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By Adorno Theodor W

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2a Andante moderato & b 43 ‰œ b œœ b œ . œœ j j œœ œœœ b œœ œ bœ . œ œ R j j œœ œœ b œœ bœ œ . R π con espressione j j œœ œœ œœ bœbœ . œ œ R J EX. 2b œœ œœ J œœ b œœ œ œ b œœ .. œœ œœ œ b œ & b 43 b œœœ ... b œœœ œœœ œ œœ œ œ . œb œ œ œœ œ œ œ ‰ ø‰ J œœ ... b œœ bb œ˙œ . œœ œœ œœ j œœ œœœ ‰ J EX. 2c Allegro vivace sostenuto j & b 38 œœœ ‰ J j œ® œœœ œœœ œ œ‰ œ œ œ œœ J J J a tempo j j j Ÿ œ ‰ œ œ œœœ œ œ œœ œ œœ œœ œ œ œœ .. œœ . 3 œœ œœ œœ œ J œ n œ œ œœ .. œ n œœ œ. œ œ J j œœœ ‰ œ J j œœ œ œ J EX.

Giulio Ricordi, on the other hand, who had bought the rights, was convinced that, given careful grooming, here was a winner. His hopes were amply fulfilled four years later by the instant success of La Gioconda, written to a libretto by Boito. By the time it returned to La Scala in 1880 in its definitive form, La Gioconda had established itself as a modern classic and its composer as a person of consequence, over whose ability even Verdi no longer had reservations. Not surprisingly, therefore, in 1881 the institution which had shut its doors in his face thirteen years before now welcomed him as a senior professor of composition along with Bazzini.

Salve regina for voice and organ (or harmonium), whose text bears no more relation to the office hymn than does Walter Scott’s ‘Ave Maria’, has also been falsely assigned to an earlier period, namely the years at Lucca. But since Ghislanzoni’s poem did not appear before 1881 this is impossible. Moreover, the fluent keyboard writing, the Massenetlike grace and harmonic shading and a certain effortless freedom of design within the strophic ground-plan again point to a more advanced stage in his career.

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