Academia.edu no longer supports Internet Explorer.
To browse Academia.edu and the wider internet faster and more securely, please take a few seconds to upgrade your browser.
2010, Arti musices
King John V of Portugal, who ruled between 1707 and 1750, adopted an ambitious diplomatic policy towards the Holy See in order to project an image of Portugal abroad that could match the great European powers. In accordance with this procedure, arts and music assumed a key role in the representation of the Portuguese Crown in the Papal City. The conclave that following the death of Clement XI in 1721, which elected Michelangelo Conti — apostolic nuncio in Lisbon between 1698 and 1709 — as Pope Innocent XIII, contributed to strengthen these actions. Cardinals Nuno da Cunha e Ataíde and José Pereira de Lacerda travelled to Rome and remained some years in the city. Like the ambassadors and other diplomatic agents, they quickly assimilated the main features of Roman polycentric society and its courtly culture. Besides the artistic and ceremonial investment related to their titular churches (Sant’Anastasia and Santa Susanna), they became members of Accademia dell’Arcadia and were promoters and commissioners of musical works performed in their residences and in other venues (the national church of Sant’Antonio dei Portoghesi, the Collegio Romano, the Collegio Clementino and the Teatro Capranica), involving composers such as Alessandro Scarlatti, Carlo Cesarini, Francesco Gasparini, Giuseppe Orlandini and Giuseppe Amadori. At that time, some of the most talented Portuguese composers of the Baroque era (that is Francisco António de Almeida, António Teixeira and João Rodrigues Esteves) were studying in Rome. The musical activities fostered by the Portuguese cardinals were firstly pointed out in the context of wider studies by Saverio Franchi and Manuel Carlos de Brito, but a research directly focused on their musical patronage has not been carried out so far. New historical sources, found recently in Rome, Lisbon and Toledo, may provide a more accurate picture in order to clarify the main artistic networks and the role of music within the cardinals’ duties regarding political and ecclesiastical representation. Moreover, the study will consider the impact of the Roman experience after their return to Lisbon, in terms of cultural and musical transfer.
In the 1660s in France, we found the generalization of learning methods of a single instrument and not a set of instruments, as was commonly the case before. This tendency is particularly clear with the methods for viols and more precisely with, in 1687, Le Traité de la Viole of Jean Rousseau and L’Art de toucher le dessus et la basse de viole of Danoville. Other methods followed and that of Brijon in 1766 on the pardessus viol, comes to close a series of old methods of viola da gamba. During the 20th century, new methods for viola da gamba appear, some of which are based on older ones. As part of this presentation, we will conduct a comparative analysis of old and new methods for viola da gamba. Do contemporary gamba-composers / teachers reproduce the rules for learning and interpreting old methods? Do they propose new rules and explanations, based on old methods, to facilitate the learning and practice of the instrument by contemporary performers? What is the place of the spirit of the works of the seventeenth century within the new learning strategies and interpretation techniques? We will try to assess the fortune of the ancient heritage of the teaching of the viol, between restitution patrimonial of the old music and the introduction of modern teaching methods. For this purpose we will firstly compare them to The Division Viol of Christopher Simpson and we will try to pinpoint any similarities and whether or not has been influenced to them.
During his lifetime, the Florentine composer Giuseppe Maria Orlandini (1676-1760) was one of the protagonists of the Italian operatic scene with an extensive production represented in the most prominent centres, such as Venice, Naples, Bologna and Milan, and also abroad, especially in Germany. As a proof of the prominence of his role, Benedetto Marcello took inspiration from Orlandini for the “Orlando” character in his satirical pamphlet Il Teatro alla Moda (1720). In recent years, the modern edition of Orlandini’s opera Nerone in the version of his contemporary German composer Johann Mattheson (ed. by R. Strohm, 2012) has contributed to reignite the attention on his remarkable artistic value and the need to investigate deeper the gure and work of this Italian composer. However, if Orlandini’s fame originated mainly from his operas, very few pieces of information are known about another relevant aspect of his music production today considered lost: the oratorios. is genre was indeed particularly crucial in Orlandini’s artistic path since the very beginning of his carrier with "Il martirio di San Sebastiano "(1694) and throughout his whole life until his death in 1760. Most of his oratorios and oratorio-pastiches were written to be performed in Florence, the city where he carried on his career also as Maestro di cappella and, brie y, as Impresario. is paper aims to present a recollection and analysis of new sources and data of Orlandini’s oratorio production, proposing an alternative insight into the composer’s figure and work through the lens of this alternative genre.
Nicola Porpora: Musicista europeo: Le Corti, I Teatri, I Cantanti, I Librettisti
Nicolò Porpora and the cantabile Cello2011 •
The often quoted description by Geminiani of the cellist Francischello (Francesco Alborea) accompanying a cantata of Alessandro Scarlatti highlights the emerging virtuosity and expressive power of violoncello playing in early eighteenth-century Italy, and its connection with vocal music. Alborea and Francesco Supriani represented the new generation of outstanding cello virtuosi of Naples (the subject of recent study by Guido Olivieri ) during the period in which Nicolò Porpora enjoyed his early successes. That Porpora developed a special affinity for the cello in relation to vocal writing, can be seen already in his first opera, L’Agrippina (1708.) He was not alone in responding to the impact of the virtuoso cellists of Naples. The second decade of the eighteenth century saw the production of obbligato arias and special orchestral scoring for one and two celli by Scarlatti, Porpora, Leo, and Handel, culminating in the outstanding concertante arias for solo obbligato cello which Porpora composed for his serenatas of 1720, 1721 and 1726 (the last thought to have been written to display the talent of the Roman cellist Costanzi, ‘Giovannino del Violoncello’).
Considers whether the London pasticcio "Croesus" of 1714 contained any music by Vivaldi or Polani, the two composers who were involved in the original Venetian setting of 1705. The answer is unfortunately negative.
17th Biennial International Conference on Baroque Music
Early Orientalism: Romans sing the Ottomans in "Rugge quasi leon" by Luigi Rossi2016 •
Rugge quasi leon - otherwise known as the Lament of Mustafa and Bajazet, is a chamber cantata composed by Luigi Rossi, one of the most important Italian composers of the first half of the 17th century. Luigi Rossi worked in Rome under the Borghese and Barberini patronages for most of his life, and his extant identified vocal pieces are c. 300. Rugge quasi leon stands out amongst them for its topic - a lament of the fratricide of the two brothers of the Ottoman Sultan Murat IV, a feared foreign enemy. This paper aims to analyse why and how an Italian court composer chose to set to music a poem on this topic. In Rome, in the first half of the Seicento, within a small, elite noble and artistic circle, there was a strong interest in Ottomans, which found its reflection in vocal music. The history of the treatment of Ottoman topics in Italian vocal music can be traced back to the victory of the Holy League against the Ottomans at the Battle of Lepanto in 1571. This paper proposes that this victory instigated an early orientalist response in Rome, as defined by Edward Said in his seminal book Orientalism (1978). The analysis of the text, setting and performance context of the cantata show that Rugge quasi leon represents one of the earliest examples of musical exoticism as defined by Ralph Locke’s “All the Music in Full Context” paradigm, as well as representing an early example of Edward Said’s Orientalism discourse
Early Music Performer
COST-WoodMusICK: Second Annual Conference Effects of playing on Early and Modern Musical Instruments2015 •
De musica disserenda, XI (2015), pp. 125-145
A Busy Copyist and a Shy Composer: Two Sides of Francesco Barsanti (ca.1690-1775)2007 •
Edition Merseburger
Serenatas and Politics of Remembrance: Music at the Court of Marie Casimire Sobieska in Rome (1699-1714)2016 •
Carl Philipp Emanuel Bach im Spannungsfeld zwischen Tradition und Aufbruch
Carl Philipp Emanuel Bach's "principal singer" Friedrich Martin Illert2016 •
Devozione e Passione: Alessandro Scarlatti nel 350 anniversario della nasciata. Atti del Convegno Internazionale di Studi (Reggio Calabria, 8-9 ottobre 2010.
'Birthday Tribute or Cantata Contest: Alessandro Scarlatti's 'A voi che l'accendeste'2013 •
Roma, Società Editrice di Musicologia
Carlo Francesco Cesarini, Due cantate con strumenti, a cura di Giacomo Sciommeri, Roma, Società Editrice di Musicologia, 2017 (Musica Vocale da Camera, 7) - [ISMN: 979-0-705061-65-9]2017 •
2016 •
Thesaurus - Terminologia musical brasileira
Thesaurus - Terminologia musical brasileira 1997-2006 em desenvolvimento CDMC-Brasil Unicamp2006 •