XXVIII ANNUAL CONFERENCE OF THE ITALIAN SOCIETY OF MUSICOLOGY

Rome, National Academy of Santa Cecilia
29–31 October 2021

The twenty-eighth Annual Conference of the SIdM will take place in Rome from 29 to 31 October 2021 and will be organized in collaboration with the National Academy of Santa Cecilia. The annual members’ assembly will take place during the conference.

The SIdM annual conference is an important opportunity for meeting and scholarly exchange among researchers. This year again, we are pleased to expand the opportunities for participation by offering members the possibility of presenting, in addition to the usual papers, posters relating to works in progress.

Programme: Friday 29 October – 9:30–10:00

Welcome addresses by the President of SIdM Claudio Toscani, the President of the National Academy of Santa Cecilia Michele dall’Ongaro, and the Director of the SPFS Department of the University of Rome “Tor Vergata” Giorgio Adamo [Spazio Risonanze]

10:00–11:30
Chair: Marco Mangani

Alessandro Restelli The Mogar Music collection: a rich
instrumental heritage in the age of rock

Ruben Marzà – Nicolò Palazzetti The “Canterbury scene” and
Italian progressive rock of the 1970s

Daniele Peraro “Three notes” for a “pop” love: the
representation of Eurydice in the film Orfeo 9 by Tito Schipa Jr.

10:00–11:30
Chair: Giulia Giovani

Nella Nero Baroque virtuosity in Rome: the case of Mannelli

Elena Abbado The Congregation of Santa Cecilia in Florence known as
the Centuria de’ Musici: origin, activity, and consistency

10:00–11:30
Chair: Francesco Rocco Rossi

Giacomo Ferraris The evolution of tempo in the
Italian and French repertory of the fourteenth century

Luigi Collarile Dots as signs of alteration.
Nicola Vicentino and the expansion of musical semantics

Vania Dal Maso Ostinatos and diminutions ante litteram
in the Intabolatura nova di varie sorte de balli, Venice 1551

11:30–12:00 coffee break
12:00–13:30
Chair: Candida Felici

Dario Savino Doronzo Gunther Schuller and the theorization of
Third Stream

Federico Favali The concept of space in Invisibility by Liza Lim

Daniele Palma Songs that do good. Stories and reflections
around a music festival in a psychiatric hospital

12:00–13:30
Chair: Giacomo Sciommeri

Elisa Barbessi The myth of Helen in the Italian Baroque cantata:
the ambiguous redemption of tragedy

Anita Sisino The “serenata-cantatas” for voice and basso continuo by
Antonio Farina: flashes of “serene nocturne”

Anna Bianco Sir John Symmons and the missing initials

12:00–13:30
Chair: Paola Besutti

Adriana Merenda Ms. Basevi 2440: experiments in proto-madrigal in the early sixteenth century

Marco Giuliani Mary Magdalene in music from the laude of the early
sixteenth century to the canzonettas of the later seventeenth century

Sarah Iacono – Gilberto Scordari An “ultramontane” Apulian:
Francesco Antonio Baseo among academies, Lepanto echoes, and madrigals

13:30–15:00 lunch break
15:00–16:00
Chair: Maria Grazia Sità

Norberto Cordisco Respighi Ottorino Respighi and his publishers:
contractual and financial aspects

Serena Labruna Scenic dimension in Respighi’s Maria Egiziaca:
elements for reflection

15:00–16:00
Chair: Giulia Giovani

Matteo Giannelli “To serve him well, good people are needed”: the
performers of the oratorios for Francesco II d’Este between 1687 and 1689

Elia Pivetta A “most superb cantata” for His Holiness:
Il ritorno di Tobia by Baldassare Galuppi in the context of late eighteenth-century Venetian oratorio

15:00–16:00
Chair: Agostino Ziino

Marina Toffetti The discourse Della dialettica e della musica by
Agostino Mascardi (1627)

Gabriele Taschetti A list of music books purchased by
Giovanni Ghizzolo for the Basilica of the Saint in Padua (1623)

16:00–18:30
Meeting-Seminar PERFORMING BEETHOVEN AFTER THE BICENTENARY. IN MEMORY OF ANTONIO ROSTAGNO. With the participation of Davide Cabassi, Renato Meucci, Guido Salvetti, Giorgio Sanguinetti

and the students of Benedetto Lupo’s advanced course (Claudio Berra, Giulia Loperfido, Jacopo Petrucci, Alessandro Simoni, Gabriele Strata) [Spazio Risonanze]

Saturday 9:30–11:00
Chair: Susanna Pasticci

Federica Di Gasbarro Structural orchestration and the case of the
“third theme” in the first movement of Beethoven’s Eighth

Giovanni Meriani A sketch (almost) in score: writing approaches in
manuscript HCB Mh 92

Duilio D’Alfonso Post-Beethovenian aesthetics: a problem of
historical “meta-criticism” (between Hegel, Adorno, and Dahlhaus)

9:30–11:00
Chair: Marina Toffetti

Monica Castellani Musical iconography in the palaces of Arco di
Trento

Giulia Gabrielli The singing of the pueri in historical Tyrol

Cecilia Luzzi Philippe de Monte, the pastoral genre, and the
Venetian academies: new hypotheses on the biography and
style of the 1580s

9:30–11:00
Chair: Federico Gon

Ilaria Contesotto Vincenzo Grimani and the reports to the
Venetian State Inquisitors

Lorena Vallieri “The opera can only be superb
and beautiful in all magnificence.” Jommelli at the Malvezzi theatre in
Bologna (1741–1742)

Sara Elisa Stangalino Didone abbandonata / Die verlassene Dido:
Metastasian opera between Hamburg and Brunswick (1725–1739)

11:00–11:30 – Coffee break
11:30–13:00
Chair: Bianca Maria Antolini

Mariacarla De Giorgi The legacy of Beethovenian musical
language in Emilie Mayer’s Fifth Symphony

Lorenzo Corrado The figure of Napoleone Cesi. A first artistic
profile through unpublished documents

Alberto Delama Luciano Chailly à la manière de Mozart between
stylistic exercises and contemporary revisitations

11:30–13:00
Chair: Francesco Rocco Rossi

Cristina Cassia Music and musicians in the Ferrara of Pietro Bembo

Michelangelo Gabrielli Costanzo Porta’s Missa Ducalis: musical science
and political celebration in the Florence of Cosimo I de’ Medici.
New historical and analytical contributions, and new formal proposals

Carlos C. Iafelice The compositional formulae presented by
Giovanni Padovani in his Institutiones (Verona, 1578)

11:30–13:00
Chair: Tarcisio Balbo

Fabiana Ciampi Ruzìr, the King of Dances, between art music and folk music

Valentina Panzanaro “Moving festive feet to the dances.”
Dramaturgical insights into dances at the “magnificent court” of
Lorenzo Onofrio Colonna (Rome 1659–1689)

Michael Klaper Amour malade – Amore malato: Observations
on questions of authorship in Italo-French ballets of the 1650s
and 1660s

13:00–14:00 lunch break
14:00–16:00 ELECTIVE ASSEMBLY [Spazio Risonanze]
16:30–18:00

Presentation of the volume LA CULTURA MUSICALE DEGLI ITALIANI, edited by Andrea Estero. With the participation of Corrado Augias, Sandro Cappelletto, Michele dall’Ongaro, Renato Meucci, Paolo Prato, Lucio Villari. Moderated by Bianca Maria Antolini [Spazio Risonanze]

18:30–19:30
Chair: Andrea Estero

Raffaella Carluccio From page to stage.
Alberto Arbasino as critic and music director

Cristina Isabel Pina Caballero El duo de La Africana (1893):
an operatic parody by the Murcian composer Manuel
Fernández Caballero

18:30–19:30
Chair: Antonio Caroccia

Cecilia Nicolò Renato Simoni and the refusal of love:
from Carlo Gozzi to Turandot

Lorenzo Ancillotti Puccinian echoes: the chance encounter between
Carlo Zangarini and Bruno Rigacci

18:30–19:30
Chair: Lucio Tufano

Giovanni Andrea Sechi The arias “in my own way”: collaboration and
intertextuality in Farinelli’s repertory

Tarcisio Balbo Arsace, Baldassarre, and the others: circulation and
metamorphosis of a suitcase aria between the eighteenth and nineteenth centuries

Sunday – 9:30–11:00
Chair: Livio Aragona

Paolo De Matteis “Middle tempi” in the years of the Revolution

Andrea Malnati Musical theatre for the Bourbons, Gaetano
Donizetti, and Il borgomastro di Saardam

Riccardo Mandelli Ponchielli versus Wagner: reconstruction of an
unexpected triumph

9:30–11:00
Chair: Carlo Lo Presti

Matteo Macinanti Music of exile: the Russo-Parisian “school”
between the two world wars

Marica Bottaro The reception of Debussy in Italy between the wars

Maria Grazia Aurora Campisi Giorgio Federico Ghedini’s “Italian”
Baccanti

9:30–11:00
Chair: Giorgio Sanguinetti

Maria Teresa Arfini Caprices, extravagances, and artifices. Keyboard music
in seventeenth-century Naples

Kostantinos Alevizos Bach and d’Anglebert: a French conceptual
matrix underlying the creation of The Art of Fugue

Eric Boaro Intavolature, o sia Regolamento per ben portare
la mano al suono del cembalo (1767): a new source for the
Intavolature of Fedele Fenaroli (1793)?

11:00–11:30 – Coffee break
11:30–13:00
Chair: Claudio Toscani

Chiara Esposito Amazilia and Spanish colonialism. From the opera
of Giovanni Pacini to Giacomo Tritto, Antonino Palminteri, and
Giuseppe Verdi

Gennaro Saviello “That young man is beside himself.” Leone
Emmanuele Bardare in Naples, between Salvatore Cammarano and
Giuseppe Verdi. New bio-bibliographical contributions

Olga Jesurum – Federica Riva New autograph documents by
Boito: Andrea Carandini’s donation to the
“Arrigo Boito” Conservatory of Parma

11:30–13:00
Chair: Giacomo Albert

Marcello Nardis Sound as narration. Strindberg, Schnitzler,
Céline: examples of musical “writing” for image

Franco Sciannameo La fisica in cimento, serenata by Filippo
Trajetta (Charleston 1803): criteria for a musical setting

Roberta De Piccoli The musical identity of the Italian-Canadian community of Toronto: transmission and transformation

11:30–13:00
Chair: Annalisa Bini

Fabrizio Ammetto – Luis Miguel Pinzón Acosta Lessons from the
Red Priest: Vivaldi’s corrections in Pisendel’s
Violin Concerto Mus.2421-O-14

Federica Colucci The “A. T. L.” violin – Reflections on a case of
research and restoration

Gennaro Tallini The musical manuscripts of the seminary of Gaeta and
the sacred production of Baron Paolo M. Gattola (1814–1892)

Italian Society of Musicology
President: Claudio Toscani

Treasurer: Livio Aragona

Editor of the Rivista Italiana di Musicologia: Marco Mangani