Macbeth Posto in Musica da Giuseppe Verdi e per grata memoria dedicato al suo amatissimo suocero Antonio Barezzi Riduzione per Canto e Piano di E. Muzio... Fr. 38. [Piano-vocal score]. Giuseppe VERDI.

Macbeth Posto in Musica da Giuseppe Verdi e per grata memoria dedicato al suo amatissimo suocero Antonio Barezzi Riduzione per Canto e Piano di E. Muzio... Fr. 38. [Piano-vocal score]

Milano: Giovanni Ricordi [PNs 19261, 19622-43], [1847-50]. Oblong folio. 19th century half dark green calf with marbled boards, titling and decorative rules gilt to spine. 1f. (fine lithographic illustration by Focosi of the cauldron scene from the opera), 1f. (recto title within decorative sepia border, verso blank), 1f. (recto index of 24 numbers, verso named cast list), 5-257, [i] (blank) pp. Engraved. Each number with separate pagination, caption titles, and price.

With vocal parts added in early manuscript to blank treble and bass clef of keyboard for unaccompanied quartet "O gran Dio" and pp. 84-90.

Binding slightly worn, rubbed and bumped. Occasional very minor soiling and thumbing; ink stains to pp. 121-124.

First Edition, early issue. A variant issue sharing characteristics of both Hopkinson 46A(b) and 46A(c).

An opera in four acts to a libretto by Francesco Maria Piave (with additional material by Andrea Maffei) after Shakespeare’s play, Verdi's Macbeth was first performed in Florence at the Teatro della Pergola on March 14, 1847 and in a revised version, with libretto translated by Charles-Louis-Etienne Nuitter and Alexandre Beaumont in Paris at the Théâtre Lyrique on April 21, 1865.

"Macbeth is often considered a watershed in Verdi's early career, much being made of the fact that it is based on Shakespeare, an author for whom Verdi frequently voiced great admiration. There is a new level of attention to detail in orchestration and harmony, and another melding of the public and personal manner. But what also singles the opera out is an element that recent commentators have found troublesome: its exploitation in the witches' music of the ‘genere fantastico’ (the fantastic or supernatural genre). There are early attempts in this vein in Giovanna d'Arco, but in Macbeth this alternative ‘colour’ is vividly explored, and placed in juxtaposition to the dark, personal world of Macbeth and his wife, thus expanding the range of the opera by centring it around a violent conflict between two musically distinct worlds." Roger Parker in Grove Music Online. Item #28086

Price: $3,800.00  other currencies

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