“Speranze Perdute” A Monograph of Lost Hope R. Crumb, artist Sheri Mignano Crawford Zighi Baci Publishing Box 1784 Boyes Hot Springs, CA 95416-1784 https://www.ZighiBaci.com © March 2021 Revised, Second Edition Lost Hope: A Monograph of Alessandro Morelli’s “Speranze Perdute” Preface . . . . . . . . . . . . . . . . . . . . . . . . . . Part One: A Monograph of Morelli’s “Speranze Perdute” Roman Roots . . . . . . . . . . . . . . . . . . . . . . . 1 Parisian Success of “Espoirs Perdus” . . . . . . . . . . 4 “Speranze Perdute” in America . . . . . . . . . . . . . 8 Post-World War II . . . . . . . . . . . . . . . . . . . . 11 Luigi Giorno’s poem and collage . . . . . . . . . . . 14 Analysis of Various Editions . . . . . . . . . . . . . . . 16 Acknowledgments . . . . . . . . . . . . . . . . . . . . . 21 Endnotes & Recordings . . . . . . . . . . . . . . . . . . . 22 Part Two: Appendix Chronology and Sheet Music, 19 Editions & Arrgmts . . 29 “Il Mandolino Romano” September 15, 1898 issue . . . 87 Paul Beuscher Music Catalog listings, c. 1900-1905 ? . . .91 Zighi Baci Publishing Order Form . . . . . . . . . . . . 93 Roman Roots We are living in a time when lost hope seems to dominate the mood across the globe. A once-in-a-century pandemic is sweeping into every village, town, and city. Musicians contemplate whether they will ever play with other musicians in quite the same way. Many contemplate if we are “without hope” or if we must be prepared to “postpone hope” or if we have permanently slipped into Dante’s Inferno: “Abandon Hope, All Ye Who Enter.” It seems more urgent than ever to tell the story of a resilient waltz that has touched tens of thousands of lives. Since the first moment it debuted in concert and dance halls, it has thrived despite its title. Alessandro Morelli (1875-1918) left very few clues as to his state of mind when he composed “Speranze Perdute.” One might assume “Lost Hopes” documented an unrequited love affair. Some might infer that his dedication to a young lady known only as Mademoiselle Louise Paulucci meant a romantic disappointment. If she did inspire him, she remains a mystery as does the title’s meaning bestowed on his vals sentimentale. At the close of a century, music publishers and audiences showed an even greater enthusiasm for the mandolin. Morelli, a young twenty-three-year-old Roman-born musician premiered his famous waltz and showcased the finest composers in the music journal he founded in 1898. As its artistic director, he established an integral network of musicians that served him publishing many Italian composers and arrangers. For nearly three years, he reigned as artistic director and edited the Il Mandolino Romano before it folded in 1900. Only a handful of extant issues can be found in Italian libraries or private libraries.1 Figure 1 Morelli was Artistic Director and founded the music journal publishing his own compositions and a broad array of mandolin composers from throughout Italy. Courtesy Lorenzo Lippi. “ S p e r a n z e P e r d u t e ” © 2 0 2 0 P a g e 1 | 28 He entered the music publishing arena, having already earned the honorific title of Maestro. It is assumed he studied at Santa Cecilia Academy where he was a student of Giuseppe Conti (1847-1925) a Roman mandolinist and guitarist.2 A Roman business directory lists Morelli as “Maestro di Mandolino e Chitarra” teaching in a studio on the 22, Via Sistina in the heart of Rome.3 Nearby, he managed and published his music journal at 5, Via Umbria. Rome’s musical hub may have nurtured Morelli but at the dawn of a new century, he began to spend more time abroad collaborating and traveling with international Figure 3 Under Carosio’s artistic direction, Torino’s Gustavo Gori published Morelli’s waltz in 1917. Figure 2 Ermenegildo Carosio (1874-1928) was known as a composer and mandolinist; as the Artistic Director of “Il Mandolinista” he preferred to publish his own compositions and arrangements from classical and operatic repertoire. Courtesy Marco Bazzotti. musicians.4 Morelli’s waltz may have only been available through subscription to his journal but other publishers were learning about Morelli’s “ S p e r a n z e P e r d u t e ” © 2 0 2 0 P a g e 2 | 28 talents after he achieved great success in Paris.5 The prominent Torinese composer, mandolinist, and music editor Ermenegildo Carosio (1874-1928) featured “Speranze Perdute” on the frontispiece of a 1917 issue of “Il Mandolinista.” Gustavo Gori featured arrangements from the classical and operatic repertoire but finally incorporated modern mandolin Maestros like Morelli. (Figure 2). However, Torino’s oldest mandolin journal, published by Giuseppe Monticone, continued to ignore Morelli.6 Aside from Carosio and Branzoli, no other Italian music editors seemed interested in Morelli. The world-famous Roman mandolinist and composer Giuseppe Branzoli (18451909) was the only one to feature Morelli. In 1907, he resurrected Morelli’s defunct journal, and he became its new editor until his death in 1909. Serving as artistic director of Il Mandolino Romano, he published several Morelli pieces. Anno I (1907) showcases “Speranze Perdute” published in October. Morelli’s other compositions appeared in Anno II, March 1908, No. 16 with “La Farfalla,” a waltz. In Branzoli’s final year, Anno III, 1909, Morelli’s titles appear twice. The bolero known as “Ricordi di Spagna” in June and in October, a polka “Omaggio al Mandolinisti.” Branzoli’s demise left the journal with a few pieces in the queue but the journal folded in early 1911. Morelli’s other titles started to Figure 4 Giuseppe Branzoli reestablished Morelli’s appear in other music catalogs as his mandolin journal. Several Morelli pieces appear after reputation grew.7 Branzoli took over the reins in 1907. “Il Mandolino Romano”, Courtesy Wikipedia. Morelli returned to Rome in April 1901 to offer a special concert at the “Sala Morelli.” A Roman music journal reviewed the concert, noting that the professor of mandolin had gained considerable success in Paris: “…reduce dai successi di Francia” and “…riscossero molti applausi e suoi bravi collaboratori...” The concert was devoted exclusively to Morelli’s compositions and performed by the Maestro and several of his “ S p e r a n z e P e r d u t e ” © 2 0 2 0 P a g e 3 | 28 musical collaborators.8 An unforgettable soirée for those attending and those who had watched the precocious Roman mandolinist acquire universal acclaim. Parisian Success Morelli’s concertizing kept him front and center for the influx of international visitors coming to the Parisian World’s Fair of 1900. They were thrilled to ride “La Grande Roue de Paris” a towering twenty-story high Ferris Wheel that became the symbol of the fair. No doubt Morelli enjoyed riding as a passenger in one of its cars, inspired by its height and spectacular revolutions. At some point, his march “La Grande Roue de Paris” appeared in a collection of dances which also popularized his waltz under its alternative French title “Espoirs Perdus.”9 Even before the fair opened, flocks of Italian immigrant musicians, like himself, were finding work and financial reward playing in Paris. Even Pietro Forte had picked up an honorarium working at the Fair, and went on to compose an equally famous mazurka “Tra Veglia e Sonno” for New York’s O. Di Bella music catalog. 10 In addition, the Fair attracted numerous Italian accordionists whose compositions flooded the Parisian guinguettes where bal musette waltzes and javas were danced to. Whatever prominence he had earned in Rome, he gained even more recognition amidst the cosmopolitan Figure 5 La Grande Roue de Paris personified the atmosphere and wealthy patrons who Courtesy Wikipedia. Unknown photographer. Fair. inhabited Parisian salons. In 1909, he was elevated to a much higher professional stature in his new adopted country. He was invited to join the prestigious Parisian music protection organization that is similar to the American version of ASCAP. The “Societé des Auteurs Compositeurs et Editeurs de Musique” also known as SACEM. 11 Upon his nomination, he began to reap the rewards and protections that accompanied that association. His musical talents as a “virtuoso of the violoncello, mandola, [and] mandolin” and his music journal were considerable qualifications. SACEM still lists a few Morelli compositions under its domain. “ S p e r a n z e P e r d u t e ” © 2 0 2 0 P a g e 4 | 28 Despite an absence of public reviews and little recognition for his compositions, we can only surmise what his engagement schedule looked like. Based upon his editorial thank you posts in his own journal, he had been networking all over Europe. (See the Appendix and read his personal responses to his subscribers in “Il Mandolino Romano.”) He also surrounded himself with musical colleagues, whom he acknowledged on dedication pages of his sheet music. His second home in Paris provided a convenient hub to launch extensive travels with various troupes and as he concertized, his titls began to be played by more musicians. As a literate Bohemian artist, Morelli gigged according to the seasons and traveled to many locations. Brussels, London, and Nice were just some of the major capitals in his itinerary.12 Perhaps he juggled the South of France when Paris’ weather turned cold and when humid summers made it unbearable, he escaped to cooler climes. When spring beaconed, he might have headed back to Paris or Rome. He had ties with a diverse collection of professional musicians from as far north as Rouen and as far south as Naples but Paris was constant in his short musical life. The Parisian music publisher, Paul Beuscher, was the first to publish “Espoirs Perdus” probably between 1900 and 1916 as evidenced in an undated catalog listing in which Morelli’s waltz is listed separately as a “célèbre valse.” The publisher’s address appears as “19” Blvd. Beaumarchais, the store’s location before 1917 when it moved to “27”. (See Beuscher music listings in Appendix) Figure 6 In 1927, Paul Beuscher published Morelli’s collection of six titles, probably derived from Beuscher’s earlier publication of Morelli’s “célèbre vals.” Courtesy Michael Reichenbach. “ S p e r a n z e P e r d u t e ” © 2 0 2 0 P a g e 5 | 28 As to how Morelli sustained himself beyond royalties from compositions and concerts, we know nothing during the war years of 1914-1918. Perhaps Gori’s 1917 publication of “Speranze Perdute” (Figure 3) gave Morelli a little boost as well. He probably supplemented his income with teaching to adjust for economic hardships caused by a devastating war and a pandemic. Everyone grappled with survival and even his colleagues, the versatile Ramagnano Troupe, withdrew from public engagements once the war started.13 Somehow Morelli’s masterpiece endured despite adversities and it guaranteed Morelli’s immortality. “Morelli’s Masterpiece” It is important to return to the philosophical questions surrounding the title of this masterpiece. Why would a young man, having just launched his career be filled with feelings of “lost hope(s)”? Did he suffer a romantic loss? Perhaps someone he loved and hoped to marry declined his proposal of marriage. It is the proverbial unanswered question that provokes historians to pursue an explanation where none may exist. Morelli dedicated his valse sentimentale to Mlle. Louise Paulucci and it implies she might have been the reason behind “Espoirs-Perdus.” Whatever life experiences shaped the birth of this waltz, Morelli shows respect for this young lady. Unfortunately, while he took the time to annotate each title with specific words of appreciation for his musical colleagues and identifies each person while making the effort to tie them to their home cities, he shares nothing about Mlle. Paulucci. Her status and relationship to Morelli remain a mystery. Mlle. Paulucci might have been a relative of Marquis Raniero Paulucci di Calboli whose treatise on Italian immigration in Paris defined and praised the immigrants’ cultural contributions. As an Italian ambassador living in Paris, he knew first-hand the role of Italian immigration and examined how they were manifest through various musical genres. 14 In 1909 Paulucci published his sociological views in Larmes et Sourires (Tears and Smiles) which coincided with Morelli at his zenith. In his treatise, Paulucci theorized and categorized Italian musicians into three basic categories: the “veritable bohemians” who may have lived and worked in the demimonde or in the café-concerts scene; the itinerant, customed musicians, as was popular in the L’Estudiantina tradition, whose livelihood was based on the mobile circus and theatrical amusements; and the literate musicians who taught music and performed with sheet music.15 Alessandro Morelli and his colleagues seemed to mainly belong in that final, elevated category. “ S p e r a n z e P e r d u t e ” © 2 0 2 0 P a g e 6 | 28 During the hot July summer of 1900, Morelli may have arranged a rendezvous with Mlle. Paulucci or perhaps he was composing a new dance to celebrate the exposition. In the midst of a time of great optimism, the world received a dramatic jolt when news arrived about the assassination of Italy’s King Umberto I. No doubt he saw funereal sketches or photographs of the cortège passing through the streets of Rome, arriving at the Pantheon. Some onlookers may have shouted “good riddance” while others erupted in expressions of grief and openly wept. “The King was dead. Long live the King!” How did Morelli’s waltz comfort the loss of a nation’s monarch? Did musicians play “Speranze Perdute” as a somber waltz in their Victorian parlors? Did it soothe the hearts and minds of Italians? Again, silence reigns but his waltz began to be interpreted and misconstrued for all sorts of reasons. It became the waltz for all seasons and all occasions. Lost in the militaristic fog (Italy’s colonialization and invasions of North Africa) that led up to the Great War, Morelli’s waltz may have conveniently reflected the loss of a generation of young men. Over time, the waltz became associated with other rites of passage. In addition, it took on an ironic twist when “Speranze Perdute” became the traditional first dance for the Bride and Groom at Italian wedding receptions. Shall we conclude that those women who accompanied the bride were forsaken as bride’s maids and never a bride? These considerations have been contemplated for nearly a century at town celebrations. Be that as it may, “Speranze Perdute” has remained in the top five most popular Italian dances and concert hall encores. Special commemorative moments mandate this magnificent waltz on every musician’s set list. What is crucial to making the case for its global popularity? Ultimately, Morelli had conquered Rome and Paris and made his mark in Torino, a hotbed of mandolin playing when Gori published Morelli’s waltz in “Il Mandolinista”.16 Torino stood as the highly cultured, bilingual Transalpine capital. Its museums, opera, and recreational offerings via train, automobile and bicycle catered to a bourgeois class that brought wealth and patronage to the arts. It was Paris before Paris! In Torino and its suburb Alessandria, several well-known Italian composers and mandolinists were preparing to immigrate to America and join Pietro Tesio, a Torinoborn mandolinist and music publisher in New York. “Speranze Perdute” in America Pietro Tesio (1869-1923) was the first to publish Morelli as a piano and conductor’s score (1907) and later as a mandolin trio (1909).17 Tesio’s piano score reveals that he “ S p e r a n z e P e r d u t e ” © 2 0 2 0 P a g e 7 | 28 must have had access to an earlier edition to a mandolin score published by Beuscher. Tesio’s piano/conductor and mandolin trio publications lend credence to the theory that Beuscher’s 1927 version might be a reprint from 1900. How else could Tesio have published an nearly identical score? His popular score of the waltz sold long after Tesio’s untimely demise in 1923; Antonio Mongillo sold Tesio’s arrangement of “Speranze Perdute” in his Mulberry Street music store. 18 Tesio’s mandolin trio and Figure 7 Mongillo stamp on Tesio’s [sic] “L[a]st Hope”. his piano score can be compared with Gori and Beuscher scores in the Appendix.19Another theory is that Tesio subscribed to Morelli’s “Il Mandolino Romano” and subscribed to Morelli’s journal. As a mandolin music publisher, he might have sold it in his store. His mandolin trio reveals a virtual match with Beuscher except in one glaring exception: the absent adlib mandolin cadenza to “Espoirs Perdus.” Next, the aging, distinguished Philadelphia music publisher reprinted Tesio’s mandolin trio of “Speranze Perdute.” Maestro G. B. De Stefano (1845-1926) culled the best and most popular Italian dances from his New York colleagues and converted them into hardbound volumes to memorialize the considerable productivity of Italian composers. Several volumes of these collated dances appeared in the winter of 19251926. Each volume sold for $20.20 Through “special arrangements” with Italian music publishers, he compiled selected and published Morelli’s waltz in one of these permanent, hardbound volumes. These rare copies were acquired by big hotels which operated on-site libraries for itinerant musicians.21 Therefore, musicians enjoyed Tesio’s arrangement of Morelli’s waltz two decades later in Philadelphia. 22 Figure 8 G.B. De Stefano compiled sheet music in hardbound books, sturdy volumes to accompany any professional musician. Courtesy Norman Giorno-Calapristi After Tesio published Morelli, every Italian music publisher in New York followed suit. Most were instrumental versions in the typical mandolin trio format. Mauro V. Cardilli, “ S p e r a n z e P e r d u t e ” © 2 0 2 0 P a g e 8 | 28 Onofrio Di Bella, Ottavio Pagani, and Antonio Paolilli plagiarized verbatim from Tesio’s mandolin trio score which had been largely been cribbed from Paul Beuscher and from Gustavo Gori. Among the various instrumental editions by Manhattan music publishers, one Italian publisher created a vocal edition for the vaudevillian stage. The Arturo Matacea music catalog offered “Speranze Perdute” as a song (mandolin melodic line) with accompanying lyrics suitable for the bawdy Bowery theaters and the Italian macchietta stage. These theaters offered Italian immigrants the opportunity to hear vocalists mock the political issues of the day and to vent their frustration via laughter and sarcasm. The shows united audiences against a presumed “enemy” and strange American customs.23 Irreverent songs dominated the comedic numbers that were enjoyed in Little Italy’s theaters and in piano rolls. In December 1920 Natale Di Palma (and his alter ego and pseudonym Arturo Matacea) copyrighted an arrangement of Morelli’s waltz with the lyrics by Giovanni Del Colle.24 Professor Del Colle had already published his famous “No Beer, No Work” song with Antonio Grauso and might have been looking for another hit. He seemed to have become radicalized as a poet before he collaborated with Di Palma. Matacea’s listings show songs exclusively devoted to controversial topics. Based on Di Palma’s notorious mocking style and political assault on American problems, he enlisted Del Colle to express the disgruntled sentiments of Italian immigrants and Fascists who challenged American politics. After the betrayal of President Wilson at the Treaty of Paris, Italian parlor and stage songs were filled with deep dissatisfaction. “Lost Hope” must have expressed every disappointment Italians felt with so much territory lost after the war. Virtually all Italians living abroad followed the Irredentists’ view that Italian soil had been stolen and needed to be redeemed. Even without a copy of Del Colle lyrics, it is certain that Morelli’s waltz fit perfectly with the cause of the Irredentists as is evident in Matacea’s music catalog. 25 “Speranze Perdute” became all the more popular after it took on a new significance after the failed peace talks. After Italians failed to win back their unredeemed soil, an editor at a major music trade magazine commented on the new connotation behind Morelli’s title. Piano roll companies had just started to create more “ethnic” or “foreign” titles and published Italians music as a separate genre to increase sales. Suddenly, Morelli’s waltz began to take on more historical significance as the editors declared that “’Speranze Perdute” was what the “Italians will be saying soon if they keep on trying to grab Dalmati[a].”26 “ S p e r a n z e P e r d u t e ” © 2 0 2 0 P a g e 9 | 28 That reference about the loss of the Istrian Peninsula as well as the Istrian Littoral would persist over the next forty years. A prescient title! Other popular examples of “Speranze Perdute” could be heard on other affordable piano rolls. A family might enjoy music by simply installing a mechanical piano player. In 1926, Atlas Player Roll launched its Italian category to cater to a growing Italian community and it featured Morelli’s waltz, too.27 In addition, other related Italian titles popped up among various New York music publishers. Italian composers knew the true meaning of lost hope and unredeemed soil. Brooklyn’s Sicilian music publisher and composer Gaetano Leone wrote a victory march “Speranza”, published in December 1918. Wilson’s betrayal had not yet been fully realized but the writing was on the wall. “Hope” was still in the air but fading fast. Figure 9 Atlas Player Roll Co., Newark ,NJ. Courtesy Author’s Piano Roll Library Another prolific Sicilian composer Angelo Geluso composed his mazurka “Speranze e Lusinghe” for Cardilli’s music catalog. That title referred to the role of flattery in staying hopeful. The adaptation of the “Lost Hope” theme seemed to be appropriated by Maestro Luigi Canoro when he composed “Vane Speranze”. That title took on various implications such as “foolish, fruitless, or misplaced” hope. Suddenly, “Speranze Perdute” reflected on the general sense of a foreboding future and it embodied a poignant resignation that all Italians felt deep within their hearts. Despite all its variations on the same theme, “Speranze Perdute” became anointed as one of the two best known dances in the ballo liscio tradition. Pietro Forte and his coauthor Luigi Canoro had penned “Tra Veglia e Sonno” and its flip side, so to speak, became Morelli’s waltz. They shared subtle references to the lost territories as treaties and promises were broken, and territories were split or never redeemed.28 Irredentism covered the lost island of “Veglia” and the entire ancient Roman Empire’s coast known as Mare Nostrum. If a dance band played these two titles at a dance, most would have felt the titles communicated a deeply resentful hurt.29 The loss of specific soil and newly bifurcated regions and cities as represented by North African colonies like Libya and the Adriatic region of Dalmatia, Veglia, Gorizia, and Fiume among “ S p e r a n z e P e r d u t e ” © 2 0 2 0 P a g e 10 | 28 others. Blame went to the Italian army as well, but all lost territory led to a profound pessimism and on-going skirmishes in volatile areas, especially in the town of Fiume, under the protection of Gabriele D’Annunzio, an early Fascist. Post-war exuberance quickly turned to Jazz, Prohibition, and amnesia. Whatever disappointments had occurred, Italians got through the 1920s and entered the next decade marked by a global depression in the 1930s. As people lost their livelihoods, their homes, and their hopes, the theme was directly tied to all sorts of pessimism, especially after the 1929 Stock Market Crash and the looming Depression. A new context gave “Speranze Perdute” yet another meaning during desperate times. The brutal decade meant that if a musician still had a gigging job or was lucky to be hired by a music project in the WPA, you might hear the waltz at a music hall or a family gathering. If you owned the sheet music, it came in handy as a nostalgic tool that could unite the audience. Playing the melody became a communal experience and a way to express solidarity about what was at stake. Did these titles challenge Fascistic leanings or did they defy the rising Fascism? Musical renditions could have unintended emotions; the responses might have communicated a sense of resignation or a belligerent defiance about how Mussolini might forcefully seize the unredeemed soil. “Speranze Perdute” became a rallying cry for many Italians no matter where you lived, what your politics were, or your economic status. Post-World War Two Time and again, any unredeemed territory became associated with “Lost Hope.” After World War Two, Italy struggled to pull itself together to support the Trieste solution; however, the broken promises threatened the Istrian Peninsula and Littoral, opening the door to Tito and the Soviets. All the pleas to St. Anthony were futile, and the prayers to “lost causes or lost things” abruptly ended. Italians surrendered to the inevitable. It was déjà vu all over again! Political negotiations yielded no compromise or resolution. Decades of despair ended in resignation. Despite a decade of neglect, a long Depression, and severe post-war conditions, Morelli’s waltz made a triumphant return to the dance repertoire. The year was 1947. “ S p e r a n z e P e r d u t e ” © 2 0 2 0 P a g e 11 | 28 The Paris Peace Treaty on February 10, 1947 became the political context in which “Speranze Perdute” was republished by Torino’s Gustave Gori. During the war, Italians had suffered more lost territories and it was a “bitter pill to swallow.”30 Italian soil was mutilated, ripped from the body itself. Trieste, Istria, Fiume, Gorizia, Zara, Dalmatia, and the Istrian peninsula and even Rovigno relived intense turmoil well into the 1950s. That painful period was felt by Italian immigrant musicians who camouflaged their disappointments when they were asked to perform Morelli’s waltz from their set lists. Figure 10 Luigi Giorno created this special volume of selected dances to memorialize the sadness over the loss of Italian territories. His personal collage and poetry accompany the dances. Giorno referred to “Speranze Perdute” as the “Valzer del Cuore” or the Waltz of the Heart. Gori’s decision to republish the waltz led to even more editions by other publishers. His new version consisted of a lead sheet with solfeggio and a melodic line but it kept to the original 1917 format with introduction and coda section. In 1950, Beuscher reissued and updated his 1927 score. The “Espoirs Perdus” edition incorporated the introduction (barcarolle) and coda as originally published. Beuscher’s next two “lead sheet” editions in 1951 and 1959 were skeletal in nature showing a typical dance band lead sheet for “C” instruments with solfeggio to provide harmonic foundation for the accompanying instruments such as bass or guitar. At the same time, one of New York’s oldest Italian music publishers, Onofrio Di Bella, reissued the piano solo sheet music in Book Two. It contains his son’s piano arrangement of Morelli’s waltz. In 1954 Pietro Deiro published his great 1922 accordion arrangement in Ottavio Pagani’s music catalog. The early 1920s sheet music “ S p e r a n z e P e r d u t e ” © 2 0 2 0 P a g e 12 | 28 used the treble clef for both right and left hand, but that clef system was abandoned in 1937 when the American Accordion Association created a new standard. As a result, Deiro revised the waltz to show the bass clef for left hand. Even with those slight changes, Deiro’s 1954 edition was virtually identical with the 1917/1947 Gori publication. Decades later, Deiro is still the preferred edition performed by many musicians. 31 The story of this enduring waltz is remarkable to say the least. Despite all the variations and editions, it resides in the permanent canon of any good musician. “Speranze Perdute” earned the crown as the most revered evergreen title—it never went out of style and always satisfied requests for a quintessential Italian waltz. Consequently, Morelli’s “Lost Hope” is enjoyed worldwide, in private parlors, public salons, dance hall venues, concert halls, mandolin conventions, YouTube, and even Hollywood films.32 A recent example of Morelli’s waltz is heard in Bertolucci’s 1976 epic film “1900” and the late Ennio Morricone, a lifelong Roman, scored it. Toward the end of the film, during a funeral scene that takes place in 1945, the waltz provides ironic comfort to some mourners. A small band is faintly heard playing Speranze Perdute” in the background, far away from the activity occurring at the front entrance of the church. It offers a bizarre, disrespectful counterpoint that mocks a padrone’s cortège procession as it enters the vestibule. Not everything is as it seems, whether in life or in death. In the autumn of 1918, Morelli’s funeral might have been quite different from a staged one. A second virulent pandemic wave had swept through Rome at the end of a long, brutal war that annihilated Italy. Perhaps there were not even enough musicians to play a funeral dirge as is the custom. In those dire circumstances, Morelli’s own death in Rome was recorded on October 27, 1918—he was only 43.33 More than a hundred years later, Morelli could not have imagined how it evolved. It continues to accrue more implications especially during this time of political and social chaos, and a health crisis in the form of a global pandemic. As the world seems more volatile than ever, this waltz is an emotional anchor and a constant staple in the Italian music diet. It is the calling card of every romancing musician below the balcony of a young woman or fiancée. It is still heard at Italian wedding receptions and funerals. Ultimately, Morelli’s waltz will forever embody the flip side of Pandora’s box of fears and hopes. And while humans are currently experiencing too much fear, we can still choose to dwell in hope. “ S p e r a n z e P e r d u t e ” © 2 0 2 0 P a g e 13 | 28 Speranze Perdute – Sì! Per le terre dell’Italia Irredenta Perdute per sempre – Lost Hopes – Yes! For the lands of “Unredeemed Italy” Lost forever! – Speranze Perdute – Per la bella faniculla dei sogni perduta – e morta per sempre tanti anni fa ma che è ancora viva nel cuore! Lost Hopes – For the beautiful girl of my dreams lost – and dead forever so many years ago but who is still alive in the heart! Speranze Perdute – Per l’amore d’una patria lontana infranta dalla guerra, e dell’inguistizia mondiale! Lost Hopes – For the love of a far-off fatherland broken by war, and by worldwide injustice! Speranze Perdute – Per una dolce, bella, e raffinanta e Sonora genere di musica, creata e nata nel cuore – e baciata dalle labbra dei Musi e che si sente con il passo del tempo ogni giorno sempre meno. - Lost Hopes – For a sweet, beautiful and refined and sonorous class of music, created and born in the heart – and kissed by the lips of the Muses, and that is heard every day less and less, with the passage of time. - Speranze Perdute – Per le notti illuminate da una luna primaverile e brillante sopra la finestra aperta, che inquadra la faccia d’una bella ragazzina dagli occhi affascinanti e dai capelli lunghi e neri, che sospira in armonia alle noti d’una bella serenata al mandolino! Speranze Perdute – Per i giorni belli delle processioni Lost Hopes – For the nights illuminated by a brilliant spring moon above an open window that frames the face of a beautiful girl with captivating eyes with long black hair that sings in harmony with the notes of a beautiful serenade on the mandolin - ! Lost Hopes For the beautiful days of the processions “ S p e r a n z e P e r d u t e ” © 2 0 2 0 P a g e 14 | 28 Per le vie affollate con la gente che cammina dietro d’un immagine d’un santo patronale, accompagnata d’una banda musicale. – through the crowded streets with the people walking behind an image of their patron saint, accompanied by a brass band – Speranze Perdute – Per un mondo per un’umanità più civile che spera quell’ alba vittoriosa e gloriosa d’una mattina brillante – e un nuovo giorno pieno di ogni bene, e per un “Lieto Avvenire!” – però – ormai (per il momento speriamo) – Tutte – Speranze Perdute! – Lost Hopes – For a world and for a more civil humanity, that hopes for that victorious and glorious dawn of a brilliant morning – and a new day, full of every good thing, and for a “Happy Future”– however – by now (just for the moment we hope) – All – Lost Hopes! February 1947 Luigino Giorno Germantown, Philadelphia This poem was found inside Volume I of Giorno’s special collation of dances. Translation to English by Norman Giorno-Calapristi Figure 11. Vol. I cover with collage and poem by Luigi “Luigino” Giorno. “ S p e r a n z e P e r d u t e ” © 2 0 2 0 P a g e 15 | 28 An Analysis of the Various Editions of Morelli’s Waltz A music arranger should be steeped in the studies of orchestration, the voicing of instruments, and a thorough understanding of harmony. Sometimes a musician naturally possesses this foundation and background, but it is not always as easy to translate into a successful score. Morelli’s original score may not exist for examination, but he composed his waltz for the entire mandolin family, guitar, and included a piano-conductor’s score. The earliest arrangement that has survived was for the two instruments he taught: mandolin and guitar. It is unlikely Morelli would have granted permission for any major changes of his original manuscript but over time, variations were published with and without the introduction, coda, and even in the basic melody, harmony, and structure. This analysis concentrates on two areas of the waltz: the harmonic scheme(s), certain melodic deviations, and the basic structure of the piece itself. Within one decade after Morelli published “Speranze Perdute” in his own journal, it appeared in Branzoli’s journal (1907) and it appeared slightly revised in Gustavo Gori’s “Il Mandolinista” in 1917. My theory is that while Branzoli and Gori were close to Morelli’s original composition, it is Paul Beuscher who published the arrangement that most musicians followed and adhered to. Of course, the problem with that theory is that we have no exact proof, but we do have Beuscher’s 1927 “Mandoline-Album.” It could have been published twenty-five years earlier as may be evidenced in an early (undated) catalog listing which identifies Morelli’s instrumentation. (See the Appendix) After the world’s fair, Beuscher might have sold Morelli’s waltz to Italian American music publishers. How else could Tesio have published a virtually identical piano score that matches Beuscher? He incorporated the grand ballroom style popular in the fin de siècle. Its formal introduction and the tradition of a ladies’ dance card mandated 8 to 16 measures as an introduction before the waltz officially begins. That was standard fare for ballrooms as it provided time for the dancers to find the ladies take their places on the dance floor. Things became simplified and less rigid as that epoch concluded. A more informal dance hall venue did not require preparatory introduction or a final coda. Perhaps this was one reason why Morelli’s barcarolle with its cadenza no longer served its purpose in the casual dance hall days in America. Thus, it was largely eliminated by Italian American music publishers. Nevertheless, the introduction’s mandolin cadenza was “ S p e r a n z e P e r d u t e ” © 2 0 2 0 P a g e 16 | 28 kept for concert hall mandolinists. Tesio had access to a much earlier version of Beuscher’s “Espoirs Perdus.” The evidence for this theory exists in the consistent D minor scheme in the opening measures of Tesio’s piano score which is harmonically identical to Beuscher’s 1927 score and to the Gori score (1917). Again, Tesio harmonic pattern is not a coincidence. He somehow used the earliest (first) editions published well before 1907. Lastly, there is one more odd feature below the bass clef staff in the piano score: solfeggio. The “do-re-mi” system is superfluous to someone who reads pianoforte notation. That solfeggio system implies that Tesio took this score from a European publisher, specifically, Paul Beuscher or possibly Gori. What is odd about Tesio’s mandolin trio is a uniquely different harmonic scheme that he introduces in the opening measures of the waltz. These harmonic changes launch a whole new way of performing the opening phrase. Tesio rejected the piano score harmony and invents his own. The guitar part shaped the harmony with alternating chords of Dm/A7b9/Dm/A7 in the first section of the mandolin trio. That pattern shows up in all the following music publishers’ guitar parts: Cardilli, followed by Di Bella, Pagani, and Paolilli. In the fourth section, sometimes referred to as the Trio, he adheres exactly to the dotted half notes that appear in the Beuscher editions but Tesio tosses out the coda. Before we leave Tesio, two issues must be addressed. He mistitled the piano score as “[sic] Last Hope” and his attribution to an alleged composer named “E. Ricci”. 34 Did he intentionally mislabel the title and the composer’s name? In the late 1890s, Tesio had been hauled into court when he published a Sousa march without permission. However, if Tesio was afraid of copyright infringement and being sued by Beuscher? Is it all a sloppy typesetting error? The evolution of the Morelli sheet music in America begins with Tesio, but it strikes out into different versions. The next music publisher Antonio Grauso hires his sonin-law Paul Bolognese to simplify the original version while Bolognese’s arrangement keeps the introduction, he uses a slightly modified second section (in the major key of F) to introduce the first section in D minor. It is a unique introduction slightly less formal but still prepares the listener with the dominant chord (A7) of D minor followed by a short vamp before the waltz begins.35 In the fourth section, the beginning phrase of that melody is in quarter notes with an added Viennese-style syncopation. By the time Mauro V. Cardilli brought Morelli’s waltz into his music catalog, he tossed out the introduction and coda all together (but keeps Tesio’s harmonic scheme in the first section). Cardilli introduces the D minor vamp segue that is popular with the “ S p e r a n z e P e r d u t e ” © 2 0 2 0 P a g e 17 | 28 more ragtime decade of couples’ dancing. It became far more expedient to dispense with formalities and just start with the waltz and conclude the piece as written (with the option of returning to the first D minor section). Cardilli’s second mandolin and guitar part carry the Tesio harmonic tradition where it is copied verbatim and appears in Gioè’s arrangement for Di Bella. This harmonic scheme traveled to Providence, Rhode Island where Antonio Paolilli published it without credit to Gioè his mandolin trio catalog. Every music publisher, except Ottavio Pagani, seems to have cribbed from Tesio’s harmonic changes; however, Pagani’s house arranger Flaminio Pignoloni stayed true to Gori’s 1917 version. His second mandolin part, however, differs from Tesio, Cardilli and Di Bella’s. Pignoloni stands aligned with Gori and kept the elaborate introduction. If you are going to plagiarize at least be authentic when you steal someone else’s work. Pignoloni indicates that his arrangement is a “reduced” score. See the italicized credit on every part of the trio: “Rid. Di Flaminio Pignoloni.” Pagani’s other house arranger for band, Berardo Sbraccia, kept an abbreviated introduction leaving out Beuscher’s cadenza but without credit. Flaminio Pignoloni, known by his musical colleagues as the “Maestro di Grandezza”36 added his own flourishes. As a multi-instrumentalist and equipped with advanced orchestration skills, his version follows Gori but his second mandolin part is quite different (superior?) from the other New York music publishers. Pignoloni kept the lilting guitar arpeggios that provide the canal’s undulating water, again identical with the earlier arrangement. 37 He understood the necessity of the compound meter (6/8) and how the “one-two” pulse complements the floating ambience of a gondola floating on a Venetian canal. In Italian East Harlem, Di Bella’s celebrated composer and house arranger was Luigi Canoro who excelled at piano scores and another composer and house arranger, Joseph Gioè who arranged Morelli for mandolin trio. Canoro’s masterful piano transcription ignored the original keys and arranged the score a perfect fifth above: in A minor and C major. The piano score stands on its own as a solo although it appeared in the band arrangement books issued by Di Bella. Some of the woodwind obbligato cues seem to suggest optional piano embellishments that a more advanced pianist could pull off to embellish the score. However, the bass line follows the chordal progressions used in Cardilli’s mandolin trio (and in Tesio’s mandolin trio). Joseph Gioè brought his magnificent talents as a multi-instrumentalist to his arrangements. Gioè’s earliest guitar part may have suffered from some sloppiness or the failure to vet the metal plates used for mass production of sheet music before it “ S p e r a n z e P e r d u t e ” © 2 0 2 0 P a g e 18 | 28 went to the press. Whatever happened, the errors in the first guitar part of #22 seemed to have been corrected when Gioè’s trio was reissued. Gioè’s chords in the later edition match up well with Canoro’s bass chords in the piano score and with Beuscher’s edition. No one seemed to question these minimally edited versions and even when Di Bella absorbed the Paolilli music catalog and brought it under its wing, nothing was changed in the score. Morelli had already died in 1918 and as far as we know he never arrived in America.Morelli’s waltz joined Antonio Paolilli’s music catalog without any mention of any arranger. It is possible that Canoro’s piano score and Gioè’s trio were both appropriated. Canoro took pride in his signature style and would have insisted on his name appearing as arranger but it is absent. Canoro became his own free agent and signed a contract that allowed compositions to enter Paolilli’s catalog. 38 The only conclusion seems to be that Paolilli acquired Gioè’s score without crediting to him. Morelli’s music enjoyed no international copyright privileges because the United States did not acknowledge the Berne Convention’s rules on intellectual property. When Gori and Beuscher sheet music arrived in America, it was open season for American music publishers. In addition, if anything was published before 1924, it was considered public domain. Plagiarism was just another way of paying tribute. Afterall, Mozart and others did it! Very few people who plagiarized composers were brought to trial.39 When the Depression begins in the 1930s, no new editions or reprints of “Speranze Perdute” were published by any Italian publishers. Only one exception was a medley arrangement by S.J. Dersey who worked for a mainstream music publisher Carl Fischer. The world seems to have been saturated with enough “Lost Hope” and may not have needed yet another reminder of the deep pervasive gloom associated with the 1930s. Italian musicians and composers had more concerns than copyrighted matters. The first generation of Italian immigrants started to move on to tangos and rhumbas and musicians began to play from the American Songbook, adding more Broadway tunes. Nothing new was happening in the Italian village dance tradition, and few, if any concert halls were booking the traditional tarantella dancers. Social venues were anything but full since so many people were sequestered in the vain hope of an economic miracle. Instead, they got a war that interrupted whatever interest remained in Italian dance music. “ S p e r a n z e P e r d u t e ” © 2 0 2 0 P a g e 19 | 28 Nearly twenty years elapse before we find Morelli again. It was not until 1947 that a new edition to Morelli’s waltz reappears. After almost thirty years, Gori reissued the waltz and it is identical to the first edition in 1917. Then, in 1950 Beuscher followed suit by reissuing simplified versions that lacked the barcarolle but exhibited the coda section.40 In that same year, Onofrio’s Di Bella’s publishes his son’s piano arrangement which imitated Canoro’s piano score. Michael Di Bella, whose nom de plume was “M. Victor,” scored Morelli’s waltz omitting the introduction and a coda section. In New York, accordion mania was just getting started and the Daddy of the Accordion Pietro Deiro. His cribbed version of the original waltz derived from Gori. It closely follows the Pignoloni mandolin trio edition (but without the short cadenza before the waltz starts). Deiro’s accordion arrangement satisfied every young Italian accordionist, like me, to explore what initially debuted in the popular mandolin repertoire. Finally, it was Beuscher that republished its 1951 edition of Morelli’s waltz in 1959 without any alterations. It lacked the barcarolle but included the coda. It probably goes without saying that Rock ‘N’ Roll killed Italian dance music to a large extent. In the 1950s, the electric guitar lurked in the corner of every student’s bedroom but surprisingly, there were Italian kids taking lessons and learning to play their grandparents music. They would go on to serenade during family reunions and annual Italian festivals. Because the Italian community insisted on supporting its cultural and musical traditions, it was possible to gig and play Morelli’s waltz well into a New Century. It is my hope that this famous, not entirely forgotten, masterpiece will introduce more students to learn about Morelli’s classic waltz. “ S p e r a n z e P e r d u t e ” © 2 0 2 0 P a g e 20 | 28 Acknowledgments So many wonderful people to thank for their time and effort given to my Morelli monograph. THANK YOU! MILLE GRAZIE! MERCI BEAUCOUP! Norman Giorno-Calapristi whose inexhaustible energy and obsessive passion are never equaled or surpassed. Over the decades, he has meticulously cared for his grandfather’s musical library and the sheet music inherited from his grandfather’s musical colleagues. This archive produced a microcosmic glimpse into the enormous contribution made by Philadelphia’s Italian musicians. Marco Bazzotti, a Milanese physicist and guitarist, and enthusiast for the biographies of all Italian musicians. Thanks for always coming through with the rare pieces of information and invaluable sources that provide so much to a music historian. François Ravez, a most caring doctor and musician who enthusiastically shares his love and appreciation for not only French music but the entire world of music and the guitar. He has always provided much needed and welcome critiques and is forgiving of my errors. Michael Reichenbach sustains a global go-to website that functions as an international music library, providing an infinite labyrinth of musical sources and a wealth of sheet music. He has been a good friend to mandolinists around the world. Mike Di Bella whose grandfather Onofrio Di Bella brought a lifelong commitment to the mandolin repertoire. His devotion guaranteed that the Di Bella music catalog would be the ultimate source and provide these titles to generations of musicians and in perpetuity. Dick Hull, maternal grandson of Giovanni Napoleone, a Niagara Falls barber. Hull’s mandolin library continues to provide a fruitful source for his gigging life. Vincent Pocci whose keen interest in the history of Italian music publishers facilitated tracking down Morelli’s publishers. Lorenzo Lippi, a Milanese luthier, in appreciation for sharing an issue of “Il Mandolino Romano” published by Morelli on September 15, 1898. Again, any errors or mistakes are mine, and mine alone. I take responsibility for the good, the bad, and any conclusions I drew from what I found. “ S p e r a n z e P e r d u t e ” © 2 0 2 0 P a g e 21 | 28 Il Mandolino Romano : album per Mandolino e Chitarra / Direttore: Alessandro Morelli. Roma : Tipografia Vittoria, 1898. BIBLIOTECA DEL CONSERVATORIO SANTA CECILIA - Roma - RM - [fondo/collocazione] Diritti d'autore with numner B.943.109 / B.943.110 and B.943.111. 2 Alberto De Angelis, 334. “Allievo di prof. Conti”. SACEM (acronym for the Society) protects composers, authors, and publishers. Conti (1847-1925) and his wife (sister?) Amelia Conti taught mandolin and guitar in Rome, residing at Via Quintino Sella, 23. Guida Monacii, p. 737. Conti’s studio was also listed at Via Salaria, 2, northeast suburbs of Rome. Annuario D’Italia, Anno XI, 1896. p. 1744. 3 Guida Monaci, (“Guida Commerciale di Roma e Provincia.”), Anno XXX, 1900. p. 737738, & 1255. It lists residents by profession. Morelli appears in the category of “Professors of Music” and identified as “Maestro.” 22, Via Sistina, located several long blocks North East of the Pantheon and near the Villa Borghese. 4 Rouen, Nice, Rome and Naples are some of the cities associated with his identified musical colleagues. 5 Viennese catalogs with more than twenty volumes edited by Franz Pazdirek lists Morelli’s “Amor senza peccata” as published by the Torinese publishing house founded by Onorato Blanchi but no entry for “Speranze Perdute.” Cf. https://lccn.loc.gov/05040486 Universal-Handbuch der Musikliteratur aller Zeiten und Völker. Als Nachschlagewerk und Studienquelle der Weltmusikliteratur eingerichtet und hrsg. von Franz Pazdírek. Wien, Verlag des "Universal-Handbuch der Musikliteratur" : Pazdírek [1904-1910?] 6 Vincent Pocci, “Le Edizioni E La Stampa Periodica per Chitarra”. p. 252. This chapter is available at http://www.Academia.edu. It derives from Simona Boni’s Romolo Ferrari e la Chitarra in Italia nella prima metà del Novecento, 2009. A great overview of the Italian guitar (and mandolin) music publishers. 7 “Ada polka”, “Canti d’Estate; “La Farfalle”, “Idillio”, “Leo”, “Ricordi di Spagna”, “Ommagio al Mandolinisti”, and “Speranze Perdute.” De Angelis noted Morelli’s most popular titles as “Speranze Perdute”, “Povere Rose”, and “Lacrime Secrete.” Five other Morelli titles reside in Beuscher’s “Mandoline-Album” collection. In addition, Joseph (Josef) Rowies, a Parisian publisher on Rue Pigalle, and with a branch on So. 18th Street, Philadelphia, published “Ada” polka in 1913. This published dance does not prove that Rowie published Morelli’s “Espoirs Perdus” but indicates that perhaps Morelli’s sheet music was more widely available 8 Editor, Enrico Voghera, Le Cronache Musicale, Vol. 2, No. 12. April 1, 1901, p. 100. His collaborators included Vittorio Panfili, Ludovico e Gaetano Fiamini, and Giovanni Andréasi. 1 “ S p e r a n z e P e r d u t e ” © 2 0 2 0 P a g e 22 | 28 The author believes that Beuscher’s 1927publication of “Mandoline-Album” may be a reprint from an earlier (first?) edition using Beuscher’s older address: 19 Blvd. Beaumarchais. Beuscher’s annual guitar-mandolin listings show that address with Morelli’s waltz listed as a “célèbre valse”. Cf. Frank Nordberg at http://www.musicaviva.com. 10 The author devotes a chapter to Pietro Forte in her 2018 book, Italian Mandolin Heroes in America. 11 Alberto De Angelis, L’Italia Musicale d’Oggi. Casa ed. Ausonia, Rome, 1928. p 334. Cf. See Carlo Schmidl, Dizionario Universale dei Muscisti, Volume 1, Sonzogno Music Publishers, Milano, 1928. p. 130. Schmidl refers to Morelli as “talented” and having produced “a large number of good compositions.” Author’s translation. 12 Alberto De Angelis, p. 334. 13 The “Grande Roue” title is dedicated to La Troupe Ramagnano (L'Etoile de Naples). The Ramagnano Bros played on the 1st of September 1900 at the soirée of the Siam Ambassador in Paris. Other mentions range from 1900 to 1913. 1908 (R. Ramagnano (Directeur d'orchestre) and M. Ramagnano (chef d'orchestre) stayed at 34 rue St Ferdinand Paris 17ème (it was an Hotel and still is).and they were candidates for the Touring Club de France elections.* Christmas 1903 and New Year's Eve where they played for the réveillon at a restaurant Noël-Peter's Passage des Princes; in July 1904 they played at Sheveningen (Holland). Sept 1906 Scheveningen again; 1913 at Le Grand Restaurant Vivienne in Passage Vivienne. Courtesy of François Ravez who uncovered these Neapolitan boys! 14 As an ambassador, Paulucci studied Italian musicians immigrating to Paris. Note: a vast majority of bal musette accordion composers were Italian born. See my book on Italian composers in Paris: French Soirée. 15 Paulucci di Calboli, Raniero. Larmes et Sourirs de L’Emigration Italienne. Societé d’Edition et de Publications, Paris. May 1909. Chapter IV (p. 120-171) is devoted to “Les Musiciens Nomades” pp. 161-165, and to the traveling troupes, various music entrepreneurs, and the gypsy-style vagabonds that were fulfilling vital roles in French culture. It should be noted that Paulucci identifies several classic Neapolitan canzone still integral to today’s vocal repertoire. 16 Gustavo Gori had offices in Torino and Paris. 17 Giovanni Napoleone used Tesio’s mandolin score as a basis for a larger ensemble that included mandola, mandocello, bass and guitar. Unp. Manuscript courtesy of Napoleone’s grandon Dick Hull/ 18 Mongillo’s store stamp appears on Tesio’s “L[a]st Hope”. Courtesy of Dick Hull. 19 See the Appendix. An undated Beuscher music catalog (c. 1905 or earlier?) shows available scores: mandolin and piano; mandolin & guitar and the mandolin trio. Note: identical Italian instructions appear in Tesio’s piano/conductors score and the 1950 “ S p e r a n z e P e r d u t e ” © 2 0 2 0 P a g e 23 | 28 9 Beuscher’s piano/conductor’s score (EFO7127) editions. “per ballo comincia qui” to note when the waltz begins and “a piacere” to indicate how the mandolin cadenza should be rendered before the waltz begins. The sole conclusion must follow that Beuscher’s 1950 edition was a fairly exact reiteration of a much earlier score (1927) and that score in 1927 was based on the title previously being published between 1900-1905. 20 Phone interview with Norman Giorno-Calapristi.26 May 2020. Philadelphia’s Maestro Luigi Giorno, a band leader and multi-instrumentalist, purchased them for his musicians. My heartfelt appreciation for Norman Giorno-Calapristi whose grandfather’s archives are generously made available. 22 These hardbound volumes were compiled from various publishers, including Tesio and Pagani. 23 Italian immigrants remained alien residents until they could earn their citizenship but not everyone wanted it. 24 E497493 registered at the LOC. A search is underway to find the registered copy of Natale Di Palma who claimed the copyright on interpretation and the added lyrics. Giovanni Del Colle’s papers were donated to a music school in Campobasso, but my research has not yielded any documents. 25 The author’s conclusion as to the content of Del Colle’s lyrics is based on Matacea’s entire catalog which was exclusively political satire and his apparent support for Mussolini and D’Annunzio’s views on Fascism. Many of Matacea’s titles deal directly with D’Annunzio’s seizure of Fiume and the lost territories of Italy. 26 Music Trade Review, Rhythmodik Roll Corp.” Vol. LXVII, No. 26. “December 28, 1918. p. 11. The unknown contributor reveals an obvious understanding as to the meaning of “Speranze Perdute” and how it impacted Italians who mandated that lost territories be returned to Italy. 27 Music Trade Review, “New Italian Roll List”, Vol. XXXII, No. 13, March 27, 1926. p. 11. 28 “Tra Veglia” became symbolic of the unredeemed Adriatic island of Veglia, also known as Krk. The true meaning behind these titles allowed for a strong political statement to be communicated without lyrics but by simply performing these pieces. At a time when Irredentism was associated with Fascists who lived abroad as well as within Italy, an ambiguous title might be a safe way to express one’s personal feelings without the fear of losing one’s citizenship or being repatriated. 29 One of the earliest recordings of “Speranze Perdute” (August 1918) was Brooklyn’s “I Quattro Siciliani” fronted by Rosario Catalano, a Sicilian music publisher and mandolinist. Giuseppe Tarantola carries the melody on clarinet and beautifully improvised the Trio (4th section). And https://adp.library.ucsb.edu/index.php/matrix/detail/2000110089/84574Speranze_perdute “ S p e r a n z e P e r d u t e ” © 2 0 2 0 P a g e 24 | 28 21 1920 and 1921 saw even more recordings. R. De Luca recorded “Tra Veglia e Sonno” on the A side and “Speranze Perdute” on the B side. #0075. Cf advertisement in Bridgeport, Connecticut’s La Sintinella, Anno VII, No. 49. December 25, 1920. p. 4. For more details on Irredentism, the author refers you to her recent book, Italian Mandolin Heroes in America, pp. 31, 126, 135, and 136. 30 Phone interview, Norman Giorno-Calapristi, 31 May, 2020. 31 Rene Sevieri performed from Deiro’s version at the Silicon Valley Accordion Society. https://www.youtube.com/watch?v=Mdoq45RuU-4 and Giovanni Vicari’s late 1940s recording is straight forward, without intro or coda, but worth a listen. This YouTube recording is from “L’Appuntamento”, Volume 2. https://www.youtube.com/watch?v=06LDBakdLNc Dozens of button accordion audio files reside France’s Gallica, search “Espoirs Perdus.” https://catalogue.bnf.fr/rechercher.do?motRecherche=espoirs+perdus&critereRecherche =0&depart=0&facetteModifiee=ok 32 The original dedication to Mlle. Paulucci was omitted in Beuscher’s late 1940s & early 1950s editions. Each of the titles in Morelli’s “Mandoline-Album” exhibits a dedication or “homage” to a specific person, usually a musician and the instrument they played, including a dedication to his brother Vincent, a pianist; however, nothing is known of Mlle. Paulucci who might have been related (but not a daughter) to the Marquis Raniero Paulucci di Calboli (1861-1931), First Secretary to the Italian Embassy living in Paris during the time of Morelli’s height of popularity. 33 Alberto De Angelis, p. 334. He died at the peak of the pandemic flu but without a death certificate, it is uncertain as to assign cause. Research continues in hopes of confirming his possible burial in Cimitero del Verano where artists, musicians, and men of letters (and some members of a Morelli family) are buried. Thank you to Paolo Cosco Dinnerman for his research time and efforts. 34 Intentions are impossible to verify. An immigrant identified as “Enrico Ricci” worked in Brooklyn as an accordion repairer. Is he the arranger? And why is Tesio’s name misspelled as “Tessio” in his own music catalog and in the De Stefano publication? It would be out of character for Tesio to intentionally assign Ricci with compositional credit for Morelli’s waltz. Tesio’s 1907 piano score clearly identifies Alessandro Morelli as the composer so why would Tesio not use Morelli’s name in the mandolin trio in 1909? The mutilated introduction of the trio and the made-up composer’s name might have been Tesio’s attempt at some sort of subterfuge but does not answer the question as to why he would go to these great lengths to be deceitful. American music publishers could not be sued for international copyright infringement as the United States was not a member of the Berne Convention. “ S p e r a n z e P e r d u t e ” © 2 0 2 0 P a g e 25 | 28 Note: at the bottom of Bolognese’s mandolin part, O. Di Bella bought out the Antonio Grauso music catalog and sold the Grauso archive of sheet music in his store without ever publishing any Bolognese titles. 36 Phone interview with Norman Giorno-Calapristi, 9 May 2020. His grandfather Luigi Giorno referred to Pignoloni in this manner out of great respect for his compositional skills. Pignoloni’s reduced score follows Beuscher (without the cadenza).. 37 When Pignoloni first arrived in Manhattan, he worked for Cardilli before joining Ottavio Pagani as an indispensable house composer and arranger to Pagani. It would appear that Pignoloni’s intellectual property remained in his possession when he left Cardilli and worked as house arranger for Ottavio Pagani. 38 For more details about their relationship, please see my chapter on Antonio Paolilli in my Italian Mandolin Heroes in America. 39 One sole exception was when Al Jolson had stolen a melodic line from Puccini’s aria “E Lucevan Le Stelle.” His opening line to “It Happened in Avalon” derived from Puccini’s “Tosca” but as much as Jolson was clever trying to disguise how he cribbed it into a minor key—he still lost in court. Puccini’s extraordinary status, financial and legal support. 40 Contrary to Carlo Aonza’s 2015 publication, Northern Italian and Ticino Region Folk Songs (p. 30), Morelli’s piece did not first appear in Northern Italy via Paris in 1950. It debuted in Rome in Morelli’s journal in 1898-1899, then it traveled north via Torino to Paris in 1899 or soon thereafter, in the early 1900s (to celebrate Parisian exhibition) when Beuscher probably published “Espoirs Perdus”. That edition was what may have influenced Pietro Tesio and subsequent Italian American music publishers. 35 “ S p e r a n z e P e r d u t e ” © 2 0 2 0 P a g e 26 | 28 Sources, Sheet Music, and Recordings https://adp.library.ucsb.edu/index.php/matrix/detail/2000110089/84574-Speranze_perdute The Chronology of “Speranze Perdute” “Speranze Perdute” first published in Paris as “Espoirs Perdus” by Beuscher. “Il Mandolino Romano” 1898. A monthly journal briefly published by A. Morelli. Later, this periodical with identical title briefly reappeared under the editorship of Giuseppe Branzoli (19071910). In 1898, “Speranze Perdute” Morelli published the waltz as one of six pieces in “Album Mandolino”. Antonio Monzino, No Date. “Il Mandolinista” was edited by Ermengildo Carosio and published in Milano. “Il Mandolino Romano” 1907. “Speranze Perdute” appeared in issue 10; two years later, Morelli’s “Ricordi di Spagna” et. al. appeared in Branzoli’s journal. Issue No. 30 (November 1909) Chronology of Sheet Music Pietro Tesio, 1907 Tesio piano arranger, and 1909. Mandolin Trio reissued by [sic] Tessio and titled <sic> “L[a]st Hope.” #223. Giovanni Napoleone (1887-1973) enhanced Tesio’s trio score; additional handwritten parts: Mandola, Mandocello, bass, guitar (Unp). Unknown date. Antonio Grauso, 1909 Paul Bolognese, arranger. LOC #6235 M.V. Cardilli, 1914 Arranged by C. Chiericoni, piano M.V. Cardilllli, 1915 Mandolin trio B. Quattrociocche, 1916 BQ, arranger, accordion. M.V. Cardilli, 1918 Mandolin trio Rhythmodik Roll Corp., Speranze Perdute, 1918. Pianist Luigi Sporanta O. Pagani, No Date, c. 1918 B. Sbraccia (1858-1936), band arranger of reduced score #1314 (no coda) Bb clarinet Rythmodik Roll Corp., Piano Roll, 1918 Interpretation © Speranto, Luigi O. Di Bella, #22 No date, Joseph Gioè, arranger. Guitar part contains plate errors. Natale di Palma (Arturo Matacea) Waltz Cantabile 1920 lyrics by Giovanni Del Colle Lind Music Co., 1922 Piano Roll O. Pagani, 1922 “ S p e r a n z e P e r d u t e ” © 2 0 2 0 P a g e 27 | 28 Pietro Deiro, arranger. Accordion O. Pagani, 1922 #26672 Paolilli edition, 1927 Atlas Piano Roll, 1927 ? O. Di Bella, 1932 Reissued mandolin trio with corrected guitar part. Carl Fischer, 1935 Published as part of a medley of Italian classics such as “Tesoro Mio” and “Tra Veglia” Gustavo Gori Edition, 1947 Mandolin & Accordion with original coda. Solfeggio. Beuscher 1951 PB4378 “Espoirs Perdus” 1951 PB7909 “Espoirs Perdus” 1959 O. Pagani, 1954 Pietro Deiro, arranger. #9435-3 This accordion edition contains the original coda from Tesio’s 1907 edition. Recordings: https://gallica.bnf.fr/services/engine/search/sru?operation=searchRetrieve&version=1.2&query= %28dc.title%20all%20%22ESPOIRS%20PERDUS%22%29&keywords=ESPOIRS%20PERDUS& suggest=3 Several audio recordings in the bal musette accordion style as interpreted by some of the world’s finest French accordionists. Richard K. Spottswood’s Ethnic Music on Records (Volume 1 & 2). University of Illinois Press: Chicago, 1990. A good place to start when trying to locate an ethnic title. Spellings are tricky when using dialects. I Quattro Siciliani records August 1918. Columbia E4085 Arcari Brothers (accordion duet) Hot Frittatas “Invitation to the Dance” 2006? Mattinata di Matteo “Mando Liscio” 2008 “ S p e r a n z e P e r d u t e ” © 2 0 2 0 P a g e 28 | 28 So many wonderful people to thank for their time and effort given to my Morelli monograph. THANK YOU! MILLE GRAZIE! MERCI BEAUCOUP! Norman Giorno-Calapristi whose inexhaustible energy and obsessive passion are never equaled or surpassed. Over the decades, he has meticulously cared for his grandfather’s musical library and the sheet music inherited from his grandfather’s musical colleagues. This archive produced a microcosmic glimpse into the enormous contribution made by Philadelphia’s Italian musicians. Marco Bazzotti, a Milanese physicist and guitarist, and enthusiast for the biographies of all Italian musicians. Thanks for always coming through with the rare pieces of information and invaluable sources that provide so much to a music historian. François Ravez, a most caring doctor and musician who enthusiastically shares his love and appreciation for not only French music but the entire world of music and the guitar. He has always provided much needed and welcome critiques and is forgiving of my errors. Michael Reichenbach sustains a global go-to website that functions as an international music library, providing an infinite labyrinth of musical sources and a wealth of sheet music. He has been a good friend to mandolinists around the world. Mike Di Bella whose grandfather Onofrio Di Bella brought a lifelong commitment to the mandolin repertoire. His devotion guaranteed that the Di Bella music catalog would be the ultimate source and provide these titles to generations of musicians and in perpetuity. Vincent Pocci whose keen interest in the history of Italian music publishers facilitated tracking down Morelli’s publishers. Lorenzo Lippi, a Milanese luthier, in appreciation for sharing an issue of “Il Mandolino Romano” published by Morelli on September 15, 1898. Dick Hull, maternal grandson of Giovanni Napoleone. Unpublished arrangement of Tesio’s arrangement with additional parts: Mandola, Mandocello, Bass, & Guitar. Mongillo stamp on Tesio’s “L[a]st Hope.” Again, any errors or mistakes are mine, and mine alone. I take responsibility for the good, the bad, and any conclusions I drew from what I found. • CE CITILOGUE AMMULE LES PRtCtDEMTS B p~ ~> I . ÉDITEUR Cl ..1 -:. DE -MUSIQUE ... COLLECTION Boulevard Beaumarchais, 19 (-Près p ISA " . PARIS la Baslille ) W) L a première 111aison rl'ançaise · de Musique d'Estudiantina CATAlOGUE SPÉCIAl DEMUSìijUE POUR Violon Mandoline et Piano, Mandoline et Guitare et Estudiantina Demander le Catalogue Soiciai de Musique de Gultare seuie, deu! Guitares et tous arrangemònts Nous envoyons AU CHOIX tout e Musique du présen t Catalogue Nous attirons l'aUention dcs Mandolin.istes ct Cf/. pal'ticulier de MM. les Chefs d'Estudiantina sur nos Envois a u Choix qui (ca,. peT'mcUenl de ooir le~ morceallX aoant de les acltalel' et de rendrc qui ne seront pas €t lcw' gala, sans a utl'e d é bour s é qu e Ies porta. Nous n e demand o ns aucun e )wov i s i o n p O lli' l 'e nvo i au C h o ix AVIS tOlt$ QUOl'ages IMPO R TANT Les w orceaux ma r qué8 : Eu JeborB des arrllugementB flg uran t S;l"(' le prés601 {O ' ) onl u ue ~a r tie de 3' 1lIa/~d()ie ; Catalogne, le prix de chaq ue parlie prise séparémeot (b ') d'a ccessoire$ (castagnet tes, talllbou r e~t de O Cr. 50 il une pag{', O fr. 75 li cleux page8, i fr. de b asque, tritm u:Je, cnua rd, etc. ), au·dessus de deuI: pages. (o ') d'ol"gue Oli illlr/llO/iùml. On obtieu t le Vrix d u piano d'accompaguP-Dlen l 8éparé (d ') de harpe (i frane , nel). eo dimi nuao t du prix de l'arrangement Maudoli l16 el (• . ) de /late . Pian o le prix ùe la Ma ndohne seule. (f ') de futh o u t;iofOllfrlle. (Ifl lrès facile; faci le j (a{j assez facile; (mI) w oyenue force; (ad ) Msez difficile; ( d) difficile ; (ttl ) très difficile. (n DE IIIANDER LE CITlLO&UE &tNERIL ILLUSTRÉ D'INSTRUnlENTS &. lCCESSDIRES Fal]taisies sur des Opéras, Opéras comiques et Opérettes célèbres - • .!:! '0_;; -g '" o: A UTEURS E'l' T I T R E S • ~ Prix nets BARA (Edg-.) - (e ' f' ) La Norma (m(, . - (e ' f ·) Lu die de Lamme rmoor (m f). - L a Traviata (m!). Le Trouvère (m/). . .. . .. ... CAR,B ONI. - Cent Vierges , fantaisie (mn . (e ) Dr.a gons de' Villars , funtaisie Fra Dia volo, (alltai.ie (on J our e t l ~ Nuit, ( f1'l1talsie (af) . • . COTTIN . - Domino Noi!', (alltaisie (a) - Muette de Portici , (a/ttnùie (d) , FERRERO (e· ).- Fille de Madame Angot.. fantaisle (f) «(, . - . G. GOLDBERG. - <:> . . .-:: . •• , ~ .go Oi·":• • o I-'2 50 2 1 50 2 50 1 50 2 50 2 50 2 50 2 50 1 1 -I 1 " 2 SO" 3 3 50 50 50 50 2 " 1 50 2 • iO~ •• .. .. . , •• ·" ::: <:> ~ o ::: :.:::; .gc: -!l .. . " o. ~ o ~ ' o < .-• ~cf !:!.! ~ "O" .. 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' • . . 2 25 Futilllé, caprtce (mI! , , . , . 2 l' , , ' .. Chanson d'amo ur (f) . . . , . ' . ' 2 • Fl eu r de mu guet, oalse (j) . . , , ' . , , . . ' . 250 S altarello , pièce caractcristique espagnole (m)), '225 Olympia, retr aite·marche (aj) 1 75 Le petit soldat, polka (fl . . I 75 2 , Chanl des Nymphes, Dalse <n . , . , Doux ave uI, fflQ,;urka (f) . ' . . . . 2 • 2 , La Pa r(u me IlSf', fflorceau de genre (JJ • MOSCHINI , - Flir1a li on, cal!e , . . . ' . . . . , . , , 250 MOUTIN (A. ). - En badinant, polka- ma;urka . . . , . . 1 75 MOZART (W. ).- Don Jua n {l'rETRAPt:RTOSA J,) ser en.(ad) 2 • Ah! vous dirai -j et maman! (PORCIN.\i) • . • • , 1 5Q MUSARD , - Au bo n vieux temps (a./) . .• • ' . . 2 » NOUT~A {J .) . - \a ' e ' I ') Un rève , mélodie (tJ) . 1 75 lU lgnonn ette. po lka ({) . . ' , ' , . . . . , . l 75 Liltltle , 'Dalle Cifl .. . .. .. . . . . . . . . 225 SOU!! le mimosa, melodie (tI). , . ' . . . , . , . 1 75 Au hord du Gav e, mélodie (if! • • ' , . • . , . . l 75 En a vant ! marc/w brillante à g,.and succos (f) , 225 Casque en t è t e , po lha-marche, grand SUCCO" '.! ,) Sac a u dos, dliftllJ-mal'che 'J) . . . . , . . ' . . 2 75 Rn roul e, defilé-march e (j) . . . . , , , . . . . '2 l) Ma iella, bolero tros brillant (af). , . . . ' , , • I 75 Sur le Léman , oa{se à g f'and succos (tf) . . 2 ~5 Bella Bosa , p ol~a · ma r c/w (fJ • , • ' • • • • I 15 Co nfldence, melodie (tj) . . t 75 Gra ziella , oalse 2 » Friboletle, polka 1 75 En teuf-teuf , galop (alI • { 75 , Myosotis. ma;urka CO . . • ' , . , . . • ' . 'I n Ml din elle, calse (j) . . , . . . . . , , . ' . , . , '2 l' Polka des Boule-en·tram ({l , . . . ' . ' . . , . . 'i 7:') So us la t.:harmllle, mazurka (j) , .. , .. , , ' . 1 75 PIETRAPERTOSA, - D on J uan (MOlART), serenade. 2 • ( e ' f ·) G a l athée (MH"F.) , fantuisie . . , . . . • ' 250 (e ' f ') Gu illa ume Tell (ROSSINI) , jantaisie, , . , 3 • - (e ' f ') Noces de J eannette (MASSt:), l" jantaisie . . 250 2' fantatste, . . . ' 250 (e ' f ') (e' f ') Pré aux Clercs (lH: ROLD), fantaisie . . , . , 2 50 ......: ' . , . . , 250 (e ' i ') Rigol e tto ( VtIlDI);/,e ran~.ise '... /:etntUlslC. ' . , , . , , . 2 rlÙ Songe d'une Nuit ct 'Et (ME ~ Dr.LS so IN).m (t,.c . nupt. 225 - - Ad a, berceuse (if) . 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PDFs* *Note: sheet music + history + photos NEW BOOK Italian Mandolin Heroes in America Discounted when used with PayPal PLEASE PRINT City of Sonoma Tax 8.125% Price S&H TOTAL $27.95 $10.00 $2.27 $0.82 $5.00 $3.00 $37.95 $13.82 $10.00 $18.95 $0.82 $1.55 $3.00 $3.00 $13.82 $23.50 $59 $45 $4.79 $3.71 $6.00 $6.00 $69.79 $54.71 Mail to: name street city, ZIP your email: Invoice # MAKE CHECK PAYABLE TO Sheri Mignano Crawford MAIL TO: Zighi Baci Publishing Box 1784 Boyes Hot Springs, CA 95416-1784 zighi@sonic.net Please indicate what you would prefer Signed ? Inscribed? REV: 1.13.2020 Questions: Date Mailed: USPS Tracking #