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).

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.

The chorus is a distinctive feature of Greek Drama that lost importance and almost disappeared in the modern history of European theatre. Therefore it is now a notorious problem for playwrights and directors. Most of them avoid it or suffer it when adapting an ancient text or bringing it on stage. Some of them prefer to cut or to reduce choral parts. But the chorus, and the emotion of a multitude, can also be a great resource for a reprise of Greek Drama. Some recent productions can be cited as good examples. One of them in particular, the Persians performed at the Grutli Theatre (Geneva) in 2006, is worth a deep analysis for its huge chorus of 170 citizens: it was originally meant to recreate mass participation in Festivals and in the democratic institutions of ancient Athens, and it finally turns out to be an outstanding experience both for the chorus members and the audience.

Giovanni Gabrieli, a consortium of organists, four companies of musicians: unpublished documents on the autonomous musical cooperation in early seventeenth-century Venice. Five notarial deeds certify the establishment of as many societies among instrumentalists and singers dedicated to the cooperative practice of the profession. These documents constitute the sole proof that has so far emerged in Venice of musical associations indipendent of state authorities or sponsoring institutions. The first consortium was formed by eight of the city’s most prominent organists: Giovanni Gabrieli, Francesco Sponga Usper, Giovanni Picchi, Giovanni Priuli, Giovanni Battista Riccio, Antonio Romanin and Giovanni Battista Grillo. Its aim was to intercept any commission coming from the local confraternities and churches. The partners’ operative procedures are reflected in the lists of expenses for the annual festivals of the Scuola Grande di San Rocco, given that on many occasions most of the above organists were engaged at the same time. It is not known how long the consortium was active, but the fact that, even after the death of Gabrieli, several of its members maintained professional dealings with the confraternity suggests continuity with the past. Three other deeds provide the only available evidences of three companies of violins. Two among those constitutive acts describe the respective associations as “great companies”, a definition whose meaning is now unclear, and identify their scope of engagement as the “major and great festivals, such as those of Prosecutors, marriages, parental circles, and others”. One of the contracts discloses that two other teams of string instrument players operated on those same days in Venice and, when necessary, all three joined their forces. The last document regards a company of singers formed by six priests and a friar. The five notarial records raise questions that, at present, remain unanswered. Given that other societies among musicians existed in Venice, it is difficult to understand why further archival documents like those presented here are still untraceable. Other questions concern the professional relationships that the different companies might have established between each other and with their customers. One wonders whether cooperative associations of this kind were able to push up the price of their services and induce patrons to recruit more, or larger, groups of musicians. This is also a question posed by the substantial involvement of the organists headed by Gabrieli at the ceremonies in honour of San Rocco, but there is no way to ascertain the function actually assigned to each keyboard player and, endeed, if they were all strictly required.

RISTAMPE 1. ottobre 2019 2. aggiornata e ampliata, gennaio 2020 AL LETTORE L’idea di intraprendere l’edizione critica delle cantate e delle serenate di Giovanni Cesare Netti (Putignano, 1649 – Napoli, 1686) è nata per valorizzare l’opera di questo importante compositore, attivo a Napoli come organista della Cappella Reale (1675) e come maestro della Cappella del Tesoro di S. Gennaro (1680) sino alla sua morte, e per ampliare la conoscenza sulla vita musicale napoletana tra gli anni Settanta e Ottanta del XVII secolo. Le dodici composizioni sono accompagnate, con il relativo apparato critico, dall’edizione dei testi poetici e dalla discussione sulla sinossi cronologica delle fonti. Il volume è impreziosito anche da un nuovo catalogo delle opere di Netti (TN), totalmente rivisto rispetto alla versione precedente pubblicata nel 2014, e da un’importante appendice che ricostruisce, per la prima volta in maniera integrale, i testi degli apparati di Domenico Antonio Mele scritti per i festeggiamenti in onore delle nozze di Giovanni Battista de Mari con Laura Maria Anna Doria del Carretto (Acquaviva delle Fonti, 25 maggio 1682). Netti, infatti, per l’occasione fu chiamato a dirigere due opere di Alessandro Scarlatti (L’honestà negli amori e Tutto il mal non vien per nocere) e a comporre gli antiprologhi (Acquaviva laureata e Le perdite di Nereo e Dori al paragone delle glorie) e un intermedio (Gara degli elementi in dotare li due misti) ritenuti perduti. La realizzazione di un progetto così grande e complesso non poteva che fare affidamento sull’aiuto e sui consigli di molti amici, maestri e colleghi che hanno profuso molteplici letture, elargito numerosi consigli e apportato diverse osservazioni. La mia più profonda riconoscenza va innanzitutto a Fabio Anti, Renato Calza, Galliano Ciliberti, Mario Tedeschi Turco e Carlo Vitali per avermi aiutato nella revisione delle partiture e dei testi delle composizioni. Carlo Centemeri, Dinko Fabris, Antonio Florio, Stefano Frega, Teresa Maria Gialdroni, Francesco Liuzzi, Lorenzo Mattei, Alessio Ruffatti e Federico Maria Sardelli sono stati prodighi di preziosi consigli nonché di ricche quanto acute riflessioni. Ringrazio, inoltre, quei bibliotecari e studiosi che hanno facilitato la consultazione di libri e di molte fonti spesso inaccessibili: Gloria Boeri (St Antony’s College di Oxford), Carmela Bongiovanni (Biblioteca del Conservatorio di Musica “Niccolò Paganini” di Genova), Oriana Cartaregia (Biblioteca Universitaria di Genova), Francesco Chiarulli (Archivio diocesano della Concattedrale di S. Eustachio Martire di Acquaviva delle Fonti), Cesare Corsi (Biblioteca del Conservatorio di Musica “S. Pietro a Majella” di Napoli), Mariano Dell’Omo (Biblioteca dell’Abbazia di Montecassino), Manuela Di Donato (IBIMUS – Istituto di Bibliografia Musicale di Roma e Biblioteca del Conservatorio di Musica “Nino Rota” di Monopoli), Maria Grazia Melucci (Biblioteca del Conservatorio di Musica “Niccolò Piccinni” di Bari), Francesco Quarto (Biblioteca Nazionale “Sagarriga Visconti-Volpi” di Bari) e il personale della Bibliothèque Nationale de France di Parigi (Département de la Musique). A tutti la mia gratitudine. Acquaviva delle Fonti, 10 gennaio 2020 Giovanni Tribuzio

1. MARIATERESA DELLABORRA The essay investigates from an exclusively musical point of view the real reforming elements introduced by Tommaso Traetta into the works conceived between 1759 and 1763 - and particularly in Armida (1761) and Ifigenia in Tauride (1763), both of which were intended for the Viennese court - in agreement with the various men of letters with whom he cooperated. 2. GERHARD CROLL Alceste, a reforming drama written by Calzabigi and Gluck, has almost certainly never been performed in its original form. The handwritten score used by Gluck and Salieri proves Salieri conducting this opera until 1810. Every new production inluded various bigger and smaller versions (performances in Vienna 1767/68, 1781, 1783, 1810). In 1767 Salieri accompanied the orchestra on the 2nd harpsicord, in 1770 he acted as a substitute for Gluck at the rehearsals and was then resposible for the new productions until 1810 (new closing of the first act).Corrections, additions, changes in the instrumentation and deletions were made by him - when exactly they were made cannot be determined until now. 3. MARINA MAYRHOFER The paper addresses the problem of the genesis of Armida, “dramma per musica “, in three acts, librettist Marco Coltellini, with Salieri debuted in the genre of opera seria, on the second of June 1771, in Viennese Burgtheater. In the second part of essay, the opera score is analyzed to highlight the more experimental aspects of drama 4. MARITA PETZOLDT MCCLYMONDS Salieri composed mainly opera buffa or genres that mixed comic and serious elements. His few ventures into strictly serious opera are scattered throughout the first two decades of his career. They furthered efforts at rapprochement between French and Italian taste taking place in Italian opera seria during the third quarter of the century especially in German-speaking lands. 5. ELENA BIGGI PARODI Salieri explained the intention of many of his Overtures with personally written notes, which were additions to many of his scores that were written in his own hand. In the Overtures the composer purposely mixes the styles together, using them as manifests for the varieties of genres that his compositions belong to. Many of his Overtures illustrate an action, sometimes only imagined through the music and others created on the stage. In all events, for Salieri, they are the ideal place to experiment his interest in the relationship between music and gesture, as well as the new genre of pantomime dance, and in particular his attention to depict action and movement with music. An emblematic example of the convergence of genres is the use of Sinfonia di introduzione from Europa riconosciuta (Milan, 1778) for Cesare in Farmacusa (Vienna, 1800). 6. ELISA GROSSATO On 8th June 1773, the comic drama for music La Locandiera by Antonio Salieri was staged for the first time with great success at the Burgtheater in Vienna. The libretto for the La Locandiera was freely taken from Goldoni’s piéce, and written by the Italian tenor Domenico Poggi as his first work as librettist. A well-known artist, Poggi stood out for his role as the oracle in the premiere in Vienna of Alceste by Gluck, and, through his marriage to Clementina Baglioni, he became part of one of the most prestigious families of singers at that time. With his debut as librettist Poggi simplified and slightly emptied the text of La Locandiera, but the libretto he gave to Salieri was still very pleasant, graceful and, above all, functional in outlining the different characters, especially through the arias they all sing in varying quantities, depending on their importance within the opera. 7. JOHN RICE Salieri's La secchia rapita is based on the mock-epic poem of the same name by the late Renaissance poet Alessandro Tassoni, who called his work a «poema eroicomico». The poem tells of a war between the neighboring cities of Modena and Bologna in 1325, during which the Modenese army, having invaded Bologna, stole a wooden bucket as symbol of its victory. The comedy in Tassoni's poem, which comes largely from its clever parody of the literary devices of epic poetry, appealed to eighteenth-century taste. 8. RUDOLPH ANGERMUELLER Cublai, gran Kan de'Tartari, completed in 1788 by Salieri, was never performed at the time. The first part of this article shows the reasons for this: It was the satire about the Russian court and not musical deficiencies. Casti is attacking the stituation in czarist Russia, but also the Austrian alliances with Turkey (war agains the Turks 1788) and the censorship of the theater in Vienna at the time. 9. RUDOLPH ANGERMUELLER The debut performance of Salieri’s Dramma per musica Annibale was held at the Teatro Nuovo in Trieste on May 19th, 1801.This article decribes the sources for the music as well as the text, the singers of the debut performance (Marchesi, David, Gaetano Bianchi, Radicati, Angela Bianchi - who stood at the forefront at the time) and the résumé of the librettist Sografi. Annibale is now seen as a big set-back in Salieri’s opera productions, as he made certain concessions to the singers and the audience 10 . FRANCESCO BLANCHETTI Antonio Salieri's comic opera La grotta di Trofonio, based on a libretto by Giambattista Casti, received its première in Vienna on 12 October 1785. A few months later the libretto, heavily revised by Giuseppe Palomba, was set to music by Giovanni Paisiello and staged in Naples (December 1785). Even if the subject is the same, the two librettos are very different. Topics of various nature are introduced into the libretto by Casti: a mockery of erudition (a traditional theme in opera buffa); an illuministic criticism of magic and superstition; satiric hints, in a Voltairian spirit, against philosophical optimism. 11. FRANCESCO BLANCHETTI In his writings, letters and annotations in the manuscript scores, Salieri invokes very often the search for "the truth" as a guideline for his theater music. The composer pursues the adherence to the dramatic basis not only by means of his thematic inventiveness, both vocal and instrumental, but also by paying very special attention to the harmonic treatment. A striking aspect in Salieri's style is a leaning for tonal surprises, interrupted cadences, emphasized dissonances. 12. INGRID FUCHS The most favorite parts of Salieri’s operas were performed outside the theater – in public and private concerts, in musical academies, but also during music-making in the homes, which contributed to the popularization of his works .These performances were normally not carried out in the original instrumentation, but by special orchestras reserved for the noble circles. Arrangements with extraordinary intrumentations can also be found at the emperor’s court in the so-called „Harmoniemusik“ of Joseph II. 13. DOROTHEA LINK The entertainments at the imperial country palace of Laxenburg are examined for the séjours held there in 1784, 1786, 1787, and 1791. The theatrical fare is assessed for its interaction with that presented at the imperial theatre in Vienna. Transcriptions of the expenditures for Laxenburg recorded in the theatre account books are provided in four appendices. 14.WALTHER BRAUNEIS The court theater (Gesellschaftstheater) in Vienna using the example of Johann Adam von Auersperg and Franz Joseph Maximilian von Lobkowitz with simultaneous consideration of the performance of the opera’s by Antonio Salieri. 15. WALTHER BRAUNEIS For the Vienna Kaerntnertortheater Lorenzo Sacchetti created 1804 a new curtain. Salieri appears on it. 16. JANE SCHATKIN HETTRICK The pamphlet Ueber die Kirchenmusik in Wien, published anonymously in Vienna in 1781, describes the intrusion of secular elements into church music of the time: opera arias transformed into mass movements, singers behaving like stage actors, religious services turned into concerts—all factors leading to immorality by parishioners. The author specifically mentions three opera titles (one by Salieri) recently heard in churches. To strengthen his opinions, he draws from the encyclical Annus qui (1749), in which Pope Benedict XIV quotes ecclesiastical authorities who criticize theatrical music in the church. 17. PAOLOGIOVANNI MAIONE - FRANCESCA SELLER The revolution that was brought about by Barbaja in 19th century theatrical organisation changed the impresarios’ typical 18th century methods, which had become obsolete by then. The new market requirements, no longer focused on the centrality of the Court, required greater attention to a more complex and modern entrepreneurial vision. The wave of novelty on the Neapolitan theatrical scene since 1809, the year of the impresario’s first contract, launched the new model onto the international scene: it was a system that was gradually defined over the years and finally affirmed in the Twenties, when gambling was definitively separated from the theatre management. 18. GIACOMO FORNARI It was not just the change of epochs due to the Congress of Vienna, but also the advent of a new musical language that determined a change in the expectations of the Viennese public in those years. The passing of Antonio Salieri also permitted the slow yet steady disappearance of his works from the repertoire, leaving an empty space that was largely filled by the music of Gioachino Rossini. The various documents presented allow us to retrace that fundamental moment, which is also described in Le Haydine and Le Rossiniane by Giuseppe Carpani, a valuable and particularly reliable witness to the musical changes of those times. 19. RUDOLPH ANGERMUELLER In the last years 10 documents were found.