Page 202 - Weiss, Jernej, ur. 2017. Glasbene migracije: stičišče evropske glasbene raznolikosti - Musical Migrations: Crossroads of European Musical Diversity. Koper/Ljubljana: Založba Univerze na Primorskem in Festival Ljubljana. Studia musicologica Labacensia, 1
P. 202
glasbene migracije: stičišče evropske glasbene raznolikosti
heard;10 I Masnadieri circulated in a version for piano edited by Emanuele
Muzio.11 Works inspired by other authors ranged from Gli orazi e I curiazi
or Il matrimonio segreto by Cimarosa, to the Sinfonia dall’opera “Preziosa”
by Ruggero Manna, reduced at the end of the century by Arnaldo Galli-
era. Rossini’s Gran sinfonia nel Tancredi and the Sinfonia dalla Matilde di
Shabran would be performed, as well. Felix Mendelssohn too, document-
ed this custom and wrote to Goethe that in Roman churches “they are ab-
solutely crazy: I myself happened to hear the ouverture from the Barbiere
di Siviglia and on another occasion an aria from Cenerentola played at the
organ during the elevation, not to mention opera arias performed by nuns:
the nonsense is really too bad.”12 Motifs from Rossini operas also flowed
into the Messa da requiem written by Melchiorre Balbi13 for the death of the
composer. Giovanni Morandi, one of the most significant Italian organ-
ists of the time, assisted Rossini in composing the instrumental parts in the
Cambiale di matrimonio and then devoted himself to composing his or-
gan music, pervaded by forms and melodical structures typical of Rossini’s
symphonies.14 Also the march as a genre was practised, as evident in the 5
10 Sinfonia dall’opera “La forza del destino”, organ transcription by Francesco Almasio,
1871.
11 Giuseppe Verdi, I Masnadieri, reduction for piano solo by Emanuele Muzio (Milano:
Ricordi, s.d.)
12 Felix Mendelssohn Bartholdy to Johann Wolfgang von Goethe, 5. 3. 1831. Felix Men-
delssohn, Lettere dall’Italia, in Felice Rainoldi, Sentieri della musica sacra, (Pistoia:
CLV, 1996), 454. “Ich habe wirklich selbst bei der Erhebung der Hostie die Ouver-
türe aus dem Barbier von Sevilla und ein andermal eine Arie aus Aschenbrödel auf
der Orgel spielen hören, von den Opernarien, die die Nonnen produzieren, gar nicht
erst zu sprechen; der Unsinn ist zu arg.” Ernst Wolff, Felix Mendelssohn Bartholdy
(Severus, 2014), 87. On the use of symphonies during masses, this time with whole
orchestras, Giovanni Battista Candotti gives direct testimony: “Alla sacra funzione
è uso in molti luoghi di far precedere una grande sinfonia a piena orchestra, e non è
raro il caso che questa sia tolta intieramente da un’opera teatrale. Per tal modo vi di-
spongono ad assistere al tremendo sacrifizio cogli stessi mezzi che si adoperano per
prepararvi ad ascoltare le sventure di Norma o le lepidezze di Figaro” (“It is a com-
mon practice in many places to let a great symphony for full-size orchestra precede
the sacred function, and it is not that rare that the piece comes entirely from a the-
atre play. This way, they prepare you to assist to the terrible sacrifice with the same
means employed to prepare you to listen to the misfortunes of Norma or to the mer-
riness of Figaro”), Giovanni Battista Candotti, “Sul canto ecclesiastico e sulla musi-
ca da chiesa,” in Giovanni Battista Candotti. Scritti musicali, edited by Lorenzo Nas-
simbeni (Udine: Pizzicato, 2008), 43.
13 Melchiorre Balbi (1796–1879), organist of the basilica of Saint Anthony of Padova
from 1854 until his death.
14 Giovanni Morandi (1777–1856), Italian organist and composer. Cfr. Giovanni Mo-
200
heard;10 I Masnadieri circulated in a version for piano edited by Emanuele
Muzio.11 Works inspired by other authors ranged from Gli orazi e I curiazi
or Il matrimonio segreto by Cimarosa, to the Sinfonia dall’opera “Preziosa”
by Ruggero Manna, reduced at the end of the century by Arnaldo Galli-
era. Rossini’s Gran sinfonia nel Tancredi and the Sinfonia dalla Matilde di
Shabran would be performed, as well. Felix Mendelssohn too, document-
ed this custom and wrote to Goethe that in Roman churches “they are ab-
solutely crazy: I myself happened to hear the ouverture from the Barbiere
di Siviglia and on another occasion an aria from Cenerentola played at the
organ during the elevation, not to mention opera arias performed by nuns:
the nonsense is really too bad.”12 Motifs from Rossini operas also flowed
into the Messa da requiem written by Melchiorre Balbi13 for the death of the
composer. Giovanni Morandi, one of the most significant Italian organ-
ists of the time, assisted Rossini in composing the instrumental parts in the
Cambiale di matrimonio and then devoted himself to composing his or-
gan music, pervaded by forms and melodical structures typical of Rossini’s
symphonies.14 Also the march as a genre was practised, as evident in the 5
10 Sinfonia dall’opera “La forza del destino”, organ transcription by Francesco Almasio,
1871.
11 Giuseppe Verdi, I Masnadieri, reduction for piano solo by Emanuele Muzio (Milano:
Ricordi, s.d.)
12 Felix Mendelssohn Bartholdy to Johann Wolfgang von Goethe, 5. 3. 1831. Felix Men-
delssohn, Lettere dall’Italia, in Felice Rainoldi, Sentieri della musica sacra, (Pistoia:
CLV, 1996), 454. “Ich habe wirklich selbst bei der Erhebung der Hostie die Ouver-
türe aus dem Barbier von Sevilla und ein andermal eine Arie aus Aschenbrödel auf
der Orgel spielen hören, von den Opernarien, die die Nonnen produzieren, gar nicht
erst zu sprechen; der Unsinn ist zu arg.” Ernst Wolff, Felix Mendelssohn Bartholdy
(Severus, 2014), 87. On the use of symphonies during masses, this time with whole
orchestras, Giovanni Battista Candotti gives direct testimony: “Alla sacra funzione
è uso in molti luoghi di far precedere una grande sinfonia a piena orchestra, e non è
raro il caso che questa sia tolta intieramente da un’opera teatrale. Per tal modo vi di-
spongono ad assistere al tremendo sacrifizio cogli stessi mezzi che si adoperano per
prepararvi ad ascoltare le sventure di Norma o le lepidezze di Figaro” (“It is a com-
mon practice in many places to let a great symphony for full-size orchestra precede
the sacred function, and it is not that rare that the piece comes entirely from a the-
atre play. This way, they prepare you to assist to the terrible sacrifice with the same
means employed to prepare you to listen to the misfortunes of Norma or to the mer-
riness of Figaro”), Giovanni Battista Candotti, “Sul canto ecclesiastico e sulla musi-
ca da chiesa,” in Giovanni Battista Candotti. Scritti musicali, edited by Lorenzo Nas-
simbeni (Udine: Pizzicato, 2008), 43.
13 Melchiorre Balbi (1796–1879), organist of the basilica of Saint Anthony of Padova
from 1854 until his death.
14 Giovanni Morandi (1777–1856), Italian organist and composer. Cfr. Giovanni Mo-
200
