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- Francesco Rocco Rossi, Dentro il Ms. CS 51: Guillaume Faugues, la Missa Vinus vina vinum e un restyling ‘in diretta’. Abstract.
- Luca Ambrosio, «Se sei senza cervello, che ci posso far io?» Drammaturgia del comico nella produzione melodrammatica romana post-rospigliosiana (1668-1689). Abstract.
- Irene Maria Caraba, I Bassi per esercizio d’accompagnamento all’antico: Giuseppe Giacomo Saratelli e la tradizione del partimento in area veneta. Abstract.
- Nina Gallo, Il teatro per tastiera di Liszt. Ars construendi e drammaturgia nel Miserere du Trovatore. Abstract.
- Maria Borghesi, L’Invenzione a due voci n. 1 di Bach nelle edizioni italiane d’inizio Novecento: un modello per l’analisi della prassi esecutiva. Abstract.
- Candida Felici, L’opera come frammento e l’albero di Tule: procedimenti intertestuali nelle opere della maturità di Franco Donatoni. Abstract.
- Paola Cossu, Propositi eccentrici di Gian Francesco Malipiero: tre lettere inedite
- Simona Frasca, La canzone ‘porosa’: riflessioni a margine di Sull’interpretazione della canzone napoletana classica. Il caso di Tammurriata nera di E. A. Mario
- Francesco Bracci, The Reception of Neapolitan Opera and Southern Italian Nationalism
- Luisa Nardini, Interlacing Traditions. Neo-Gregorian Chant Propers in Beneventan Manuscripts, Toronto, Pontifical Institute of Mediaeval Studies, 2016 (Giovanni Varelli)
- Giovanni Gabrieli. Transmission and Reception of a Venetian Musical Tradition, a cura di Rodolfo Baroncini, David Bryant e Luigi Collarile, Turnhout, Brepols, 2016 (Michelangelo Gabbrielli)
- Federico Schneider, Unsuspected Competitive Contexts in Early Opera. Monteverdi’s Milanese Challenge to Florence’s Euridice (1600), Roma, Edizioni di Storia e Letteratura, 2016 (Marco Bizzarini)
- Federico Marri – Marie Rouquié, Pietro Nardini (1722-1793) da Livorno all’Europa. Catalogo tematico delle opere, [Treviso], Diastema, 2017 (Francesco Passadore)
- Giuseppe Sigismondo, Apoteosi della musica del Regno di Napoli, a cura di Claudio Bacciagaluppi, Giulia Giovani e Raffaele Mellace, Roma, Società Editrice di Musicologia, 2016 (Giovanni Polin)
- Marco Emanuele, Maschi all’opera. Soggetti eccentrici nel teatro di Benjamin Britten, Milano-Udine, Mimesis, 2016 (Federica Marsico)
- Le théâtre musical de Luciano Berio. I: De Passaggio à La vera storia; II: De Un re in ascolto à Cronaca del Luogo, a cura di Giordano Ferrari, Paris, L’Harmattan, 2016 (Thomas Gartmann)
- Perspectives on a 21st Century Comparative Musicology: Ethnomusicology or Transcultural Musicology?, a cura di Francesco Giannattasio e Giovanni Giuriati, Udine, Nota, 2017 (Giovanni De Zorzi)
- Atti dell’Accademia Filarmonica di Verona. Volumi I-III, a cura di Marco Materassi, Michele Magnabosco e Laura Och (Francesco Bissoli)
- Philippe Canguilhem, L’improvisation polyphonique à la Renaissance (Francesco Saggio)
- Stefania Lanzo, Musica e madrigali al tempo di Vincenzo Gonzaga. L’amorosa caccia e i suoi autori – L’Amorosa Caccia. 24 Five-voice Madrigals by Mantuan Masters (Venezia 1588/1592), a cura di Stefania Lanzo (Angela Fiore)
- Marco Scacchi, Canones nonnulli, a cura di Marco Bizzarini e Aleksandra Pister (Jonathan Pradella)
- La musica policorale in Italia e nell’Europa centro-orientale fra Cinque e Seicento, a cura di Aleksandra Patalas e Marina Toffetti – Italian Music in Central-Eastern Europe. Around Mikołaj Zieleński’s Offertoria and Communiones (1611), a cura di Tomasz Jeż, Barbara Przybyszewska-Jarmińska e Marina Toffetti (Roberta Mangiacavalli)
- Passaggio in Italia. Music on the Grand Tour in the Seventeenth Century, a cura di Dinko Fabris e Margaret Murata (Carmela Bongiovanni)
- The Early Keyboard Sonata in Italy and Beyond, a cura di Rohan H. Stewart-MacDonald (Candida Felici)
- Enrica Donisi, La scuola violoncellistica di Gaetano Ciandelli (Paola Carlomagno)
- Franz Liszt e Jessie Taylor Laussot Hillebrand. Un capitolo inedito della storia musicale dell’Ottocento, a cura di Mariateresa Storino (Francesco Passadore)
- Massimo Zicari, Verdi in Victorian London (Emiliano Michelon)
- Ivan Ivanovič Sollertinskij, Musica e letteratura al tempo dell’Unione Sovietica. Saggi, a cura di Samuel Manzoni (Carlo Bianchi)
Autori e collaboratori
Francesco Rocco Rossi
Dentro il Ms. CS 51: Guillaume Faugues, la Missa Vinus vina vinum e un restyling ‘in diretta’
The attribution of the Missa Vinus vina vinum to fifteenth century composer Guillaume Faugues was suggested by Johannes Tinctoris and Franchino Gaffurio who in their treatises (Proportionale musices and Tractatus practicabilium proportionum), while criticizing some mensural procedures, provided the Mass’s authorship. This attribution, however, is problematic: the mensural procedures criticized by Tinctoris and Gaffurio can not be found in the only source of this mass (I-Rvat, CS 51). In my opinion, Faugues revised the mensural procedures in accordance with Tinctoris’ doctrines and at the same time revised the piece’s melodic profile and rhythmic structure. While revision of the mensuration becomes evident when comparing the piece’s layout with Tinctoris and Gaffurio’s criticism, traces of the melodic restyling (corrections and erasures) evident in the manuscript source allow us to make hypotheses about the exemplar’s layout, to evaluate Faugues’s reworking of the mass. This ultimately suggests that the composer was living in proximity to the scriptorium in which the manuscript of this mass was produced.
«Se sei senza cervello, che ci posso far io?» Drammaturgia del comico nella produzione melodrammatica romana post-rospigliosiana (1668-1689)
The history of musical drama in seventeenth-century Rome was characterised by an alternation between moments of intense productivity and rather long, unproductive phases. In particular, the years following the death of Clemens IX Rospigliosi saw Tordinona’s brief activity (1671-74) followed by the notable productive fragmentation of the 1680s. In those years, figures such as Constable Colonna, Cardinal Benedetto Pamphilj, Flavio Orsini and Pompeo Capranica competed in offering citizens a series of performances that have not yet received the same scholarly attention as the previous ‘Barberini seasons’. Mapping out the sources (music and librettos) hitherto discovered allows an accurate discussion of the various forms and tendencies of the ‘comic’ element. In fact, interesting results emerge from the analysis of the various scene, prologhi and intermedi within drammi per musica, commedie, «favole drammatiche musicali» and the few, yet significant, «burleschi» musical dramas staged in and around Rome in those years. The most common type was that of solo scenes for comic characters who acted in a rather buffoonesque manner, providing that folksy, even scurrilous colour that was quite appreciated by the Roman audience. Toward the end of the 1670s, a new character also appeared on the comic scenes, that of the young male servant with a soprano voice who lacked the circus-like comicality of the traditional comici. This figure contributed in eventually aligning spoken theatre with the tendencies of coeval musical dramaturgy.
Irene Maria Caraba
I Bassi per esercizio d’accompagnamento all’antico: Giuseppe Giacomo Saratelli e la tradizione del partimento in area veneta
In Milan, Munich, Münster, and Berlin there are four copies of an interesting collection of partimenti entitled Bassi per esercizio d’accompagnamento all’antico. This is a work by organist and composer Giuseppe Giacomo Saratelli. Born in Padua in 1714 and a pupil of Lotti, Saratelli was chorus master at the Ospedale dei Mendicanti and maestro di cappella at San Marco in Venice. Considered a leading personality of the Venetian musical life of his time, Saratelli was famous for his oratorio Magdalenae conversio on a libretto by Goldoni, which was performed in 1739. It is his collection of partimenti, an example of a rather unexplored tradition, however, that primarily attracts our attention. As a matter of fact, all existing studies on the partimento tradition have focused primarily on Neapolitan sources. The present article aims at broadening the horizon of this research field, promoting a preliminary analytical survey on the employment of partimento in the Venetian area, beginning with Giuseppe Giacomo Saratelli and his Bassi per esercizio d’accompagnamento all’antico.
Il teatro per tastiera di Liszt. Ars construendi e drammaturgia nel Miserere du Trovatore
The present essay investigates one of the least examined examples of Liszt’s substantial production of transcriptions, the Miserere du Trovatore R266. In doing so, it suggests three different levels of interpretation. First, Liszt’s piano scoring is analysed in relation to Verdi’s original instrumentation. In order to recreate Verdi’s gloomy atmosphere (depicted in the theatre through the combination of sound, singing, lighting and staging effects) on the piano, Liszt achieved an expressive intensification that encompassed all aspects of the musical discourse (pitch, loudness, timbre, duration, rhythm, harmony, phrasal and dramaturgical structure), thus emphasizing the contrast between love dream and death premonition, Eros and Thanatos. Second, the ars construendi hidden behind the mere text is deeply analyzed. The construction, perfectly planned down to the tiniest detail, leaves nothing to chance, from the number of measures and the symmetry of the form to the systematic use of the golden ratio. Liszt’s will to completely reshape Verdi’s piece by basing it on a new and different aesthetic canon thus becomes evident. Finally, we can grasp Liszt’s ability to present a notable critical synthesis, visible through the whole system of allusions and references, both explicit and veiled, deeply embedded in the musical text. In particular, the opening chromatic descending semitone, which represents the generating cell of the whole composition and secures its structural and dramaturgical unity, builds a veritable ideal ‘bridge’ with Verdi’s drama, evoking, like ghosts, the opera’s main characters (Azucena, Manrico, Leonora).
L’Invenzione a due voci n. 1 di Bach nelle edizioni italiane d’inizio Novecento: un modello per l’analisi della prassi esecutiva
Performative editions have progressively been recognized as compelling sources for studies in music history, performance history, and textual bibliography since 2000s. Herein the attention is focused on four performative editions of Johann Sebastian Bach’s Two-Part Inventions published in Italy during the first decade of the 20th century and edited by renown piano teachers and performers, such as Ferruccio Busoni, Edgardo Del Valle de Paz, Bruno Mugellini, and Alessandro Longo. On the one side, I reconstruct the specificities of the editorial process by identifying recurrent traits of contemporaneous piano pedagogy and approaches to Bach's compositions in Italy. On the other side, a specific analysis of performance markings in the first measures of Invention n. 1 (agogic, metronomic, phrasing, fingering, dynamic, ornamentation) shows the editor’s procedures and goals. This double approach shows that each editor’s approach to music editing was a way to disseminate their own pedagogical and interpretative models. It also shows the extent to which these methods derived from the piano traditions and cultural milieu of the own times.
L’opera come frammento e l’albero di Tule: procedimenti intertestuali nelle opere della maturità di Franco Donatoni
Franco Donatoni, in his writings of 1980s, uses metaphors coming from the natural world in order to describe the act of composition and the composed work. Terms such as “cell”, “organism”, “root”, and “plant” stand next to that of rhizome, originating from Mille plateaux by Félix Guattari and Gilles Deleuze. The rhizome in Donatoni’s poetics contributes to define form not as the application of a pre-existing model, but as a process of continuous transformation of the material. To these concepts Donatoni associates that of fragment: for him all musical work is made of fragments (at a macroscopic level, the panels, at a microscopic level, the intervals). A work is in turn only a fragment of an author’s total opus, an opus that cannot aspire to totality. A rhizomatic approach is realized in the process of quotation that characterizes many of Donatoni’s works. Since the beginnings of his career, Donatoni builds up a piece by using formalized material from a previous composition as a point of departure. In his late works quoted fragments often come from his own compositions. This article examines some works of 1980s, Alamari (1983), Tema (1981), Still (1985). These show different modes of quotation. That no pre-compositional materials have been preserved for Donatoni’s late works makes the analysis of intertextual procedures enormously useful in order to better understand the genesis and processes of these works.