front cover of Hymns / Inni
Hymns / Inni
Giuseppe Verdi
University of Chicago Press, 2007

This newest volume in The Works of Giuseppe Verdi series comprises his only two surviving secular choral works: Inno popolare, or Hymn of the People, for unaccompanied male chorus, and Inno delle nazioni, or Hymn of the Nations, for tenor solo, chorus, and orchestra.

Verdi wrote the brief Inno popolare in 1848 at the behest of the Italian philosopher and patriot Giuseppe Mazzini, intending that it become an anthem for Italy at a time when the country had just driven away its Austrian overlords. He wrote no more independent patriotic pieces until he was asked in 1861 to represent his country with a patriotic composition at a musical jubilee during London’s International Exhibition of 1862. The resulting piece was Inno delle nazioni, the critical edition of which is based on Verdi’s autograph score, preserved at the British Library.  Other important sources include the composer's musical sketches, recently discovered in the Verdi family villa, and the performing parts Toscanini used for a BBC broadcast in 1943.

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front cover of I masnadieri
I masnadieri
Melodramma tragico in Four Parts by Andrea Maffei
Giuseppe Verdi Edited by Roberta Montemorra Marvin
University of Chicago Press, 2000
Composed between October 1846 and the spring of 1847, I masnadieri features a libretto based on Schiller's play Die Raüber (The Robbers). The opera premiered in July 1847 at Her Majesty's Theatre, London, with Jenny Lind as the prima donna. Verdi himself supervised the rehearsals for the premiere, and the original performing parts, which contain annotations made by the players under Verdi's direction and changes made by the composer during the rehearsals, have been preserved at the archives of the Royal Opera House.

The critical edition is the first publication of I masnadieri in full score. Based on the composer's autograph and on important secondary sources such as the performing parts mentioned above, this edition provides scholars and performers alike with unequaled means for interpretation and study of one of Verdi's less well known works. The detailed critical commentary discusses problems and ambiguities in the sources, while a wide-ranging introduction to the score traces the opera's genesis, sources, and performance history and practices.
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