- Giulia Giovani, Un agente veneziano a Roma per conto dei Grimani: Polo Michiel e il viaggio giubilare del 1675. Abstract.
- Elena Previdi, Il De tibiis veterum di Caspar Bartholin e l’erudizione organologica antiquaria nel secondo Seicento. Abstract.
- Marilena Laterza, Galanterie sotto le guglie: galant schemata e funzioni formali nella produzione di Giuseppe Sarti per il Duomo di Milano. Abstract.
- Giulio Minniti, «Dusty shelves of Gothic lore». La ricezione della modalità gregoriana da Rameau a Gevaert. Abstract.
- Francesco Fecondo, Il finto Arlecchino. Il teatro sintetico-melodrammatico di Gian Francesco Malipiero. Abstract.
- Carlo Bianchi, Sulle ‘Sonate di guerra’ di Sergej Prokof’ev. Abstract.
- Francesco Tagliaferri, Musica-Manifesto n. 1 di Luigi Nono: origini e sviluppi di un dittico. Abstract.
- Caroline Giron-Panel, Musique et musiciennes à Venise. Histoire sociale des Ospedali (XVIe-XVIIIe siècles), Roma, École Française de Rome, 2015 (Pier Giuseppe Gillio)
- Historia de la música en España e Hispanoamérica, 4: La música en el siglo XVIII, a cura di José Máximo Leza, Madrid, Fondo de Cultura Económica, 2014 (Paologiovanni Maione)
- Il Farinelli ritrovato, a cura di Luigi Verdi, Lucca, LIM, 2014; Patricia Howard, The Modern Castrato. Gaetano Guadagni and the Coming of a New Operatic Age, Oxford – New York, Oxford University Press, 2014; Ange lo Marinò, Giuseppe Aprile. L’idolo di Napoli nel Settecento musicale italiano ed europeo, Pisa, ETS, 2013 (Ugo Piovano)
- Jean-Jacques Nattiez, Wagner antisémite, Paris, Christian Bourgois, 2015 (Enrico Fubini)
- Alberto Franchetti. L’uomo, il compositore, l’artista, a cura di Paolo Giorgi e Richard Erkens, Lucca, LIM, 2015 (Christoph Flamm)
- Alessandro Bertinetto, Eseguire l’inatteso. Ontologia della musica e improvvisazione, il glifo ebooks, 2016 (Augusto Mazzoni)
- Enrico Fubini, Musicisti ebrei nel mondo cristiano. La ricerca di una difficile identità, Firenze, Giuntina, 2016 (Gilberto Bosco)
- Anne Piéjus, Musique et dévotion à Rome à la fin de la Renaissance. Les laudes de l’Oratoire (Gaetano Pitarresi)
- Ercole Pasquini, Opere complete, I: Toccate, canzoni, ricercari, edizione critica a cura di Paul Kenyon (Michelangelo Gabbrielli);
- Devozione e passione: Alessandro Scarlatti nella Napoli e Roma barocca, a cura di Luca Della Libera e Paologiovanni Maione (Paola De Simone);
- Giovanni Acciai – Enrico Gatti – Konrad Tavella, Regole per ben suonare e cantare. Diminuzioni e mensuralismo tra XVI e XIX secolo, a cura di Ausilia Magaudda e Carlo Lo Presti (Marco Bizzarini)
- Nicola Antonio Manfroce e la musica a Napoli tra Sette e Ottocento, a cura di Maria Paola Borsetta, Massimo Distilo e Annunziato Pugliese (Rosa Cafiero)
- Sergio Monaldini, Chitarra romantica. Luigi (Rinaldo) Legnani e il virtuosismo strumentale nell’Ottocento (Paola Carlomagno)
- «Viva Italia forte ed una». Il melodramma come rappresentazione epica del Risorgimento, a cura di Francesco Bissoli e Nunzio Ruggiero (Antonio Caroccia)
- L’arte organaria dei Lingiardi fra tradizione e sperimentazione, a cura di Laura Mauri Vigevani e Marco Ruggeri (Alessandra Palidda)
- Un duplice anniversario: Giuseppe Verdi e Richard Wagner, a cura di Ilaria Bonomi, Franca Cella e Luciano Martini (Livio Aragona)
- Annarita Zazzaroni, Melodramma senza musica. Giovanni Pascoli, gli abbozzi teatrali e le Canzoni di Re Enzio – Alessandro Zattarin, «Anch’io voglio scrivere per musica». Pascoli e il melodramma (Giovanni Salis)
- Ernesto Napolitano, Debussy, la bellezza e il Novecento. “La mer” e le “Images” (Luisa Curinga)
- Bruno Mugellini musicista: vita – luoghi – opere, a cura di Paola Ciarlantini e Paolo Peretti (Marina Vaccarini)
Autori e collaboratori
Un agente veneziano a Roma per conto dei Grimani: Polo Michiel e il viaggio giubilare del 1675
In June 1674, shortly after Pope Clement X had proclaimed the Jubilee, the Venetian nobleman Polo Michiel (1640-1686) undertook a journey to Rome. He sojourned there for more than a year, living in the palace of the Venetian ambassador Mocenigo. Although his trip did not have a specifically artistic purpose, Michiel had a rather strong relationship with the impresarios Giovan Carlo and Vincenzo Grimani; the nobleman was thus appointed to collect information on Roman singers and musicians that might be engaged in the Venetian opera house of Santi Giovanni e Paolo, managed by the Grimani. During his stay in Rome, Polo Michiel visited many princely residences in Rome and in the Roman Castles area; he could thus approach many virtuosos and negotiated, among others, with Arcangelo Corelli, Pier Simone Agostini, Alessandro Stradella, la Maddalenina del Rospigliosi, la Rossina, la Baronessa, the alto Siface and Nicola and Antonia Coresi. The extant documentation pertaining Polo Michiel’s Roman sojourn (now in the Museo Correr Library in Venice) consists of several items, including many letters written by the Grimani. These letters allow us a significant insight into the working mechanism of a Venetian opera house. In particular, their content makes it possible to reconstruct the movements of some virtuosos as they travelled across Italy and, in some cases, to discover details concerning the conditions of their engagement. Finally, by analysing the impresarios’ requests, one can not only reconstruct the 1675 Carnival season in detail, but also extrapolate some interesting remarks regarding the general mechanisms underpinning the artists’ recruitment.
Il De tibiis veterum di Caspar Bartholin e l’erudizione organologica antiquaria nel secondo Seicento
Caspar Bartholin’s De tibiis veterum (Rome, 1677) is a rather large-scale work dedicated to tibias and, more in general, to all double-reed wind instruments of the ancient Greek-Roman world. The reconstruction of the Author’s biography has cast new light on the context that produced this work. Bartholin is today remembered as a renowned scientist: initially a medical doctor, he was appointed, very young, Professor at the University of Copenhagen. In order to reach that position, he had pursued a rather traditional cursus studiorum based not only on the study of sciences, but also on the acquisition of a deep classical erudition based on the cult of the antiquitas; in doing this, he had followed the footsteps of all the male members of his illustrious family. The completion of a long educational trip in the European cultural capitals of the time was also a requirement within this process. Bartholin conceived and began the De tibiis veterum before leaving, possibly following his father’s advice; the work was then completed and published in the course of his trip. This work was the last and more substantial among his scholarship essays.
Galanterie sotto le guglie: galant schemata e funzioni formali nella produzione di Giuseppe Sarti per il Duomo di Milano
Between the end of 1779 and the beginning of 1784, while at the height of his operatic career, Giuseppe Sarti served as maestro di cappella at the Milan Cathedral, where he composed a substantial corpus of masses, motets, hymns, psalms and antiphons. Over the last decades, a largely unfavourable historiographical tradition has been established on these works, mainly on the basis of secondary sources; nonetheless, research on their musical content has not yet been undertaken. The aim of this article is therefore to investigate Sarti’s Milanese sacred corpus focussing particularly on its church arias, which feature a distinct galant quality. As a main analytical tool, Robert Gjerdingen’s theory of galant schemata (Music in the Galant Style, 2007) is here integrated with William Caplin’s Formenlehre on both a local and a macro-structural level. Thus, on the one hand an in-depth investigation of Sarti’s creative practice is offered, as well as a historiographical rehabilitation of the compositions at issue. On the other hand, a recent analytical approach to eighteenth-century music is evaluated, also in consideration of its epistemological framework. Furthermore, the hitherto neglected sacred vocal genre is introduced into the schemata and form-functional debates.
«Dusty shelves of Gothic lore». La ricezione della modalità gregoriana da Rameau a Gevaert
The ritual practice and historical-analytical study of Gregorian chant in the eighteenth and nineteenth centuries are topics still scarcely explored by current musicology. This contribution intends to examine the interpretation that historians and theorists of that period gave of a particular aspect of Gregorian chant, i.e. the modal system; the article will proceed from the analysis and commentary of wider-scope works (such as biographies, encyclopedias and histories) to some late-19th-century treatises more specifically dedicated to Gregorian chant. Until the second half of 1800 – when a new interest for medieval music arose – music historians were still bound to a treatise-writing practice that had largely been kept unaltered since the mid-eleventh century: this was certainly true for what concerned the so-called ‘scalar’ notion of Gregorian and late Renaissance modes (frequently equated). On the other hand, Auguste Gevaert (1828- 1909) could take advantage of the more dependable medieval-Gregorian scholarship that started only in the second half on nineteenth century. His research is revolutionary under several points of view: he broke several centuries-old historiographical traditions, the most striking case being the ‘myth’ of Ambrose and Gregory as the inventors of respectively the authentic and plagal modes. First mentioned in the [Pseudo]Alcuin, this argument had in fact resisted for a whole millennium, namely until Gevaert. In addition, he reevaluated the ‘qualitative’ approach to modality, typical of the first Carolingian theorists, and gave new rigour, methodology and critical thinking to the Gregorian research. By giving a renewed musicological dignity, equal to that accorded to the research on modern music, to Gregorian studies, Gevaert positively projected them towards the twentieth century.
Il finto Arlecchino. Il teatro sintetico-melodrammatico di Gian Francesco Malipiero
Il falso Arlecchino, a small-scale musical comedy written by Gian Francesco Malipiero in 1925, constitutes a paramount opportunity for those intending to understand the reform of musical theatre carried out by the Venetian composer. A ‘synthetic-melodramatic’ opera par excellence, it can be considered a metaphor of the conflict between two different singing models, namely the ‘cantar bene’ (singing properly) and the ‘bel canto’: these are represented by the heroic Arlecchino / Don Ippolito and by the funny suitors of Donna Rosaura, respectively. Malipiero used the narrative artifice of a singing competition and built up an amusing, yet mordant parody of the vices in the eighteenth- and nineteenth-century theatre, with a clear-cross reference to the reflections he previously presented in the essay I profeti di Babilonia (1924). The libretto of the comedy is a collage of old Italian poems presenting several interpolations and variations: the composer went back to the Arcadia poets Magalotti and Rolli and to his ‘favourite’ Poliziano to recreate the spirit of original musical theatre.
Sulle ‘Sonate di guerra’ di Sergej Prokof’ev
The article deals with Sergej Prokof ’ev’s piano sonatas No. 6, 7 and 8, also called ‘War sonatas’, and analyses their relationship to WWII, during which they were composed. With the help of dedicated autograph materials coming from the Russian State Archive of Literature and Art (RGALI) of Moscow, the Author retraces the genesis of the sonatas and analyses their compositional structure, particularly focusing on the initial movements of sonatas No. 6 and 7 and on No. 7’s Andante caloroso. It is thus possible to individuate analogies, indirect relationships and reciprocal dependencies between these pieces and the war-related imagination dominating the contemporary Soviet society; the latter also overlaps with the Beethovenian matrix which inspired Prokof ’ev to compose the whole cycle, i.e. the Appassionata and Romain Rolland’s book Beethoven. Les grandes époques créatrices. In addition, the article tackles the issue of the relationship with the musical aesthetics of the Socialist regime, both during the period of Prokof ’ev’s commitment to the Soviet cause and in the following phase, when the sonatas were attacked from the CPSU Central Committee acting against formalist composers.
Musica-Manifesto n. 1 di Luigi Nono: origini e sviluppi di un dittico
Among all the problems that Musica-Manifesto n. 1 (1969) poses, arguably the most evident concerns the apparent incoherence between the two parts of the composition: sound materials, performing rules and performers’ voices factually change. Why did therefore Luigi Nono consider Un volto, e del mare and Non consumiamo Marx as two parts of the same composition? The lack of a written score makes the situation even more complicated. In such a context, sketches and old recordings, but also letters, interviews and writings, acquire a particularly great importance. Starting from the reconstruction of the historical context and compositional process, and proceeding through a detailed study of the extant sources, the Author proposes a general interpretation of the composition, also including some relevant considerations regarding its execution.