Luigi Collarile
FHNW, Schola Cantorum Basiliensis, Department Member
- Bern University of Applied Sciences, Music, Department Memberadd
- Historical Musicology, Music Printing and Publishing, Italian Baroque Music, Organ Music, Music History, Renaissance music, and 163 moreSacred Music, Storia della musica, Performance Practice (Music), Instrumental Music, Soundscape (Music), Early Music, Switzerland, Grand Tour Studies, Claudio Monteverdi, Semiotics of Music, Performance Studies (Music), Baroque Music, Travel Literature, Ronsard, Grand Tour, History of music, Historically Informed Performance (HIP), Renaissance Music Theory, Music and Ritual, Early Modern print culture, Musical Iconography, 17th Century Music, History of the Senses, Italian Opera, Histoire de la musique, Music Bibliography, Musica, Church Music, Music Cognition, Musical Semiotics, Sound studies, Italian Renaissance Music, Italian Literature, Cultural Transfer Studies, Social History of Music and Musicians, Music Publishing, Musikwissenschaft, Analytical bibliography, Music and the Brain, Music Perception, Notation (Music), Musical notation, Tuning and Temperament, Early Music & Early Tuning Temperaments, Letteratura italiana, Book trade History, Library history, Soundscape, History of Music Theory, Diary Studies, Intellectual History of the Renaissance, Early Keyboard Music, Early Modern Travellers, Early Modern Catholicism, Music editing, Early Opera, Keyboard Music, Neolatin Literature, Poetry and Music, Musical Instruments, Early Modern Intellectual History, Venice and the Veneto, Ritual Practices, Venetian History, Early Modern History, Funerary Practices, Music and identity, Harpsichord, Book History, History of the Book, Manuscripts and Early Printed Books, History Of Rare Book Libraries, Rare Books and Manuscripts, History of Collecting and Antiquarianism, History of Humanities, History of knowledge, Humanism, Intellectual History, Court Culture, Early Modern Italy, Renaissance Studies, Travel Writing, Visual Culture, Visual perception, French Renaissance Literature, Intellectual and cultural history, History of Collecting, History of Collections, Seventeenth Century Music, Musica Sacra, French Literature, Renaissance literature, Titian, Venice, Archival Studies, History of Monasticism, History of Liturgy, Benedictine Monasticism, Storia della musica sacra, Early Organ Music, Cultural Semiotics, Letteratura italiana moderna e contemporanea, Renaissance History esp Venice, Veneto and empires, History of Grand Tours, Manuscript Studies, Book History (History), History of libraries, Biblioteconomia, History of Reading and Writing, Library and Archival Science, History of Ideas, Renaissance Humanism, Pilgrimage and travel to the Holy Land, Mediterranean Studies, Reception Studies, Material Bibliography, Filologia Musicale, Dialogo della musica antica e della moderna, Musicology, French Baroque Music, Early Notations, Embodied Music Cognition, Digital Humanities, Cultural Musicology, Music printing in the 16th and 17th centuries, Venetian Baroque Music, Venetian Renaissance Music, Archives, History of Venice, Manuscripts & Material Culture, Urban History, Print Culture, Public Space, History of Archives, Philosophy of perception, Phenomenology, Pierre De Ronsard, 16th Century French Literature, Early Modern Italian Literature, Renaissance Literature (Renaissance Studies), Bibliographie Matérielle, Petrarchismo E Antipetrarchismo, Marc-Antoine Muret, Material Culture Studies, Performance Practice, Motets, 17th-Century Studies, Benedictine History, Italy (Early Modern History), Creative Process, Early music and historically informed performance practice, Oratorio, Barberini patronage, 17th-century Italian Opera, Petrarchism, • Cultural and Social History of Early Modern Europe, • History of the Book, Italian Renaissance literature, Printing, Rare books, Francesco II D'Este, Barocco, and Didattica Della Musicaedit
- PhD (2010), Habil (2017)edit
http://vmo.unive.it/choirbooks/ This publication contains: i) a complete digital reproduction of volume 18 of the 17th- and 18th-century choirbooks with polyphonic music belonging to the ducal chapel of St Mark’s, Venice: ii) a... more
http://vmo.unive.it/choirbooks/
This publication contains: i) a complete digital reproduction of volume 18 of the 17th- and 18th-century choirbooks with polyphonic music belonging to the ducal chapel of St Mark’s, Venice: ii) a critical transcription of the music therein; and iii) a digital catalogue of the volume with historical and bibliographical metadata, including call-mark, title, foliation/pagination, materials, dating, copyist, references in historical inventories, bibliography and miscellaneous notes (for the manuscript as object), and captions, textual incipits, composers, folio/page numbers, number of voices, key signatures, liturgical derivations and destinations, complete texts, concordances, bibliography and miscellaneous notes (for individual compositions). Data is linked to the relevant digital reproductions and critical transcriptions, as also to Luigi Collarile’s critical edition of the historical inventory drawn up by Marchio Angeli in 1720 (http://vmo.unive.it/inventory1720/).
Presentions
https://www.unive.it/pag/14024/?tx_news_pi1%5Bnews%5D=9296&cHash=dcb65e6418dd1af2518ad1b47cd71c1b
https://rism.info/de/electronic_resources/2021/06/28/venetian-music-online.html
This publication contains: i) a complete digital reproduction of volume 18 of the 17th- and 18th-century choirbooks with polyphonic music belonging to the ducal chapel of St Mark’s, Venice: ii) a critical transcription of the music therein; and iii) a digital catalogue of the volume with historical and bibliographical metadata, including call-mark, title, foliation/pagination, materials, dating, copyist, references in historical inventories, bibliography and miscellaneous notes (for the manuscript as object), and captions, textual incipits, composers, folio/page numbers, number of voices, key signatures, liturgical derivations and destinations, complete texts, concordances, bibliography and miscellaneous notes (for individual compositions). Data is linked to the relevant digital reproductions and critical transcriptions, as also to Luigi Collarile’s critical edition of the historical inventory drawn up by Marchio Angeli in 1720 (http://vmo.unive.it/inventory1720/).
Presentions
https://www.unive.it/pag/14024/?tx_news_pi1%5Bnews%5D=9296&cHash=dcb65e6418dd1af2518ad1b47cd71c1b
https://rism.info/de/electronic_resources/2021/06/28/venetian-music-online.html
Research Interests:
Attraverso un percorso ermeneutico, frutto di una vasta campagna di ricerche archivistiche e di puntuali ricognizioni bibliografiche capaci di rivelare in filigrana prospettive sotto molti punti di vista sorprendenti, questo studio indaga... more
Attraverso un percorso ermeneutico, frutto di una vasta campagna di ricerche archivistiche e di puntuali ricognizioni bibliografiche capaci di rivelare in filigrana prospettive sotto molti punti di vista sorprendenti, questo studio indaga il contesto storico, sociale ed estetico che ha fatto da cornice alla pubblicazione dell’Orfeo stampato a Venezia nel 1613 da Bartolomeo Magni. Il ritrovamento dell’unico esemplare oggi noto di questa straordinaria raccolta collettanea, qui offerto in facsimile e in edizione critica moderna, ha permesso di rintracciare significative testimonianze dell’attenzione che anche a Venezia si ebbe nei primissimi anni del Seicento verso nuove forme di sonorizzazione della produzione lirica. Sintomatico risultato del complesso intreccio tra l’orizzonte culturale ed estetico di munifici patroni e la curiosità artistica di diversi compositori operanti a Venezia, esse aggiungono un importante quanto inedito tassello alla ricostruzione dell’ampio e articolato fenomeno che ha riguardato la diffusione di nuovi generi musicali, come la monodia accompagnata e le arie strofiche, e in particolare del ruolo che in questo processo ha avuto il contesto veneziano.
Review:
– Rivista Italiana di Musicologia 55 (2020), p. 297–301 (Maddalena Bonechi).
Review:
– Rivista Italiana di Musicologia 55 (2020), p. 297–301 (Maddalena Bonechi).
Research Interests: Early Music, Music History, Venetian History, Baroque Music, Intellectual and cultural history, and 15 more17th Century Music, Music Philology, Claudio Monteverdi, Early Opera, Early Modern print culture, Cultural History of Music, Basso Continuo, Storia della musica, Filologia Musicale, Music printing in the 16th and 17th centuries, Music Printing and Publishing, Venetian Baroque Music, Musical Patronage, Early Baroque Monody, and Musical History of Venice
Les Amours de Ronsard sont accompagnées de quelques intonations musicales qui permettent de chanter l'ensemble des poèmes. Cet essai propose une nouvelle histoire éditoriale du rapport entre le recueil et sa partie musicale, une édition... more
Les Amours de Ronsard sont accompagnées de quelques intonations musicales qui permettent de chanter l'ensemble des poèmes. Cet essai propose une nouvelle histoire éditoriale du rapport entre le recueil et sa partie musicale, une édition moderne, ainsi que le fac-similé des deux éditions du supplément.
Ronsard's Amours are accompanied by some musical intonations that enable all the poems to be sung. This essay offers a new editorial history on the relationship between the collection and its musical part. It contents a modern edition and a facsimile of the two editions of the musical supplement.
(Musicologie, 4)
ISBN 2406056996, 9782406056997
Reviews:
– Bulletin de la Société Française d’Etude du Seizième Siècle 84 (2016), pp. 14–15
– L’Universo Mondo. Bollettino d’Informazione del Gruppo di Studio sul Cinquecento Francese 44 (2016), pp. 54–55 (Daniele Speziari) http://www.cinquecentofrancese.it/attachments/article/290/UM%2044.pdf
– Revue de musicologie 103 (2017), pp. 256–259 (Isabelle His)
– Renaissance Quarterly 71 (2018), pp. 376–377 (Jessica J. Appleby)
Ronsard's Amours are accompanied by some musical intonations that enable all the poems to be sung. This essay offers a new editorial history on the relationship between the collection and its musical part. It contents a modern edition and a facsimile of the two editions of the musical supplement.
(Musicologie, 4)
ISBN 2406056996, 9782406056997
Reviews:
– Bulletin de la Société Française d’Etude du Seizième Siècle 84 (2016), pp. 14–15
– L’Universo Mondo. Bollettino d’Informazione del Gruppo di Studio sul Cinquecento Francese 44 (2016), pp. 54–55 (Daniele Speziari) http://www.cinquecentofrancese.it/attachments/article/290/UM%2044.pdf
– Revue de musicologie 103 (2017), pp. 256–259 (Isabelle His)
– Renaissance Quarterly 71 (2018), pp. 376–377 (Jessica J. Appleby)
Research Interests: Cultural History, Cultural Studies, French Literature, Music, Early Music, and 85 moreMusic History, Musicology, Print Culture, Media and Cultural Studies, French History, French Studies, Renaissance Literature (Literature), Book History, Material Culture Studies, Renaissance Studies, Literature and Music, Bibliography, Analytical bibliography, Renaissance Literature (Renaissance Studies), Music and Politics, Petrarch Studies, Petrarch, Cultural Musicology, Sociology of Music, French Renaissance, Cultural Studies (Communication), Renaissance music, Renaissance literature, Book History (History), Social and Cultural History, French Renaissance Literature, Music and Literature, Critical Musicology, 16th century France (History), Medieval and Renaissance Studies, Interdisciplinary Studies, Visual and Cultural Studies, History of music, Music Publishing, Music Bibliography, Histoire de la musique, Historically Informed Performance (HIP), Renaissance Lyric Poetry, Renaissance Poetics, Early Modern print culture, Renaissance Book Culture, Petrarchism, 16th Century France, Books, Musica, French Music, Historical Musicology, Cultural History of Music, Materialities, Musique, Littérature française de la Renaissance, Poetry and Music, Paris, Social History and Cultural Study of Music, Música, Littérature Française, French and Italian Renaissance, Xv and Xvi, Ronsard, Material Bibliography, Musicology/Cultural Studies, Renaissance Poetry, Manierismo petrarchismo petrarca canzoniere, Petrarca, Marot "Du Bellay" poetique renaissance rhetorique style grace vertu, French Litterature, Musique Et Musicologie, Les relations entre le littérature et la musique ., Renaissance France, Early Modern French Literature, Renaissance French poetry, Francesco Petrarca, Music printing in the 16th and 17th centuries, Late medieval and Renaissance music, Music Printing and Publishing, Clément Janequin, Marc-Antoine Muret, 16th Century Music Prints, Sociological Impact of Music, Social Impact of Music, Petrarchismo, Pierre De Ronsard, Pléiade, History of Printed Music, Musicologie, and Bibliographie Matérielle
Research Interests: Cultural History, Cultural Studies, Church Music, Early Music, Music History, and 66 moreMusicology, Performance Studies, Mobility/Mobilities, Soundscape Studies, Cultural Musicology, Performance Studies (Music), Neo-latin literature, Venetian History, Baroque Music, Devotional Poetry, Early Modern Italy, Italian Music, Social and Cultural History, Soundscape (Music), Critical Musicology, 17th Century Music, Sacred Music, History of music, Historically Informed Performance (HIP), Neo-Latin Poetry, 17th-c Italian Music, Soundscape, Musica, Motet, Historical Musicology, Cultural History of Music, Early modern music and religious studies, Venice, Música, Neo-Latin, Devotional music, 17th/18th Century Music, History of Venice, Motets, Musicology/Cultural Studies, Liturgy, Sacred Music, History of Venetian Republic, Giovanni Rovetta, Sacred Music (XVII-XVIIIe siècles), Early Music Performance, Transmission of Music, Early modern venice, Catholicism and music, Early music and historically informed performance practice, Catholic Church music, Storia della musica sacra, music printing, early modern Germany, history of the book, Storia della musica, Music printing in the 16th and 17th centuries, Ancient Greek Dramaturgy and Performance Aspects, Music Printing and Publishing, Liturgical Ceremonial, Italian Baroque Music, Renaissance and Baroque Music, Neo Latin Studies, Choirbook, Music In Catholic Liturgy, Music Publishing In the Baroque Era, St Mark's Basilica Venice, Musicologia, Venetian Baroque Music, Storia e estetica della musica, Choir Books, Giovanni Legrenzi, Basilica di San Marco a Venezia, and Musica e storia
By Claudio Bacciagaluppi and Luigi Collarile. Publikationen der Schweizerischen Musikforschenden Gesellschaft – Serie II, 51 Open Access: https://www.e-periodica.ch/digbib/view?pid=psm-001%3A2009%3A51 Di Carlo Donato Cossoni... more
By Claudio Bacciagaluppi and Luigi Collarile.
Publikationen der Schweizerischen Musikforschenden Gesellschaft – Serie II, 51
Open Access:
https://www.e-periodica.ch/digbib/view?pid=psm-001%3A2009%3A51
Di Carlo Donato Cossoni (1623-1700) sono conservate diverse migliaia di pagine autografe. Questa eccezionale circostanza rappresenta il punto di partenza di questo catalogo, pensato come uno strumento per studiare più a fondo i contesti nei quali il musicista è stato attivo: in particolare, la cappella del Duomo di Como, quella di S. Petronio a Bologna, quella del Duomo di Milano.
Publikationen der Schweizerischen Musikforschenden Gesellschaft – Serie II, 51
Open Access:
https://www.e-periodica.ch/digbib/view?pid=psm-001%3A2009%3A51
Di Carlo Donato Cossoni (1623-1700) sono conservate diverse migliaia di pagine autografe. Questa eccezionale circostanza rappresenta il punto di partenza di questo catalogo, pensato come uno strumento per studiare più a fondo i contesti nei quali il musicista è stato attivo: in particolare, la cappella del Duomo di Como, quella di S. Petronio a Bologna, quella del Duomo di Milano.
Research Interests: Cultural Studies, Church Music, Early Music, Music History, Musicology, and 52 morePrint Culture, Authorship Attribution, Manuscript Studies, 17th-Century Studies, Cultural Musicology, Baroque Music, Collecting (Music), Critical Musicology, 17th Century Music, History of Switzerland, Historically Informed Performance (HIP), Early Modern print culture, Musica, Historical Musicology, Seventeenth Century Music, Música, Milano, Devotional music, Benedictine Monasticism, Watermarks, Attrition, Autographs, Milan in the Early Modern Era, History of Milan, Sketch studies (Music), Musicología histórica, Transmission of Music, Music Printing, Catholicism and music, Early music and historically informed performance practice, Catholic Church music, Authoriality and Authorship, Music Manuscripts, Storia della musica, Music printing in the 16th and 17th centuries, Music Printing and Publishing, Musical Manuscripts, History of Watermarks, Italian Baroque Music, Autografi, Music Transmission, Music In Catholic Liturgy, History of Printed Music, Musicologia, Music Manuscript Studies and Codicology, Last Wills and Testaments, Ambrosian Liturgy, Ambrosian Rite, Storia e estetica della musica, Swiss Music history, Early Modern Bologna, and Swiss Music
Knowledge and debate in the field of sixteenth- and early seventeenth-century Venetian music has greatly benefitted in recent decades from studies of major institutions, composers, repertories and sources, as also from investigations of... more
Knowledge and debate in the field of sixteenth- and early seventeenth-century Venetian music has greatly benefitted in recent decades from studies of major institutions, composers, repertories and sources, as also from investigations of the quantitative aspects of musical life in what was one of the largest, richest and most commercially oriented cities on the Italian peninsula: the Venetian musical phenomenon includes, on the one hand, regular or sporadic musical activities in the city’s many churches and private palaces (activities which provided significant earnings for large numbers of musicians, whether or not salaried members of the ducal cappella) and, on the other, the auxiliary trades of music printing and instrument making. The transmission of the musical repertories has also received notable attention: in particular, the contemporary and later reception of Venetian musical repertories in different political, linguistic and/or confessional areas. Central, too, have been questions of ‘sound’, both with regard to the particular interaction between musical composition, the spatial peculiarities and the specific liturgical and ceremonial traditions of the Venetian ducal chapel, and in the context of music-making at large.
This collection of essays on the life, times and works of a composer who ranks among the most outstanding musical personalities of his day variously unites these strands in an albeit partial attempt to interpret Giovanni Gabrieli’s output and activities in their Venetian context and, at the same time, cast light on their broader historiographical significance: on the one hand Gabrieli as point of synthesis of a complex Venetian musical tradition, on the other his interaction with and impact on contemporary musical life, his influence on later generations of composers both at home and abroad, the rediscovery of his achievements by nineteenth- and twentieth-century historians and performers, the revisitations of his music by twentieth-century composers.
Reviews:
– Rivista Italiana di Musicologia 53 (2018), p. 285–291 (Michelangelo Gabbrielli)
– Early Music 46 (2018), p. 167–169 (Eleanor Selfridge-Field); reply: Early Music 46 (2018), p. 367–368
– Renaissance Quarterly 71 (2018), p. 776–777 (Tim Shephard)
– Music & Letters 100 (2019), p. 543–546 (Tim Carter)
This collection of essays on the life, times and works of a composer who ranks among the most outstanding musical personalities of his day variously unites these strands in an albeit partial attempt to interpret Giovanni Gabrieli’s output and activities in their Venetian context and, at the same time, cast light on their broader historiographical significance: on the one hand Gabrieli as point of synthesis of a complex Venetian musical tradition, on the other his interaction with and impact on contemporary musical life, his influence on later generations of composers both at home and abroad, the rediscovery of his achievements by nineteenth- and twentieth-century historians and performers, the revisitations of his music by twentieth-century composers.
Reviews:
– Rivista Italiana di Musicologia 53 (2018), p. 285–291 (Michelangelo Gabbrielli)
– Early Music 46 (2018), p. 167–169 (Eleanor Selfridge-Field); reply: Early Music 46 (2018), p. 367–368
– Renaissance Quarterly 71 (2018), p. 776–777 (Tim Shephard)
– Music & Letters 100 (2019), p. 543–546 (Tim Carter)
Research Interests: Cultural History, Cultural Studies, Music, Early Music, Music History, and 144 moreMusicology, Organ And Historical Keyboards (E.G., Harpsichord), Print Culture, Media and Cultural Studies, Cultural Sociology, Early Modern History, Cultural Heritage, Performance Studies, Renaissance Studies, Renaissance, Seventeenth Century, Authorship Attribution, Cultural Transfer Studies, Early Modern Europe, Italian Cultural Studies, Cross-Cultural Studies, 17th-Century Studies, Performance, Cultural Identity, Italy (Early Modern History), Cultural Musicology, Performance Studies (Music), Venetian art and architectural history, Venetian History, Baroque Music, Italian Renaissance Art, Cultural Studies (Communication), Early Modern Italy, Renaissance music, Social and Cultural History, Soundscape (Music), Historiography of Music, History of Musicology, Critical Musicology, 17th Century Music, Visual and Cultural Studies, Sacred Music, Authorship, History of music, Performance Practice (Music), Renaissance Music (Music), 16th Century Music, Music Performance, Historically Informed Performance (HIP), XXth century music, Early Modern print culture, 17th-c Italian Music, 17th-Century Music, Musica, Motet, Historical Musicology, Republic of Venice, Music and Architecture, Organ Music, Venetian art and architecture 1500-1600, Cultural History of Music, Venice, Music History, Cultural History, Economics, Music performance and improvisation, Social History and Cultural Study of Music, Venetian Renaissance art, Seventeenth Century Music, Música, Venice and the Veneto, Compositional Processes, Devotional music, 16th century Venice, Medieval, Renaissance and Baroque Music, Musical Heritage, History of Venice, Venetian Renaissance Painting, Venetian Early Printed Books, Socio-Cultural Anthropology, Social History of Music and Musicians, Luigi Nono, Cultural and Social Anthropology, Motets, Early Keyboard Instruments, Ephemeral architecture, Musical Performance, Longue durée, Musicology/Cultural Studies, 16th Century Sacred Music, Liturgy, Sacred Music, Architecture, sound and music, Compositional process, History of Venetian Republic, Musicología histórica, Bruno Maderna, Early Keyboard Music, Sixteenth Century Music, Early Music Performance, Transmission of Music, Music Printing, Keyboard Music, Early Seventeenth-Century Music, Oral Culture, Manuscript and Print in Early Modern Italy, 16th and 17th Century Music, Brass Chamber Music, Early music and historically informed performance practice, Authoriality and Authorship, Architecture and Music, Organ lofts, Cantorie, Giovanni Gabrieli, Andrea Gabrieli, Storia della musica sacra, music printing, early modern Germany, history of the book, Music Literature for the Pipe Organ, Music historiography, Early Organ Music, Storia della musica, Music printing in the 16th and 17th centuries, Music Printing and Publishing, Italian Baroque Music, Pipe Organ Music, Sixteenth Century Sacred Music, 16th Century Music Prints, Storia Sociale Della Musica, Musicological Historiography, Early Vocal Performance Practice, Renaissance and Baroque Music, 17th c Venetian Intellectual History, Critical edition of music, Renaissance Motet, Early Modern Prints, Venetian 17th Century Paintings and Drawings, Venetian Renaissance, Venetian Renaissance Music, Venetian Churches, Renaissance Brass Music, Music Publishing In the Baroque Era, St Mark's Basilica Venice, Motet Cycles, Musicologia, Venetian Early Renaissance Art, Venetian Baroque Music, Written Music, Gian Francesco Malipiero, Storia e estetica della musica, Basilica di San Marco a Venezia, San Marco Venice, Musica e storia, and 16th Century Italian Music
Edited by Peter Erhart and Luigi Collarile. Vol. 2: Aufenthalt in Italien und Rückreise / Soggiorno in Italia e viaggio di ritorno. Reviews: - Zeitschrift für Kultur und Gesellschaft (March 2017), p. 98–99 (Ingrid Bertel). -... more
Edited by Peter Erhart and Luigi Collarile.
Vol. 2: Aufenthalt in Italien und Rückreise / Soggiorno in Italia e viaggio di ritorno.
Reviews:
- Zeitschrift für Kultur und Gesellschaft (March 2017), p. 98–99 (Ingrid Bertel).
- St.Galler Tagblatt, 15 April 2017, p. 27 (Beda Hanimann).
Vol. 2: Aufenthalt in Italien und Rückreise / Soggiorno in Italia e viaggio di ritorno.
Reviews:
- Zeitschrift für Kultur und Gesellschaft (March 2017), p. 98–99 (Ingrid Bertel).
- St.Galler Tagblatt, 15 April 2017, p. 27 (Beda Hanimann).
Research Interests: Cultural History, Cultural Studies, Church Music, Early Music, Travel Writing, and 46 moreEarly Modern History, Mobility/Mobilities, Eighteenth Century History, Seventeenth Century, Monastic Studies, Early Modern Europe, Cross-Cultural Studies, 17th-Century Studies, Neo-latin literature, Baroque Music, Early Modern Italy, Memoir and Autobiography, Social and Cultural History, Travel Literature, Cross-cultural studies (Culture), Sacred Music, Cultural Diplomacy, History of Switzerland, Eighteenth-Century Music, Seventeenth-century studies, Mobilities Studies, Benedictine History, Seventeenth Century Music, Eighteenth Century Studies, Neo-Latin, Early modern Rome, Memoir writing/ autobiography, Benedictine Monasticism, Switzerland, Grand Tour, Early Modern Travellers, 18th-Century Studies, Liturgy, Sacred Music, Milan in the Early Modern Era, Diplomacy and international relations, Montecassino Abbey, The Grand Tour, Early modern venice, Subiaco, Early Modern Travel Literature, Italian Baroque Music, Early Modern Naples, Grand Tour Studies, Cutural History, 18th Century Grand Tour, and History of Grand Tours
Edited by Peter Erhart and Luigi Collarile. Vol. 1: Anreise nach Rom / Viaggio verso Roma. Reviews: - La Provincia di Sondrio, 2 November 2015, p. 13 (Guido Scaramellini). - St.Galler Tagblatt, 2 November 2015 (Beda Hanimann). -... more
Edited by Peter Erhart and Luigi Collarile.
Vol. 1: Anreise nach Rom / Viaggio verso Roma.
Reviews:
- La Provincia di Sondrio, 2 November 2015, p. 13 (Guido Scaramellini).
- St.Galler Tagblatt, 2 November 2015 (Beda Hanimann).
- Historischer Verein für das Fürstentum Liechtenstein – Jahrbuch 115 (2016), p. 164–166 (Wieslaw Piechocki).
- Quellen und Forschungen aus italienischen Archiven und Bibliotheken 96 (2016), p. 637–638 (Alexander Koller).
Vol. 1: Anreise nach Rom / Viaggio verso Roma.
Reviews:
- La Provincia di Sondrio, 2 November 2015, p. 13 (Guido Scaramellini).
- St.Galler Tagblatt, 2 November 2015 (Beda Hanimann).
- Historischer Verein für das Fürstentum Liechtenstein – Jahrbuch 115 (2016), p. 164–166 (Wieslaw Piechocki).
- Quellen und Forschungen aus italienischen Archiven und Bibliotheken 96 (2016), p. 637–638 (Alexander Koller).
Research Interests: Cultural History, Cultural Studies, Early Music, Mobility/Mobilities, Eighteenth Century History, and 32 moreSeventeenth Century, Monastic Studies, Early Modern Europe, Neo-latin literature, Migration Studies, Baroque Music, Early Modern Italy, Memoir and Autobiography, Travel Literature, 18th Century, Cultural Diplomacy, Social Mobility, History of Switzerland, Eighteenth-Century Music, Benedictine History, Eighteenth Century Studies, Early modern Rome, Memoir writing/ autobiography, Benedictine Monasticism, Switzerland, Grand Tour, Early Modern Travellers, 18th-Century Studies, Milan in the Early Modern Era, Diplomacy and international relations, The Grand Tour, Early modern venice, Early Modern Travel Literature, Italian Baroque Music, Grand Tour Studies, 18th Century Grand Tour, and History of Grand Tours
(Publikationen der Schweizerischen Musikforschenden Gesellschaft – Serie II, 48) Open Access: https://www.e-periodica.ch/digbib/view?pid=psm-001%3A2007%3A48 Reviews: - Neue Zürcher Zeitung, Samstag/Sonntag 13/14 October 2007, p.... more
(Publikationen der Schweizerischen Musikforschenden Gesellschaft – Serie II, 48)
Open Access:
https://www.e-periodica.ch/digbib/view?pid=psm-001%3A2007%3A48
Reviews:
- Neue Zürcher Zeitung, Samstag/Sonntag 13/14 October 2007, p. 52 (tsr).
- Informazione organistica vol. 18 (2007), p. 272–274 (Pier Paolo Donati).
- Schweizer Musikzeitung 13/5 (2010), p. 36 (Bernhard Billetter).
Open Access:
https://www.e-periodica.ch/digbib/view?pid=psm-001%3A2007%3A48
Reviews:
- Neue Zürcher Zeitung, Samstag/Sonntag 13/14 October 2007, p. 52 (tsr).
- Informazione organistica vol. 18 (2007), p. 272–274 (Pier Paolo Donati).
- Schweizer Musikzeitung 13/5 (2010), p. 36 (Bernhard Billetter).
Research Interests: Music, Early Music, Music History, Musicology, Keyboard Instruments, and 60 moreAuthorship Attribution, Swiss History, Cultural Musicology, Performance Studies (Music), Baroque Music, Renaissance music, J S Bach, German Baroque Music, Critical Musicology, Ornamentation (Baroque Music), Authorship, History of music, Performance Practice (Music), Renaissance Music (Music), History of Switzerland, Music Performance, Historically Informed Performance (HIP), French Romantic organ music, Early Modern print culture, Musica, Johann Sebastian Bach, Historical Musicology, Organ Music, Cultural History of Music, Music History, Cultural History, Economics, Music performance and improvisation, Música, Medieval, Renaissance and Baroque Music, Switzerland, Sacred Music of Renaissance Spain, Early Keyboard Instruments, J.S. Bach, J. S. Bach, Musicology/Cultural Studies, German Renaissance Organ and Lute Tablatures, Keyboard Fingerings, Musicología histórica, Pipe-Organ Building, Music Printing, Keyboard Music, Oral Culture, Manuscript and Print in Early Modern Italy, Early music and historically informed performance practice, Music engraving, Claudio Merulo, Baroque Music Performance Practices, Music Literature for the Pipe Organ, Frescobaldi, Early Organ Music, Music printing in the 16th and 17th centuries, Music Printing and Publishing, Italian Baroque Music, Renaissance and Baroque Music, Venetian Renaissance Music, Musicologia, Print and Visual Culture In Early Modern Europe, Venetian Baroque Music, Organ In Portugal and Spain, Girolamo Frescobaldi, French liturgical organ music, and Swiss Music history
Die Renaissance verehrt von den Schriften Petrarcas vor allem die «verstreuten Fragmente seiner Seele» - die Rerum Vulgarium Fragmenta - mit einem leidenschaftlichen Kult. Das Werk erzählt die Geschichte der zerreissenden Leidenschaft... more
Die Renaissance verehrt von den Schriften Petrarcas vor allem die «verstreuten Fragmente seiner Seele» - die Rerum Vulgarium Fragmenta - mit einem leidenschaftlichen Kult. Das Werk erzählt die Geschichte der zerreissenden Leidenschaft einer jungen Dame aus Avignon, Laura, die den Dichter als poetische Muse auch in dessen spiritueller Entwicklung inspiriert.
Als einer der Bestseller des 16. Jahrhunderts hat dieses Meisterwerk die westliche Liebeslyrik mindestens bis in die Romantik geprägt, vielleicht sogar darüber hinaus. Somit wurde eine eigentliche literarische Mode lanciert, der sich die Federn der bedeutendsten Dichter Italiens und Frankreichs verschrieben, und die in den Noten der grössten italienischen und französischen Komponisten Eingang fand. Vom vorbildlichen Höfling konnte erwartet werden, dass er die Lyrik der Rerum Vulgarium Fragmenta kannte; es gehörte zudem beinahe zu seinen Pflichten, sich - den Petrarchino in den Händen haltend - in der Gesellschaft zu zeigen.
«Nel libro di Laura» - in Lauras Buch - ist die Metapher eines sozialen und kulturellen Phänomens enthalten, die das gedruckte Buch als geeignetes Medium zur Konstitution und Verbreitung der eigenen poetischen Kodifikation definiert. Laura, die angebetete Frau Petrarcas, verwandelt sich darin zur bildlichen Darstellung eines literarischen und künstlerischen Mythos. In den Liebesgedichten ist sie die Muse des poetischen Universums des Dichters, Abbild des Gesanges und der Verzauberung. Im Laufe des 16. Jahrhunderts erhebt sich Laura zum Ideal der sublimsten poetischen Inspiration.
Nel Libro di Laura - Petrarcas Liebesgedichte in der Renaissance ist der Katalog der gleichnamigen Ausstellung (Basel, Museum Kleines Klingental), die anlässlich der Siebenhundertjahrfeier der Geburt Petrarcas stattfindet und von der Nuova Compagnia della Gramigna, einem aus jungen Forschern der Universität Basel bestehenden Kulturverein, und der Öffentlichen Bibliothek der Universität Basel veranstaltet wird. Der Katalog bietet, nach einer kurzen, dreisprachigen Einleitung in den geschichtlichen und kulturellen Hintergrund, fünf kennzeichnende Studien, die den Erfolg und den Einfluss der Liebessammlung Petrarcas auf die italienische und die französische Renaissance nachzeichnen.
Aus dem Inhalt
Frank Hieronymus, Petrarca und Basel, speziell die Basler Petrarca-Ausgaben
Daniele Maira, «Laure d'Avignon», politische und literarische Mythenbildung einer Muse in der französischen Renaissance
Stefano Jossa - Simona Mammana, Petrarchismo e petrarchismi. Forme, ideologia, identità di un sistema
Jean Balsamo, Pétrarque, Ronsard et quelques autres
Luigi Collarile, Per una geografia del petrarchismo attraverso le stampe musicali nella prima metà del Cinquecento
Reviews:
- The Year’s Work in Modern Language Studies 66 (2004), p. 94 (Gilles Banderier).
- Les Lettres Romanes 59 (2005), p. 374 (Gian Paolo Giudicetti).
- La Rassegna della Letteratura Italiana 109 (2005), p. 210-211 (Roberto Gigliucci).
- Wissenschaftlicher Literaturanzeiger (wla-online.de; 24.02.2005) (Ruppert Rentz).
- Italianistica : Rivista di Letteratura Italiana 34 (2005), p. 164-165 (M.C.).
- Zeitschrift für romanische Philologie 123 (2007), p. 658-660 (Michael Bernsen).
- Informationsmittel : Digitales Rezensionsorgan für Bibliothek und Wissenschaft 16 (2008) (Klaus Schreiber).
- Zeitschrift für französische Sprache und Literatur 118 (2008), p. 168-171 (Bernhard Huss).
Als einer der Bestseller des 16. Jahrhunderts hat dieses Meisterwerk die westliche Liebeslyrik mindestens bis in die Romantik geprägt, vielleicht sogar darüber hinaus. Somit wurde eine eigentliche literarische Mode lanciert, der sich die Federn der bedeutendsten Dichter Italiens und Frankreichs verschrieben, und die in den Noten der grössten italienischen und französischen Komponisten Eingang fand. Vom vorbildlichen Höfling konnte erwartet werden, dass er die Lyrik der Rerum Vulgarium Fragmenta kannte; es gehörte zudem beinahe zu seinen Pflichten, sich - den Petrarchino in den Händen haltend - in der Gesellschaft zu zeigen.
«Nel libro di Laura» - in Lauras Buch - ist die Metapher eines sozialen und kulturellen Phänomens enthalten, die das gedruckte Buch als geeignetes Medium zur Konstitution und Verbreitung der eigenen poetischen Kodifikation definiert. Laura, die angebetete Frau Petrarcas, verwandelt sich darin zur bildlichen Darstellung eines literarischen und künstlerischen Mythos. In den Liebesgedichten ist sie die Muse des poetischen Universums des Dichters, Abbild des Gesanges und der Verzauberung. Im Laufe des 16. Jahrhunderts erhebt sich Laura zum Ideal der sublimsten poetischen Inspiration.
Nel Libro di Laura - Petrarcas Liebesgedichte in der Renaissance ist der Katalog der gleichnamigen Ausstellung (Basel, Museum Kleines Klingental), die anlässlich der Siebenhundertjahrfeier der Geburt Petrarcas stattfindet und von der Nuova Compagnia della Gramigna, einem aus jungen Forschern der Universität Basel bestehenden Kulturverein, und der Öffentlichen Bibliothek der Universität Basel veranstaltet wird. Der Katalog bietet, nach einer kurzen, dreisprachigen Einleitung in den geschichtlichen und kulturellen Hintergrund, fünf kennzeichnende Studien, die den Erfolg und den Einfluss der Liebessammlung Petrarcas auf die italienische und die französische Renaissance nachzeichnen.
Aus dem Inhalt
Frank Hieronymus, Petrarca und Basel, speziell die Basler Petrarca-Ausgaben
Daniele Maira, «Laure d'Avignon», politische und literarische Mythenbildung einer Muse in der französischen Renaissance
Stefano Jossa - Simona Mammana, Petrarchismo e petrarchismi. Forme, ideologia, identità di un sistema
Jean Balsamo, Pétrarque, Ronsard et quelques autres
Luigi Collarile, Per una geografia del petrarchismo attraverso le stampe musicali nella prima metà del Cinquecento
Reviews:
- The Year’s Work in Modern Language Studies 66 (2004), p. 94 (Gilles Banderier).
- Les Lettres Romanes 59 (2005), p. 374 (Gian Paolo Giudicetti).
- La Rassegna della Letteratura Italiana 109 (2005), p. 210-211 (Roberto Gigliucci).
- Wissenschaftlicher Literaturanzeiger (wla-online.de; 24.02.2005) (Ruppert Rentz).
- Italianistica : Rivista di Letteratura Italiana 34 (2005), p. 164-165 (M.C.).
- Zeitschrift für romanische Philologie 123 (2007), p. 658-660 (Michael Bernsen).
- Informationsmittel : Digitales Rezensionsorgan für Bibliothek und Wissenschaft 16 (2008) (Klaus Schreiber).
- Zeitschrift für französische Sprache und Literatur 118 (2008), p. 168-171 (Bernhard Huss).
Research Interests: Cultural History, Cultural Studies, French Literature, Print Culture, Literature, and 19 moreRenaissance Studies, Poetry, Petrarch Studies, Petrarch, Renaissance music, Early Modern print culture, Petrarchism, Petrarchan Poetry, Manierismo petrarchismo petrarca canzoniere, Basel, Petrarch and the classical tradition, Petrarca, Petrarch and his early reception, Francesco Petrarca, Petrarchismo E Antipetrarchismo, Petrarca Latino, Latin Petrarch, Petrarchismo, and Petrarca Studies
Am 15. September 1680 fand die feierliche Translation der Reliquien der Katakombenheiligen Sergius, Bacchus, Hyacinthus und Erasmus im Kloster St. Gallen statt. Als Director Musicae bekam der Stiftsorganist Pater Valentin Müller (Molitor)... more
Am 15. September 1680 fand die feierliche Translation der Reliquien der Katakombenheiligen Sergius, Bacchus, Hyacinthus und Erasmus im Kloster St. Gallen statt. Als Director Musicae bekam der Stiftsorganist Pater Valentin Müller (Molitor) die Aufgabe, die Musik für die Feier zu verfassen. 1681 wurde ein Teil des dafür komponierten Repertoires unter dem Titel 'Missa una cum tribus mottetis in Solemni Translatione SS. MM. Sergio, Bacchi, Hyacinthi et Erasmi ab octo vocibus concertantibus, et 7. Instrumentis, sed tantium quatuor necessariis in Monasterio S. Galli decantata' herausgegeben. Der im Kloster St. Gallen produzierte Musikdruck enthält ein vollständiges Ordinarium missae (Kyrie, Gloria, Credo, Sanctus und Agnus Dei) sowie drei Motetten. Grandios ist die aufwendige Besetzung mit zwei vierstimmigen Chören sowie einem reichen, dem Festcharakter angemessenen Instrumentarium. Die Musik stellt damit ein wertvolles Zeugnis des benediktinischen Musikrepertoires dar, wie es im Kloster St. Gallen in der zweiten Hälfte des 17. Jahrhunderts gepflegt wurde. Der vorliegende Band enthält die vollständige kritische Ausgabe der 1681 erschienenen Werke von P. Valentin Müller (Molitor) sowie eine historische Einleitung.
Research Interests: Music, Church Music, Music History, Musicology, Early Modern History, and 28 moreMonastic Studies, Swiss History, Cultural Musicology, 17th Century Music, Sacred Music, History of Switzerland, Benedictine History, Musica, Cultural History of Music, Seventeenth Century Music, Música, 17th/18th Century Music, Benedictine Monasticism, Switzerland, Musicology/Cultural Studies, Liturgy, Sacred Music, Sacred Music (XVII-XVIIIe siècles), Catholicism and music, Catholic Church music, music printing, early modern Germany, history of the book, Seventeenth-Century Music, Music printing in the 16th and 17th centuries, Music Printing and Publishing, Music In Catholic Liturgy, Einsiedeln, Swiss Music history, Swiss Music, and Early Modern Switzerland
http://vmo.unive.it/inventory1720/ Procuratoria de Supra, Chiesa, Busta 91, Processo 208 of the Archivio di Stato, Venice, is a large miscellaneous folder of documents regarding the musicians, singers and instrumentalists of the ducal... more
http://vmo.unive.it/inventory1720/
Procuratoria de Supra, Chiesa, Busta 91, Processo 208 of the Archivio di Stato, Venice, is a large miscellaneous folder of documents regarding the musicians, singers and instrumentalists of the ducal chapel of St Mark’s. The documents span the period 1404–1720. Among them is an inventory of the music books of the cappella, compiled in September 1720: this inventory, which covers three folios (fols 150r–152v), contains the earliest known description of the music archive of the ducal chapel of St Mark’s. Marchio’ Angeli’s inventory indicates what was clearly the basic repertory of the music archive of St Mark’s at the beginning of the 18th century: a cappella music (masses, Magnificats, psalms, hymns and motets without instrumental accompaniment). Use of this repertory was drastically reduced only after the reform of the ceremonial soundscape enacted in autumn 1765 by the maestro di cappella Baldassare Galuppi.
DOI: 10.14277/unive/vmo/inventory1720/2019
Procuratoria de Supra, Chiesa, Busta 91, Processo 208 of the Archivio di Stato, Venice, is a large miscellaneous folder of documents regarding the musicians, singers and instrumentalists of the ducal chapel of St Mark’s. The documents span the period 1404–1720. Among them is an inventory of the music books of the cappella, compiled in September 1720: this inventory, which covers three folios (fols 150r–152v), contains the earliest known description of the music archive of the ducal chapel of St Mark’s. Marchio’ Angeli’s inventory indicates what was clearly the basic repertory of the music archive of St Mark’s at the beginning of the 18th century: a cappella music (masses, Magnificats, psalms, hymns and motets without instrumental accompaniment). Use of this repertory was drastically reduced only after the reform of the ceremonial soundscape enacted in autumn 1765 by the maestro di cappella Baldassare Galuppi.
DOI: 10.14277/unive/vmo/inventory1720/2019
Research Interests:
By Claudio Bacciagaluppi and Luigi Collarile.
Web Library of Seventeenth-Century Music No. 24 (2012)
Web Library of Seventeenth-Century Music No. 24 (2012)
Research Interests: Music, Music History, Musicology, Cultural Musicology, Performance Studies (Music), and 22 moreSacred Music, History of music, Music Publishing, Performance Practice (Music), Music Performance, Motet, Historical Musicology, Cultural History of Music, Devotional music, Motets, Autographs, Compositional process, History of Milan, Transmission of Music, Music Printing, Music printing in the 16th and 17th centuries, Music Printing and Publishing, Autografi, Music Transmission, Ambrosian Liturgy, Canzonetta, and Ambrosian Rite
Facsimile and Critical Edition by Luigi Collarile. ISBN 978-88-271-3055-1 L’analisi di un’edizione musicale conservata oggi in un unico esemplare senza data e luogo di edizione, ha permesso di identificare una raccolta prodotta... more
Facsimile and Critical Edition by Luigi Collarile.
ISBN 978-88-271-3055-1
L’analisi di un’edizione musicale conservata oggi in un unico esemplare senza data e luogo di edizione, ha permesso di identificare una raccolta prodotta dall’editore veneziano Alessandro Vincenti. Tra il 1650 e il 1651, egli diede alle stampe due importanti raccolte postume di Claudio Monteverdi (1567-1643). Ad esse va ora aggiunta una terza edizione. Essa contiene quattro mottetti mariani, tre dei quali ancora completamente sconosciuti.
Il presente volume contiene un’introduzione storica, un’edizione critica dei mottetti e il facsimile della stampa musicale originale.
Reviews:
- Il Giornale della musica n. 291 (avril 2012), p. 32 (Fiorella Sassanelli)
- Early Music 41 (2013), p. 161-163 (Noel O’Regan)
ISBN 978-88-271-3055-1
L’analisi di un’edizione musicale conservata oggi in un unico esemplare senza data e luogo di edizione, ha permesso di identificare una raccolta prodotta dall’editore veneziano Alessandro Vincenti. Tra il 1650 e il 1651, egli diede alle stampe due importanti raccolte postume di Claudio Monteverdi (1567-1643). Ad esse va ora aggiunta una terza edizione. Essa contiene quattro mottetti mariani, tre dei quali ancora completamente sconosciuti.
Il presente volume contiene un’introduzione storica, un’edizione critica dei mottetti e il facsimile della stampa musicale originale.
Reviews:
- Il Giornale della musica n. 291 (avril 2012), p. 32 (Fiorella Sassanelli)
- Early Music 41 (2013), p. 161-163 (Noel O’Regan)
Research Interests: Music, Church Music, Early Music, Music History, Musicology, and 60 morePrint Culture, Early Modern History, Bibliography, Analytical bibliography, Seventeenth Century, Authorship Attribution, Early Modern Europe, Cultural Musicology, Performance Studies (Music), Venetian History, Baroque Music, Devotional Poetry, Early Modern Italy, German Baroque Music, Critical Musicology, Claudio Monteverdi (Music), 17th Century Music, Sacred Music, Authorship, History of music, Bibliographic Research, Music Publishing, Music Bibliography, Historically Informed Performance (HIP), Claudio Monteverdi, Monteverdi, Early Modern print culture, 17th-c Italian Music, 17th-Century Music, Musica, Motet, Historical Musicology, Cultural History of Music, Venice, Seventeenth Century Music, Música, Devotional music, Attribution, History of Venice, Venetian Early Printed Books, Motets, Bibliographies, Musicología histórica, Transmission of Music, Music Printing, Early music and historically informed performance practice, Authoriality and Authorship, Bibliografía, Storia della musica sacra, music printing, early modern Germany, history of the book, Storia della musica, Music printing in the 16th and 17th centuries, Music Printing and Publishing, Italian Baroque Music, The Venetian Music School, Bibliographic Heritage, Marian Antiphon, Musicologia, Venetian Baroque Music, and Storia e estetica della musica
Facsimile with Introduction by Luigi Collarile.
Review:
- Arte organica e organistica 15 (2009), p. 60-61 (Francesco Tasini).
Review:
- Arte organica e organistica 15 (2009), p. 60-61 (Francesco Tasini).
Research Interests: Music, Early Music, Music History, Musicology, Organ And Historical Keyboards (E.G., Harpsichord), and 39 morePrint Culture, Renaissance Studies, Cultural Musicology, Identities (Music), Music and identity, Renaissance music, Harpsichord, Critical Musicology, Clavichord, Renaissance Music (Music), Early Modern print culture, Musica, Historical Musicology, Organ Music, Cultural History of Music, Medieval, Renaissance and Baroque Music, History of Venice, Venetian Early Printed Books, Music Printing, Cembalo, Musical identity, Catholic Church music, Renaissance Venice, Claudio Merulo, Music Literature for the Pipe Organ, Harpsichord Music, Early Organ Music, Storia della musica, Music printing in the 16th and 17th centuries, Music Printing and Publishing, 16th Century Music Prints, The Venetian Music School (1550-1610), The Venetian Music School, Renaissance and Baroque Music, Clavicembalo, Venetian Renaissance Music, Musicologia, Venetian Baroque Music, and Storia e estetica della musica
La produzione per tastiera di Bertoldo conosce postuma la via delle stampe. Nel 1591 l’editore veneziano Giacomo Vincenti pubblica dapprima un volume contenente quattro canzoni “alla francese”, poi nello stesso anno una seconda raccolta... more
La produzione per tastiera di Bertoldo conosce postuma la via delle stampe. Nel 1591 l’editore veneziano Giacomo Vincenti pubblica dapprima un volume contenente quattro canzoni “alla francese”, poi nello stesso anno una seconda raccolta che comprende due toccate, tre ricercari e una canzone “alla francese”, opera dell’organista del Duomo di Padova. Queste dieci composizioni rappresentano la produzione per tastiera di Bertoldo oggi conservata, di cui le stampe di Vincenti costituiscono la principale fonte.
Reviews:
- The Organ 94 (May/July 2015), p. 52–53 (John Collins).
- The Diapason 106/9 (September 2015), p. 17–18 (John Collins).
Reviews:
- The Organ 94 (May/July 2015), p. 52–53 (John Collins).
- The Diapason 106/9 (September 2015), p. 17–18 (John Collins).
Research Interests: Music, Early Music, Music History, Musicology, Renaissance music, and 22 moreHarpsichord, Critical Musicology, Renaissance Music (Music), Early Modern print culture, Musica, Historical Musicology, Organ Music, Padua, German Renaissance Organ and Lute Tablatures, Italian Renaissance Music, Music Printing, Cembalo, Music Literature for the Pipe Organ, Harpsichord Music, Early Organ Music, Storia della musica, Music printing in the 16th and 17th centuries, Music Printing and Publishing, The Venetian Music School (1550-1610), Renaissance and Baroque Music, Clavicembalo, and Venetian Renaissance Music
MA University of Padua (Italy), 1998 [aa. 1996/1997]
By Luigi Collarile, Johannes Keller & Rolf Wissmann Towards a Digital Critical Edition of Nicola Vicentino’s treatise L’antica musica ridotta alla moderna prattica (Rome, 1555). - Investigating a Renaissance Music Book: New Digital... more
By Luigi Collarile, Johannes Keller & Rolf Wissmann
Towards a Digital Critical Edition of Nicola Vicentino’s treatise L’antica musica ridotta alla moderna prattica (Rome, 1555).
- Investigating a Renaissance Music Book: New Digital Tools
- From a Printed Renaissance Book to a Digital Critical Edition
- Solutions for a Digital Representation of Vicentino's Musical Notation
Towards a Digital Critical Edition of Nicola Vicentino’s treatise L’antica musica ridotta alla moderna prattica (Rome, 1555).
- Investigating a Renaissance Music Book: New Digital Tools
- From a Printed Renaissance Book to a Digital Critical Edition
- Solutions for a Digital Representation of Vicentino's Musical Notation
Research Interests: Early Music, Music History, Music Theory, Digital Humanities, History of Music Theory, and 10 moreRenaissance music, Renaissance Music Theory, Digital Edition, Performance Practice (Music), Historical Musicology, Early Music & Early Tuning Temperaments, Early Keyboard Music, Early music and historically informed performance practice, Storia della musica, and Music Printing and Publishing
This study investigates the context of two recently rediscovered motets by Bartolomeo Barbarino, known as Il Pesarino (c. 1570-after 1640). Transmitted in two particular sources, a devotional treatise published in Venice in 1608 and a... more
This study investigates the context of two recently rediscovered motets by Bartolomeo Barbarino, known as Il Pesarino (c. 1570-after 1640). Transmitted in two particular sources, a devotional treatise published in Venice in 1608 and a manuscript recently sold on the antiquarian market, they provide valuable information to reconsider some aspects of the activity of the well-known composer of ‘nuove musiche’ during the period before his transfer to Venice, around 1608.
Research Interests: Early Music, Music History, Cultural Musicology, Performance Studies (Music), Baroque Music, and 8 moreSacred Music, Historical Musicology, Early music and historically informed performance practice, Music Manuscripts, Storia della musica, Music Printing and Publishing, Italian Baroque Music, and Venetian Baroque Music
The article provides an innovative point of view on the musical programme organised for Igor Strawinsky’s funerals, celebrated in Venice on 15 April 1971. On the basis of new documents and testimonies from Sandro Dalla Libera’s archive,... more
The article provides an innovative point of view on the musical programme organised for Igor Strawinsky’s funerals, celebrated in Venice on 15 April 1971. On the basis of new documents and testimonies from Sandro Dalla Libera’s archive, now kept at the Cini Foundation in Venice, it reconstructs some phases of the preparation of the event, in particular with regard to the role of Sandro Dalla Libera (1912–1974), well-known organist and scholar of Venetian music, who chose to accompany the ceremony by offering the world television audience some unknown pages by Andrea Gabrieli (1532/3–1585), results of recent rediscoveries.
Research Interests:
In January 1710, the Council of Ten – the Venetian magistracy in charge of public order – required to verify whether the Vespers for the Solemnity of St Sebastian, celebrated at the Benedictine Monastery of San Lorenzo with music by... more
In January 1710, the Council of Ten – the Venetian magistracy in charge of public order – required to verify whether the Vespers for the Solemnity of St Sebastian, celebrated at the Benedictine Monastery of San Lorenzo with music by Antonio Lotti, had been concluded by sunset. The rapport offers a rich anthropological cross-section, in which the sound of urban ceremonial intersects with the life of some ordinary people, sketching an evocative group portrait. One of the witnesses interviewed was a greengrocer who on those evenings was playing his violin at the Theatre S. Giovanni Crisostomo, where Georg Friedrich Händel’s Agrippina was being performed.
Research Interests: Early Music, Musicology, Soundscape Studies, Sacred Music, Performance Practice (Music), and 9 moreHistorical Musicology, Venice and the Veneto, George Frideric Handel, Cultural and Social Anthropology, Storia della musica, Italian Baroque Music, Urban musicology, Antonio Lotti, and Venetian Baroque Music
Des sonnets d’amour écrits par Ronsard pour célébrer sa Cassandre, deux éditions paraissent entre 1552 et 1553 : l’édition princeps de 1552 et les Amours, augmentées d’un commentaire, datant de l’année suivante. Le recueil poétique a été... more
Des sonnets d’amour écrits par Ronsard pour célébrer sa Cassandre, deux éditions paraissent entre 1552 et 1553 : l’édition princeps de 1552 et les Amours, augmentées d’un commentaire, datant de l’année suivante. Le recueil poétique a été accompagné d’un supplément musical : là, deux éditions différentes ont été également identifiées. Nous aimerions étudier les enjeux éditoriaux des Amours et de leur annexe musicale pour essayer d’expliquer quelques problèmes d’ordre bibliographique et bibliologique que pose l’histoire éditoriale de ce recueil. Il s’agit d’examiner d’une part le type de rapport entre le supplément et le canzoniere afin de comprendre jusqu’à quel point l’annexe musicale est indissociable de la partie poétique. D’autre part, quelques réflexions relatives à sa fonction dans l’économie du livre déboucheront sur les implications poétiques d’une opération éditoriale unique dans son genre. Une nouvelle histoire éditoriale du supplément pourrait en effet redessiner celle du recueil poétique.
Research Interests:
This collective study aims to explore the dynamics of sound geography of the early modern Italy. They examine various contexts, offering new perspectives on the phenomenology of urban sound, investigated through different typologies of... more
This collective study aims to explore the dynamics of sound geography of the early modern Italy. They examine various contexts, offering new perspectives on the phenomenology of urban sound, investigated through different typologies of sources and innovative methodological approaches. Particular attention will be given to the sound of the urban ceremonial, to its declinations and local connotations, to its ability to interact with the public and private dimension, to its economic impact, to the social and aesthetic dynamics regulating it, to its contribution to define an image of the city, to the control policies of the urban noise, to its impact on the civic architectural space and the environment.
Research Interests:
Annibale Padovano (1527–1575) was one of the great virtuosos of the 16th century. The traces of his artistic experience start in Padua and reach two important cultural centres of the time: Venice, where he assumed the prestigious position... more
Annibale Padovano (1527–1575) was one of the great virtuosos of the 16th century. The traces of his artistic experience start in Padua and reach two important cultural centres of the time: Venice, where he assumed the prestigious position of organist of the ducal chapel of St Mark’s, and Graz, where he worked first as court musician and then as Hofkapellmeister. In the light of material that has emerged in recent investigations, this study aims to provide a new biographical portrait and a survey of his musical production for keyboard instruments, which includes three toccatas and two ricercares, published posthumously in an edition printed in 1604, the only trace of the extraordinary performance art for which Padovano was praised and appreciated at the time.
Keywords: Annibale Padovano, Venice, Graz, organ music, toccata, ricercar, musical
patronage.
Keywords: Annibale Padovano, Venice, Graz, organ music, toccata, ricercar, musical
patronage.
Research Interests: Early Music, Music History, Patronage (Music), Renaissance music, Performance Practice, and 11 moreRenaissance Music Theory, Music editing, Early Modern print culture, Historical Musicology, Organ Music, History of Venice, Early Keyboard Music, Early music and historically informed performance practice, Storia della musica, Music Printing and Publishing, and Venetian Renaissance Music
In 1667 the Venetian publisher Alessandro Vincenti brought out the 'Sonate da camera cioè sinfonie, alemande, correnti, balletti, sarabande da suonare con cinque stromenti ad arco, et altri' by Johann Rosenmüller. The collection was... more
In 1667 the Venetian publisher Alessandro Vincenti brought out the 'Sonate da camera cioè sinfonie, alemande, correnti, balletti, sarabande da suonare con cinque stromenti ad arco, et altri' by Johann Rosenmüller. The collection was reprinted in 1670 . The date of publication is the only reliable bibliographical element concerning this second edition. It is commonly accepted that this reprint was made in Venice, where Rosenmüller worked at the time as trombonista of the Ducal Chapel of St Mark’s. New research now points to the fact that Rosenmüller’s Sonate da camera was reprinted in the printing shop of the Benedictine Abbey of Kempten in Allgäu.
ISBN 978-3-7965-383-4
ISBN 978-3-7965-383-4
Research Interests: Music, Early Music, Music History, Musicology, Monastic Studies, and 15 moreCultural Musicology, Baroque Music, German Baroque Music, Instrumental Music, Violin, History of music, Historical Musicology, Cultural History of Music, Baroque Instrumental Music, Storia della musica, Music Printing and Publishing, Italian Baroque Music, Benedictine Studies, Venetian Baroque Music, and Johann Rosenmüller
The discovery of a new concordance within the manuscript Chigi Q.VIII.206 of the Vatican Library provides the starting point of this study. Among the anonymous compositions transmitted in the manuscript, the first Kyrie of the Missa... more
The discovery of a new concordance within the manuscript Chigi Q.VIII.206 of the
Vatican Library provides the starting point of this study. Among the anonymous compositions transmitted in the manuscript, the first Kyrie of the Missa Apostolorum by
Claudio Merulo (1533-1604), published in 1568, can be identified. The presence of a
composition by Merulo in a source closely linked to the environment in which Girolamo
Frescobaldi (1583-1643) worked, allows to advance some considerations concerning
the context in which the manuscript was copied and, more generally, the role
that Merulo’s musical production played as ideal and formal model for Frescobaldi.
Keywords: Claudio Merulo, Girolamo Frescobaldi, Chigi Manuscripts, Organ Masses.
Vatican Library provides the starting point of this study. Among the anonymous compositions transmitted in the manuscript, the first Kyrie of the Missa Apostolorum by
Claudio Merulo (1533-1604), published in 1568, can be identified. The presence of a
composition by Merulo in a source closely linked to the environment in which Girolamo
Frescobaldi (1583-1643) worked, allows to advance some considerations concerning
the context in which the manuscript was copied and, more generally, the role
that Merulo’s musical production played as ideal and formal model for Frescobaldi.
Keywords: Claudio Merulo, Girolamo Frescobaldi, Chigi Manuscripts, Organ Masses.
Research Interests:
Research on the musical production by Giovanni Andrea Fioroni (1716-1778) has revealed a hitherto unknown relationship between a work by the Milanese composer and Mozart’s Requiem KV 626. In the light of the possible significance of... more
Research on the musical production by Giovanni Andrea Fioroni (1716-1778) has revealed a hitherto unknown relationship between a work by the Milanese composer and Mozart’s Requiem KV 626. In the light of the possible significance of reminiscence phenomena, this paper reconsiders some aspects of soundscape in the late Mozart’s creative process.
ISBN: 978-88-85780-05-7
Review:
– Quaderni del Conservatorio Domenico Cimarosa di Avellino 5 (2019), pp. 209–212: 211 (Marina Marino)
Related to:
https://www.academia.edu/26852475/Risonanze_milanesi_nel_Requiem_in_re_minore_KV_626_di_W.A._Mozart_._La_nostra_musica_da_chiesa_è_assai_differente..._Mozart_e_la_musica_sacra_italiana._International_Conference._Pavia_Italy_Collegio_Ghisleri_9_10_October_2015
ISBN: 978-88-85780-05-7
Review:
– Quaderni del Conservatorio Domenico Cimarosa di Avellino 5 (2019), pp. 209–212: 211 (Marina Marino)
Related to:
https://www.academia.edu/26852475/Risonanze_milanesi_nel_Requiem_in_re_minore_KV_626_di_W.A._Mozart_._La_nostra_musica_da_chiesa_è_assai_differente..._Mozart_e_la_musica_sacra_italiana._International_Conference._Pavia_Italy_Collegio_Ghisleri_9_10_October_2015
Research Interests: Intellectual History, Cultural Studies, Music, Church Music, Early Music, and 43 moreMusic History, Musicology, Anthropology of Music, Opera, Sound studies, Cultural Transfer Studies, Cultural Musicology, Memory Studies, Mozart, Early Modern Catholic Studies, Music and Emotions, Baroque Music, Early Modern Italy, Music and identity, Italian Music, Music Perception, 18th Century, Sacred Music, History of music, 18th Century Music History, Sketching, Musica, Funerary Practices, Historical Musicology, 18th Century Music, Cultural History of Music, Switzerland, Early Modern Travellers, Mozart, 18th century music, Wolfgang Amadeus Mozart, Compositional process, Social History of Music, Sketch studies (Music), Musikwissenschaft, Storia della musica sacra, Storia della musica, Early Modern Travel Literature, Travel Studies, Italian Baroque Music, Intellectual History of Music, Music and Memory, Musica e storia, and Historische Musikwissenschaft
Lodovico da Viadana’s editorial production is paradigmatic in observing the complex phenomenon of lost music prints in early modern Europe. Information derived from preserved editions, historical inventories, booksellers’ listings,... more
Lodovico da Viadana’s editorial production is paradigmatic in observing the complex phenomenon of lost music prints in early modern Europe. Information derived from preserved editions, historical inventories, booksellers’ listings, bibliographies and other documentary sources is here used to identify more than forty apparently lost editions by Viadana. Though not all the data is reliable, it nevertheless offers interesting new perspectives on some aspects of the composer’s activity, editorial success and reception.
ISBN 978-88-95908-10-6
Reviews:
– Early Music 47 (2019), pp. 411–412 (Michael Talbot)
– Rivista Italiana di Musicologia 54 (2019), pp. 197–203 (Francesco Passadore)
ISBN 978-88-95908-10-6
Reviews:
– Early Music 47 (2019), pp. 411–412 (Michael Talbot)
– Rivista Italiana di Musicologia 54 (2019), pp. 197–203 (Francesco Passadore)
Research Interests: Cultural History, Cultural Studies, Music, Early Music, Music History, and 32 moreMusicology, Print Culture, Cultural Heritage, Book History, Cultural Musicology, Franciscan Studies, Book History (History), Historiography of Music, Critical Musicology, Sacred Music, History of music, Music Publishing, Early Modern print culture, Historical Musicology, Lost and Imaginary Books, Music Printing, Early music and historically informed performance practice, Storia della musica sacra, music printing, early modern Germany, history of the book, Storia della musica, Music printing in the 16th and 17th centuries, Music Printing and Publishing, 16th Century Music Prints, The Venetian Music School (1550-1610), Franciscan Music and Culture, Franciscan Music In 17th and 18th Century, Venetian Renaissance Music, Musikgeschichte, History of Printed Music, Venetian Baroque Music, Lodovico da Viadana (1564 - 1645), and Musical historiography
Aim of this study is to reconsider the nature of the relationship between the two editions of Claudio Merulo’s Ricercari d’intavolatura d’organo, libro primo (Venice, 1567; ibid., 1605). On the basis of a careful bibliographic analysis it... more
Aim of this study is to reconsider the nature of the relationship between the two editions of Claudio Merulo’s Ricercari d’intavolatura d’organo, libro primo (Venice, 1567; ibid., 1605). On the basis of a careful bibliographic analysis it is possibile to highlight the probable derivation of the posthumous reprint produced by Angelo Gardano in 1605 from the original edition published by the same Merulo in 1567 and, more generally, various aspects related to the materiality of the editorial work concerning the publishing of a music book at the time.
Claudio Merulo, Angelo Gardano, Organ Music, Music Printing and Publishing, Venice
Claudio Merulo, Angelo Gardano, Organ Music, Music Printing and Publishing, Venice
Research Interests: Music, Early Music, Music History, Musicology, Print Culture, and 15 moreMaterial Culture Studies, Renaissance music, History of music, Renaissance Music (Music), Early Modern print culture, Organ Music, Keyboard Music, Claudio Merulo, Early Organ Music, Storia della musica, Music and Books, The Venetian Music School (1550-1610), The Venetian Music School, Renaissance and Baroque Music, and Venetian Renaissance Music
Research Interests: Intellectual History, Cultural Studies, Music, Church Music, Early Music, and 52 moreMusic History, Musicology, Anthropology of Music, Travel Writing, Early Modern History, Opera, Soundscape Studies, Sound studies, Cultural Transfer Studies, Cross-Cultural Studies, Italy (Early Modern History), Early Modern Catholic Studies, Music and Emotions, Baroque Music, Early Modern Italy, Music and identity, Intellectual and cultural history, Diary Studies, Soundscape (Music), Travel Literature, Music Perception, Early Modern Catholicism, 18th Century, Sacred Music, 18th Century Music History, Soundscape, Musica, Historical Musicology, Historical Sources, 18th Century Music, Cultural History of Music, Music Perception and Cognition, Benedictine Monasticism, Switzerland, Grand Tour, Early Modern Travellers, Reading Book, Travelling, Listening to Music, Opera Studies, Musicology/Cultural Studies, Social History of Music, Italian Opera, Musikwissenschaft, Storia della musica sacra, Early Modern Travel, Storia della musica, Early Modern Travel Literature, Italian Baroque Music, Storia Sociale Della Musica, Intellectual History of Music, Grand Tour Studies, 18th Century Grand Tour, and Historische Musikwissenschaft
Musica antica per organo nell'Italia del dopoguerra. Scoperte e progetti editoriali nel carteggio tra Sandro Dalla Libera e Renato Lunelli (1949-1966). – In: Livio Aragona, Claudio Toscani (eds), La Polifonica Ambrosiana (1947-1980). Musica antica nell'Italia del secondo dopoguerra. Lucca: LIM, 2017more
pp. 171–218. – Il nome di Sandro Dalla Libera (1912-1974) è legato a doppio filo a alcuni tra i più importanti progetti editoriali dedicati alla musica d’organo realizzati in Italia dopo la fine del secondo conflitto mondiale. Il... more
pp. 171–218. – Il nome di Sandro Dalla Libera (1912-1974) è legato a doppio filo a alcuni tra i più importanti progetti editoriali dedicati alla musica d’organo realizzati in Italia dopo la fine del secondo conflitto mondiale. Il presente studio intende indagare il contesto che ha fatto da cornice all’attività di uno dei protagonisti della riscoperta del repertorio organistico italiano durante il periodo della ricostruzione postbellica. Il punto di partenza è rappresentato dai materiali conservati nell’archivio Sandro Dalla Libera, donato nel 2011 dagli eredi alla Fondazione Giorgio Cini di Venezia. Lo spoglio e l’analisi delle carte del fondo – in particolare, delle lettere e dei materiali preparatori delle edizioni musicali – hanno permesso di individuare alcune feconde piste di ricerca. Una di esse ha un’importanza centrale per il tema che qui si intende affrontare: il rapporto con Renato Lunelli (1895-1967). L’ampio scambio epistolare ancor oggi conservato con il noto storico musicale di Trento, erudito di fama internazionale in materia di storia dell’organo e del suo repertorio, ha permesso di ricostruire alcuni episodi-chiave dei progetti editoriali ai quali Dalla Libera ha dato vita: prime fra tutti, le edizioni legate alla riscoperta della monumentale intavolatura d’organo in notazione tedesca conservata presso la Biblioteca Nazionale di Torino.
Reviews:
Informazione Organistica, nuova serie 44 (2018), pp. 263–265 (Pier Paolo Donati).
Rivista Italiana di Musicologia 54 (2019), pp. 226–231 (Siel Agugliaro).
Reviews:
Informazione Organistica, nuova serie 44 (2018), pp. 263–265 (Pier Paolo Donati).
Rivista Italiana di Musicologia 54 (2019), pp. 226–231 (Siel Agugliaro).
Research Interests: Music, Early Music, Music History, Musicology, Performance Studies, and 54 moreManuscripts and Early Printed Books, Historiography, Manuscript Studies, Cultural Musicology, Performance Studies (Music), Renaissance music, History of Historiography, Modern Manuscript Studies, Historiography of Music, History of music, Music editing, Music Publishing, Renaissance Music (Music), Music Performance, XXth century music, Musica, Historical Musicology, Organ Music, Cultural History of Music, Critical Edition (Early Modern History), Storiografia, Italian Renaissance Music, Early Keyboard Music, Musical Edition, Early Music Performance, Editions of Music, Keyboard Music, Early music and historically informed performance practice, Giovanni Gabrieli, Andrea Gabrieli, Claudio Merulo, Storia della musica sacra, Storia della storiografia, Music Manuscripts, Storiografia Italiana, Frescobaldi, Early Organ Music, Musical philology, Storia della musica, Filologia Musicale, Fondazione Cini, Venezia, Pipe Organ Music, Critical Editing, Music and Cultural Industry, The Venetian Music School (1550-1610), History of the 19th-/20th-century Early Music Revival, Renaissance and Baroque Music, Venetian Renaissance Music, Storia E Critica Musicale, Girolamo Frescobaldi, Fondazione Giorgio Cini, Gian Francesco Malipiero, Storia E Storiografia Della Musica, and Storia e estetica della musica
This paper investigates Giovanni Gabrieli’s role in the posthumous publication of his uncle’s music, a wide-ranging editorial project comprising eleven first editions of polyphonic music and eight reprints (several of them revised). Lost... more
This paper investigates Giovanni Gabrieli’s role in the posthumous publication of his uncle’s music, a wide-ranging editorial project comprising eleven first editions of polyphonic music and eight reprints (several of them revised). Lost editions and ghost editions are examined in an attempt to establish the exact entity and chronology of the two Gabrielis’ printed output. The objectives and strategies of the posthumous production are reconsidered in this revised perspective.
In: Giovanni Gabrieli. Transmission and Reception of a Venetian Musical Tradition, edited by Rodolfo Baroncini, David Bryant, Luigi Collarile. Turnhout: Brepols, 2016 (Venetian Music – Studies, 1)
Reviews:
Rivista Italiana di Musicologia 53 (2018), p. 285–291: 286–287 (Michelangelo Gabbrielli)
In: Giovanni Gabrieli. Transmission and Reception of a Venetian Musical Tradition, edited by Rodolfo Baroncini, David Bryant, Luigi Collarile. Turnhout: Brepols, 2016 (Venetian Music – Studies, 1)
Reviews:
Rivista Italiana di Musicologia 53 (2018), p. 285–291: 286–287 (Michelangelo Gabbrielli)
Research Interests: Early Music, Music History, Musicology, Organ And Historical Keyboards (E.G., Harpsichord), Print Culture, and 48 moreAnalytical bibliography, Authorship Attribution, Cultural Musicology, Baroque Music, Renaissance music, Italian Music, German Baroque Music, Historiography of Music, Harpsichord, 17th Century Music, Authorship, History of music, Bibliographic Research, Music Publishing, 16th Century Music, Early Modern print culture, Historical Musicology, Organ Music, Cultural History of Music, Music History, Cultural History, Economics, Bibliographies, Musicology/Cultural Studies, 16th Century Sacred Music, Italian Renaissance Music, Music Printing, Cembalo, 16th and 17th Century Music, Early music and historically informed performance practice, Authoriality and Authorship, Giovanni Gabrieli, Andrea Gabrieli, Storia della musica sacra, music printing, early modern Germany, history of the book, Harpsichord Music, Early Organ Music, Storia della musica, Music printing in the 16th and 17th centuries, Music Printing and Publishing, Italian Baroque Music, 16th Century Music Prints, The Venetian Music School (1550-1610), The Venetian Music School, Storia Sociale Della Musica, Bibliographic Heritage, Clavicembalo, Venetian Renaissance Music, Venetian Baroque Music, and Storia e estetica della musica
This paper explores some techniques for visually synchronizing the music notation in ancient choir-books in which, differently from modern music scores, the different voices are independently placed in the four quadrants of an open volume... more
This paper explores some techniques for visually synchronizing the music notation in ancient choir-books in which, differently from modern music scores, the different voices are independently placed in the four quadrants of an open volume large page. We propose three visual techniques to show the synchronization between the different voices in comparison with a modern music notation.
Research Interests: Music, Early Music, Musicology, Digital Media, Performance Studies (Music), and 23 moreBaroque Music, Renaissance music, Performance Practice (Music), Renaissance Music (Music), Music Performance, Historically Informed Performance (HIP), Venice, History of Venice, Musical Performance, Digital Humanties, Catholicism and music, Choir singing and mental health, Catholic Church music, Musical Representation, The Venetian Music School (1550-1610), The Role of Music in Catholic Liturgy, Musical perfromance, Renaissance and Baroque Music, Choirbook, Music In Catholic Liturgy, St Mark's Basilica Venice, Venetian Baroque Music, and Choir Books
Now see: Luigi Collarile – Daniel Maira, Ronsard et la mise en musique des Amours (1552-1553). Paris: Classiques Garnier, 2016... more
Now see:
Luigi Collarile – Daniel Maira, Ronsard et la mise en musique des Amours (1552-1553). Paris: Classiques Garnier, 2016
https://www.academia.edu/23932074/Ronsard_et_la_mise_en_musique_des_Amours_1552-1553_._Paris_Classiques_Garnier_2016
Luigi Collarile – Daniel Maira, Ronsard et la mise en musique des Amours (1552-1553). Paris: Classiques Garnier, 2016
https://www.academia.edu/23932074/Ronsard_et_la_mise_en_musique_des_Amours_1552-1553_._Paris_Classiques_Garnier_2016
Zieleński e il contesto editoriale veneziano nel primo Seicento: questioni e prospettive. – In: T. Jeż, B. Przybyszewska-Jarmińska, M. Toffetti (eds), Italian Music in Central-Eastern Europe. Around Mikołaj Zieleński’s Offertoria and Communiones (1611). Venezia: Fondazione Levi, 2015, pp. 151–170more
Delivered in 2012, published in 2015 [recte 2016]. In questo studio viene indagato il contesto nel quale sono stati pubblicati gli Offertoria e le Communiones totius anni di Mikołaj Zieleński. Attraverso un’analisi della produzione... more
Delivered in 2012, published in 2015 [recte 2016].
In questo studio viene indagato il contesto nel quale sono stati pubblicati gli Offertoria e le Communiones totius anni di Mikołaj Zieleński. Attraverso un’analisi della produzione editoriale veneziana (oggi conservata e non) apparsa intorno al 1611, viene proposta una riflessione sulle strategie perseguite dalle diverse officine veneziane impegnate nel settore musicale, sulla tipologia del repertorio musicale pubblicato e sulla presenza di compositori foresti come Zieleński. L’obiettivo è quello di mettere a fuoco le peculiarità di un’operazione editoriale senz’altro fuori dal comune.
This study investigates the context in which Mikołaj Zieleński’s Offertoria and Communiones totius anni was published. Through an analysis of Venetian music editions produced around 1611 (today preserved or lost), it intends to reflect on the strategies pursued by the Venetian music publishers, on the typology of published music repertoire, and on the presence of foreign composers such as Zieleński. The purpose is to focus on the characteristics of an editorial project, which undoubtedly are out of the ordinary.
Review:
- Muzyka 3 (2017), p. 130-137 (Antonio Chemotti).
- Rivista Italiana di Musicologia 53 (2018), p. 255-259 (Roberta Mangiacavalli)
In questo studio viene indagato il contesto nel quale sono stati pubblicati gli Offertoria e le Communiones totius anni di Mikołaj Zieleński. Attraverso un’analisi della produzione editoriale veneziana (oggi conservata e non) apparsa intorno al 1611, viene proposta una riflessione sulle strategie perseguite dalle diverse officine veneziane impegnate nel settore musicale, sulla tipologia del repertorio musicale pubblicato e sulla presenza di compositori foresti come Zieleński. L’obiettivo è quello di mettere a fuoco le peculiarità di un’operazione editoriale senz’altro fuori dal comune.
This study investigates the context in which Mikołaj Zieleński’s Offertoria and Communiones totius anni was published. Through an analysis of Venetian music editions produced around 1611 (today preserved or lost), it intends to reflect on the strategies pursued by the Venetian music publishers, on the typology of published music repertoire, and on the presence of foreign composers such as Zieleński. The purpose is to focus on the characteristics of an editorial project, which undoubtedly are out of the ordinary.
Review:
- Muzyka 3 (2017), p. 130-137 (Antonio Chemotti).
- Rivista Italiana di Musicologia 53 (2018), p. 255-259 (Roberta Mangiacavalli)
Research Interests: Music, Church Music, Early Music, Music History, Musicology, and 26 morePrint Culture, Baroque Music, Renaissance music, Poland, Renaissance Music (Music), 16th Century Music, Musicians, Early Modern print culture, Cultural History of Music, Venice, Music History, Cultural History, Economics, history of Poland, 16th Century Sacred Music, Early music and historically informed performance practice, Catholic Church music, Giovanni Gabrieli, music printing, early modern Germany, history of the book, Music printing in the 16th and 17th centuries, Music Printing and Publishing, Italian Baroque Music, 16th Century Music Prints, The Venetian Music School (1550-1610), The Venetian Music School, Renaissance and Baroque Music, Autorship, and History of Music In the Commonwealth of Poland and Lithuania
Kirchenmusikalisches Jahrbuch 98 (2014), pp. 59-83
Research Interests: Cultural Studies, Music, Church Music, Early Music, Music History, and 37 moreMusicology, French History, Renaissance Studies, Authorship Attribution, Cultural Musicology, French Renaissance, Venetian History, Renaissance music, Adrian Willaert, Sacred Music, Authorship, History of music, Ceremony, Ritual and Performance, Historical Musicology, Cultural History of Music, Venice, Medieval, Renaissance and Baroque Music, History of Venice, Longue durée, Musicology/Cultural Studies, Francesco Cavalli, Catholicism and music, Civic Ceremony, Catholic Church music, Authoriality and Authorship, Renaissance Venice, Clément Janequin, Cipriano De Rore, Renaissance and Baroque Music, Choirbook, Venetian Renaissance Music, Music In Catholic Liturgy, St Mark's Basilica Venice, Francois Ier, Guerres D'italie, Choir Books, and Basilica di San Marco a Venezia
In: Peter Erhart, Jakob Kuratli Hüeblin (eds), Vedi Napoli e poi muori : Grand Tour der Mönche. St. Gallen: Verlag am Klosterhof, 2014, p. 154-168.
Review:
- Francia-Recensio 1 (2016) (Julian Führer).
Review:
- Francia-Recensio 1 (2016) (Julian Führer).
Research Interests: Cultural Studies, Music, Music History, Musicology, Early Modern History, and 42 moreEarly Modern Europe, Cross-Cultural Studies, Italy (Early Modern History), Cultural Musicology, Sociology of Music, Neo-latin literature, Baroque Music, Cultural Studies (Communication), Early Modern Italy, Memoir and Autobiography, Travel Literature, Cross-cultural studies (Culture), History of Switzerland, Benedictine History, Historical Musicology, Cultural History of Music, Early modern Rome, Rome (Baroque), Memoir writing/ autobiography, Benedictine Monasticism, Switzerland, Grand Tour, Early Modern Travellers, Reading Book, Travelling, Listening to Music, Longue durée, Musicology/Cultural Studies, Milan in the Early Modern Era, The Grand Tour, Early modern venice, patronage Baroque Rome, Early Modern Travel Literature, Italian Baroque Music, Baroque Rome, Early Modern Naples, Sociological Impact of Music, Grand Tour Studies, Benedictine Studies, Social Impact of Music, 18th Century Grand Tour, History of Grand Tours, Swiss Music history, and Early Modern Bologna
In: Alberto Colzani, Andrea Luppi, Maurizio Padoan (eds), Barocco Padano e musici francescani : l'apporto dei maestri conventuali. Atti del XVI Convegno internazionale sul barocco padano (secoli XVII-XVIII) : Padova 1-3 luglio. Padova:... more
In: Alberto Colzani, Andrea Luppi, Maurizio Padoan (eds), Barocco Padano e musici francescani : l'apporto dei maestri conventuali. Atti del XVI Convegno internazionale sul barocco padano (secoli XVII-XVIII) : Padova 1-3 luglio. Padova: Centro Studi Antoniani, 2014, pp. 379-411. – Recent surveys have highlighted the significant presence of quotations from works by other authors (Frescobaldi in primis) within the Annuale by the Franciscan Giovanni Battista Fasolo, published in Venice in 1645. Aim of my contribution is to reconsider the context of this operation. Before they can be classified as rip-offs (a not unknown concept in the Baroque), two aspects should be considered: the manner of the possible reception of unusual musical repertoires (as a Fantasia attributed to Jan Pieterszoon Sweelinck); the value of the quoted repertoire in relation to the main function of Fasolo’s Annuale: to provide a model for the study of performance practices that every organist had to know to play in the church. The quoted reperoire will be considered with reference to the rhetorical instrument of the loci communes: a practice also attested in music at the time, as the Cartellina by the Olivetan Adriano Banchieri (1614) shows.
Reviews:
- Music & Letters 96 (2015), p. 454-457 (Michael Talbot).
- Rivista Italiana di Musicologia 51 (2016), p. 265-266 (Cristina Scuderi).
Reviews:
- Music & Letters 96 (2015), p. 454-457 (Michael Talbot).
- Rivista Italiana di Musicologia 51 (2016), p. 265-266 (Cristina Scuderi).
Research Interests: Music, Early Music, Music History, Musicology, Organ And Historical Keyboards (E.G., Harpsichord), and 28 morePerformance Studies (Music), Franciscan Studies, Baroque Music, Sacred Music, History of music, Performance Practice (Music), Music Performance, Citation context analysis, Citations, Historical Musicology, Organ Music, Compositional Processes, Citation Analysis, Liturgy, Sacred Music, Compositional Procedure, Compositional process, Sacred Music (XVII-XVIIIe siècles), Early music and historically informed performance practice, Early Organ Music, Music printing in the 16th and 17th centuries, Music Printing and Publishing, Italian Baroque Music, Pipe Organ Music, Music and the Mind, Franciscan Music pedagogy, Franciscan Music and Culture, Franciscan Music In 17th and 18th Century, and Sweelinck
In: Cesare Fertonani, Raffaele Mellace, Claudio Toscani (eds), La musica sacra nella Milano del Settecento : Atti del convegno internazionale : Milano, 17-18 maggio 2011. Milano: LED, 2014, pp. 213-244. Presso l’abbazia benedettina di... more
In: Cesare Fertonani, Raffaele Mellace, Claudio Toscani (eds), La musica sacra nella Milano del Settecento : Atti del convegno internazionale : Milano, 17-18 maggio 2011. Milano: LED, 2014, pp. 213-244.
Presso l’abbazia benedettina di Einsiedeln, in Svizzera, sono conservate quasi sessanta composizioni di Gian Andrea Fioroni (1716-1778). Obiettivo dello studio è analizzare le modalità di trasmissione di questo nucleo di fonti manoscritte che comprende anche partiture autografe. Il quadro che emerge mette in luce in maniera emblematica la natura dei canali attraverso cui una straordinaria quantità di musica milanese del Settecento ha oltrepassato le Alpi, per diventare parte integrante del repertorio in uso presso l’importante monastero benedettino svizzero di Einsiedeln almeno fino alla metà dell’Ottocento.
Review:
- Music & Letters 96 (2015), p. 470-472 (Robert Kendrick).
Presso l’abbazia benedettina di Einsiedeln, in Svizzera, sono conservate quasi sessanta composizioni di Gian Andrea Fioroni (1716-1778). Obiettivo dello studio è analizzare le modalità di trasmissione di questo nucleo di fonti manoscritte che comprende anche partiture autografe. Il quadro che emerge mette in luce in maniera emblematica la natura dei canali attraverso cui una straordinaria quantità di musica milanese del Settecento ha oltrepassato le Alpi, per diventare parte integrante del repertorio in uso presso l’importante monastero benedettino svizzero di Einsiedeln almeno fino alla metà dell’Ottocento.
Review:
- Music & Letters 96 (2015), p. 470-472 (Robert Kendrick).
Research Interests: Music, Church Music, Music History, Musicology, Opera, and 26 moreCultural Transfer Studies, Cultural Musicology, Baroque Music, Sacred Music, History of Switzerland, 18th Century Music History, Historical Musicology, 18th Century Music, Cultural History of Music, Milano, Benedictine Monasticism, Switzerland, Musicology/Cultural Studies, Liturgy, Sacred Music, Milan in the Early Modern Era, History of Milan, Contrafactum, Transmission of Music, Catholicism and music, Catholic Church music, 18th Century Catholic Music, Italian Baroque Music, Music Transmission, Music In Catholic Liturgy, Einsiedeln, and Swiss Music history
In: Antonio Addamiano, Francesco Luisi (eds), Atti del Congresso Internazionale di Musica Sacra : In occasione del centenario di fondazione del PIMS : Roma, 26 maggio - 1 giugno 2011. 3 vols. Città del Vaticano: Libreria Editrice... more
In: Antonio Addamiano, Francesco Luisi (eds), Atti del Congresso Internazionale di Musica Sacra : In occasione del centenario di fondazione del PIMS : Roma, 26 maggio - 1 giugno 2011. 3 vols. Città del Vaticano: Libreria Editrice Vaticana, 2013, vol. 2, pp. 639-664
Research Interests: Music, Church Music, Music History, Musicology, Venetian History, and 25 moreBaroque Music, Renaissance music, 17th Century Music, Sacred Music, 17th-c Italian Music, 17th-Century Music, Historical Musicology, History of Venice, Longue durée, Liturgy, Sacred Music, Italian Renaissance Music, Giovanni Rovetta, Francesco Cavalli, Catholicism and music, Catholic Church music, Renaissance Venice, Italian Baroque Music, Renaissance and Baroque Music, Venetian Renaissance Music, Music In Catholic Liturgy, St Mark's Basilica Venice, Venetian Baroque Music, Choir Books, Basilica di San Marco a Venezia, and Johann Rosenmüller
By Claudio Bacciagaluppi and Luigi Collarile.
Research Interests: Cultural Studies, Music, Early Music, Music History, Musicology, and 50 moreOrgan And Historical Keyboards (E.G., Harpsichord), Print Culture, Media and Cultural Studies, Reception Studies, Book History, Mobility/Mobilities, Swiss History, Cultural Transfer Studies, Cross-Cultural Studies, Brahms, Cultural Musicology, Baroque Music, Cultural Studies (Communication), Cistercians, Collecting (Music), Early Modern Italy, Social and Cultural History, Cross-cultural studies (Culture), Cross-cultural transfers, 17th Century Music, History of music, Social Mobility, History of Switzerland, Early Modern print culture, Mobility, 17th-c Italian Music, Historical Musicology, Organ Music, Cultural History of Music, Cistercian Studies, Social History and Cultural Study of Music, Benedictine Monasticism, Switzerland, Johannes Brahms, Cultural Transfers, Transmission of Music, Frescobaldi, Early Organ Music, Storia della musica, Italian Baroque Music, Pipe Organ Music, Baroque Rome, Storia Sociale Della Musica, Circulation of Texts and Books, Sociological Impact of Music, Einsiedeln, Girolamo Frescobaldi, Storia e estetica della musica, Swiss Music history, and Swiss Music
In: Helen Geyer, Birgit Johanna Wertenson (eds), G. F. Händel. Aufbruch nach Italien / In viaggio verso l'Italia (Conference Proceedings: Venice, 27-28 November 2009). Roma: Viella, 2013, pp. 207-225. – Giovanni Legrenzi’s motet Intret in... more
In: Helen Geyer, Birgit Johanna Wertenson (eds), G. F. Händel. Aufbruch nach Italien / In viaggio verso l'Italia (Conference Proceedings: Venice, 27-28 November 2009). Roma: Viella, 2013, pp. 207-225. – Giovanni Legrenzi’s motet Intret in conspectu tuo is transmitted only in an autograph by George Frideric Handel. An important documentary source (the Venetian journal "Pallade veneta") suggests that the motet was composed for the celebrations of military victories against the Ottomans, promoted by the Venetian Doge in January 1687. Paleographical evidence, however, suggests that Handel copied the motet in London around 1749. The use of a section of the motet in a chorus of the Samson suggests that the composer knew it before 1741, when the oratory was performed for the first time. This fact raises interesting questions about Handel's re-utilization of Italian musical sources.
Research Interests: Music, Church Music, Early Music, Music History, Musicology, and 28 moreAuthorship Attribution, Cultural Musicology, Baroque Music, Collecting (Music), G F Handel, Critical Musicology, Sacred Music, Authorship, History of music, Musicians, Historical Musicology, Compositional Processes, Attribution, Handel, Liturgy, Sacred Music, Compositional process, Sacred Music (XVII-XVIIIe siècles), Transmission of Music, Music Reception, Catholic Church music, Authoriality and Authorship, Italian Baroque Music, Music Transmission, Music In Catholic Liturgy, Venetian Baroque Music, Giovanni Legrenzi, Basilica di San Marco a Venezia, and San Marco Venice
In: Alberto Colzani, Andrea Luppi, Maurizio Padoan (eds), Barocco Padano 7 : Atti del XV Convegno internazionale sulla musica italiana nei secoli XVII-XVIII : Milano, 14-16 luglio 2009. Como, A.M.I.S., 2012, pp. 541-564
Research Interests: Music, Early Music, Music History, Musicology, Print Culture, and 15 moreBaroque Music, History of music, Early Modern print culture, Historical Musicology, Autographs, Compositional process, Milan in the Early Modern Era, History of Milan, Transmission of Music, Authoriality and Authorship, Music printing in the 16th and 17th centuries, Music Printing and Publishing, Italian Baroque Music, Music Transmission, and History of Printed Music
In: Tiziana Affortunato (ed.), La musicologia come pretesto. Scritti in onore di Emilia Zanetti. Roma: Istituto Italiano per la Storia della Musica, 2011, pp. 99-113
Research Interests: Music, Music History, Musicology, Print Culture, Early Modern History, and 13 moreEarly Modern Europe, Cultural Musicology, Early Modern Italy, Music Publishing, Early Modern print culture, Historical Musicology, Cultural History of Music, Music Printing, Music engraving, Music printing in the 16th and 17th centuries, Music Printing and Publishing, History of Printed Music, and Estienne Roger
Schweizer Jahrbuch für Musikwissenschaft 30 (2010), pp. 117-161. – In 1675 the monastery of Einsiedeln (Switzerland) acquired by the Jesuits a residence in Bellinzona. This house used until 1852 represents a very important ‘pied-à-terre’... more
Schweizer Jahrbuch für Musikwissenschaft 30 (2010), pp. 117-161. – In 1675 the monastery of Einsiedeln (Switzerland) acquired by the Jesuits a residence in Bellinzona. This house used until 1852 represents a very important ‘pied-à-terre’ to Italy and especially to Milan. An exceptional cultural transfer occurs along this way with an intense circulation of musical sources. Aim of this study is, on the one hand, to investigate the modalities of circulation of music between Milan and Einsiedeln; on the other, to show how this swiss connection has influenced the selection of Italian music.
Research Interests: Cultural Studies, Music, Church Music, Music History, Musicology, and 40 moreMedia and Cultural Studies, Opera, Swiss History, Cultural Transfer Studies, Italian Cultural Studies, Cross-Cultural Studies, Cultural Musicology, Baroque Music, Cultural Studies (Communication), Cross-cultural studies (Culture), Johann Adolph Hasse, Sacred Music, History of music, Classical Music, 18th Century Music History, Benedictine History, Historical Musicology, 18th Century Music, Cultural History of Music, Benedictine Monasticism, Switzerland, Musicology/Cultural Studies, Liturgy, Sacred Music, Milan in the Early Modern Era, History of Milan, Contrafactum, Transmission of Music, Music Reception, Catholicism and music, opera seria XVIIIth century, Catholic Church music, Baldassarre Galuppi, Historical Musicology, Reception History, Music Transmission, Benedictine Studies, Music In Catholic Liturgy, Opera Seria, Johann Adolf Hasse, Bellinzona, and Swiss Music history
In: Federica Nardacci (ed.), Musica tra storia e filologia : Studi in onore di Lino Bianchi. Roma: Istituto Italiano per la Storia della Musica, 2010, p. 53-82. Review: - Nuova Rivista Musicale Italiana 2/2012, p. 262-265: 263... more
In: Federica Nardacci (ed.), Musica tra storia e filologia : Studi in onore di Lino Bianchi. Roma: Istituto Italiano per la Storia della Musica, 2010, p. 53-82.
Review:
- Nuova Rivista Musicale Italiana 2/2012, p. 262-265: 263 (Tiziana Affortunato).
Review:
- Nuova Rivista Musicale Italiana 2/2012, p. 262-265: 263 (Tiziana Affortunato).
Research Interests: Music, Church Music, Early Music, Music History, Musicology, and 21 moreReception Studies, Attribution Theory, Authorship Attribution, Cultural Musicology, Baroque Music, 18th Century France, 17th century France, Sacred Music, History of music, Historical Musicology, Transmission of Music, Catholicism and music, Catholic Church music, Italian Baroque Music, Music Transmission, Music In Catholic Liturgy, History of Printed Music, Giacomo Carissimi, Venetian Baroque Music, italian music in France, and Giovanni Legrenzi
Studi Musicali 38 (2009), pp. 45-54
Research Interests: Early Music, Music History, Musicology, Print Culture, Baroque Music, and 12 more17th Century Music, Early Modern print culture, Historical Musicology, Seventeenth Century Music, Transmission of Music, Music printing in the 16th and 17th centuries, Music Printing and Publishing, Italian Baroque Music, Music Transmission, History of Printed Music, Venetian Baroque Music, and Giovanni Legrenzi
Recercare 22 (2008), pp. 117-140
Research Interests: Music, Music History, Musicology, Organ And Historical Keyboards (E.G., Harpsichord), Print Culture, and 26 moreCultural Musicology, Venetian History, Music and identity, Harpsichord, Music Publishing, Early Modern print culture, Historical Musicology, Organ Music, Cultural History of Music, 16th century Venice, History of Venice, Venetian Early Printed Books, Musicology/Cultural Studies, Music Printing, Cembalo, Musical identity, Claudio Merulo, Musical Representation, Harpsichord Music, Early Organ Music, Music printing in the 16th and 17th centuries, Music Printing and Publishing, The Venetian Music School (1550-1610), Clavicembalo, Venetian Renaissance Music, and History of Printed Music
Research Interests:
Now see: Luigi Collarile – Daniel Maira, Ronsard et la mise en musique des Amours (1552-1553). Paris: Classiques Garnier, 2016... more
Now see:
Luigi Collarile – Daniel Maira, Ronsard et la mise en musique des Amours (1552-1553). Paris: Classiques Garnier, 2016
https://www.academia.edu/23932074/Ronsard_et_la_mise_en_musique_des_Amours_1552-1553_._Paris_Classiques_Garnier_2016
Luigi Collarile – Daniel Maira, Ronsard et la mise en musique des Amours (1552-1553). Paris: Classiques Garnier, 2016
https://www.academia.edu/23932074/Ronsard_et_la_mise_en_musique_des_Amours_1552-1553_._Paris_Classiques_Garnier_2016
Research Interests:
Research Interests: Cultural History, Cultural Studies, Music, Church Music, Early Music, and 40 moreMusic History, Musicology, Print Culture, Media and Cultural Studies, Cultural Musicology, Venetian History, Baroque Music, Early Modern Italy, Confraternities and Luoghi Pii, 17th Century Music, Sacred Music, Music Publishing, Early Modern print culture, Ceremony, Ritual and Performance, 17th-c Italian Music, Historical Musicology, Cultural History of Music, Seventeenth Century Music, History of Venice, Musicology/Cultural Studies, Liturgy, Sacred Music, Music Printing, Early modern venice, Catholicism and music, Catholic Church music, Authoriality and Authorship, Storia della musica sacra, Storia della musica, Music printing in the 16th and 17th centuries, Music Printing and Publishing, Italian Baroque Music, Music In Catholic Liturgy, History of Printed Music, St Mark's Basilica Venice, Venetian Baroque Music, Last Wills and Testaments, Choir Books, Basilica di San Marco a Venezia, San Marco Venice, and Musica e storia
Publikationen der Schweizerischen Musikforschenden Gesellschaft – Serie II, Bd. 48
Research Interests: Music, Early Music, Music History, Musicology, Authenticity, and 17 moreAuthorship Attribution, Cultural Musicology, Renaissance music, Authorship, Historical Musicology, Organ Music, Musicology/Cultural Studies, German Renaissance Organ and Lute Tablatures, Transmission of Music, Music Printing, Authoriality and Authorship, Claudio Merulo, Early Organ Music, Music printing in the 16th and 17th centuries, Music Printing and Publishing, Music Transmission, and Venetian Renaissance Music
with Claudio Bacciagaluppi.
Research Interests:
Fonti Musicali Italiane 12 (2007), pp. 7-37
Research Interests: Early Music, Music History, Print Culture, Cultural Musicology, Early Modern Material Culture, and 17 moreRenaissance music, Renaissance Music (Music), Early Modern print culture, Historical Musicology, Cultural History of Music, Venetian Early Printed Books, Transmission of Music, Early music and historically informed performance practice, Renaissance Venice, Claudio Merulo, Music printing in the 16th and 17th centuries, 16th Century Music Prints, The Venetian Music School (1550-1610), The Venetian Music School, Music Transmission, Venetian Renaissance Music, and History of Printed Music
Rivista Italiana di Musicologia 40 (2005), pp. 19-83
Research Interests: Music, Early Music, Music History, Musicology, Authorship Attribution, and 20 moreBiography, Cultural Musicology, Baroque Music, 17th Century Music, History of music, 17th-c Italian Music, Historical Musicology, Cultural History of Music, Seventeenth Century Music, Attribution, Autographs, Compositional process, Milan in the Early Modern Era, History of Milan, Transmission of Music, Duomo Di Milano, Italian Baroque Music, Music Transmission, Venetian Baroque Music, and Giovanni Legrenzi
In: Luigi Collarile – Daniele Maira (ed.), Nel libro di Laura – Petrarcas Liebesgedichte in der Renaissance. Basel: Schwabe, 2004, p. 143-166 Reviews: - The Year’s Work in Modern Language Studies 66 (2004), p. 94 (Gilles Banderier).... more
In: Luigi Collarile – Daniele Maira (ed.), Nel libro di Laura – Petrarcas Liebesgedichte in der Renaissance. Basel: Schwabe, 2004, p. 143-166
Reviews:
- The Year’s Work in Modern Language Studies 66 (2004), p. 94 (Gilles Banderier).
- Les Lettres Romanes 59 (2005), p. 374 (Gian Paolo Giudicetti).
- La Rassegna della Letteratura Italiana 109 (2005), p. 210-211 (Roberto Gigliucci).
- Wissenschaftlicher Literaturanzeiger (wla-online.de; 24.02.2005) (Ruppert Rentz).
- Italianistica : Rivista di Letteratura Italiana 34 (2005), p. 164-165 (M.C.).
- Zeitschrift für romanische Philologie 123 (2007), p. 658-660 (Michael Bernsen).
- Informationsmittel : Digitales Rezensionsorgan für Bibliothek und Wissenschaft 16 (2008) (Klaus Schreiber).
- Zeitschrift für französische Sprache und Literatur 118 (2008), p. 168-171 (Bernhard Huss).
Reviews:
- The Year’s Work in Modern Language Studies 66 (2004), p. 94 (Gilles Banderier).
- Les Lettres Romanes 59 (2005), p. 374 (Gian Paolo Giudicetti).
- La Rassegna della Letteratura Italiana 109 (2005), p. 210-211 (Roberto Gigliucci).
- Wissenschaftlicher Literaturanzeiger (wla-online.de; 24.02.2005) (Ruppert Rentz).
- Italianistica : Rivista di Letteratura Italiana 34 (2005), p. 164-165 (M.C.).
- Zeitschrift für romanische Philologie 123 (2007), p. 658-660 (Michael Bernsen).
- Informationsmittel : Digitales Rezensionsorgan für Bibliothek und Wissenschaft 16 (2008) (Klaus Schreiber).
- Zeitschrift für französische Sprache und Literatur 118 (2008), p. 168-171 (Bernhard Huss).
Research Interests:
http://vmo.unive.it A scientific website dedicated to research on music in Venice and its territories General Editors: David Bryant, Luigi Collarile Supported by Ca' Foscari University of Venice DOI:... more
http://vmo.unive.it
A scientific website dedicated to research on music in Venice and its territories
General Editors:
David Bryant, Luigi Collarile
Supported by
Ca' Foscari University of Venice
DOI: 10.14277/unive/vmo/2016
A scientific website dedicated to research on music in Venice and its territories
General Editors:
David Bryant, Luigi Collarile
Supported by
Ca' Foscari University of Venice
DOI: 10.14277/unive/vmo/2016
Research Interests:
Printed Sacred Music Database (PSMD), ed. by David Bryant, Luigi Collarile, Jeffrey Kurtzman, Laurent Pugin, Elena Quaranta, Anne Schnoebelen and Luca Zoppelli. Published: 1 February 2014. Last Update: December 2017.... more
Printed Sacred Music Database (PSMD), ed. by David Bryant, Luigi Collarile, Jeffrey Kurtzman, Laurent Pugin, Elena Quaranta, Anne Schnoebelen and Luca Zoppelli. Published: 1 February 2014. Last Update: December 2017.
http://printed-sacred-music.org
DOI: 10.5448/RISM-d-lib-001
Gathering extensive information on prints of sacred music has been a wish of the musicological community for many decades. Such information is of paramount importance for the bibliography of music in general, especially in the seventeenth century, when the printing press produced its greatest output in the sacred domain. The scope of the present database is to cover all sacred music printed in Europe, 1500-1800. It comprises the data collected in the 'Bibliografia della musica sacra pubblicata in Italia fra il 1500 e il 1725 circa' (Venice, Fondazione Cini). The editions now preserved with Catholic music published in Switzerland up to 1800, and the editions with comparable repertoire circulated in the Alpine region, are inserted in the database in the course of a research project started in 2010 by the Institute of Musicology of Fribourg University and the Swiss RISM Office, with the support of the Swiss National Science Foundation. The data is compared to existing bibliographical tools, e.g., RISM A/I and B/I. The database is compliant with the RISM cataloguing scheme based on the MARC21 metadata format. It also contains text incipits and music incipits (in DARMS code) of the printed works. In addition to the bibliographical information, it includes preliminary and concluding textual material of the documents (i.e., title pages, dedications, laudatory poems, advice to users, imprimatur, indices, and colophons). The additional information helps to reveal the network of sponsorships and market strategies that connected dedicatees, printers and booksellers, and to cross-check this data with the circulation of the musical repertoire.
http://printed-sacred-music.org
DOI: 10.5448/RISM-d-lib-001
Gathering extensive information on prints of sacred music has been a wish of the musicological community for many decades. Such information is of paramount importance for the bibliography of music in general, especially in the seventeenth century, when the printing press produced its greatest output in the sacred domain. The scope of the present database is to cover all sacred music printed in Europe, 1500-1800. It comprises the data collected in the 'Bibliografia della musica sacra pubblicata in Italia fra il 1500 e il 1725 circa' (Venice, Fondazione Cini). The editions now preserved with Catholic music published in Switzerland up to 1800, and the editions with comparable repertoire circulated in the Alpine region, are inserted in the database in the course of a research project started in 2010 by the Institute of Musicology of Fribourg University and the Swiss RISM Office, with the support of the Swiss National Science Foundation. The data is compared to existing bibliographical tools, e.g., RISM A/I and B/I. The database is compliant with the RISM cataloguing scheme based on the MARC21 metadata format. It also contains text incipits and music incipits (in DARMS code) of the printed works. In addition to the bibliographical information, it includes preliminary and concluding textual material of the documents (i.e., title pages, dedications, laudatory poems, advice to users, imprimatur, indices, and colophons). The additional information helps to reveal the network of sponsorships and market strategies that connected dedicatees, printers and booksellers, and to cross-check this data with the circulation of the musical repertoire.
Research Interests: History, Music, Church Music, Early Music, Music History, and 39 moreMusicology, Print Culture, Digital Humanities, Bibliography, Analytical bibliography, Reformation Music, Baroque Music, Renaissance music, Sacred Music, History of music, Bibliographic Research, Music Publishing, Music Bibliography, Classical Music, Early Modern print culture, Historical Musicology, Bibliographic Databases, Bibliographies, 16th Century Sacred Music, Liturgy, Sacred Music, Italian Renaissance Music, Bibliografia, Sacred Music (XVII-XVIIIe siècles), Music Printing, Digital Music Collections, Catholicism and music, Catholic Church music, music printing, early modern Germany, history of the book, 18th Century Sacred Music, Digital Sheet Music Cataloging, Music printing in the 16th and 17th centuries, Music Printing and Publishing, Sacred Choral Music, Bibliographic Heritage, Venetian Renaissance Music, Music In Catholic Liturgy, History of Printed Music, Music Publishing In the Baroque Era, and Venetian Baroque Music
By Claudio Bacciagaluppi, Luigi Collarile, Laurent Pugin, Rodolfo Zitellini and Luca Zoppelli http://inventories.rism-ch.org The Historical music inventories series is an online resource that brings together different catalogues of... more
By Claudio Bacciagaluppi, Luigi Collarile, Laurent Pugin, Rodolfo Zitellini and Luca Zoppelli
http://inventories.rism-ch.org
The Historical music inventories series is an online resource that brings together different catalogues of music collections from the past. It is a unique tool for understanding music production, transmission and consumption. It allows a better knowledge of the context of preserved sources and brings to light important information about sources or indeed whole music collections that no longer exist. Having the content of the inventory in a digital form creates the opportunity to browse and search a library catalogue as it existed several centuries ago. Quick search in the source database ? Go! The series enables the connections between the different musical centres to be better understood by analysing the printed and manuscript music shared (or not) across the inventories. A preparation phase provides a digitization of the (manuscript) source providing the data for the cataloguing. The data in the source are then systematically rearranged in a database. Every record is linked to the page (or pages) in the source carrying the relevant information. The data is compared to existing bibliographical tools, e.g. RISM A/I and EitnerQ. The database is compliant with the RISM cataloguing scheme based on the MARC21 metadata format. The series is a collaborative project started in 2009 by the Institute of Musicology of Fribourg University and the Swiss RISM Office, with the support of the Swiss National Science Foundation. For any feedback or queries please contact the working group.
http://inventories.rism-ch.org
The Historical music inventories series is an online resource that brings together different catalogues of music collections from the past. It is a unique tool for understanding music production, transmission and consumption. It allows a better knowledge of the context of preserved sources and brings to light important information about sources or indeed whole music collections that no longer exist. Having the content of the inventory in a digital form creates the opportunity to browse and search a library catalogue as it existed several centuries ago. Quick search in the source database ? Go! The series enables the connections between the different musical centres to be better understood by analysing the printed and manuscript music shared (or not) across the inventories. A preparation phase provides a digitization of the (manuscript) source providing the data for the cataloguing. The data in the source are then systematically rearranged in a database. Every record is linked to the page (or pages) in the source carrying the relevant information. The data is compared to existing bibliographical tools, e.g. RISM A/I and EitnerQ. The database is compliant with the RISM cataloguing scheme based on the MARC21 metadata format. The series is a collaborative project started in 2009 by the Institute of Musicology of Fribourg University and the Swiss RISM Office, with the support of the Swiss National Science Foundation. For any feedback or queries please contact the working group.
Research Interests: History, Music, Early Music, Music History, Musicology, and 22 morePrint Culture, Digital Humanities, Manuscripts and Early Printed Books, Local History, Cultural Musicology, Baroque Music, Collecting (Music), Renaissance music, Music Publishing, Renaissance Music (Music), Early Modern print culture, Local and regional history, Historical Musicology, Cultural History of Music, Italian Renaissance Music, Transmission of Music, Digital Music Collections, Music Printing and Publishing, Italian Baroque Music, History of music library collections, Music Transmission, and Renaissance and Baroque Music
http://www.ub.unibas.ch/cmsdata/spezialkataloge/poeba/ Projektleitung: Henriette Harich-Schwarzbauer, Olivier Millet, Hannes Hug Projektmitarbeiter: Druckauswahl, Bibliographische Beschreibungen und Bildauswahl: Andreas Bigger (abi)... more
http://www.ub.unibas.ch/cmsdata/spezialkataloge/poeba/
Projektleitung:
Henriette Harich-Schwarzbauer, Olivier Millet, Hannes Hug
Projektmitarbeiter:
Druckauswahl, Bibliographische Beschreibungen und Bildauswahl: Andreas Bigger (abi)
Druckauswahl und Kommentare: Luigi Collarile (lco), Seraina Plotke (spl)
Projektkoordination: Ursula Steinegger
Bilderfassung:
Luc Delay, Anne Dietsche
Gestaltung und Publikation:
Andres von Arx, Andreas Bigger
Projektdauer: 2003-2005
Der Katalog Opera poetica Basiliensia erfasst Drucke, vornehmlich des 16. Jahrhunderts, mit poetischem Inhalt, die in Basel gedruckt wurden und/oder in der Universitätsbibliothek Basel aufbewahrt sind. Er verzeichnet sowohl neulateinische Dichtung als auch Ausgaben klassischer Dichtung. Ebenso berücksichtigt sind Prosatexte, die sich mit der lateinischen Poesie befassen. Er soll dem Fachpublikum aller interessierten Richtungen einen Überblick über die entsprechenden Drucke bieten.
Ein gemeinsames Projekt des Romanischen Seminars, des Seminars für Klassische Philologie und der Universitätsbibliothek Basel
Projektleitung:
Henriette Harich-Schwarzbauer, Olivier Millet, Hannes Hug
Projektmitarbeiter:
Druckauswahl, Bibliographische Beschreibungen und Bildauswahl: Andreas Bigger (abi)
Druckauswahl und Kommentare: Luigi Collarile (lco), Seraina Plotke (spl)
Projektkoordination: Ursula Steinegger
Bilderfassung:
Luc Delay, Anne Dietsche
Gestaltung und Publikation:
Andres von Arx, Andreas Bigger
Projektdauer: 2003-2005
Der Katalog Opera poetica Basiliensia erfasst Drucke, vornehmlich des 16. Jahrhunderts, mit poetischem Inhalt, die in Basel gedruckt wurden und/oder in der Universitätsbibliothek Basel aufbewahrt sind. Er verzeichnet sowohl neulateinische Dichtung als auch Ausgaben klassischer Dichtung. Ebenso berücksichtigt sind Prosatexte, die sich mit der lateinischen Poesie befassen. Er soll dem Fachpublikum aller interessierten Richtungen einen Überblick über die entsprechenden Drucke bieten.
Ein gemeinsames Projekt des Romanischen Seminars, des Seminars für Klassische Philologie und der Universitätsbibliothek Basel
Research Interests:
http://p3.snf.ch/project-188922
Vicentino21 – A digital edition with commentary, translation and practical exploration of Nicola Vicentino’s «L’antica musica ridotta alla moderna prattica» (Rome 1555)
Vicentino21 – A digital edition with commentary, translation and practical exploration of Nicola Vicentino’s «L’antica musica ridotta alla moderna prattica» (Rome 1555)
Research Interests: Early Music, Music History, Music Theory, History of Music Theory, 16th Century Counterpoint, and 14 moreNotation (Music), Renaissance music, Renaissance Music Theory, Historically Informed Performance (HIP), Historical Temperaments, Historical Musicology, Organ Music, Cultural History of Music, Early Music & Early Tuning Temperaments, Early music and historically informed performance practice, Storia della musica, Music printing in the 16th and 17th centuries, Music Printing and Publishing, and Venetian Renaissance Music
Published: http://vmo.unive.it/choirbooks/... more
Published:
http://vmo.unive.it/choirbooks/
https://www.academia.edu/43295491/The_Sound_of_St_Marks._A_Digital_Catalogue_of_the_Choirbooks_with_Polyphonic_Music_of_the_Venetian_Ducal_Chapel._Venice_Ca_Foscari_University_2017_2020_Venetian_Music_Online_
Scientific Team: David Bryant, Augusto Celentano, Luigi Collarile, Renzo Orsini, Rafael Brundo Uriarte
Object of study is the collection of choir-books containing the polyphonic repertoire of the Ducal Chapel of St Mark's, now preserved in the Archivio Storico del Patriarcato di Venezia. These music manuscripts – 14 volumes 'in folio' and some fragments – represent the largest nucleus of what remains of the cappella's early repertoire. They transmit the music performed 'a cappella' by the singers (without instrumental accompaniment) from the so-called 'pulpitum magnum', an polygonal structure in the nave of the church to the right of the iconostasis. For centuries, this repertoire represented the basic 'soundscape' of the Ducal Chapel. The manuscripts were declared 'UNESCO World Heritage' in October 2014.
The project represents the completion of a research program begun in 2013 by Luigi Collarile with the financial support of the Swiss National Science Foundation (http://p3.snf.ch/Project-147795), in collaboration with Ca' Foscari University, Venice (2013-2015).
The present project has the following three objectives:
1. the creation of a multimedial digital portal, containing: i) digital reproductions of the entire collection of choir-books with polyphonic music, ii) historical and bibliographical metadata, and iii) a modern critical edition (open-access). In future, it will be possible to enhance the digital platform with audio/visual contents. Project development in collaboration with the Department of Environmental Sciences, Informatics and Statistics of Ca' Foscari University, coordinator Renzo Orsini.
2. open-access publication of a modern critical edition of the choir-books with polyphonic music (64 compositions and some fragments) – the first complete critical edition of this important musical collection, which contains several hitherto unpublished 'unica'. Scientific and editorial work will be carried out by David Bryant and Luigi Collarile.
3. an international conference, in the context of a project promoted by the Venetian Procuratoria di San Marco in collaboration with Italian and foreign institutions, aimed at presenting the restoration and related research to the scientific community and a wider audience.
http://vmo.unive.it/choirbooks/
https://www.academia.edu/43295491/The_Sound_of_St_Marks._A_Digital_Catalogue_of_the_Choirbooks_with_Polyphonic_Music_of_the_Venetian_Ducal_Chapel._Venice_Ca_Foscari_University_2017_2020_Venetian_Music_Online_
Scientific Team: David Bryant, Augusto Celentano, Luigi Collarile, Renzo Orsini, Rafael Brundo Uriarte
Object of study is the collection of choir-books containing the polyphonic repertoire of the Ducal Chapel of St Mark's, now preserved in the Archivio Storico del Patriarcato di Venezia. These music manuscripts – 14 volumes 'in folio' and some fragments – represent the largest nucleus of what remains of the cappella's early repertoire. They transmit the music performed 'a cappella' by the singers (without instrumental accompaniment) from the so-called 'pulpitum magnum', an polygonal structure in the nave of the church to the right of the iconostasis. For centuries, this repertoire represented the basic 'soundscape' of the Ducal Chapel. The manuscripts were declared 'UNESCO World Heritage' in October 2014.
The project represents the completion of a research program begun in 2013 by Luigi Collarile with the financial support of the Swiss National Science Foundation (http://p3.snf.ch/Project-147795), in collaboration with Ca' Foscari University, Venice (2013-2015).
The present project has the following three objectives:
1. the creation of a multimedial digital portal, containing: i) digital reproductions of the entire collection of choir-books with polyphonic music, ii) historical and bibliographical metadata, and iii) a modern critical edition (open-access). In future, it will be possible to enhance the digital platform with audio/visual contents. Project development in collaboration with the Department of Environmental Sciences, Informatics and Statistics of Ca' Foscari University, coordinator Renzo Orsini.
2. open-access publication of a modern critical edition of the choir-books with polyphonic music (64 compositions and some fragments) – the first complete critical edition of this important musical collection, which contains several hitherto unpublished 'unica'. Scientific and editorial work will be carried out by David Bryant and Luigi Collarile.
3. an international conference, in the context of a project promoted by the Venetian Procuratoria di San Marco in collaboration with Italian and foreign institutions, aimed at presenting the restoration and related research to the scientific community and a wider audience.
Research Interests: Cultural History, Cultural Studies, Music, Church Music, Early Music, and 39 moreMusic History, Musicology, Media and Cultural Studies, Digital Humanities, Early Modern History, Cultural Heritage, Renaissance Studies, Social and Cultural Anthropology, Cultural Semiotics, Soundscape Studies, Sound studies, Cultural Musicology, Baroque Music, Renaissance music, Sacred Music, Creation of church music tradition, Historical Musicology, Cultural History of Music, Venice, Choral Music and Church Music, Medieval, Renaissance and Baroque Music, Watermarks, History of Venice, Longue durée, Liturgy, Sacred Music, Italian Renaissance Music, Catholicism and music, Catholic Church music, Late medieval and Renaissance music, History of Watermarks, The Role of Music in Catholic Liturgy, Renaissance and Baroque Music, Social Impact of Music, Venetian Renaissance Music, Music In Catholic Liturgy, St Mark's Basilica Venice, Choir Books, Basilica di San Marco a Venezia, and San Marco Venice
The aim of the project is to investigate the cultural experiences of Swiss Benedictines during their journey in Italy between seventeenth and eighteenth centuries. The main sources of the project are some travel diaries concerning four... more
The aim of the project is to investigate the cultural experiences of Swiss Benedictines during their journey in Italy between seventeenth and eighteenth centuries. The main sources of the project are some travel diaries concerning four journeys made by monks from the monastery of St. Gallen (1696, 1699-1701, 1729-1730, 1748-1749). – Team: Peter Erhart, Luigi Collarile, Helena Müller, Cristiano Nodari.
Research Interests: Cultural Studies, Travel Writing, Soundscape Studies, Swiss History, Sound studies, and 10 moreSound, Soundscape (Music), Travel Literature, Soundscape, Benedictine Monasticism, Grand Tour, Reading Book, Travelling, Listening to Music, Early Modern Travel Literature, Swiss Music history, and Swiss Music
Published: http://vmo.unive.it/choirbooks/... more
Published:
http://vmo.unive.it/choirbooks/
https://www.academia.edu/43295491/The_Sound_of_St_Marks._A_Digital_Catalogue_of_the_Choirbooks_with_Polyphonic_Music_of_the_Venetian_Ducal_Chapel._Venice_Ca_Foscari_University_2017_2020_Venetian_Music_Online_
The present project proposes a study of the choir books of polyphonic music belonging to the music collection of the Venetian ducal chapel of St Mark’s. These sources – 14 manuscripts in folio grande and a fragment – represent a very interesting case study to investigate the specific repertoire of the most important musical institution of Venice. Despite the large number of studies devoted to music at St Mark’s, the existing literature still lacks a comprehensive study on the material history of these manuscripts and the value of the preserved repertoire. Research carried out as part of my PhD dissertation enabled me to redefine substantially many aspects of the history of this collection. Thanks to the reconstruction of the activity of two scribes, I dated 11 manuscripts to the second half of the seventeenth century, among them a collection of hymns by F. Cavalli (1602-1676) and another of motets by G. Rovetta (1596?-1668), both previously considered anonymous eighteenth-century sources. Further investigation of account-books pertaining to the Procuratoria de supra (the governing body of the ducal chapel) can shed new light on the history of the musical collection of the ducal chapel during the eighteenth century. More complex is investigation of the preserved musical repertoire. An inventory of the music books of the ducal chapel, written in 1720, lists 66 volumes, 39 of them in folio grande or in folio. These are the large format books used to sing in bigonzo (i.e., in the octagonal pulpit placed in front of the iconostasis (see Canaletto’s drawing of 1766). The 14 choir books and the fragment represent what now survives of this collection. Given the importance of performances in bigonzo (the ‘normal’ position of the cappella, according to the ceremonial-books of St Mark’s), these sources are a significant tool for investigating the ‘sound’ of the ducal chapel. Their analysis can highlight the repertoire most typically performed in St Mark’s. This repertoire – a cappella without instruments – represented for centuries the ‘soundscape’ of the Venetian ducal chapel. The aim of the present project is to understand how and why the repertoire transmitted in the choir books of St Mark’s became an irreplaceable part of the liturgical ceremonial of the ducal chapel, and to investigate the aesthetic implications of this process with a view to defining the sound of a specific ritual space. The results of the project will be the subject of a monographic study.
http://vmo.unive.it/choirbooks/
https://www.academia.edu/43295491/The_Sound_of_St_Marks._A_Digital_Catalogue_of_the_Choirbooks_with_Polyphonic_Music_of_the_Venetian_Ducal_Chapel._Venice_Ca_Foscari_University_2017_2020_Venetian_Music_Online_
The present project proposes a study of the choir books of polyphonic music belonging to the music collection of the Venetian ducal chapel of St Mark’s. These sources – 14 manuscripts in folio grande and a fragment – represent a very interesting case study to investigate the specific repertoire of the most important musical institution of Venice. Despite the large number of studies devoted to music at St Mark’s, the existing literature still lacks a comprehensive study on the material history of these manuscripts and the value of the preserved repertoire. Research carried out as part of my PhD dissertation enabled me to redefine substantially many aspects of the history of this collection. Thanks to the reconstruction of the activity of two scribes, I dated 11 manuscripts to the second half of the seventeenth century, among them a collection of hymns by F. Cavalli (1602-1676) and another of motets by G. Rovetta (1596?-1668), both previously considered anonymous eighteenth-century sources. Further investigation of account-books pertaining to the Procuratoria de supra (the governing body of the ducal chapel) can shed new light on the history of the musical collection of the ducal chapel during the eighteenth century. More complex is investigation of the preserved musical repertoire. An inventory of the music books of the ducal chapel, written in 1720, lists 66 volumes, 39 of them in folio grande or in folio. These are the large format books used to sing in bigonzo (i.e., in the octagonal pulpit placed in front of the iconostasis (see Canaletto’s drawing of 1766). The 14 choir books and the fragment represent what now survives of this collection. Given the importance of performances in bigonzo (the ‘normal’ position of the cappella, according to the ceremonial-books of St Mark’s), these sources are a significant tool for investigating the ‘sound’ of the ducal chapel. Their analysis can highlight the repertoire most typically performed in St Mark’s. This repertoire – a cappella without instruments – represented for centuries the ‘soundscape’ of the Venetian ducal chapel. The aim of the present project is to understand how and why the repertoire transmitted in the choir books of St Mark’s became an irreplaceable part of the liturgical ceremonial of the ducal chapel, and to investigate the aesthetic implications of this process with a view to defining the sound of a specific ritual space. The results of the project will be the subject of a monographic study.
Research Interests: Cultural History, Cultural Studies, Music, Church Music, Early Music, and 26 moreMusic History, Musicology, Cultural Heritage, Cultural Musicology, Venetian History, Renaissance music, Sacred Music, Historical Musicology, Cultural History of Music, Watermarks, History of Venice, Longue durée, Liturgy, Sacred Music, Sacred Music (XVII-XVIIIe siècles), Catholicism and music, Catholic Church music, History of Watermarks, The Role of Music in Catholic Liturgy, Renaissance and Baroque Music, Social Impact of Music, Venetian Renaissance Music, Music In Catholic Liturgy, St Mark's Basilica Venice, Venetian Baroque Music, Basilica di San Marco a Venezia, and San Marco Venice
The present project seeks to highlight the production, circulation and reception of the Catholic musical repertoire in Switzerland and the Alpine region from the beginning of the print age until the end of the ancien régime (1500-1800).... more
The present project seeks to highlight the production, circulation and reception of the Catholic musical repertoire in Switzerland and the Alpine region from the beginning of the print age until the end of the ancien régime (1500-1800). In doing so, methodological tools will be developed that may in future be extended to other areas of Europe. Printing entreprises in Switzerland showed a varied picture that had discontinuous but international impact. Music printing was often directly sponsored by the church authority. Switzerland and the Alpine region represented a privileged point of interchange between the repertoire of (Northern) Italy and the German-speaking world. Specific networks of exchange arose in connection with the study voyages of the clerics, and most importantly between different houses of the same order. The usage of the music depended on its adaptability to functional-liturgical contexts that often showed a markedly local character. Due to the proximity of different confessions in the Confederation, there was also a Protestant reception of Catholic sacred music. The present project is a contribution to recent revisions of music historiography, which had up to now uncritically reflected national and confessional differences. Particular stress is laid on methodology and on data exchange capabilities. The different research threads all start from the study of musical sources. Research will be extended to lost prints documented in historical inventories of music collections. Archival documents will also be examined concerning the printing presses and the modes of transmission and reception of the sacred repertoire. For data collection, two online databases are developed in collaboration with the Swiss office of the 'Répertoire International des Sources Musicales' (RISM, www.rism-ch.org). The first will provide a database of 'Printed Sacred Music in Europe, 1500-1800'. This will comprise the data collected in the still ongoing project 'Bibliografia della musica sacra pubblicata in Italia fra il 1500 e il 1725 circa' (Venice, Fondazione Cini – directed by David Bryant). The second, already launched database, the 'Historical Music Inventory Database, 1500-1800', collects data from music inventories from church institutions of the Alpine region. Swiss music prints in Swiss libraries will be digitised. The music of some of the sources will be transcribed, applying and enhancing the performance of Aruspix, a new software application developed by the University of Geneva and McGill University (Montreal) that facilitates philological work on early typographical music prints. – Team: Luca Zoppelli (leader), Claudio Bacciagaluppi, Luigi Collarile, Laurent Pugin, Rodolfo Zitellini. Other collaborators: Giulia Giovani, Elena Quaranta.
Research Interests:
By Martin Kirnbauer, Luigi Collarile, Johannes Keller und Rolf Wissmann
Research Interests: Early Music, Music Theory, Book History, Renaissance Studies, Microtonal Music, and 11 moreCultural Musicology, Performance Studies (Music), Renaissance music, Renaissance Music Theory, Performance Practice (Music), Historical Musicology, Organ Music, Early Keyboard Music, Early music and historically informed performance practice, Storia della musica, and Music Printing and Publishing
http://www.storiaurbana.org/index.php/it/congressi/bologna-2019 IX CONGRESSO AISU 'La città globale. La condizione urbana come fenomeno pervasivo'. University of Bologna, 11–14 September 2019 Session G1 'Geografie sonore. Il... more
http://www.storiaurbana.org/index.php/it/congressi/bologna-2019
IX CONGRESSO AISU
'La città globale. La condizione urbana come fenomeno pervasivo'. University of Bologna, 11–14 September 2019
Session G1
'Geografie sonore. Il suono come elemento dello spazio urbano nell'Italia dell'età moderna'
'Sound Geographies.Sound as Element of the Urban Space in Modern Italy'
Session managers:
Luigi Collarile (Ca' Foscari University, Venice)
Maria Rosa De Luca (University of Catania)
In a study dedicated to the soundscape of the European cities of the early modern age, appeared in the scientific journal Urban History in 2003, David Garrioch highlighted the important function of the sound as fundamental part of the urban dynamics. Sound establishes a semiotic system which allows the people of a city to orient themselves in time and space, to be informed, to participate in social life as part of a community of aware listeners, to decipher and give meaning to the collective action of the urban space in which they live. On the sonic dimension of the real there are reverberations at different levels of deeper sound horizons producing more complex semantics not only of the urban collective ritual, but also of the individual sound identity, both institutional and personal.
Aim of this session is to promote a discussion on the dynamics of the sound geography in modern Italy. Particular attention will be given to the sound of the urban ceremonial, to its declinations and local connotations, to its ability to interact with the public and private dimension, to its economic impact, to the social and aesthetic dynamics regulating it, to its contribution to define an image of the city, to the control policies of the urban noise, to its impact on the civic architectural space and the environment.
IX CONGRESSO AISU
'La città globale. La condizione urbana come fenomeno pervasivo'. University of Bologna, 11–14 September 2019
Session G1
'Geografie sonore. Il suono come elemento dello spazio urbano nell'Italia dell'età moderna'
'Sound Geographies.Sound as Element of the Urban Space in Modern Italy'
Session managers:
Luigi Collarile (Ca' Foscari University, Venice)
Maria Rosa De Luca (University of Catania)
In a study dedicated to the soundscape of the European cities of the early modern age, appeared in the scientific journal Urban History in 2003, David Garrioch highlighted the important function of the sound as fundamental part of the urban dynamics. Sound establishes a semiotic system which allows the people of a city to orient themselves in time and space, to be informed, to participate in social life as part of a community of aware listeners, to decipher and give meaning to the collective action of the urban space in which they live. On the sonic dimension of the real there are reverberations at different levels of deeper sound horizons producing more complex semantics not only of the urban collective ritual, but also of the individual sound identity, both institutional and personal.
Aim of this session is to promote a discussion on the dynamics of the sound geography in modern Italy. Particular attention will be given to the sound of the urban ceremonial, to its declinations and local connotations, to its ability to interact with the public and private dimension, to its economic impact, to the social and aesthetic dynamics regulating it, to its contribution to define an image of the city, to the control policies of the urban noise, to its impact on the civic architectural space and the environment.
Research Interests: Early Music, Music History, Urban History, Soundscape Studies, Sound studies, and 15 moreCultural Musicology, Baroque Music, Early Modern Italy, Soundscape (Music), Travel Literature, Sacred Music, Historical Musicology, Cultural History of Music, Historic Urban Landscape, Grand Tour, Storia Urbana, Storia della musica, Italian Baroque Music, Urban musicology, and Ceremonial and Symbolic Representations of Sovereignty In Early Modern Europe
The Soundscape of the Venetian Terraferma in the Early Modern Era is an international conference organized by the Accademia Filarmonica of Verona on the occasion of the 475th anniversary of its foundation (23 May 1543), in collaboration... more
The Soundscape of the Venetian Terraferma in the Early Modern Era is an international conference organized by the Accademia Filarmonica of Verona on the occasion of the 475th anniversary of its foundation (23 May 1543), in collaboration with the University of Verona, Ca’ Foscari University of Venice, the University of St Andrews and the Conservatorio “E. F. Dall’Abaco” of Verona. Natural sequel to The Soundscape of Early Modern Venice (Ca’ Foscari University of Venice, 24-27 May 2017 – Visit the Venice conference web section ), this further initiative has the aim of increasing debate on the varied soundscape of the Venetian Terraferma in the early modern period. This territory, which stretched from Bergamo in the west to the Friulian Alps in the north-east and the river Po at the Republic’s southern extremity, formed one of the three subdivisions of the Serenissima; the others were the Dogado (Venice and surrounding area) and the Stato da mar (Venetian possessions in the eastern Adriatic and Mediterranean areas). The articulate system that regulates musical and non-musical sound in the Venetian territories prior to the fall of the Serenissima in 1797 is highly conducive to an interdisciplinary approach which draws on the new perspectives offered by urban history, humanistic geography and historical anthropology. Emblematic, in this sense, are the activities of the Accademia Filarmonica, which have dominated almost five centuries of local musical history.
http://www.accademiafilarmonica.org/filarmonica/en/convegno-internazionale-2018
http://www.accademiafilarmonica.org/filarmonica/en/convegno-internazionale-2018
Research Interests: Semiotics, History, Cultural History, Economic History, Cultural Studies, and 141 moreMusic, Church Music, Early Music, Music History, Media and Cultural Studies, Cultural Sociology, Early Modern History, Cultural Heritage, Performance Studies, Human Perception and Performance, Material Culture Studies, Catholic Studies, Liturgy, Industrial History, Renaissance Studies, Renaissance Humanism, Urban History, Social and Cultural Anthropology, Renaissance, Music Theater, Cultural Semiotics, Opera, Ritual, Renaissance Art, Renaissance Literature (Renaissance Studies), Identity (Culture), Soundscape Studies, Sound studies, Cultural Transfer Studies, Oral Traditions, Urban Studies, Italian Cultural Studies, Cross-Cultural Studies, Sound, Cultural Economics, Cultural Identity, Cultural Musicology, Performance Studies (Music), Catholic Theology, Venetian History, Renaissance drama, Early Modern Church History, Urban Culture, Church History, Baroque Music, Social History, Dance History, Italian Renaissance Art, Urban Sociology, Early Modern Italy, Renaissance music, Renaissance literature, Baroque music theatre, Patronage (History), Republic of Letters (Early Modern History), Oral Traditions (Culture), Identity And Culture, Choral Music, Instrumental Music, Identity construction and cultural production, Cultural Anthropology, Critical Musicology, Music Perception, History of Dance, Early Modern Catholicism, Sacred Music, History of music, Renaissance Music (Music), Renaissance Drama (Theatre Studies), Eighteenth-Century Music, Theater History, Republic of Venice, Patronage and collecting, Cultural History of Music, Social History and Cultural Study of Music, Venetian Renaissance art, Venice and the Veneto, Italian Renaissance and Baroque Art, Renaissance Verona, 16th century Venice, History of Venice, Pittura Rinascimento, Catholic Church History, Grand Tour, Rinascimento, Cultural and Social Anthropology, Padova, Liturgics, Counter-Reformation, Musicology/Cultural Studies, 16th Century Sacred Music, Soundscape Studies, music, embodiment, Performance Studies and Musical Theatre, Liturgy, Sacred Music, History of Venetian Republic, Musikwissenschaft, Monastic music (all periods), Sacred Music (XVII-XVIIIe siècles), Early modern venice, Italian Renaissance Studies, Catholicism and music, Theater and Performance Studies, Eighteenth-Century Instrumental Music, Civic Ritual and Society, Baroque Instrumental Music, Catholic Church music, Terraferma veneta, Soundscape Studies Research, Counterreformation, Venezia E Terraferma Veneta (XV-XVIII), Italian Baroque Music, Urban musicology, History of Verona, History of the Venetian Republic, Renaissance and Baroque Music, Grand Tour Studies, 17th c Venetian Intellectual History, Musicology, Historical, Analytical and Cultural Study of Music, Venetian Renaissance Music, History of Serenissima Repubblica Di Venezia, History of the Theater, Theater Studies, Pittura veronese, 18th Century Grand Tour, Musicologia, Venetian Baroque Music, History of Grand Tours, Storia e estetica della musica, Choir Books, Liturgy and Sacred Music, Civic Ritual in Renaissance Italy, Accademia Filarmonica di Verona, History of Vicenza, Venetian Terraferma, History of the Venetian Terraferma, Early Modern Terraferma, Early Moedrn Age, Museo Lapidario Maffeiano, Monastic music, Teatro Filarmonico di Verona, and Soundscape of the Venetian Terraferma
International Conference Ca’ Foscari University of Venice, 24–27 May 2017 Organized by Ca’ Foscari University of Venice (Department of Philosophy and Cultural Heritage) in collaboration with Basilica Cattedrale di San Marco, Venezia... more
International Conference
Ca’ Foscari University of Venice, 24–27 May 2017
Organized by
Ca’ Foscari University of Venice
(Department of Philosophy and Cultural Heritage)
in collaboration with
Basilica Cattedrale di San Marco, Venezia
Archivio Storico del Patriarcato di Venezia
Swiss National Science Foundation
Spazio Svizzero (Palazzo Trevisan degli Ulivi, Venice)
Fondazione Svizzera Pro Venezia
On the basis of new perspectives offered by urban history, humanistic geography and historical anthropology, the conference aims to bring together inter- and multidisciplinary approaches to the significance of soundscape in the context of the rich and complex urban system of early modern Venice. As a supreme example of “ceremonial city”, Venice is particularly suitable for investigating how soundscape interacts with urban space in the creation of an elaborate social and cultural identity.
The international conference forms part of The Sound of Eternity. A Digital Platform for the Polyphonic Choir-Books of the Ducal Chapel of St Mark’s, Venice, a research project funded by the Ca’ Foscari University of Venice (in continuation of The Sound of Eternity. Investigating the Choir-Books of the Ducal Chapel of St Mark’s, Venice, funded by the Swiss National Science Foundation).
The official languages of the conference are English and Italian.
Organizing Committee:
David Bryant, Augusto Celentano, Luigi Collarile, Renzo Orsini
Ca’ Foscari University of Venice
Ca’ Foscari University of Venice, 24–27 May 2017
Organized by
Ca’ Foscari University of Venice
(Department of Philosophy and Cultural Heritage)
in collaboration with
Basilica Cattedrale di San Marco, Venezia
Archivio Storico del Patriarcato di Venezia
Swiss National Science Foundation
Spazio Svizzero (Palazzo Trevisan degli Ulivi, Venice)
Fondazione Svizzera Pro Venezia
On the basis of new perspectives offered by urban history, humanistic geography and historical anthropology, the conference aims to bring together inter- and multidisciplinary approaches to the significance of soundscape in the context of the rich and complex urban system of early modern Venice. As a supreme example of “ceremonial city”, Venice is particularly suitable for investigating how soundscape interacts with urban space in the creation of an elaborate social and cultural identity.
The international conference forms part of The Sound of Eternity. A Digital Platform for the Polyphonic Choir-Books of the Ducal Chapel of St Mark’s, Venice, a research project funded by the Ca’ Foscari University of Venice (in continuation of The Sound of Eternity. Investigating the Choir-Books of the Ducal Chapel of St Mark’s, Venice, funded by the Swiss National Science Foundation).
The official languages of the conference are English and Italian.
Organizing Committee:
David Bryant, Augusto Celentano, Luigi Collarile, Renzo Orsini
Ca’ Foscari University of Venice
Research Interests: Semiotics, History, Cultural History, Economic History, Cultural Studies, and 131 moreMusic, Church Music, Early Music, Music History, Musicology, Gender Studies, Media and Cultural Studies, Theatre Studies, Cultural Sociology, Early Modern History, Cultural Heritage, Performance Studies, Human Perception and Performance, Material Culture Studies, Catholic Studies, Renaissance Studies, Renaissance Humanism, Urban History, Social and Cultural Anthropology, Renaissance, Cultural Semiotics, Opera, Ritual, Identity (Culture), Soundscape Studies, Sound studies, Cultural Transfer Studies, Oral Traditions, Urban Studies, Italian Cultural Studies, Cross-Cultural Studies, Sound, Cultural Economics, Cultural Identity, Cultural Musicology, Performance Studies (Music), Venetian History, Urban Culture, Baroque Music, Gender and Sexuality Studies, Social History, Italian Renaissance Art, Urban Sociology, Early Modern Italy, Renaissance music, Myth And Ritual Studies, Liturgics, Oral Traditions (Culture), Soundscape (Music), Choral Music, Instrumental Music, Identity construction and cultural production, Cultural Anthropology, Critical Musicology, Music Perception, Early Modern Catholicism, Sacred Music, History of music, Performance Practice (Music), Histoire de la musique, Perception of music and sound, Ritual Studies, Women and Gender Studies, Tradition, Soundscape, Musica, Historical Musicology, Republic of Venice, Renaissance magic and astrology, Cultural History of Music, Musique, Venice, Rituals, Venetian Renaissance art, Música, Venice and the Veneto, 16th century Venice, Call for Papers, History of Venice, Catholic Church History, Grand Tour, Rinascimento, Storia Urbana, Musik, Call for Papers, Cultural Studies, Musical Performance, Soundscapes, Longue durée, Musicology/Cultural Studies, 16th Century Sacred Music, Liturgy, Sacred Music, History of Venetian Republic, Musikwissenschaft, Sacred Music (XVII-XVIIIe siècles), Ritual Practices, The Grand Tour, Musique Et Musicologie, Early modern venice, Catholicism and music, Civic Ritual and Society, Baroque Instrumental Music, Catholic Church music, Storia della musica sacra, Early Organ Music, Storia della musica, Cultural Antropology, Italian Baroque Music, Urban musicology, Musica Sacra, The Venetian Music School (1550-1610), The Venetian Music School, Storia Sociale Della Musica, Grand Tour Studies, Urban Soundscape, Traditional Knowledge and Innovation, Antropology, Antropologia, Venetian Renaissance Music, Call for Papers and Research and Publication, Music In Catholic Liturgy, Semiotica Memoria E Identità Culturali, Carnevale, 18th Century Grand Tour, Musicologia, Venetian Baroque Music, History of Grand Tours, Early-Modern Venice, Storia e estetica della musica, Choir Books, Basilica di San Marco a Venezia, Civic Rituals, and Civic Ritual in Renaissance Italy
Intended for students and young researchers, the seminar promoted by sets out to stimulate thinking on the most appropriate historical-methodological strategies for the purposes of exploring the Venetian music-history context in the 16th... more
Intended for students and young researchers, the seminar promoted by sets out to stimulate thinking on the most appropriate historical-methodological strategies for the purposes of exploring the Venetian music-history context in the 16th and 17th centuries. It also aims to provide tools and basic information required by researchers to find their way in the enormous heritage of written and musical sources preserved in the local libraries and archives.
The seminar is divided into two parts: a series of morning lectures and practical afternoon sessions in relevant institutions in the city (Archivio di Stato, Archivio Storico del Patriarcato and Biblioteca Nazionale Marciana). Access to the morning lectures is open to anyone interested, whereas the full seminar is limited to a maximum of twenty enrolled people. Moreover Fondazione Giorgio Cini is to make available ten scholarships to cover accommodation expenses for the duration of the seminar.
The advisory committee is made up of Rodolfo Baroncini (coordinator), David Bryant, Paolo Cecchi, Luigi Collarile and Marco Di Pasquale, while the seminar teachers, in addition to those just mentioned, are Claudio Annibaldi, Tim Carter, Mario Infelise, Paola Lanaro, Ellen Rosand and John Whenham.
The seminar is divided into two parts: a series of morning lectures and practical afternoon sessions in relevant institutions in the city (Archivio di Stato, Archivio Storico del Patriarcato and Biblioteca Nazionale Marciana). Access to the morning lectures is open to anyone interested, whereas the full seminar is limited to a maximum of twenty enrolled people. Moreover Fondazione Giorgio Cini is to make available ten scholarships to cover accommodation expenses for the duration of the seminar.
The advisory committee is made up of Rodolfo Baroncini (coordinator), David Bryant, Paolo Cecchi, Luigi Collarile and Marco Di Pasquale, while the seminar teachers, in addition to those just mentioned, are Claudio Annibaldi, Tim Carter, Mario Infelise, Paola Lanaro, Ellen Rosand and John Whenham.
A partire all’incirca dal 1610 Venezia divenne, dopo Firenze e Roma, il terzo polo di creazione, consumo e diffusione delle nuove musiche concertate ad una, due e tre voci composte secondo la nuova tecnica del basso continuo. Compositori... more
A partire all’incirca dal 1610 Venezia divenne, dopo Firenze e Roma, il terzo polo di creazione, consumo e diffusione delle nuove musiche concertate ad una, due e tre voci composte secondo la nuova tecnica del basso continuo. Compositori quali Priuli, Barbarino, Corradi, Monteverdi, Grandi, Berti, Milanuzzi, Sances, Pesenti, Ferrari, produssero una vasta messe di musiche concertate per piccoli organici vocali, nelle quali utilizzarono una varietà di tecniche compositive e di declinazioni stilistiche, creando una sorta di ‘repertorio civico’ di musiche concertate su testi profani che ebbero un ruolo fondamentale nell’evoluzione del genere, e costituirono poi un modello non secondario per la scrittura vocale dei primi compositori d’opera attivi in laguna a partire dalla fine degli anni ’30.
Nel corso della giornata di studio, alla quale parteciperanno studiosi italiani e stranieri, verranno proposte nuove risultanze e indagini riguardanti la committenza, la pubblicazione a stampa e la diffusione, la tipologia e lo stile dei testi poetici intonati, le caratteristiche formali, stilistiche e tecnico-compositive, nonché le complesse intersezioni tra genere sacro e profano delle ‘nuove musiche’ di conio veneto-veneziano.
Nel corso della giornata di studio, alla quale parteciperanno studiosi italiani e stranieri, verranno proposte nuove risultanze e indagini riguardanti la committenza, la pubblicazione a stampa e la diffusione, la tipologia e lo stile dei testi poetici intonati, le caratteristiche formali, stilistiche e tecnico-compositive, nonché le complesse intersezioni tra genere sacro e profano delle ‘nuove musiche’ di conio veneto-veneziano.
Research Interests:
Historical inventories belong to the most interesting sources for musicologist. They inform about sources, performances, works, instruments, musicians and many other issues concerning musical life. The objects recorded in the inventories... more
Historical inventories belong to the most interesting sources for musicologist. They inform about sources, performances, works, instruments, musicians and many other issues concerning musical life. The objects recorded in the inventories may or may not be extant, but the crucial element inventories include is information about the real context in which musical events took place. Till now inventories have been studied and catalogued in a rather atomized and unsystematic manner using plenty of incompatible standards. This fact makes an integration of their valuable information difficult if not impossible. With a conference (which is not part of this application) that will illustrate the state of the art in scholarly work on inventories and a theoretical and practical workshop we intend to contribute to the development of a common standard. The theoretical workshop will focus on the definition of a consensus about the content and the level of performance any catalogue of inventories should render taking into account the fact, that inventories do not show a uniform density of information. The practical workshop wants to introduce scholars in the use of standards for the digitalisation and long-term electronic archiving of the results of the work using the international standards TEI and Salsah as basis.
Research Interests:
The international workshop Music Printing and Publishing in Modern Italy – New Approaches has three main objectives: – to discuss the latest results of recent research in the field of music printing and publishing in Italy before 1800 –... more
The international workshop Music Printing and Publishing in Modern Italy – New Approaches has three main objectives:
– to discuss the latest results of recent research in the field of music printing and publishing in Italy before 1800
– to encourage exchange of scholars working in this area and develop new research approaches and perspectives
– to present and discuss some innovative research tools, as the new database Printed Sacred Music in Europe 1500-1800.
Conference proceedings in preparation
– to discuss the latest results of recent research in the field of music printing and publishing in Italy before 1800
– to encourage exchange of scholars working in this area and develop new research approaches and perspectives
– to present and discuss some innovative research tools, as the new database Printed Sacred Music in Europe 1500-1800.
Conference proceedings in preparation
Research Interests:
Heir to the illustrious tradition of Venetian polyphonic and polychoral music, Giovanni Gabrieli progressively modified his musical language in the direction of the ‘new’ stile concertato with basso continuo and certain features of the... more
Heir to the illustrious tradition of Venetian polyphonic and polychoral music, Giovanni Gabrieli progressively modified his musical language in the direction of the ‘new’ stile concertato with basso continuo and certain features of the new expressive style which developed in the context of Florentine monody and the Mantuan madrigal.
In Venice, this process was not without consequences for the formation of the younger generation of musicians (Venetian and non-Venetian). In the footsteps of his uncle, Andrea Gabrieli, Giovanni had established what was nothing short of a school (with price lists and programmes), populated by a considerable number of young musicians from all over Europe. Gabrieli’s infl uence on his Northern pupils has been partially investigated; less clear and certainly more problematic is his contribution to the formation of a local compositional tradition.
Leaving aside Gabrieli’s unquestionable importance as composer and innovator in the fi eld of instrumental music, the situation is rendered particularly complex by the arrival in Venice of Claudio Monteverdi in 1613. Frequently music historiography has assigned to Monteverdi prime responsability for the processes of innovation characteristic of subsequent Venetian music.
These study sessions aim to shed light on the extent and nature of Gabrieli’s legacy in the hands of his various pupils and followers (G.B. Riccio, G.B. Grillo, G. Priuli, G. Valentini etc.) both in Venice and elsewhere, with reference both to instrumental music and to the sacred and secular vocal repertoires during the fi rst three decades of the seventeenth century. Discussion of Alessandro Grandi’s role in the artistic production of the new generation of composers can be of particular importance in this context.
Other themes regard: Gabrieli and contemporary music publishing; Gabrieli, the madrigal and private patronage in Venice.
See:
Rodolfo Baroncini, David Bryant, Luigi Collarile (eds), Giovanni Gabrieli. Transmission and Reception of a Venetian Musical Tradition. Turnhout: Brepols, 2016 (Venetian Music Studies, 1)
https://www.academia.edu/26871981/Giovanni_Gabrieli._Transmission_and_Reception_of_a_Venetian_Musical_Tradition._Turnhout_Brepols_2016_Venetian_Music_Studies_1_
In Venice, this process was not without consequences for the formation of the younger generation of musicians (Venetian and non-Venetian). In the footsteps of his uncle, Andrea Gabrieli, Giovanni had established what was nothing short of a school (with price lists and programmes), populated by a considerable number of young musicians from all over Europe. Gabrieli’s infl uence on his Northern pupils has been partially investigated; less clear and certainly more problematic is his contribution to the formation of a local compositional tradition.
Leaving aside Gabrieli’s unquestionable importance as composer and innovator in the fi eld of instrumental music, the situation is rendered particularly complex by the arrival in Venice of Claudio Monteverdi in 1613. Frequently music historiography has assigned to Monteverdi prime responsability for the processes of innovation characteristic of subsequent Venetian music.
These study sessions aim to shed light on the extent and nature of Gabrieli’s legacy in the hands of his various pupils and followers (G.B. Riccio, G.B. Grillo, G. Priuli, G. Valentini etc.) both in Venice and elsewhere, with reference both to instrumental music and to the sacred and secular vocal repertoires during the fi rst three decades of the seventeenth century. Discussion of Alessandro Grandi’s role in the artistic production of the new generation of composers can be of particular importance in this context.
Other themes regard: Gabrieli and contemporary music publishing; Gabrieli, the madrigal and private patronage in Venice.
See:
Rodolfo Baroncini, David Bryant, Luigi Collarile (eds), Giovanni Gabrieli. Transmission and Reception of a Venetian Musical Tradition. Turnhout: Brepols, 2016 (Venetian Music Studies, 1)
https://www.academia.edu/26871981/Giovanni_Gabrieli._Transmission_and_Reception_of_a_Venetian_Musical_Tradition._Turnhout_Brepols_2016_Venetian_Music_Studies_1_
Research Interests:
Organised by Luca Zoppelli, Claudio Bacciagaluppi and Luigi Collarile. The congress aims at opening an international and innovative debate on the present perspectives of research in the field of sacred music. The congress will be... more
Organised by Luca Zoppelli, Claudio Bacciagaluppi and Luigi Collarile.
The congress aims at opening an international and innovative debate on the present perspectives of research in the field of sacred music. The congress will be organised in thematic sessions, the main focus being on the complexity of methodological discourse. Principal thematic areas:
- Sacred and profane: identity, limits and trespassing
- Production, circulation and consumption
- Music, liturgy, worship: a performative phenomenon
- Cross-confessionalism and the migration of models
- The past in the past: longue durée, historicism, historiography.
The congress aims at opening an international and innovative debate on the present perspectives of research in the field of sacred music. The congress will be organised in thematic sessions, the main focus being on the complexity of methodological discourse. Principal thematic areas:
- Sacred and profane: identity, limits and trespassing
- Production, circulation and consumption
- Music, liturgy, worship: a performative phenomenon
- Cross-confessionalism and the migration of models
- The past in the past: longue durée, historicism, historiography.
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Im laufenden Jahr finden europaweit Festlichkeiten anlässlich der 700-Jahrfeier zur Geburt Francesco Petrarcas (1304-1374) statt. Der italienische Dichter und Denker hat die europäische Literatur- und Geistesgeschichte massgeblich... more
Im laufenden Jahr finden europaweit Festlichkeiten anlässlich der 700-Jahrfeier zur Geburt Francesco Petrarcas (1304-1374) statt. Der italienische Dichter und Denker hat die europäische Literatur- und Geistesgeschichte massgeblich beeinflusst. Mit seinen Studien zur klassischen Literatur und den lateinischen Werken über Philosophie und Literatur wurde er zum Wegbereiter des Humanismus. Seine Liebeslyrik war es jedoch, die ihn seit dem 16. Jh. und bis heute in ganz Europa mit Ruhm honorierte: Der Canzoniere ist eine der bedeutendsten und einflussreichsten Gedichtsammlungen der abendländischen Literatur. Darin wird die Geschichte der zerreissenden Leidenschaft Lauras erzählt, einer jungen Dame aus Avignon, die den Dichter als poetische Muse auch in seiner spirituellen Entwicklung inspiriert. Dieses Werk gilt als ein Bestseller des 16. Jahrhunderts und löste eine europaweite „Nachahmungswelle“ aus, die als Petrarkismus bezeichnet wird. Berühmte Persönlichkeiten wie Michelangelo und Shakespeare, aber auch der französische König Franz I., haben gleichsam „petrarkisiert“. Deutliche Spuren dieser Strömung sind sowohl in der europäischen Dichtung als auch in anderen Bereichen der Kultur sichtbar. Es handelt sich um eine eigentliche literarische Mode, der sich die Federn der bedeutendsten Dichter Italiens und Frankreichs verschrieben, und die in der Musik der grössten italienischen und französischen Komponisten Eingang fand. Vom vorbildlichen Höfling konnte durchaus erwartet werden, dass er die Lyrik des Canzoniere kannte; es gehörte zudem beinahe zu seinen Pflichten, sich – den Petrarchino in den Händen haltend – in der Gesellschaft zu zeigen.
Zwischen Petrarca und Basel existieren wichtige Verbindungen: Bis wenige Tage vor dem verheerenden Erdbeben vom 18. Oktober 1356 hat Petrarca während mehrerer Wochen in Basel residiert. Basel ist aber nicht nur eine Etappe, die bei Petrarca einen bleibenden Eindruck hinterlassen hat: Basel ist auch die Stadt, die den Florentiner Humanisten wieder entdeckt hat. Die erste Gesamtausgabe von Petrarcas lateinischem Werk wurde in der Rheinstadt von Johann Amerbach herausgegeben. Von Basel gehen somit wichtige Impulse für die Entwicklung des Humanismus aus.
Die Veranstalter Nuova Compagnia della Gramigna, ein aus jungen Forschern der Universität Basel bestehender Kulturverein, und die Öffentliche Bibliothek der Universität Basel organisieren unter dem Titel Laura - L'aura mehrere Anlässe, die vom 28. August bis zum 10. Oktober 2004 in Basel stattfinden werden. Die Veranstaltungen bestehen aus drei Teilen: einer Ausstellung, einer Konzertreihe und einer Vortragsreihe.
Zwischen Petrarca und Basel existieren wichtige Verbindungen: Bis wenige Tage vor dem verheerenden Erdbeben vom 18. Oktober 1356 hat Petrarca während mehrerer Wochen in Basel residiert. Basel ist aber nicht nur eine Etappe, die bei Petrarca einen bleibenden Eindruck hinterlassen hat: Basel ist auch die Stadt, die den Florentiner Humanisten wieder entdeckt hat. Die erste Gesamtausgabe von Petrarcas lateinischem Werk wurde in der Rheinstadt von Johann Amerbach herausgegeben. Von Basel gehen somit wichtige Impulse für die Entwicklung des Humanismus aus.
Die Veranstalter Nuova Compagnia della Gramigna, ein aus jungen Forschern der Universität Basel bestehender Kulturverein, und die Öffentliche Bibliothek der Universität Basel organisieren unter dem Titel Laura - L'aura mehrere Anlässe, die vom 28. August bis zum 10. Oktober 2004 in Basel stattfinden werden. Die Veranstaltungen bestehen aus drei Teilen: einer Ausstellung, einer Konzertreihe und einer Vortragsreihe.
Research Interests:
Claudio Merulo (1533–1604). Musician and music publisher
Research Interests: Early Music, Music History, Book History, Manuscripts and Early Printed Books, Venetian History, and 9 moreHistorical Musicology, Organ Music, Claudio Merulo, Early Organ Music, Storia della musica, Music printing in the 16th and 17th centuries, Music Printing and Publishing, Venetian Renaissance Music, and History of Printed Music
Giovanni Battista Beltramino (XVII–XVIII sec.). Music printer
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Ricciardo Amadino (1541–1617). Music printer and publisher
Research Interests: Early Music, Music History, Early Modern History, Book History, Cultural Musicology, and 10 moreClaudio Monteverdi, Historical Musicology, Storia della musica, Music printing in the 16th and 17th centuries, Music Printing and Publishing, Italian Baroque Music, The Venetian Music School (1550-1610), Venetian Renaissance Music, History of Printed Music, and Venetian Baroque Music
Vol. 89 – Gioseffo Sala (1642/1643–1727). Venetian music printer and publisher
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Vol. 86 – Alessandro Raveri (1553–1609). Music printer and publisher
Research Interests: Cultural Studies, Music, Early Music, Musicology, Print Culture, and 22 moreManuscripts and Early Printed Books, Renaissance Studies, Cultural Musicology, Venetian History, Baroque Music, Printing History, Music Publishing, Early Modern print culture, Republic of Venice, Cultural History of Music, Venice, Italian Renaissance prints, History of Venice, Venetian Early Printed Books, Music Printing, Renaissance Venice, Music printing in the 16th and 17th centuries, Music Printing and Publishing, Italian Baroque Music, The Venetian Music School (1550-1610), History of Printed Music, and Venetian Baroque Music
Vol. 81(2014) – Giovanni Domenico Partenio (1633–1701). Venetian musician and composer
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Vol. 81, pp. 263–266 – Girolamo Parabosco (1524–1557)
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Vol. 79, pp. 272–274 – Simpliciano Olivo (1594–1680)
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Vol. 75, pp. 543–547 – Natale Monferrato (1610–1685)
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Die Musik in Geschichte und Gegenwart – Personenteil 13, Sp. 155-157
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In: Schweizer Musikzeitung Nr. 6/2021, p. 36
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In: Schweizer Musikzeitung, Nr. 7/8 Juli 2014
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In: Venezia Musica e dintorni, maggio 2012, p. 28 See Claudio Monteverdi : Salve Regine del Sig. Claudio Monteverde, ed. by Luigi Collarile. Sala Bolognese (Bologna): Arnaldo Forni Editore, 2011... more
In: Venezia Musica e dintorni, maggio 2012, p. 28
See Claudio Monteverdi : Salve Regine del Sig. Claudio Monteverde, ed. by Luigi Collarile. Sala Bolognese (Bologna): Arnaldo Forni Editore, 2011
https://www.academia.edu/21454025/Claudio_Monteverdi_Salve_Regine_del_Sig._Claudio_Monteverde._Sala_Bolognese_Bologna_Arnaldo_Forni_Editore_2011_with_three_newly_discovered_motets_
See Claudio Monteverdi : Salve Regine del Sig. Claudio Monteverde, ed. by Luigi Collarile. Sala Bolognese (Bologna): Arnaldo Forni Editore, 2011
https://www.academia.edu/21454025/Claudio_Monteverdi_Salve_Regine_del_Sig._Claudio_Monteverde._Sala_Bolognese_Bologna_Arnaldo_Forni_Editore_2011_with_three_newly_discovered_motets_
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In: Schweizer Musikzeitung, Nr. 7/8 Juli/August 2011 See Claudio Monteverdi : Salve Regine del Sig. Claudio Monteverde, ed. by Luigi Collarile. Sala Bolognese (Bologna): Arnaldo Forni Editore, 2011... more
In: Schweizer Musikzeitung, Nr. 7/8 Juli/August 2011
See Claudio Monteverdi : Salve Regine del Sig. Claudio Monteverde, ed. by Luigi Collarile. Sala Bolognese (Bologna): Arnaldo Forni Editore, 2011
https://www.academia.edu/21454025/Claudio_Monteverdi_Salve_Regine_del_Sig._Claudio_Monteverde._Sala_Bolognese_Bologna_Arnaldo_Forni_Editore_2011_with_three_newly_discovered_motets_
See Claudio Monteverdi : Salve Regine del Sig. Claudio Monteverde, ed. by Luigi Collarile. Sala Bolognese (Bologna): Arnaldo Forni Editore, 2011
https://www.academia.edu/21454025/Claudio_Monteverdi_Salve_Regine_del_Sig._Claudio_Monteverde._Sala_Bolognese_Bologna_Arnaldo_Forni_Editore_2011_with_three_newly_discovered_motets_
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In: Federico Vicario (ed.), Il Liceo Classico 'Jacopo Stellini'. Duecento anni nel cuore del Friuli. Udine: Forum Editrice Universitaria Udinese, 2010, pp. 495-497
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In: Paola Barzan, Anna Vildera (eds), Il canto «patriarchino» di tradizione orale in area istriana e veneto-friulana (Cultura popolare veneta, 17). Vicenza: Neri Pozza, 2000, pp. 19-33
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In: Paola Barzan, Anna Vildera (eds), Il canto «patriarchino» di tradizione orale in area istriana e veneto-friulana (Cultura popolare veneta, 17). Vicenza: Neri Pozza, 2000, pp. 237-248
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In: Andrea Marcon, Riccardo Moscatelli, Federico Pupo (eds), X Festival Organistico Internazionale Città di Treviso e della Marca Trevigiana (settembre-ottobre 1998). Treviso: 1998, pp. 104-108
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Session Participants: Anne Smith, Luigi Collarile, Martin Kirnbauer, David Gallagher and Johannes Keller – Schola Cantorum Basiliensis / FHNW
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Research Interests: Early Music, Music History, Cultural Musicology, Renaissance music, Sacred Music, and 11 morePerformance Practice (Music), Historical Musicology, Musical Performance, Early music and historically informed performance practice, Storia della musica sacra, Storia della musica, Italian Baroque Music, Renaissance and Baroque Music, Venetian Renaissance Music, Venetian Baroque Music, and Basilica di San Marco a Venezia
With Johannes Keller. How to graphically represent a new and extended range of intervals is a fundamental question in the complex musical vision (‘prattica musicale’) described by Nicola Vicentino in his treatise L’antica musica ridotta... more
With Johannes Keller. How to graphically represent a new and extended range of intervals is a fundamental question in the complex musical vision (‘prattica musicale’) described by Nicola Vicentino in his treatise L’antica musica ridotta alla moderna prattica (Rome 1555). The first part of this paper examines specific aspects of Vicentino’s notation. The elements he used were not invented ex novo but are the result of improvement and resemantisation of existing notational practices. Vicentino’s effort to create a differenciated representation of a highly complex pitch system clearly distinguishes him within the theoretical and musical landscape of his time. The notational solutions proposed by Lusitano, Danckerts, Zarlino and other music theorists to representing intervals of the chromatic and enharmonic genus reveal a substantially different approach.
Working with reconstructions of Vicentino’s keyboard instruments (the arciorgano and the archicembalo with 31 or 36 keys per octave) force the modern-day ‘users’ of those instruments to renegotiate the relationship between note names, musical notation, key names and actual sounding pitch. The second part of this paper presents Vicentino’s approach to these concepts and reflects on its implications. This includes a critical comparison with conventional contemporary Western music notation and theory, exposing certain limitations which challenge the application of popular strategies for digital music notation, such as MEI (‘music encoding initiative’).
Working with reconstructions of Vicentino’s keyboard instruments (the arciorgano and the archicembalo with 31 or 36 keys per octave) force the modern-day ‘users’ of those instruments to renegotiate the relationship between note names, musical notation, key names and actual sounding pitch. The second part of this paper presents Vicentino’s approach to these concepts and reflects on its implications. This includes a critical comparison with conventional contemporary Western music notation and theory, exposing certain limitations which challenge the application of popular strategies for digital music notation, such as MEI (‘music encoding initiative’).
Research Interests:
Research Interests: Early Music, Music History, Microtonal Music, Performance Studies (Music), History of Music Theory, and 9 moreNotation (Music), Renaissance Music Theory, Historical Musicology, Musical Performance, Early music and historically informed performance practice, Musical notation, Early Organ Music, Music Printing and Publishing, and Renaissance and Baroque Music
Research Interests: Early Music, Music History, Music Theory, Renaissance Studies, Cultural Musicology, and 9 moreSemiotics of Music, Renaissance music, Renaissance Music Theory, Performance Practice (Music), Historically Informed Performance (HIP), Renaissance Book Culture, Historical Musicology, Early Keyboard Music, and Music Printing and Publishing
With Martin Kirnbauer, Luigi Collarile, Johannes Keller, Anne Smith
Research Interests: Early Music, Music History, Music Theory, Cultural Musicology, Performance Studies (Music), and 7 moreRenaissance music, Renaissance Music Theory, Performance Practice (Music), Historically Informed Performance (HIP), Historical Musicology, Early music and historically informed performance practice, and Contrapunto
La condizione urbana come fenomeno pervasivo 1 1-1 4 s e t t e m b r e 2 0 1 9 | B O LO G N A IX CONGRESSO AISU PROGRAMMA / PROGRAM The global city The urban condition as a pervasive phenomenon S e p t e m b e r 1 1 t h-1 4 t h , 2 0 1 9... more
La condizione urbana come fenomeno pervasivo 1 1-1 4 s e t t e m b r e 2 0 1 9 | B O LO G N A IX CONGRESSO AISU PROGRAMMA / PROGRAM The global city The urban condition as a pervasive phenomenon S e p t e m b e r 1 1 t h-1 4 t h , 2 0 1 9 | B O LO G N A
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Research Interests: Cultural Studies, Music, Early Music, Musicology, Cultural Musicology, and 15 morePerformance Studies (Music), Renaissance music, German Baroque Music, Early Modern print culture, Historical Musicology, Organ Music, Cultural History of Music, Switzerland, Basel, Early Keyboard Music, Early music and historically informed performance practice, music printing, early modern Germany, history of the book, Early Organ Music, Music printing in the 16th and 17th centuries, and Music Printing and Publishing
https://baroquemusicconferencecremona.wordpress.com
(Publication forthcoming)
(Publication forthcoming)
Research Interests: Cultural Studies, Music, Early Music, Music History, Musicology, and 17 moreEarly Modern History, Bibliography, Analytical bibliography, Early Modern Europe, Cultural Musicology, Early Modern Intellectual History, Early Modern Italy, History of music, Bibliographic Research, Music Publishing, Music Bibliography, Historical Musicology, Cultural History of Music, Bibliografia, Storia della musica, Music printing in the 16th and 17th centuries, and Music Printing and Publishing
Research Interests: Intellectual History, Cultural Studies, Music, Early Music, Music History, and 72 moreMusicology, Media and Cultural Studies, Early Modern History, Italian Studies, Performance Studies, Literature and Music, Soundscape Studies, Cultural Transfer Studies, Early Modern Europe, Italian Cultural Studies, Cross-Cultural Studies, 17th-Century Studies, Performance Studies (Music), Early Modern Literature, Venetian History, Patronage (Music), Baroque Music, Early Modern Intellectual History, Cultural Studies (Communication), Early Modern Italy, Italian Music, Intellectual and cultural history, Patronage (History), Republic of Letters (Early Modern History), Soundscape (Music), Travel Literature, Italian Baroque art, Music and Literature, Cross-cultural studies (Culture), Music Perception, Cultural Studies of Consumption, 18th Century, Visual and Cultural Studies, Performance Practice (Music), Music Performance, Soundscape, Musica, Republic of Venice, Venice, Música, Venice and the Veneto, Cultural Studies and Literatures, Academies, Venezia, History of Venice, Grand Tour, Musical Performance, The Grand Tour, 17th-18th century Italian cantata and serenata, Storia della musica sacra, Terraferma veneta, Storia della musica, Early Modern Travel Literature, Music Printing and Publishing, Venezia E Terraferma Veneta (XV-XVIII), Italian Baroque Music, The Venetian Music School (1550-1610), Venice and Terraferma, Musical perfromance, Grand Tour Studies, Music and Performing Arts, Venetian Renaissance Music, History of Serenissima Repubblica Di Venezia, 18th Century Grand Tour, Venetian Baroque Music, History of Grand Tours, History of Grand Tour, Accademia Filarmonica di Verona, Venetian Terraferma, History of the Venetian Terraferma, Early Modern Terraferma, and Soundscape of the Venetian Terraferma
In questo contributo saranno presentati i risultati di un’indagine dedicata alla delicata questione che riguarda l’esistenza di edizioni di musica pubblicate con false indicazioni di stampa. Si tratta di un fenomeno noto agli storici del... more
In questo contributo saranno presentati i risultati di un’indagine dedicata alla delicata questione che riguarda l’esistenza di edizioni di musica pubblicate con false indicazioni di stampa. Si tratta di un fenomeno noto agli storici del libro della prima età moderna, ancora però assai poco indagato sul versante della produzione editoriale musicale. L’analisi di alcuni casi che riguardano false edizioni veneziane permetterà di mettere a fuoco diversi problemi che questo campo d’indagine solleva a livello storico, bibliografico e storiografico.
Research Interests: Cultural Studies, Music, Early Music, Music History, Musicology, and 18 moreEarly Modern History, Book History, History of the Book, Bibliography, Cultural Musicology, Baroque Music, Book History (History), Critical Musicology, Music Publishing, Music Bibliography, Early Modern print culture, Historical Musicology, Music Libraries, Music Bibliography, Musicology, Musical philology, Storia della musica, Music printing in the 16th and 17th centuries, Music Printing and Publishing, and History of Printed Music
In questo contributo saranno presentate e discusse alcune fonti manoscritte sconosciute o poco note, risalenti alla seconda metà del Seicento e al primo Settecento, oggi conservate a Modena, Vienna e Roma, che trasmettono composizioni... more
In questo contributo saranno presentate e discusse alcune fonti manoscritte sconosciute o poco note, risalenti alla seconda metà del Seicento e al primo Settecento, oggi conservate a Modena, Vienna e Roma, che trasmettono composizioni sacre di Giovanni Legrenzi: sintomatiche testimonianze della peculiare ricezione che la produzione di uno dei protagonisti della scena musicale nord-italiana del secondo Seicento ha conosciuto.
Research Interests: Music, Early Music, Music History, Musicology, Early Modern History, and 13 moreEarly Modern Europe, Cultural Musicology, Early Modern Italy, Sacred Music, History of music, Musica, Historical Musicology, Cultural History of Music, Storia della musica sacra, Music Manuscripts, Storia della musica, Venetian Baroque Music, and Giovanni Legrenzi
Research Interests: Cultural History, Cultural Studies, Early Music, Music History, Travel Writing, and 25 moreEarly Modern History, Soundscape Studies, Swiss History, Cultural Musicology, Travel & Tourism, Early Modern Italy, Soundscape (Music), Travel Literature, 18th Century, Sacred Music, 18th Century Music History, Travel and Tourism Industry, Soundscape, Historical Musicology, 18th Century Music, Cultural History of Music, Switzerland, Grand Tour, The Grand Tour, Storia della musica sacra, Storia della musica, Grand Tour Studies, 18th Century Grand Tour, History of Grand Tours, and Swiss Music history
All’interno del complesso cerimoniale civico che contraddistingue la Venezia della prima età moderna, la cappella ducale riveste un ruolo di primo piano. Simbolo per eccellenza del potere temporale e spirituale incarnato dal doge, San... more
All’interno del complesso cerimoniale civico che contraddistingue la Venezia della prima età moderna, la cappella ducale riveste un ruolo di primo piano. Simbolo per eccellenza del potere temporale e spirituale incarnato dal doge, San Marco è il fulcro di un processo di semantizzazione dello spazio urbano, che la dimensione sonora contribuisce ad amplificare. Il riesame dei libri corali con musica polifonica del fondo marciano ha messo in luce l’esistenza di repertori musicali stabili, divenuti in molti casi parte inalienabile di specifici cerimoniali. Amplificati dalla ciclicità del calendario, essi hanno dato vita a un orizzonte sonoro permanente, le cui ricadute estetiche devono essere considerate a diversi livelli. Scopo di questo intervento è indagare in che modo questo genere di fenomeni abbia concorso alla definizione dell’identità sonora della cappella ducale nella cornice dell’ambiente urbano veneziano.
Research Interests: Cultural Studies, Music, Early Music, Music History, Early Modern History, and 26 moreSoundscape Studies, Sound studies, Cultural Identity, Cultural Musicology, Venetian History, Baroque Music, Early Modern Italy, Renaissance music, Soundscape (Music), Identity construction and cultural production, Soundscape, Historical Musicology, Republic of Venice, Cultural History of Music, Venice, Venice and the Veneto, Early Modern Art and Visual Culture, Venezia, 16th century Venice, History of Venice, Longue durée, Storia della musica sacra, Storia della musica, Venetian Renaissance Music, Venetian Baroque Music, and Basilica di San Marco a Venezia
Cette contribution se propose d’aborder le phénomène des éditions de musique imprimées avec fausse adresse d’impression. Il s’agit d’un problème bien connu par les historiens du livre, qui toutefois dans le domaine de l’histoire de... more
Cette contribution se propose d’aborder le phénomène des éditions de musique imprimées avec fausse adresse d’impression. Il s’agit d’un problème bien connu par les historiens du livre, qui toutefois dans le domaine de l’histoire de l’imprimerie musicale a été encore très peu considéré. L’analyse de quelques cas concernant des éditions publiées en France, aux Pays-Bas et en Allemagne pendant les XVIIe et XVIIIe siècles permettra d’enquêter un phénomène complexe qui pose différents problèmes au niveau historique, historiographique et bibliographique.
See paper: https://www.academia.edu/37840984/Stampate_a_Venezia_Edizioni_musicali_del_Seicento_con_false_indicazioni_di_stampa._forthcoming_
See paper: https://www.academia.edu/37840984/Stampate_a_Venezia_Edizioni_musicali_del_Seicento_con_false_indicazioni_di_stampa._forthcoming_
Research Interests: Music, Music History, Musicology, Print Culture, Early Modern History, and 18 moreBook History, History of the Book, Book History (History), Book trade History, Music Publishing, Histoire de la musique, Early Modern print culture, Books, Historical Musicology, Eighteenth Century Print Culture, Prints/drawing/vintage Brasswind Musical Instruments, music printing, early modern Germany, history of the book, Musical philology, Storia della musica, Music printing in the 16th and 17th centuries, Music Printing and Publishing, Editoria Musicale, and History of Printed Music
Research Interests: Early Music, Travel Writing, Early Modern History, Soundscape Studies, Swiss History, and 28 moreSound studies, Early Modern Europe, Neo-latin literature, Baroque Music, Early Modern Italy, Soundscape (Music), Travel Literature, 17th Century Music, History of Switzerland, Eighteenth-Century Music, 18th Century Music History, Soundscape, 18th Century Music, 17th/18th Century Music, Benedictine Monasticism, Switzerland, Space, place and culture; geography of lifeworlds; Soundscape Studies, Grand Tour, Early Modern Travellers, Soundscapes, Neo Latin Literature, The Grand Tour, Early Modern Travel Literature, Travel Studies, Italian Baroque Music, Grand Tour Studies, 18th Century Grand Tour, and History of Grand Tours
Partendo dall’analisi di alcune edizioni di musica stampate da Andrea Antico tra il 1510 e il 1520, la relazione intende indagare il contesto sociale, culturale e estetico che ha fatto da cornice alla realizzazione di manufatti... more
Partendo dall’analisi di alcune edizioni di musica stampate da Andrea Antico tra il 1510 e il 1520, la relazione intende indagare il contesto sociale, culturale e estetico che ha fatto da cornice alla realizzazione di manufatti eccezionali dal punto di vista materiale, capaci di offrire inedite prospettive sulla complessa questione del mecenatismo artistico lungo l’asse che idealmente unisce (e divide) Venezia e Roma nel primo Cinquecento.
Research Interests: Music, Early Music, Music History, Musicology, Print Culture, and 24 moreEarly Modern History, Book History, Ecclesiastical Patronage, Early Modern Italy, Renaissance music, Patronage (History), Book History (History), Music Publishing, Renaissance Music (Music), Early Modern print culture, Giorgione, Patronage and collecting, Music and the Visual Arts, Early Modern Art and Visual Culture, Early modern Rome, Early Modern Art, Patronage, Print Culture, Book History and the History of Reading, Music Printing, Dedication Practices, Early modern venice, Music printing in the 16th and 17th centuries, Music Printing and Publishing, and History of Printed Music
Research Interests: Cultural History, Cultural Studies, Music, Early Music, Music History, and 10 moreMusicology, Sacred Music, Historical Musicology, Sacred Space, History of Venice, Longue durée, Early music and historically informed performance practice, St Mark's Basilica Venice, Choir Books, and Basilica di San Marco a Venezia
Questa presentazione intende riesaminare la produzione editoriale di Lodovico Grossi da Viadana alla luce di alcune integrazioni relative a raccolte individuali oggi perdute e proprorre una riflessione sulla peculiare fortuna... more
Questa presentazione intende riesaminare la produzione editoriale di Lodovico Grossi da Viadana alla luce di alcune integrazioni relative a raccolte individuali oggi perdute e proprorre una riflessione sulla peculiare fortuna storiografica che il compositore francescano ha incontrato già a partire dal Seicento, impersonando l’immagine di ‘inventore’ del repertorio sacro concertato.
This presentation examines the printed music production of Lodovico Grossi da Viadana with particular reference to some lost individual collections, and discusses the peculiar historiographical reception of the Franciscan composer, beginning in the seventeenth century, as ‘inventor’ of the small-scale sacred repertoire.
This presentation examines the printed music production of Lodovico Grossi da Viadana with particular reference to some lost individual collections, and discusses the peculiar historiographical reception of the Franciscan composer, beginning in the seventeenth century, as ‘inventor’ of the small-scale sacred repertoire.
Research Interests:
In diesem Vortrag sollen die Ergebnisse des vom Stiftsarchiv St. Gallen geförderten Forschungsprojektes Itinera Italica – Römische Tagebücher aus dem Kloster St. Gallen vorgestellt werden. Ziel des Projektes ist eine hermeneutische... more
In diesem Vortrag sollen die Ergebnisse des vom Stiftsarchiv St. Gallen geförderten Forschungsprojektes Itinera Italica – Römische Tagebücher aus dem Kloster St. Gallen vorgestellt werden. Ziel des Projektes ist eine hermeneutische Analyse von Tagebüchern, Ausgabebüchern und Briefen, die im Zusammenhang mit vier zwischen 1696 und 1749 von Benediktinern aus dem Kloster St.Gallen durchgeführten Reisen nach Italien stehen. Es handelt sich um äusserst seltene Zeugnisse, die auf der einen Seite einen noch unbekannten Aspekt in der Geschichte des bedeutsamen Benediktinerklosters St.Gallen dokumentieren, auf der anderen neue Horizonte im komplexen Phänomen der neu entdeckten benediktinischen Grand Tour nach Italien in der Neuzeit eröffnen können. Parallelen zwischen der adeligen und der benediktinischen Bildungsreise nach Italien existieren nicht nur bei der Wahl der Routen und der Unterkünfte, sondern auch bei Zielen wie dem Vesuv und den Phlegräischen Feldern.
Research Interests:
This paper explores some techniques for visually synchronizing the music notation in ancient choirbooks in which, differently from modern music scores, the staves for the different voices are independently placed in the four quadrants of... more
This paper explores some techniques for visually synchronizing the music notation in ancient choirbooks in which, differently from modern music scores, the staves for the different voices are independently placed in the four quadrants of an open volume large page. We explore three visual techniques to show the synchronization between the different voices in comparison with a modern music notation.
Research Interests:
Le but est de présenter et discuter une série de nouvelles acquisitions, liées à plusieurs recherches récentes, qui posent l’accent sur l’importance de reconsidérer l’approche historiographique traditionnelle, basée sur une histoire des... more
Le but est de présenter et discuter une série de nouvelles acquisitions, liées à plusieurs recherches récentes, qui posent l’accent sur l’importance de reconsidérer l’approche historiographique traditionnelle, basée sur une histoire des protagonistes et des contextes de production locaux, en faveur d’une perspective plus complexe, capable de saisir le potentiel d’autres processus beaucoup plus significatifs pour dessiner une histoire du paysage musical suisse à l’époque moderne: les potentialités liées à la circulation et la transmission de répertoires musicaux à l'échelle européenne; les modalités de réception, d’appropriation et de resémantisation locales; particulières phénomènes de conservation.
Publication in preparation
Publication in preparation
Research Interests:
Scopo della presente comunicazione è indagare il contesto editoriale che ha fatto da cornice alla pubblicazione di un’importante – da poco ritrovata – silloge di musica monodica pubblicata a Venezia nel 1613 per i tipi di Bartolomeo... more
Scopo della presente comunicazione è indagare il contesto editoriale che ha fatto da cornice alla pubblicazione di un’importante – da poco ritrovata – silloge di musica monodica pubblicata a Venezia nel 1613 per i tipi di Bartolomeo Magni: Orfeo, musiche de diversi autori eccellentissimi. Attraverso un’attenta analisi della stampa e del suo contenuto viene delineata la storia editoriale di un testimone straordinario, capace di gettare nuova luce sulla diffusione e sullo sviluppo della 'nuova musica' monodica a Venezia nel primo scorcio del Seicento.
Publication in preparation
Publication in preparation
Research Interests: Music, Early Music, Music History, Musicology, Print Culture, and 14 moreCultural Musicology, Baroque Music, Claudio Monteverdi, Early Modern print culture, Historical Musicology, Cultural History of Music, Venice, History of Venice, Italian madrigal of late 16th century, Madrigals, Music Printing and Publishing, Italian Baroque Music, The Venetian Music School (1550-1610), and Venetian Baroque Music
Research on the musical production by Giovanni Andrea Fioroni (1716-1778) has revealed a hitherto unknown relationship between a work by the Milanese composer and Mozart’s Requiem KV 626. In the light of the possible significance of... more
Research on the musical production by Giovanni Andrea Fioroni (1716-1778) has revealed a hitherto unknown relationship between a work by the Milanese composer and Mozart’s Requiem KV 626. In the light of the possible significance of reminiscence phenomena, this paper reconsiders some aspects of soundscape in the late Mozart’s creative process.
Published:
https://www.academia.edu/37195143/Reminiscenze_milanesi_nel_Requiem_in_re_minore_KV_626_di_Mozart_In_Rosa_Cafiero_Raffaele_Mellace_Claudio_Toscani_eds_La_nostra_musica_di_chiesa_è_assai_differente..._._Mozart_e_la_musica_sacra_italiana._Roma_Società_Editrice_di_Musicologia_2018_Saggi_8_pp._161_206
Published:
https://www.academia.edu/37195143/Reminiscenze_milanesi_nel_Requiem_in_re_minore_KV_626_di_Mozart_In_Rosa_Cafiero_Raffaele_Mellace_Claudio_Toscani_eds_La_nostra_musica_di_chiesa_è_assai_differente..._._Mozart_e_la_musica_sacra_italiana._Roma_Società_Editrice_di_Musicologia_2018_Saggi_8_pp._161_206
Research Interests: Music, Music History, Musicology, Soundscape Studies, Cultural Musicology, and 17 moreMozart, Baroque Music, Soundscape (Music), Sacred Music, History of music, Classical Music, 18th Century Music History, Soundscape, Historical Musicology, Cultural History of Music, Compositional Processes, Grand Tour, Mozart, 18th century music, Wolfgang Amadeus Mozart, Compositional process, History of Milan, and Mozart Requiem
Ephemerides itineris romani. Esperienze sonore e processi di transfer in alcuni diari di viaggio svizzeri di metà Seicento. – Esperienze musicali e repertori polifonici: modelli di diffusione e circolazione a cavaliere delle Alpi (sec. XVI-XVIII). Freie Universität Bozen (Italy), 15 November 2014more
Scopo di questa relazione è indagare le testimonianze di due soggiorni in Italia compiuti nel corso del Seicento da viaggiatori svizzeri: Johann Georg Wagner, membro della nobiltà di Solothurn, che nel 1661 partì al seguito di una... more
Scopo di questa relazione è indagare le testimonianze di due soggiorni in Italia compiuti nel corso del Seicento da viaggiatori svizzeri: Johann Georg Wagner, membro della nobiltà di Solothurn, che nel 1661 partì al seguito di una delegazione per il riconoscimento di una reliquia; due padri benedettini del monastero di Einsiedeln, P. Wolfgang Weishaupt e P. Kolumban Ochsner, che nel 1639 intrapresero un viaggio di studio nella Roma di papa Urbano VIII. L’analisi dei loro diari di viaggio permette di riflettere sulle esperienze sonore da loro vissute e su alcuni interessanti processi di transfer culturale (e musicale) a cavallo delle Alpi.
Publication in preparation.
Publication in preparation.
Research Interests:
Published in: Kirchenmusikalisches Jahrbuch 98 (2014), pp. 59-83
Research Interests: Cultural Studies, Music, Early Music, Music History, Musicology, and 12 moreRenaissance Studies, Cultural Musicology, French Renaissance, Renaissance music, Historical Musicology, Cultural History of Music, Venice, History of Venice, Clément Janequin, Renaissance and Baroque Music, Venetian Renaissance Music, and Choir Books
Published: Luigi Collarile, Daniel Maira, 'Ronsard et son rapport à la musique: du supplément musical à la préface des Meslanges (1552-1560)'. In: Olivier Millet, Alice Tacaille (eds), Poésie française et musique à la Renaissance... more
Published:
Luigi Collarile, Daniel Maira, 'Ronsard et son rapport à la musique: du supplément musical à la préface des Meslanges (1552-1560)'. In: Olivier Millet, Alice Tacaille (eds), Poésie française et musique à la Renaissance (Conference Proceedings: Paris, Centre V. L. Saulnier – Paris IV La Sorbonne, 13-14 March 2014). Paris: Presses de l’Université Paris-Sorbonne, 2015, p. 69–89.
https://www.academia.edu/13843866/Ronsard_et_son_rapport_à_la_musique_du_supplément_musical_à_la_préface_des_Meslanges_1552-1560_
Luigi Collarile, Daniel Maira, 'Ronsard et son rapport à la musique: du supplément musical à la préface des Meslanges (1552-1560)'. In: Olivier Millet, Alice Tacaille (eds), Poésie française et musique à la Renaissance (Conference Proceedings: Paris, Centre V. L. Saulnier – Paris IV La Sorbonne, 13-14 March 2014). Paris: Presses de l’Université Paris-Sorbonne, 2015, p. 69–89.
https://www.academia.edu/13843866/Ronsard_et_son_rapport_à_la_musique_du_supplément_musical_à_la_préface_des_Meslanges_1552-1560_
Research Interests: French Literature, Music, Early Music, Music History, Musicology, and 10 morePrint Culture, Renaissance Studies, French Renaissance, Renaissance music, French Renaissance Literature, Early Modern print culture, Historical Musicology, Ronsard, Renaissance French poetry, and Music Printing and Publishing
The aim of this paper is to present the results of an extensive survey on lost Italian music editions produced before 1800, subject of a monograph in preparation. The so far collected data show the size of an unexpectedly extensive and... more
The aim of this paper is to present the results of an extensive survey on lost Italian music editions produced before 1800, subject of a monograph in preparation. The so far collected data show the size of an unexpectedly extensive and complex phenomenon. I intend to propose some reflections on issues related to the adopted methodological approach and on the historiographical perspectives concerning the interpretation and evaluation of the collected data.
Publication in preparation:
David Bryant, Luigi Collarile (eds), Music Printing and Publishing in Early Modern Italy. New Approaches.– (forthcoming)
Publication in preparation:
David Bryant, Luigi Collarile (eds), Music Printing and Publishing in Early Modern Italy. New Approaches.– (forthcoming)
Research Interests:
Publication in preparation
Research Interests: Music History, Print Culture, Sacred Music, History of Switzerland, Early Modern print culture, and 6 moreEighteenth Century Print Culture, Benedictine Monasticism, Switzerland, music printing, early modern Germany, history of the book, Music printing in the 16th and 17th centuries, and Music Printing and Publishing
Scopo di questo intervento è illustrare i risultati di un’indagine sulla produzione di libri di musica all’interno dei monasteri dell’antica Confederazione Svizzera. Si tratta di un fenomeno peculiare, che occorre osservare con... more
Scopo di questo intervento è illustrare i risultati di un’indagine sulla produzione di libri di musica all’interno dei monasteri dell’antica Confederazione Svizzera. Si tratta di un fenomeno peculiare, che occorre osservare con attenzione. Stampare musica richiede, infatti, competenze tecniche e materiali editoriali specifici. Perché produrre libri di musica in monastero, e soprattutto per chi? L’analisi del fenomeno ha permesso di portare alla luce alcune complesse dinamiche che fanno da contesto alla confezione di manufatti intimamente legati alla vita (non soltanto musicale) di alcuni monasteri, in particolare quello benedettino di S. Gallo e quello cistercense di Wettingen (Aargau).
Publication in preparation
Publication in preparation
Research Interests: Early Music, Music History, Print Culture, Monastic Studies, Baroque Music, and 9 moreSacred Music, History of Switzerland, Early Modern print culture, Eighteenth Century Print Culture, Benedictine Monasticism, Switzerland, music printing, early modern Germany, history of the book, Music printing in the 16th and 17th centuries, and Music Printing and Publishing
Published: La memoria del modello. Riguardo alle 'citazioni' nell'Annuale di G.B. Fasolo (1645). – In: Alberto Colzani, Andrea Luppi, Maurizio Padoan (eds), Barocco padano e musicisti francescani. L’apporto dei maestri conventuali.... more
Published:
La memoria del modello. Riguardo alle 'citazioni' nell'Annuale di G.B. Fasolo (1645). – In: Alberto Colzani, Andrea Luppi, Maurizio Padoan (eds), Barocco padano e musicisti francescani. L’apporto dei maestri conventuali. Padova: Centro Studi Antoniani, 2014, pp. 379-411
Recent surveys have highlighted the significant presence of quotations from works by other authors (Frescobaldi in primis) within the Annuale by the Franciscan Giovanni Battista Fasolo, published in Venice in 1645. Aim of my contribution is to reconsider the context of this operation. Before they can be classified as rip-offs (a not unknown concept in the Baroque), two aspects should be considered: the manner of the possible reception of unusual musical repertoires (as a Fantasia attributed to Jan Pieterszoon Sweelinck); the value of the quoted repertoire in relation to the main function of Fasolo’s Annuale: to provide a model for the study of performance practices that every organist had to know to play in the church. The quoted reperoire will be considered with reference to the rhetorical instrument of the loci communes: a practice also attested in music at the time, as the Cartellina by the Olivetan Adriano Banchieri (1614) shows.
La memoria del modello. Riguardo alle 'citazioni' nell'Annuale di G.B. Fasolo (1645). – In: Alberto Colzani, Andrea Luppi, Maurizio Padoan (eds), Barocco padano e musicisti francescani. L’apporto dei maestri conventuali. Padova: Centro Studi Antoniani, 2014, pp. 379-411
Recent surveys have highlighted the significant presence of quotations from works by other authors (Frescobaldi in primis) within the Annuale by the Franciscan Giovanni Battista Fasolo, published in Venice in 1645. Aim of my contribution is to reconsider the context of this operation. Before they can be classified as rip-offs (a not unknown concept in the Baroque), two aspects should be considered: the manner of the possible reception of unusual musical repertoires (as a Fantasia attributed to Jan Pieterszoon Sweelinck); the value of the quoted repertoire in relation to the main function of Fasolo’s Annuale: to provide a model for the study of performance practices that every organist had to know to play in the church. The quoted reperoire will be considered with reference to the rhetorical instrument of the loci communes: a practice also attested in music at the time, as the Cartellina by the Olivetan Adriano Banchieri (1614) shows.
Research Interests:
Research Interests:
This paper investigates Giovanni Gabrieli’s role in the posthumous publication of his uncle’s music, a wide-ranging editorial project comprising eleven first editions of polyphonic music and eight reprints (several of them revised). Lost... more
This paper investigates Giovanni Gabrieli’s role in the posthumous publication of his uncle’s music, a wide-ranging editorial project comprising eleven first editions of polyphonic music and eight reprints (several of them revised). Lost editions and ghost editions are examined in an attempt to establish the exact entity and chronology of the two Gabrielis’ printed output. The objectives and strategies of the posthumous production are reconsidered in this revised perspective.
Published.
Luigi Collarile: Giovanni Gabrieli and Andrea’s Musical Legacy. Lost Editions, Ghost Editions, Editorial Strategies. In: Rodolfo Baroncini, David Bryant, Luigi Collarile (eds), Giovanni Gabrieli. Transmission and Reception of a Venetian Musical Tradition. Turnhout: Brepols, 2016 (Venetian Music Studies, 1), pp. 71–95.
Published.
Luigi Collarile: Giovanni Gabrieli and Andrea’s Musical Legacy. Lost Editions, Ghost Editions, Editorial Strategies. In: Rodolfo Baroncini, David Bryant, Luigi Collarile (eds), Giovanni Gabrieli. Transmission and Reception of a Venetian Musical Tradition. Turnhout: Brepols, 2016 (Venetian Music Studies, 1), pp. 71–95.
Research Interests:
L’editoria musicale veneziana intorno al 1611: questioni e prospettive. – Central-Eastern Europe versus the Italian musica moderna : in the occasion of the 400th anniversary of the publication of Offertoria and Communiones by Mikołaj Zieleński (Venice, 1611). University of Warsaw, 12–15 October 2011more
In questo contributo viene indagato il contesto nel quale sono stati pubblicati gli Offertoria e le Communiones totius anni di Mikołaj Zieleński. Attraverso un’analisi della produzione editoriale veneziana (oggi conservata e non) apparsa... more
In questo contributo viene indagato il contesto nel quale sono stati pubblicati gli Offertoria e le Communiones totius anni di Mikołaj Zieleński. Attraverso un’analisi della produzione editoriale veneziana (oggi conservata e non) apparsa intorno al 1611, viene proposta una riflessione sulle strategie perseguite dalle diverse officine veneziane impegnate nel settore musicale, sulla tipologia del repertorio musicale pubblicato e sulla presenza di compositori foresti come Zieleński. L’obiettivo è quello di mettere a fuoco le peculiarità di un’operazione editoriale senz’altro fuori dal comune.
This paper investigates the context in which Mikołaj Zieleński’s Offertoria and Communiones totius anni was published. Through an analysis of Venetian music editions produced around 1611 (today preserved or lost), it intends to reflect on the strategies pursued by the Venetian music publishers, on the typology of published music repertoire, and on the presence of foreign composers such as Zieleński. The purpose is to focus on the characteristics of an editorial project, which undoubtedly are out of the ordinary.
Published in:
Tomasz Jeż, Barbara Przybyszewska-Jarmińska, Marina Toffetti (eds), Italian Music in Central-Eastern Europe. Around Mikołaj Zieleński’s Offertoria and Communiones (1611), (Conference proceedings: Warsaw, 12–15 October 2011). Venice: Fondazione Levi, 2015, pp. 151-170.
This paper investigates the context in which Mikołaj Zieleński’s Offertoria and Communiones totius anni was published. Through an analysis of Venetian music editions produced around 1611 (today preserved or lost), it intends to reflect on the strategies pursued by the Venetian music publishers, on the typology of published music repertoire, and on the presence of foreign composers such as Zieleński. The purpose is to focus on the characteristics of an editorial project, which undoubtedly are out of the ordinary.
Published in:
Tomasz Jeż, Barbara Przybyszewska-Jarmińska, Marina Toffetti (eds), Italian Music in Central-Eastern Europe. Around Mikołaj Zieleński’s Offertoria and Communiones (1611), (Conference proceedings: Warsaw, 12–15 October 2011). Venice: Fondazione Levi, 2015, pp. 151-170.
Research Interests: Music History, Print Culture, Cultural Musicology, Baroque Music, Poland, and 10 moreEarly Modern print culture, Historical Musicology, history of Poland, History of Venice, Giovanni Gabrieli, Music printing in the 16th and 17th centuries, Music Printing and Publishing, Italian Baroque Music, The Venetian Music School (1550-1610), and The Venetian Music School
Presentation of three newly discovered motets by Claudio Monteverdi. See: Claudio Monteverdi : Salve Regine del Sig. Claudio Monteverde, ed. by Luigi Collarile. Bologna: Arnaldo Forni Editore, 2011... more
Presentation of three newly discovered motets by Claudio Monteverdi.
See:
Claudio Monteverdi : Salve Regine del Sig. Claudio Monteverde, ed. by Luigi Collarile. Bologna: Arnaldo Forni Editore, 2011
https://www.academia.edu/21454025/Claudio_Monteverdi_Salve_Regine_del_Sig._Claudio_Monteverde._Bologna_Arnaldo_Forni_Editore_2011_with_three_newly_discovered_motets_
See:
Claudio Monteverdi : Salve Regine del Sig. Claudio Monteverde, ed. by Luigi Collarile. Bologna: Arnaldo Forni Editore, 2011
https://www.academia.edu/21454025/Claudio_Monteverdi_Salve_Regine_del_Sig._Claudio_Monteverde._Bologna_Arnaldo_Forni_Editore_2011_with_three_newly_discovered_motets_
Research Interests: Music, Early Music, Music History, Musicology, Print Culture, and 15 moreBaroque Music, Claudio Monteverdi (Music), 17th Century Music, Sacred Music, Claudio Monteverdi, Early Modern print culture, Historical Musicology, Venice, History of Venice, Venetian Early Printed Books, music printing, early modern Germany, history of the book, Music printing in the 16th and 17th centuries, Music Printing and Publishing, Italian Baroque Music, and Venetian Baroque Music
Published in: Antonio Addamiano, Francesco Luisi (eds), Atti del Congresso Internazionale di Musica Sacra : In occasione del centenario di fondazione del PIMS : Roma, 26 maggio - 1 giugno 2011. Città del Vaticano: Libreria Editrice... more
Published in: Antonio Addamiano, Francesco Luisi (eds), Atti del Congresso Internazionale di Musica Sacra : In occasione del centenario di fondazione del PIMS : Roma, 26 maggio - 1 giugno 2011. Città del Vaticano: Libreria Editrice Vaticana, 2013, pp. 639-664
Research Interests:
Presso l’abbazia benedettina di Einsiedeln, in Svizzera, sono conservate quasi sessanta composizioni di Gian Andrea Fioroni (1716-1778). Oggetto della presente relazione è quello di analizzare le modalità di trasmissione di questo nucleo... more
Presso l’abbazia benedettina di Einsiedeln, in Svizzera, sono conservate quasi sessanta composizioni di Gian Andrea Fioroni (1716-1778). Oggetto della presente relazione è quello di analizzare le modalità di trasmissione di questo nucleo di fonti manoscritte, che comprende anche alcune partiture autografe. Il quadro che emerge mette in luce in maniera emblematica la natura dei canali attraverso cui una straordinaria quantità di musica milanese del Settecento ha oltrepassato le Alpi, per diventare parte integrante del repertorio in uso presso l’importante monastero benedettino svizzero almeno fino alla metà dell’Ottocento.
Pubished in:
Cesare Fertonani - Raffaele Mellace - Claudio Toscani (eds), La musica sacra nella Milano del Settecento : Atti del convegno internazionale : Milano, 17-18 maggio 2011. Milano: LED, 2014, pp. 213-244.
Pubished in:
Cesare Fertonani - Raffaele Mellace - Claudio Toscani (eds), La musica sacra nella Milano del Settecento : Atti del convegno internazionale : Milano, 17-18 maggio 2011. Milano: LED, 2014, pp. 213-244.
Research Interests:
Research Interests:
In diesem Vortrag werden die ersten Ergebnisse eines Forschungsprojektes vorgestellt, dessen Ziel die Untersuchung der ehemaligen Musikbibliothek des Christoph Leibfried (1566-1635) ist. Der deutsche Jurist sammelte Musik bzw. Musikdrucke... more
In diesem Vortrag werden die ersten Ergebnisse eines Forschungsprojektes vorgestellt, dessen Ziel die Untersuchung der ehemaligen Musikbibliothek des Christoph Leibfried (1566-1635) ist. Der deutsche Jurist sammelte Musik bzw. Musikdrucke italienischer Vokal- und Tastenmusik seit der Zeit seines Aufenthaltes in Tübingen (1587-1597). Nach seinem Tod wurde seine Bibliothek vom Basler Adligen Remigius Faesch (1595-1667) gekauft. Als die tausende Bestände vom Museum Faesch 1823 in die neu gegründete Basler Universitätsbibliothek eingingen, wurden sie nicht als Block übernommen. Die Rekonstruktion der Musiksammlung Leibfrieds erlaubt es, ein sehr interessantes Beispiel für die bürgerliche Praxis des Musizierens und Sammelns im Kontext zur Tastenmusikkultur im süddeutschen Raum um 1600 zu untersuchen. Die Erforschung der Typologie des ausgewählten Repertoires bringt ans Licht die Bedeutung der Sammlung Leibfrieds und die Implikationen auf die Verwirklichung eines Projekts, wie die Veröffentlichung der 1617 in Basel gedruckten, von Johann Woltz herausgegebenen Nova Musices Organicae Tabulator.
Project and publication in progress.
Project and publication in progress.
Research Interests: Cultural Studies, Early Music, Music History, Print Culture, Renaissance Studies, and 16 moreCultural Musicology, History of Collections, Collecting (Music), Renaissance music, German Baroque Music, History of Switzerland, Early Modern print culture, Historical Musicology, Organ Music, German Renaissance, German Renaissance Organ and Lute Tablatures, Basel, German Baroque Organ, Early Organ Music, History of music library collections, and Renaissance and Baroque Music
Recenti indagini sul repertorio musicale in uso presso la cappella ducale di Venezia hanno permesso di identificare un numero significativo di composizioni polifoniche divenute parti integranti e insostituibili del cerimoniale liturgico... more
Recenti indagini sul repertorio musicale in uso presso la cappella ducale di Venezia hanno permesso di identificare un numero significativo di composizioni polifoniche divenute parti integranti e insostituibili del cerimoniale liturgico marciano. Si tratta di un fenomeno che si accentua in maniera considerevole soprattutto nel corso del Seicento, da mettere in correlazione al sensibile aumento dell’attività ordinaria della cappella ducale. Assai diverse sono le modalità grazie alle quali una partitura può legarsi al cerimoniale divenendone parte insostituibile (e quindi perpetuata grazie alla ciclicità del calendario liturgico). Scopo di questo intervento è da un lato quello considerare alcuni aspetti di questo processo; dall’altro, di riflettere sulle sue implicazioni funzionali ed estetiche legate a questo fenomeno. L’impiego di simili repertori costringe infatti a interrogarsi sugli effetti da essi generati. La scelta di dare vita a nuove partiture a cappella va considerata alla luce del quotidiano confronto con un repertorio che ogni maestro di cappella è chiamato a conoscere e a dirigere secondo precise modalità imposte dal cerimoniale. In questo senso vanno considerati alcuni significativi esempi di contraffazione, sintomatici della volontà di reimpiegare il repertorio ‘proprio’ della cappella. Fino a che punto simili processi abbiano caratterizzato la produzione musicale della cappella marciana in epoca moderna e quali siano le possibili implicazioni all’interno della complessa dialettica che caratterizza la fenomenologia musicale veneziana del tempo, sono questioni a cui si cercherà di dare risposta, interrogandosi su possibili future strategie di indagine.
Research Interests:
Un ciclo di voces turbarum attribuito a Giovanni Matteo Asola trasmesso in alcuni manoscritti appartenenti al fondo antico della Procuratoria di S. Marco rappresenta il punto di partenza di questo intervento, il cui scopo è quello di... more
Un ciclo di voces turbarum attribuito a Giovanni Matteo Asola trasmesso in alcuni manoscritti appartenenti al fondo antico della Procuratoria di S. Marco rappresenta il punto di partenza di questo intervento, il cui scopo è quello di osservare le modalità che hanno contraddistinto la ricezione di alcune pagine del compositore di origini veronesi all’interno del repertorio della Cappella Ducale di Venezia. Lo spoglio di queste fonti permette di documentare un interessante caso di contraffazione, significativa testimonianza di come simili prassi di reimpiego fossero diffuse anche all’interno della cappella marciana, per soddisfare particolari necessità esecutive. Nel caso specifico, il fatto di poter accertare come ciò sia avvenuto oltre mezzo secolo dopo la morte di Asola appare sintomatico della durevole fortuna incontrata dalla sua produzione musicale, con ogni probabilità dovuta in gran parte alla straordinaria diffusione a stampa che essa ha conosciuto.
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Giovanni Legrenzi’s motet Intret in conspectu tuo is transmitted only in an autograph by George Frideric Handel. An important documentary source (the Venetian journal "Pallade veneta") suggests that the motet was composed for the... more
Giovanni Legrenzi’s motet Intret in conspectu tuo is transmitted only in an autograph by George Frideric Handel. An important documentary source (the Venetian journal "Pallade veneta") suggests that the motet was composed for the celebrations of military victories against the Ottomans, promoted by the Venetian Doge in January 1687. Paleographical evidence, however, suggests that Handel copied the motet in London around 1749. The use of a section of the motet in a chorus of the Samson suggests that the composer knew it before 1741, when the oratory was performed for the first time. This fact raises interesting questions about Handel's re-utilization of Italian musical sources.
Published in: Helen Geyer, Birgit Johanna Wertenson (eds), G. F. Händel. Aufbruch nach Italien / In viaggio verso l'Italia (Conference Proceedings: Venice, 27-28 November 2009). Roma: Viella, 2013, pp. 207-225.
Published in: Helen Geyer, Birgit Johanna Wertenson (eds), G. F. Händel. Aufbruch nach Italien / In viaggio verso l'Italia (Conference Proceedings: Venice, 27-28 November 2009). Roma: Viella, 2013, pp. 207-225.
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See now:... more
See now: https://www.academia.edu/44474560/Lost_Venetian_Music_Editions_New_Historical_and_Bibliographical_Perspectives_In_David_Bryant_Luigi_Collarile_eds_Music_Printing_and_Publishing_in_Early_Modern_Italy_New_Approaches_Turnhout_Brepols_forthcoming_Venetian_Music_Studies_3_
Lo spoglio degli appunti preparatori allestiti da Sébastien de Brossard (1655-1730) in vista di un Dictionnaire des Musiciens rimasto incompiuto, ha permesso di rintracciare un numero non indifferente di titoli di stampe musicali di cui oggi non è più conservato alcun esemplare. Si tratta in gran parte di edizioni del secondo Seicento, tra cui molte pubblicate in Italia. Oltre alla presentazione dei dati bibliografici acquisiti, scopo di questo intervento è di proporre alcune riflessioni sulle possibili strategie per indagare un fenomeno complesso quanto di difficile approccio, come la dispersione della produzione a stampa. Per affrontare la questione si è scelto di considerare da vicino un caso specifico: quello dell’editore veneziano Giuseppe Sala (ca. 1643-1727). Incrociando i dati forniti dal RISM con diversi repertori bibliografici (tra cui gli appunti di Brossard), è possibile stabilire come almeno un terzo dei titoli da lui prodotti siano oggi dispersi. Se da un lato ciò deve far riflettere sulle dimensioni di un fenomeno ancora in buona parte sottovalutato, dall’altro occorre chiedersi quali strumenti d’indagine sia necessario sviluppare per individuare le tracce di una produzione sommersa.
Lo spoglio degli appunti preparatori allestiti da Sébastien de Brossard (1655-1730) in vista di un Dictionnaire des Musiciens rimasto incompiuto, ha permesso di rintracciare un numero non indifferente di titoli di stampe musicali di cui oggi non è più conservato alcun esemplare. Si tratta in gran parte di edizioni del secondo Seicento, tra cui molte pubblicate in Italia. Oltre alla presentazione dei dati bibliografici acquisiti, scopo di questo intervento è di proporre alcune riflessioni sulle possibili strategie per indagare un fenomeno complesso quanto di difficile approccio, come la dispersione della produzione a stampa. Per affrontare la questione si è scelto di considerare da vicino un caso specifico: quello dell’editore veneziano Giuseppe Sala (ca. 1643-1727). Incrociando i dati forniti dal RISM con diversi repertori bibliografici (tra cui gli appunti di Brossard), è possibile stabilire come almeno un terzo dei titoli da lui prodotti siano oggi dispersi. Se da un lato ciò deve far riflettere sulle dimensioni di un fenomeno ancora in buona parte sottovalutato, dall’altro occorre chiedersi quali strumenti d’indagine sia necessario sviluppare per individuare le tracce di una produzione sommersa.
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See: Nuove prospettive sul contesto editoriale delle Canzoni d'intavolatura d'organo – Libro primo (1592) di Claudio Merulo. – In: Recercare 20 (2008), pp. 117-141 Claudio Merulo : Canzoni d'intavolatura d'organo a quattro voci,... more
See:
Nuove prospettive sul contesto editoriale delle Canzoni d'intavolatura d'organo – Libro primo (1592) di Claudio Merulo. – In: Recercare 20 (2008), pp. 117-141
Claudio Merulo : Canzoni d'intavolatura d'organo a quattro voci, fatte alla francese (Venezia 1592). Bologna: Arnaldo Forni Editore, 2009
Nuove prospettive sul contesto editoriale delle Canzoni d'intavolatura d'organo – Libro primo (1592) di Claudio Merulo. – In: Recercare 20 (2008), pp. 117-141
Claudio Merulo : Canzoni d'intavolatura d'organo a quattro voci, fatte alla francese (Venezia 1592). Bologna: Arnaldo Forni Editore, 2009
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Published – See: Claudio Bacciagaluppi, Luigi Collarile, Dal manoscritto alla stampa. In margine ad alcune partiture autografe di Carlo Donato Cossoni (1623-1700). In: Alberto Colzani, Andrea Luppi, Maurizio Padoan (eds), Barocco Padano 7... more
Published – See: Claudio Bacciagaluppi, Luigi Collarile, Dal manoscritto alla stampa. In margine ad alcune partiture autografe di Carlo Donato Cossoni (1623-1700). In: Alberto Colzani, Andrea Luppi, Maurizio Padoan (eds), Barocco Padano 7 : Atti del XV Convegno internazionale sulla musica italiana nei secoli XVII-XVIII : Milano, 14-16 luglio 2009. Como, A.M.I.S., 2012, pp. 541-564
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Published in: Recercare 22 (2008), pp. 117-140
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See: Luigi Collarile, Legrenzi sacro. Intorno ad alcuni manoscritti dimenticati. – Studi Musicali (forthcoming) La produzione musicale sacra di Giovanni Legrenzi conosce un'importante circolazione in Francia già prima della morte del... more
See: Luigi Collarile, Legrenzi sacro. Intorno ad alcuni manoscritti dimenticati. – Studi Musicali (forthcoming)
La produzione musicale sacra di Giovanni Legrenzi conosce un'importante circolazione in Francia già prima della morte del compositore o negli anni subito successivi. Esistono infatti diverse fonti manoscritte francesi redatte tra la fine del Seicento e gli inizi del Settecento che, accanto a opere descritte da raccolte a stampa (in particolare dall'op. 6), contengono una serie di composizioni inedite, che testimoniano dell'importanza dei canali con i quali questa produzione abbia attraversato le Alpi.
Principale interesse di questo intervento è innanzitutto quello di presentare questo nucleo di manoscritti, alcuni dei quali del tutto sconosciuti alla letteratura specifica legrenziana, mettendo in luce alcuni aspetti del contesto nel quale sono stati redatti. Emergono così le trame di una ricezione complessa, che coinvolge diversi personaggi orbitanti nella sfera della cappella reale, in particolare André Danican Philidor e Sébastien de Brossard. L'importanza di queste fonti è però legata soprattutto al repertorio che trasmettono, in grado di mettere in luce una parte ancora inedita dell'attività compositiva di Legrenzi, riconducibile con ogni probabilità al periodo veneziano del compositore.
La produzione musicale sacra di Giovanni Legrenzi conosce un'importante circolazione in Francia già prima della morte del compositore o negli anni subito successivi. Esistono infatti diverse fonti manoscritte francesi redatte tra la fine del Seicento e gli inizi del Settecento che, accanto a opere descritte da raccolte a stampa (in particolare dall'op. 6), contengono una serie di composizioni inedite, che testimoniano dell'importanza dei canali con i quali questa produzione abbia attraversato le Alpi.
Principale interesse di questo intervento è innanzitutto quello di presentare questo nucleo di manoscritti, alcuni dei quali del tutto sconosciuti alla letteratura specifica legrenziana, mettendo in luce alcuni aspetti del contesto nel quale sono stati redatti. Emergono così le trame di una ricezione complessa, che coinvolge diversi personaggi orbitanti nella sfera della cappella reale, in particolare André Danican Philidor e Sébastien de Brossard. L'importanza di queste fonti è però legata soprattutto al repertorio che trasmettono, in grado di mettere in luce una parte ancora inedita dell'attività compositiva di Legrenzi, riconducibile con ogni probabilità al periodo veneziano del compositore.
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See: Luigi Collarile, Legrenzi sacro. Intorno ad alcuni manoscritti dimenticati. Studi Musicali (forthcoming)
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Dal 2014 patrimonio UNESCO, i Libri Corali con musica polifonica della Basilica di San Marco rappresentano una straordinaria testimonianza dell’identità sonora della Cappella Ducale. Che tipo di fonti sono? Come venivano adoperati durante... more
Dal 2014 patrimonio UNESCO, i Libri Corali con musica polifonica della Basilica di San Marco rappresentano una straordinaria testimonianza dell’identità sonora della Cappella Ducale. Che tipo di fonti sono? Come venivano adoperati durante le cerimonie a San Marco? Un progetto di ricerca finanziato da Ca’ Foscari in collaborazione con la Swiss National Science Foundation rende accessibile in forma digitale questo straordinario patrimonio storico e musicale. Scopritelo insieme a noi.
Research Interests: Cultural Studies, Music, Early Music, Music History, Musicology, and 18 moreDigital Humanities, Cultural Musicology, Humanties Computing, Sacred Music, History of music, Historical Musicology, Cultural History of Music, Venice, History of Venice, Musical Performance, Musicology/Cultural Studies, Liturgy, Sacred Music, Storia della musica sacra, Storia della musica, Venetian Renaissance Music, Venetian Baroque Music, Choir Books, and Basilica di San Marco a Venezia
Venezia, Conservatorio di Musica "Benedetto Marcello", 7 dicembre 2016
Aula 17, ore 17.30
Stagione degli Amici del Conservatorio di Musica "Benedetto Marcello" di Venezia
Aula 17, ore 17.30
Stagione degli Amici del Conservatorio di Musica "Benedetto Marcello" di Venezia
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Book presentation
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Book presentation.
Research Interests: Cultural History, Italy (Early Modern History), Neo-latin literature, Early Modern Italy, Travel Literature, and 11 moreHistory of Switzerland, Benedictine History, Early modern Rome, Benedictine Monasticism, Switzerland, Grand Tour, St. Gallen, The Grand Tour, Grand Tour Studies, 18th Century Grand Tour, and History of Grand Tours
Research Interests: History, European History, Cultural History, Cultural Studies, European Studies, and 26 moreTravel Writing, Early Modern History, Eighteenth-Century literature, Eighteenth Century History, Swiss History, Early Modern Europe, Cross-Cultural Studies, Neo-latin literature, Early Modern Literature, Early Modern Intellectual History, Early Modern Italy, Travel Literature, Cross-cultural studies (Culture), Early Modern Studies, 18th Century, History of Switzerland, Benedictine History, Litterature de Voyages, Eighteenth Century Studies, Benedictines, Benedictine Monasticism, Switzerland, Grand Tour, 18th-Century Studies, Grand Tour Studies, and History of Grand Tours
Venezia, Consolato di Svizzera – 14 aprile 2016, ore 18