Rivista Italiana di Musicologia

Editoriale

Marco Mangani — 2023-09-27

Il manoscritto L.V.29 della Biblioteca Comunale degli Intronati di Siena e la tradizione coreutica quattrocentesca

Ilaria Sainato — 2023-09-27

Manuscript L.V.29, preserved in Siena at the Biblioteca Comunale degli
Intronati, is a 15th-century parchment codex containing a choreographic treatise
divided into two parts: the first, the theoretical part, contains most of the treatise
by Domenico da Piacenza and Guglielmo Ebreo and some parts of other dance
treatises; the second part collects a choreographic anthology. The practical part
collects choreographies of different styles and popularity, about 70% of the preserved
Italian dance repertoire of the 15th century. Many of the choreographies
are unique. The manuscript has no musical notation. Some peculiarities of the
content, the terminology and the choreographic repertoire suggest that the Codex
bears the imprint of a specific choreographic school, of certain local traditions or
even of a master. In fact, the codex was the work of a dancing master, whom the
author of this contribution was able to identify thanks to the illuminated emblem
on the title page of L.V.29. Thanks to research at the Archivio di Stato di Siena, the
Archivio di Stato di Firenze, and the Biblioteca Nazionale di Firenze, the author
was able to draw an initial picture of this dance master’s family, some information
on his life in Siena and some news on his descendants, among whom other dancers
and choreographers appear.

Un caso di rielaborazione nel XVI secolo: il Missarum cum quinque vocibus liber primus di Giulio Belli

Riccardo Pintus — 2023-09-27

The first edition of Giulio Belli’s Missarum cum quinque vocibus liber
primus was published by Angelo Gardano in 1586, followed by a second edition in
1597 and a third in 1603. There are some important differences between the first
and the other editions, the most important being the replacement of the Missa
«Estote fortes in bello» by the Missa «Vestiva i colli», which is included in both the
second and third editions. The other four masses have also undergone significant
revisions: some notes have been changed, rhythmic and melodic variants have
been added, parts of the text-underlay have been modified, and some sections
of music have been completely removed or replaced. By presenting the results of
a thorough comparison of the two versions of Belli’s Missarum book, this article
aims to show how the book was reworked and to understand the reason for such
reworking. Both musical and textual evidence will show that the whole process
was probably carried out by the composer himself, and not by the printer or a
reviser working for him. As a truly rare case in the sixteenth-century repertoire,
the understanding of Belli’s reworking is of great interest for the development
of studies on filologia d’autore in the Renaissance.

Franz Liszt da Harmonies poétiques et religieuses a Pensée des Morts (1833-53): la trama intertestuale e il romanzo di formazione

Francesco Fontanelli — 2023-09-27

Less known than the piano cycle of the same name, the piece entitled
Harmonies poétiques et religieuses is the most striking and avant-garde achievement
of Liszt’s Paris period. In it, the young composer brought together a multiplicity
of stimuli and used the literary filter to transfigure his own biographical experience
(lovesickness for Marie d’Agoult, heartache of abandonment). This essay
offers an all-round analysis and contextualization of the work, investigating its
models, intentions, and aesthetic references. The meaning of a Schiller epigraph,
taken from Hugo’s Han d’Islande and found among the sketches, is finally revealed:
to interpret the precariousness of love dream, Liszt drew on the image of
the Doppelgänger, who contemplates the abyss with his pale face. The author’s
perspective toward such a macabre and nihilistic setting changes over time, to
the point of outright denial of the original idea. The second part of the essay
examines the revision process leading to the final version, Pensée des morts (1853).
By adding an ecstatic ending, derived from a transformation of the psalm De profundis,
Liszt tried to resolve the contrasts of his wanderings, presenting himself
as the ‘new man’ of the Weimar years.

La (ri)nascita dei Giusti nell’«opera della felicità»: intorno alla genesi del Settimo Concerto di Petrassi

Daniela Tortora — 2023-09-27

The essay reconstructs the genesis of Goffredo Petrassi’s Settimo
Concerto (1964) from the study of the manuscripts and sketches kept in the Fondo
Petrassi (FP) at the Campus Internazionale di Musica di Latina: the autograph
manuscript of the Prologo e cinque Invenzioni (1962) and the notes for the Prologo;
the draft of the theatrical score from Camus’ Les Justes. Taking into account the
author’s testimony about the Settimo Concerto and its abandoned antecedent (the
Prologo e cinque Invenzioni), as well as the special friendship between Petrassi and
Massimo Mila, it has been possible to highlight the rescue of at least part of the
material preserved in the ’62 manuscript within the sketch of I giusti (1962) and
subsequently the score of Musica di ottoni (1963), before the final landing within
the penultimate concerto of Petrassi’s successful series. The essay is completed
by three appendices, each containing the relevant correspondence preserved in
Petrassi’s Epistolario and all the press reviews relating to the first performances of
the Settimo Concerto in the two-year period 1965-66.

Raccontare l’alterità: la prospettiva omosociale di Hans Werner Henze

Federica Marsico — 2023-09-27

The article analyses two of the most successful titles of Hans Werner
Henze’s operatic output (1926-2012) in the light of the concept of ‘homosociality’,
which was theorized by Eve Kosovsky Sedgwick. The subjects of the analysis are
Boulevard Solitude (Hannover, Landestheater, 1952) and Phaedra (Berlin, Staatsoper
Unter den Linden, 2007). In both works the vocal roles and the musical writing
are employed on several occasions with the aim of connoting the homosocial relationships
that involve the male protagonist. There are episodes in which music,
contributing to highlight these relationships, strengthens the representation of the
protagonist as an individual who diverges from the ‘male vs female’ binarism. The
analysis of the ways in which this occurs in each of the two titles gives us back a
level of meaning of the dramaturgy that is specifically conveyed by music. The
examined episodes show how music theatre represents for Henze also the space to
narrate aspects of humanity that are marginalized in the real world, such as nonnormative
gender identities and homosocial relationships.

L’epistolario di Franz e Marianne Pirker: vita d’arte di due operisti del Settecento

Daniel Brandenburg — 2023-09-27

Stefano Mengozzi, Francesco Passadore, Rosa Cafiero, Alessandro Roccatagliati, Anna Tedesco, Antonio Caroccia, Maria Grazia Sità

Stefano Mengozzi — 2023-09-27

Brandenburg, Cafiero, Caroccia, Fontanelli, Marsico, Mengozzi, Passadore, Pintus, Roccatagliati, Sainato, Sità, Tedesco, Tortora

SIdM's Administrator — 2023-09-27

Libri ricevuti

SIdM's Administrator — 2023-09-27