Richard Miles McKee, Ph.D. 1989

Advisor: Howard E. Smither

Dissertation Title: A Critical Edition of Carlo Pallavicino’s Il Vespasiano

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Dissertation Abstract:

This dissertation provides a modern critical edition of the seventeenth-century Venetian opera, Il Vespasiano, music by Carlo Pallavicino, libretto by Giulio Cesare Corradi. It was the opening opera for the Teatro Grimani di San Giovanni Grisostomo in 1678 and became one of the most widely disseminated operas of the later seventeenth century. The edition is based on the earliest known source, I MOe Mus.F.894, which corresponds closely to the second issue of the 1678 libretto. Two other complete scores of the opera were consulted, I Vnm Ms.It.Cl.IV.Cod.462(=9986) from 1680 and I MOe Mus.F.898 from 1685.

Volume 1 includes a discussion of the 1678 libretto and its relationship to the “reform” libretto; a comparative study of sixteen libretti representing different versions and dissemination of the opera, printed 1678-1695; and an examination of the three complete manuscript scores with observations about the music. It was the practice of late seventeenth-century librettists and composers to write new arias–either additions or substitutions–for each new production of an opera. The recitative of the various libretti of Il Vespasiano remains stable, and the number of substitute and added arias in each libretto is usually small, making a comparative study of aria texts possible. The libretti printed after 1678 fall into three categories: (1) ten libretti that follow the 1678 libretto in many details; (2) two from Ferrara with new arias by Giuseppe Tosi; and (3) four that have additions and revisions by Aurelio Aureli. The Appendices of Volume 1 include all aria texts from the libretti studied and a facsimile of the 1678 libretto to which the score corresponds.

Volume 2 is the edition of the score with a statement of the editorial principles and commentary. An effort has been made to show what a seventeenth-century opera manuscript was like, and yet make the music accessible to a twentieth-century reader. Note values and accidentals are retained from the sources as they appear. Barlines and beaming of flagged notes are sometimes changed to conform to modern practice. Vocal C-clefs are changed to G-clefs. Castrato parts retain their original ranges. The continuo is not realized, and only figures from the sources are included.

Dr. McKee has been a Professor of Music at Campbell University in North Carolina since 1994, where he has become the Director of Piano Studies and Chair of the Division of Fine Arts. In 2000, he received the school’s Dean’s Excellence in Teaching Award.