New Mozart Edition Work Group 5 · Vol. 8 La finta Giardiniera WOLFGANG AMADEUS MOZART Series II Works for the Stage WORK GROUP 5: OPERAS AND SINGSPIELS VOLUME 8: LA FINTA GIARDINIERA [The Pretended Garden-Girl] SUB-VOLUME 1: ACT I PRESENTED BY RUDOLPH ANGERMÜLLER AND DIETRICH BERKE 1978 International Mozart Foundation, Online Publications V New Mozart Edition Work Group 5 · Vol. 8 La finta Giardiniera Neue Mozart-Ausgabe (New Mozart Edition)* WOLFGANG AMADEUS MOZART The Complete Works BÄRENREITER KASSEL BASEL LONDON En coopération avec le Conseil international de la Musique Editorial Board: Dietrich Berke Wolfgang Plath Wolfgang Rehm Agents for BRITISH COMMONWEALTH OF NATIONS: Bärenreiter Ltd. London BUNDESREPUBLIK DEUTSCHLAND: Bärenreiter-Verlag Kassel SWITZERLAND and all other countries not named here: Bärenreiter-Verlag Basel As a supplement to each volume a Critical Report (Kritischer Bericht) in German is available The editing of the NMA is supported by City of Augsburg City of Salzburg Administration Land Salzburg City of Vienna Konferenz der Akademien der Wissenschaften in der Bundesrepublik Deutschland, represented by Akademie der Wissenschaften und der Literatur Mainz, with funds from Bundesministerium für Forschung und Technologie, Bonn and Bayerisches Staatsministerium für Unterricht und Kultus Ministerium für Kultur der Deutschen Demokratischen Republik Bundesministerium für Unterricht und Kunst, Vienna * Hereafter referred to as the NMA. The predecessor, the "Alte Mozart-Edition" (Old Mozart Edition) is referred to as the AMA. International Mozart Foundation, Online Publications VI New Mozart Edition Work Group 5 · Vol. 8 La finta Giardiniera CONTENTS Sub-volume 1: Editorial Principles ……………..…………………………………………………….. VII Foreword………….…….. …………….……………………………………………… VIII Facsimile: A page from the currently inaccessible autograph…………………………... XXII Facsimile: Page 1 of the "Vienna copy"…………………………………………………. XXIII Facsimile: A page from the "Nám ěšť copy"……………………………………………. XXIV Facsimiles: Title page, list of characters and beginning of the first act from the German text-book, Augsburg, 1780……………………………………. XXV Facsimiles: Title page and dedication from the libretto for Pasquale Anfossi’s La finta giardiniera , Rome, Carnival, 1774……………………………………… XXVI Dramatis Personae , orchestral scoring………………………………………………….. 2 Index of scenes and numbers (Sub-volume 1)…………………………………………… 3 Overtura…………………………………………………………………………………... 5 Atto primo – Act I……………………………………………………………………….. 12 Sub-volume 2: Index of scenes and numbers (Sub-volume 2)…………………………………………… V Atto secondo – Act II……………………………………………………………………. 255 Atto terzo – Act III………………………………………………………………………. 484 Appendix Changes for the German Singspiel version, Augsburg, 1780……………………………. 575 International Mozart Foundation, Online Publications VII New Mozart Edition Work Group 5 · Vol. 8 La finta Giardiniera EDITORIAL PRINCIPLES The New Mozart Edition (NMA) provides for research footnotes, all additions and completions in the music purposes a music text based on impeccable scholarship volumes are indicated, for which the following scheme applied to all available sources – principally Mozart’s applies: letters (words, dynamic markings, tr signs and autographs – while at the same time serving the needs numbers in italics; principal notes, accidentals before of practising musicians. The NMA appears in 10 Series principal notes, dashes, dots, fermatas, ornaments and subdivided into 35 Work Groups: smaller rests (half notes, quarters, etc.) in small print; slurs and crescendo marks in broken lines; grace and I: Sacred Vocal Works (1–4) ornamental notes in square brackets. An exception to II: Theatrical Works (5–7) the rule for numbers is the case of those grouping III: Songs, Part-Songs, Canons (8–10) triplets, sextuplets, etc. together, which are always in IV: Orchestral Works (11–13) italics, those added editorially in smaller print. Whole V: Concertos (14–15) measure rests missing in the source have been VI: Church Sonatas (16) completed tacitly. VII: Large Solo Instrument Ensembles (17–18) The title of each work as well as the VIII: Chamber Music (19–23) specification in italics of the instruments and voices at IX: Piano Music (24–27) the beginning of each piece have been normalised, the X: Supplement (28–35) disposition of the score follows today’s practice. The wording of the original titles and score disposition are For every volume of music a Critical provided in the Critical Commentary in German. The Commentary (Kritischer Bericht) in German is original notation for transposing instruments has been available, in which the source situation, variant retained. C-clefs used in the sources have been replaced readings or Mozart’s corrections are presented and all by modern clefs. Mozart always notated singly other special problems discussed. occurring sixteenth, thirty-second notes etc. crossed- Within the volumes and Work Groups the through, (i.e. instead of ); the notation completed works appear in their order of composition. therefore does not distinguish between long or short Sketches, draughts and fragments are placed in an realisations. The NMA generally renders these in the Appendix at the end of the relevant volume. Sketches modern notation etc.; if a grace note of this etc. which cannot be assigned to a particular work, but kind should be interpreted as ″short ″ an additional only to a genre or group of works, generally appear in ″ ″ chronological order at the end of the final volume of indication is given over the relevant grace note. the relevant Work Group. Where an identification Missing slurs at grace notes or grace note groups as regarding genre is not possible, the sketches etc. are well as articulation signs on ornamental notes have published in Series X, Supplement (Work Group 30: generally been added without comment. Dynamic Studies, Sketches, Draughts, Fragments, Various). Lost markings are rendered in the modern form, e.g. f and p compositions are mentioned in the relevant Critical instead of for: and pia: Commentary in German. Works of doubtful The texts of vocal works have been authenticity appear in Series X (Work Group 29). adjusted following modern orthography. The realisation Works which are almost certainly spurious have not of the bass continuo, in small print, is as a rule only been included. provided for secco recitatives. For any editorial Of the various versions of a work or part of departures from these guidelines refer to the relevant a work, that version has generally been chosen as the Foreword and to the Critical Commentary in German. A comprehensive representation of the basis for editing which is regarded as final and rd definitive. Previous or alternative forms are reproduced editorial guidelines for the NMA (3 version, 1962) in the Appendix. has been published in Editionsrichtlinien musikalischer The NMA uses the numbering of the Denkmäler und Gesamtausgaben [Editorial Guidelines Köchel Catalogue (KV); those numberings which differ for Musical Heritage and Complete Editions]. in the third and expanded edition (KV 3 or KV 3a ) are Commissioned by the Gesellschaft für Forschung and given in brackets; occasional differing numberings in edited by Georg von Dadelsen, Kassel etc., 1963, pp. the sixth edition (KV 6) are indicated. 99-129. Offprints of this as well as the Bericht über die With the exception of work titles, entries in Mitarbeitertagung und Kassel, 29. – 30. 1981 , the score margin, dates of composition and the published privately in 1984, can be obtained from the Editorial Board of the NMA. The Editorial Board International Mozart Foundation, Online Publications VIII New Mozart Edition II/5/8 La finta Giardiniera FOREWORD The performance history of Mozart’s dramma mediocre approval amongst the audience; the approval giocoso La finta giardiniera (previously classified as an was many degrees stronger for the finta giardiniera, “opera buffa”) has been depicted in detail by Robert presented in the other theater called teatro delle Dame Münster in five essays (since 1965) 1. He was able to and set to music by the most celebrated music director base his work on several new sources which also Anfossi ]” 2. provide important support for this edition of the work A libretto is extant from this performance 3, within the framework of the NMA. In an exhibition on probably also used by Mozart. The poet of this text, the theme of La finta giardiniera . Mozart’s stay in here as in the other Finta librettos we know from the Munich 1774/75 in the Bayerische Staatsbibliothek, 18th century 4, is not named. The question of the poet’s Munich from 13 January to 28 February 1975, Münster identity has therefore led to much speculation and to took the opportunity of presenting a large portion of the false attributions in Mozart research. The earliest material to the public. Much in the following remarks is attribution came from the ward of the music department indebted to the relevant works by Münster on themes of the Austrian National Library in Vienna, Joseph relating to Mozart’s La finta giardiniera . Mantuani (1860-1933), who named Raniero de' Calzabigi (1714 to 1795) as poet with the additional I. Beginnings and development remark, “ textum auxit Marcus Coltellini, in linguam germanicam vertit … Schachtner? ”5. According to this, The suggestion of setting the material of the Mantuani seems to have doubted Schachtner’s finta giardiniera for the Court in Munich came very authorship of the German translation; sources for his probably from Rome. There