To Philip Gossett 3

TO PHILIP GOSSETT 3

TO PHILIP GOSSETT

Philip Gossett died on 13 June 2017, in Chi- Writings by: cago. At the time, the “Vox Imago” team Livio Aragona was busy on working on a new issue of the Fabrizio Della Seta publication dedicated to Puccini’s Manon Paolo Fabbri Lescaut. Gossett had been forced to aban- Michele Girardi don his role as artistic supervisor of the last Saverio Lamacchia couple of editions of the series because of Mario Marcarini illness. From the first release in 2004 up un- Beth Parker til 2014, the American scholar had been the Antonio Rostagno driving force behind “Vox Imago”, participat- Carlida Steffan ing in all the documentaries and writing the Claudio Toscani listening guides published with the various editions. We do not want to retrace his academic career, which was spent largely at the University of Chicago and La Sapienza in Rome, nor describe his work as a researcher, a true pioneer in the rediscovery of sources relating to Italian opera, nor to outline his enormous number of publications (among many things he was editor of critical editions of Rossini and Verdi), nor even enumerate his active participation in the production of numerous performances. We would just like to remember his work as a populariser, his conviction that the results of the most advanced research should be accessible to everyone. This was why he became commit- ted to “Vox Imago”. That is why we wanted to bring together the recollections of colleagues who, over time, contributed to the series and worked closely with Gossett on several occasions. These are personal memories, far from an official celebration, but they give an idea of the network of human and professional relationships he wove during his life, and his role as an indispensable point of reference for anyone who has been involved in opera.

I met Philip in the summer of 2000, during I came across him on other occasions over phone asking me when I would be starting in libraries around the world searching for the preparation of the great exhibition on the years, in conferences or to discuss de- work. It was both an exhausting and exhil- and comparing documents; the result of Giuseppe Verdi organised by the publishing tails of my texts for Musicom.it, which he arating experience. One develops a great all his hard work on the texts for the critical houses Casa Ricordi and Skira at the Palazzo read punctiliously with Federico Fornoni, or intimacy with the text being translated. It is editions, both his and that of other schol- Reale in Milan on the occasion of the 2001 for one of his essays on the publications of a way of rethinking and appropriating not ars, with no fear of revealing professional anniversary. I met him at Ricordi with Gabri- the Fondazione Donizetti in Bergamo, where only the ideas articulated in the writing, but secrets; his vivid recollections of live theatre ele Dotto, then director of the historic pub- I had been working since 2001. They were also the mental journeys, the rhetorical strat- performances, behind the scenes assisting lishing house. They were fleeting, unplanned all fleeting encounters. That year I remem- egies, the structure of the arguments, to the (or opposing) conductors and singers, or encounters, but enough to have an effect on ber a presentation with Ugo Gregoretti of point that you begin to have the illusion that in the stalls as a passionate member of the me, as when one suddenly comes across a Don Pasquale, which was about to be per- those ideas belong to you, have become audience, that constantly relates the living public personality with all their attendant formed in Bergamo, a production directed part of you, have been thought by those experience of the performance and the in- mythography. Everything that they said by Gregoretti himself. Philip was also there, who translate in the same way as those who tellectual mastery of the work. (“My impres- about him was there: his vital, intellectual having recently edited a facsimile edition of wrote them. When the text to be translated sion of Rigoletto is determined by all the energy; his inexhaustible activism on many the autograph manuscript of Don Pasquale constitutes a sort of sum of the thought of productions I have seen, all the recordings I fronts; his quick, pragmatic intelligence; the with a substantial introductory essay for the several years research by a scholar of Gos- have heard, all the Verdi letters I have exam- transparent, direct (and therefore extraordi- Accademia nazionale di Santa Cecilia and sett’s stature, the experience becomes ex- ined, all the musical sources I have studied, narily effective) manner in which he struck the Archivio storico Ricordi. From that pub- tremely exciting but also, in a certain way, and all the books I have read.”) It took me a and astonished his interlocutors; his sten- lic encounter on Donizetti’s work, I vividly troublesome. couple of years to finish my work on about torian, resonant voice; the informality with remember Gossett and Gregoretti endlessly Today, I believe Divas and Scholars to be seven hundred pages of Divas and Scholars. which he put forward questions and points pacing up and down the hall, talking about Philip’s most profound and accomplished Whenever I think about that work, I still hear of view that could be discussed, certainly, the staging of Don Pasquale before the con- legacy. It contains all his fiery passion for its Philip’s voice, which accompanied me all but which were much more difficult to conference began. subjects, and also demonstrates the irony the time, up to the final drafts: his real voice, tradict; but also the immediate reaction to It was the first concrete chance I had to focus that was part of his nature, but which ap- when we met or spoke on the telephone, and good, practical ideas from others. on how important the executive and inter- pears at the same time intrinsic to the things the voice that I seemed to hear when reading I joined Dotto in the organizational man- pretive dimension was for Philip. It guided he observed; it contains all the experience his comments on the page, in the files of the agement of the Verdi exhibition and book/ his philological work on critical editions, as he gained from his studies and research; the chapters that I sent him to read and that he catalogue. The committee was made up of became evident with his book Divas and evidence of the long exhausting hours spent returned in an incredibly short time. Pier Luigi Pizzi, Francesco Degrada, Pierluigi Scholars (2005) a few years later. In that Livio Aragona Petrobelli, as well as experts such as Ferdi- publication, the close connection between Conservatory of Bergamo nando Mazzocca, Mecedes Viale Ferrero and critical-textual reflections and staging were Olga Jesurum. Gossett was not directly in- revealed as the essential node of all Gos- volved. He came to Ricordi for issues related sett’s work on Italian opera from the early to the critical editions of Rossini and Verdi, nineteenth century to the late Verdi. Divas but his incursions into the choices relating and Scholars was also the occasion for my to the exhibition, on autograph manuscripts, longest encounter with Philip. sketches, figurines and letters to exhibit al- It all began when the Milanese publisher Il ways sparked off a kind of imaginative ef- Saggiatore commissioned me to translate fervescence, setting in motion a chain of in- the book. I had barely accepted when I was terdependent connections between visual, already hearing the unmistakable American textual and purely musical elements. cadences of Philips’s Italian on my mobile 6 • TO PHILIP GOSSETT TO PHILIP GOSSETT • 7

Snapshots from thirty-five years in. Throughout my career as a philologist this with my life?” Part of Adina’s autograph seem unable to identify and which he treats of friendship and work narrowest of victories is the thing of which is not in Rossini’s hand and I’m convinced as an irritant. We want to organise a confer- 1983: I present myself at the Roman resi- I am most proud. Shortly before going to that two pieces are not simple copies but ence on Bellini in Catania, think of him and dence in Monte Mario where Philip is spend- press, he keeps me on the phone for three the work of a collaborator whose hand also ask him if he’ll come. “Let’s see: on Monday ing his sabbatical (he has not yet bought the and a half hours, from Chicago, to explain appears in a third piece in part autograph. I I’m in St. Petersburg to work on La forza del house on Via Caracciolo). I had met him a one last minute correction. In the end he show the manuscript to Philip. He looks at destino, on Thursday I go to Kiev for an IMS few days earlier at the Pirrottas and asked says, “I’m going to sleep now, I’m a bit tired.” it for three minutes, pulls out the volume meeting, on Monday I have to go back to him if he had a copy of his article on Ver- For me it is ten o’clock in the morning, for with the incidental music for Edipo Coloneo St. Petersburg. Perhaps I could come at the di, Ghislanzoni and Aida. I want to borrow a him three o’clock in the morning. and shows me a reproduction. “It’s the same weekend.” I specifically tell my friends in copy so that I can photocopy it. Standing at 1996-1999: we prepare Adina. For sever- hand that completed Rossini’s orchestration Catania not to insist. the door, he greets me cordially and begins a al summers we spend prolonged periods and did the same for Adina’s Cavatina, while 2014, February: Philip is passing through long conversation, all in fluent French. I look working together in Pesaro, with the help of the Duet and the Caliph’s Aria are entirely Rome without Suzanne. I go to pick him at him, perplexed. He stops and says: “Sorry, Tricia Brauner’s infallible eye. Many people his.” He thinks for a moment, and then goes up at Via Caracciolo to take him to dinner. I’ve just come from Paris.” The conversation are working on different operas in common on to say, “It is the same collaborator who “Hello, how are you doing?” “Not so good, continues in Italian. I am a young man practi- rooms at the same time, but the boss has wrote Duglas’s Aria and the recitatives with Fabrizio.” I’m really worried: it’s the first time cally at the beginning of his career and have one to himself. In a corner, on the floor, is an orchestral accompaniment of La donna since I’ve known him that he’s said some- published very little—and nothing on Italian a mattress where he stretches out for five del lago.” The autograph manuscript is in thing like that. opera—but he treats me quite naturally as an minutes at a time (they say he arrives at 5 in the Fondazione Rossini, we examine it and 2017, April: my wife and I decide to go and equal, like a long-time colleague. the morning and if there is no performance, of course he is right. The two volumes were visit Philip and Suzanne in Chicago. It is 1994: five years earlier I had delivered the first he leaves late in the evening or returns after published in 1987 and 1990, and since then tough, although we are prepared. The very draft of La traviata, and now the editing pro- dinner). He keeps the door open but when he has had no way to return to those sources. evening of our arrival, for us already late at cess finally begins. I am worried what Philip he is focused on the job, he does not real- 1999: Bruno Cagli, president of the Acca- night, we are invited for the Passover dinner. will think. I jokingly tell him I am ready to be ize what’s going on outside. For example, demia di Santa Cecilia, summons me and The Brauners are also there. Philip is at the shot. “No, you did a good job. But I will shoot a young collaborator passes out, there are explains that he is thinking of starting a table with us, forcing himself to eat, joining you for one thing: you did everything in ink cries of panic, an ambulance arrives, and so complete edition of Bellini’s works and asks in the singing. In the following days we spend instead of pencil. We used litres of liquid pa- on. After an hour of chaos, he appears in the me to take charge. I hesitate: “I’d like to hear every afternoon with him. Once, I arrive and per to correct it.” We talk about it when he doorway: “Did something happen?” At least what Philip thinks.” “No problem, he’s here.” find him with a collaborator in front of the is in Italy, or by letter (e-mail is still a relative once a day, inhuman screams fill Casa Ros He opens a door and Philip appears, pointing computer looking at a letter from Rossini. He novelty). He digs his heels in over one note, sini: a microfilm has become entangled in the his finger at me like Uncle Sam and saying struggles to speak but listens with interest indeed, on the rhythmic value of a clarinet machine and he angrily rips it out and flings in a tone that brooks no dissent: “You have to our stories of what’s happening in Italy, note that, the way Verdi wrote it, produces it on the floor. In Brussels, in the Michotte to do it!” (This edition was never published of friends, of the progress we are making a dissonance that he believes is impossible. Fund, I examine some papers that turned because at the same time Ricordi decided with the Bellini edition. I have brought him “I’ll never in a million years believe that Verdi out to be vital to my edition. In the files I to start a similar project that was stalled for a new recording of Adelson e Salvini, and he wanted this” (a favourite phrase, applied to find sheets with the identification of the years: fortunately I now share responsibility promises to let me know what he thinks. He Rossini, Donizetti, Bellini and so on). In the contents, signed “Philip Gossett” and dated for it with two dear friends and esteemed will never have the chance, but I hope he at end he gives in, not because he is convinced “8/67” (when he was preparing his doctoral colleagues.) least listened to Daniela Barcellona, one of but because he does not have a true philo- thesis). I photograph them and show them 2013: for two years Philip has been suffering his favourite singers, singing “Dopo l’oscuro logical argument against it, but he asks for a to him. He looks puzzled, having complete- the symptoms of a disease that the doctors nembo | il ciel sperai seren.” note in which the editor, myself, takes some ly forgotten that he left that trace. Then he Fabrizio Della Seta distance from the choice. It is my turn to give turns to me: “Fabrizio, but what have I done University of Pavia 8 • TO PHILIP GOSSETT TO PHILIP GOSSETT • 9

I spent many Augusts (for a decade?) in the regretted being occasionally forced to take ...par che el svola: Philip Gossett into the premises of the Fondazione Rossini room next to Philip at the Fondazione Ros holidays, Philip was also the enthusiastic col- I was not one of the great US musicologist’s to find Gossett up to his eyes in staves. He sini in Pesaro. At our first meeting he greeted laborator of singers and opera productions closest friends, but Philip Gossett was fun- was reviewing the score of Edipo Coloneo me by accusing me (perhaps not entirely) the world over, and the charming but punc- damental to my career, which developed about to be published in the critical edition jokingly of wounding him by having the te- tilious entertainer who was able to convey partly thanks to his example and his help. of Rossini’s works. He was very busy, but he merity to correct a detail in his catalogue of the inconceivable wonders of Italian opera Shortly after I graduated, I read Luigi Ro- was kind and friendly, explaining, among Rossini sources: a small, infinitesimal detail in that so fascinated him to all and sundry: ex- gnoni’s book on Gioachino Rossini. When I other things, how important revision work a vast and all-encompassing list, but for him periences he reworked and rewrote from a got to the end, I came across a catalogue of was in order to restore the score to its orig- it was a low blow. theoretical point of view in his most recent works by “Dr Philip Gossett of the University inal sensibility. I have never forgotten the Although aiming at perfection, he was grate- book. of Chicago [...] directly compiled from the simple way he welcomed a young scholar, ful to all those who added useful information Therefore, it is not only musical philology original sources,” which sparked my interest as I was then, and if I have become a better to the causes to which he was devoted. that is profoundly indebted to him, but also more than the rest of the book. It was clear organiser of cultural events and teacher, I And those causes were always more or less opera houses and their audiences. Nor can from the bibliographical references that the have him to thank. the same, the authenticity of Rossini and I forget his outbursts of enthusiasm (and scholar had no prejudice towards Rossini’s I became particularly aware of his generosity Verdi’s prescriptions, as well as those of sometimes anger), his invective against opera seria, usually over-shadowed by the when I found out, many years later and not Donizetti (his work on autograph sources of a language like Italian that was imprecise opera buffa and semiseria masterpieces, from him, that his personal commitment had Anna Bolena was pioneering). enough to use the same word—cadenza— even in the aesthetic vision of Rognoni and been decisive in convincing the University of It is difficult to say which was more impor- to mean at least two very different con- other specialists of the time. So when Gos- Chicago Press to translate my Puccini mon- tant, Philip’s deep acquaintance with the cepts, his short or long periods lying on a sett came to La Fenice in Venice to present ograph that came out in 2000 into English, sources, his ability to compare them and desk temporarily cleared of papers or on the the performance on his critical edition of despite being opposed by an anonymous make them work together, or the hours bare floor, his entertaining “numbers” from Tancredi in June 1983, I was there to hear reader. Gossett indirectly explained his and hours he devoted to such exhausting, famous musicals, improvised at the table but him, full of expectations. I thought I would choice in a review of three Puccini mono- painstaking work. The results are evident: worthy of the stage. It is difficult to believe see a stuffy young academic, instead he was graphs that appeared in the New York Times the long lines of editions on the shelves of that such a mass of energy and enthusiasm like a firework display, shooting out critical three years later. He had methodological the all world’s musicological libraries. faded and then disappeared. He always bursts, singing and accompanying himself objections, but he saw a critical perspective But as well as being a tireless philologist who seemed inexhaustible, legendarily eternal. on the piano. This exciting musician-mu- worthy of note in what I had written. Paolo Fabbri sicologist was also a great communicator, This review was and remains a special source University of Ferrara who demonstrated how important it is to of pride, but I still did not know Gossett from get the widest possible number of people the human point of view, as I did later in interested in the topics one is working on. many conferences and other circumstances, His interpretation opened up vast horizons including an after theatre dinner in 2004 in for me. the company of his wife Suzanne, a friend- He then made me understand how impor- ly, lively woman and renowned professor of tant it is to put one’s skills at the service of English literature. We sat at a table at Ae do one’s colleagues, without hierarchical dis- Spade, a Rialto restaurant that boasts an il- tinctions, thereby promoting every cultural lustrious tradition, because one of the lib- experience and helping the young to mature. ertine Casanova’s boldest adventures took I was at the Rossini Opera Festival in Sep- place there. Of course Philip knew that and tember 1985 to see Mosé in Egitto and Il si- joked about it. He also talked to me about gnor Bruschino, and one morning I ventured Divas and Scholars, which he was preparing. 10 • TO PHILIP GOSSETT TO PHILIP GOSSETT • 11

With its analysis, performance practice and cultural experience by writing a very, very Rigour, rapture and Rossini all his frank and sincere affection to shine political culture of the system of producing compelling book, as the unforgettable Maes- He loved Italy, its music and its culture with through. I was always struck by the fact that Italian opera in Il Bel Paese and abroad, he tro Bruno (Bartoletti), the great conductor the burning passion that lovers feel when such a busy man always found time (even a believed it was destined to cause some con- who shared many experiences with him in their transport is reciprocated. Then excite- few hours) for his friends. He never came to troversy, because he had taken the opportu- Chicago, said. After reading the book, two ment and ardour overcome any obstacle, Milan without finding at least an hour for me, nity to get a few things off his chest. years ago I thanked Gossett, who was ill (he and the momentum becomes a pure explo- an hour in which we solemnly promised that He talked to me again in 2008, proudly, spoke about it openly) and I’m glad, because sion of energy. This “rapture” marked all of we would not mention Rossini, dedicating when the Italian edition was about to come my message gave him a moment of relief. Philip Gossett’s life and work. But it was a ourselves to our common passion for good out, and he had been teaching at La Sapien- Par che voli (he seems to be flying), because rapture guided by a knowledge and scien- wine and food. za for six years. He had good reason to be he wrote an indispensable chapter in mod- tific rigour with few equals in the world of But during our meetings, which also some- satisfied, because he had been able to trans- ern musicology, a chapter that will always music. times took place in Rome or Florence (where late his whole life into a unique artistic and remain relevant. So much has been written about Gossett we used to go to a trattoria near Santa Michele Girardi the musicologist that I want to use this oc- Croce), our good intentions usually vanished University of Venice casion to remember my friend Philip, who, with the first glass and music soon gained with the same ardour and with the same the upper hand as always, and our chats loyal, generous, sometimes even anxious, could turn into heated discussions about the rigour, was eager to share and transmit his value of an opera or a singer’s interpretation. infinite knowledge. He also knew how to lis- And the opera was almost always by Rossini. Musicology libraries are full of proof of the and clarifications on my book on theBar - ten—a very rare gift—and he did it with an Rigour, rapture and Rossini: I miss you so prodigious vitality and intellectual generos- biere di Siviglia, in his unmistakable, funny attention and an enthusiasm that allowed much, my friend. ity of Philip Gossett. Above all, there are doz- and at the same time witty, Italian. It is almost Mario Marcarini ens of critical editions he edited personally superfluous to add that he did this without Sony Music Italy or “only” directed, but which were signed by any obligation on his part, not even didactic others (in reality there was often little dif- (in my particular case, he read my PhD thesis ference between the two roles). Those who after the discussion). He did it purely out of Remembrance of Philip Gossett While working for Pittsburgh Opera in 2006, knew him are aware of how meticulous Philip generosity, and for the sake of the discipline After reading so many encomiums to Philip my artistic director asked me to email Philip was in checking everything, tirelessly, note of musicology. Gossett from all over the world, I realized that and ask whether fortepiano or harpsichord by note, and how he gave an incalculable Finally, I witnessed a particular form vitality: my experience of “meeting” him was typical. should to be used to accompany recitatives amount of advice and suggestions to the I saw Philip doze off at a conference during Like many others, I idolized him as the first for a Mozart opera. “I will believe whatev- editor. a speech, only to wake at the applause and American champion of research in Italian op- er that man tells me,” my director said. He Philip’s industriousness also manifested it- pose a question that was anything but ob- era in a scholarly arena that considered this handed me Philip’s email address. I was dis- self in a “minor genre” no less indicative of his vious, or pre-prepared. Philip’s prodigious entire repertoire beneath its notice. Later, I concerted. Would the most famous scholar generosity: the prefaces to other people’s brain was always switched on. It is hard to came to understand that through his endless of Italian opera really write back to a humble studies, also produced in huge numbers. I believe that he is no longer here. But... since curiosity, intellectual rigor, passion, and as- opera employee? He did. Within 15 minutes am just one of the many privileged to have opera is the realm of illusion, let us tell our- tonishing capacity for work, he established I received a most gentlemanly and courte- enjoyed such a preface. One of my most pre- selves that Philip has just dozed off, ready to the methodology for this type of study, a pro- ous answer that yes, certainly the theaters cious possessions is the around five closely awake, in some mysterious dimension. If it cess that is now standard across the field. His in Mozart’s time were no longer using harp- written pages of remarks, encouragements, exists, it is sure to have a stage nearby. work with singers, conductors, and artistic sichords in the 1780s. (Then followed a long Saverio Lamacchia personnel has truly been the foundation of explanation about harpsichord manufactur- University of Udine the bel canto revival. ing in Italy through the early 1800s.) 12 • TO PHILIP GOSSETT TO PHILIP GOSSETT • 13

When I moved to Chicago and attended a lec- For Philip with the support of the Amici della Sca- award, his presence and his advice were ture four years later, Philip remembered my in- The numerous messages of condolence af- la. In the three years that the committee often decisive. quiry and asked what I was doing. I answered ter the death of Philip Gossett are the clear- worked under the chairmanship of Philip During the longest and most continuous that I was looking for something interesting to est evidence of the debt musicology and (2012-2015), when the doctoral disserta- period we shared at the University of do and would be willing to do anything to help music (especially Italian) owes to his work. tions to be selected and rewarded arrived Rome, at times of almost unbearable dif- the Rossini critical edition, even as a volunteer. In addition to his standing as a scholar, for his judgment was always the first and the ficulties, a word from him was always of Soon there was an invitation for lunch in Hyde me his presence was related to the world in most detailed. In long and careful discus- great help to me. Looking back, I even feel Park, home of the University of Chicago. We which I studied, where I was educated, an sions with Dinko Fabris, the third member nostalgia for his legendary tantrums. Fur- talked for about 90 minutes about the edi- environment where studying was not simply of the commission, we were often guided thermore, his angriest flashes of temper tion, its staff, and my career. About a month a job, but a vital part of life. For me, it is the by Philip’s work. During this very complex had the duration of a flash of lightening, later, I was astonished to be offered the job of world of maestri. process, which always risked offending after which work was resumed with the Coordinator for the Centro Italo-Americano Perhaps it is from the way he carried out his the sensibilities (quite legitimately, given same energy as before, as anyone who per l’Opera (CIAO) to replace Patricia Braun- work, certainly with enthusiasm, but also the ever-higher level) of young research- was fortunate enough to work with him er, who was retiring. It was only a part-time with total dedication and sincerity, that Phil- ers and university colleagues, Philip was will know. position, but the opportunity to work on that ip had developed one of his highest human always the best guarantee of experience, For me it is one of the last memories of the prestigious project with him truly changed qualities: generosity. It was a generosity quality and equanimity. Lastly, in the rush world of maestri, a heavy legacy, which we my life. Through him and with his generous that manifested itself in two principal ways: to meet publishing deadlines following the have the responsibility to continue. help, I became a translator for “Vox Imago” on the one hand, the conviction that every Antonio Rostagno and other prestigious projects. A whole world source, even the rarest, should be shared University of Rome “La Sapienza” of opera scholarship, in which I had longed to and not considered as private property to participate, opened up to me. be jealously guarded; on the other hand, his Through the years I learned that many of our constant readiness to accept any request to editors on both the Rossini and Verdi editions collaborate. had similar “origin stories.” Philip had an in- Whenever there was a need for advice on stinct for drawing people to him who were something important, Philip was the person not only capable scholars, but fine human to ask, and was always immediately availa- beings as well. My closest friends are now ble. Whenever there was need of the opinion my “CIAO family”—a network of scholars and of someone whose authority was beyond musicians across the US and Europe. People dispute, one thought of Philip, who never wonder what will befall Italian opera schol- refused. arship now that Philip Gossett is gone, but I What most linked me to him, apart from can tell you that he has trained an army: two the around ten years we shared a study generations of scholars and musicians who in La Sapienza, were the three editions of will continue along the trail he blazed for us. the musicological research award, created Beth Parker Roosevelt University

Philip Gossett and Antonio Rostagno at La Sapienza in Rome 14 • TO PHILIP GOSSETT

Teamwork interrupted In the last five years he recruited me into two I met Philip Gossett for the first time in Pesaro of his teams, entrusting me with the critical at the 1992 Rossini Conference. I was immedi- edition of Verdi’s vocal chamber music and ately surprised by his quick, open smile, and in that of the Soirées Musicales by Rossini. This the years that followed, his frank way of being gave me an opportunity to spend time with interested in the research of others, both col- him during his final trips to Rome and, while leagues and young scholars. He condensed planning the content and structure of the it in his unmistakable: “All this is fascinating!” volumes, start long and detailed discussions. Our occasional correspondence became Philip was certainly a scholar of clear convic- more frequent as I worked on the critical tions, both philological and historiographical. edition of Bellini’s vocal chamber music. Yet on those occasions, I could see how he Unfortunately, the sources of this reper- could be open, curious and willing to listen. toire are often scattered between antique The last time we met, thinking about Ross- shops and inaccessible private collections. ini’s Soirées, I cautiously put forward the idea For a few years we had been hunting for the of including in the volume other seemingly Stammbücher (albums) still held in these secondary materials, such as the version for collections on both sides of the Atlantic. I voice and guitar (dating from the time of the merely followed their tracks: Philip often first Paris edition). Philip immediately an- went straight to the target, thanks to the swered: “I think not, but try to convince me!” extraordinary network of social as well as I like to think that I could have convinced him... professional relationships he had built up but now I am sad to say that I did not have over his life. time to try. Carlida Steffan Conservatory of Modena

A dear friend even more than a teacher, that of Chicago, with their infectious ability to is what Philip was for me. We shared not only communicate and draw in the seemingly many days of work, but also important hu- most resistant of students; the enthusiasm man experiences, here and across the ocean. with which he continually launched into new While sadness at his departure and regret ventures; the generosity with which he made for the contribution he could have yet made his enormous experience available: all this in terms of expertise and intellectual energy remains, and will remain, imprinted forever dominate, the many personal memories are in my memory. We have lost not only a great just as intense. His lessons at the University scholar, but also a master of life. Claudio Toscani University of Milan

Translated by Kathryn Wallace