Antonino Pasculli (1842–1924) Rimembranze del Rigoletto di Verdi
First Printing edited by Sandro Caldini [ob,pno]
The musical world owes the 'Rimembranze del Rigoletto' to the deplorable situation of the underemployed virtuoso: Antonio Pasculli found that there were too few pieces in the oboe literature of his time that were up to par with his abilities.
32 pages | 23 x 30,5 cm | 146 g | ISMN: 979-0-004-48831-7 | Softcover
The musical world owes the "Rimembranze del Rigoletto" to the deplorable situation of the underemployed virtuoso: Antonio Pasculli found that there were too few pieces in the oboe literature of his time that were up to par with his abilities. He thus wrote his own pieces, just as Paganini had done before him. The fact that Pasculli's "Rigoletto" variations were heavily inspired by a similar transcription made by his contemporary Giovanni Daelli suggests that the busy performer granted himself little time for composing. Pasculli apparently also did not try to find a publisher. And so his technically demanding "Rimembranze" are 2003 being published for the first time as part of the Musica Rara collection, where they take their place alongside five other oboe works by Pasculli.
Antonino Pasculli was born in Palermo in 1842 and died there in 1924. He was one of the most important oboists of his time and, since he could not find works that highlighted his incredible technique on the instrument, he wrote many compositions, most of them based on operas by Verdi, Rossini, Donizetti, Bellini and Meyerbeer.
The present edition is based on the manuscript n.33B28f kindly provided by the Library of the Conservatory of Music in Palermo. Although it is undated, its writing gives us cause to believe that it is one of his early works. Another important characteristic is the similarity of this composition with Giovanni Daelli’s Fantasia su Rigoletto for oboe and piano published in 1855 by Ricordi; over half of the present edition presents the same score as Daelli’s work, which makes it obvious that Pasculli was deeply inspired by it. After a short piano introduction, an oboe cadenza (as in the majority of the Pasculli’s works) leads to the first aria (sung by Gilda, in the opera) “Caro nome” followed by some variations separated from each other by an oboe cadenza. This entire part is very similar – if not identical – to Daelli’s Fantasia. The introduction of the Duke’s aria “Bella figlia dell’amore” (with a challenging variation) then leads to the final Allegro con fuoco.
In my editorial work, I attempted to follow the manuscript and to only correct the inconsistencies and errors in slurs and harmony:
m. 31 Piano part left hand, the 3rd eighth note is an f and the last eighth note is missing in the manuscript.
m. 36 Piano part left hand, on the 3rd beat the manuscript has a quarter rest.
m. 48 Piano part right hand, the last trill presents a c natural2 in the manuscript.
m. 54 Oboe part, the crescendo is missing in the manuscript.
m. 134 Piano part left hand, the 6th and 7th sixteenths notes (chords) have an e sharp1 and a g natural1 in the manuscript.
m. 137 Oboe part, the first 32nd note after the trill is natural in the manuscript.
m. 139 Piano part right and left hands, in the chords the b are natural in the manuscript.
The piano part and the harmony were checked by Fulvio Caldini.
Florence, Fall 2003