Les Danaïdes (Salieri, Antonio)
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Alonso del Arte
Horn 2 has a few wrong notes at the start of the Allegro assai. These have been corrected in both the modern horn part and the archaic transposition part. Also, there are minor discrepancies in cautionary accidentals, beaming and other details of that sort, and the parts reflect the preferred version. I won't get around to correcting the full score until I finish the parts and delete all cue notes from the full score. One detail that I probably won't bother changing is the exact placement of the Allegro assai directive: technically, it doesn't begin until the second beat (or beat 3 if you beat it in 4/4 rather than 2/2) of the measure; but the conductor should hold that note for at least a whole note's worth at the Andante maestoso tempo, and perhaps even have a little breath pause before launching into the Allegro assai. Note that flutes, bassoons, trumpets, timpani, violins, violas, are give a 3-measure rest rather than a cue.
Alonso del Arte
Clarinets in A rather in C in the original. This takes Clarinet 1 almost to the very top of the practical range. Horns in F and trumpets in B♭ rather than in D for both in the original. The only real difference between the cello and double pass parts is that in the measures leading up to letter O, the cellos are given a viola cue while the double bass is given a second bassoon cue; the cellists could very well decide they'd rather listen for the second bassoon while the bassist could decide he/she'd rather listen for the violas (the difference is octave, not pitch-class).
Archaic transpositions. Provided by request. Though if the new clarinet in C becomes popular, then it would no longer be an archaic transposition. I've heard quite a few horn players tell me that they prefer parts in the archaic transpositions, and some even say they wouldn't mind if modern tonal composers likewise used archaic transpositions. Maybe Wagner was on to something after all. I haven't heard trumpeters say the same thing, but I have nonetheless provided trumpet in D parts for this piece.
And for high school orchestras. Tenor trombones written in bass clef. With this particular piece, the use of bass clef winds up being even more nonsensical than usual, especially for the first tenor trombone, which would've most likely have been an alto trombone in Salieri's day. At letter O, the practical range of the modern tenor trombone is altogether exceeded. On the other hand, Salieri certainly did not mean for a pretty chord at this point in the piece.
|Work Title||Les Danaïdes|
|Year/Date of Composition||1784|
|First Performance||1784-04-26 in Paris: Opéra|
|Librettist||François Louis Gaud Lebland Du Roullet (1716–86)|
Jean-Baptiste-Louis-Théodore de Tschudi (1734–84)
Ranieri de Calzabigi (1714–95)