatest musical accomplishment. Although it is likely that most of the sources of Le Rossiniane were Rossini’s originals, there is also epistolary evidence that Giuliani also transcribed themes from scores provided to him by his publishers. This fact is the point of departure from which this article explores the possible sources for two opera themes transcribed in Le Rossiniane No. 2, Op. 120, and No. 3, Op. 121. The data presented here, coming from opera and music publishing history, conveys that such themes may have been transcribed from two specific vocal scores issued by Vienna-based publishing houses – ‘Cappi and Diabelli’ and ‘Artaria’. Additionally, the exploration of the context of the opera themes at issue has also brought to light some interesting unpublished facts.
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References
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Clive, P. (2001). Beethoven and his world: A bibliographical dictionary. New York, NY: Oxford University Press.
Czerny, C. (1848). School of practical composition, Vol. 1. London, United Kingdom: R. Cocks & Co. Retrieved from http://hdl.handle.net/1802/28412.
Elvers, R. & Hopkinson, C. (1972). A Survey of the music catalogues of Whistling and Hofmeister. Fontes Artis Musicae, 19 (1-2), 1-7. Retrieved from https://www.jstor.org/stable/23505205.
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Giuliani, M. (2002). The complete works in facsimiles, Vol. 13 (B. Jeffery, Ed.). London, United Kingdom: Tecla Editions.
Gossett, P. (1970). Gioachino Rossini and the conventions of composition. Acta Musicologica, 42 (1-2), 48-58. Retrieved from https://www.jstor.org/stable/932268.
Heck, T. F. (2001). Mauro Giuliani. Grove music online. Accessed on 2018, May 14. https://doi.org/10.1093/gmo/9781561592630.article.11230.
Heck, T. F. (2013). Mauro Giuliani: A life for the guitar (Kindle Ed.). Austin, TX: Guitar Foundation of America.
Lorenz, Michael. (2015, April 28). A Giuliani anecdote. Retrieved from http://michaelorenz.blogspot.com/2015/04/a-giuliani-anecdote.html.
Miller-Kay, E. (2018). Four-hand piano transcriptions and the reception of symphonic repertoire in nineteenth-century Europe. Malaysian Journal of Music, 7, 195-207.
N/A. (1816, February 14). Il Nuovo Postiglione, No. 26. Retrieved from the Biblioteca Nazionale Marciana, Venice, Italy on 2016, February 9. Shelfmark: PER. 0001035.1816.
N/A. (1816, February 16). Il Nuovo Postiglione, No. 27. Retrieved from the Biblioteca Nazionale Marciana, Venice, Italy on February 9, 2016. Shelfmark: PER. 0001035.1816.
N/A. (1820, June 17). Allgemeine musikalische Zeitung, No. 49. Retrieved from ‘ANNO: AustriaN Newspapers Online’, Österreichische Nationalbibliothek, Vienna, Austria on 2018, May 7.
http://anno.onb.ac.at/cgi-content/anno-plus aid=amz&datum=1820&page=207&size=45&qid= NWQ4JCO7W3UVUWWDZO75BKPPDRV4GJ. N/A. (1820, June 29). Wiener allgemeine Theaterzeitung und Unterhaltungsblatt, No. 78. Retrieved from ‘ANNO: AustriaN Newspapers Online’, Österreichische Nationalbibliothek, Vienna, Austria on 2018, May 7. http://anno.onb.ac.at/cgi-content/anno?aid=thz&datum= 18200629&seite=3&zoom=33&query=%22wiener%22%2B%22zeitung%22%2B%22generali%22%2B%221820%22&ref=anno-search.
N/A. (1830). The characteristics of Rossini’s compositions. The new monthly magazine and literary journal, 28 (1), 55-62. Accessed on 2019, June 1. https://books.google.com.hk/books?id=9yxKAAAAMAAJ&printsec=frontcover#v=onepage&q&f=false.
Ochs, A. A. (2001). Opera in contention: Social conflict in late nineteenth-century Mexico City (Doctoral dissertation: University of North Carolina).
Osborne, R. (2002). Matilde di Shabran. Grove music online. Accessed on 2019, March 24. Retrieved from https://doi.org/10.1093/gmo/9781561592630.article.O007599.
Poriss, H. (2009). Changing the score: arias, prima donnas, and the authority of performance. New York, NY: Oxford University Press.
Riboni, M. (2011). Mauro Giuliani. Palermo, Italy: L'Epos.
Riboni, M. (2017). Gli autografi di Mauro Giuliani. Il Fronimo, 178 (2), pp. 7-21.
Rossini, G. (1810–1840). Zelmira: Melodramma in due atti di Andrea Leone Tottola. Musica del sig. Gioacchino Rossini. Atto primo (Ms.). Retrieved from Internet Culturale: Biblioteca del Conservatorio San Pietro a Majella, Naples, Italy on 2019, March 21. http://www.internetculturale.it/jmms/iccuviewer/iccu.jsp?id=oai%3A www.internetculturale.sbn.it%2FTeca%3A20%3ANT0000%3AIT%5C%5CICCU%5C%5CMSM%5C%5C0166029&mode=all&teca=MagTeca+-+ICCU.
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Published
2019-08-01
How to Cite
Teopini Terzetti Casagrande, F. (2019). Investigating Nineteenth-Century Transcriptions through History of Opera and Music Publishing: Mauro Giuliani’s Sources for Two Themes in Le Rossiniane No. 2, Op. 120, and No. 3, Op. 121. Malaysian Journal of Music, 8, 19–51. https://doi.org/10.37134/mjm.vol8.2.2019
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