A Fantastic Find and I’m Going to Brag
I don’t usually share things like this, but I am so excited about a recent acquisition that I cannot help myself. Y’all know that I venerate the castrati as a family of ancestral spirits (yes, I know, but it doesn’t matter that they’re not technically my blood ancestors; I love them and they are spiritual ancestors for me). Well, being the tactile person that I am, when I am learning how to honor and engage with a new family of spirits, it often helps to have physical objects. If I am learning proper veneration to a new Deity, I’ll set up a shrine for the same purpose(1). If I’m engaging with an animal spirit as a spirit worker, I want a tooth, claw, or bit of fur, and likewise with my ancestors whenever possible, I like to have a photo or some item that belonged to them. Is this a bit reductionist? Yes. Is it absolutely necessary? Not at all, and in fact, I’ve been honoring the castrati both as a group and as individuals for close to a decade now without having anything approximating a physical object, unless one counts the music they once sang.
Well, today I can happily say that I now own a scrap of music handwritten and signed by one of the last of the great vocal castrati: Girolamo Crescentini (1762-1846) (2). He was equally regarded as a singer, teacher, and composer and what I acquired today was a bit of music written by him for a correspondent or friend (It is unclear from the provenance for whom he originally wrote the piece). Crescentini was a favorite of Napoleon, (who otherwise despised castrati) who knighted him in 1809.
What is pictured here is an autographed six bar musical quotation of an arietta, in Crescentini’s own hand. Since he signed it ‘cav. (cavalier) Crescentini,’ we know it must have been written after 1809. There is a little note: Due note sol da mi fibra mi! Assai di piu assai di pire tene do no (You wish to receive just two notes from me, I give you more and more of them). Signed: carattere, e compisizione del Cav. Crescentini (Character and composition of Cavalier Crescentini).
I never expected to find something like this and in fact, last year I had an antique dealer who specialized in autographs and musical scores tell me it was nearly impossible to find anything written or signed by the castrati (a Meissen teapot owned by Senesino (1686-1758) came up for auction last year, I believe, but it was way, way, WAY out of my price league omg). I do have a couple medieval manuscript leaves. I pick up inexpensive ones here and there, usually at the medieval conference at Kalamazoo – their book room is heaven and the MSS dealers always have at least a bit priced low for grad students–because they are helpful when I teach. I find students become really engaged when they can actually touch a piece of history and hold it in their hands. It brings it alive like nothing else. None of leaves approach this 5.24×6 inch scrap of music. This is a personal connection to a family of spirits, to one particular spirit that I never, ever, ever expected to find and I am grateful to the Gods and ancestors that I happened to stumble across it (and that it was both relatively inexpensive – it’s small—and within my budget).
Look. Look at the pretty thing. ^___^. (I’ve very inexpertly blurred my address bc I liked the photo and didn’t want to pull everything out to take it a second time when I realized my home addy showed).
musical notation, inscription, and signature of G. Crescentini. Personal collection of G. Krasskova
- At least, that is part of the purpose. The other part, of course, is that this is a space for veneration and a visual sign of welcome for that Deity into one’s home and life.
- The very last of the great operatic castrati was Giovanni Velluti (1780-1861), a younger contemporary of Crescentini.