Institute of Music – Page 10 – Fondazione Giorgio Cini

Archival Notes No. 1

An open-access, peer-reviewed journal, curated by the Institute for Music of the Giorgio Cini Foundation. With an interdisciplinary approach, Archival Notes. Source Studies in Twentieth and Twenty-First-Century Music is dedicated to the research of musical sources from the twentieth and twenty-first centuries.

Gianmario Borio, Preface

Paolo Dal Molin, Introduction

Publishing Composers’ Letters

Denis Herlin, Debussy’s Letters: Recipients, Current Locations, Current Concerns
Katharina Bleier, Therese Muxeneder, The Correspondence between Arnold Schoenberg and Universal Edition
Andreas Meyer, The Berg-Schoenberg Correspondence: Background, Archival Conditions, and Editorial Practice
László Vikárius, Béla Bartók’s Correspondence
Angela Ida De Benedictis, Some Experiences in Editing ‘the Body of Thoughts’ of Lachenmann, Maderna, Mila and Nono

Glimpses from the Archives

Werner Grünzweig, Some Thoughts on the Music Archives Held by the Berlin Akademie der Künste
Pierluigi Ledda, The Correspondence Collection of the Archivio Storico Ricordi: a Key Component of a Future European Network of Archives
Gabriele Dotto, The Growing Importance of Archives for Performers and Publishers (not just Historians): The Case of the Archivio Storico Ricordi
Piotr Maculewicz, Letters in the Archives of Polish Composers at the University of Warsaw Library
Paolo Dal Molin, Accessing Luigi Nono’s Correspondence: a User’s Perspective
Angela Carone, Francisco Rocca, Correspondences in the Musical Archives of the Fondazione Giorgio Cini
Alessandra Carlotta Pellegrini, Dear Giacinto: Letters from the Multimedia Archive of the Fondazione Isabella Scelsi
Nada Bezić, Musicians’ Correspondence in Zagreb: the Case of Blagoje Bersa
Sylvia Freydank, Letters within a Comprehensive Research Tool: Archive Digitisation at the Internationales Musikinstitut Darmstadt

Perspectives

Friedemann Sallis, Regina Landwehr, Musicians’ Correspondence and Interaction Between Archives: Remarks from a Canadian Perspective

Documents and Reports

Francisco Rocca, Angela Carone, The Composer’s Mailbox: Documents from the Musical Archives of the Fondazione Cini
Angela Carone, Publications and Activities

The first issue of Archival Notes is available for download and consultation on the OJS platform of the Fondazione Giorgio Cini.

Research-Led Performance Workshop. The Guitar in the Work of Mauricio Kagel, Giacomo Manzoni and Fausto Romitelli

_{Juan Gris, Still Life with Guitar (1913).}

WORKSHOP

RESEARCH-LED PERFORMANCE. THE GUITAR IN THE WORK OF MAURICIO KAGEL,GIACOMO MANZONI AND FAUSTO ROMITELLI

From 27^th to 29^th June 2016, organised by the Fondazione Giorgio Cini Institute of Music in collaboration with the Orpheus Instituut, Ghent (Belgium), this workshop is addressed to musicians specialised in classical and electric guitar. The principal aim is to encourage collaboration between composers, musicologists and musicians in preparing performances based on the analysis of musical structures, the sources of the compositional process, and documentation of historic performances. Each of the three days of the workshop is divided into two sessions: the first is devoted to the creative process, aesthetic aspects and structures of the compositions; and the second focuses on performance practice. Luk Vaes will tackle Tactil and Unter Strom by Mauricio Kagel; Elena Casoli will analyse some works for classical guitar by Giacomo Manzoni and Fausto Romitelli; and Giacomo Baldelli will focus on the electric guitar repertoire, especially Trash TV Trance by Fausto Romitelli. The workshop title, Research-led Performance, refers to the mutual integration of the disciplines involved: on one hand, performance practice consolidates through the results of archive research and theoretical studies; and, on the other, methodical enquiry takes profit of the experience of performing and listening, in order to check, hone or redefine individual development. The combination of these activities generates a new and dynamic approach to research.

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Download the Announcement of Selection (deadline for enrolement: 30 April 2016)

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Seminar on 16th- and 17th- Century Music Sources Venice, a City without a Court: church, theatre and ridotto

_{Jacopo Palma il Giovane, Davide vincitore di Golia festeggiato dalle fanciulle di Gerusalemme (particolare), 1595, Venezia, chiesa di San Zaccaria, Cappella di sant’Atanasio.}

Call for application to Seminar on 16th- and 17th- Century Music Sources Venice, a City without a Court: church, theatre and ridotto

Intended for students and young researchers, the seminar promoted by sets out to stimulate thinking on the most appropriate historical-methodological strategies for the purposes of exploring the Venetian music-history context in the 16th and 17th centuries. It also aims to provide tools and basic information required by researchers to find their way in the enormous heritage of written and musical sources preserved in the local libraries and archives.

The seminar is divided into two parts: a series of morning lectures and practical afternoon sessions in relevant institutions in the city (Archivio di Stato, Archivio Storico del Patriarcato and Biblioteca Nazionale Marciana). Access to the morning lectures is open to anyone interested, whereas the full seminar is limited to a maximum of twenty enrolled people. Moreover Fondazione Giorgio Cini is to make available ten scholarships to cover accommodation expenses for the duration of the seminar.

The advisory committee is made up of Rodolfo Baroncini (coordinator), David Bryant, Paolo Cecchi, Luigi Collarile and Marco Di Pasquale, while the seminar teachers, in addition to those just mentioned, are Claudio Annibaldi, Tim Carter, Mario Infelise, Paola Lanaro, Ellen Rosand and John Whenham.

Deadline 9th May 2016

It requires knowledge of the Italian Language

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Download the application form

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Program of the Seminar

Books at San Giorgio

Books at San Giorgio launch series dedicated to the latest Fondazione Giorgio Cini publications resumes.

Books at San Giorgio is a series of meetings that presents the latest Fondazione Giorgio Cini publications, usually the outcome of its Institutes’ research activities in various disciplines: art history, 20th-century music, Venetian history, the music of Vivaldi, drama and ethnomusicology.

The first date, on 3^rd March, Gino Benzoni, Maria Giordana Mariani Canova and Federica Toniolo will present La miniatura per le confraternite e le arti veneziane. Mariegole dal 1260 al 1460. Written by Lyle Humphrey, this fascinating book surveys two centuries of texts and illustrations in Mariegole, the illuminated statute books of the devotional guilds and the various “national” congregations in Venice during the Middle Ages.

The meeting on 10^th March, will be devoted to Musical Listening in the Age of Technological Reproduction. Edited by Gianmario Borio, this is the first book in a new series entitled “Musical Cultures of the Twentieth Century”, of which he is also series editor for publishers Ashgate.

The book will be discussed by Simon Zagorski-Thomas and Francesco Giomi.

After the presentation there will be a concert, that is made possible thanks to the collaboration between the Conservatory of Music “Benedetto Marcello” and the Institute for Music of Fondazione Giorgio Cini. Federica Lotti (Flute and Piccolo) and Florindo Baldissera (guitar) will play pieces by Bruno Bettinelli , Giacomo Manzoni , Fausto Romitelli and Camillo Togni.

Download here the concert program

Lastly, on 17^th March, Simona Marchini and Fortunato Ortombina will present Il Teatro di Pierluigi Samaritani, a catalogue of the stage designs and documents in the Samaritani Archive, now in the Fondazione Giorgio Cini Theatre Study Centre.

The book also includes a thorough critical inquiry by Maria Ida Biggi into the art of the Piedmont stage designer.

Seminar Italian Composers and Cinema: 1945-1975

Nino Rota, 8 ½. Colonna sonora originale del film omonimo, LP, CAM 1963, copertina.
Fondo Nino Rota, Fondazione Giorgio Cini, Venezia.

As a follow-up to the study days organised in 2014, the Institute of Music has organised a seminar on Italian composers who were active in the thirty years from 1945 to 1975. Coordinated by Gianmario Borio and Roberto Calabretto, the four sessions of the seminar will deal with the relations between opera and cinema, jazz influences, and philological research conducted in the archives of Egisto Macchi, Giacomo Manzoni, Nino Rota and Roman Vlad, held by the Fondazione Giorgio Cini.

The seminar can be situated in the research area of “the audiovisual experience” and is part of a series of events dedicated to the soundscape in Italian cinema. The speakers in the sessions will be flanked by discussants, who will dialogue with the public in order to encourage an exchange of ideas between scholars with different backgrounds.

Seminar Avant-garde Theatre and Experimental Music for the Stage in Italy: 1950-1975

Stage photograph of a scene from the world première of Atomtod by Giacomo Manzoni (Milan, Piccola Scala, 1965). Photo by Erio Piccagliani © Teatro alla Scala

Coordinated by Gianmario Borio, Giordano Ferrari and Daniela Tortora, the seminar is the first part of a three-year project – jointly nanced by the Ernst von Siemens Musikstiftung – on experimentation in European musical theatre. On the two days of the seminar the results from research carried out on Italian composers will be presented in the framework of the theoretical elaborations and artistic creativity which for long were a driving force in Europe.

The participants will dwell on the composers’ reception of the most advanced experiments by playwrights, the elaboration of literary texts and the assembling of texts to be recited or sung, as well as the reorganisation of dramaturgy and stage spaces. There will be a special focus on the sources preserved in the Institute of Music (Guaccero, Macchi, Manzoni and Togni).

The participants at the seminar are Robert Adlington, Giacomo Albert, Valentina Bertolani, Stefania Bruno, Simone Caputo, Marco Cosci, Mila De Santis, Stefano Lombardi Vallauri, Alessandro Mastropietro, Vincenzina Ottomano, Doerte Schmidt, Emanuele Senici, Valentina Valentini and Giada Viviani.

Music-Dance: Sound and Motion in Contemporary Discourse and Practice

Oskar Schlemmer, Tänzerin (Die Geste), 1922-23. Pinakothek der Moderne, München
© 2015. Foto Scala, Firenze/bpk, Bildagentur füer Kunst, Kultur und Geschichte, Berlin (detail)

Conference organized by Gianmario Borio, Patrizia Veroli and Gianfranco Vinay

Principles, methodologies, and performance practices involving music and dance have opened new areas of research since the early twentieth century. In investigating this multifaceted field, a plurality of disciplines must be addressed and interconnected. The conference’s central issues include the identity of the choreomusical work, its complex authorship and the concept of embodiment. Scholars of dance and music will produce multiple dialogues, attempting to analyse not only the ways in which the musical score changes its prescriptive status when becoming part of a choreomusical project, but also the encounter between sound and motion on stage, the construction of a sensorial stratification, and the intersection of listening and sight in the act of reception.

This conference will take place as part of the celebrations for thirtieth anniversary of the Institute of Music, and it’s the main event of the series Music among the Performing Arts.

The conference will open with the keynote lectures of the choreographer Dominique Brun and the composer Alvin Curran. The participants at the conference are: Susan Broadhurst, Antonio Camurri, Jonathan Owen Clark, Eric Clarke, Inger Damsholt, Nicolas Donin, Susanne Franco, Nikša Gligo, Rolf Inge Godøy, Claudia Jeschke, Stephanie Jordan, Massimiliano Locanto, Ulrich Mosch, Marina Nordera, Julie Perrin, Dee Reynolds, Julia H. Schrӧeder, Stephanie Schroedter, Emanuele Senici, Lawrence Zbikowski.

On July 10^th at 6.30pm, John Irving will play Sonatas of Joseph Haydn on the Mathias Jakesch fortepiano (1823), owned by the Fondazione Giorgio Cini: Sonata in A-flat major Hob XVI:46, Sonata in B-flat minor Hob XVI:32, Sonata in G major Hob XVI:40 and Sonata in E-flat major Hob XVI:49.

Download the pdf with the programme Music-Dance: Sound and Motion in Contemporary Discourse and Practice

Developing variations: Giovanni Morelli’s thoughts looking to the future

To mark the fourth anniversary of the death of Giovanni Morelli and in concomitance with the events to celebrate the thirtieth anniversary of the Institute of Music, this seminar sets out to explore some of the most significant texts by the eminent musicologist and first director of the Institute.

The themes reflect Morelli’s multifaceted intellectual personality: from musical rhetoric to popular music, from the dramaturgy of Romantic opera to music for film, and from the relationship between genius and health disorders to spatial compositions in the second half the 20th century.

Coordinated by Gianmario Borio and Giada Viviani, the seminar has an advisory committee made up of Michele Girardi, Emilio Sala, Luca Zoppelli and Paolo Pinamonti, the editor of the bibliography of Morelli’s writings, which will be available for the occasion. A group of young musicologists will discuss the theories formulated by Morelli and will attempt to place them in the framework of current debates in international musicology. At the end of the seminar, the mdi ensemble will give a concert of music by Clementi, Feldman, Kurtag, Scelsi and Varese.

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The Stage as ‘Sensitive Space’: Scores and Stage Direction after Verdi and Wagner

Edward Gordon Craig, drawing for the first scene of the second act of Acis and Galatea by Handel, London, 1902.

Fondazione Giorgio Cini onlus

The aim of the conference is to examine the way that opera scores envisage or rather prescribe the stage setting. Evidence of the development of an awareness of stagecraft in 19th-century composers is found not only in the writings of Wagner and the letters of Verdi but also in the increasingly important use of the spatial dimension in opera stage designs. This trend grew in the first half of the 20th century in concomitance with the advent of stage directing as a specific art form, which became an indispensable reference point for studies on opera.

Although the close relationship between word, music and image has been recognised as essential, essays on the subject still have several lacunas. In particular there is a lack of a systematic, well-tuned perspective at the theoretical level able to provide a solid base for identifying and assessing the musical elements that influence the organisation of the stage space in its various components (images, requirements, movements and gestures). The conference sets out to offer a contribution to the development of this historical and theoretical approach. The first session (Composing the Stage between Verdi and Wagner) includes papers by Luca Zoppelli, Gundula Kreuzer and Riccardo Pecci; the second (The Normative Ear: New Stages for the Opera) will feature presentations by Maria Ida Biggi, Donatella Gavrilovich and Clemens Risi; the participants of the third session (The Composer’s Eye: The Stage Space in three Scores) will be Marie Lavieville Angelier, Dörte Schmidt and Tommaso Sabbatini. The conference will be coordinated by the scientific committee, including Maria Ida Biggi, Gianmario Borio, Giordano Ferrari, Michele Girardi and Isabelle Moindrot.

The event has been created thanks to collaboration between the Institute of Music and the Study Centre of Documentary Research in European Theatre and Opera at the Fondazione Giorgio Cini with EA Esthétique, musicologie, danse et création musicale, Université Paris 8 and with Università Ca’ Foscari in Venice. The initiative is part of the project Vers le présent de la dramaturgie musicale à travers l’idée d’espace ‘sensible’, coordinated by Giordano Ferrari in the Laboratoire d’excellence Arts-H2H (programme Investissements d’avenir, ANR-10-LABX-80-01) directed by Isabelle Moindrot, which brings together the art research workshops of the Université Paris 8 and Université Paris Ouest with some kindred art institutions, including the Centre Georges Pompidou, the Conservatoire National Supérieur d’Art Dramatique and the Bibliothèque Nationale de France.

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Musical Improvisation in the Age of Beethoven and ‘Open’ Forms

A follow-up to the conferences Improvised Music in Europe: 1966-1976 (November 2012) and Con la mente e con le mani: Improvisation from ‘cantare super librum’ to partimenti (November 2013), this event is the third in a series of dates on the role of musical improvisation in various historical periods.

The focus of this conference, coordinated by Gianmario Borio and Angela Carone, is on four areas: the views of critics, composers and theoreticians, forming indispensable material for an understanding of the intertwining of improvisation, performance and composition; compositional forms expressly derived from improvisation (bagatelles, divertimenti, preludes, capricci, fantasias and improvvisi); traces of improvisation practices and forms that require a precise structure (sonata, rondo, theme and variations); and improvisation in the world of singing and opera.

The participants at the conference are Torsten Mario Augenstein, Pieter Bergé, Scott Burnham, William Caplin, Angela Carone, Catherine Coppola, Giorgio Pagannone, Giorgio Sanguinetti, Elaine Sisman, Jan Philipp Sprick, Rohan Stewart-MacDonald and Marco Targa, moderated by Gianmario Borio, Hans-Joachim Hinrichsen, Susanna Pasticci and Rudolf Rasch. A concert by Davide Amodio (violin) and John Irving (fortepiano) of music from the repertoire considered in the conference will offer a further opportunity to reflect on the role of improvisation in the age of Beethoven.

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