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I Due Foscari' David Lawton SUNY Stony Brook Verdi Forum Number 22 Article 2 1-1-1995 A New Sketch for Verdi's 'I due Foscari' David Lawton SUNY Stony Brook Follow this and additional works at: http://scholarship.richmond.edu/vf Part of the Musicology Commons Recommended Citation Lawton, David (1995) "A New Sketch for Verdi's 'I due Foscari'," Verdi Forum: No. 22, Article 2. Available at: http://scholarship.richmond.edu/vf/vol1/iss22/2 This Article is brought to you for free and open access by UR Scholarship Repository. It has been accepted for inclusion in Verdi Forum by an authorized administrator of UR Scholarship Repository. For more information, please contact [email protected]. A New Sketch for Verdi's 'I due Foscari' Keywords Giuseppe Verdi, I due Foscari, sketch studies, compositional process, opera This article is available in Verdi Forum: http://scholarship.richmond.edu/vf/vol1/iss22/2 A New Sketch for Verdi's I due Foscari David Lawton private collection in Ohio has recently acquired a Verdi sketch of great importance: it is a continuity draft, in condensed core, for I due Foscari (1844), Act II, no. 8 ("Introduzione, Scena ed Aria jacopo"), mm. 1-68, and is the earliest sketch of its type that has come to light so far.1 The autograph manuscript, measuring 33.5 by 24.5 cm., is a single folio of 24-stave paper in upright format, notated on both sides. Each side is marked off into systems of two or three staves, separated by a blank staff. The composers signature appears after the double bar on the last system of the verso.2 The manuscript is of particular interest because-with the excep­ tion of a draft for the stretta to the Prologue of Alzira (1845)3-no sketches or drafts are known for any of the operas before Luisa Miller (1849) .• For the early operas, until now scholars have only been able to study Verdi'.s compositional process at a relatively late stage. The auto­ graph full scores frequently preserve traces of earlier layers, and a few discarded fragments in "skeleton score" format -the orchestral score in its earliest stage of notation, comprising the vocal parts, bass line, and a few instrumental cues--survive.' The existence of full-length conti­ nuity drafts for all of the operas from Luisa Miller on naturally led to the assumption that with that opera Verdi developed a new method of working, one that reflected a greater concern with large-scale form and structure.6 The sketch for I due Foscari now challenges that.assumption, for it is strikingly similar to the later drafts. The similarity suggests that Verdi developed the compositional process documented for his later operas much earlier than had been suspected. Indeed, readers familiar with the facsimile of the Rigoletto abbozzo will be struck by the resem­ blance between it and this early sketch. The Rigoletto abbozzo is a draft for the entire opera, whereas the Foscari sketch is only for a single scene. Nevertheless, both manuscripts appear to represent an equiva­ lent stage in the compositional process. Whereas the Rigoletto draft is composed primarily of the vocal lines alone, with only a few orchestral cues, the Foscari sketch is relatively detailed with respect to the accom­ paniment. The prelude for solo viola and cello7 is fully notated, and even the orchestral tutti in the ensuing Scena are remarkably complete harmonically and texturally-so much so that a convincing orchestral rendition of the piece could be prepared from the sketch by anyone familiar with Verdi'.s style. Plate I is a facsimile of the sketch, and exam­ ple 1 is a transcription of it: 4 fJ..fil.l 5 David Lawton .!1,m_J 6 A New Sketch for Verdi'.s I due Foscari ,,.. --=- tL _l ~~,j ·1 ,,,_ ::!: ..:::!.. ':]£ :I I :::::: ::L I ::0: • I . •. ~ot - .,~ ;~rrl..a /r - - P'... z :::I: I :JL :::i: :::i: z :a: :ill: ..... ;)IC :I ::i:: :II :a::.l.::LI: l -. --. 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I ~:I I :z I :z ::!l::.J.. .. -,,;- . \ T T 1jlll'" T T "-Ii:' ~r.~ :a;;;;: ::IZ k I :A::::JI: II :Ii: I :z I I :a: '::itC. :a: ~L :z: :::ll:I :::m: :I ::II: :..:: :JZ: :i:: ~~ ". -..' ~.,..:. ;.,,.f ... , .SC~ cite~ c.of"4,. _t_ J,_ ... -1 ? :::s: £JC. :.!: ......... .LLlll I ~ :z: :IL ::..U::I :f: '·· 1 '_)_ )"''- -1. l 1 :I ;JC ...I. =-: I ' '- ~ ::.c::...:::I r,.--..-.- ""' lf ..... ±- L -'- ...... ± ±L ..IL ..... ...... I ~ :I IJ[ ::I.11.: ..r: :::l:..!I.: I I .I iz: :I :I :z: :.-... I IL .:EiL ..L!.. .L 'i- ~ I ~ ~-:ii: ...I. :I: 1: ~..-, ... 'fo ,....~- V•'.Ji:~I> i ,,!.$ ....... £ '-; ;_ .i Ml•{.lilt Ill ~ t:!I!: . ~:I :I I °"'I :!I: ::liii: DC ..I. -1: ~ :I ' ,,. ~ ~, I ~ '...l.. ~ :a: L :a :J.: ..l. ·~ - •' <Z Ltt.J; EXAMPLE l 9 David Lawton Comparison between the draft and the final version, as pub­ already been noted. With respect to the issue of sketches and analysis, lished in the current Ricordi piano-vocal score, pl. no. 42307, pp. 62- I will take the position of the critic interested both in the structure of 65, reveals numerous differences in detail. It would be tedious to the piece and in the composers intentions, insofar as these can be examine them all; instead, I shall focus on two compositional problems inferred from significant differences between the sketches and the fin­ for which earlier solutions in the sketch are particularly illuminating: ished work. Such differences are the result of Verdis criticism of his 1) the form of the instrumental Introduzione; and 2) the motivic orga­ own music, and analysis can surely offer valuable insights into the nization of the Scena. In view of the recent controversy over sketch nature of that process. studies and analysis, it may be wise to begin with a consideration of Let us begin with a consideration of the form of the instrumen­ these issues in the context of the current state of Verdi research. tal Introduzione. Since the sketch is a complete realization of an earli­ Significantly, the issue of the relevance of sketches to the analy­ er version of the piece, a diagram can best illustrate its relationship to sis of a finished work was raised by a Beethoven scholar, Douglas the final version: I I I l I 1 ., ~ ~ I COit ,,' " DIAGRAM I Johnson, who has made distinguished contributions to the field he The sketch differs noticeably from the work as we know it at sev­ now questions. In a soul-searching and provocative essay, "Beethoven eral points: in two places the sketch is two measures longer than the Scholars and Beethovens Sketches," Johnson distinguishes sharply final version, and in another one the music is conspicuously different. between the use of Beethovens sketches for what he calls "biography" The cut of sketch measures 13-14 and 21-22 and the revision of sketch on the one hand, and "analysis" on the other. While recognizing the measure 17 appear to be related; indeed, they may be regarded, in one great value of the sketches for problems such as chronology or stylis­ sense, as an effort to enhance in the final version a formal symmetry tic development, he seriously doubts their usefulness for analysis: "ls already implicit in the sketch.
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