On Mon, 20 Feb 2012 11:31:24 +0100, R. Mattes wrote
> On Sun, 19 Feb 2012 23:42:37 +0100, David van Ooijen wrote
>
> > Does someone have the AR-edition at hand
> > to check the preface to see what David Dolata has to say?
>
> It's in our library, but I might be too bussy to check this week.
Ah, actually no need for the library trip - here's a short quote
from David Dolata's Article on Castaldi as an engraver [1][2]:
The pages of the three known Capricci copies conserved at the
Bibliothèque Nationale in Paris,15 the Fondo Pagliaroli in the private
Biblioteca Forni in Modena,16 and in a private collection in London,
all measure 20 cm x 30.5 cm with a printed area of 17.5 cm x 24.5 cm.
Each copy has a slightly different ordering of the introductory
material and three of the theorbo solos. These variants are listed in
table 1. The London and Modena copies are considerably more legible
and better preserved than the Paris exemplar, which is smudged or
blurred in several places. In the Paris copy p.72 is misaligned,17 but
in the other two is perfect. Castaldi's Dedication to the Youth of
Genoa (appendix) appears in the Modena and London copies, but not in
the Paris copy.18 The Modena copy is in excellent condition and
contains corrections and alterations that appear to be in Castaldi's
own hand; neither of the other two copies has these markings.
Now, given this information, which original would _you_ choose? And
guess which one Minkoff used :-/
Cheers, RalfD
[1] "Visual and poetic allegory in Bellerofonte Castaldi's
extraordinary Capricci a due stromenti" David Dolata,
Early Music 2005 33(3):371-392; doi:10.1093/em/cah099
[2]
http://em.oxfordjournals.org/content/33/3/371.full?ijkey=sveZYJ1Kj10xFaH&keytype=ref
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