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2017
Abstract There is a pressing need to document Monteverdi’s Venetian period (1613–43) in greater depth. This task has long been impeded, however, by our haphazard grasp of the specific complexities of Venetian socio-cultural and musical contexts. By looking beyond St Mark's Basilica, the present article uncovers brief archival records often overlooked by music historians. These new documents may not add much to the known facts of Monteverdi’s biography, but they do cast significant new light on the vast network of social relationships that Monteverdi developed during his Venetian years with fellow musicians and with higher-ranked patrons, not least in secular spheres and in the world of early ‘public’ opera. Key words: Claudio Monteverdi, Carlo Farina, Alessandro Grandi, Bartolomeo Barbarino, Giovanni Matteo Bembo, comparaggio, ridotti, godfather, baptism, Giovan Battista Manelli, opera, Venice
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)
Notes
Inventing the Business of Opera: The Impresario and His World in Seventeenth Century Venice (review)2007 •
2020 •
Vassilis Vavoulis, Royal Musical Association Research Chronicle, No. 37 (2004), pp. 1-70
Cambridge Opera Journal
Ellen Rosand. Opera in Seventeenth-Century Venice: The Creation of a Genre. University of California Press, 1991. xxvi+684 pp. ISBN 0 520 06808 41994 •
Many treatises on the history and arts of Venice lament the loss resulting from the capitulation of the last doge to Napoleon’s forces in May 1797, when many records and manuscripts from its institutions were lost. Yet, fortunate discoveries have since filled in much detail and have allowed re-evaluation of the Republic of Venice’s role in history and culture by historians working since the mid-1800s. Antonio Vivaldi, now one of the most famous and well-regarded composers of the Baroque as well as of Venice, was for some time remembered mainly as a composer who was famous in his own time, and as an important influence on J.S. Bach’s keyboard style. A prolific and innovative composer, Vivaldi in fact made major and lasting contributions to instrumental music that helped shape the orchestra itself. This paper will examine how the unique environment of his native Venice shaped Vivaldi's work and thus his impact.
Early music, vol. 38, no. 3, pp. 387-401
An enigmatic souvenir of Venetian opera: Alessandro Piazza’s Teatro (1702)2010 •
Journal of the Alamire Foundation 4 (2012): 52–78
Music, magic and humanism in late sixteenth-century Venice: Fabio Paolini and the heritage of Vicentino, Zarlino and FicinoThis paper examines the musical chapters in the Hebdomades (1589), an encyclopedic commentary by the humanist Fabio Paolini on a single line of Vergil (Aeneid VI.646: ‘Obloquitur numeris septem discrimina vocum’). This book, originally given as a series of lectures before the Accademia degli Uranici in Venice, shows that Paolini, though not a professional musician, had read a variety of musical writers, such as Boethius, Vanneo, Vicentino, and his friend Zarlino, as well as the philosopher Marsilio Ficino, whose works also include discussions of musical matters. As a professional Hellenist, Paolini was better acquainted with the surviving Greek musical writings than most music theorists, and he gives valuable information about Greek manuscripts owned by Zarlino. However, the Hebdomades also show that Paolini’s practical understanding of music theory was a little shaky. Furthermore, his comments betray a distinct humanist disdain for the music of his own time. Paolini’s work thus gives a good indication of the enthusiasm for music (or at least the ideal of ancient music) amongst non-musicians in Italian academies in the bloom of late humanism, but also the limits of non-professional speculation. The essay also examines the reception of Paolini’s work (especially by Martín del Río SJ), and includes an annotated edition of the relevant chapter of the Hebdomades.
MEFRIM (Les Mélanges de l'École française de Rome - Italie et Méditerranée modernes et contemporaines)
The business of opera in early modern Bologna: Financial and social affairs in Pirro Capacelli Albergati’s notebook for "Gli amici" (1699)2018 •
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2013 •
Electronic Notes in Theoretical Computer Science
Applications of Hierarchical Reasoning in the Verification of Complex Systems2007 •
Le città italiane nella letteratura del XX secolo, Atti del convegno internazionale. Facoltà di Filologia e arti, Kragujevac, 7 dicembre 2019
AndreaVerriLecittanascosteinCosedItaliadiNinoSavareseLe citta' italiane nella letteratura del secolo XX Kragujevac2021 •
Zenodo (CERN European Organization for Nuclear Research)
D2.1 IPSP Scoping Report_under EC review2023 •
International Journal of Innovation and Applied Studies
Spatial and temporal variability of climatic parameters and its effect on drying up in Débo and Bô catchments (Department of Soubré, south-western of Ivory Coast)2013 •
2017 •
IOP Conference Series: Materials Science and Engineering
The effects of screw rotation speed on viscosity, mooney scorch time and dieswell of hot-feed blending rubber-compound prefared by gs/w 250 extruder machine2017 •
2012 •