Mercadante, Saverio. (1795-1870). Autograph Letter mentioning Rossini.
An interesting autograph letter from the prolific Italian opera composer whose works contributed significantly to Verdi's dramatic technique, and who also encouraged the revival of Italian instrumental music. Dated Novara, October 12, 1836 and addressed to the Marchese Zampieri in Bologna. Mercadante writes that although he would be glad to teach the marquess, his traveling schedule would not permit regular music lessons. He goes on to ask the marquess to introduce an amateur musician to "the great maestro Rossini." 2 pp. of text on a bifolium, signed and dated on the third side and addressed on the fourth. Several small splits along the top edge, not affecting the text; one large hole and remnants of seal from opening; fragile but overall in very good condition. 25 x 19.5 cm unfolded.
Translated from the Italian: "Forgive me for not replying to your kind note before now, [because I was] absent on business. Regarding your suggestion, I would be very glad to instruct you in whatever small way I can, but first of all I must let you know that I travel several months out of the year for the staging of the operas I compose, with the result that I would not be able to give lessons with regularity, unless the person had the means and will to follow me around like a spaniel which I have had with me for four years. The price for 20 lessons in each month would be 100 francs. Let me take advantage of this letter to ask you to deign to present to the great Maestro Rossini a true admirer of his, Signor Angelo Minoli, a distinguished amateur musician to whom I have given some lessons, and who is now traveling for pleasure. He will come to you and be very grateful for this."
While Mercadante may not have retained the international celebrity of Gaetano Donizetti or Gioachino Rossini beyond his own lifetime, he composed as impressive a number of works as either; and his development of operatic structures, melodic styles and orchestration contributed significantly to the foundations upon which Giuseppe Verdi built his dramatic technique.
"In retrospect, Mercadante saw his years in Novara (1833–40) as a period of serene creativity; he had his greatest artistic successes at this time. He withdrew from opera for a year and wrote a great deal of functional sacred music for daily performance by the cathedral cappella. He concentrated mainly on compositions for the chief liturgical festivals of Novara, and since he had additional solo singers and an orchestra as well as the cathedral choir available, he was able to write grand ceremonial works, including a Missa solemnis for the feast of the Assumption. The real advantage of the arrangement, however, was that the dates of these church festivals, Novara’s proximity to Turin, Milan and Venice, and the provision in his contract for generous leave of absence enabled him to continue his operatic activities, producing two or three new operas every year, and staging about the same number of new productions of his own earlier operas." (Michael Wittmann, New Grove Online.)
Mercadante, Saverio. (1795-1870). Autograph Letter mentioning Rossini.
An interesting autograph letter from the prolific Italian opera composer whose works contributed significantly to Verdi's dramatic technique, and who also encouraged the revival of Italian instrumental music. Dated Novara, October 12, 1836 and addressed to the Marchese Zampieri in Bologna. Mercadante writes that although he would be glad to teach the marquess, his traveling schedule would not permit regular music lessons. He goes on to ask the marquess to introduce an amateur musician to "the great maestro Rossini." 2 pp. of text on a bifolium, signed and dated on the third side and addressed on the fourth. Several small splits along the top edge, not affecting the text; one large hole and remnants of seal from opening; fragile but overall in very good condition. 25 x 19.5 cm unfolded.
Translated from the Italian: "Forgive me for not replying to your kind note before now, [because I was] absent on business. Regarding your suggestion, I would be very glad to instruct you in whatever small way I can, but first of all I must let you know that I travel several months out of the year for the staging of the operas I compose, with the result that I would not be able to give lessons with regularity, unless the person had the means and will to follow me around like a spaniel which I have had with me for four years. The price for 20 lessons in each month would be 100 francs. Let me take advantage of this letter to ask you to deign to present to the great Maestro Rossini a true admirer of his, Signor Angelo Minoli, a distinguished amateur musician to whom I have given some lessons, and who is now traveling for pleasure. He will come to you and be very grateful for this."
While Mercadante may not have retained the international celebrity of Gaetano Donizetti or Gioachino Rossini beyond his own lifetime, he composed as impressive a number of works as either; and his development of operatic structures, melodic styles and orchestration contributed significantly to the foundations upon which Giuseppe Verdi built his dramatic technique.
"In retrospect, Mercadante saw his years in Novara (1833–40) as a period of serene creativity; he had his greatest artistic successes at this time. He withdrew from opera for a year and wrote a great deal of functional sacred music for daily performance by the cathedral cappella. He concentrated mainly on compositions for the chief liturgical festivals of Novara, and since he had additional solo singers and an orchestra as well as the cathedral choir available, he was able to write grand ceremonial works, including a Missa solemnis for the feast of the Assumption. The real advantage of the arrangement, however, was that the dates of these church festivals, Novara’s proximity to Turin, Milan and Venice, and the provision in his contract for generous leave of absence enabled him to continue his operatic activities, producing two or three new operas every year, and staging about the same number of new productions of his own earlier operas." (Michael Wittmann, New Grove Online.)