Fabrizio Ammetto
FABRIZIO AMMETTO – an Italian performer and musicologist – is a Full Professor of violin, baroque music, chamber music, musical analysis, musical philology and musicology at the Department of Music and Performing Arts of the University of Guanajuato, Mexico. He is a member of the Core Faculty of Master’s and Doctor’s Degrees at the University of Guanajuato. He is a member of the Mexican Academy of Sciences (AMC) and the Mexican National System of Researchers (SNI), a body set up by the National Council for Science and Technology of Mexico. He is a member of the Association of Italian University Professors of Music (ADUIM). He holds degrees in violin, viola, and electronic music, and received a Master’s degree in the methodology and techniques of music education and musicological research from the University of Perugia, and a Ph.D. in musicology from the University of Bologna. He has directed the Civico Istituto Musicale ‘A. Onofri’ of Spoleto, and taught baroque violin at the Conservatorio ‘G. Verdi’ in Turin. As a violinist, violist and conductor, he has given over 800 concerts in Europe and America. He is the founder and director of ‘L’Orfeo Ensemble’ of Spoleto and the ‘Baroque Ensemble’ of the University of Guanajuato. Fabrizio Ammetto has produced numerous critical editions and recordings of eighteenth- and nineteenth-century instrumental music, and has published several articles in international musicological journals, chapters and books, among which are ‘I concerti per due violini di Vivaldi’ (Florence, Olschki, 2013) and ‘El concierto antiguo italiano, 1692-1710’ (Lucca, Libreria Musicale Italiana, 2019). He is a member of the editorial team for the Italian National Edition of the works of Luigi Boccherini (Bologna, Ut Orpheus) and also a member of the international Editorial Committee of the Istituto Italiano Antonio Vivaldi (Venice, Fondazione Giorgio Cini), which oversees the Critical Edition of the works of the Red Priest, for which he has edited the volume containing Vivaldi’s twelve ‘Suonate da camera a tre, Op. I’ (Milan, Ricordi, 2018).
FABRIZIO AMMETTO –músico y musicólogo italiano– es Profesor-Investigador de Tiempo Completo Titular “C” en el Departamento de Música y Artes Escénicas (DAAD, CG), e integrante del Núcleo Académico Básico de la Maestría y Doctorado en Artes de la Universidad de Guanajuato, en donde imparte las materias de violín, música barroca, música de cámara, análisis musical, filología musical y musicología. Es el responsable del Cuerpo Académico Consolidado de “Musicología”. Es miembro de la Asociación de Profesores Universitarios Italianos de Música (ADUIM), de la Academia Mexicana de Ciencias (AMC) y del Sistema Nacional de Investigadores (SNI), nivel II. Entre el 2013 y el 2015 ha sido el responsable de la Cátedra de Excelencia “La ‘ópera’ como punto de cohesión entre las artes” (Rectoría General de la Universidad de Guanajuato), con la cual ha propiciado y realizado la composición y puesta en escena de la primera ópera en música en español escrita para (y realizada enteramente por) más de 200 estudiantes universitarios de México. Fabrizio Ammetto es Doctor en “Musicología y bienes musicales” por la Universidad de Bolonia, Italia; además, cuenta con Especialidad en “Metodología y técnicas de la educación musical e investigación musicológica” (Universidad de Perugia, Italia) y cuatro Maestrías en Violín, Viola, Música electrónica y Disciplinas musicales. Ha dirigido el Civico Istituto Musicale “A. Onofri” de Spoleto y ha enseñado Violín barroco en el Conservatorio “G. Verdi” de Turín, Italia. Como violinista, violista y director de orquesta ha realizado más de 800 conciertos en Europa y América. Es el fundador y director de “L’Orfeo Ensemble” de Spoleto y del “Ensamble Barroco” de la Universidad de Guanajuato. Ha realizado varias ediciones críticas y grabaciones discográficas de música instrumental de los siglos XVIII y XIX, y ha publicado numerosos artículos indexados y arbitrados en revistas musicológicas internacionales, capítulos y libros, entre los cuales “I concerti per due violini di Vivaldi” (Florencia, Olschki, 2013) y “El concierto antiguo italiano, 1692-1710” (Lucca, Libreria Musicale Italiana, 2019). Participa en la Edición Nacional Italiana de toda la obra de Luigi Boccherini (Bolonia, Ut Orpheus) y es miembro del Comité Científico Internacional del “Istituto Italiano Antonio Vivaldi” (Fondazione Giorgio Cini) de Venecia, que supervisa la edición crítica de las obras del “Cura Rojo”, para la cual ha editado el volumen que contiene las doce “Sonatas de cámara a tres, Op. I” (Milán, Ricordi, 2018).
Phone: +52 (473) 735 29 00 - Ext. 5561
Address: Departamento de Música y Artes Escénicas (DAAD, CG)
Universidad de Guanajuato
Sede Marfil, Fraccionamiento 1, s/n
Col. El Establo
36250 Guanajuato, Gto.
México
FABRIZIO AMMETTO –músico y musicólogo italiano– es Profesor-Investigador de Tiempo Completo Titular “C” en el Departamento de Música y Artes Escénicas (DAAD, CG), e integrante del Núcleo Académico Básico de la Maestría y Doctorado en Artes de la Universidad de Guanajuato, en donde imparte las materias de violín, música barroca, música de cámara, análisis musical, filología musical y musicología. Es el responsable del Cuerpo Académico Consolidado de “Musicología”. Es miembro de la Asociación de Profesores Universitarios Italianos de Música (ADUIM), de la Academia Mexicana de Ciencias (AMC) y del Sistema Nacional de Investigadores (SNI), nivel II. Entre el 2013 y el 2015 ha sido el responsable de la Cátedra de Excelencia “La ‘ópera’ como punto de cohesión entre las artes” (Rectoría General de la Universidad de Guanajuato), con la cual ha propiciado y realizado la composición y puesta en escena de la primera ópera en música en español escrita para (y realizada enteramente por) más de 200 estudiantes universitarios de México. Fabrizio Ammetto es Doctor en “Musicología y bienes musicales” por la Universidad de Bolonia, Italia; además, cuenta con Especialidad en “Metodología y técnicas de la educación musical e investigación musicológica” (Universidad de Perugia, Italia) y cuatro Maestrías en Violín, Viola, Música electrónica y Disciplinas musicales. Ha dirigido el Civico Istituto Musicale “A. Onofri” de Spoleto y ha enseñado Violín barroco en el Conservatorio “G. Verdi” de Turín, Italia. Como violinista, violista y director de orquesta ha realizado más de 800 conciertos en Europa y América. Es el fundador y director de “L’Orfeo Ensemble” de Spoleto y del “Ensamble Barroco” de la Universidad de Guanajuato. Ha realizado varias ediciones críticas y grabaciones discográficas de música instrumental de los siglos XVIII y XIX, y ha publicado numerosos artículos indexados y arbitrados en revistas musicológicas internacionales, capítulos y libros, entre los cuales “I concerti per due violini di Vivaldi” (Florencia, Olschki, 2013) y “El concierto antiguo italiano, 1692-1710” (Lucca, Libreria Musicale Italiana, 2019). Participa en la Edición Nacional Italiana de toda la obra de Luigi Boccherini (Bolonia, Ut Orpheus) y es miembro del Comité Científico Internacional del “Istituto Italiano Antonio Vivaldi” (Fondazione Giorgio Cini) de Venecia, que supervisa la edición crítica de las obras del “Cura Rojo”, para la cual ha editado el volumen que contiene las doce “Sonatas de cámara a tres, Op. I” (Milán, Ricordi, 2018).
Phone: +52 (473) 735 29 00 - Ext. 5561
Address: Departamento de Música y Artes Escénicas (DAAD, CG)
Universidad de Guanajuato
Sede Marfil, Fraccionamiento 1, s/n
Col. El Establo
36250 Guanajuato, Gto.
México
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Papers by Fabrizio Ammetto
As a complement to the article, the authors append a score of the concerto’s first movement in its final state (i.e., following the changes made by both composers). This score corrects various errors present in an earlier transcription made by Wolfgang Hochstein that was published in 2010 in a volume of proceedings of a conference dedicated to the German violinist.
With the support of historical, source-critical, musical and instrumental technique-related arguments, and also ones connected with Bach compositional process, this postscript analyses in detail all the individual passages criticized by Ziliak, showing by means of a minute analysis based on a close reading of the text of the known original sources that the two modern editions just mentioned, taken as a model by the reviewer, in fact harbour serious conceptual and methodological shortcomings in that they use as the foundation of their reconstruction the final reworking of the concerto (BWV 1052, almost a quarter-century later than the original version) or, in the worst cases, combine readings belonging to different phases of Bach’s process of composition and recomposition.
The postscript therefore provides convincing evidence that historically and musicologically aware performers will not, in fact, be able to continue “to refer to editions by Fischer and Shute”, contrary to Ziliak’s hopes. In doing so, it also provides some useful detail additional to the original article.
Since for BWV 1052 there also exists an earlier version, likewise for harpsichord (catalogued as BWV 1052a), whose musical content probably goes back to the Weimar period (1708-1717), the article analyses the textual differences emerging from a close comparison of the known primary sources, focusing on various portions of musical text that display apparently inconsistent changes of octave register, alterations to notes or entire passages and modifications to orchestral tuttis (in the first movement), many of which appear to have been dictated by the simple practical need to transfer to the keyboard musical ideas originally conceived for violin. Moreover, this hypothesis receives support from certain peculiarities in the soloist’s melodic line in the second movement, as well as from some interesting notational features and particular types of writing associated with passages in bariolage and arpeggiated chords, all of which point unequivocally towards an original version of this concerto for violin (BWV 1052R).
The second part of the article highlights the presence of several unique features of BWV 1052/1052a within the entire corpus of Bach’s ‘original’ concertos: the particular choice of key for the second movement; the presence of not one but two substantial cadenzas for the soloist (originally both unaccompanied); the appearance of the orchestral unison as a compositional device characterizing tutti sections; the extraordinary variety shown by the combinations employed in the accompaniment of solo passages; the composer’s propensity to introduce asymmetrical or irregular phrase structures.
In the light of the analysis performed it is legitimate to hypothesize that the original version for violin (BWV 1052R) represents one of Bach’s first attempts at composing an ‘autonomous’ Italian-style concerto (drawing on the experience of his keyboard transcriptions made during the years 1713-1714), which would place it chronologically within the last years of the Weimar period: between 1714 and 1717.
Further, the concerto is revealed to be heavily indebted to Vivaldi on account of the large number of structural, harmonic, instrumental and timbral details showing affinity to some of the early works of the Red Priest (in particular, to the concertos RV 208, 316, 522, 528 and 813). It appears to be one of the first compositions in which Bach tested out – above all, in the construction of the orchestral tutti – the application of the cardinal principles of “order, coherence and proportion” (“Ordnung, Zusammenhang und Verhältniß”).
- Telemann’s double violin concertos
- Telemann’s part-writing
- Telemann’s solo writing
- Sources of Telemann’s style
- Bach’s double violin concerto
- Vivaldi’s influence on Bach
- Torelli’s influence on Bach
- Conclusion
a nosotros de manera incompleta, ya sea porque
no fueron terminadas por el autor o porque han sido
dispersadas o destruidas, y aunque no siempre es posible
reconstruir científicamente una obra musical; es decir,
completar las partes faltantes sin incurrir en un proceso
de creación arbitraria, el doctor Fabrizio Ammetto,
del Departamento de Música de la Universidad de
Guanajuato, estudia la obra de un autor y profundiza
en el conocimiento de su lenguaje
musical con el fin de encontrar sus
“estrategias compositivas”.
As a complement to the article, the authors append a score of the concerto’s first movement in its final state (i.e., following the changes made by both composers). This score corrects various errors present in an earlier transcription made by Wolfgang Hochstein that was published in 2010 in a volume of proceedings of a conference dedicated to the German violinist.
With the support of historical, source-critical, musical and instrumental technique-related arguments, and also ones connected with Bach compositional process, this postscript analyses in detail all the individual passages criticized by Ziliak, showing by means of a minute analysis based on a close reading of the text of the known original sources that the two modern editions just mentioned, taken as a model by the reviewer, in fact harbour serious conceptual and methodological shortcomings in that they use as the foundation of their reconstruction the final reworking of the concerto (BWV 1052, almost a quarter-century later than the original version) or, in the worst cases, combine readings belonging to different phases of Bach’s process of composition and recomposition.
The postscript therefore provides convincing evidence that historically and musicologically aware performers will not, in fact, be able to continue “to refer to editions by Fischer and Shute”, contrary to Ziliak’s hopes. In doing so, it also provides some useful detail additional to the original article.
Since for BWV 1052 there also exists an earlier version, likewise for harpsichord (catalogued as BWV 1052a), whose musical content probably goes back to the Weimar period (1708-1717), the article analyses the textual differences emerging from a close comparison of the known primary sources, focusing on various portions of musical text that display apparently inconsistent changes of octave register, alterations to notes or entire passages and modifications to orchestral tuttis (in the first movement), many of which appear to have been dictated by the simple practical need to transfer to the keyboard musical ideas originally conceived for violin. Moreover, this hypothesis receives support from certain peculiarities in the soloist’s melodic line in the second movement, as well as from some interesting notational features and particular types of writing associated with passages in bariolage and arpeggiated chords, all of which point unequivocally towards an original version of this concerto for violin (BWV 1052R).
The second part of the article highlights the presence of several unique features of BWV 1052/1052a within the entire corpus of Bach’s ‘original’ concertos: the particular choice of key for the second movement; the presence of not one but two substantial cadenzas for the soloist (originally both unaccompanied); the appearance of the orchestral unison as a compositional device characterizing tutti sections; the extraordinary variety shown by the combinations employed in the accompaniment of solo passages; the composer’s propensity to introduce asymmetrical or irregular phrase structures.
In the light of the analysis performed it is legitimate to hypothesize that the original version for violin (BWV 1052R) represents one of Bach’s first attempts at composing an ‘autonomous’ Italian-style concerto (drawing on the experience of his keyboard transcriptions made during the years 1713-1714), which would place it chronologically within the last years of the Weimar period: between 1714 and 1717.
Further, the concerto is revealed to be heavily indebted to Vivaldi on account of the large number of structural, harmonic, instrumental and timbral details showing affinity to some of the early works of the Red Priest (in particular, to the concertos RV 208, 316, 522, 528 and 813). It appears to be one of the first compositions in which Bach tested out – above all, in the construction of the orchestral tutti – the application of the cardinal principles of “order, coherence and proportion” (“Ordnung, Zusammenhang und Verhältniß”).
- Telemann’s double violin concertos
- Telemann’s part-writing
- Telemann’s solo writing
- Sources of Telemann’s style
- Bach’s double violin concerto
- Vivaldi’s influence on Bach
- Torelli’s influence on Bach
- Conclusion
a nosotros de manera incompleta, ya sea porque
no fueron terminadas por el autor o porque han sido
dispersadas o destruidas, y aunque no siempre es posible
reconstruir científicamente una obra musical; es decir,
completar las partes faltantes sin incurrir en un proceso
de creación arbitraria, el doctor Fabrizio Ammetto,
del Departamento de Música de la Universidad de
Guanajuato, estudia la obra de un autor y profundiza
en el conocimiento de su lenguaje
musical con el fin de encontrar sus
“estrategias compositivas”.
El libro abarca tres temáticas generales correspondientes a otros tantos capítulos: “Compositores y formas musicales” (Cap. 1), “Ejecución e improvisación” (Cap. 2), “Arte sonoro y paisaje sonoro” (Cap. 3). El volumen incluye ensayos de Castro Ortigoza (Mujeres compositoras y teóricas desde la Antigüedad al Barroco), Béjar Bartolo (Una cantata, dos voces (¿soprano o alto?), cuatro (¿o cinco?) fuentes: “Pallidetta viola” de Francesco Antonio Pistocchi), Hernández Prado (Catálogo de la obra del compositor queretano Fernando Loyola), Podzharova (Ciclo sonata-sinfónico), Barreiro Lastra (Investigación, cartelera e interpretación musical de la ópera por decreto en la naciente república mexicana. Lucas Alamán: burguesía, poder e identidad nacional), Pérez Sánchez (Impresiones sobre la grabación integral de “Iberia” de Isaac Albéniz realizada por Ángel Huidobro en DVD), Córdova Azuela (Improvisación: limitantes para la comprensión de un lenguaje), Villarreal Hernández (Lo visual en lo sonoro: una perspectiva histórica del arte sonoro) y Alvarado Angulo (Los pregones de Guanajuato: paisaje sonoro y contaminación acústica).