[Il corsaro]. Two excerpts from the opera. Musical manuscript vocal score. Without accompaniment. Giovanni PACINI.

[Il corsaro]. Two excerpts from the opera. Musical manuscript vocal score. Without accompaniment

Oblong small folio (290 x 220 mm.). 12 pp. (original pagination to upper outer corners); pp. 5-6 with blank staves. Notated in ink on 14-stave paper. No watermarks.

Pages 1-4: "O cielo m'ispira" for two sopranos (C1 clef), tenor (C4 clef), and bass (F clef). In D major, 3/4 time. Systems have from 1 to 4 staves depending upon who sings. All four parts include virtuosic passages, marking them as solo parts; characters unidentified. Additions in pencil to p. 4.

Pages 7-12: "Invan crude le estinguere" for four unidentified (?solo) voices. No clefs (C1, C1, C4, and F4 implied); no key signature (D major implied); no time signature (alla breve or common time implied). Systems have from 3 to 4 staves depending on who sings. Includes mild polyphony (pp. 8 and 10).

In very good condition overall.

A comparison with the printed libretto of the opera (Il corsaro: melodramma romantico in tre parti; da rappresentarsi nell'I. R. Teatro alla Scala il carnevale dell'anno 1831-32 published by Truffi in Milan, 1831) allows the identification of the two fragments as the beginning and end of the finale of Act 2 of the opera. The first soprano part is assigned to the characters of Medora and Corrada, the second to Gulnara, the tenor part to Seid, and the bass part to Giovanni and Gonzalvo. The present copy was most probably executed for use in rehearsal.

First performed at the Teatro Apollo in Rome on January 15, 1831. The libretto is by Jacopo Ferretti after Lord Byron.

"Pacini’s serious operas provide the best opportunity... to examine the development of his style across his career. He set a cross-section of 19th-century libretto types... In their treatments of these subjects his librettos display a number of shifts of focus that characterized the first part of the 19th century: from ancient settings and noble heroes to more modern settings populated by non-traditional types of characters (pirates [in Il corsaro], outlaws and gypsies)... Unlike Bellini and Donizetti... Pacini never gained a significant following outside Italy. His operas met with mixed reviews in Vienna in the late 1820s, Fétis wrote a scathing criticism of his music in 1830, and Berlioz and Mendelssohn were completely unsympathetic. Yet his failure to gain international renown hardly diminishes his importance as a principal player in the Italian scene from 1820 to 1850." Scott L. Balthazar in Grove Music Online. Item #27214

Price: $150.00  other currencies

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