»For I like an aria to be tailored to a singer like a well-made suit of clothes.«
Wolfgang Amadeus Mozart (1756–1791)

Edition Canto fiorito is an editorial series offering arias from the flowering period of canto fiorito with historically transmitted embellishments (It.: abbellimenti). In simple terms, it starts with Caccini & Monteverdi and ends sometime between Rossini & Verdi. Edition Canto fiorito publishes music of the bel canto era and repertoire of the canto fiorito, which is the highly artistic form of the bel canto style.

We are talking about notated vocal improvisation with figures, sparkling runs and figurations. One can think of abbellimenti in the bel canto style like Accento, Acciaccatura, Anticipatione della nota, Anticipatione della sillaba, Appoggiatura, Cascata, Cercar della nota, Esclamazione, Gruppo (Groppo, Groppetto), Messa di voce, Mordente, Passaggio, Portamento di voce, Principiar sotto alle note, Trilli (calato/cresciuto, composto, doppio, gagliardo, in unisono, maggiore, minore, mordente, radoppiato, semplice, etc.), and Vibrato as well as the free complex embellishments (Fioritura) as known from canto fiorito.

In the following, some leading representatives of this unique art of singing:

  • Sopranos: Aloisia Lange, née Weber (c. 1760–1839); Giuditta Pasta (1798–1865); Jenny Lind (1820–1887); Adelina Patti (1843–1919)
  • Mezzo-Sopranos: Faustina Bordoni-Hasse (1697–1781); Isabella Rossini, née Colbran (1785–1845); Maria Malibran, née García (1808–1836); Pauline Viardot-García (1821–1910)
  • Castratos: Francesco Bernardi detto Senesino (1686–1758); Giovanni Carestini detto Il Cusanino (1700–1760); Carlo Broschi detto Farinello [aka Farinelli] (1705–1782); Domenico Annibali (c. 1705–1779); Gaetano Majorana detto Caffariello [aka Caffarelli] (1710–1783)
  • Tenors: Manuel García (1775–1832); Giovanni Davide (1790–1868); Giovanni Battista Rubini (1794–1853)

Editor: Matthias Spindler

Compofactur MusikVerlag provides the editions in full score with performance material as rental material.
Format: full scores DIN/ISO B4 (250×353 mm) – orchestral parts DIN/ISO B4 (250×353 mm) or DIN/ISO SRA4 (225×320 mm)

Already published editions

Händel/Girardeau/Babell Lascia ch’io pianga Score Cover
Composer: Handel, George Frideric (1685–1759)
Embellishments: Girardeau, Isabella & Babell, William (ca. 1690–1723)
Librettist: Rossi, Giacomo (18th C.); after Aaron Hill (1685–1750) and Torquato Tasso (1544–1595)
Edition: Spindler, Matthias (*1963)
Opus: Lascia ch’io pianga [Rinaldo (HWV 7a)] – First Edition
Scoring: Soprano – String Orchestra (w/ B.c.)
Key: F major
Duration: 05:00


Mozart Voi che sapete che cosa è amor [Le nozze di Figaro (KV 492)] Score Cover
Composer: Mozart, Wolfgang Amadeus (1756–1791)
Embellishments: Corri, Domenico (1746–1825)
Librettist: da Ponte, Lorenzo (1749–1838)
Edition: Spindler, Matthias (*1963)
Opus: Voi che sapete che cosa è amor [Le nozze di Figaro (KV 492)] – First Edition
Scoring: Mezzo-Soprano – Orchestra
Instruments: 1 Fl · 1 Ob · 1 Cl (Bb) · 1 Bsn – 2 Hn (F) – Str
Key: B-flat major
Duration: 03:00


Editorial Principles

  • All of the available and relevant sources are subjected to critical examination and assessment.
  • Errors and inconsistencies in the sources are tacitly corrected and adapted to conform to modern practices.
  • Editorial insertions and emendations are distinguished typographically as follows (exceptions are possible in the case of transcriptions):
    – Dynamics, wording, etc. by square brackets;
    – accidentals and cautionary accidentals by round brackets;
    – notes, rests, pauses, accents by square brackets;
    – slurs and hairpins (crescendo and decrescendo) by broken type optionally by round brackets.
  • Both the disposition of instruments in the score and the notation (incl. choice of clefs) will be in line with modern notational practice.
  • Ornaments are adapted to modern typographical usage as far as possible.
  • Vocal texts are given only in the original language to which the music was set and in modern orthography and are also printed separately.
  • Shorthand signs for repeats, abbreviations as well as colla parte, simile and coma sopra instructions will be omitted and the text given in full without further comment.
  • The instrumental and vocal parts are designated in Italian.
  • Tempo markings and performance instructions are made, as far as possible, in Italian.
  • Bar numbers and rehearsal marks are often editorial.

Compofactur MusikVerlag
Matthias Spindler
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