These footnotes accompany Philip Gossett's article on the discover of the Act I Quintet for Rossini's opera La gazzetta.

  1. The opera had its premiere in Naples, at the Teatro dei Fiorentini, on 26 September 1816, precisely during the period in which the principal theater of Naples, the Teatro San Carlo, was being reconstructed, after the disastrous fire that had largely destroyed it on 13 February 1816, when Rossini himself was in Rome overseeing the premiere of Il barbiere di Siviglia at the Teatro Argentina. For further details about this fire, see the Prefazione to the critical edition of the cantata Le nozze di Teti, e di Peleo, in Edizione critica delle opere di Gioachino Rossini, Sezione seconda, vol. 3, ed. by Guido Johannes Joerg (Pesaro, 1993), xxiv.
  2. For a description of all sources known at the time of the preparation of this score, see the first section, Sources, of the critical commentary to La gazzetta, in Edizione critica delle opere di Gioachino Rosini, Sezione prima, vol. 18, ed. by Philip Gossett and Fabrizio Scipioni (Pesaro, 2002).
  3. «La gazzetta» di Gioachino Rossini: fonti del libretto e autoimprestito musicale, in Ottocento e oltre. Scritti in onore di Raoul Meloncelli, ed. by Francesco Izzo and Johannes Streicher (Rome, 1993), 115–149, according to whom Rossini had avoided setting this Quintet, «perhaps to avoid creating a kind of pre-finale, before the plot had been sufficiently developed» (129).
  4. See his review of the first publication of the critical edition in La gazzetta XIII (2003), 40–45.
  5. The other editor was Marco Beghelli. A preliminary version of this score was prepared for the Rossini Opera Festival of Pesaro for its performances during the summer of 2002. Because of the departure of Philip Gossett from Pesaro after the summer of 2005, this score has never been printed, a matter of no concern whatosever to the Festival but which should be of considerable concern to the Fondazione Rossini.
  6. Stefano Piana, "Auf der Suche nach dem verlorenen Quintett. Anmerkungen zur Rekonstruktion der Szenen VI, VII und VIII im ersten Akt von Rossinis La gazzetta," in La gazzetta (2007), 7–22.
  7. Let me thank Reto Müller for having invited me to write this article and for kindly providing me with a copy of Mr. Piana's realization of these scenes.
  8. Mr. Piana fails to mention, however, that there is no hint of such an ensemble in the opera that immediately preceded La gazzetta, Il barbiere di Siviglia (Roma, Teatro Argentina, 20 February 1816), although his other citations, including to Il Turco in Italia and La Cenerentola, are right on target.
  9. We announced the findings in an article we jointly wrote, "Tre sconosciuti autografi rossiniani e la collezione del Conservatorio di Palermo," Rivista italiana di musicologia XLVII (2012), 204–221. The other Rossini autographs in the Palermo collection are two of the pieces the composer added to Il Turco in Italia for a Roman production at the Teatro Valle on 7 November 1815. For further details about this production, see Martina Grempler, Das Teatro Valle in Rom 1727–1850: Opera buffa im Kontext der Theaterkultur ihrer Zeit, published as vol. 48 of Analecta Musicologica (Kassel, 2012), 244ff. See also her catalogue of performances at the Teatro Valle, Chronologie des Teatro Valle (1727–1850), 246–247, issued as Pubblicazioni online dell´Istituto Storico Germanico di Roma (2012). The Roman revival is also discussed by Margaret Bent in her introduction to the critical edition of Il Turco in Italia (in Edizione critica delle opere di Gioachino Rossini, Sezione prima, vol. 13, ed. by Margaret Bent (Pesaro, 1988), xxvii–xxx. There were also important autographs by Donizetti and Pietro Generali bound together in the volume that contains the three Rossini autographs.
  10. I initially made this suggestion in my Princeton University doctoral dissertation (1970), The Operas of Rossini: Problems of Textual Scholarship in Nineteenth-century Opera, 517–519.
  11. The person who first found this material was the late M. Elizabeth C. Bartlet, who believed that material from the library of the Théâtre-Italien would be present in the collection of the Bibliothèque nationale, Section de la musique. She insisted, and so they finally agreed to let her look at the collection of parts. And, indeed, this material was there, although it had never been catalogued at the time: since then it has been made available more generally. The autograph manuscript of the Duet was later found in Rome, among a group of manuscripts in the Biblioteca di Santa Cecilia (the conservatory of Rome) marked "Il viaggio a Reims / Mio Autografo / G. Rossini." For further information see Il viaggio a Reims in the Edizione critica delle opere di Gioachino Rossini, Sezione prima, Vol. 35, ed. by Janet L. Johnson (Pesaro, 1999).
  12. This change of key of the reprise of a stretta is unique in Rossini's works. That is one of the reasons why it has always seemed to me that Franz Schubert had this very piece in mind as a model, when he used essentially the same tonal procedure in the last movement of his great Symphony in C major, called No. 7 or 9 in the United States, and now known as No. 8 in Germany.