Conferences and Seminars – Page 9 – Fondazione Giorgio Cini

Early-Music Seminars 2015 | Matteo da Perugia Music in Gothic Milan (1390-1425)

Early Music Seminars Egida Sartori and Laura Alvini
17-21 May, 2015
Fondazione Giorgio Cini, Island of San Giorgio Maggiore, Venice

Matteo da Perugia Music in Gothic Milan (1390-1425)

Director: Pedro Memelsdorff

Lectures and master-classes by: Anne Azéma, Shira Kammen, Agnese Pavanello, Anne Stone.

The seminar will focus on the secular music of Matteo da Perugia (fl. 1400-1425), maestro di cappella at Milan Cathedral from 1402 to 1407, and again from 1414 to 1416. Nothing is known about his possibly Umbrian training, and no documents of his non-Milanese years survive. Scholars have speculated on his possible stay at Pavia, Pisa or Bologna, where he might have served Cardinal Pietro Filargo (Pisan pope Alexander V after 1409), most likely his main patron.

Matteo’s music includes several Mass movements, two Latin motets and a rich series of Italian and above all French songs. Indeed, he authored the richest French chansonnier composed by a single Italian of his time.

Surprisingly few sources transmit this quite vast repertoire: a manuscript containing almost half of it — now in Modena — and three fragments now in Parma, Berne and New York. While scholars first hinted at a limited circulation of the material, more recent research has suggested that Matteo’s enturage had a decisive influence on mid-15th century theoretical sources in Italy and abroad.

His music may well represent the climax of Milanese and Lombard Gothic polyphony.

The seminar is addressed to the ensembles, winners of the call for scholarships announcement 2015, specialised in late mediaeval repertoires: Ensemble Aurion and Ensemble Sollazzo.

The event is organized with the contribution of Irma Merk Stiftung and L. + Th. Roche Stiftung and with the collaboration of the Schola Cantorum Basiliensis.

Programme

May 17 at 5 pm.: Introductory Conference “Matteo da Perugia’s French Songs and their Context”
by Anne Stone

May 18-19-20: Master-classes and Lectures
by Anne Azéma, Shira Kammen, Agnese Pavanello and Pedro Memelsdorff

May 20 at 6 pm.: Concert (free entrance until seats last)

May 21 at 10 am.: Conclusive Lecture

For further informations: musica.antica@cini.it – T. +39 041 2710258

Early-Music Seminars 2013 | More Hispano. Tomás Luis de Victoria in Rome and Madrid

10 May, 5 pm
Venice, Palazzo Grimani

Inauguration of the 2013 Early Music Seminars organised by Pedro Memelsdorff
in collaboration with the Special Superintendency for the Historical, Artistic and Ethno-Anthropological Heritage and for the Museums of the City of Venice and of Towns on the Lagoon Belt

Introductory lecture by Alfonso de Vicente on the motets composed by Tomás Luis de Victoria in Rome and Madrid.

Print invitation

13 May, 9.30 am – 6.30 pm
Venice, Island of San Giorgio Maggiore
International study day: Tomás Luis de Victoria in Rome and Madrid

15 May 18

Venice, Basilica of San Giorgio Maggiore
Concert in collaboration with the Abbacy of San Giorgio Maggiore

Free admission

This seminar in the new series of Early Music Seminars at the Giorgio Cini Foundation, directed by Pedro Memelsdorff, is dedicated to the repertoire of motets, psalms and antiphonals devoted to the Blessed Virgin Mary composed by Tomás Luis de Victoria (1548-1611). There will be a special focus on various interpretive traditions, principally Italian and Spanish. One of the most important composers of sacred music in late 16thcentury Europe, Tomás Luis de Victoria combined the infl uence of the best Spanish polyphonic composers who had preceded him at Avila – Espinar, Ribera, Navarro and Cabezón – with the Italian composers whom he had come across in his twenty-year stay in Rome, where he may even have studied with Palestrina. In addition to the historically accurate reconstruction and stylistic analyses of Victoria’s
motets, there will also be a focus on performances and performing history. Of particular interest is the comparison between Italian and Spanish traditions as regards the make-up of the groups of singers and the instrumental accompaniment for liturgical polyphonic singing, a practice well documented in early 17th-century Spain. For this purpose, two ensembles of scholarship holders (chosen through the usual call for applications) and an organ accompanist will be invited to take part. These young talented musicians will be mainly conducted by Rinaldo Alessandrini (from Concerto Italiano) and Josep Borràs (an organologist, bassoon player and director of the Escola Superior de Musica de Catalunya). They will be fl anked by other international experts on 17th-century Spanish liturgical music. The seminar will be opened by an introductory lecture at the Palazzo Grimani in collaboration with the Special Superintendency for the Historical, Artistic and Ethno-anthropological Heritage and for the Museum Centre of the City of Venice and Lagoon Settlements. On 15 May the seminar will end with the traditional concert open to the public. The early music seminars are held with the support of the Veneto Region.

30th Advanced Course. Umberto and Elisabetta Mauri School for Booksellers

Having reached the major milestone of its 30th edition, the advanced course of the Umberto and Elisabetta Mauri School for Booksellers – organized by Messaggerie Libri and Messaggerie Italiane in collaboration with the Associazione Librai Italiani and the Associazione Italiana Editori – will be held as usual on the island of San Giorgio Maggiore.
At this eagerly awaited important international event for the world of publishing, the participants will tackle various issues concerning the world of books, bookshops and the markets with a thorough, updated look at new ideas and developments in the field.
The Umberto and Elisabetta Mauri School for Booksellers was founded in 1983 with the aim of providing booksellers with the opportunity of furthering their education in the field. This involves keeping them up to date with the faster production of books, providing tools for analysis and innovative methods and informing about professional practice. In addition to having trained new generations of booksellers, over time the school has become a workshop for experimentation and discussions on the potential of the book. It is thus a special forum for studying strategies for positioning bookshops and ways of promoting their products.
The first of its kind in Italy, and the second in Europe after Frankfurt, the School for Booksellers fosters discussion that is not only limited to the organisation and management of sales points but extends to all aspects of bookselling activities: distribution, marketing and promotion. During the course the Luciano and Silvana Mauri Prize for Booksellers will be awarded.
For further information, please visit: www.scuolalibraiuem.it.

Fashioning Opera and Musical Theatre: Stage Costumes in Europe from the Late Renaissance to 1900

In collaboration with the University of Southampton and the Historical Archives of the Rubelli Historical Textile Collection, the Giorgio Cini Foundation Study Centre for Documentary Research into European Theatre and Opera has promoted an international conference on the history and role of costumes in musical theatre: Fashioning Opera and Musical Theatre: Stage Costumes in Europe from the Late Renaissance to 1900. (Programme)

The official conference languages are English and Italian. The conference programme was drafted by a scientific committee made up of the following experts: Maria Ida Biggi, Isabella Campagnol, Doretta Davanzo Poli, Valeria De Lucca and Helen Greenwald.

Useful information on costs, accommodation and how to get to San Giorgio

Stage costumes play a key role in the way we experience musical theatre. They define the character and action, enhance the sound dimension and blur the boundaries between fact and fiction, past and present, and the human and the fantastic. From courtly theatre to popular entertainment, costumes, textiles and accessories are evidence of the material culture of their social milieus and the challenges that artists, craftsmen and designers faced in creating them. This conference brings together experts from various fields to discuss historical, economic and aesthetic issues related to the use and function of stage costumes in opera and musical entertainment in Europe from the late Renaissance to the early 20th century.

Picture: Anton Maria Zanetti, Caricature of Nicola Grimaldi called Niccolino and Francesca Guzzoni, c. 1730, Venice, Fondazione Giorgio Cini

Information and Services

Fashioning Opera and Musical Theatre: Stage Costumes in Europe from the Late Renaissance to 1900

Registration fee
The attendance fee covers admission to the conference, coffee breaks and lunches.”¨”¨Speakers and attendees for the full conference:”¨”¨60 euros”¨”¨Attendees for 1 day (also includes either Thursday afternoon or Sunday morning):”¨”¨30 euros”¨”¨Student speakers or attendees:”¨”¨20 euros for 1 day (also includes either Thursday afternoon or Sunday morning)”¨40 euros for the full conference ”¨”¨”¨

Information for lodgings ”¨
For information about the Vittore Branca Center and the possibility of staying at the Center’s Residence as a participant at the conference Fashioning Opera and Musical Theatre: Stage Costumes in Europe from the Late Renaissance to 1900, contact: centrobranca@cini.it

How to get to the island of San Giorgio

Contacts
Centro studi per la ricerca documentale sul teatro e il melodramma europeo
tel. +39 041 2710234 fax +39 041 2710215 ”¨e-mail teatromelodramma@cini.it

Nino Rota e Milano

Friday 02 december 2011 e saturday 03 december 2011 – CIDIM, in collaboration with Fondazione Orchestra Sinfonica e Coro Sinfonico di Milano Giuseppe Verdi, has announced a symposium which marks the 100th anniversary of the birth of the composer Nino Rota and in addition draws attention to a critical review which reconsiders the figure of the composer in the context of both his lifetime and present times.
The central theme of the conference is Rota’s musical talent and his extraordinary, precocious cultural knowledge, together with the formative years and the first compositions, and is the result of research studies carried out by three young musicologists – Matteo M. Vecchio, Federico Lazzaro and Giovanni Salis – and by eminent scholars including Francesco Lombardi, Emilio Sala and Carlo Cavalletti.

“Teatri d’opera dell’Unità d’Italia”

Mercoledì 23 novembre 2011 si terrà a Venezia presso il Teatro La Fenice
un Convegno sui “Teatri d’opera dell’Unità d’Italia”. Nel corso del
XIX secolo i teatri d’opera hanno svolto un ruolo significativo nella
diffusione dei sentimenti e delle idee risorgimentali: in occasione
delle celebrazioni dei 150 anni del nostro Paese non si può quindi non
evidenziarne l’importanza storica.
Lo stesso patrimonio architettonico dei teatri d’opera costituisce di
fatto un Bene Culturale da salvaguardare e valorizzare per le numerose
caratteristiche di originalità. Fra queste una menzione particolare
spetta all’acustica e al variegato insieme di soluzioni progettuali che
sono state sviluppate con l’obiettivo di favorire la fruizione del
complesso linguaggio musicale tipico dell’opera lirica. Ad esempio, la
necessità di bilanciare la pienezza del suono orchestrale con la
chiarezza della voce cantata costituisce un delicato compromesso che
trova proprio nei teatri all’italiana la sua realizzazione più
soddisfacente.
L’evento, organizzato dall’Associazione Italiana di Acustica con il
patrocinio della Fondazione Giorgio Cini, della Fondazione Scuola di San
Giorgio, dell’Università Ca’ Foscari e dell’Università IUAV di Venezia,
cercherà di stimolare una riflessione multidisciplinare sul paradigma
del teatro all’italiana, affinché dalle diverse prospettive di ricerca
coinvolte – musicologica, storica, architettonica ed in particolare
acustica – si possa comprendere organicamente il valore di una
straordinaria testimonianza culturale.

La partecipazione al Convegno è gratuita, previa iscrizione da
perfezionarsi tramite il sito web: www.associazioneitalianadiacustica.it
Per informazioni: info@associazioneitalianadiacustica.it

Ex novo musica Stagione 2011 VIII. edizione

18 November

Verso Darmstadt”¨
On Friday November the 18th the conference Verso Darmstadt will be held at the Giorgio Cini Foundation (Sala Piccolo Teatro) with Luis De Pablo, Mario Messinis and Gabriele Bonomo. Aldo Orvieto (piano) and Daniele Ruggieri (flute) will perform muiscs by Luciano Berio, Camillo Togni and Luis de Pablo.

Daniele Ruggieri flute
Aldo Orvieto piano

Luciano Berio (1925-2003)
Sequenza / (1958) per flauto

Camillo Togni (1922-1993)
Terzo Capriccio (1957) per pianoforte

Luis de Pablo (1930)
Condicionado (1962) per flauto in sol

Realized with the support of

Ministro per i Beni e le Attività Culturali
Provincia di Venezia
Comune di Venezia, Assessorato alle Attività Culturali
Fondazione Giorgio Cini
Gran Teatro La Fenice

More info

Istituto per la Musica

tel. +39 041 2710220
fax.+39 041 2710215
e-mail musica@cini.it

or
www.exnovoensemble.it

info@exnovoensemble.it

Info: (+39) 334 6561327/8

Corso di duduk armeno con Gevorg Dabaghyan

In collaboration with the music section of the Studies and Documentation
Centre of Armenian Culture, Venice, directed by Minas Lourian, the
Intercultural Institute of Comparative Music Studies has organized a
course on the duduk, a double-reed woodwind instrument made of apricot wood. A symbol of the Armenian musical tradition, the duduk
(conventionally called the “Armenian oboe”) is a very popular
instrument with a warm slightly nasal tone creating evocative sounds. It
is played to accompany songs and dancing in all the regions of Armenia
and is the principal instrument at weddings and funerals.
In 2005 the duduk (or dziranapogh in Armenian) was decreed
a masterpiece representing the Armenian musical tradition in the UNESCO
“Programme of Masterpieces of the Oral and Intangible Heritage of
Humanity”.

Gevorg Dabaghyan is a major living expert on this very
ancient instrument. He has founded several ensembles, including
Shoghaken, a group dedicated to conserving the very rich Armenian folk
music heritage. Liturgical music also features prominently in
Dabaghyan’s vast repertory and is a fundamental part of a thousand-year
old tradition characterised by strong Christian roots, going back to
when Armenia was the first country to proclaim Christianity as its state
religion in 301.

Info
tel. +39 041 2710357 +39 041 5230555
e-mail musica.comparata@cini.it

ICCG

The International Center for Climate Governance and the Climate Policy Initiative, in collaboration with the Euro-Mediterranean Centre for Climate Change, jointly organize a Workshop on The State of International Climate Finance: Is It Adequate and Is It Productive?, to be held on the Island of San Giorgio Maggiore, Venice on Thursday 14 October 2010.

Polifonie “in viva voce” 14

Launched in 1997 in collaboration with the Department of the History of the Arts and Conservation of the Artistic Heritage at Ca’ Foscari University, the polyphonic choir programme at the Giorgio Cini Foundation, Venice, has called a wide range of singers from Albania, Bulgaria and Georgia; from the large Mediterranean islands, (Sardinia, Corsica and Sicily); from Liguria, the Canavese area and the Amiata area in Tuscany. For various specifi c studies, the singers have been joined by leading specialists on the polyphonic forms being presented.

Over the years the workshops and concerts have enabled the scholars, researchers and enthusiasts who have come to San Giorgio to get to know and appreciate some of the most important forms of European polyphonic singing.
On Wednesday, 17 November, the fourteenth edition will be ded icated to the polyphonic tradition of Cham male singers from Albania. The Cham population mainly lives in southern Albania, although in the past they settled in areas now within the borders of Greece.

Exclusively male, the Cham choirs make use of verse texts retelling the stories of epic and historical fi gures and episodes. Moreover, the singing is particularly complex: two “antagonistic” solo voices are supported by the iso, a drone group. The voices have a warmly textured “affectionate” timbre, tending to be gentle and rather soft in terms of acoustic intensity. In this sense Cham singing contrasts with the exuberance and great energy of other Albanian polyphonic practices.
Maurizio Agamennone, Nicholas Scaldaferri and the Polyphonic Group from the Cities of Fier and Rrogozhina (Southern Albania) will take part in the afternoon seminar. The Group then will perform in the evening concert.