"This morning I found all the piano keys on the floor. What's up? What happened?"
- Handwritten letter from Carlos Gomes to Vincenzo Appiani.
- One sheet, front and back, 4 pages and the envelope.
- In Italian.
- 13.6 cm x 21.2 cm.
- February 18, 1885, in Magianegh (Italy).
- Excellent condition of conservation.
- Unique piece.
Approximate translation from Italian to Portuguese
My dearest Vincenzo,
He had his ( ) along with another from his very kind companion.
I also received l'ARCOLAIO from the master Carlo Fummagalli, and I am asking Mrs. Elvira to give me that pair as a gift. Because I want to show Miss Raggi, from whom I hid the truth, that is, the existence of that song dedicated to her, which she did when I asked her if Marenca's poem had ever been set to music.
I can't understand why Miss Raggi showed me that poem already dedicated to her and set to music! Now I feel obliged to apologize to MC Fumagalli, but I don't know where to find him. Do you know where my rival ARCOLAIESCO lives? I don't believe he's related to Adolfo, at least judging by his rock.
Now I feel significantly better from my rheumatism, but with the weather like this I won't even risk going to Milan. I'll wait for the month when the sun comes out to do the same as a lizard.
This morning I found all the piano keys on the floor. What? How did it happen? I can't remember anything else than yesterday, when the clock went off and I decided to warm myself up at the piano. Trying to beat the famous bilboquet and... punft... punft... I lost my patience and went to lunch cursing the cold. I say "the cold" because I almost convince myself that the reason that prevents me from making the right mistakes with the keys is the cold itself. I have a lot of hope for this summer! So, for the moment I haven't been attacked or tied down by the cold! Oh the cold! If the sun doesn't come out soon, I'll go get it in Pernambuco and bring you a little bottled drink.
Mimardi sent me the proof of the printing of that camera yesterday, which is why I hope to have it ready. I run the risk that I won’t be able to go to Brazil this year and that “The Slave” will be shown in Italy before it is in its native land. Goodbye for today, a handshake to you, wife and friend. A kiss for a happy birthday to Emilietta.
Always your true friend,
Gomes
Carlos Gomes (1836 - 1896) is considered by many to be the greatest Brazilian opera composer. This temperamental genius conquered Europe without neglecting the themes of his nation, dealing with everything from indigenous rights to the abolition of slavery in his works.
Born in 1836 into a humble family in the city of Campinas, in the interior of the state of São Paulo, music entered Gomes' life early on. He lost his mother while still young, and soon began working with his brothers in the Banda Musical de Campinas, created by his father to support the family. But what was a means of survival would become the first step towards young Carlos' entry into the world of music, and in a short time he was performing at dances, concerts and masses.
It wasn't long before his fame reached Rio de Janeiro, where the musician had the opportunity to perform for the royal family, an event that would change his life. In 1863, Carlos Gomes left for Europe to study at the Milan Conservatory, recommended by the empress, Dona Tereza Cristina.
And so, the Brazilian composer conquered the world, becoming known for his great works, but also for his irritable temperament, as can be seen in the letter he wrote to Vincenzo Appiani, a famous Italian pianist and composer.
The intriguing letter raises many questions. Who, for example, was Carlo Fummagalli, the rival that Gomes speaks of with such fury? The name of his execrated enemy did not go down in history, so in a way Carlos Gomes won, but it is intriguing to imagine what such a man could have done to arouse the composer's wrath.
In his letter, Gomes also reveals precious details of his creative process, inundated by his stormy temperament. Could it be that the piano keys found on the floor were broken by him? Imagining him on a cold winter night composing operas and breaking instruments is a treat for the imagination.
Winter was not the favorite season of the composer from São Paulo, who missed the sun so much that he wanted to look for it in Pernambuco and take it back to the Old Continent in a bottle. But his desire to travel to his country was not just for the sake of tropical warmth. Gomes wanted to present his new opera “O escravo” in Brazil before showing it in Italy, due to its intrinsic connection to Brazilian history.
Carlos Gomes' famous work had its premiere surrounded by controversy, such as the fact that the protagonist "the slave" was changed from a black man to an indigenous man so as not to shock the 19th century audience. Finally, this great work was presented in Brazil in 1889, months before the proclamation of the republic, crowning the air of change that was blowing through the country.
Composer, artist, Brazilian, Carlos Gomes synthesized many of the issues that were bubbling up in Brazil during the effervescent era in which he lived. His works are a portrait of the nation and his legacy continues to be relevant and thought-provoking even today, after almost 2 centuries. His letters rarely appear on the market.
