studi musicali nuova serie.anno numero 01 Accademia Nazionale di Santa Cecilia.Fondazione

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1 studi musicali nuova serie.anno numero 01 Accademia Nazionale di Santa Cecilia.Fondazione

2 Studi musicali. Nuova serie Rivista semestrale di studi musicologici Direttore Agostino Ziino Redazione Teresa M. Gialdroni

3 Studi musicali Nuova serie, ii, 2011, n. 1

4 Questo volume è stato pubblicato in collaborazione con ARCUS SpA Progetto grafico Silvana Amato Impaginazione Raffaella Barbetti Composizione tipografica in Cycles di Summer Stone «Studi musicali» pubblica articoli riguardanti tutti i campi della ricerca musicologica in italiano, inglese, francese, tedesco e spagnolo. Gli articoli proposti per una eventuale pubblicazione possono essere inviati in copia cartacea al seguente indirizzo: Agostino Ziino, via Giovanni Antonelli, 21, Roma, e, in allegato a una , all indirizzo La pubblicazione è subordinata al parere di due studiosi specializzati cui l articolo sarà sottoposto in forma anonima. Una volta accettato, l articolo dovrà essere redatto secondo le norme editoriali della rivista disponibili in italiano e in inglese al seguente indirizzo: Per gli annunci pubblicitari rivolgersi all indirizzo Nessuna parte di questo periodico può essere riprodotta o trasmessa in qualsiasi forma o con qualsiasi mezzo elettronico, meccanico o altro senza l autorizzazione scritta dei proprietari dei diritti e dell editore issn Accademia Nazionale di Santa Cecilia Fondazione, Roma Tutti i diritti riservati studimusicali.santacecilia.it Soci Fondatori dell Accademia Nazionale di Santa Cecilia Istituzionali: Stato italiano, Roma capitale, Provincia di Roma, Camera di Commercio di Roma, Regione Lazio Privati: enel, bnl-paribas, Telecom, Finmeccanica, Autostrade per l Italia, Astaldi, Poste Italiane, Ferrovie dello Stato Sponsor istituzionale: Lottomatica Media Sponsor: La Repubblica

5 Sommario 7 Gioia Filocamo Bambino in quella maledetta Ungaria : Ippolito I d Este e la musica strumentale 25 Anthony M. Cummings and Alexander Dean The «Great Italian Songbook» of the Early Cinquecento: Arrangements of Frottole for Voice and Lute 49 Anthony Hart A Re-evaluation of the Manuscripts of the Keyboard Sonatas of Domenico Scarlatti in the Santini Collection in Münster 67 Giusy De Berardinis Nuove acquisizioni sulla vita e sulle opere di Ferdinando Turrini 115 Matteo Giuggioli L idillio minacciato. Figura e intreccio nei Quintetti per archi di Boccherini 171 Sergio Durante La favola, la storia, l amore: aspetti di coerenza creativa nell ultimo Mozart 185 Alberto Fassone Riflessioni sul fenomeno della alternanza dei toni nel linguaggio sinfonico di Gustav Mahler 221 Angela Carone Aspetti compositivi di Bewegung di Luciano Berio nella cornice della sua produzione degli anni Settanta

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7 A Re-evaluation of the Manuscripts of the Keyboard Sonatas of Domenico Scarlatti in the Santini Collection in Münster* Anthony Hart Introduction In his 1970, unpublished, dissertation Professor Joel Sheveloff identified four major collections of the keyboard sonatas of Domenico Scarlatti, two Spanish and two Italian in origin.1 Since there are no known autograph copies of Scarlatti s works two copies that originated in Spain have been accepted as the definitive source of these works. These are identified by the name of the place where they currently reside, Parma and Venice. Two further sets have also been considered as important sources. One is held in the Diözesanbibliothek, Münster and another held in the Bibliothek. der Gesellschaft der Musikfreunde, Vienna. Both of which were owned by the Roman Bibliophile Fortunato Santini. Until recently, the names of scribes of the Münster sources were unknown. Sheveloff identified two major scribes of these manuscripts, which he called M1 and M2. Speculations on the origin of this set have been based on assumptions. Scholars have accepted the * An extended version of the paper; The Münster Scarlatti Manuscripts revisited given at the xvi Convegno della Società Italiana di Musicologia (Roma, October 2009). 1 Joel Sheveloff, The Keyboard Sonatas of Domenico Scarlatti: A re-evaluation of the present state of knowledge in the light of Sources, PhD Dissertation, Brandeis University,

8 anthony hart latter two collections since the 1930 s as being derived from the Parma and Venice sets in Italy during the latter half of the eighteenth century. This paper re-evaluates the Münster Manuscripts in the light of new evidence as to one of the scribes. It proposes the idea that the Münster set originates closer to the original Spanish source. Using Sheveloff s detailed analysis of the manuscripts it looks at the possible origins of the manuscripts and their significance in our understanding of Scarlatti s works. Brief Overview of the Scarlatti Manuscripts Research The first scholar to publish his researches on the Scarlatti sonatas was Walter Gerstenberg in 1933 in his book Die Klavierkompositionen Domenico Scarlattis.2 This was followed by Ralph Kirkpatrick in his study of Scarlatti in and an unpublished dissertation by Joel Sheveloff in Later scholars such as Pagano (1985)5 and Sutcliffe (2003)6 do not go into details of the manuscript collections. All of these scholars identify four major collections of the Scarlatti Sonatas. These are identified by the name of the library where they reside today. Two sets have been identified as being compiled in Spain at the time of Scarlatti and are considered as the definitive sets. As no autograph manuscripts of the Scarlatti sonatas have become known, the Spanish copies have become accepted as prime sources. These two sets are held in the following libraries: Biblioteca Marciana in Venice7 and is referred to as the Venice set, Sezione Musicale of the Biblioteca Palatina in Parma,8 referred to as the Parma set. 2 Walter Gerstebenrg, Die Klavierkompositionen Domenico Scarlattis, Regensburg, Gustave Bosse, Ralph Kirkpatrick, Domenico Scarlatti, New Jersey, Princeton University Press, Joel Sheveloff, The Keyboard Sonatas of Domenico Scarlatti cit. 5 Roberto Pagano, Scarlatti, Alessandro e Domenico: due vita in una, Milano, Mondadori, Published in English as Scarlatti, Alessandro and Domenico. Two Lives in One. translated by Frederick Hammond, Hillsdale NY, Pendragon Press, W. Dean Sutcliffe, The keyboard sonatas of Domenico Scarlatti and eighteenth-century musical style, Cambridge, Cambridge University Press, Venezia, Biblioteca Nazionale Marciana, (RISM Siglum I-Vnm), Mss , 15 Volumes. 8 Biblioteca Palatina, Sezione Musicale, Conservatorio Arrigo Boito, Parma, (RISM Siglum I-PAc) A.G , 15 volumes. 50

9 keyboard sonatas of domenico scarlatti in the santini collection A further set, believed to be copied in Italy, is held in the Santini collection of the Diözesanbibliothek in Münster,9 known as Münster, and a set, thought to be copied from the Münster set, which is held in the Gesellschaft der Musikfreunde in Vienna,10 known as Vienna I. The Münster and the Vienna sets are described by Kirkpatrick as of secondary importance, but Sheveloff considers these to be important. The Münster collection is in an Italian hand and so it was assumed by later scholars that these were later copies of the Parma and Venice sets, carried out in the second half of the 18 th Century in Italy after the two Spanish sets arrived in Italy. Gerstenberg goes as far as to say that these originate from the sixth decade of the century.11 He, however, does not explain the reasons for his decision, but reasons are clear: the dates in the volumes are all from the sixth decade (1754, 1756, and 1757). Both the Parma and Venice sets consist of fifteen volumes, the Münster set, five and the Vienna I set, seven. This paper focuses on the possible source of the Münster set and uses the extensive research from Sheveloff s work. The Assumptions Two major assumptions have been made about this set. One is that the manuscripts were copies of the Parma and Venice sets made in the late eighteenth century in Italy. This is based on the fact that they are in an Italian hand. Sheveloff questions the idea that the Münster and Vienna manuscripts were actual copies of the Parma and Venice sets.12 Therefore, for this discussion I shall use the word compiled. The second assumption is that the five volumes were conceived as a coherent set, although various hands are attributed to the volumes. These two assumptions are still held today. 9 Diözesanbibliothek, Santini Sammlung, Münster (RISM Siglum D-MÜs ), SANT Hs 3964 to 3968, 5 Volumes. 10 Bibliothek der Gesellschaft der Musikfreunde, Vienna, (RISM Siglum A-Wgm), vii Gerstenberg, Die Klavierkompositionen cit., p. 9: «Auch die HSS Santini fragen teilweise Jahreszahlen Angeben, die sich aber hier, im Gegensatz zu V [Venezia], auf das 6. Jahrzehnt des 18. Jahrhunderts beschränken». 12 Sheveloff, The Keyboard Sonatas cit., pp

10 anthony hart I shall reconsider both of these assumptions based upon further evidence of the identity of one of the scribes of the Münster set. The Challenge to the Assumptions Initially two assumptions were made regarding these manuscripts: They were compiled in Italy in the late eighteenth century and that they formed a coherent set and were compiled as such. Sheveloff accepts these assumptions and, after a detailed examination of the manuscripts, concludes that the most likely source is the Parma set. He lists his conclusions as: 1. There are many instances where readings in the Venice and Parma sets differ but Münster transmits the Parma readings. 2. The pairing and other grouping of pieces in Münster follow Parma. 3. Seventeen pieces in Parma but not in Venice are copied in Münster. However, he also lists some unexplained differences between Parma and Münster: 1. With the exception of the first volume of Münster, which follows the order of the second half of the thirteenth Volume of Parma and all of the fourteenth and fifteenth volumes, the volume order does not follow Parma. 2. In addition there are six sonatas in Münster that do not appear in Parma. In fact, there are two pieces in the second volume of the Münster set which are unique and do not appear in any other source.13 Let us examine the assumption that all volumes were compiled at the same time and in Italy. Consideration needs to be given to the fact that there were Italians at the court of Spain so just because they are in an Italian hand does not necessarily mean that they were compiled in Italy. Sheveloff identifies nine different hands in the compilation of the set. Volumes i, ii and iii are in one hand, which he calls as M1. These volumes seem to comprise a set, as they appear to be complete and indexed. Volume iv is in another hand, which Sheveloff identifies as M2. Volume v comprises manuscripts in nine different hands the major contributors being M1 and M2.14 His conclusions 13 Sheveloff, The Keyboard Sonatas cit., pp Ivi, pp

11 keyboard sonatas of domenico scarlatti in the santini collection are based upon these being a coherent set owned or commissioned by one collector. However, if we look carefully at these there appears to three different phases on the compilation of the set (see figure 1). MÜs I MÜs II MÜs III MÜs IV MÜs V Scribes: M1 M2 M1+M2 +7 other hands Phases: I II III Figure 1. Divisions of the Münster Manuscripts I have decided to treat these phases separately. The three phases I have identified are: - Phase 1 Volumes i, ii and iii - Phase 2 Volume iv - Phase 3 Volume v Let us first consider Phase 1: The assumption was that these were copied in Italy after the return of the castrato Farinelli15 in the second half of the eighteenth 15 Farinelli was the adopted name of Carlo Broschi ( ). These copies were brought back to Italy by the famous castrato singer Farinelli on his return to Italy after serving at the Spanish court. The copies which Farinelli inherited were the personal property of the queen. While at the Spanish court Farinelli became a close friend of Scarlatti s and a favourite of the queen. The queen, Maria Barbara, left the Scarlatti works to Farinelli in her testament. 53

12 anthony hart century. What if we consider the possibility that these were compiled in Spain at the same time as the Parma and Venice sets? Volume i of Münster does not start until the second half of Parma xiii and then follows, with some juxtaposition of some of the sonatas, through volumes xiv and xv (see table 1). If the compiler had competed sources to hand why start to copy the final volumes first? It is possibly that the decision to compile this third set (Parma and Venice being the other two) was not made until the time Parma xiii was being copied. From the observation of the ordering of the volumes, we can conclude that these were not just copied. I have used Parma as the source set, as this appears to be the most reliable as to order the sonatas were copied. The remaining volumes seem to be in a quasi-reverse order to the Parma set but not always in the same sequence. I believe that these volumes were compiled at the same time as the Parma set but independent of the scribe of the Parma set. If the manuscripts were not copied from Parma or Venice then what was the source? Münster Parma 1 XIII 13 2 XIII 14 3 XIII 15 4 XIII 16 5 XIII 17 6 XIII 18 7 XIII 19 8 XIII 20 9 XIII XIII XIII XIII XIII XIII XIII XIII XIII XIII XIV 1 20 XIV 2 21 XIV 3 22 XIV 4 23 XIV 5 24 XIV 6 25 XIV 7 26 XIV 8 27 XIV 9 28 XIV XIV XIV XIV XIV XIV XIV XIV XIV XIV XIV XIV XIV XIV XIV XIV XIV 24 54

13 keyboard sonatas of domenico scarlatti in the santini collection 45 XIV XIV XIV XV 7 49 XV 8 50 XIV XV 9 52 XV XV XV XV XV XV 1 58 XV 2 59 XV 4 60 XV 3 61 XV 5 62 XV 6 63 XV XV XV XV XV XV XV XV XV XV XV XV XV XV XV XV XV XV XV XV XV XV XV XV XV XV XV XV 42 Table 1. Comparison of Münster i to Prime source (Parma)16 Sheveloff puts forward the case for an intermediate set, maybe direct from the composer, from which the Parma set was compiled.17 This seems quite likely as the Parma manuscripts are fair copies and would have been copied from another source. If this was the case then I believe the third set (Münster) was also copied from this, now lost original. I propose the following theory: The compiler of Münster i used the same source copies (Sheveloff s intermediate set) as the compiler of the Parma set concurrently with the copying of Parma. After the completion of the Parma set and the completion of Münster i of the Münster the scribe proceeded to backtrack to complete his set. If we compare the order of Parma with the order of Münster we see that the order appears to be reversed but not in the same sequence. There are blocks in which the 16 Source: Kirkpatrick, Domenico Scarlatti cit., pp Sheveloff, The Keyboard Sonatas cit., pp

14 anthony hart individual sonatas follow Parma, but the blocks follow a different order. Table 2 shows the ordering of Münster ii as an example. We can see that they are grouped in batches; the sequence within each batch is the same as the Parma set. The batches, however, are not in the same sequence. For instance, volume ii uses Parma sonatas from volumes viii, ix and x. It then jumps from v, vi, xii and xiii. Which indicates that these were compiled from, possibly, the same source material which was stored in groups. Münster ii contains another mystery. Sonatas 51 and 52 are unique to the set. They do not appear in any other source. Sheveloff questions these, but comes to the conclusion that they are authentic.18 In an article written in Sheveloff reconsiders these two sonatas in relationship to the Münster collection. He considers this a deeply troubling fact and mentions that they do not resemble any of the pieces in Parma or Venice with similar K numbers.20 He suggests that they should fall between K280 and K320,21 if authentic. Sheveloff made this assumption based on stylistic grounds. If we consider where they come in relationship to the Parma set, they would have come between Parma xiii/4 and xiii/5. These two sonatas Kirkpatrick gives the numbers K457 and K458. The two Münster unica sonatas were given the numbers K452 and 453, which preceded the numbers allocated to Parma xiii. He continues to mention the slovenly way these were copied and further comments that neither seem to be a distinguished example and suggests that Scarlatti decided against inclusion in the official manuscript only to have M1 include them. These observations strengthen the theory that these were not direct copies of these sources but originated from the same source. Münster iii shows a similar pattern. For the purpose of this discussion, I have not included the full analysis here.22 It is possible that after the Parma manuscripts were copied from the intermediary set the originals were stored, in batches. The compiler of the Münster set extracted 18 Ivi, p Joel Sheveloff, Domenico Scarlatti: Tercentenary frustrations, «The Musical Quarterly», lxxi 1985, pp ; lxxii, 1986, pp Ivi, p Kirkpatrick s work also included cataloguing the sonatas to which he gave K numbers, the order of which, in his opinion, represented the order in which they were composed. 22 The contents of the remaining three Münster volumes are set out showing their relationship to other main sources including Parma in Kirkpatrick, Domenico Scarlatti cit., pp

15 keyboard sonatas of domenico scarlatti in the santini collection these batches to copy. The newest batch would have been on the top that would account for the apparent reverse order as compared with the Parma set. These batches were replaced and another, not necessary in the same order as Parma, copied. Due to other circumstances, which will be considered later, only three volumes and a few fascicles, which were probably intended as a fourth volume, were completed. Münster Parma 1 X 1 2 X 2 3 VIII 27 4 VIII 28 5 XIII 17 6 XIII 18 7 IX 7 8 IX 12 9 IX IX X 6 12 X 7 13 X 9 14 X v 7 16 v 8 17 v v v v v V VI VI VI VI XII 8 28 XII 9 29 XII XII XII XII XII XII XII XII XII XII XII XII XII XII XII XII XII XII XIII 1 48 XIII 2 49 XIII 3 50 XIII 4 51 * 52 * 53 XIII 5 54 XIII 6 55 XIII 7 56 XIII 8 57 XIII 9 58 XIII XIII XIII 12 Table 2. Comparison of Münster II to Prime source (Parma)23 23 Source: Kirkpatrick, Domenico Scarlatti cit., pp

16 anthony hart Let us now consider Münster iv, the handwriting in which has been identified by Sheveloff as M2. During the cataloguing of the Santini collection held by the Diözesanbibliothek in Münster for RISM by Klaus Kindler, the handwriting in Münster IV and a considerable part of Münster V was identified as being the same as a collection of manuscripts in the collection attributed to A. Reggio. This composer was cited by RISM as Antonino Reggio, Eighteenth Century. No other information about Antonino Reggio was available. (Figure 2). Further examination of these manuscripts indicates that Reggio s hand appears throughout Münster iv. It is interesting to note, also, that several annotations in Münster i, ii and iii are also in Reggio s hand. This fact is only recorded in the RISM catalogue and had never been published elsewhere. Therefore, current Scarlatti scholars were unaware of the fact. This fact was discovered in the 1980 s, some 40 years after Gerstenburg s initial investigation, 25 years after Kirkpatrick and just after Sheveloff s definitive work. Monsignor Antonino Reggio During the summer of 2000, my own investigation into the life and work of Antonio Reggio began. By 2008, I had been able to identify him as Monsignor Antonino Reggio, born in Aci Catena, a commune in the region of Catania in Sicily, in 1725 and died, possibly in Rome in the first quarter of the 1800 s. He was a priest, later a Monsignore in Rome and a member of a cadet branch of a Sicilian noble family, Principi di Campofiorito.24 Antonino was born in Aci Catena (Sicily) in 1725, one of 12 children. He was born into a cadet branch of a noble family. His father was the son of Luigi Reggio e Giuffrè, Principe di Campofiorito, from a second marriage. Luigi s son, Stefano by his first marriage was given the title of Principe, whereas Antonino s father, Gioacchino, acquired the title Nobili dei Principe di Aci. 24 Anthony Hart, Who was Dr Charles Burney s Mysterious Monsignor Reggio? A paper given at the xv Convegno della Società Italiana di Musicologia, Bergamo, October Now in «Fonti Musicali Italiane» xv, 2010, pp with the title Monsignor Antonino Reggio, cembalista e compositore del Settecento. 58

17 keyboard sonatas of domenico scarlatti in the santini collection Title Page of SANT 3967 (Scarlatti Ms, Münster IV) Title Page of SANT 3389 (Opera Prima of Antonino Reggio) Clefs from SANT 3967 (Scarlatti Ms, Münster IV) Clefs from SANT 3389 (Opera Prima of Antonino Reggio) Figure 2: Comparison of handwriting in Münster IV with handwriting in Antonino Reggio s autograph manuscript of his own work for cembalo, Opera Prima25 25 Examples published with kind permission of Diözesanbibliothek, Santini Sammlung, Münster. 59

18 anthony hart He was ordained a priest and probably entered the Monastery of Sant Angelo di Brolo, a small isolated commune between Palermo and Messina. In 1763, he appears in Rome. Whilst in Rome he was visited several times by Dr Charles Burney who described him as «likewise a pretty good composer and performer on the harpsichord and violoncello». In a summing up of his visit he mentions Reggio again: «I am indebted for some curious compositions, and for the conversations of several persons in Rome, eminent for their skill in the art, and learning in the science of sound; among whom [ ] Monsignor Reggio».26 Reggio is also mentioned by the eighteenth century Roman poet and writer Giovanni Gherado De Rossi. De Rossi describes Reggio as «a man of great intellect, erudite, and very deep in music».27 The all of Reggio s known original works are held in the Santini Collection in the Diözesanbibliothek, Münster.28 His works consist of sixteen manuscripts, comprising some 180 individual works, which date between 1745 and His early works range from sacred works, such as masses, oratorios and sacred songs, to aria settings of texts by Metastasio of which many are dedicated to members of the Sicilian nobility. From 1767, many of his manuscripts are dedicated to Roman nobility. His later works, from about 1770, contain 72 sonatas for cembalo. These manuscripts are annotated as originale which enabled Kindler to associate the scribe of Münster iv and a portion of Münster v to Reggio. These volumes and the fascicles, which were to become part of Münster v, then appeared in Italy and were acquired by Reggio who continued the sequence, possibly from the Parma set that was now in Italy. There are, however, many discrepancies between Parma and Münster iv that indicate that it may have been compiled from other sources other than Parma. There is some evidence of Reggio s hand in the first three volumes that would indicate that he was in possession of them. Münster v is made up of manuscripts in nine different hands, including M1 and M2. Sheveloff observes that M1 and M2 appear to be the principle compilers of this volume. It is possible that Reggio acquired some odd manuscripts, complementing his own and M1 s which eliminated the need to copy to complete his task. 26 Charles Burney, The Present State of Music in France and Italy: or, The Journal of a Tour through those Countries, undertaken to collect Materials for A General History of Music, London, Giovanni Gherardo De Rossi, Lettera del Cav. Gio. Gherardo De-Rossi ad un Amico sulla morte della celebre Maria Pizzelli Roma 26 Settembre 1807, «Nuovo Giornale dei Letterati», Roma, Diözesanbibliothek, Santini Sammlung, Münster, SANT Hs 3964 to 3968, 5 Volumes. 60

19 keyboard sonatas of domenico scarlatti in the santini collection Reggio could not have compiled Münster iv before There is a record of Antonino refusing the post of Abbot of the monastery of Sant Angelo di Brolo in Sant Angelo di Brolo is a remote commune in Sicily and I do not think that Antonino could possibly have been able to travel outside until at least 1763, and consequently could not have copied the Scarlatti works prior to this date. Reggio s Acquisition The question is: How did Reggio come to acquire these volumes and came to be involved with the further copying? We can conclude that the first three volumes preceded Reggio s, but by how long? If Reggio acquired the volumes later he would have been aware of the contents and then proceeded to complete the set, possibly from the Parma and Venice sets held by Farinelli. Although there are many anomalies that even this assumption is suspect. If this were the case, how did Reggio come into the possession of these in about 1765? To find a possible answer to this question we need to consider another branch of the Reggio family. Luigi Reggio e Branciforte and Stefano Reggio e Gravina Antonino s paternal uncle was Luigi Reggio e Branciforte. It is quite possible that Antonino was close to this branch of the family as an early work is dedicated to Donna Caterina, wife of Luigi and possibly another written for Don Luigi. Don Luigi s diplomatic career spanned many years. In particular, he was ambassador to the Spanish court from He was very much involved with music having a maestro di cappella and several works dedicated to him. There are also references to concerts being held, in the presence of the royal family, at the casa Reggio. His maestro di cappella until 1743 was the Venetian opera composer Francesco Corradini ( ). He was very active in the theatre specialising in opera buffa Francesco Maria Emanuele e Gaetani, Marchese Di Villabianca, Diario palermitano, in «Biblioteca storica e Letteraria di Sicilia», xviii (xiii della i serie), Palermo, Luigi Pedone Lauriel editore, 1874, p Hanns-Bertold Dietz, Fortunes and Misfortunes of Two Italian Composers in Early Eighteenth- Century Spain: Philipo Falconi and Francesco Corradini, «International Journal of Musicology», 61

20 anthony hart Luigi was well respected at court; in fact, he was given the post as ambassador to France in 1743 at the critical time of the war between England and Spain and at the crucial time of the War of Austrian succession. He was succeeded by his son Stefano Reggio e Gravina. Also at this time Corradini applied for the post of Maestro di Capella of the Royal chapel, but this was denied. From the dates recorded on the Parma sets, (it is not certain that these were the dates of compilation or composition) the first Münster volume was probably started in In 1747 Corradini became music teacher to the infanta Maria Antonia. It is possible he remained as Maestro di Capella to Stefano until It is conceivable that Corradini s successor (as yet unidentified) who could have compiled the set or even Corradini he was still close to the Royal family and had worked closely with Farinelli. Stefano Reggio returned to Naples in about 1770 possibly bringing back the copies. This would account for the reason only three volumes were completed. By then Antonino was active in Rome, as a composer of keyboard music. Either Stefano contracted Antonino to complete the set on his behalf or Antonino acquired the set from Stefano. Antonino could have been introduced to Farinelli who was living in retirement in Bologna and been given permission to complete the copies it is possible that the Scarlatti works provided him with a model for his own. In addition, as attested by Burney, Antonino was a composer and performer on the cembalo32 so this might have affected the way he copied the works. They were for him to play. Santini then acquired these as part of Antonino s library later. This answers a second question. Why did Santini have Reggio s works? I believe he knew the provenance of the Scarlatti sonatas and failing to acquire one of the original Spanish sets (Parma and Venice) these were the closest he was going to get to originals. Therefore, he acquired Antonino s library to acquire the Scarlatti works. Elliott Antokoletz and Michael von Albrecht, eds., vii, 2000, pp Also Id., sub voce Francesco Corradini, in Grove Music Online, ed. by L. Macy, accessed 16 December 2011, 31 Kirkpatrick, Domenico Scarlatti cit., pp Burney, The Present State of Music cit., p

21 keyboard sonatas of domenico scarlatti in the santini collection Conclusions The Münster manuscripts have always been considered as an Italian copy of the original Spanish sets that were compiled for the Queen, Maria Barbara. It was assumed that they were copied after being taken to Italy in the second half of the eighteenth century and were considered a coherent set. Careful examination of these volumes has shown many inconsistencies that do not fully support these assumptions. There is a possibility that these originated in Spain, compiled at the same time as the Spanish sets, and then completed in Rome in the second half of the eighteenth century. This theory would address many of Sheveloff s concerns about the manuscripts. In his discussions about the origins of the Münster set, he summarizes these with the following stemma (figure 3). Lost originals Venice 1742 and 1749 Parma Venice I to XIII Münster Figure 3: Sheveloff s conclusions as to the source of the Munster manuscripts33 33 Source: Sheveloff, The Keyboard Sonatas cit., p

22 anthony hart From the foregoing discussion, I have modified Sheveloff s ideas illustrated by my stemma (figure 4). Münster v is even more difficult to analyze, as it comprises a loose collection of fascicles by different scribes that was indexed and bound together at a later date. Lost originals Venice 1742 and 1749 Münster I, II and III Parma Several smaller sets copied by 1,3-9 Venice I to XIII? Münster IV Münster V Figure 4: Conclusions drawn from this paper as to the source of the Münster manuscripts34 The purpose of this paper is to present an alternative theory of the origins of the Münster set and to consider Phase 1 of the compilation. It, however, does not address all of the questions concerning the Münster set. Some other aspects have not been considered at this stage. Further research is being carried out to establish the identity of M1, to investigate the significance further 34 I am indebted to Christopher Hail (http://mysite.verizon.net/chrishail/scarlatti/index.html) for his interesting ideas and observations concerning the sources of Münster IV and V. 64

23 keyboard sonatas of domenico scarlatti in the santini collection annotations in Reggio s hand in Münster iv, which are at present unaccounted for, and to attempt to establish the source for this volume. The connection between the manuscripts and Luigi and Stefano Reggio, Principi di Campofiorito, is only speculative and further research is being carried out to in an attempt to verify these ideas. Figure 5: First page of Sonata per Cembalo in C min (Opera Terza) SANT Hs 3391 No. XI (Courtesy Diözesanbibliotek, Münster) 65

24 anthony hart Figure6: First page of Scarlatti Sonata (K380) in Reggio s hand (Tomo IV, No 47) SANT Hs 3967 (Courtesy Diözesanbibliotek, Münster) 66

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