![]() ![]() If an attacca to ‘E Susanna non vien!’ was intended, the concluding measures of ‘Eccovi, o caro amico’ would have required revision to make the join work with a V–Ib cadence.ĩ6 In 2014, I was offered the opportunity to participate in just such an experiment. ![]() The word ‘volti’ was added in red crayon, followed by an unclear instruction, and then ‘alla scena 9 ma’, rubbed out but still clearly visible. The words ‘al gusto mio’ were crossed out (along with the remainder of the a4 passage). In K.T.315, there were several changes of mind at the end of ‘Eccovi, o caro amico’. Although the picture is inconsistent, the cancellation of the cue in the violin 1 part implies that the cut was at least being considered. The viola part has the same cue (also with ‘in cadenza’) very boldly in red crayon (although the original words are not crossed out), but there is no sign of the change in the violin 2 or basso parts. Later markings in heavy pencil and blue crayon confirmed the reading. ![]() The original cue was crossed out in red and the new cue inserted: ‘al gusto mio – in cadenza’. 37 Changes within recitatives, even major ones, did not usually need to be indicated for the orchestral players, but in this case a cue at the start of ‘E Susanna non vien!’ had to be revised so that the player responsible for bringing in the orchestra would do so upon hearing the final words (‘al gusto mio’) of the recitative ‘Eccovi, o caro amico’. ![]()
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