The verso of the Haas leaf then concludes with the final five measures of the continuity draft, now fully orchestrated, plus four concluding orchestral measures (Verdi almost never sketched orchestral conclusions after the vocal parts come to an end), as in figure 7.22 Of particular interest is that the part of Amelia in the first measure of figure 7 uses the same essential rhythm as the parallel measure in the continuity draft of Una vendetta in domino, but instead of adopting all eighth notes, Verdi differentiates the rhythm internally.
THE SKELETON SCORE OF VERDI’S UNA VENDETTA IN DOMINO : TWO SURVIVING FRAGMENTS By Philip Gossett For many years I have been fascinated by the kind of information to be found in auction and dealer catalogs. Unfortunately, we do not always have direct access to the manuscripts described in these catalogs. None- theless, even the descriptions (often with partial reproductions) can prove of great interest. A four-page sketch of a duet from Verdi’s Gio- vanna d’Arco, for example, is known only from two auction catalogs, each of which reproduces a different page from the manuscript.1 This mate- rial was
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