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On 22 May 1813 Salvatore Viganò staged the ballet Prometheus, regarded by critics as his masterpiece. Viganò—dancer, choreographer, and composer among the foremost of the century—had, in 1801, at the Court Theatre in Vienna, mounted the ballet The Creatures of Prometheus (Opus 43), for which Beethoven had composed an Overture and sixteen numbers.

Although Beethoven was not particularly satisfied with Viganò’s contribution (he wrote as much to the publisher Hoffmeister on 22 April 1801: “the choreographer has not fulfilled his task in the best manner”), nevertheless The Creatures of Prometheus was performed no fewer than 14 times in 1801 and 13 times the following year.

Viganò moved to Italy in 1804, and, through stays in various cities, matured his new idea of ballet as danced drama; and according to this conception, in 1813, when he had by then secured his position at La Scala, he returned to the subject of Prometheus, radically altering its episodes in accordance with the plot of an epic group‑drama inspired by Aeschylus’ tragedy and by the poem of the same name by Vincenzo Monti. The most famous version was the one that premiered at La Scala on 22 May 1813, achieving great public success and arousing the admiration of men of letters and artists such as Appiani, Foscolo, and Stendhal. It is the ballet that marked the beginning of Salvatore Viganò’s full artistic maturity.

Indeed, by reading the plot of the 1801 Viganò–Beethoven ballet and comparing it with that of the 1813 Prometheus, we realize that from an Arcadian fable there had been fashioned a moral spectacle—that is, a sublime and astonishing expression of poetic ideas and dramatic situations, as Ritorni defines it in his book Commentaries on the Life and Choreodramatic Works of Salvatore Viganò (1813). In Ritorni’s ample and meticulous description one can perceive the complete difference in conception from the original myth set to music by Beethoven.

By changing the subject and characters of the work, Beethoven’s music too was for the most part abandoned, and Viganò himself employed various pieces by different artists in order to “compose” its music. In the Allgemeine Musikalische Zeitung (AMZ), No. 26 of 30 June 1813 (pp. 434–436) and No. 31 of 4 August 1813 (pp. 514–519), the names of the musicians are listed: Haydn: the Introduction and Ariel’s aria from The Creation, for the episode of Chaos; the Overture from The Seasons; and a scene from The Seven Last Words of Christ on the Cross.

And then again Weigl, a piece by Viganò himself, and finally Beethoven. Of Beethoven, as Lichtenthal tells us, there are some of the most beautiful pieces of the first and third acts. In particular, the scene most beloved by the Milanese was that of the falling‑in‑love of Eone and Lino. These characters, as Ritorni observes, are savages who, in the clearing of the chaos, discover love, and in them is awakened pity for Prometeo, collapsed upon the ground.

The success of Prometeo at La Scala led to roughly 18 performances, to its remaining in the repertory for about a year, and the publisher Ricordi issued several pieces reduced for piano under the title: “Raccolta di varj e migliori pezzi di musica per Fortepiano del Ballo Prometeo inventato e posto sulle Scene del R°. Teatro alla Scala dal signor Salvatore Viganò.”

As we have said, among these are two numbers taken from the 1801 ballet. Such success aroused an extraordinary enthusiasm, of which Porta himself has transmitted the memory: “Quand per vedè el Prometti tri mes fa e correva alla Scala tutt Milan e vegveevan giò a tropp de là e de scià i forestee de tanti mia lontan.” Immediately there appeared the Lettere Critiche Intorno al Prometeo, Ballo del Sig. Viganò, which reiterated that the strongest point lay in the parts relating to the civilizing process and to the wedding of Lino and Eone.

The year 1813 thus also marks the date of the first Italian edition of Beethoven’s music. It is an important date for Beethoven and for Italy.

Indeed, in the first catalogue that the publisher Ricordi issued the following year, 1814, there appeared, among the “Musiche per il Forte‑Piano,” Beethoven’s name beside that of Weigl for the music of Viganò’s Prometeo. The first Catalogo della musica stampata della nuova calcografia di Giovanni Ricordi, Editore dell’I. e R. Conservatorio di Musica appeared as an attachment to various Ricordi scores of 1814. In the second column of the first page appear the names of Weigl and Beethoven, with the four pieces from Prometeo: Sortita di Eone e Lino, Zuffa de’ selvaggi, Cupido alla fucina di Vulcano, Innamoramento di Eone e Lino. In reality this “Raccolta di varj e migliori pezzi di musica per Forte Piano del Ballo Prometeo Inventato e portato sulle scene del R° Teatro alla Scala dal Signor Salvatore Viganò” contains five pieces: the first two are taken from Beethoven’s Le creature di Prometeo, precisely the scene of the first act and No. 5 of the second act.

The six movements are the following:

  1. “Sortita di Eone e Lino ed i selvaggi” (Beethoven, Act I, Scene I, No. 1)
  2. Adagio (Beethoven, Act II, No. 5)
  3. “Zuffa de’ selvaggi” (anonymous)
  4. “Cupido alla fucina di Vulcano” (Joseph Weigl)
  5. “Innamoramento di Eone e Lino” (anonymous)
  6. Cantabile (anonymous)

The German AMZ (Allgemeine Musikalische Zeitung) returned several times to the subject of Prometeo, comparing Viganò to a Raphael of the scenic tableau, and extolling—significantly—the pieces of the “great Beethoven” as the most moving. Still in 1813, in the January issue of the same gazette, Lichtenthal speaks of the operatic season at La Scala, during which he had made the acquaintance of a young pupil of Padre Martini named Rossini, who had presented a new opera entitled La pietra del paragone.

In the list (which may be consulted on this page) appears the name of Giuseppe Moller (born in Milan in 1738, violinist in the orchestra of La Scala and friend of the violinist Alessandro Rolla, already encountered as the author of the violin part of the extremely rare transcription for violin and piano of the Opus 101 published by Ricordi, to which the website has devoted an article in WP).

Among the group of composers programmed by Rolla and financed by the host Moller appear Mozart, Beethoven, Winters, Gyrowetz, Méhul, Dalayrac. It was the first time that Beethoven’s name, at least in the printed newspapers, appeared as that of the new composer who had entered the Milanese symphonic programmes.

Beethoven and Viganò – a Neoclassical Partnership: “Raccolta di varj e migliori pezzi di musica per Forte Piano del Ballo Prometeo”

Inventato e posto sulle scene del R° Teatro alla Scala dal Signor Salvatore Viganò
The “Marcia d’Ercole” composed by E. Soliva as an introduction to the ballet.

Beethoven and Viganò – a Neoclassical Partnership: “Raccolta di varj e migliori pezzi di musica per Forte Piano del Ballo Prometeo”

Invented and set upon the stage of the Royal Theatre alla Scala by Signor Salvatore Viganò The “Marcia d’Ercole” composed by E. Soliva as an introduction to the ballet.

We thank Yuval Dvoran, researcher and scholar at the Beethoven-Haus in Bonn, for having pointed out to us this “forgotten” score. In reality there exist two versions: the one shown, published by “Francesco Mantegazza e Vincenzo Fazzino Fabbricatori d’Istrumenti e Negozianti di Musica Corsia de’ Servi,” preserved at the Biblioteca Nazionale Universitaria of Turin — and we thank the institution for having granted permission for publication.

A further edition was issued by Giovanni Ricordi, “Presso il Negoziante GIO. RICORDI Editore del R.o Conservatorio. Il Medesimo tiene Stamperia, e / Magazzino [sic] di Musica d’ogni genere, nella Contrada di S.a Margherita al N.o 1065,” with the same title (a copy is preserved at the Biblioteca di Ostiglia, which we thank for having sent us the scan). Ricordi was established at No. 1065 of Contrada Ricordi between the years 1812–1816.

It is a piece that was meant to form part of the collection for the Ballo Prometeo, yet this two‑page score bears no plate number and was no longer included. Why?

The matter has been investigated, and several hypotheses are possible; but perhaps the most plausible is that it may have been used as an “ouverture” to the Ballo Prometeo and then subsequently omitted. A further reason may be inferred from the review of the performance of the ballet Prometeo that appeared in Il Corriere Milanese of 13 October 1813, where it is reported that Viganò introduced modifications and removed certain incongruities, taking away “all the majesty from the sublime tableau of the triumphant descent of Hercules, which was one of the best‑conceived and best‑executed parts of the composition.” It is possible that Viganò eliminated it, and therefore it no longer appeared in Ricordi’s reduced piano edition (the one with plate numbers 154, 157, and 165).

Thus one may suppose that the Marcia was included in the first performance and perhaps later removed, and consequently the same occurred with the piano part. Or perhaps Ricordi intended to include it and then did not insert it in the “Raccolta … Pezzi del Prometeo,” published in 1814. This also explains why Ricordi added no PN to the score. The Elenco manoscritti of the Archivio discografico — which lists all works published by Ricordi with year, number of copies, etc. — has also been checked, but no Marcia d’Ercole has been found.

But why two publishers? We contacted the Archivio Ricordi to inquire whether they had further information, but this small score appears neither in the catalogue, nor in the libroni, nor in the mastrini.

Ricordi may simply have resold it, yet it is strange that he printed it without a plate number, although this would not be the only case. If Ricordi had received the plate from Mantegazza and Fazzino, he would have inserted his own number, or would have written “stampata” and not “incisa”; the opposite could also be true — although indeed rather unlikely — namely that he engraved it in order to have it printed by others, and therefore did not assign his own number. The differences in Ricordi’s plate are minimal and chiefly correct some material errors of the other plate.

Francesco Mantegazza, eldest son of Pietro Giovanni (the principal Milanese luthier of the second half of the eighteenth century), was born in Milan on 29 July 1762. He began signing his own instruments in 1787, still working in contrada S. Margherita (probably in his father’s workshop); in 1811 he is found in contrada de’ Meravigli, and in 1823 in contrada de’ Servi. His instruments reflect the characteristics of his father’s; he too followed the Amati model, seeking to imitate that master. The varnish is predominantly brown, rarely reddish, and the sonority very good. Francesco died in Milan on 9 November 1824.

There is a Giovanni Mantegazza who was an engraver for Casa Ricordi from 1830 to 1842 (with renewal in 1836); his contract with the firm is among the documents preserved in the archive, but we have no further information. It is certainly a curious coincidence.

Nothing is known about the Milanese Vincenzo Fazzino or about his collaboration with Mantegazza, nor of any other publications of theirs.

We note that at the Biblioteca di Casale Monferrato there exists a manuscript copy of this piece, probably later than the two Milanese editions.

Further research — and thanks to the assistance of Yuval Dvoran — allows us to confirm that Viganò took the music for the Marcia d’Ercole from the ballet Die Spanier in Peru by Joseph Weigl. In the piano arrangement of Weigl’s ballet (published in Vienna by the k. k. Hof Theater Music Verlag, plate number 64), the number is entitled Einzug der Spanier und der Indianer über die Berge; Soliva’s arrangement differs from the one published in Vienna.

Ballet La Vestale – Choreodrama and Musical Pastiche by Salvatore Viganò (1818)

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Beethoven and Viganò – a neoclassical partnership: “La Vestale”

La Vestale, a tragic ballet by Salvatore Viganò to be performed on the stage of the Royal Theatre at La Scala in the spring of 1818.

The texts and documents on this page are edited by Luigi Bellofatto. The musical examples are by Graziano Denini.

“La Vestale,” a ballet in five acts with a libretto by Salvatore Vigano, features music by Ludwig van Beethoven, Gioachino Rossini, and Gaspare Spontini.

The ballet “La Vestale,” composed specifically for La Scala in the wake of the success of Spontini’s “La Vestale” in Florence in 1817, premiered at La Scala in the spring of 1818. The including of Mozart, Rossini, and Beethoven with Spontini is trypical of the contemporary assessment of artistic value of that time.

Viganò’s “La Vestale,” considered “by many to be the most solemn of his compositions,” promoted Beethoven’s name by including him among the other composers he drew upon for his music, as proved by the music edition published by Ricordi. In fact, the Milanese editor, published a piano reduction in the summer of 1818 (PN 469-473), and the large printing demonstrates that this work was a great success, and that it appeared under the following title:

 La Vestale / Gran Ballo Tragico / INVENTATO E POSTO SULLE SCENE DEL R. TEATRO ALLA SCALA / Dal Sig.r / Salvatore Viganó / Ridotto per Cembalo solo / Dall’Editore Dedicato / A MADAMIGELLA / ELEONORA DE SEYFERT / [l.:] Proprietá dell’Editore [r.:] Deposto alla C. R. Bibl.a / [l.:] N.o 469. al 473. [r.:] Prezzo Lir 5. Ital.e / [M.:] MILANO / Presso GIO. RICORDI Negoziante di Musica, Editore del C. R. Conservatorio, e proprietario della Musica del R.o Teatro alla / Scala, che tiene Stamperia, Archivio di Spartiti e Magazzino di Cembali di Vienna e Monacco, nella Cont.a di S.TE Martherita N.o 113.

The Gazzetta di Milano of January 28, 1819, also announced an abridged edition for two violins, viola, and cello “by the dilettante” D. Alberico Vitali. (See footnote).

In his 1838 biography of Viganò, Ritorni devotes more pages to this ballet than many others, writing a twenty-page comprehensive description of the plot and his assessment of the ballet. According to him, the tragedy was so striking that it initially elicited a profoundly sad silence throughout the theater, rather than applause, especially at the first performance.

Viganò knoew Spontini’s La Vestale, a three-act opera in the French style, when it was premiered in Paris in 1807 before being brought to Naples (the only Italian center for appreciating French-style opera in the early nineteenth century). Some of Spontini’s music is incorporated into Vigano’s score. Unlike Spontini’s opera, Vigano’s La Vestale is a tragedy. Emilia (Giulia in Spontini’s opera) is not saved by a benevolent Vesta; instead, she is buried alive in an underground tomb in a terrifying scene described in detail by observers of the period.

Salvatore Viganò, born in Naples on March 25, 1769, was a dancer and later a choreographer. He was born into a family of artists; his father, Onorato, was a ballet master and choreographer; his mother, Maria Teresa Boccherini, also a dancer, was the sister of the famous Luigi Boccherini, and Salvatore studied composition with his uncle.

His debut as a dancer, in a female role, took place in Rome. Shortly thereafter, Viganò travelled to Spain, engaged in performances in honor of Charles IV in Madrid (1788), where he met and married the Spanish dancer Maria Medina.

Subsequently, the couple travelled to England with the famous choreographer J. Dauberval, from whom Viganò learned Nover’s theories and the art of choreography. He performed briefly at the Paris Opera (1789), then in Bordeaux and Venice (1790), where audiences were particularly enthralled by his wife’s performances, which featured very transparent and provocative costumes. This caused an initial rift in the couple, who continued to perform together from 1795 to 1799 in Prague, Dresden, Berlin, and Hamburg. In 1799, however, the definitive break occurred, so Viganò returned to Vienna and becoming the theater’s ballet master until 1803.

In Vienna, he choreographed many famous ballets for the Hoftheater, most notably the one considered his masterpiece, “The Creatures of Prometheus,” which premiered at the Burgtheater on March 28, 1801. While Beethoven composed the music, Viganò prepared the entire choreography and even danced at the premiere. Although Beethoven was not entirely satisfied with his contribution, the performance was performed 14 times in 1801 and 13 times the following year.

Viganò returned to Italy in 1804; performances in Milan, Venice, Rome, and Padua marked the composer’s progress in dance drama, based on expressiveness correlated with musical rhythm. He settled permanently in Milan in 1812, when he abandoned dance to devote himself entirely to choreography.

Until his death in Milan on August 10, 1821, he held the position of maître d’ at the Teatro alla Scala, successfully staging many of his works.

The creator of the so-called choreodrama (dance drama, a fusion of dance and dramatic acting, in which ample space is given to the performance of the corps de ballet and less to solos or pas de deux), he was the first to intuit the dramatic potential of the art of dance.

Viganò reached the highest point of his art with “Prometeo” (a reworking of The Creatures of Prometheus) in 1813, at La Scala in Milan. He achieved this thanks to the quality of the show, determined by the excellent interpretation of the dancers, the choice of music, some of which he composed himself, and the huge stage apparatus of neoclassical tendency. The critics unanimously recognized in this “grand ballet” the qualities of a masterpiece: Stendhal, Foscolo, Porta praised it. With his last choreodrama “I Titani” (1819) Viganò reached the highest peaks in spectacular staging that presaged the pressing Romanticism.

ACT ONE.

Circus.

On the anniversary of the cereal festivals, a solemn celebration is held with wrestling and a chariot race in the presence of the Consuls, Senators, Vestal Virgins, and the Roman people. After this spectacle, the Flamens offer sacrifices of thanksgiving to the gods, and the Vestal Virgins pour the customary libations on the palms and wreaths destined for the victors, raising fervent prayers to heaven that such brave young men may always be granted to the Republic. Once the sacred rite is completed, the prizes are distributed. Among the victorious athletes is Decius, son of the consul Murena. As he is being awarded, the Vestal Virgin Emilia reveals the satisfaction of her soul, the effect of budding love; and Decius similarly lets her know with his looks that the prize is sweet for her alone. The vaulters, disguised in various ways, bring the festival to a close.

ACT TWO.

An apartment in the house of the consul Murena.

Decio, pensive and sad, returns from the circus to his father’s house. The crown he has brought back holds no attraction for him; he has nothing in his mind but the image of Emilia; all his wishes are directed to her, but he clearly sees the impossibility of fulfilling them, and already abandons himself to the deepest grief. His father arrives, accompanied by several patricians and followed by his slaves, to give free rein to his joy; but seeing his son so dismayed, he does not know what to think. However, Decius, at the sight of his father, tries to compose himself, and makes him suppose that the fatigue endured in the fight is the cause of his dejection. He believes it, and has his son’s victory celebrated domestically with a splendid banquet, with music and dancing; After which everyone retreats, except Claudius, who is held back by Decius. The inconsolable Decius confides the secret of his heart to his friend and protests that he wants to kill himself, since he has no hope of possessing the object of his passion. But Claudius, incautiously taking pity, dissuades him from this terrible plan, revealing that he knows a subterranean passage that leads to the Temple of Vesta, and promising to lead him through it the next night to see the beautiful Emilia again. Then the tender lover regains his spirits and confidence, repeatedly embraces his friend, and full of impatience, leaves with him.


La vestale Emilia di Giani Felice 1758/ 1823

ACT THREE.

Temple of Vesta.

Before the image of the Goddess burns the sacred fire. Night. Emilia, to her misfortune, keeps vigil this night, guarding the sacred fire. The solitude and silence invite her to meditate on her state. She feels that she loves, and understands well that her condition as a Priestess forbids her a profane love; therefore, terrified, she prostrates herself before the Goddess and implores her favor. Already a sweet calm seems to soothe her heart; but the amorous torment gradually reawakens, and becomes so enlivened that she speaks in a delirious way to Decius, as if he were present, and reveals to him the terrible conflict between her affections and her duties. Meanwhile, Decius himself advances, accompanied by Claudius, who immediately retreats to keep watch at the entrance to the temple. At the sudden appearance of her lover, wretched Emilia is terrified and is about to flee. But Decius stops her, uses all the persuasions his love suggests to comfort her, and suggests that she flee with him. Emilia, overcome with terror at such a proposal, runs to the statue and embraces it, seeking escape from such danger. Decius then believes he is not loved in return, and moves away from her with signs of extreme despair. The unfortunate Vestal, at this, falls fainting at the foot of the altar. Decius, moved, returns, helps her, and swears to obey her every command. But meanwhile the sacred flame has gone out. The consternation of the two lovers is inexpressible. Meanwhile, Emilia hears the voice of Claudio, unknown to her, who comes to warn his friend that it is time to leave, and then that of some Vestal Virgins who are advancing towards the temple, so that she, ashamed of herself and frightened, falls back to the ground. Decius and Claudio remain lost in the darkness. Then the Vestal Virgins enter with their lamps. But what is their astonishment, seeing that the sacred fire is extinguished, that Emilia is prostrate on the ground, and that two men are hiding in the august ruin! Decius would like to remedy such a fatal mishap by imploring the sacred Virgins not to reveal anything of what they have seen: but Claudio, fearing for himself and his friend, drags him by force from the temple. No sooner have these fugitives arrived than, summoned by the noise, the Priests and the Archflamine rush in. The youngest of the Vestals, with the innocence that is proper to their age, immediately reveal everything. The Archflamine burns with fury, hands the guilty woman over to his ministers, and, announcing her death, takes her from her companions, who follow her from afar with bitter tears.

ACT FOUR.

Sacred grove adjacent to the college of the Flamens or the temple.

Decio and Claudio secretly enter the sacred grove to spy on Emilia’s fate. Claudio approaches the college of the Flamens and suddenly returns to his friend, informing him that the priests are advancing to judge the unfortunate woman and that they must retreat. Decius turns pale; but, resolved to free his lover or die with her, he flees with Claudio to prepare everything necessary for the fulfillment of his plans. The Flamens and Vestal Virgins arrive one by one, and then the Consuls, to whom the Archflamine explains the reason that has brought them here. Then Emilia appears among the lictors. She is examined and declared guilty, but in vain they try to make her reveal her accomplice to her crime: except that Decius himself, overcome by despair, runs to the feet of his father the Consul, confesses his error, and implores him to abolish the barbarous law that condemns the wretched Vestal Virgin. His words stir all hearts and arouse a universal murmur. But the Archflamine, wasting no time, pronounces the fatal sentence, tears the priestly insignia from the criminal, covers her with a black veil, and pushes her away like an abominable victim. Then, having made it clear to the consul Murena that his son is well aware of the inviolability of the rite, and that he trusts from his prudence that he will respect it, he follows the Vestal Virgin along with the sacred college. The others retreat to opposite sides: but the consul is recognized as extremely distressed by his son’s crime; and Decius’s actions foreshadow all the excesses of a man who has nothing left to hope for or lose on this earth.

ACT FIVE.

A wicked camp.

News of the sentence pronounced against the Vestal has already spread throughout Rome, so that the afflicted people from all parts flock to this place to witness its execution. Shortly thereafter, the funeral procession, composed of the ministers of the rite, the Archflaimine, the consul Silanus, the Vestals, and the soldiers, advances. The criminal arrives filially, surrounded by lictors. The Archflaimine then raises a prayer to the gods, imploring their protection over the Empire, exposed to the gravest misfortunes by the sin of the impure Vestal. He then himself leads the victim to the edge of the tomb where she must be buried before death, and there, having resigned her to the executor of justice, angrily turns his back on her and withdraws aside. The unfortunate woman, mourned by all, is lowered into her eternal prison, which is immediately sealed with a heavy marble slab. At this moment, the frenzied Decius bursts into the midst of the astonished multitude, followed by a host of armed men, determined to save Emilia’s days at the cost of his own life. He first tries to soften the heart of the Archflamine; and failing, he rushes at him to kill him, but his blow falls flat, and he himself is mortally wounded by the guards. Meanwhile, the consul Murena arrives, believing he still has time to check his son’s audacity; but, seeing the miserable event from afar, he pauses in horror. Decius drags himself to Emilia’s tomb and there expires, still repeating her beloved name.

Beethoven and Viganò – A Neoclassical Partnership: “La Vestale”

La Vestale, a tragic ballet by Salvatore Viganò, to be performed at the Royal Theatre of La Scala, as quartet for two violins, viola, and cello.

The Niccolò Paganini Conservatory of Genoa owns the score of a “reduction” for string quartet of La Vestale. The title reads: “La Vestale, Gran Ballo Tragico Inventato e posto sulle scene del R. Teatro alla Scala dal signor Salvatore Viganò Ridotto a quartetto per due violini, viola e violoncello, ed allo stesso impareggiabile coreografo dedicato da Alberico Vitali”. 

The score, likely contemporary with the first piano reduction (c. 1819), was adapted for quartet by Alberico Vitali, who did the same for “Otello, Gran Ballo Tragico Inventato e posto sulle scene del R. Teatro alla Scala dal signor Salvatore Viganò Ridotto a quartetto per due violini, viola e violoncello, ed allo stesso impareggiabile coreografo dedicato da Alberico Vitali”.  This time without Beethoven’s music.

Below, in WP, is the Beethoven piece, transcribed for string quartet, Andantino “Emilia ritorna in se,” “Emilia ritorna in se”, Atto terzo, scena quinta. Musica tratta dall’ Opus 084: Musik zu J.W. von Goethes Trauerspiel “Egmont” 06 Zwischenaktmusik III – Allegro – poco meno allegro.

We thank Mrs. Carmela Bongiovanni for the warm welcome.

And again…. Beethoven and Viganò – a neoclassical partnership: “La Vestale”

Scelta di varj pezzi Del gran Ballo La Vestale – Ridotti per Chitarra sola da Ant. Nava e dedicati dal medesimo all’ ornat.ma signora Lionel Goldsmith

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