Giuseppe Donizetti at the Ottoman Court: A Levantine Life Author(s): Emre Araci Source: The Musical Times, Vol. 143, No. 1880 (Autumn, 2002), pp. 49-56 Published by: Musical Times Publications Ltd. Stable URL: https://www.jstor.org/stable/1004550 Accessed: 19-03-2020 11:03 UTC JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at https://about.jstor.org/terms Musical Times Publications Ltd. is collaborating with JSTOR to digitize, preserve and extend access to The Musical Times This content downloaded from 88.227.57.129 on Thu, 19 Mar 2020 11:03:50 UTC All use subject to https://about.jstor.org/terms Giuseppe Donizetti at the Ottoman court A Levantine life EMRE ARACI surveys the contribution of the famous composer's elder brother to the cultural life of Turkey H/ WE LOVES Constantinople, to which he owes everything; I love Italy be- cause to that country, after my debt to Mayr,1 I owe my existence and my reputation', wrote Gaetano Donizetti in a letter to his close friend Antonio Dolci in the autumn of 1838.2 He was, of course, referring to his elder brother, Giuseppe, who had become, in 1828, Instructor General of the Imperial Otto- man Music at the court of Sultan Mahmud II (1808-39).3 After his native Italy, Constantinople had indeed become a second home for the elder Donizetti, for he lived there for the rest of his life, some twenty-eight years, until his death in 1856. Today he is buried in the vaults of the historic St Esprit Cathedral, near the Beyoglu district of Istanbul, on the European side of the city, in what was once the epicentre of a thriving Christian community, better known as Pera. Yet many con- temporary visitors to Istanbul, including enthu- siasts of Italian opera, would pass that very spot completely oblivious of this fact. Giuseppe Doni- zetti Pasha, as he was called in the Levant, played a significant role in the introduction of European music to the Ottoman military. His achievements, however, were by no means limited to military circles. Apart from overseeing the training of the European-style military bands of Mahmud's mo- dern army, he taught music at the palace to the members of the Ottoman royal family, the princes and the ladies of the harem, composed the first national anthem of the Ottoman Empire, sup- ported the annual Italian opera season in Pera, organised concerts and operatic performances at court, and played host to a number of eminent virtuosi who visited Constantinople at the time, such as Franz Liszt, Parish Alvars and Leopold dPeortrait of Giuseppe Donizetti Pasha (from Guido Zavadini: Gaetano Donizetti: vita, musiche, epistolario (Bergamo, 1948)) Meyer. Yet the life and career of the Turkish brother - fratello Turco Gaetano called him - has always to scratch his belly between the plague and the been overshadowed - quite understandably - by stake.'4 Having noted the 'variegated and inte- the international fame and stature of his obvi- resting career' of the 'most important musician- ously more talented junior. Unfavourable co fmu-nctionary at the faraway court of Mahmud II', parisons as a result were not, it seems, unco mHe-rbert Weinstock in his comprehensive bio- mon. Gaetano himself, for a start, did not hesit agtreaphy on Gaetano concluded that of all the three to dismiss his brother's achievements, once Donizetti brothers 'much more of a figure was to remarking: 'I do not want to play the fool like my be cut in the world by the last but one'.5 Yet all of brother, the Bey, who, after having earned more this should certainly not mount into a valid than I perhaps, stays there in ancient Byzantium excuse to prevent us from looking further into THE MUSICAL TIMES / AUTUMN 2002 49 This content downloaded from 88.227.57.129 on Thu, 19 Mar 2020 11:03:50 UTC All use subject to https://about.jstor.org/terms Giuseppe's achievements in the Levant. He was Mayr as an important teacher, for their cor- perhaps not a great composer like his brother, but respondence continued even after the former's was still an important pedagogue and bandmaster departure for Constantinople. Twenty four years who went down in the history of Turkish music later, Mayr was one of the first recipients of the as the founder of European tradition. manuscript score of Giuseppe's military march It is rather ironic that being elder brother to a Mahmudiye, for approval, which was specially celebrity composer, at the same time, appears to composed for Mahmud II in 1829.11 have brought some advantages for Giuseppe, and During his time in the Italian army, apart from far from eclipsing him into oblivion, secured for the Seventh regiment of the Napoleonic Kingdom him a place in posterity. This is quite clear from of Italy, Giuseppe served with Napoleon's forces the evidence in contemporary as well as modern on the Isle of Elba as flautist and after the sources. Francois Joseph Fetis, for example, in Congress of Vienna in 1815 joined the army of his celebrated Biographie universelle des musiciens the Kingdom of Sardinia and Piedmont. He later et bibliographie generale de la musique, did not became bandmaster in the Reggimento Provin- hesitate to include Giuseppe's name, while the ziale di Casale and finally joined the Primo Reg- editors of the revised second edition of the New gimento della Brigata Casale. Financial difficul- Grove dictionary of music and musicians have ties experienced by the Donizetti family - since decided to resurrect an earlier entry which had Andrea Donizetti was caretaker at the local pawn- been dropped in previous editions.6 Since a broker's and earned very little money - was un- number of other European musicians resident at doubtedly the key factor in Giuseppe's decision to the Ottoman court who were equally important follow a military career and the principal reason to Giuseppe Donizetti, including Calisto Gua- for accepting the lucrative offer which came from telli7, were excluded from these sources, and the Ottoman court.12 He was to be paid 8000 since the entries introduce him first and foremost francs for the job, a significant amount even in as the 'elder brother of Gaetano', it is obvious that the 1820's and much higher than Gaetano's in- Giuseppe was included merely to complete the come at the time. However, despite the financial larger musical portrait of the Donizetti family. reward, father Andrea and Gaetano seem to have Similarly, most European travellers who went to been both greatly opposed to the idea at first. 'I Constantinople and saw him in charge of the have heard and with great astonishment of my military bands there wrote in their accounts of brother Giuseppe's resolution' wrote Gaetano in a meeting the famous Donizetti's 'elder brother', letter to Andrea and continued: while other foreign musicians were often left out. The fact that any source material on Giuseppe, I tell you sincerely, because I am unprejudiced, his letters and diaries, have at all survived today that one can love and adore God even in the is also due to their relevance to Gaetano Donizetti deserts, and for a good Christian there is no need studies. for churches to be the determining factor; one loves God in one's heart and the presence or IUSEPPE Ambrogio Donizetti8 was absence of sanctuaries makes no difference. His born in' Bergamo on 6 November decision seems to me altogether bad at times in 1788, as the first child of Domenica which we find ourselves. I will never applaud such a decision, and it must be that the 8000 Nava and Andrea Donizetti, and spent francs have blinded him, but you should make his childhood in a cramped, decrepit basement him consider that if he finds things don't go well flat of two dark rooms in a tenement house there, he will find it more difficult to find outside the old city walls near the Borgo Canal, in employment in Italy [...] I highly disapprove of rather financially restrained conditions, as once such a resolution, not for the journey, not vividly described by Gaetano.9 Evidence shows because he would lose a regiment that he loves that as well as his musicianship, Giuseppe w asso much, but for the dangerous times in which also trained as a tailor from a young age, for h wise find ourselves. Tell him that in this world it matriculation documents, when he joined t hise necessary to be discreet in one's desires, and Seventh Line Regiment of the Italian Army oinne lives happily. I don't want to become a 1806, record his profession as 'Musicante e Sart om'illionaire, for the little I earn satisfies me, and (musician and tailor).10 His musical skills were aI tlive without debts and am very happy Perhaps he desires too much and will find himself first cultivated by his uncle Giacomo Corini and sorry...13 later shaped byJohann Simon Mayr, who was the maestro di capella at the Cathedral of Santa Maria Maggiore. Giuseppe was too old to attend classe sGaetano's letter further highlights the complex at Mayr's Lezioni Caritatevoli di Musica, the fprreobelems posed to Andrea Donizetti, especially in music school of the town, so these lessons ha tdr ytiong to come to terms with the prospect of his be arranged on an individual basis. Like s ohn ilsiving in a country ruled by Islamic law and younger brother, Giuseppe must have also mseoreen significantly his becoming a servant to the 50 THE MUSICAL TIMES / AUTUMN 2002 This content downloaded from 88.227.57.129 on Thu, 19 Mar 2020 11:03:50 UTC All use subject to https://about.jstor.org/terms Khalif of the entire Muslims. Yet in reality the situation for Giuseppe could not have been more different, for he was not only to find himself among a vibrant Christian community, but there were plenty of Christian shrines for him to attend in Pera. Besides, a large number of Christian officers were being recruited for the Ottoman military service from various European academies of war and therefore the likelihood of he and his wife Angela feeling isolated in an alien environ- ment was nil. They also found great patronage at court and among high-ranking officers. A sign of their comfortable and well-established status is also apparent from the fact that in later years Giuseppe even tried to encourage Gaetano to move to Constantinople, which the latter flatly refused.l4 The Donizettis were so well-liked in the Ottoman capital that when fire broke out near their house Ahmet Fethi Pasha, the sultan's brother-in-law, ordered all the houses surround- ing the maestro's home to be razed to the ground in order to prevent the flames reaching the building. 15 ONSTANTINOPLE in the 1820s was an Eastern city, rapidly developing on Western lines through the determined leadership of Mahmud II, which ap- propriately won him the title of 'Peter the Great of the Ottoman Empire'.'6 Modern buildings in European architecture were beginning to domi- nate the skyline of the city, while new military schools of medicine, science and music were be- ing established. For the first time ,G iiunse p1pe8's2 p7at,r oan, Sultan Mahmud II (1808-39) (Max Fruchtermann batch of Turkish students were sent to Paris for postcard no.274 - Emre Aracl Archive) education.17 The first Ottoman official newspaper, Tahvim-i Vehayi, began circulation in 1831, and a In Constantinople the ancient Turkish music has new postal system was inaugurated in 1834. died in agony. Sultan Mahmoud loves Italian Mahmud's keen regeneration programme also music and has introduced it in his armies. This is covered the forms of official dress and, as a result, only one of his reforms; the brother of Donizetti is the director of his music, and since they do not new headgear, the crimson fes, was adopted for have much music, they always play one all civil servants and military personnel, as well particular work, called the March of the Sultan, as new tight frock coats and trousers, as opposed which is said to have been composed by him. He to the turban and baggy shalvar. But, most im- particularly loves the piano, so much so, that he portantly, in the bloody uprising of 1826, known ordered many instruments from Vienna for his as the Vaka-i Hayriye (the Auspicious Incident), ladies. I do not know how they are going to learn Mahmud succeeded in extinguishing the corrupt to play, since no one so far has succeeded in corps of the once elite janissaries, which had for going anywhere near them.18 some time become the major obstacle in the re- form movement, and founded a completely mo- As mentioned earlier, it is also possible to find dern army, which also incorporated Europea nthe occasional reference to the European military style military bands. bands of the sultan and the senior Donizetti in It did not take long for the European musical the contemporary travel literature of the period. press of the time to report this new and unusua lAlmost all of these known references, however, tradition which was beginning to emerge in the are by non-musicians and therefore from a East. Eight years after the arrival of Giuseppe in critical perspective they all fail miserably, for Constantinople, the French music journal Le their concluding remarks on the musical ability Menestrel published the following letter whic ohf the Turks could not have been more conf- the editorial board had received from a loya llicting. Two examples should suffice to illustrate subscriber in the Ottoman Empire: the scale of the problem. THE MUSICAL TIMES / AUTUMN 2002 51 This content downloaded from 88.227.57.129 on Thu, 19 Mar 2020 11:03:50 UTC All use subject to https://about.jstor.org/terms Sultan Abdulaziz going to Friday prayer at the mosque of Dolmabahce to the strains of a military band (The Graphic (27 May 1876) - Emre Araci Archive) The first observation quoted here is by the between the arsenal and Galata. Not far from the British naval officer Sir Adolphus Slade who visit- waterside we passed an open square, where some ed Constantinople in the late 1820s. Slade wit- tacticoes were drilling, and a large barrack, nessed a rehearsal of the sultan's new band by the where the band of the regiment was practising a march from Rossini, under the direction of an quayside: old purblind Italian.20 Presently, the songs of a party of Greek boatmen, [...1 which had enlivened our dessert, gave way to the strains of a military band, and, unexpected treat An old Italian charged with the instruction of to me on the banks of the Bosphorus, we heard one of the bands, told me however, that the Rossini's music, executed in a manner very cre- Turks themselves had not much aptitude for ditable to Professor Signor Donizetti. We rose learning it, and that most of the musicians were and went down to the palace quay, on which the Armenian rayas. The sultan afterwards placed a band was playing. I was surprised at the youth of few of the younger ichoglans or pages, under the the performers and the familiarity with which maestro's instructions, and these were making they addressed Calosso, calling him Rustam; and some progress when I left Stamboul, as they were still more surprised on finding that they were docile and could be kept to work like mere the royal pages, thus instructed for the Sultan's schoolboys as they were. The love for music will amusement. Their aptitude in learning, which do much; for with the Turks, the great difficulty Donizetti informed me would have been remark- is, to awaken an interest in their minds for any able even in Italy, showed that the Turks are art or science.21 naturally musical.19 The only conclusive evidence we can safely Charles MacFarlane who was in the city more deduct from these observations is that regimental or less at the same time as Slade also heard the bands had indeed started to take shape in a short band. He, however, paints a completely differe nttime under the direction of Giuseppe with young picture: Ottoman students from the palace school and that their repertoire comprised instrumental We shot along the beautiful port, and soon numbers from popular Italian operas of the time. landed below Pera, at the Melt-iskellesi scale, These were clearly not restricted to Rossini's works 52 THE MUSICAL TIMES / AUTUMN 2002 This content downloaded from 88.227.57.129 on Thu, 19 Mar 2020 11:03:50 UTC All use subject to https://about.jstor.org/terms A typical student band at an Ottoman school c. 1900 (Emre Araci Archive) either: when Felice Romani visited Constantinople which not only received official approval but was in 1832 he was astonished to discover 'Italy' on also accepted and, to a certain extent, treated as the banks of the Bosphorus through the strains of national anthem. It was to a certain extent, be- music coming from the palace quay. He had heard cause, unlike a permanent national anthem, the the chorus from Bellini's opera Straniera and one official march of the Ottoman Empire changed on of Gaetano Donizetti's songs, 'I1 barcaiuolo', from the accession of a new sultan. When Abdulmecid Nuits d'ete a Pausilippe, with the opening lines (1839-61) succeeded to his father's throne in 'Voga, voga, il vento tace'.22 Although Italian music 1839, Giuseppe Donizetti composed a new march, seems to have dominated the repertoire in Con- which came to be known as Mecidiye.24 Dedi- stantinople, other unusual choices were also in- cating military marches to Ottoman rulers at this cluded. 'It was agreeably striking to stand alone time seems to have become a vogue among in the midst of these Turks, and to listen to well- European composers, which included some emi- known strains, that recalled Italy, and many plea- nent names as well as lesser-known figures. Gae- sant scenes and dear friends', MacFarlane wrote tano Donizetti25 and Rossini,26 for example, were in his diary and continued: 'but this was nothing among a number of composers who dedicated to the delightfully melancholy sensations I ex- military marches to Abdulmecid, and when Franz perienced one morning, when the band of the Liszt performed before him in the summer of guards struck up an old English air I had not 1847, during his Oriental trip, he used themes heard for many years'.23 from Giuseppe's Mecidiye in a grand paraphrase27 Perhaps the most important and original piece for the piano which was specially composed to of music the regimental bands in the Ottoman please the Ottoman ruler. Empire were taught to play was Giuseppe's military march for Mahmud II, referred to earlier. _P _RIVATE performances of Italian opera Mahmudiye represented the sovereign's authority were also very popular at the court of and was performed at royal events including the Abdulmecid. As a matter of fact, Con- weekly Friday prayer procession to the mosque, stantinople had boasted a number of the selamlk. This was unprecedented, since never theatres since the early 1830's. The most impor- before in Ottoman history had a sultan a personal tant theatre, however, was owned by two Christian march composed for him by a European musician brothers from Syria called Naum, who had even THE MUSICAL TIMES / AUTUMN 2002 53 This content downloaded from 88.227.57.129 on Thu, 19 Mar 2020 11:03:50 UTC All use subject to https://about.jstor.org/terms secured an exclusive licence from the sultan to son Andrea35, and Andrea's children, Giuseppe36 engage artists from Italy.28 Naum Theatre seem asnd Gaetano37, who were named after their to have sustained a high standard of performan cpeaternal grandfather and great-uncle respectively. for a long time, where the latest operas o Gfiuseppe worked in the Ottoman civil service, as Donizetti and Verdi were performed by som ienterpreter at the Duyun-u Umuniye, the state highly distinguished artists. In 1848, for department responsible for monitoring the example, when the theatre re-opened after aOttoman foreign debts, and Gaetano eventually devastating fire, it was with Verdi's Macbeth.29 R em-oved to Paris where he joined the Directorate of cords for the same year show that apart fro mthe Paris Opera Archives. In 1921, following the Macbeth, the Naum company put on production send of the World War I, Giuseppe, as the last of Lucrezia Borgia, Linda di Chamounix, Barbier emember of the family, finally left Istanbul in- di Siviglia, Attila and Ernani.30 Abdulmecid was definitely for Naples, where he died in 1949, thus quite a passionate admirer of Italian opera an dbringing the family's presence in Turkey to an from time to time he also attended a number of end. Today, what remains of the family's archive performances at Naum's theatre, where he had a from their Ottoman sojourn is preserved at the royal box. At other times, the company would b eTopkapl Palace Museum Library in Istanbul, the invited to the palace to perform for His Majesty's contents of which were discovered by chance in pleasure, when Giuseppe Donizetti would ofte nthe 1970s, when an unclaimed bank safe was be on duty by his side, ready to give explanations opened after fifty years under the Turkish state about the work, as highlighted in a report which law. was published in the Revue et Gazette Musicale de The small archive contains a selection of per- Paris: sonal documents, letters and memorabilia be- longing to Giuseppe and Gaetano, as well as All the artists of the Italian troupe of Pera gave Giuseppe Donizetti the grandson, who had a performance at the Palace of Defterdar Burnu assembled it. Some of these items, originally part before the sultan and the ladies of the imperial of a much larger collection, were exhibited in harem. A theatre was constructed in the inner Bergamo in 1897 during the International Doni- court of the harem, leaning against the win -zetti Centenary Exhibition38 and later brought dows of the apartments of the ladies, so that back to Turkey. The remaining documents were they can see the scene. Near the wall, an ele- given by Giuseppe the grandson to the archives of vated platform was occupied by the sultan, S. Pietro a Majella Conservatory in Naples. The who, dressed in a simple frock-coat, with opera- collection at Topkapl is of primary importance to glasses in his hand, was accordingly following the scenes with marked interest. [...] The bril- Donizetti studies, with two original autograph items clearly standing out among the rest: liant evening's repertoire comprised a hymn31 composed by M. Donizetti in honour of the Giuseppe Donizetti's private journal Giornale e sultan, the chief of music of His Excellency and memorie diverse di Giuseppe Donizetti (1846-48) was sung by all the subjects and the choir; and a diary, in two volumes, on the medical the programme also included the prologue of conditions of Gaetano Donizetti kept between 23 Lucrezia Borgia; the bass aria from the sam eJune 1847 and 8 April 1848 and entitled Bulletini opera; the introduction of Garamento; th emedici sulla malattia del Cav. Maestro Donizetti.39 scene from Fous de Columella; the cavatina of Giuseppe Donizetti's journal mainly records a the bouffe in Mathilde de Sabran; the finale of number of letters concerning the failing state of the same opera; the cemetery duo from Gara- Gaetano's health and his own desperate attempts mento; the tenor aria from Roberto Devereux and the finale of the Parsina. [...] M. Donizetti, the to help him, as well as copies of invoices and brother of the celebrated composer, chief of the payments for musical instruments ordered for the Imperial Music, was observed standing close to court in Constantinople. The diary also coincides the sultan and explaining to him the different with Franz Liszt's visit to Turkey and records a scenes being performed.32 copy of a letter from Franz Liszt in Constanti- nople to his friend Adolphe Cremieux in Paris dated 12 July 1847, where Liszt asks Cremieux to HAVING just been created a commander help or find a suitable solicitor who might be able of the Order of Mecidiye and thus to secure the permission of the Paris police to receiving one of the highest honours allow Gaetano Donizetti to travel to Bergamo. Emre Aracl is of the Ottoman Empire, after years of Although small in size, the collection, which Research Associate distinguished service, Giuseppe Donizetti died awaits deserved attention from international at the Skilliter on 17 February 1856, aged sixty-seven.33 But his scholarship, is still an important testimony to the Centre for Ottoman death was certainly not the end for the Donizettis presence of the Donizettis in Constantinople for Studies, University in Constantinople. A further two generations of nearly a century. of Cambridge, sponsored by Turk his family after him remained in Turkey for some Giuseppe Donizetti was not the only European Ekonomi Bankasi. considerable time, including his widow Angela,34 musician engaged in Turkey for the purposes of 54 THE MUSICAL TIMES / AUTUMN 2002 This content downloaded from 88.227.57.129 on Thu, 19 Mar 2020 11:03:50 UTC All use subject to https://about.jstor.org/terms musical reform, although what he did at the time dance of Western experts. This time, however, it in- was clearly rather pioneering. In the following volved names such as Paul Hindemith, Bela Bartok, century when the young Turkish republic under Eduard Zuckmayer, Licco Amar, Carl Ebert and Ataturk's direction also pursued a music policy Ernst Praetorius.40 Today their legacies continue to along Western lines it was again under the gui- live on at the state conservatories in Turkey. 1. Johann Simon Mayr (1763-1845). Tarihi, Maarif Basimevi, (Istanbul, 1955); 'Gecen Aslr Ortasmda Saray Muzikasi', 2. Letter from Gaetano to Dolci (Paris, 13 Constantinople. After Giuseppe's death he I-II, in Ankara, nos.6-7, (1 December November 1838), in William Ashbrook: succeeded him in his post and continued 1945-1 January 1946); Turkiye-Avrupa Donizetti (London, 1965), p.225. For the to live in Constantinople until his death Musiki Munasebetleri (Istanbul, 1939); original see: Guido Zavadini: Donizetti: in 1900. He is a composer of a number of Refik Ahmet Sevengil: 'Donizetti vita, musiche, epistolario (Bergamo, 1948), military marches and made arrangements Pasa: Giuseppe Donizetti'nin Osmanll letter no.316. of traditional Turkish songs. See Franz Sarayi'ndaki Cahlsmalar', in Istanbul Oper., Pazdirek: Universal-Handbuch der Musik- 2 (7), 2.66, pp.22-30; Opera Sanati ile Ilk 3. In search of a director for the Imperial literatur aller Zeiten und Volker (Vienna, Temaslarnmiz, MEB (Istanbul, 1959); Saray Military Music School in Constantinople, 1904-10), p.274. Tiyatrosu, MEB (Istanbul, 1962); Rauf the Ottoman Minister of War, Husrev Yekta (trans. Orhan Nasuhioglu): Turk Pasha, contacted a number of foreign 8. For biographical sources on Giuseppe Musikisi (Istanbul, 1986). delegations, including the embassy of Donizetti, see Francois Joseph Fetis: the Kingdom of Piedmont and Sardinia in Biographie universelle des musiciens et 9. In a letter to Mayr written on 15 July Constantinople. The Foreign Ministry in bibliographie generale de la musique (Paris, 1843, Gaetano recorded: 'I was born Turin recommended Giuseppe Donizetti, 1833-44); A. Bacolla: 'Giuseppe Donizetti underground in Borgo Canale - you and the Sardinian Ambassador, Marchese e la musica in Turchia', in Piemonte went down by a cellar stairs to which Gropallo, communicated this to the (Torino, 1 June 1911) (also translated into no suspicion of light ever penetrated' Ottoman authorities. According to a French by Giuseppe Donizetti [grandson] (Weinstock, p.5). ministerial dispatch dated 7 November as La musique en Turquie et quelques traits 1827, Giuseppe Donizetti was officially biographiques, sur Giuseppe Donizetti 10. Verzino: Contributo ad una biografia di appointed 'Istruttore Generale delle Pacha (Constantinople, 1911); Giuseppe Gaetano Donizetti, p.14. Musiche Imperiali Ottomane'. He did Donizetti [grandson], ed: Ricordi di not arrive in Constantinople until the Gaetano Donizetti, pp.53-59; A. Baratta: 11. Entitled Marciafavorita del gran Sultano autumn of 1828 (See: Giuseppe Donizetti Costantinopoli nel 1831, ossia notizie esatte Mahmud II; the manuscript sent to Mayr [grandson], ed: Ricordi di Gaetano e recentissime intorno a questa capitale, ed is at the Fondazione Gaetano Donizetti, Donizetti, Esposti Nella Mostra Centenaria agli usi e costumi de suoi abitani (Genova, Bergamo. Tenutasi in Bergamo, Nell'Agosto-Settembre 1831), p.391; F Romani: 'Donizetti in 1897 (Bergamo, 1897), p.54). Costantinoploli (frammento di un viaggio 12. Andrea Donizetti worked at the Monte inedito in Oriente)', in Miscellanee del di Pieta and was financially dependent on 4. Letter from Gaetano to Dolci (Paris, Cavaliere Felice Romani tratte della his children. In a letter dated 21 July 1826 13 November 1838), in Ashbrook, p.225; Gazzetta Piemontese, i (ristampa dell' Gaetano wrote to his father: 'You need Zavadini, letter no.316. articolo della Gazzetta Piemontese del 12 money? Alas! Honours I could give you, novembre 1834, Torino, tipografia Favale, but money [... ] Suffice it that in every 5. Herbert Weinstock: Donizetti and the 1837), pp.9-12; EC Verzino: Contributo ad case I will try to help you as best as I can' world of opera in Italy, Paris and Vienna una biografia di Gaetano Donizetti (Bergamo, (Ashbrook, p.93; Zavadini, letter no.28). in thefirst half of the nineteenth century 1896); G. Locatelli: 'Giuseppe Donizetti (London, 1964), p.4. Pascia', in Bergamum (Bergamo, 1912), 13. Ashbrook, p.92; Zavadini, letter no.37. pp.22-23; U. Riva: 'Un bergamasco 6. See Francesco Belotto's article in The (Giuseppe Donizetti Pascia) riformatore 14. 'Because I don't want to go to Con- new Grove dictionary of music and musicians della musica in Turchia', in Rivista di stantinople, Giuseppe writes me a very (second edition), vol.7, pp.497-98. Bergamo, i, (Bergamo, 1922), pp.349-53; troublesome letter' wrote Gaetano to F Abbiati: 'La musicha in Turchia con Antonio Vaselli on 20 February 1844 7. Calisto Guatelli was born in Parma on Giuseppe Donizetti Pascia', in Rivista di (Weinstock, p.216). Zavadini lists this letter 26 September 1819. He entered the Ducal Bergamo, vii (Bergamo, 1928), pp.305-12. as Vienna, 29 February 1844 according to Music School in 1830 where he studied For Turkish sources see: Bulent Aksoy: the postmark; see Zavadini, letter no.547. the double bass with Francesco Hiserich Avrupali Gezginlerin Gozuyle Osmanlilarda and singing with Antonio de Cesari. Afte rMusiki (Istanbul, 1994); Tayyarzade Ahmet 15. Letter from Gaetano to Dolci (Vienna, graduating in 1848 he became choirmast eArta: Tarihi Ata, vol.3, 1292-93 [1875-76], November 1844); Zavadini, letter no.600. at the Teatro Carlo Felice and on the pp.109-13; Mahmud Raglp Gazimihal invitation of Giuseppe Donizetti moved to [Kosemihal]: Turk Askeri Muzikalan 16. Bernard Lewis: The emergence of THE MUSICAL TIMES / AUTUMN 2002 55 This content downloaded from 88.227.57.129 on Thu, 19 Mar 2020 11:03:50 UTC All use subject to https://about.jstor.org/terms moder Turkey (Oxford, 1961), p.76. belongs to two centuries, I to two religions' 1848; Bibliotheque Nationale de France, (Ashbrook, p.252; Zavadini, letter no.356). LA vol.30 no.49. 17. It seems that among students educated in Paris some even received musical training, 26. Rossini composed a Marcia militare 30. Lengthy reviews of all these according to a report published in the The for Sultan Abdulmecid in 1852, for which performances appeared in the Journal de Musical World in London: 'The gods have he received the Ottoman Order of Nisan-i Constantinople. made his Sublimity, Mahmoud, musical and Iftihar. The Musical World reported the in return he has determined to infuse his new composition in the following fashion: 31. Entitled Inno Popolare di Sua Maesta tastes into his harem. With this view he has 'It is said that Rossini was never in better Imperiale, the manuscript copy of this recently given a concert to the fair ones, health than he is at present. The following hymn in Giuseppe's autograph is at the at which a young Turk, who had acquired circumstance connected with the great Museo Donizettiano in Bergamo (catalogue his education at Paris, played among other maestro is reported as having recently no.I-BGm VII 1° B). pieces one of Beethoven's sonatas with occurred in Florence. For the last two variations, which enraptured the assembly years, the Sultan, who is exceedingly fond 32. Revue et Gazette Musicale de Paris and drew down thunders of applause' (The of music, has on several occasions offered (7 December 1851), vol.18 no.49, p.400. Musical World (6 June 1839), p.91). Rossini fabulous sums of money, besides all sorts of Turkish decorations and orders of 33. In 1831 Giuseppe was awarded the 18. Le Menestrel (18 December 1836), p.l. merit, on condition that he would compose Order of Nisan-i Iftihar. A colour drawing him some lyrical work or other. As Rossini and a description of the 'Order of Thurat' 19. Sir Adolphus Slade: Records of travels never returned any answer, his Highness bestowed upon Giuseppe Donizetti by in Turkey, Greece etc, and of a cruise in the determined to send one of the attaches of Sultan Mahmud II is in the Biblioteca Black Sea with Capitan Pasha in the years the Embassy with strict orders not to leave Civica 'Angelo Mai', Bergamo (Specola 1829, 1830 and 1831 (London, 1833), p.135. him without having obtained something Doc.936). He was made a cavalier of for the theatre at Constantinople. The the Order of Mecidiye in 1854, and a 20. Charles MacFarlane: Constantinople in attache accordingly visited Rossini, Commendatore of the same order in 1856. 1828 (London, 1829), vol.1, p.517. who received him with his accustomed politeness, and begged him to wait a few 34. Angela Tondi was a native of the 21. Ibid, p.173. seconds. The composer then went up stair sIsland of Elba. She and Giuseppe Donizetti to his study. About an hour afterwards married at Portoferraio on 12 February 22. F Romani: 'Donizetti in Costantinopoli he came down again with a manuscript, 1815. She is also buried at St Esprit (frammento di un viaggio inedito in hardly dry, in his hand. "Will you be kind Cathedral in Istanbul. Oriente)', in Miscellanee del Cavaliere Felice enough to give that to the Sultan?" said Romani tratte della Gazzetta Piemontese, he to the attache. "What is the price?" 35. Andrea Donizetti was born on 29 April i (ristampa dell'articolo della Gazzetta asked the latter. "Nothing - I am only too 1818 in Alessandria, Piedmont. He married Piemontese del 12 novembre 1834, Torino, happy that I am able to do anything that one Giuseppina Gabuzzi of Milan in 1858. tipografia Favale, 1837), pp.9-12. can please his Highness." Knowing the He died on 11 February 1867 in an insane Sultan's taste for military music, Rossini asylum at Aversa, near Naples. 23. MacFarlane, vol.2, pp.170-71. had composed a new march' (The Musical World (31 July 1852), vol.30, no.31, p.485). 36. Born 25 March 1859. 24. Hans Christian Andersen who visited Constantinople in 1841 heard the Mecidi y2e7. Entitled Grande paraphrase de la marche 37. Born 28 February 1861. March during a Friday procession of Sult adneJ. Donizetti the work was published Abdulmecid to the mosque: 'In general, by Schlesinger of Berlin the following 38. See Giuseppe Donizetti [grandson], pieces from Rossini's William Tell were year, together with a simplified version. ed.: Ricordi di Gaetano Donizetti, pp.53-59. played, but suddenly they were broken For further details on Liszt's stay in off, and the strains of the young Sultan's Constantinople, see Emre Aracl: 'Franz 39. The catalogue of this collection was favourite march were heard. This march Liszt at the Ottoman court', in International prepared by Mr Suha Umur and was had been composed by the brother of Piano Quarterly (Winter 2001), pp.14-19. subsequently printed in Turkish in the Donizetti, who has been appointed band- collected palace archive catalogue, 'Topkapi master here'. Trans. HW Duleken, in The 28. See Suha Umur: 'Abdulmecid, Opera v eSarayl Muzesi Arsivinde Donizetti ailesine complete illustrated stories of Hans Christia nDolmabahce Saray Tiyatrosu', in Milli ait evrak', in Topkapi Saray ArSivi Katologu, Andersen, 'Mahomet's Birthday - A scene i nSaraylar Dergisi (1987/1), pp.43-59. pp.184-94. For an abridged English Constantinople' (Chancellor Press, 1889), translation, see Emre Aracl: 'Giuseppe p. 835. 29. Giuseppe Donizetti was also among Donizetti Pasha and the family archive in the audience that evening. 'The opening Istanbul', in Donizetti Society Newsletter, 25. In a letter to Dolci dated 18 February of the new theatre was a brilliant success. no.83 (June 2001), appendix. 1841, Gaetano wrote: 'I received from the The prima donna Vilmot Medori and great Sultan, in return for an Imperial the baritone Bencich delighted the 40. See Emre Aracl: 'Reforming zeal', march I composed, the Order of Thourat public of Pera', he wrote to Antonio in The Musical Times (September 1997), [Nisan-i Iftihar] like my brother. Napoleon Dolci; Constantinople, 7 December pp.12-15. 56 THE MUSICAL TIMES / AUTUMN 2002 This content downloaded from 88.227.57.129 on Thu, 19 Mar 2020 11:03:50 UTC All use subject to https://about.jstor.org/terms