- Piero Gargiulo, Adriano Banchieri tra 'antico' e 'moderno': una ricognizione sui trattati. Abstract.
- Daniela Macchione, Strumenti della ricerca storica. Gli 'altri' libretti: 'Il barbiere di Siviglia' a Roma dopo il 1816. Abstract.
- Maria Rosa Moretti, Sei giorni di una tournée europea di Niccolò Paganini: Kassel - Göttingen - Kassel, 25-30 maggio 1830. Abstract.
- Silvia Mendicino, Il 'Te Deum' di Giuseppe Verdi: genesi, contesto storico e signifcato socio-culturale. Abstract.
- Roberto Pagano, Penuria di fatti concreti? Premesse opportune alla celebrazione del duecentocinquantesimo anniversario della morte di Domenico Scarlatti
- Giulia Gabrielli, Il canto fratto nei manoscritti della Fondazione Biblioteca S. Bernardino di Trento. Catalogo, con un saggio di Marco Gozzi, prefazione di Giacomo Baroffio, [Trento], Provincia autonoma di Trento - Soprintendenza per i beni librari e archivistici, 2005 (Elsa De Luca);
- Percorsi dell’oratorio romano. Da ‘Historia sacra’ a melodramma spirituale, atti della giornata di studi (Viterbo, 11 settembre 1999), a cura di Saverio Franchi, Roma, Ibimus, 2002 (Antonio Dell’Olio);
- Michael Talbot, The Chamber Cantatas of Antonio Vivaldi, Woodbridge, The Boydell Press, 2006 (Sara Dieci);
- Muzio Clementi. Compositore, (forte) pianista, editore, atti del convegno internazionale (Perugia, Conservatorio di musica, 4-6 ottobre 2002), a cura di Bianca Maria Antolini e Costantino Mastroprimiano, Lucca, LIM, 2006 (Luca Aversano);
- Musica e architettura nell'età di Giuseppe Terragni (1904-1943), atti della giornata di studi (Milano, 18 gennaio 2005), a cura di Claudio Toscani, Milano, Cisalpino 2005 (Mara Udina)
- Paologiovanni Maione - Francesca Seller, Il Teatro San Carlo di Napoli. Cronologia degli spettacoli 1737-1799, vol. I, Napoli, Altrastampa, 2005 (Bianca Maria Antolini);
- Andrea Fabiano, Histoire de l’opéra italien en France (1752-1815). Héros et héroïnes d’un roman théâtral, Paris, CNRS Editions, 2006 (Rosy Moffa);
- Gianfranco Miscia, Francesco Masciangelo e le attività musicali a Lanciano e in Abruzzo nell’Ottocento, Lanciano, Barabba, 2006 (Francesca Seller);
- Gianandrea Polazzi - Andrea Parisini - Lucio Mazzi - Maria Chiara Mazzi, Rimini. La musica al mare, Rimini, Rotary Rimini Riviera, 2006 (Sara Dieci);
- Orazio Maione, I Conservatori di musica durante il fascismo. La riforma del 1930: storia e documenti, Torino, De Sono - EDT, 2005 (Maria Grazia Sità);
- Il Clavicembalo nella Musica Contemporanea Italiana. Catalogo e Ricerca, a cura di Diadorim Saviola e Maria Pia Jacoboni, Bologna, Associazione Clavicembalistica Bolognese, 2005 (Sara Dieci)
Adriano Banchieri tra 'antico' e 'moderno': una ricognizione sui trattati
Adriano Banchieri (Bologna 1558–1634) left a huge corpus of reflections on music theory—some twenty treatises, issued and reprinted between 1597 and 1633. Besides exploring the hiatus between traditional Renaissance contrapuntal conception and the new expressive innovations brought forth by “modern practice”, he offered a thick body of analysis on specific issues, tackled with acumen and delivered with clarity, drawing from an extensive technical vocabulary.
In particular, Banchieri's treatises offer notions and rules of musical syntax, information on vocal and instrumental performing technique, and related suggestions. All in all, Banchieri's theoretical opus stands tall as one of the richest contributions to Italian music theory scholarship between 16th and 17th century, thus proving the merits of the Bologna school, which was to become so highly productive, in terms of both quality and quantity, in the following centuries.
Il 'Te Deum' di Giuseppe Verdi: genesi, contesto storico e signifcato socio-culturale
Despite the rich literature on Giuseppe Verdi's extraordinary music and his long life, little attention has been given to his last production. This essay analyses the 'Te Deum', that is the third composition of the 'Four Sacred Pieces'. The 'Te Deum' is one of the last works of the talented composer. This essay goes beyond the analysis of the composition itself and relates the message of the brilliant piece to the historical contest. In fact, we also explore the importance of the composition in terms the vivid interaction with the society of the time and the Catholic Church. The analysis is conducted in four steps. First, we analyze the chronology of Verdi's work on the composition in order to understand the conception and development of this piece. Second, we describe the history of the Catholic Church during the period in which the Maestro composed the 'Te Deum'. In the last two paragraphs, we draw some conclusions on the social and cultural meaning of the 'Te Deum'. Moreover, we focus on the role of the religious feelings of Giuseppe Verdi on his creative production.
Maria Rosa Moretti
Sei giorni di una tournée europea di Niccolò Paganini: Kassel - Göttingen - Kassel, 25-30 maggio 1830
At the end of his first European tour, which lasted about one year and a half and during which Paganini performed in 49 German and Polish cities, the violinist held two concerts in Kassel (25 and 30 May 1830) and one in Göttingen (28 May 1830). Louis Spohr, who had known the violinist in Venice in 1816 and was eager to listen to him again, was crucial in organizing the two concerts in Kassel. Spohr's wish was fulfilled only one year after Paganini begun his German tour, because the intense activity forced the violinist to take an artistic journey that brought him away from Kassel and Göttingen. In the latter city the violinist played thanks to the help of Karl Himly, an ophthalmologist who had been consulted by Paganini on Spohr's advice.
New knowledge about these concerts cast a light on the organization of musical tours during the beginning of the nineteenth century and provide new details, such as the chamber music performances in Frankfurt am Main with his friends Wilhelm Speyer and Xaver Schnyder von Wartensee, about one of the most interesting phases of his artistic life. These new elements help to reconstruct the concert tour of the violinist with the constant shifts between different towns which made difficult for him to write new compositions. The testimony of those who met and listened Paganini is also reported: Wilhelm Speyer wrote that he had never heard such a phenomenon, Richard Lepsius admitted that it is impossible to describe what he had heard and Wilhelm Grimm pointed to his playing as extravagant but «unbelievably touching and moving». The memoirs of Emil Ludwig Grimm also enable to better know the events at the time when Paganini sat for the portrait from which two famous engravings were drawn, one depicting the head and shoulders of the violinist, the other a complete bust. The appendix includes an updated chronological list of the cities where Paganini gave concerts between January 1829 and July 1830, with a map showing the path followed in his journey.
Strumenti della ricerca storica. Gli 'altri' libretti: 'Il barbiere di Siviglia' a Roma dopo il 1816
In the Papal States, publications of an opera libretto after the first season needed a reimprimatur, permission confirming ecclesiastical approval of the publication. In historical research, these reimprimatur are of fundamental use for dating printed documents which otherwise lack meaningful temporal references. They are particularly useful in the case of librettos prepared for revivals of an opera, at a historical moment when a standard repertoire was just beginning to be established. These new 'editions' appear to be simple reprints of the libretto from the first production, but they were actually prepared subsequently. Given the problems with dating these 'editions', as well as in tracing the transmission of the text of an opera, these subsequent 'editions' present crucial difficulties: many inconsistencies, omissions, and mistakes in library catalogues as well as in the musicological literature reflect our inability to deal effectively with these subsequent 'editions'. This article addresses the dating of librettos with reimprimatur in Rome during the first part of the XIX century. A case study is offered by three librettos for Almaviva ossia l'inutile precauzione or Il barbiere di Siviglia by Gioachino Rossini, which had its premiere in Rome during the Carnival season of 1816. At that time it was customary in Rome to prepare new editions of a libretto for subsequent revivals without changing the front matter of the original. Two of the three librettos were published years later, but they share date, title page and cast of singers with the original libretto, and they lack any reference whatsoever to the actual season for which they were printed. The very first libretto of Almaviva, which has no reimprimatur, was —like many other librettos in those years —printed by the Roman firm of Crispino Puccinelli. In the absence of a manuscript in the hand of the librettist, this Puccinelli libretto is the main literary source for the text of Rossini's opera. The text actually set to music by Rossini and his collaborators in the composer's autograph manuscript (found in the library of the Museo della musica in Bologna) differs in many details, some substantial, with the elimination and especially the addition of new verses. The later two printed librettos, published respectively in 1824 and 1826, differ slightly from the original libretto: spellings and evident mistakes are corrected, but sometimes new mistakes are introduced. By coordinating various kinds of information, it is possible to develop a dated list of the censors who gave permissions for reprinting librettos in Rome during the first 30 years of the XIX century. This article dates the two later 'editions' of the Barbiere libretto and establishes a methodology for dealing with similar problems for other operas.