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Martin y Soler, Vincente. (1754–1806). L'arbore di Diana. [Dramma giocoso in due atti.] (Excerpts in piano-vocal score). Vienna: Artaria Compagnie. [ca. 1787]. First. Seventeen excerpts from the opera, written to a libretto by Lorenzo da Ponte. Oblong folio. Engraved. "Racolta" number of each item (see contents, below) doubles as PN. 122 p.; each number with separate title page and pagination. Text and titles in Italian. Circular handstamp of "Alessandro Kraus [illegible], Firenze" to title of overture, first page of music and last page of music. Twentieth-century boards, quarter cloth, with brown morocco label and gilt lettering to upper board; red edges. 8.75 x 13 inches (22.5 x 33 cm). Closely trimmed to foot, with slight loss to pp. 5/6 in the fourth item (listed as "No. 4" below). Otherwise in fine condition. RISM M 788; not in BUC or Hirsch.
The rare first separately issued publications of this music from Da Ponte's third collaboration with Martin, commissioned for the marriage of Joseph II's niece, Maria Theresa, and first performed at the Burgtheater, Vienna, Oct. 1, 1787. Da Ponte claimed 'L'Arbore di Diana was the best of all the operas I have ever composed...' (See Grove Opera, 1: 162.) The numbers in the following table of contents refer to the somewhat later complete first edition of the complete vocal score (Bonn: Simrock, 1793, PN 27):
Overtura (PN 156)
[No. 2] Cavatina / Se il voi saper, io Sono Amor / Con Recitativo... Racolta d'Arie No. 43
[No. 3] Cavatina / Tranquilli Soggiorni... Racolta d. Arie No. 34
[No. 4] Aria / Da parte, le scherzi... Racolta d'Arie No. 48
[No. 6] Terzetto / Dove vado, dove fuggo... Racolta d'Arie No. 42
[No. 8] Aria / Lieti e amorosi i guardi... Racolta d'Arie No. 46
[No. 9] Quartetto / Qualche diavolo qui s'asconde... Racolta d'Arie No. 41
[No. 11] Aria / Si dice qua e là... Racolta d'Arie No. 35
[No. 14] Aria / Qual piacer prova il Cor... Racolta d'Arie No. 36
[No. 15] Duetto Occietto furbetto... Racolta d'Arie No. 37
[No. 16, excerpt] Canone / Oh Dio, mancar mi sento... ricavato dal primo Finale... Racolta d'Arie No. 45
[No. 19] Quartetto / Pietà pietà de noi... Racolta d'Arie No. 44
[No. 21.] Aria / Ah quante volte mai... Racolta d'Arie No. 40
[No. 24] Aria / Ah presto fuggiamo... Racolta d'Arie No. 38
[No. 25] Aria / Sereno raggio... Racolta d'Arie No. 39
[No. 26] Aria / Se un occhiata tenera... Racolta d'Arie No. 47
[No. 28] Duetto / Pianin pianino lo chiamerò... Racolta d'Arie No. 40
The opera was the greatest success among the five collaborations of Martin and Da Ponte; the latter worked on Mozart's Don Giovanni libretto and a third libretto for Salieri at the same time. After its first performance at the Vienna Burgtheater, on October 1, 1787, the opera was soon produced all over Europe, from Madrid to St. Petersburg. There have been a few revivals in the twenty-first century, most recently at the Minnesota Opera in St. Paul (2017). The hand stamp suggests that the score, already bound in the present scope but certainly not in the present boards, was owned by either the ethnomusicologist Alessandro Kraus (1853–1931) or his German-born father of the same name (1820–1904), who both lived in Florence (Firenze) as citizens of San Marino.
Martin y Soler, Vincente. (1754–1806). L'arbore di Diana. [Dramma giocoso in due atti.] (Excerpts in piano-vocal score). Vienna: Artaria Compagnie. [ca. 1787]. First. Seventeen excerpts from the opera, written to a libretto by Lorenzo da Ponte. Oblong folio. Engraved. "Racolta" number of each item (see contents, below) doubles as PN. 122 p.; each number with separate title page and pagination. Text and titles in Italian. Circular handstamp of "Alessandro Kraus [illegible], Firenze" to title of overture, first page of music and last page of music. Twentieth-century boards, quarter cloth, with brown morocco label and gilt lettering to upper board; red edges. 8.75 x 13 inches (22.5 x 33 cm). Closely trimmed to foot, with slight loss to pp. 5/6 in the fourth item (listed as "No. 4" below). Otherwise in fine condition. RISM M 788; not in BUC or Hirsch.
The rare first separately issued publications of this music from Da Ponte's third collaboration with Martin, commissioned for the marriage of Joseph II's niece, Maria Theresa, and first performed at the Burgtheater, Vienna, Oct. 1, 1787. Da Ponte claimed 'L'Arbore di Diana was the best of all the operas I have ever composed...' (See Grove Opera, 1: 162.) The numbers in the following table of contents refer to the somewhat later complete first edition of the complete vocal score (Bonn: Simrock, 1793, PN 27):
Overtura (PN 156)
[No. 2] Cavatina / Se il voi saper, io Sono Amor / Con Recitativo... Racolta d'Arie No. 43
[No. 3] Cavatina / Tranquilli Soggiorni... Racolta d. Arie No. 34
[No. 4] Aria / Da parte, le scherzi... Racolta d'Arie No. 48
[No. 6] Terzetto / Dove vado, dove fuggo... Racolta d'Arie No. 42
[No. 8] Aria / Lieti e amorosi i guardi... Racolta d'Arie No. 46
[No. 9] Quartetto / Qualche diavolo qui s'asconde... Racolta d'Arie No. 41
[No. 11] Aria / Si dice qua e là... Racolta d'Arie No. 35
[No. 14] Aria / Qual piacer prova il Cor... Racolta d'Arie No. 36
[No. 15] Duetto Occietto furbetto... Racolta d'Arie No. 37
[No. 16, excerpt] Canone / Oh Dio, mancar mi sento... ricavato dal primo Finale... Racolta d'Arie No. 45
[No. 19] Quartetto / Pietà pietà de noi... Racolta d'Arie No. 44
[No. 21.] Aria / Ah quante volte mai... Racolta d'Arie No. 40
[No. 24] Aria / Ah presto fuggiamo... Racolta d'Arie No. 38
[No. 25] Aria / Sereno raggio... Racolta d'Arie No. 39
[No. 26] Aria / Se un occhiata tenera... Racolta d'Arie No. 47
[No. 28] Duetto / Pianin pianino lo chiamerò... Racolta d'Arie No. 40
The opera was the greatest success among the five collaborations of Martin and Da Ponte; the latter worked on Mozart's Don Giovanni libretto and a third libretto for Salieri at the same time. After its first performance at the Vienna Burgtheater, on October 1, 1787, the opera was soon produced all over Europe, from Madrid to St. Petersburg. There have been a few revivals in the twenty-first century, most recently at the Minnesota Opera in St. Paul (2017). The hand stamp suggests that the score, already bound in the present scope but certainly not in the present boards, was owned by either the ethnomusicologist Alessandro Kraus (1853–1931) or his German-born father of the same name (1820–1904), who both lived in Florence (Firenze) as citizens of San Marino.