A RTARIA E DITIONS

Editorial Board

Allan Badley • CLIFF EISEN

Robert Hoskins • Bertil van Boer

domenico cimarosa

Overture to Amor rende sagace

Edited by Simone Perugini

AE
ARTARIA EDITIONS
AE583

DOMENICO CIMAROSA
Overture to Amor rende sagace
Source – Bolzano, Archivio Musicale Toggenburg
Editor – Simone Perugini
Series Editor – Allan Badley
Engraving & Layout – Promethean Editions Limited
© Artaria Editions Limited 2019
Published by Artaria Editions (Hong Kong) Limited in Hong Kong
ISBN 978-988-8529-30-8 (print)
ISBN 978-988-8529-31-5 (digital)
ISMN 979-0-805700-15-1

AE583 – ii
 FOREWORD
THE LIFE AND WORKS
OF DOMENICO CIMAROSA
D
omenico Cimarosa was one of the most important
and famous composers of the second half of the
18th Century. He was born in Aversa, a small town
in the South of Italy which, during the composer’s time, was
part of the Neapolitan kingdom and that is now in the prov-
ince of Caserta. Cimarosa was born on 17 December 1749 and
his exact day of birth is confirmed by the original Baptismal
Registers still kept in the church of Sant’Audeno, where he
was baptized by his father. In the birth certificate, the com-
poser’s name is written as “Domenico Nicola Cimmarosa”.
But, in spite of the presence of a double “m” in his surname,
the composer signed all his holograph scores as “Cimarosa”,
with a single “m”.
Cimarosa was the son of a builder, Gennaro, and his
wife Anna Di Francesca. The family moved to Naples (prob-
ably in 1753) where Gennaro died as a consequence of a site
accident. Gennaro had been employed in the building of
Capodimonte Palace; he fell from a scaffolding and died in-
stantly. Gennaro and Anna probably did not have other chil-
dren and, after her husband’s death, Anna sent Domenico, in
1761, to study at the Conservatory of Santa Maria di Loreto.
The young Cimarosa studied music with Gennaro Manna,
Antonio Sacchini and Fedele Fenaroli who were famous com-
posers and music teachers of the time. During his years of
study, Cimarosa composed various sacred works tradition-
ally considered fundamental to the learning of harmony and
counterpoint, two very important elements of composition
technique. Many of these compositions are still extant in the
San Pietro a Majella Conservatory Library in Naples: among
them the Messa a tre con violini e corni (1765) [Mass for three
voices with violins and French horns], in F Major, the earli-
est extant score written in the composer’s hand, stands out
for its musical quality. In the Conservatorio di Santa Maria
di Loreto, the young musician also studied singing with the
famous castrato Giuseppe Aprile.
After his years of study at the Music Conservatory,
Cimarosa probably took further lessons in composition tech-
nique with Niccolò Piccinni, the most important Neapolitan
opera composer of the previous generation. It was Francesco
Florimo1 who passed down information about the relation-
ship between Piccinni and Cimarosa. Florimo was compos-
er and Director of the Library of the Conservatorio di San
1 Francesco Florimo, Cenno sulla scuola musicale di Napoli, 2 vol., Naples, 1871
AE583 – iii
Pietro a Majella and, in his important book about the Music
Conservatories in Naples, he stated that it had been Paolo
Cimarosa, Domenico’s son, who had supplied him with such
information. Paolo Cimarosa, in fact, became a composer
and teacher at the San Pietro a Majella Conservatory.
Another important sacred work by Cimarosa is also kept
in Naples, the Messa a più strumenti [Mass for many instru-
ments], in C Major, that he composed in 1772: in the same
year, Cimarosa also made his début as an opera composer.
It is impossible to know the biographical events that
induced Cimarosa to compose his first comic opera, the
Commedia in tre atti [Comic opera in three acts] Le Stravaganze
del Conte [The Eccentricities of the Count], performed, at its
prima, in tandem with another opera by Cimarosa, a farce
in one-act, Le Magie di Stellidaura e Zoroastro [The Magic
of Merlin and Zoroaster]. The two libretti were written by
Pasquale Mililotti. These two operas were performed during
the Carnival season in 1771/1772 at the Teatro dei Fiorentini in
Naples. In 1773, Cimarosa composed, for another Neapolitan
theatre, the Teatro Nuovo, the comic opera in three acts
La Finta Parigina [The Fake Parisienne] on a libretto by
Francesco Cerlone, a famous opera poet who also wrote
many libretti for Giacomo Tritto and Giovanni Paisiello.
Even if these early works were well accepted by the public,
Cimarosa did not compose any operas during the next three
years. Probably, as Takashi Yamada2 says in his recent essays,
the young Aversan composer had to wait for the departure
of Piccinni for Paris and of Paisiello for St. Petersbug in 1776;
only after this did Cimarosa have the run of the Neapolitan
theatres that they had previously dominated.
Once he had gained access to the most important
stages in the city Cimarosa wrote many comic operas start-
ing from 1777, for example, with L’Armida Immaginaria
[The Imaginary Armida], Le Stravaganze d’Amore [The
Eccentricities of Love] and Il Fanatico per gli Antichi Romani
[The Fanatic for Ancient Romans]. Thanks to these works,
Cimarosa became in a short time one of the most acclaimed
composers in the Neapolitan Kingdom.
After winning the favour of the Neapolitan pub-
lic, Cimarosa’s reputation crossed the borders and quick-
ly reached Rome; for this city he composed, in 1777, the
Intermezzo3 in two acts I Tre Amanti, [The Three Lovers], on
2 Takashi Yamada, ‘Domenico Cimarosa in Russia’, in Domenico Cimarosa, Atene edi-
ficata e Coro di guerrieri, CD recording. (Bolognia: Bongiovanni GB 2428-2, 2008).
3 In Rome, the word Intermezzo meant a comic opera in two acts. The term Intermezzo
during the second half of the 18th century, in the Roman area, was totally different
from the 18th-century Neapolitan Intermezzo written at the beginning of the 18th cen-
a libretto by Giuseppe Petrosellini, that was performed at
the Teatro Valle during the Carnival season. For the same
theatre the musician composed, during the next year, a new
comic opera in two acts, Il Ritorno di Don Calandrino [The
Return of Don Calandrino]. In the same year he set to mu-
sic another Intermezzo on a libretto by Giuseppe Petrosellini,
L’Italiana in Londra [The Italian Girl in London]. This work
became in a very short time his greatest success to date.
L’Italiana in Londra was also staged in Dresden, Gorizia,
Prague, Warsaw, Trieste, Paris, Lugano and St. Petersburg.
Thanks to the great success of his previous works,
Cimarosa was engaged to inaugurate a new Neapolitan
Opera House, the Teatro del Fondo, with a new work,
L’Infedeltà fedele [The Faithful Infidelity], on a libretto writ-
ten by Giovan Battista Lorenzi, which was premiered on
20 July 1779. In this libretto there were many dramaturgic
innovations (this is a semi-seria opera actually, and it in-
augurated a new dramatic genre in which both comic and
dramatic elements coexist. The semi-seria opera gained
popularity in Italy only many years later). Joseph Haydn
was impressed by this text and decided two years later to
compose a new musical version for the Esterhàza Theatre.
The Austrian composer made some minor modifications
to the words and changed the title: the new version was La
fedeltà premiata.
In 1779 Cimarosa was appointed Organista soprannu-
merario della Cappella Reale [Supernumerary Organist of
the Royal Chapel], an office that the composer filled until
1785 and that brought him a monthly sum of 8 ducats.
In 1780 Cimarosa was engaged by the Teatro delle Dame
in Rome to compose his first opera seria. According to 18th-
century convention, young composers got to be known by
the greater public through their comic operas which were
performed in modest opera houses, but they rose to fame
and managed to make more money only through opera se-
ria, the only operatic genre performed in the major theatres.
For the Roman opera house Cimarosa wrote Cajo Mario, a
drama in three acts on a libretto by Gaetano Roccaforte.
During the 1780 opera season, the composer worked both
in Rome and in Naples, realizing many operas, such as the
two-act comic Intermezzo Le donne rivali [Female Rivalry]
on an anonymous libretto that Lorenzo Da Ponte adapted
(copying it almost completely) for a new musical project in
collaboration with Mozart. This new musical project was
intended to transform Cimarosa’s obsolete work into a new
tury. This second type of Intermezzo was a little comic opera, in two parts, with a few
characters, that was interpolated between the acts of the major works. (For example,
Pergolesi’s famous Neapolitan Intermezzo La Serva padrona was written to be inter-
posed between the three acts of the opera Il Prigionier Superbo).
AE583 – iv
opera titled Lo sposo deluso. Mozart composed only part of the
work and that was never performed.
For the Neapolitan Teatro dei Fiorentini Cimarosa com-
posed the Commedia per musica in due atti [Comic opera in
two acts] I Finti Nobili [The Fake Noblemen] that was per-
formed together with a little farsetta in un atto [Farce in one
act] Li sposi per accidenti [The Accidental Marriage] written by
Cimarosa on a libretto by Giuseppe Palomba.
After his conquest of the stages in central and southern
Italy, the composer began his rise to fame in the north, com-
posing, for the Accademia Filarmonica di Verona the opera se-
ria in two acts Giunio Bruto, written on a libretto by a famous
Italian man of letters, Giovanni Pindemonte (who signed the
text with the pen name Eschilio Acanzio).
After this success in Verona, Cimarosa went on to Venice for
the first time where he composed, for the San Samuele Theatre,
the two-act comic opera Giannina e Bernardone on a libretto
by Filippo Livigni, performed in 1781. The following year he
wrote, for the same theatre, another comic work, Il Convito
[The Banquet], on a libretto written again by Livigni. In her
book Nel Primo Centenario di Domenico Cimarosa (Venice,
1900), Maria Storni Trevisan relates that in Venice, on the occa-
sion of the opera’s first performance, the public’s enthusiasm
was so great that at the end of the evening Cimarosa was car-
ried in triumph to his house by torchlight. Other performanc-
es of Il Convito took place in Prague, Trieste, Dresden, Nice,
Frankfurt, Warsaw, Madrid, Mannheim, Salzburg, Marseilles,
Lisbon, Paris and Florence.
During this period Cimarosa was one of the most sought-
after composers in Italy and his name appeared on the play-
bills of all the major Italian theatres. In 1784 Cimarosa was ap-
pointed Maestro di Cappella of the Neapolitan Royal Chapel,
which was a prestigious and delicate assignment. In the same
year, the composer moved to Florence and wrote, for the Teatro
alla Pergola, the dramma giocoso in two acts La Vanità Delusa
ossia il Mercato di Malmantile on a libretto by Carlo Goldoni
(who signed the libretto with the pen name Polisseno Fregeio).
Goldoni originally wrote this opera for Giuseppe Scarlatti, a
Neapolitan composer, in 1758. The Scarlatti opera was per-
formed for the first time at the Teatro San Samuele in Venice.
Cimarosa recovered the libretto and asked an anonymous li-
brettista of the Florentine Court to adapt it to the taste of the
contemporary public. The anonymous poet added some con-
certed pieces and cut some arias from the original Goldoni text.
During his stay in Florence for the staging of La Vanità
Delusa, Cimarosa met and became a friend of Pietro Leopoldo of
Lorena, Grand Duke of Tuscany and the future Austrian Emperor,
who later appointed Cimarosa Court Composer in Vienna.
 After the composition of La Vanità Delusa, Cimarosa
went back to Naples and in 1786 composed, for the Teatro
Nuovo, a new comic opera in two acts, Il Credulo [The
Gullible One] which was performed twice in the same
Carnival season: the first time coupled with the Farsa per mu-
sica La Baronessa Stramba [The Baronessa Stramba] and the
second one with another Farsetta on a libretto by Giuseppe
Maria Diodati, L’Impresario in Angustie [The Impresario in
Distress]. The libretto of Il Credulo was written by Giuseppe
Maria Diodati whereas the one of La Baronessa Stramba was
by Pasquale Mililotti.
L’Impresario in Angustie was the last work written by
Cimarosa before his departure for St. Petersburg where the
tsarina Catherine II had invited him to take up the position of
Court Composer. The tsarina loved European art and she had
wanted at artists at her court like the Italian architects Carlo
Rossi and Bartolomeo Rastrelli, the sculptor Antonio Canova,
and the most important Italian composers of her time. First
Giovanni Paisiello (who remained in St. Petersburg from 1776
to 1783), served as Principal Composer, then Giuseppe Sarti
(Catherine’s Court Composer from 1784 to 1786) moved to St.
Petersburg. After Sarti, probably thanks to the influence of
Duke Antonio di Serra-Capriola4, Catherine the Great called
Cimarosa who moved from Naples to St. Petersburg in July
1787 with his second wife, Gaetana Pallante, and his daugh-
ter. In December, after some short stays in Florence, Parma,
Vienna, Cracow and Warsaw, the Cimarosa family arrived at
Catherine’s Court. The first works that the composer wrote
for the Court in 1787 were the Missa pro defunctis a 4 voci con
Vvni, [Violini] Corno da caccia obligato e Basso5, the cantatas
La felicità inaspettata and Atene edificata, performed on the
23 March 1787, and on 29 June 1788 respectively. The first lyric
drama written for the tsarina was La Vergine del Sole [The
Sun Virgin], probably performed on 22 September 1788, to
mark the anniversary of Catherine’s coronation. La Vergine
del Sole is an opera seria on a libretto by Ferdinando Moretti.
In 1787 another serious drama came to light, La Cleopatra,
again on a libretto by the same poet. Between 1790 and 1791,
Cimarosa composed two more cantatas: La Sorpresa [The
Surprise] and La Serenata non Preveduta [The Unexpected
Serenade].
For reasons that are still unclear, the composer left Russia
in 1791 after a few years of activity. The tsarina was probably
not deeply interested in the composer’s music and, after his​
departure, she invited the Spanish composer (but Italian by
4 Nick Rossi and Talmage Fauntleroy, Domenico Cimarosa. His life and his operas
(London: Greenwood Press, London, 1999, 112).
5 This Mass was composed by Cimarosa on the occasion of the unexpected death of
Duchess Serra Capriola on her husband’s commission.
AE583 – v
adoption) Martin y Soler.
During the return voyage the Cimarosa family (increased
by a second son, Paolo, who was born during the Russian
stay) stopped in Warsaw and Vienna.
In Vienna the composer’s professional and economic
circumstances changed radically. Cimarosa arrived in the
Habsburg capital in December 1791; the ex Grand Duke of
Tuscany, Leopold, was now Emperor Leopold II. He was a
close friend and great admirer of the Aversan composer and
appointed him Kapellmeister with a yearly salary of 12,000
ducats and accommodated him in a sumptuous flat in the
Royal Palace. The sum granted to the composer was very
high, considering that Mozart, in the same year, was paid the
sum of 800 ducats6 by the court.
In the Habsburg capital the Aversan musician composed
his most famous opera Il Matrimonio Segreto [The Secret
Marriage], on a libretto by Giovanni Bertati (the successor
of Lorenzo Da Ponte as Court Poet at the Italian Theatre),
that was performed for the first time at the Burgtheater on
the evening the 7 February 1792. The opera was such an enor-
mous success and the Emperor was so enthusiastic about it
that he demanded the entire opera be repeated as an encore
the same evening. In Vienna the composer also wrote a new
farsa in one act Amor rende sagace [Love Makes One Shrewd]
on a libretto by Bertati and, probably, La Calamita dei Cuori
[Attraction of Hearts], on a second-hand libretto by Carlo
Goldoni adapted for this new revival, perhaps, by Bertati. It
is not possible to ascertain if Cimarosa really composed this
opera, because no copy of the libretto or score has yet been
discovered.
In Vienna the composer had not only the task of com-
posing new operas but probably he also had to adapt, to
the Viennese taste, his earlier operas (originally written for
Italian theatres) that had enjoyed great success in the impe-
rial capital.7
When Leopold II died, his successor Franz II appointed
Antonio Salieri Kapellmeister and Cimarosa was compelled to
go back to Naples, followed, after a few months, by Giovanni
Bertati.
In Naples, the composer enjoyed a triumphant recep-
tion thanks to the reputation he had obtained in Vienna with
Il Matrimonio Segreto. A modified version of the original
Viennese work was performed in Naples to great acclaim.8
6 On 7 December 1787, Wolfgang Amadeus Mozart, by an Emperor’s decree, was ap-
pointed Musico da Camera at the Viennese Court with a yearly salary of 800 ducats.
7 For information on Cimarosa’s activity in Vienna as music supervisor and adapter
of his works, and about the production practice at the Viennese Court between 1791
and 1793, see the foreword to the volume: Domenico Cimarosa, L’Impresario in an-
gustie, ed. Simone Perugini (Wellington: Artaria Editions)
8 For further information about the Neapolitan version of Il Matrimonio Segreto, see
 The first new opera that Cimarosa composed after his
return to Naples was I Traci Amanti [The Thracian Lovers]
that premiered at the Teatro Nuovo in the evening of 19 June
1793; on 29 August 1794, the Teatro Dei Fiorentini hosted
the first performance of the new comic opera in two acts Le
Astuzie Femminili 9 [The Cunning Women], on a libretto by
Giuseppe Palomba, which was a great success. Along with Il
Matrimonio Segreto, it is still the most frequently performed
work by the composer.
On 8 November 1796 Cimarosa was appointed Primo
Organista [First Organist] at the Royal Chapel with a salary
of 10 ducats for each religious ceremony he accompanied on
the organ.
In December of the same year, he moved to Venice and,
for a new commission by the Teatro La Fenice, he composed
his most famous opera seria, Gli Orazi e i Curiazi [The Horatii
and Curiatii] on a libretto by Simeone Antonio Sografi.
Cimarosa supported the Neapolitan insurrection which
broke out at the end of 1798 and led to the foundation of the
Neapolitan Republic. The composer actually had never been
interested in politics and his support to the new government
was due to his desire for security and advantage in his pro-
fessional position. The new government gave Cimarosa and
Paisiello very prestigious tasks: the former was appointed
Direttore della musica nazionale [National Director of Music],
the latter became a member of the Commissione dei teatri
[Theatrical Commission]. Both composers supported the
newly-founded Neapolitan Republic with their services and
operas. Cimarosa, in particular, composed an Inno Patriottico
(a Patriotic Hymn) on a text by Luigi Rossi.
But the Neapolitan Republic did not last long: in June
1799, with the help of Russian and English forces, the mon-
archy was restored and King Ferdinando IV was given back
his throne. The Aversan composer, guilty in the king’s eyes
of supporting the revolutionaries and composing new mu-
sic to celebrate them, tried to win back the king’s favour by
composing a new Cantata a tre voci, con cori, espressamente
composta dal Sig. Domenico Cimarosa in occasione del bra-
mato ritorno di Ferdinando IV, nostro amabilissimo Sovrano
[Cantata for three voices, with choirs, expressly composed by
Mr. Domenico Cimarosa for the desired return of Ferdinando
IV, our very lovable sovereign]. The King, however, was not
convinced by this sudden political change in the composer’s
spirit and had him arrested. After being released from prison,
Takaski Yamada, ‘La Versione Napoletana de Il Matrimonio Segreto (1793, Naples) di
Cimarosa; Sulle Due Arie della Partitura ritrovata nella Collezione del Kunitachi Music
College in Giappone’, Japanese Rossini Society «Rossiniana», vol. 28 (2005), pages 1-33.
9 The opera Le Astuzie Femminili actually is a rewriting of the one-act farce Amor
Rende Sagace that Cimarosa composed in Vienna after Il Matrimonio Segreto. For fur-
ther information see: Giuliano Tonini, Amor Rende Sagace, (essay published in the CD
booklet), CD recording, Bongiovanni, Bologna (Italy), GB 2126/27-2.
AE583 – vi
the composer went into exile in Venice where his operas had
always been a great success.
The time and manner of Cimarosa’s release are unknown,
still shrouded in legend: it seems possible to the musician’s
biographers (as, for example, Mary Tibaldi Chiesa) that the
Russian Court’s intercession and the political power of some
influential fans were decisive.
For the Venetian stages, Cimarosa composed his last op-
era, Artemisia, a drama based on the same subject that he had
set to music some years before. In 1797, in fact, he had written
another drama titled Artemisia, regina di Caria [Artemisia,
Queen of Caria] for the Teatro San Carlo in Naples. The
libretto of the second Artemisia was written by Count
Giovanni Battista Colloredo who signed the opera with the
pen-name of Cratisto Jamejo. The opera, unfinished, had its
prima on 17 January 1801, after the composer’s death. The
score was completed by an anonymous assistant (probably
he was one of Cimarosa’s students).
In Venice Cimarosa fell ill, probably of a colon tumour
and at 2:00pm on 11 January 1801 he passed away in his room
at the Albergo Tre Stelle [Tre Stelle Hotel], in Palazzo Duodo
– Campo Sant’Angelo, after receiving the extreme unction10.
The funeral, celebrated with a solemn ceremony, took place
in Sant’Angelo Church in Venice where the composer was
buried. Some musical pieces by Ferdinando Bertoni, who
was Maestro della Basilica di San Marco [Principal Composer
and Conductor of San Marco’s Basilica], and the Concerto
Lugubre per Flauto traverso [Lugubrious Concerto for Flute]
specially composed by Luigi Giannella on some musical
themes from Cimarosa’s Gli Orazi e i Curiazi were performed
during the office. The funeral finished with the performance
of the Messa da Requiem composed by Bertoja.
10 The composer’s death certificate is still kept in the Venetian State Archive.
 THE OPERA OVERTURES
D
uring his career Domenico Cimarosa probably
composed about 70 operas.11 The library of the
Neapolitan San Pietro a Majella Conservatory in
Naples keeps the partially holograph scores of 54 works.
The manuscripts have been catalogued as “partially hol-
ograph” because in the greater part of them almost all the
overtures, arias and ensembles are written in the hand by
the composer, who often added to the volumes a title page
with the opera title, the date of first performance and the
name of the theatre where the work was first performed, but
the Recitativi Secchi [Recitativos composed only with the ac-
companiment of Basso Continuo] were composed by the so-
called Maestri Terzi [Third Composers].12
Except for very rare cases Cimarosa prepared an intro-
ductory overture for all his works.
There is a table at the conclusion of this section where all
the partial holograph manuscripts of the composer kept at
the San Pietro a Majella Conservatory library are described.
All the operas have been listed by year of composition, with
the indication of the title, the name of the theatre where they
were performed for the first time and a concise analysis of
the overture (with the indication of the number of move-
ments, the tonality, tempo and the time signatures).
Cimarosa uses two musical structures current in his
time in all of his overtures: the three-movement and the one-
movement forms; the second of these often being introduced
by a short lento section. Very rarely does Cimarosa use also a
two-movement structure that is only a simplification of the
three movement cycle.
The three-movement overtures, typical of the Neapolitan
operatic tradition, and whose origin goes back to Alessandro
Scarlatti, consist of a rapid first movement in which Cimarosa
introduces thematic episodes made up of quick rhythmical
elements, generally assigned to the first violins (the second
violins typically double this at the lower octave or play bro-
ken chord accompaniment figures similar to an Alberti bass).
The violas double the bass line (realized by the violoncellos
and double basses) at the upper octave or, on occasion, dou-
ble the first violin part at the lower octave.
In the Aversan composer’s Overtures it is impossible
to find a real characteristic Primo Tema. Cimarosa’s figures
never have a strong melodic identity which might justify the
11 See: Jennifer Johnson, Gordana Lazarevich, the headword «Cimarosa» in New Grove,
2005, vol. 5, 850-855.
12 For further information about the Maestro Terzo profession in the Neapolitan
practice of the second half of the 18th Century, see: Takashi Yamada, Il Sistema di
Produzione del Recitativo nella Seconda Metà del Settecento a Napoli: il caso di Giuseppe
Benevento fra Piccinni, Paisiello, Cimarosa e Tritto, Forthcoming.
AE583 – vii
formal definition of a theme. Rather, they are motifs, themat-
ic fragments that Cimarosa uses again, often with minimum
elaboration, for other overtures belonging to different operas.
With this almost neutral characteristic, the motifs can be ex-
changed, connected, used in different dramaturgic contexts
but with the a same formal structure. This modus operandi
is quite similar to the composition technique of the Comedy
of Art Scenari.
At times, after an obvious cadence (in the tonic or the
dominant tonality), the composer introduces, as in the over-
ture written for the opera I Tre Amanti, a second motif (that
occasionally may present the characteristics of a musical
theme proper), often played by the strings but also some-
times by the oboes or, very rarely and only in the late operas,
by the clarinets.
In the absence of a second theme the movement finishes
with a reprise of the principal motifs (often shortened) after
a brief elaboration of the musical materials. The first move-
ment is always written in a duple metre, generally C, but
sometime also alla breve).
The second movement has a freer formal structure than
the first; it is generally quite short and scored for strings alone
except in the case of the overture to La Finta Frascatana to
which Cimarosa adds a solo flute. The central movement,
with its slow tempo, always offers a more melodic breadth
than either the first or the third even if it is brief and scored
in the same way; the theme is assigned to the first violins,
with the second violins realizing a delicate accompaniment
doubling the firsts at the lower octave. The violas double the
bass at the upper octave or double, at the lower octave or
tenth, the first violins. The tonal contrasts between the first
and second movements of an overture are not very numer-
ous: the second movement may be in the submediant, or the
subdominant, dominant or in the relative minor; in only one
case (the overture to Le Stravaganze del Conte Overture) are
all three movements in the same tonality.
The Allegro third movement is almost always written in
triple time or compound metre (in most cases the time sig-
nature is 6/8, sometimes also 3/8). In some overtures both
the time signatures are present.13 The third movement tonal-
ity is always the same as the first one;14 it does not retain any
common rhythmic or melodic element. The dancing rhythm,
often an explicit reference to the Neapolitan Tarantella, sug-
gests to Cimarosa the adoption of melodic phrases with more
13 In some cases, Cimarosa interchanges, during the third movement, 6/8 with 3/8
time signatures. When the composer uses the 3/8 time signature, in a movement writ-
ten in 6/8, he does not write, as in the modern way, the new time signature, but marks
it only with an “X” sign, placed at the top of the measure, the ones written in 3/8.
14 This harmonic cycle, where the tonality is the same for the first and third movement,
is typical of the musical form formulated by Scarlatti.
thematic features, even if very similar in the course of the
various overtures, than the ones used in the first movements.
The typical orchestration of the three-movement over-
tures, according to the original disposition of the instruments
in the holograph scores, is: 2 horns, 2 oboes, and strings (Vln
I, II, Vla, B). Very rarely does Cimarosa support the oboes
with two flutes, but he never writes an independent part for
the flutes. The composer labels the flutes Traversieri.
More problematic for the editor is the presence of the
bassoon in the orchestra. The composer never gives an in-
dependent staff to these instruments, except in the overture
to L’Amante Combattuto dalle Donne di Punto. It is probable
that Cimarosa counted on the bassoon’s presence in the or-
chestra as the bass of the wind choir, playing the same part
as the cellos and double basses with some possible rhythmic
simplification by the performer himself. The omission of the
doubling part in the score may have been a time saving meas-
ure.
The two-movement overtures, rarely used by Cimarosa,
employ the same formal structure as those in three move-
ments but omit the central section. The two parts are always
composed in the same tonality.
From the composition of the comic opera L’Armida
immaginaria (Teatro Dei Fiorentini, 1777), Cimarosa quite
regularly used the one-movement structure. The one-move-
ment overtures are inclined to be more interesting not only
because of his use of ‘real’ themes but also because of the
tonal links between thematic groups. The single movement
is divided into three different sections (even if realized with-
out a thought of continuity): the first consists of a group of
linked themes in the tonic with a clear rhythmic character
and often introduced by a thunderous introduction for full
orchestra. To these the composer at times adds a second
motivic/thematic group, performed by the strings, that may
also appear in the dominant tonality.15 In the middle part of
the movement, a new theme, more cantabile and relaxed, is
interpolated; this is also generally performed by the strings.
The range of the tonal relationships between the two themes
is substantial: sometimes the first part of the overture ends
in the dominant tonality (confirmed by a cadence) and the
second theme, after some measures of harmonic transition,
reaches the sixth scale degree of the dominant tonality (that
is the third degree of the tonic).16 In other cases the second
theme, after the usual dominant cadence may appear in the
relative minor tonality.17 During his career the composer
15 In rare cases, such as in the overture for I finti nobili, may the theme may also be
performed also by wind instruments.
16 This is the case, for example, in the overture written for L’Armida Immaginaria and
L’Infedeltà Fedele.
17 This harmonic link is present, for example, in the overture to I Finti Nobili.
AE583 – viii
also used other harmonic relationships between the first and
second parts of a single-movement overtures. In this way he
made the traditional tonal links more varied and sometimes
also unexpected.
After the exposition and a brief elaboration of the second
theme, the composer inserts a retransitional passage which is
followed by a full or an abbreviated reprise of the first the-
matic group, to which Cimarosa adds a coda that brings the
overture to its end.
Starting with the overture to La Vergine del Sole  Cimarosa
at times inserts a slow and very free introduction, made up of
a few measures based on a rhythmic pattern that is martial
in character.18
The scoring employed by Cimarosa in his single-move-
ment overtures varies over the years of composition. At the
beginning of his career, following the Italian practice, he fol-
lows the model of the three-movement overture with two
oboes, two horns and strings. Starting with his later operas,
particularly from La Vergine del Sole and the compositions
for the Russian Court, horns (or trumpets) and strings, two
flutes, two clarinets, two Bassoons (with an independent line
often freed from the one of the Basso) and the timpani are
also used frequently.19
Last but not least is an observation about the tonalities
used by Cimarosa in his overtures: D major is used with em-
barrassing frequency (see the table below); only in some cas-
es does the composer choose to use BÏ; and very rarely does
he use the EÏ major, G major and F major 20. No overture is
written in a minor key.
The principal key of a piece, according to the Italian tra-
dition, also influenced the choice of the brass used in the or-
chestration. The overtures composed in D and G, always have
horns in the orchestra; when the composer wrote a piece in
a flat key, the horns were replaced by the trumpets. In the
first part of his career (i.e. until his return to Naples from the
Vienna in 1793), Cimarosa adheres to this standard 21; in his
late operas, however, he has no hesitation in using the horns
in the flat keys if it was warranted by the project.
18 In some cases, such as in the overture to the original version of Gli Orazi e i Curiazi,
the slow introduction may be broader and have unequivocal thematic features.
19 The timpani were also used by Cimarosa also in some early works, such as Il Convito
and I Finti Nobili.
20 Only the overture written for Artemisia (1800–1801), after a slow introduction in EÏ
major, was cast in C major.
21 Many Neapolitan composers, among them contemporaries of Cimarosa, such as
Paisiello and Tritto who were among the most famous of the time, followed this rule
which they probably learned from the Maestri of the four Neapolitan conservatories
where they studied.
DATE TITLE THEATRE STRUCTURE DATE TITLE THEATRE STRUCTURE

1772 Le stravaganze del Teatro dei 3 Movements: 1781 Il Pittor Parigino Teatro Valle, 3 Movements:
conte (Performed, Fiorentini, I – D Major; Allegro vivace, 4/4. Rome. I – D Major, Allegro brioso
at its prima, Naples. II – F Major, Andantino, 2/4. molto, 4/4.
with Le Pazzie III – This movement is a Ripresa II – G Major, Andantino grazioso,
di Stellidaura e of the 1st one. 2/4.
Zoroastro) III – D Major, Allegro molto, 2/4.
1773 La Finta Parigina Teatro Nuovo, In the holograph score there is Alessandro Teatro 3 Movements:
Naples. no Overture. nell’Indie Argentina, I – D Major, Allegro con brio, 4/4.
Rome. II - B flat Major, [Andante], 3/4
1776 I Sdegni per Amore Teatro Nuovo, 3 Movements:
III – D Major, Allegro moltissimo,
Naples. I – D Major; Allegro assai, 4/4.
2/4
II – B flat Major; Andantino
grazioso, 4/4. Il Convito Teatro San 3 Movements:
III – D Major; Allegro ma non Samuele, I – D Major, Allegro brioso, 4/4.
tanto, 6/8. Venice. II – B flat Major, Rondò,
Andantino con moto, 2/4.
La Finta Frascatana Teatro Nuovo, 3 Movements:
III – D Major, Allegro presto,
Naples. I – B flat Major, Allegro di molto,
Half Time.
4/4.
II – E flat Major, Andantino con La Biondolina Teatro dei 1 Movement:
moto, Half Time. Fiorentini, B flat Major, Allegro con spirito,
III – B flat Major, Allegro molto, Naples. 4/4
3/8.
Giannina e Teatro San 1 Movement:
1777 I Tre Amanti Teatro Valle, 3 Movements: Bernardone Samuele, D Major, Allegro assai con
Roma. I – B flat Major, [Allegro molto]. Venice. spirito, 4/4
II – E flat Major, [Andantino con
Giunio Bruto Accademia 1 Movement:
moto], Half time.
Filarmonica, D Major, Allegro con brio, 4/4.
III – B flat Major, Allegro molto,
Verona.
3/8.
1782 L’Amor Costante Teatro Valle, In the holograph score there is
Il Fanatico per gli Teatro dei 3 Movements:
Rome. no Overture.
Antichi Romani Fiorentini, I – B flat Major, [Allegro molto].
Naples. II – G minor, Andantino grazioso, La Ballerina Teatro dei 1 Movement:
3/4 Amante Fiorentini, D Major, Molto Allegro spiritoso,
III – B flat Major, Allegro assai, Naples. 4/4.
6/8.
L’Eroe Cinese Teatro San 3 Movements:
L’Armida Teatro dei 1 Movement: Carlo, Naples. I – D Major, Ad libitum 4/4,
Immaginaria Fiorentini, D Major; Allegro spiritoso, 4/4. Allegro con spirito, Half Time.
Naples. II – B flat Major, Andantino
grazioso,
1778 Le Stravaganze Teatro dei 3 Movements:
III – D Major, Allegro presto
d’Amore Fiorentini, I – D Major, Allegro con brio, 4/4.
assai, 6/8.
Naples. II – D Minor, Andantino.
III – D Major, Allegro assai, 6/8. 1783 Li Due Baroni di Teatro Valle, 3 Movements:
Rocca Azzurra Rome. I – D Major, Molto Allegro con
Il Ritorno di Don Teatro Valle, 3 Movements:
brio, 4/4.
Calandrino Rome. I – D Major, Allegro assai, 4/4.
II – B Flat Major, Andantino
II – G Major, Andantino, 3/4
frizzante, Half Time.
III – D Major, Allegro con spirito,
III – D Major, Allegro molto con
2/4.
brio, 6/8.
1779 L’Italiana in Teatro Valle, 3 Movements:
La Circe Teatro alla 3 Movements:
Londra Roma I – B flat Major; Allegro con
Scala, Milan. I – D Major, Allegro molto con
spirito, 4/4.
spirito, 4/4.
II – G Major; Andantino; 2/4.
II – B flat Major, Andantino
III – B flat Major; [Allegro
grazioso, 2/4.
assai], 2/4
III – D Major, Allegro molto, 6/8.
L’Infedeltà Fedele Teatro del 1 Movement:
Oreste Teatro San 1 Movement:
Fondo, Naples. B flat Major, Allegro spiritoso,
Carlo, Naples. D Major, Molto Allegro con
4/4.
brio, 4/4.
1780 Le Donne Rivali Teatro Valle, 3 Movements:
La Villana Teatro del 2 Movements:
Rome. I – D Major, Allegro assai
Riconosciuta Fondo, Naples. I – D Major, Allegro con spirito,
spiritoso, 4/4.
4/4.
II – B flat Major, Andantino alla
II – D Major, Allegro, 6/8.
scozzese , 2/4.
III – D Major, Allegro assai
(Giga), 2/4.
I Finti Nobili Teatro Nuovo, 1 Movement:
(Performed, at its Naples. D Major, Allegro spiritoso assai,
prima, with Li sposi 4/4.
per accidente)
Il Falegname Teatro dei 1 Movement:
Fiorentini, D Major; Allegro molto; 4/4.
Naples.
Cajo Mario Teatro delle 3 Movements:
Dame, Rome. I – D Major, Allegro con brio, 4/4.
II – B flat Major, Andante, 2/4.
III – D Major, [Allegro], 3/8,

AE583 – ix
DATE TITLE THEATRE STRUCTURE DATE TITLE THEATRE STRUCTURE
1784 Chi dell’Altrui Teatro dei 1 Movement: 1789 La Cleopatra Hermitage 1 Movement:
si veste presto si Fiorentini, D Major, Allegro con brio, 4/4 Theatre, St. F Major, Larghetto con moto/
spoglia Naples. Petersburg. Allegro assai, 4/4.
L’Apparenza Teatro dei 1 Movement: 1792 Il Matrimonio Burgtheater, 1 Movement:
Inganna, ossia La Fiorentini, B flat Major, Allegro con brio, Segreto Wien. D Major, Largo/Allegro molto,
Villeggiatura Naples. Half Time. Half Time.
La Bella Greca Teatro Valle, 3 Movements: 1793 Amor Rende Burgtheater, There is no holograph score
Rome. I – D Major, Allegro con molto Sagace Wien extant of this opera; but a
brio, 4/4. manuscript copy is kept in
II – G Major, Andantino grazioso, the Archive of the Toggenburg
3/4 Collection in Bolzano (Italy);
III – D Major, Rondò/Allegro In this manuscript there is the
giusto, 2/4. same Overture that Cimarosa
composed for the opera I finti
La Vanità delusa, Teatro Alla 1 Movement:
nobili.
ossia il Mercato di Pergola, B flat Major, Allegro con
Malmantile Florence. brio, Half Time. (It is the I Traci Amanti Teatro Nuovo, 1 Movement:
same Overture that Cimarosa Naples. G Major; Allegro con spirito
originally wrote for the opera (4/4)/Andante sostenuto (4/4)/
L’apparenza inganna.) Allegro (Half Time).
L’Olimpiade Teatro This Overture is the same that 1794 Le Astuzie Teatro Dei 1 Movement:
Eretenio, Cimarosa wrote for the opera La Femminili Fiorentini, D Major, Largo/Allegro, 4/4.
Vicenza. vanità delusa. Naples.
I Due Supposti Teatro alla 3 Movements: 1795 Penelope Teatro Del 2 Movements:
Conti Scala, Milan I – D Major, Larghetto staccato/ Fondo, Naples. I – F Major; Largo con moto
Allegro. (4/4)
II – F Major/A Minor, Larghetto II – F Major, Allegro vivace, Half
grazioso alla Francese, 6/8. Time.
III – D Major, Allegro molto, 2/4.
L’Impegno Teatro Del 1 Movement:
Artaserse Teatro Regio, 3 Movements: Superato Fondo, Naples. D Major, Allegro con spirito, 4/4.
Turin. I – D Major, Allegro moltissimo
L’Amante Teatro del This opera is a revision, by the
con brio/Andante/Allegro molto,
Disperato Fondo, Naples. composer, of Il marito disperato
Half Time.
and the holograph score contains
II – F Major, Larghetto con
the same Overture.
moto, 3/4
III – D Major, Allegro come 1796 I Nemici Generosi Teatro Valle, 1 Movement:
prima, Half Time. Rome. B flat Major; Largo/Allegro con
brio, Half Time.
1785 Il Marito Disperato Teatro Dei 1 Movement:
Fiorentini, D Major, Allegro assai, Half Time. Gli Orazi e i Teatro La 1 Movement:
Naples Curiazi (first Fenice, Venice. B Flat Major, Larghetto, Allegro,
performance Half Time.
La Donna Sempre Teatro Nuovo, 1 Movement:
version)
al Suo Peggior Naples. D major, Allegro molto con
s’appiglia spirito, Half Time. 1797 Achille all’Assedio Teatro This Overture is a revision of the
di Troia Argentina, Overture originally composed
Rome. for Gli Orazi e i Curiazi.
1786 Le Trame Deluse Teatro Nuovo, 2 Movements:
Naples. I – E flat Major, Allegro vivace, L’Imprudente Teatro Valle, 1 Movement:
4/4. Fortunato Rome. D Major, Largo/Allegro vivace,
II – E flat Major, Allegro, 6/8. Half Time.
Il Credulo Teatro Nuovo, 1 Movement: Artemisia, regina di Teatro San 1 Movement:
Naples. B flat Major, Allegro con brio, Caria Carlo, Naples. D Major, Allegro con spirito,
Half Time. Half Time.
La Baronessa Teatro Nuovo, 1 Movement: 1798 L’Apprensivo Teatro dei 1 Movement:
Stramba Naples. D Major, Allegro spiritoso, 4/4. Raggirato Fiorentini, B flat Major; Andante sostenuto/
(performed, at Naples. Allegro con brio, Half Time.
its prima, with Il
1801
Teatro La Artemisia
1 Movement:
Credulo)
Fenice, Venice. E flat Major, Larghetto, 4/4.
L’Impresario Teatro Nuovo, In the holograph score there is C Major, Allegro con brio, 4/4.
in Angustie Naples. no Overture.
(original version
– performed, at

T
its prima, with Il
he one-act dramma giocoso, Amor rende sagace had
Credulo).
1787 Volodimiro Teatro Regio, 1 Movement:
its premiere on 1 April 1793 at the Burgtheater in
Turin. D Major, Molto allegro con Vienna. Cimarosa composed the music on a new li-
brio, 4/4.
Il Fanatico Burlato Teatro del 2 Movements:
bretto by Giovanni Bertati, the librettist who wrote the text
Fondo, Naples. I – D Major, Larghetto/Allegro of Cimarosa’s most famous opera, Il Matrimonio Segreto
vivace, 4/4.
II – D Major, Allegro, 2/4. which had been performed for the first time, with great suc-
1788 La Vergine del Sole Hermitage 1 Movement: cess, at the same theatre in February of the previous year.
Theatre, St. D Major, Largo/Allegro, 4/4.
Petersburg. Unfortunately, Amor rende sagace, as an anonymous reviewer

AE583 – x
noted in the Österreichische Monatschrift later that month,
was not as successful as Il Matrimonio Segreto and the opera
was not staged again. In 1794, the Teatro Dei Fiorentini in
Naples, commissioned the composer to write a new comic
opera for summer season. For this occasion, Cimarosa asked
the Neapolitan librettist Giuseppe Palomba to arrange a new
libretto adapting the text to the music already composed for
Amor rende sagace. From this adaptation arose one of the
most famous of Cimarosa’s works, Le Astuzie Femminili, an
opera based almost entirely on the score of Amor rende sa-
gace.
For a long time, the original music for Amor rende sagace
was thought to be lost, but in the 1990s the Italian musicolo-
gist Giuliano Tonini rediscovered a manuscript copy of the
score in the Archivio Musicale Toggenburg in Bolzano, Italy.
In this copy there is an overture very similar to the one com-
posed by Cimarosa for I finti nobili, but with different scoring
(in the Amor rende sagace version the two flutes used for I
Finti Nobili are replaced by a pair of oboes).
In this edition the style and notation of articulation and
dynamic markings have been standardized throughout and,
where missing from the source, markings have been editori-
ally applied. These are indicated by the use of dotted slurs or
brackets.
Whenever the composer adds the pleonastic indica-
tion stacc. under a series of staccato marks, the indication
has been omitted in order not to dull the musical text. The
disposition of the instruments has been modernized: more
precisely, the placement of the staves for the horns/trumpets
which Cimarosa, as in all his autographs, puts at the top of
the system above the oboes. These have been moved to con-
form with modern practice. The bassoon line has been added
only when it is written in the holograph score or when some
elements of Cimarosa’s writing could indicate their real pres-
ence in the orchestra.
A particular problem in all Cimarosa’s holograph scores
concerns his notation of the horn part since the composer
seems not to have had a logical and consistent approach to
transposition. In the present edition the part is edited as it
appears in the holograph score with emendations made ac-
cording to modern practice. All the abbreviations and repeti-
tion marks in Cimarosa’s autograph have been deleted and
the passages printed in full.

Simone Perugini

AE583 – xi
 OVERTURE TO ‘AMOR RENDE SAGACE’
Domenico Cimarosa
# # Allegro spiritoso assai
Flauto I & cw œ Œ Ó w œ Œ Ó
## w œ w œ
[gassai ]
Flauto II & c Œ Ó Œ Ó
[gassai ]
Corno I
in D & cw œ Œ Ó w œ Œ Ó
[gassai ]
Corno II
in D & cw œ
Œ Ó
w œ
Œ Ó
[gassai ]
œœœœœœœœœœœœœœœœ œ œ œ œ œœœœœœœœœœœœœœœœ œ œ œ œ
Violino I
## œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
& c œ œœ. œœ. œœ. œœœœœœœœœœœœœœœœ œ œœ. œœ. œœ.
gassai a gassai a
# œœœœœœœœœœœœœœœœ œ œœœœœœœœœœœœœœœœ œ
& # c œœœœœœœœœœœœœœœœ œ œœ œœ œœ œœœœœœœœœœœœœœœœ œ œœ œœ œœ
a œ. œ. œ. a œ. œ. œ.
Violino II

gassaiœ
œ œ œ œ œ œ œ œ œ œ
gassai
Viola B ## cœ œ Œ Ó œ œ œ œ œ Œ Ó
gassai
œ œ œ œ œ œ œ œ
Violoncello
? ## c œ œ œœ œœ œ œ œœ œœ œ Œ Ó œ œ œ œ œ œ œ Œ Ó
& Basso

gassai

#
& # w œ Œ w
5
Fl I Ó
# w œ Œ w
Fl II & # Ó

w œ Œ Ó w
Cor I &

Cor II & w œ Œ Ó w

## œ œ œ œ œ œœ œœ œœ œœ œœ œ œ œœ œœ œœ
œ. œ.
œœœœ
œ. œ œ œ œ
œœœœœœœœœœœœ
Vn I & œœœœ œœœœœœœœœœœœ œ œœœœœœœœœœœœ
[gassai ] a [gassai ]
# œœœœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ
& # œœœœ
œ œ . œ œ œ. œ œ œ.
a œ
Vn II

# œ œ œ œ
gassai
œ œ œ œ œ œ Œ œ œ
gassai
Va B # œ Ó œ œ œ œ

? ## œ œœ œ œ œœ œ œ œœ œ œ œœ œ
Vc&B
œ œ œ œ œ Œ Ó œ œ œ œ

© Artaria Editions Limited 2019

AE583 – 1
 #
& # œ
8
Fl I Œ Ó w w
[g]
# œ w
Fl II & # Œ Ó w
[g]
œ Œ Ó w w
Cor I &
[g]
Cor II & œ Œ Ó w w
[g]
œ œ. œ œ œ œ œ. œ œ œ
## œ œ œ œ. œ œ œ. œ œ œ.
Vn I & œ
Ϯ Ϯ Ϯ Ϯ
g
# œ
a
& # œ œ œ . œ œ œ. œ œ œ.
œœœœœœœ œœœœœœœ œœœœœœœ œœœœœœœ
a œ
Vn II

gœ œ. œ œ œ œ œ. œ œ œ
Va B ## œ Œ Ó
œ œ œ œ œ œ œ œ
g
? ## Œ Ó œ œ œ œ œ œ œ œ
Vc&B
œ
g

#
& # w
11
Fl I ˙ œ œ œ œ œ Œ Ó ∑

# œ
Fl II & # w w Œ Ó ∑

˙ œ œ ˙ w w
Cor I & œ œ
a assai
˙ œ œ w w
Cor II & ˙ œ œ
a assai
## œ œ. œ œ œ œ œ. œ œ œ œ
& Œ j‰
œœ
a assaiœ . œ œ œ œ. œ œ œ . œ œ
Vn I

#
Vn II & # œœœœœœœœœœœœœœœœ œœœœœœœœœœœœœœœœ œ Œ Ó ∑

B ## œ œ. œ œ œ œ œ. œ œ œ
œœœœœ œœœ œœœ œœ œœœ
Va

[a assai ]
? ## œ œ œ œ œ œ œ œ
Vc&B
œ œ œ œ œ œ œ œ œœœœœ œœœ œœœ œœ œœœ
[a assai ]

AE583 – 2
 #
& # j œ œ. j ‰ ˙
15
Fl I ∑ ∑ Ó ˙ œ œ. ‰ ˙
[a] C
# ˙ œ œ. ‰ ˙ œ œ. ‰ ˙
Fl II & # ∑ ∑ Ó J J
[a] C
Cor I & w w w w w
C
Cor II & w w w w w
C
œ
&
## j ‰ œ œ œ . œ œ œ j ‰ œ œ œ . œ œ œ œj ‰ œ œ œ . œ œ œ œ. ‰ œ œ œ . œ œ œ œ. ‰ œ œ . œ œ
Vn I
œ œ. œ. . J J
# j œœœ. œ œ
C
Vn II & # Ó œ œ œ . œ œ œ œj ‰ œ œ œ . œ œ œ œj ‰ œ œ œ . œ œ
j
œ œ. ‰ œ œ œ . œ œ œ œ. ‰
. . C
B ##
[a assai ]
Va œœœ œœ œœœ œœœ œœ œœœ œœœ œœ œœœ œœœœœ œœœ œœœœœ œœœ
C
Vc&B
? ## œœœ œœ œœœ œœœ œœ œœœ œœœ œœ œœœ œœœœœ œœœ œœœœœ œœœ
C

# œœ œ
& #œœœœœœ
20
Fl I Œ Ó œ Œ Ó œ Œ Ó

# œœœœœœ œœ œ
g
œ œ
Fl II & # Œ Ó Œ Ó Œ Ó
g
œ œ
Cor I & w œ Œ Ó Œ Ó Œ Ó
[g]
Cor II & w œ Œ Ó œ Œ Ó œ Œ Ó
[g]
## œ œ œ œ œ œ œœ œ œ. œ œ œ œ. œ. œ œ œ œ. œœœœ
œœœœ
ΠJ J
Vn I &
## œ œ œ œ œ œ œ œ œœœœœœœœœœœœœœœœ œœœœœœœœœœœœœœœœ œœœœœœœœœœœœ
g l [l]
Vn II & œœœœœœœœœœœœœœœœ œœœœœœœœœœœœœœœœ œœœœœœœœ œœœœ
g œ.
Va B ## œ œ œ œ œ œ œœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ.
g œ.
Vc&B
? ## œ œ œ œ œ œ œœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ.
g

AE583 – 3
 # œ œ
& # œ œ œ œ œ
24
∑ Œ œ œ œ Œ Ó
Fl I
œ œ
# œ œ œ œ œ œ œ œ œ
Fl II & # ∑ Œ œ œ œ Œ Ó

∑ Œ œ œ œ œ œ œ œ œ œ œ œ
Cor I & w
a
Cor II & ∑ Œ œ œ œ œ œ œ œ œ œ œ œ w
a
œ œ œ œ œ œ œ
## œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœ œ œœ œ œ œ œ œ œ œ œ
œ Œ Ó
Vn I & œœ œ œœ œ œ œ œ œ
# œ œœœ œœ œ œ j
œ œ
& # œœœœœœœœœœœœœœœœ œ œ œ
œ
œ
œ œ
œ
œ œœ
œ œ œ œ
œ
œ
œ œ #œ œ œ œ œ œ
œ
œ œ œ œ a [assai ]
Vn II

œœœœœœœœ œœœœ œœœœ œ œ œ

B ## œ œ. œ. œ.
.
Va œ œ Œ Ó

? # # œ. œ. œ. œœœœœœœœ œœœœœœœœ œ œ œ
Vc&B œ. œ œ Œ Ó

#
& #
29
Fl I ∑ ∑ ∑ ∑ ∑

#
Fl II & # ∑ ∑ ∑ ∑ ∑

Cor I & w w w w w

Cor II & w w w w w

## ˙ œœœœ ˙ œ. œ. œ. œ. œ. ˙ œ.
Vn I & ∑ œœ
œ Œ
a assai
# œ œ
& # Nœ œ œ œ œ œ œ œ œœœœœœœœ œœœœœœœœ œ œ œ œ œ œ œœœœ
œ œ œ œ
Vn II

œœ˙ œœœœ ˙ œ. œ. œ œ ˙
B ## œ. Œ
. .
Va ∑ œ œ.
a assai
Vc&B
? ## ∑ ∑ ∑ ∑ ∑

AE583 – 4
 # j
& #
j j ‰ œ . œj œ j ‰ œ . œ
34
∑ ∑ ∑ Ó œ. œ œ œ
Fl I
œ
# œ. œ œ œ ‰ œ . œJ œ œ ‰ œ . œJ
[a]
Fl II & # ∑ ∑ ∑ Ó J J J
[a]
Cor I & w w w œ Œ Ó ∑ ∑

Cor II & w w w œ Œ Ó ∑ ∑

## ˙ œœœœ ˙ œ. œ. œ œ œ œ. Œ Ó
œ œ
œœ
.
Ó Ó
.
& ˙
˙
Vn I

#
& # œ œ œ
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ.
Œ Ó Ó
˙
Ó
˙
Vn II

B ## œ œ
˙ œœœœ ˙ œ. œ œ œ œ Œ œœ .. œœ œœ œœ ‰ œœ .. œœJ œœ œœ ‰ œœ .. œœJ
.
œ œ.
. . .
Va
J J J
[a]
Vc&B
? ## ∑ ∑ ∑ ∑ ∑ ∑

#
& # œ œ
40

œ. œ. Œ Ó ∑ ∑ w ∑
œ
Fl I
. . [g]
# w
Fl II & # œ. œ. œ. œ. œ Œ Ó ∑ ∑ ∑

. œ œ . œ
[g]
∑ Ó œ
œ. J œ œ ‰ œ J œ œ‰ J œ œ œ œ w
X . . Ç
Cor I & J J
[g]
& ∑ Ó œ . œJ œ œ ‰ œ . œJ œ œ ‰ œ . œJ œ œ œ œ
Cor II
J J X . . Ç w
[g]
# œ. œ œ. œ.
& # Œ œ
Œ Ó ∑ ∑ ∑ J
œ. œ. œ.
Vn I

g
#
& # Œ œ
Œ Ó ∑ ∑ ∑ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ
œ. œ. œ.
Vn II

B # # œœ œœ œœ. œœ. œ Œ Ó Ó ˙ Ó Œ œ œ œ œ œ œ œ œ œ œ œ
. . g
Va
œ ˙ . . .
g
Vc&B
? ## ∑ ∑ ∑ ∑ ∑ œ œ œ œ œ œ œ œ
g

AE583 – 5
 #
& #w
46
Fl I #w w
# w w
Fl II & # w

w w w
Cor I &

w w w
Cor II &

œ. œ.
## œ . œ œ. œ.
œ # œ.
J œ. œ # œ.
J œ.
Vn I & J

#
Vn II & # œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ # œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ # œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ

Va B ## œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

Vc&B
? ## œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

#
& # œ œ
49
Fl I Œ Ó ˙ ˙ Œ Ó

# w œ
Fl II & # œ Œ Ó Œ Ó

œ Œ Ó w œ Œ Ó
Cor I &

Œ Ó w Œ Ó
Cor II & œ œ

## œ œ #œ œ œ œ œ. œ œ œ. œ œ #œ œ œ œ
.
Vn I & ‰ J ‰ J ‰ J

# œœœœœœœœœœœœœœœ œœœœœœœœœœœœœœœœ œœœœœœœœœœœœœœœœ

Vn II & # œ
œ œ œ œ œ œ œ œ œ œ œ œ #œ œ œ œ œ œ œ œ œ œ œ œ
Va B ##

? ## œ œ œ œ œ œ œ œ œ œ œ œ #œ œ œ œ œ œ œ œ œ œ œ œ
Vc&B

AE583 – 6
 #
& # ˙ œ Œ
52
˙ Œ œ œ. Œ Œ #œ œ. Œ Œ Œ Œ #œ
Fl I
œ œ.
# w
[l] [l]
œ Œ Œ œ
[l]
& # Œ œ œ. Œ Œ œ
[l]
Fl II Œ œ œ. Œ œ. Œ

œ.
[l] [l]
œ. Œ
[l]
w œ Œ
[l]
Cor I & Ó Œ Ó Ó œ. Œ Ó

w œ. Œ
Cor II & œ Œ Ó œ. Œ Ó œ. Œ Ó Ó

## œ œ œ œ. œ œ œ œ #œ œ œ œ œ #œ œ
.
#œ œ ‰ œ œ œ œ œ œ ‰ œ œ œ œ
.
Vn I & ‰ J ‰J ‰ J J J #œ

# œœœœœœœœœœœœœœœœ œ œ
Vn II & # Œ Œ œ. Œ Œ œ œ. Œ Œ œ œ. Œ Œ œ
œ œ œ œ #œ œ œ œ œ
l l
B ## œ. Œ
l
Œ #œ œ. Œ
[l]
Va Œ Œ œ Œ #œ œ. Œ Œ œ

? ## œ œ œ œ #œ œ œ œ œ
[l]
œ. Œ
[l] [l] [l]
Vc&B Œ Œ #œ Œ œ œ. Œ Œ #œ œ. Œ Œ œ
[l] [l] [l] [l]

#
& # œ.
57
Fl I Œ Ó ∑ Ó #˙ œ œ œ œ

# œ. œ
Fl II & # Œ Ó ∑ Ó ˙ œ œ œ

œ. Œ Ó ∑ w œ œ œ œ
Cor I &

œ. Œ Ó ∑ w œ œ œ œ
Cor II &

œ œ œœ œ œ
## œ œ œ œ œ œ œ œ œ #œ œ œ œ œ œ œ #œ ‰ J œ œ œ. œ œ œ œ
Vn I &
## œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœ œœ œœ œœ œœ œœ œœ œœ œœ œ œ œ œ œ œ
Vn II & œœœœœœœœ

Va B ## œ œ œ œ œ œ œ œ œ œ œ œ #œ œ œ œ œ œ œ œ œ œ œ œ œ. œ. œ. œ.

Vc&B
? ## œ œ œ œ œ œ œ œ œ œ œ œ #œ œ œ œ œ œ œ œ œ œ œ œ œ. œ. œ. œ.

AE583 – 7
 #
& # #œ
61
Fl I Œ ˙ œ œ. œ. œ. # œ. œ. œ. œ. # œ. œ. œ. œ. # œ œ œ œ
# œ œ. œ. œ. œ. œ œ œ. œ Œ Ó
[a]
& # œ Œ ˙ œ. œ. œ. œ.
. .
Fl II

Cor I & w œ œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ Œ Ó

w œ œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ Œ Ó
Cor II &

# # œœ œ #œ œ œœ œœ œœ œœ œœ œœ œœ œœ # œ œ œ # ˙
& ‰ J œœ. œ œ œ œ œ ˙ Ó
Vn I
œ œ œ ˙
# # # œ œ œ œ œ œ œ œ œœ œœ œœ œœ œœ œœ œœ œœ œœ œ œ œ œ œ œ # œ œ œ œ œ œ œ œ # œ œ œ œ # ˙
Vn II & œœ œœ œœ ˙˙ Ó
œ. œ. .
B ## œ œ œ œ œ œ œ œ œ œ œ œ
. . . . œ œ œ œ
. . . . œ. #œ ˙ Ó
Va

œ. œ. .
Vc&B
? ## œ œ œ œ œ œ œ œ œ œ œ œ
. . . . œ œ œ œ
. . . . œ . #œ ˙ Ó

#
& # w
66

w œ. œ œ œ œ œ #œ œ œ œ œ w w œ œ
œ œ œ œ œœœœœ
Fl I

#
Fl II & # ∑ ∑ ∑ ∑ ∑ ∑ ∑

Cor I & ∑ ∑ ∑ ∑ ∑ ∑ ∑

Cor II & ∑ ∑ ∑ ∑ ∑ ∑ ∑

#
& # Ó œ. œ. œ. œ. œ. œ.
Œ Ó ∑ Ó œ œ
œ. œ. œ. œ.
Œ Ó
œ. œ
Vn I

a . .
#
& # Ó œ œ Œ Ó ∑ Ó
œ. œ.
Œ Ó
œ. œ. œ. œ. œ. œ. œ. œ. œ. œ
Vn II

a. .
Va B ## ∑ ∑ ∑ ∑ ∑ ∑ ∑

Vc&B
? ## ∑ ∑ ∑ ∑ ∑ ∑ ∑

AE583 – 8
 #
& # œ œ œ #œ œ œ œ œ œ œ #œ œ Œ
73

œ œ #œ œ #œ œ ˙ œ #œ œ œ œ œ œ œ #œ œ œ Œ
œ œœœœ
Fl I

#
Fl II & # ∑ ∑ ∑ ∑ ∑ ∑

Cor I & ∑ ∑ ∑ ∑ ∑ ∑

Cor II & ∑ ∑ ∑ ∑ ∑ ∑

#
Vn I & # ∑
œœ œœ œœ œœ œœ œœ œœ œœ
Œ œ œ œ
œ. œ. œ. œœ œœ œœ œœ Œ
œœ œœ œœ
. . . . . . . . . . . . . . .
#
& # ∑ Œ Œ
œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ.
Vn II

Va B ## ∑ ∑ ∑ ∑ ∑ ∑

Vc&B
? ## ∑ ∑ ∑ ∑ ∑ ∑

# œ œ œ œ œ œ #œ œ
& # œ œ #œ œ œ œ œ œ ˙
79
Fl I œ
j
œ #œ ˙ ˙ œ #œ #œ œ ˙ ˙

#
Fl II & # ∑ ∑ ∑ ∑ ∑ ∑

Cor I & ∑ ∑ ∑ ∑ ∑ ∑

Cor II & ∑ ∑ ∑ ∑ ∑ ∑

#
Vn I & # œœ œœ œœ œœ
Œ œ œ œ
œ. œ. œ. œ.
Œ #œ œ œ
. . . # œ. œ. œ. œ. œ. Œ #œ
.
Œ
. . . . . . .
#
& # Œ œ œ œ
œ. œ. œ. œ.
Œ #œ œ œ
œ. œ. œ. œ. œ.
Œ
œ.
Œ
œ. œ. œ. œ.
Vn II
. . . . . .

Va B ## ∑ ∑ ∑ ∑ ∑ ∑

Vc&B
? ## ∑ ∑ ∑ ∑ ∑ ∑

AE583 – 9
 #
& # #œ œ œ œ œ œ œ œ œ #œ œ œ œ œ #œ œ œ œ
85
œ œ #œ œ
Fl I
œ œ . . . . w w ˙
œ œ. ‰ œ œ œ œ
#
[g]
# œ . œ œ œ. ‰ œ . œJ
Fl II & # ∑ ∑ ∑ Ó J J J
[g]
˙
[a]
Cor I & ∑ ∑ ∑ ∑ ∑ Ó
[g]
Cor II & ∑ ∑ ∑ ∑ ∑ Ó ˙
[g]
# . œ œ #œ œ
& # œ Œ #œ Œ œ. Œ Ó ∑ Ó j j‰ œ. œ
j j ‰
œ . œ œ œ. œ œ.
Vn I
.
#œ œ œ œ
g
#
[a]
& # œ Œ œ. Œ Œ Ó ∑ Ó j j‰ j j‰
œ. œ . œ œ # œ. œ. œ œ œ. g
Vn II
.
œœ .. œœ œœ # œœ. œœ .. œœ œœ œœ.
[a]
Va B ## ∑ ∑ ∑ Ó J J‰ J J ‰ œœ œœ
[a]
? ## ˙
g
Vc&B ∑ ∑ ∑ ∑ Ó ˙ œœ œœ
a g

# j
& # ˙
91
Fl I #˙ œ œ œ #œ œ œ œ œ #œ œ œ œ w w ˙ œ œ #œ œ
. . . .
œ. ‰ œ œ œ œ
#
[g]
# œ . œJ œ œ. ‰ œ . œJ œ
Fl II & # ˙ ˙ œ Œ Ó ∑ Ó
J J
[g]
˙
[a]
w œ Œ Ó ∑ ∑ ∑ Ó
Cor I &
[g]
Cor II & w œ Œ Ó ∑ ∑ ∑ Ó ˙
[g]
# œœœœœœ œ œ #œ œ
& # œ #œ œ Œ Ó ∑ Ó j ‰ j j‰
œ . œ œ œ. j œ. œ œ œ. g
Vn I

# #œ œ œ œ
& # œœœœœœœ
[a]
Œ Ó ∑ Ó j j‰ j j‰
œ œ œ . œ œ # œ. œ. œ œ œ. g
Vn II

œ œœ .. œœ œœ # œœ. œœ .. œœ œœ œœ.
[a]
Va B ## œ œ œ œ œ œ œ œ Œ Ó ∑ Ó J J‰ J J ‰ œœ œœ
[a]
? ## œ œ œ œ œ œ œ œ œ
g
Œ Ó ∑ ∑ ˙ Ó œœ œœ
Vc&B
˙
a g

AE583 – 10
 #
& # ˙
97

#˙ œ Œ Œ
œ
Œ œ #œ œ ˙ #œ œ Œ Œ
œ œ
Fl I

# œ œ œœœ œ
Fl II & # ˙ ˙ œ Œ œ Œ œ Œ œ œ Œ œ Œ

w œ Œ œ œ ˙ œ œ œ œ œ Œ œ
Cor I & Œ Œ Œ

w œ œ
Cor II & œ Œ œ Œ œ Œ ˙ œ œ œ Œ œ Œ

## œ œ œ œ œ œ œ œ œ œ œ . œX œÇ œ œ # œ œ œ œ œœ # œœ œ
œ œœ œ œ œ. œ œ
Vn I & œ #œ œ œ œ œ . œ œ
X Ç œœ œ œ œ X Ç
# œ œœ # œœ œ
& # œœœœœœ œœ œ. œ œ œ œ œ œ œ œ
œ œ
Vn II
œ
œ œ œ œ œ œ . œX œÇ
X Ç œ œ œ œ œœ œ œ œ. œ œ
X Ç
œ œ œ œ œ œ œ œ œ œ œ œ
B ## œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
œ
Va

? ## œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
Vc&B
œ œ œ œ œ œ œ œ œ œ œ œ œ

#
& # œ
102
Fl I Œ œ #œ œ ˙ #œ œ œ œ #œ œ œ œ #œ œ Œ Ó œ Œ Ó

# œ œ œœœ œ œ œ œ œ œ œ œ œ
Fl II & # œ Œ œ œ Œ Ó œ Œ Ó

œ ˙ œ œ œ œ œ œ œ œ œ œ œ œ œ Œ œ Œ
Cor I & Œ Ó Ó

œ œ
Cor II & œ Œ ˙ œ œ œ œ œ œ œ œ œ œ œ Œ Ó œ Œ Ó

# # œ œ œ . œX œÇ œ œ # œ œ œ œ œœ # œœ œ œ œœ # œœ œ œ œœ # œœ œ œœœœœœ œ œœœœœœ
& œœ œ œœ œ œ œ œœ œ œ œ œ œ œ œ œ œ œ
Vn I
œ œ œ œ œ
# œ œ œœ # œœ œ œ œœ # œœ œ œ œœ # œœ œ œ
& # œ œ œ . œX œÇ œ œ œ œ œœ œ œœ œ œ œ œœ œ œ œ œœœœœœ œ œœœœœœ
Vn II
œ œ œ œ œ œ œ œ œ œ œ œ
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
B ## œ œ œ œ œ œ
œ
œ œ œ œ œ œ œ œ
œ
Va

? ## œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
Vc&B
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

AE583 – 11
 #
& # œ œ œ œ
108
Fl I œ œ œ œ ˙ Ó ∑ ∑ ∑

# œ œ œ
Fl II & # œ œ œ œ œ ˙ Ó ∑ ∑ ∑

Cor I & œ œ œ œ œ œ œ œ ˙ Ó ∑ ∑ ∑

Cor II & œ œ œ œ œ œ œ œ ˙ Ó ∑ ∑ ∑

œ œ œ œ. b œ œx œ. ˙ œ b œ.
## œ œ œ œ œ ˙
J
Vn I & œ œ œ œ œ œœ œœ œœ ˙
˙
Ó ∑
œ œ œ ˙
a assai
# œ œ
Vn II & # œœ œ œœ œ œ œ œ œ
œ œ œ œ
˙
˙ Ó œ œ œ
œ. n œ. . œ. œ. œ. . œ. œ. n œ. . œ.
œ œ œ
œ. œ. . œ. œ. œ. . œ. œ. œ. . œ.
œ œ œ œ œ . b œJ œx œ ˙ œ b œ.
.
B ## œ
a [assai ]
Va œ œ œ ˙ Ó ∑
a assai
? ## œ œ œ œ
Vc&B
œ œ œ œ ˙ Ó ∑ ∑ ∑

#
& #
114
Fl I ∑ ∑ ∑ ∑ ∑

#
Fl II & # ∑ ∑ ∑ ∑ ∑

Cor I & ∑ ∑ ∑ ∑ ∑

Cor II & ∑ ∑ ∑ ∑ ∑

œ. ˙ œ bœ
# # œ b œ œ œ œ œ n œ œ n œ œ œ œ œ. Œ
œ. b œ œ.
J œ bœ œ œ œ œ nœ œ
Vn I &
#
Vn II & # œ œ œ œ œ œ œ œ œ œ. n œ. œ. œ œ. œ. œ. œ n œ. œ. œ. œ œ. œ. œ. œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
. . . . . . . . . . . . . . . . . . . . .
œ b œ œ œ œ œ n œ œ n œ œ œ œ œ. œ . b œJ œ œ ˙ œ bœ œ bœ œ œ œ œ nœ œ
B ##
.
Va Œ

Vc&B
? ## ∑ ∑ ∑ ∑ ∑

AE583 – 12