Saverio Mercadante and the Neapolitan flute school of the early 19th century. A dramma buffo on the historically informed approach

Enrico Coden

Mercadante’s flute works are among the most beloved 19th-century Italian compositions for this instrument. So far, no study has been undertaken to develop a specific historically informed performance practice for them. In order to do so, I first analysed the Italian flute history in the first half of the 19th century, which revealed a great influence of foreign instruments and methods on local flute makers and players; secondly, I studied the Neapolitan flute school during Mercadante’s lifetime (1795-1870) and discovered which instruments were in use, which methods were kept at the Conservatory Library, and who were the most successful contemporary players. Finally, I focused on Mercadante’s biography and created a detailed catalogue of his flute works, which includes bibliographical indications of manuscripts and editions, musicological details and historical notes (when available). This process revealed that the greatest part of such pieces was composed between 1813 and 1820, that is, while he was studying at the Neapolitan Conservatory. Once my theoretical investigations were completed, I approached the practical part of my research by following the performance practice instructions of Hugot-Wunderlich’s flute method, whose French original edition is kept in the Conservatory library since Mercadante’s study years. However, an important detail that I discovered at this research stage forced me at once to discard my entire methodological process. This true operatic plot twist - dramatic and yet funny - turned my thesis into a dramma buffo. It forced me to completely rethink my methodology and even what the concept of “historically informed” means to me.

Acknowledgements

I would like to express my gratitude to all those who helped me during this research:

My supervisor Inês de Avena Braga for her constant and inspiring support throughout this non-linear process;

My external supervisor Anne Pustlauk for sharing her knowledge with me and asking me questions to which I had (and, in some cases, still have) no answer;

Mariateresa Dellaborra, who always answered my innumerable calls and generously provided me with essential information;

Gian-Luca Petrucci and Ugo Piovano for sharing with me scores and other useful material concerning Mercadante;

Francesco Carreras and Gianni Lazzari, who kindly showed me their stunning instrument collections;

Rosa Cafiero, for giving me that piece of the puzzle that made me completely rethink my research and my identity as a HIP performer;

Cesare Corsi, for giving me valuable information on the Library of the Neapolitan Conservatory and its collection;

The Stichting De Zaaier for the economic support;

And finally, Irene, who revised my English syntax and warned me against using fourteen subordinate clauses per sentence.

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Enrico Coden - Saverio Mercadante and the Neapolitan flute school of the early 19th century. A dramma buffo on the historically informed approach - 2023

Acknowledgements