Editing Don Carlos (section)

==Composition history==
'''Pre-première cuts and first published edition'''
[[File:GiuseppeVerdi.jpg|thumb|Giuseppe Verdi, about 1870]]
Verdi made a number of cuts in 1866, after finishing the opera but before composing the ballet, simply because the work was becoming too long.<ref name="Budden"/> These were a duet for Elisabeth and Eboli in Act 4, Scene 1; a duet for Carlos and the King after the death of Posa in Act 4, Scene 2;<ref>Kimbell 2001, p. 1002, notes that "some of the deleted material from this served as the seed for the 'Lacrymosa' in the ''[[Requiem (Verdi)|Requiem]]''".</ref> and an exchange between Elisabeth and Eboli during the insurrection in the same scene.

After the ballet had been composed, it emerged during the 1867 rehearsal period that, without further cuts, the opera would not finish before midnight (the time by which patrons would need to leave in order to catch the last trains to the Paris suburbs). Verdi then authorised some further cuts, which were, firstly, the introduction to Act 1 (with a chorus of woodcutters and their wives, and including the first appearance of Elisabeth); secondly, a short entry solo for Posa (''J'étais en Flandres'') in Act 2, Scene 1; and, thirdly, part of the dialogue between the King and Posa at the end of Act 2, Scene 2.<ref>Budden 1981, p. 25.</ref>

The opera was first published as given at the première and consisted of Verdi's original conception, without the music of the above-named cuts, but with the ballet.

In 1969, at a Verdi congress in [[Verona]], the American musicologist [[David Rosen (musicologist)|David Rosen]] presented the missing section from the Philip-Posa duet from the end of Act 2, which he had found folded down in the conductor's copy of the score. Other pages with cuts had simply been removed from the autograph score and the conductor's copy. Shortly thereafter, the British music critic [[Andrew Porter (music critic)|Andrew Porter]] found most of these other cut passages could be reconstructed from the individual parts, in which the pages with the "lost" music had been either "pasted, pinned or stitched down." In all, 21 minutes of missing music was restored.<ref name=Porter1973>Porter, Andrew. "Musical Events: Proper Bostonian" [https://www.newyorker.com/archive/1973/06/02/1973_06_02_102_TNY_CARDS_000099093 ''The New Yorker'', 2 June 1973, pp. 102&ndash;108].</ref> Nearly all of the known music Verdi composed for the opera, including the pre-première cuts and later revisions, can be found in an integral edition prepared by the German musicologist [[Ursula Günther]], first published in 1980<ref>Porter 1982.</ref> and in a second, revised version in 1986.<ref>Verdi; Günther 1986.</ref>