New Mozart Edition II/5/7 Lucio Silla WOLFGANG AMADEUS MOZART Series II Works for the Stage WORK GROUP 5: OPERAS AND SINGSPIELS VOLUME 7: LUCIO SILLA SUB-VOLUME 1: ACT I PRESENTED BY KATHLEEN KUZMICK HANSELL 1986 International Mozart Foundation, Online Publications IV New Mozart Edition II/5/7 Lucio Silla 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 V New Mozart Edition II/5/7 Lucio Silla CONTENTS Sub-volume 1: Editorial Principles ……………..…………………………………………………….. VII Foreword………….…………………….……………………………………………… IX Facsimile: first page of the autograph: beginning of the Overtura………………………. XLIV Facsimile: autograph Atto primo , leaf 91 r: beginning of Scena VII …………………….. XLV Facsimiles: autograph Atto secondo , leaf 14(13) v and leaf 15(14) r: from the Recitativo in Scena II…………………………………………………………….. XLVI Facsimile: autograph Atto secondo , leaf 43 v: end of the recitative preceding No. 11……. XLVIII Facsimile: autograph Atto secondo , leaf 63 v: end of the recitative preceding No. 12……. XLIX Facsimiles: autograph Atto terzo , leaf 23 v and leaf 24 r: from No. 20……………………. L Facsimile: Turin score copy: a page from No. 21………………………………………... LII Facsimile: Turin score copy: a page from No. 22………………………………………... LIII Facsimiles: title page and pages [9] and [10] from the Milan libretto …………………... LIV Facsimiles: pages [11], [12] and [12a] from the Milan libretto …………………………. LV Facsimile: Fabrizio Galliari: Rovine. Lucio Silla Atto primo, Mutazione 1 / Scene 1 ….. LVI Facsimile: Fabrizio Galliari: Sepolcri. Lucio Silla Atto primo, Mutazione 3 / Scene 2 … LVII Dramatis Personae , orchestral scoring………………………………………………..… 2 Index of scenes and numbers……………………………………………………………. 3 Overtura…………………………………………………………………………………. 5 Atto primo……………………………………………………………………………….. 25 Sub-volume 2 Atto secondo……………………………………………………………………………... 179 Atto terzo……………………………………………………………………………….... 371 Appendix No. 14 with ornamented vocal line ………………………………………………………. 471 International Mozart Foundation, Online Publications VI New Mozart Edition II/5/7 Lucio Silla 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: Keyboard 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 VII New Mozart Edition II/5/7 Lucio Silla FOREWORD GENESIS surviving documents and from correspondence between Vienna and Milan that for the wedding 1. The Commission from Milan entertainments of October 1771 court officials and even Empress Maria Theresa herself exerted Mozart and his father were in Verona in March of pressure on the theater management with regard to 1771 preparing for their return to Salzburg after choice of singers, librettists and composers 2, such more than a year's sojourn in Italy when they a degree of involvement was highly unusual. For received two most welcome pieces of news: the ordinary Carnival operas the chief concerns were financial and only secondarily artistic, and ″Received letter from Milan yesterday announcing these were solely the domain of the theater’s a communication from Vienna received in impresario. Before the ascension of Archduke Salzburg and which will set you in astonishment, Ferdinand in October 1771 the impresario’s rights but which will bring immortal honor to our son. were exclusive and governmental interference in The same letter also brought me another bit of the theater’s normal operations minimal. pleasant news .″1 There is no doubt, however, that the young While the first allusion is to the flattering Archduke, who became passionately involved in invitation from the court at Vienna for the young the theater at Milan, desired leeway to exert Wolfgang to compose the Serenata ( Ascanio in greater artistic control. Hence when two years Alba ) for the wedding at Milan of Archduke later a new contract