PREFAZIONE a FIORI ALESSANDRA, Musica in mostra. Esposizione internazionale di musica (Bologna 1888)

La creazione di collezioni di musica e strumenti in occasione della Esposizione internazionale di Bologna nel 1888, in base a una prima idea di storia cronologica e di genere, funzionale al concetto di museo immaginario della musica.

'Opera e declamazione teatrale in Italia nel Diciottesimo secolo. Convergenze e problemi'

The fulfilment of the operatic reform, managed by Christoph Willibald Gluck and his librettist Ranieri Calzabigi in 1760s’ Vienna, is a well-known topic. This event, whose seeds date back to the 1740s, has been examined according to theatrical and literary experiences in France and Italy. However, the question of acting influence on opera can be reconsidered at the light of the latest discovery of symbols collected and labelled as drammatica – metodo italiano. Engraved in some writings, this set of signs is often connected to music and offers the matter for a new critical survey about the discourse on music declamation before and after Calzabigi. From the 1830s onwards the theory of acting …

review a MARIANO SORIANO FUERTES, Historia de la musica espanola desde la venida de los Fenicios hasta el ano de 1850, rist. anast., Madrid, Instituto Complutense de Ciencias Musicales, 2007, 2 voll.

Vjera Katalinić: glazbeni izvori i jedinstvo europske kulture / Vjera Katalinić: Musical Sources and the Unity of European Culture

The generation to which Vjera Katalinic belongs is that of those born about ten years after the end of the Second World War. It is the generation of young people who grew up in Zagreb, who through no fault of their own were obliged to pay for the faults of the fascist Ante Pavelić. Up until 1990, one must remember, Croatia was under ‘special surveillance’. Any proposal for change coming from this republic kindled the fear of a nationalist reflux, the worst syndrome for the Federation of Yugoslavia. The article analyses the career of Katalinic from the 1980s to her jubilee in 2020, and emphasises the outcomes from the time of her charge as director of the Institute of Musicological Research …

Drama bez heroja i nacije. Trendovi talijanske opere u doba Zajceva Nikole Subica Zrinjskog (Drama without Hero and Nation. Italian Opera and its Trends in the Age of Zajc's Nikola Subic Zrinjski)

The years after Italian unification (1861) were marked by five factors which determined development of opera. 1) The reaction of young writers and composers, close to «Scapigliatura», against the works of Giuseppe Verdi, who was considered to be the father of old Risorgimento opera with "Nabucco" and "I Lombardi alla prima crociata". 2) The search for the renewal of the drama against the formulas (opera by numbers) from the 1870s onwards under the influence of Wagner’s Musikdrama, thanks to Arrigo Boito and other composers from Milan to Bologna. 3) However, when Ivan Zajc was composing his trilogy, Italian opera was not influenced by patriotic or social features, which was otherwise the cas…

GABRIELLO PULITI, Ghirlanda odorifera, mascherate a tre voci, Venezia, Vincenti, 1612, Slovene Academy of Sciences and Arts, series Monumenta Artis Musicae Sloveniae, vol. 46

The Eighteenth-century Opera and the Search for a Meeting Point between Music and Declamation

The article is the result of some researches about the ideas on the operatic reform appeared in Italy and France from 1740s onwards. On the basis of acting, some treatises written by actors, philosophers and musicographers claim the dramatic superiority of recitativo secco or obbligato, and the beauty of aria parlante. (e.g., L. Riccoboni, Dell’arte rappresentativa, 1728, G. Manfredi, L’attore in scena, 1734, G. R. Carli, L’indole del teatro tragico, 1746, and Osservazioni sulla musica antica e moderna, 1744-1786, G. Tartini, Trattato di musica secondo la vera scienza dell’armonia, 1754, F. Algarotti, Saggio sopra l’opera in musica, 1755). Owing to its particular speaking tone linked to dec…

Uloga glazbe u dubrovackom pastoralnom teatru u 16. stoljecu. (The Role of the Music in the Pastoral Theatre in Dubrovnik during the Sixteenth Century)

The 16th-century pastoral plays in Dubrovnik (Ragusa), like the Italian ones which inspired them, are marked by the strong presence of sounds, songs and choruses to increase the fantastical and sentimental emphasis of the performances. Their evolution, from Dzore Drzic eclogues to the pastorals of Antun Sasin, and through Mauro Vetranovic's "Orfeo", is characterized by the acquisition of a Petrarchian language in the Croatian pieces of Nikola Naljeskovic. In the Dubrovnik pastoral plays, unlike the Italian ones, the presence of shepherds, nymphs, and rustic men (the "vlasi", Engl. Walachians or Morlacks) as well as the fantastic and comic elements, is constant. Music supports a narrative fu…

Il petrarchismo del "Canzoniere raguseo"

Quattro diagnosi sul florario di Francesco Buti per le villanelle di Girolamo Kapsperger

Il messaggio etico dei testi di Francesco Buti per i "Fiori" di Girolamo Kapsperger (villanelle a 1,2,3,4 voci e Bc. del 1632) e la ricercata semplicità della musica giustificano la scelta anacronistica e stilisticamente inappropriata della titolazione di genere scelta da Kapsperger o dall’editore Masotti. Il termine villanella allude in questo caso a un giardino in cui i fiori formano un mazzetto di allegorie per il buon cristiano. Più specificamente i soggetti riguardano i miti classici collegati ai vegetali, ai quali si ispira l’autore per riprendere le leggende sull’origine dal sangue o dal latte degli dei, da cui nacquero per metamorfosi il gelsomino, la viola, la rosa, l’amaranto, l’a…

Lessicografia come erudizione e il paradigma dell'armonia in padre Martini.

Irene da Spilimbergo: storia di una biblioteca di famiglia e un caso dubbio di persistenza del repertorio frottolistico

FOREWORD a Musicologie sans frontières/Muzikologija bez granice/Musicology without frontiers. Essays in Honour of Stanislav Tuksar

La vita e l'opera di Stanislav Tuksar e il suo contributo alla musicologia internazionale. In particolare gli studi di estetica della musica e di storiografia, nonché il suo lavoro di editor della "International Review of the Aesthetics and Sociology of Music" e i saggi importanti sul rapporto tra le culture nazionali e il cosmopolitismo nell'Europa centrale, in relazione alla Croazia e agli Slavi del Sud dal sedicesimo al diciannovesimo secolo.

Two Unknown Cases of Printed Incidental Music in the Sixteenth- and Seventeenth-Century Italian Theatre

Francesco Contarini published his pastoral "La finta Fiammetta", staged in Padua with a set of intermedi in carnival 1610, under the patronage of Cardinal Scipione Borghese. A second edition (1611) – likewise dedicated to the cardinal – is accompanied by a separate libretto containing intermedi dedicated to Giovanni Mocenigo, Venetian ambassador at the Holy See in Rome. Against the background of the “War of the Interdiction” between Rome and Venice (1606–1607) the political role of these books is evident. The second of the four "Intermedi rappresentati nella f inta Fiammetta" (1611) , entitled "La lotta di Hercole con la Morte", was set to music in 1624 by Innocentio Vivarino ("Madrigali co…

L'adriatico e la ricerca dell'identità nazionale in musica

The author analyses Friedrich Meinecke's concepts of 'Staatsnation' and 'Kulturnation' in relation to tendencies of nationalism and cosmopolitanism in Italian, Slavic and German music in the region of the North Adriatic under the Absburg administration from 1860 to 1918 (Trieste, Istria, Rijeka/Fiume, Dalmazia). With regard to nationalism, the biographies of Ivan von Zajc and Nikola Strmic, both supporters of Italian opera and later proponents of the national Croatian opera (Strmic only for a short period), are useful exemplars.Other composers, such as the Italian Antonio Smareglia and the Slovenian Marij Kogoj, kept faith with the cosmopolitan idea of the Austrian intellectuals (typical al…

Artificio e natura: alcune osservazioni sull "Aria del Tasso" di Giuseppe Tartini

A penchant for folk music is recurrent in Giuseppe Tartini’s oeuvre. In particular, four movements from his violin sonatas are based on the well-known theme of the Arie del Tasso, which attracted the attention of Rousseau and Goethe during their stay in Venice. Central to his work as composer and theorist is the idea of closeness to nature ‒ far from the “bare” transcription of gondoliers’ songs in the way of a musicographer interested in ethnology. For Tartini, following the so-called “musica naturalis” of the ancient Greeks and the “music of the nations”, the term “popolare” is equivalent to simple, and simplicity is the main feature of nature. In his writings, the concept of nature frequ…

The rise of music historiography in Italy in the second half of the 19th century: Between positivism and evolutionism

Alla tradizione della storia pensata e scritta dai filosofi, i quali deducevano il reale dall’universale secondo logiche aprioristiche, reagirono con forza i musicologi italiani L. Torchi e O. Chilesotti nella seconda metà del diciannovesimo secolo. La soggezione spontanea ai dettami del positivismo e dell’evoluzionismo permise a questi studiosi di affrontare qualsiasi tipo di linguaggio musicale, di rifiutare l’estetica romantica del sentimento associato ai simboli sonori e di dedicarsi alla raccolta dei reperti avanzando confronti sagaci sul piano delle forme e dei generi. Scopo del loro metodo, influenzato dalla coeva scuola degli studi storici della letteratura italiana, era dimostrare …

Arturo Toscanini

Thanks to the new media, i.e., record, radio and TV, Arturo Toscanini was the first conductor known by every kind of public in the world. The essay examines Toscanini’s art of conducting in five crucial issues. The foundation of a supranational repertoire of orchestral music enclosing ancient, modern and contemporaneous authors (from Corelli to Strawinsky). The reform of opera house and the paths of maestro in re-thinking the Italian opera after a deep study of Richard Wagner’s Musikdrama. The impressive use of memory in view of a close control of the orchestra (he conducted by heart over 600 scores). The personal, inelegant but effective gesture, by which Toscanini fascinated orchestras in…

Dizionari e storie della musica nei paesi slavi dell'Europa centro-orientale. Riflessioni su un rapporto complesso

The essay identifies key patterns in a group of music dictionaries printed in some Slavic Central-Eastern European lands from the time of national awakening to the 20th-century’s post war period. The common approach of first Polish, Bohemian, and Croatian lexica imply the difficulty in choosing between two different criteria. Given that the three lands were under the administration of Prussian, Russian and Austrian governments, the problem emerged either in creating an exclusive list of names based on the concept of nationality, or in writing an inclusive list of “stranger” and domestic musicians, who contributed together to the development of music culture. Except a rare case, the second o…

La musica nella cultura degli italiani dall'Unità alla prima guerra mondiale. Considerazioni su musicologia e positivismo

I "Sigfridi dilettanti". Durchfuerungsvariation su un tema di Slataper attraverso le citazioni di Stuparich/"Amaterski Sigfridi". Durchfuerungsvariation na Slataperjovo temo v Stuparjevich citatih.

Francesco Buti, poesia e drammaturgia.

The first part of this essay explains the poetry features for music of abbot Francesco Buti from Narni. The second one contains the modern edition of poems for Li Fiori, a group of polyphonic “villanelle” set to music and published in 1632 by the German nobleman Girolamo Kapsperger. Performed in a private concert in Rome, probably under the patronage of Cardinal Francesco Barberini, this work is the unique example of a music collection of 16th-century Italy entirely devoted to flowers. Buti’s poetry resumed the ancient Greek legends of the jasmine, violet, rose, purple anemone, hyacinth, narcissus and iris aiming at transforming them as means to enhance the catholic ethic. In some cases, e.…

Nuove riflessioni sul canone teatrale del madrigale drammatico

The article deals with some case studies on theatrical spectacles with music, as the “mascherate” composed by Orazio Vecchi in Modena. Further, it examines some excerpts of the sixteenth-century Italian polyphony, which have not written for the stage, thus recreating the musical landscape inspired by popular songs and the onomatopoeic lexicon drawn from pastoral dramas and comedies before Vecchi’s "Amphiparnaso" (1597). In the second part, applying the criteria of narratology, the author analyses the works of Alessandro Striggio ("Il cicalamento delle donne al bucato", 1567), Gaspare Torelli ("I fidi amanti", 1600) and Adriano Banchieri ("La pazzia senile", 1607 2edn., "La prudenza giovenil…

Natura e alterita: ancora sull'Aria del Tasso di Giuseppe Tartini:

La passione di Giuseppe Tartini per la musica popolare è attestata da quattro versioni per violino dell’Aria del Tasso. L’Aria rientra nell’ambito di una nuova poetica che ricerca la verità nei canti di natura. Come i musicografi della generazione successiva, il violinista attribuisce alla semplicità un ruolo paradigmatico per separare il concetto di natura dal concetto di artificio. Per cui, il semplice canto di popolo, assieme alla musica greca del periodo classico e alla musica delle «nazioni» non evolute, è più vicino allo stato primigenio, ossia allo stato di natura e quindi alla verità. A questo problema si collegano tre fasi del pensiero del trattatista, in cui il termine natura subi…

Quattro diagnosi sul Florario di Francesco Buti

Il messaggio etico dei testi di Francesco Buti per i "Fiori" di Girolamo Kapsperger (villanelle a 1,2,3,4 voci e Bc. del 1632) e la ricercata semplicità della musica giustificano la scelta anacronistica e stilisticamente inappropriata della titolazione di genere scelta da Kapsperger o dall’editore Masotti. Il termine villanella allude in questo caso a un giardino in cui i fiori formano un mazzetto di allegorie per il buon cristiano. Più specificamente i soggetti riguardano i miti classici collegati ai vegetali, ai quali si ispira l’autore per riprendere le leggende sull’origine dal sangue o dal latte degli dei, da cui nacquero per metamorfosi il gelsomino, la viola, la rosa, l’amaranto, l’a…

Introduzione

The Introductory word explains the role and scope of music historiography during the second half of 19th-Century Italy. At that time, historiographers were oriented to discover the value and the ideal place of musical oeuvre, rethinking music periodization through different paradigms and philosophies.

PREMESSA

Il volume analizza la formazione del repertorio sinfonico e operistico di Toscanini attraverso le testimonianze e le incisioni. Aggiunge indagini nuove sui rapporti con la regia, con ai cantanti e con i solisti e riconsidera la sua attività radiofonica negli Stati Uniti

Recenzija (recensione) a Sanja Majer-Bobetko, Gorana Doliner, Zdravko Blazekovic, Hrvatska glazbena historiografija u 19. stoljecu (19th-Century Croatian Music Historiography), Zagreb, HMD, 2009

Knjiga je rezultat zdruæenih napora nekolicine istraæivaËa koji se bave predmetom ne osobito dobro istraæenim u muzikologiji; djelo pomno razraeno, s uvodom Sanje Majer-Bobetko, a s nakanom da prikupi eseje, Ëlanke i rukopise koji su se pojavljivali u Hrvatskoj i inozemstvu otprilike od druge polovice 19. stoljeÊa do prvih desetljeÊa 20. st. Raznovrsna graa tog pregleda sabrana je i navedena u popisu izvora, s odnosnom bibliografijom. Svaki od autora, Sanja Majer-Bobetko, Zdravko BlaæekoviÊ i Gorana Doliner, raspodijelili su svoja izlaganja na svjetovnu, crkvenu i tradicijsku glazbu, hoteÊi razjasniti metode kojima su se sluæila Ëetvorica znaËajnih povjesniËara: Franjo KuhaË, Vjenceslav N…

Per uno studio della storiografia musicale in Italia nel XIX secolo

Italian musicologists have hitherto shown scant interest in the music historiography of the nineteenth century. And to date, there has been no global vision of the ways of which history was written during the period in which scientific musicology was born (the late nineteenth century and early twentieth). Also with a view to engaging on a “history of the histories of music” some time in the future, the paper examines the following issues: 1) the passage from history interpreted philosophically to history written by professional historians; 2) the foundation of the categories of “monument” and “document” and the relative processes of historicization (German: Historisierung) in the field of m…

Arturo Toscanini e la direzione d'orchestra tra Ottocento e Novecento

The article focuses on Toscanini’s authoritative skill at the light of conducting emergence during the second half of the 19th century. It examines in particular the role played by repertoire and the related problems of interpretation, developed in Europe at the time of maestro’s early youth. From this point of view some details of his biography are regarded in relationship to previous experiences, namely those of A. Mariani and the unknown French musician M. K. The author suggests also an unexplored musicological topic through the comparison between several handbooks and various Toscanini’s records. Even though it is incorrect to consider at the same extent different fields of sources, as …

Folk and Popular as "National": The Invention of the Italian Unity through Poetry and Music

La nascita delle moderne filologia, musicologia ed etnologia nel XIX sec. ha contribuito ad approfondire anche in Italia lo studio scientifico della poesia e della musica non cólte. I termini popolare e nazionale, tuttavia, erano passibili all’epoca delle interpretazioni più varie, in virtù del diverso approccio delle tre discipline alla materia. Gli storici della letteratura si occupavano infatti di poesia con scarsa sensibilità per la musica, i musicologi di musica antica senza alcuna preparazione letteraria, gli etnologi indagavano i fenomeni nel loro accadere e solo in qualche caso formulavano ipotesi sulla storicità delle tradizioni. La prima generazione di studiosi delle tre branche p…

El nacimiento de la historiografia musical en Italia durante la segunda mitad del siglo XIX y los problemas del metodo historico

The article explains the role, the scope and the methods of the 19th-Century music historiography in Italy in comparison to positivism, which fostered a scientific methodology to reshape history of arts and literature. Aiming to discover the value and the ideal place of musical oeuvre, some historiographers described the periodization by means of different paradigms and philosophies, drawn from the theory of evolution of Darwin and Spencer, and the positivism of Hyppolite Taine. Some essays, such as "L’evoluzione nella musica" (1898, 1911 enlarged ed.) and the monograph "Riccardo Wagner" (1890), written by Oscar Chilesotti and Luigi Torchi, are examined at the light of those philosophies. I…

INTRODUCTORY WORD

The aim of this book is to focus on the development of national awareness elaborated around a series of different case studies, in which the terms nation, homeland and people have been applied. This Romantic lexicon identifies similar but various conceptions of the national idea in some countries dominated by Italian, German and Slavic cultures, and in some groups or minorities such as the Jews and the Vlachs in Central and Mediterranean Europe. In order to clarify the cultural framework, the authors explore the construction of identity through folk tunes, poetry inspired by popular culture, and opera in which the national myths or heroes appear. In the self-making tradition, the national t…

From the Morlack to the Slav: Images of South Slavic People between Exoticism and Illyrism in Italian Literature and Opera during the 19th Century

Alberto Fortis’ “Viaggio in Dalmazia” (Padua, 1774) described for the first time the Morlacks (Cr. “Vlasi”) of the inner Dalmatia as the true model of a primitive group, whose characteristics became a source of inspiration until 1830s for some Italian writers and ballet composers devoted to exoticism. Contemporaneously, Homer’s paradigm, introduced by Melchiorre Cesarotti in the foreword to the Italian version of the poems of Ossian (1763), as quoted by Fortis, was in turn transformed by the composer and doctor of Split Giulio Bajamonti. Even though published in Italian, Bajamonti’s “Morlacchismo d’Omero” (Venice, 1797) must be considered as the first contribution to the romantic Croatian l…

Ossian, Omero e il bardo morlacco. Su Giulio Bajamonti e la scoperta degli antichi slavi

The essay "Il morlacchismo di Omero" (1797), written in Italian by Giulio Bajamonti, is the first contribution to the romantic Croatian literature. At the light of Vico’s "Scienza nuova" (1744), Bajamonti introduces Homer’s paradigm to demonstrate that the way of life of the Vlach (i.e. Morlack), who inhabited the interior of Dalmatia, shows close analogies with the heroes of the Iliad. Like Homer and the Highland bards of the Ossian’s poems (Macpherson), the Vlach sings the ancient epic verses accompanied by a gusle. Following this paradigm Bajamonti recognizes in the Vlach’s poetry the authentic national spirit of the South Slavic people. The article analyses: the passage from the exotic …

Cultural Paradigm and Popular Canon: The Discourse on Nation in Nineteenth-century Music of Slavic Mitteleuropa

Nacionalna identiteta slovanske Srednje Evrope je v razpravi obravnavana z novim pristopom k različnim kulturnim paradigmam, takim, ki upošteva zgodovinske dogodke, preko katerih se je ob koncu 18. stoletja na Poljskem in v 19. stoletju na Češkem, Slovenskem in na Hrvaškem uveljavil splošno priznani glasbeni kanon. Pojav kanona je treba analizirati v okviru, v katerem sta kozmopolitizem in nacionalizem soobstajala v prepletu uporabne in avtonomne glasbe, kar presega zamejevanje v kategorije podrejenosti, prirejenosti in avtonomije. The national identity of Slavic Mitteleuropa is examined by means of a new approach to different cultural paradigms, namely the historical events out of which th…

Riflessioni sul canone teatrale del madrigale drammatico

Classicismo in musica e cultura mediterranea, in "Musical Cultures in the Adriatic Region During the Age of Classicism. Proceedings of the International Musicological Congress held in Dubrovnik May 2001", ed. by V. Katalinic & S. Tuksar, Zagreb, Croatian Musicological Society, 2004.

The Italian “National Opera” Imagined from a Southern Slavic Viewpoint: Franjo Ks. Kuhač and Josip Mandić

The national awakening after the revolutions of 1848, and the related phenomenon of new operatic grammar disseminated from Russia and Bohemia to other countries of Central Europe, were the main factors in promoting a quest of musical autonomy either in Slovenia or in Croatia. In the light of the Southern Slavic people revival, the criticisms on the Italian opera and the Wagnerian Musikdrama, written by the prominent musicologist Franjo Kuhač (1834-1911), and the composer Josip Mandić (1883-1959), reveal two parallel points of view, which have not been taken into account until today. The negative judgement of Kuhač on the last works of Verdi, influenced by Wagner formulae, and the praise of …

Fango pannonico. Un paradigma populista per Miroslav Krleza

As an obsessive keyword, the Pannonian mud appears in several writings of Miroslav Krleza. It represents the core of Croatian periphery, in particular the Podravina region, which was for long time untouched by modernity, and oppressed by feudal governments even after the fall of the Austrian Empire, from 1918 onwards. In this timeless place watered by the river Drava, the mud acquires a paradigmatic role like a phenomenon that causes historical conflicts. However, its ambiguous status of metahistorical symbol of a long lasting collapse is a contradictory factor, because of the consequences arising from it are unpredictable. As a contribute to this paradoxical attitude some images occur in K…

The 'Other' Coastal Area of Venice: Musical Ties with Istria and Dalmatia

Despite the difficulty of classifying the art music of Istria and Dalmatia, and according to several degrees of subordination, adaptation, and autonomy from Venice and Italy, the essay examines the multilingual society of the aforementioned regions and the extraordinary development of a rare Slavic-Romance cultural symbiosis during the sixteenth century. The main topics focused are: 1- the linguistic and cultural frame, 2 - the professional music from Koper (Capodistria) to the free Republic of Dubrovnik (Rugusa), 3 - the music for Protestants and the policy of Catholic Church at the time of the Counter Reformation, 4 - the value of incidental music on stage, either in Croatian or Italian t…

Paradigma culturale e canone popolare: musica e nazione nei paesi slavi della Mitteleuropa nel diciannovesimo secolo

The national identity of Slavic Mitteleuropa is examined by means of a new approach to different cultural paradigms, namely the historical events out of which the popular canon in music flourished at the end of eighteenth-century Poland and in nineteenth-century Bohemia, Slovenia and Croatia. This phenomenon must be analysed within a framework in which cosmopolitism and nationalism co-existed in a mix of functional and autonomous music, superseding the boundaries of subordination, adaptation and autonomy.

Predgovor/Foreword

Nel corso del XIX secolo l'idea di popolo e l'idea di nazione hanno prodotto la nascita di nuovi orientamenti nella musica dei paesi slavi della Mitteleuropa. Le fonti cui si sono ispirati i fautori dei movimenti nazionali in Germania, Austria, Polonia, Cekia, Slovenia e Croazia sono state descritte come popolari, ma si tratta in realtà di musiche folkloriche, devozionali, brani d'opera e brani d'autore, che furono usati anche nella musica d'arte (opere e sinfonie), con l'unico scopo di attestare i principi identitari essenziali per la formazione dei futuri stati dopo la caduta dell'impero austro-ungarico. La storia e le tradizioni dei paesi sopra elencati non hanno quasi nulla in comune, s…

Theodor W. Adorno e il concetto di seconda natura nel Doktor Faustus di Thomas Mann

“Doktor Faustus” of Thomas Mann, as explained by its author, is a novel on German civilization in which music plays the role of paradigm. Nevertheless the author grasps a lot of quotations from different disciplines and topics, ― e.g., theology, policy, philosophy, music, chemistry ― with the aim of depicting the creation of a second nature in music according the rules of twelve-note composition established by Arnold Schoenberg. The starting point of this complicated narrative is the reinterpretation of Theodor W. Adorno’s “Philosophie der neuen Musik”, a book that inspired Mann in tracing the idea of “second nature” created by the composer Adrian Leverkühn. The article focuses on some keyw…

Ludovico Dolce, Antonio Molino, Claudio Merulo e la musica in tragedia

Il culto della croce e la poesia per immagini: il caso della granadiglia nel diciassettesimo secolo

The article focuses on an unknown phenomenon developed within the frame of the Counter-reformation Italy, in which interact the Catholic faith and a sort of transfer from painting to literature. At the time, the Latin-American flower maracock (maracuja), renamed granadilla by the Spanish conquistadores, was transformed by the Jesuits into Flos passionis/passionflower, whose components were forced to represent Christ crucifixion. From 1608 to the 1660s, priests and poets, like the well-known G. Botero and G. B. Marino, wrote poems on the passionflower on the basis of some unreal images spread by the Jesuits. Aiming at experiencing a new form of ancient ékfrasis, they had described the Passio…

PREFAZIONE

Selezione e raccolta di saggi di Francesco Luisi in occasione dei suoi sessantacinque anni. Il volume giubilare riunisce gli interventi più originali sulla musica per il teatro del Cinquecento, secondo distinzioni di utenza e genere. L'autore analizza esempi di musica nata per il teatro o per esso adattata, di musica piazzata come intermedio tra gli atti e di musica in forma di canti inseriti nel corso dell'azione con funzione decorativa o drammatica. Si intrattiene altresì sulla qualità degli eventi sonori in relazione ai generi della tragedia, della commedia, della favola pastorale e della sacra rappresentazione. La seconda parte riguarda lo studio delle allegorie musicali e degli aspetti…

Istarske glazbene teme i portreti od 16. do 19. stoljeca

The book “Themes and Portraits of Music in Istria from 16th to 19th Centuries” is a revised collection of essays previously published in Italian, Croatian and Slovenian. It can offer a comprehensive survey on various aspects of music history of Istria between 16th and 19th century. In a wider sense, it considers the role of music in different contexts examining the patronage of churches, academies and noblemen within the frame of a multilingual area, in which Italian and Slavic cultures co-existed, Divided between Venice and Habsburg government, and now between Slovenia, Croatia and Italy (with the small town of Muggia), the peninsula, till today, represents an unsolved issue if the histori…

Review al libro di Sanja MAJER-BOBETKO - Gorana DOLINER - Zdravko BLAZEKOVIC: Hrvatska glazbena historiografija u 19. stoljecu (Croatian 19th-century Music Historiography), Zagreb: Croatian Musicological Society, 2009.

Recensione a Vjera Katalinic, Violinski koncerti Ivana Jarnovica: glazbeni aspekt i drustveni kontekst njihova uspjeha u 18. stoljecu (2006, in "The International Review of the Aesthetics and Sociology of Music", 39/2, 2008, pp. 257-261

Il recensore mette in luce le modalità del del virtuosismo strumentale di fine Settecento, quale fenomeno paragonabile a quello dei cantanti, e il problema della Rezeptiongeschichte che collega in modo ambiguo i generi compositivi ai diversi ambienti musicali (teatro, sala da concerto, musique en plain air). Focalizza inoltre l'attenzione sul felice tentativo 'ermeneutico' di analizzare le musiche per violino di Ivan Jarnovic (Giornovicchi) (1747-1804) attraverso la teoria dell'epoca, posta a confronto, in forma di dialogo ideale, con le attuali teorie della forma.