219
219
Donizetti, Gaetano
AUTOGRAPH SKETCHLEAF FOR MARIA PADILLA, THE ACT III DUET FOR MARIA AND HER FATHER DON RUIZ 'ITE OMAI NON VI CONOSCO', WITH DELETIONS AND REVISIONS OF BOTH MUSIC AND LIBRETTO, INCLUDING:
Estimate
2,0003,000
JUMP TO LOT
219
Donizetti, Gaetano
AUTOGRAPH SKETCHLEAF FOR MARIA PADILLA, THE ACT III DUET FOR MARIA AND HER FATHER DON RUIZ 'ITE OMAI NON VI CONOSCO', WITH DELETIONS AND REVISIONS OF BOTH MUSIC AND LIBRETTO, INCLUDING:
Estimate
2,0003,000
JUMP TO LOT

Details & Cataloguing

Musical Manuscripts

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Donizetti, Gaetano
AUTOGRAPH SKETCHLEAF FOR MARIA PADILLA, THE ACT III DUET FOR MARIA AND HER FATHER DON RUIZ 'ITE OMAI NON VI CONOSCO', WITH DELETIONS AND REVISIONS OF BOTH MUSIC AND LIBRETTO, INCLUDING:
1) on the first page, the complete verse for Ruiz (tenor), notated in D minor in dark brown ink on six staves, the words entered sporadically; and on the verso:
2) a note for the librettist Rossi: "Se finisse in Là aggiustando i versi per la stretta invece dell’altra stretta cred’ io sarà meglio...";
3) the words of the dramatic interruption by the off-stage chorus: "Viva Bianca di Francia" with deletions;
4) Maria’s dramatic response: "Che mai sento...Bianca sposa ?..E soffirlo dovrò…?", including revisions;
5) a short sketch for Ruiz's canzonetta ["Della sera la brezza leggera"]; and finally:
6) the conclusion of the duet begun on page 1, marked "2da Vol[ta]...sin qui è basta".  

2 pages, oblong 4to (c.17.5 x 27cm), 6-stave paper, irregularly cut down from a larger sheet, the first page numbered in other hands in red crayon (“104”) and in pencil (“2”) [Milan, autumn 1841], loss to first stave on verso, where the leaf has been cut down, trace of mount to left-hand edge 


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Catalogue Note

This sketch-leaf gives an unusual insight into Donizetti’s compositional process, including revisions to the music and text (the libretto was partly by the composer).  William Ashbrook rates Maria Padilla as "one of Donizetti’s richest and most original scores" and draws attention particularly to this Act 3 duet for Maria and Don Ruiz.  Maria seeks reconciliation with her father, who has lost his mind, overwrought by her disgrace as the mistress of King Pedro (the "Cruel") and refuses to recognize her.  He repulses Maria in the passage drafted on the first page here ('Ite omai non vi conosco').  An offstage chorus is heard hailing Bianca of France as Pedro’s new bride, driving her to further flights of desperation.  Maria Padilla was first performed at La Scala Milan on 26 December 1841

Musical Manuscripts

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London