Institute of Music – Page 11 – Fondazione Giorgio Cini

Seminar Poetry “ laden with future”. Friedrich Hölderlin and 20th-century music

To mark the ninetieth anniversary of the birth of Luigi Nono, the Fondazione Giorgio Cini Institute of Music, the Fondazione Archivio Luigi Nono, the Centro Tedesco di Studi Veneziani and the Europäische Akademie für Musik und Darstellende Kunst Montepulciano have organised a seminar on the role of Friedrich Hölderlin’s poetry in 20th-century music.
The event also relies on the support of the Embassy of the Federal Republic of Germany and the Bundesregierung für Kultur und Medien and the collaboration of the Teatro La Fenice, Venice, which will host the event in the Sale Apollinee.

At 2.30 pm the speakers will be philosophers Massimo Cacciari and Manfred Frank, Germanist Luigi Reitani and the composers Manzoni e Charlotte Seither, coordinated by Gianmario Borio (Institute of Music) and Sabine Meine (Centro Tedesco di Studi Veneziani). At 8 pm, there will be a concert devoted to Luigi Nono. The main work in the programme is the quartet Fragmente – Stille, An Diotima (1979/1980), a composition rich in quotations from Hölderlin’s verse.

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THE COMPOSER’S MAILBOX

Documents from the Giorgio Cini Foundation Music archives
curated by Angela Carone and Francisco Rocca
Island of San Giorgio Maggiore, Venice
Fondazione Giorgio Cini

EXHIBITION ROOM
in the Nuova Manica Lunga
27 June – 31 July 2014

OPENING
Monday to Friday: 9 am – 4.30 pm
(for the Manica Lunga users)
Saturday and Sunday: 10 am – 4 pm*

* During Saturday and Sunday the entrance at the Foundation
is allowed just through the guided visits.

Visit of the exhibition
for conference participants: Saturday 28 June 2014, 6 pm

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Music in 16th and 17th century Venice: sources, methods and historiographical prospects

Designed for students and young researchers, the Seminar has a dual purpose: to orient research into topics of Venetian musicology by presenting some of the musical and documentary collections conserved in the city’s principal archives and libraries; and to foster methodological reflection on the potential of these sources and on the new research prospects they offer.

Lasting five days, the seminar will feature theoretical lessons and practical workshops. The numerous teaching staff, with scholars from various disciplines, will give lessons ranging from general historical and methodological topics to specific aspects of Venetian music, paying particular attention to the features and potential of local sources. In addition they will provide a practical orientation and preparation in view of the workshops, to take place in the city’s principle archives.

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As from 1 July the timetable for the course will be as follows:

9.30 – 13 Lessons, both historical-methodological and propedeutic to workshops;

15 – 18 Workshops, in the following libraries and archives: Archivio Storico del Patriarcato, Archivio di Stato di Venezia, Biblioteca del Museo Civico Correr, Biblioteca della Fondazione Ugo e Olga Levi, Archivio IRE.

For registration and information please contact musica@cini.it

Teaching staff

Rodolfo Baroncini (coordinator), Conservatorio di Adria

Gino Benzoni, Fondazione Giorgio Cini

Agata Brusegan, Archivio IRE

David Bryant, Università Ca’ Foscari di Venezia

Paolo Cecchi, Università di Bologna

Isabella Cecchini, Università Ca’ Foscari di Venezia

Marco Di Pasquale, Conservatorio di Vicenza

Giuseppe Ellero, Archivio IRE

Silva Girardello, Biblioteca del Museo Correr

Elena Quaranta, Università Ca’ Foscari di Venezia

Davide Trivellato, Archivio Storico del Patriarcato

Monica Viero, Biblioteca del Museo Correr

Towards a Network of the European Archives of Twentieth-Century Music – On the Correspondence of Musicians and Interaction between Archives

Organised by the Fondazione Cini Institute of Music and the Fondazione Ugo e Olga Levi, Venice and coordinated by Paolo Dal Molin (in collaboration with the Fondazione Archivio Luigi Nono and the Universities of Cagliari and Calgary), this symposium aims to strengthen and promote closer interaction between the institutions concerned, starting from a comparative discussion on activities dedicated to correspondence between musicians, and especially composers. From 27-28 June 2014 representatives from the principal European archives housing the 20th-century musical heritage will gather in Venice: the Arnold Schönberg Center, Vienna (Austria), the Muzička Akademija, Zagreb (Croatia), the Département de la Musique della Bibliothèque Nationale de France, Paris (France), the Akademie der Künste, Berlin and In-ternationales Musikinstitut, Darmstadt (Germany), the Fondazione Archivio Luigi Nono and the Fondazione Giorgio Cini, Venice, the Fondazione Isabella Scelsi, Rome, the Bibliotheka Universytecka w Warsawie (Poland), the British Library, London (UK), the Bartók Archives at Hungarian Academy of Sciences, Budapest (Hungary) and the Paul Sacher Stiftung, Basel (Switzerland). The first two sessions – Conserve, describe, make accessible and promote the correspondence of composers – will establish the state-of-the-art of archive processes applied to letters. In the third session, Publishing composers’ letters, three case studies will be presented on the relationship between research and accessibility of sources in publishing correspondences. The examples will be illustrated by the editors of correspondences that have been innovative in academic and editorial terms: Claude Debussy. Correspondance (Gallimard 2005), Briefwechsel Arnold Schönberg – Alban Berg (Schott 2007) and L’epistolario Helmut Lachenmann – Luigi Nono (Olschki 2012). In the final session, Towards a Network, the discussion introduced by Friedemann Sallis (University of Calgary) will shed light on the present and future of collaboration and interaction between archives for several purposes: meeting the needs for increasingly less compartmentalised studies; spreading and extending to the wider Europe good practices for the conservation and use of music documents produced from the late 19th century on; and highlighting priorities and joint perspectives.

In this sense, a key moment at the symposium conference will be the visit to the exhibition of correspondences between musicians whose archives are kept in the Fondazione Giorgio Cini. Curated by Angela Carone and Francisco Rocca, the exhibition will run from 27 June – 31 July

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Seminar Performing music: a comparative approach

On 18-19 June scholars from the fields of ethnomusicology and the history of music will gather in Venice with the principal objective of comparing their experiences in studying the concept of perfor- mance in Western art music and oral-tradition music. Coordinated by Gianmario Borio and Giovanni Giuriati, the seminar has been jointly organised by the Institute of Music and the Intercultural Institute for Comparative Music Studies and will enjoy the collaboration of the AHRC Research Centre for Musical Performance as Creative Practice, directed by John Rink from the University of Cambridge. Ethnomusi- cology aspects will be addressed by Francesco Giannattasio and Regula Qureshi, while historical musicology issues will be tackled by John Rink and Ingrid Pustijanac.

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Commemorating Roman Vlad (1919-2013)

On 13 June, the Institute for Music, in collaboration with the Teatro La Fenice, is holding a double event to commemorate Roman Vlad, the composer, pianist, music critic, musicolo- gist, artistic director, and radio and television author, who died on 21 September 2013. In July 2013 Vlad presented the Institute for Music with his personal archive, a wide-ranging collection of materials reflecting 20th-century Italian musical life. Now, only a few months since the beginning of reordering and cataloguing his material, the Fondazione Giorgio Cini will host a round-table with speakers Stefano Catucci, Mario Messinis and Enzo Restagno. There will also be a concert by pianist Carlo Grante, at 6 pm, on the same day, 13 June, in the Sale Apollinee of the Teatro La Fenice. The programme of this recital dedicated to the memory of Roman Vlad features two conceptually related works: Fantasia contrappuntistica (1910) by Ferruccio Busoni and Opus Triplex (2001-2004) by Vlad, written for “the sensibil- ity, mind and fingers of Carlo Grante”.

Entrance to the concert is free

The soundscape of Italian cinema: 1945-1975

Organised by the Institute for Music, the seminar will tackle themes in the “audiovisual experience” research area as the first step towards a wide-ranging project concerning music for film and television by Italian composers in the second half the 20th century. Eight speakers will present to eight discussants the results from their enquiries into the soundscape of Italian cinema from 1945 to 1975. The papers will focus on: the relations between film music and opera (Matteo Giuggioli and Gaia Varon), popular music (Luca Bandirali and Alessandro Bratus), folk music (Ilario Meandri and Grazia Tuzi) and composing experimental music (Maurizio
Corbella and Giovanni De Mezzo). The discussants in the four sessions will be Emilio Sala and Fabrizio Borin; Serena Facci and Massimo Locatelli; Maurizio Agamennone and Antioco Floris; and Veniero Rizzardi and Manlio Piva. The seminar will be preceded by two lectures on 28 February (3 pm) at which the two coordinators will present forthcoming publications: Gianmario Borio, Il sistema simbolico di East of Eden. Osservazioni analitiche sul film di Elia Kazan con musica di Leonard Rosenman; and Roberto Calabretto, Luigi Nono e il cinema. Appunti per una riflessione.

Music Printing and Publishing in Modern Italy. New Approaches

Music Printing and Publishing in Modern Italy – New Approaches

International Workshop

Venice, 13-14 February 2014

Printed music is quantitatively the most important source for the study of European music of the sixteenth, seventeenth and eighteenth centuries. Since a significant part of the music editions printed before 1800 were produced in Italy, with a peak between the late sixteenth and early seventeenth century, there is a clear need to investigate this production from many points of view: production contexts, repertoire selection processes, marketing strategies, processes and canals of international dissemination and reception, transmission history of surviving editions, historiographical perspectives on these sources as tools for the study of musical phenomena of the past.

The international workshop Music Printing and Publishing in Modern Italy – New Approaches has three main objectives:

to discuss the latest results of recent research in the field of music printing and publishing in Italy before 1800.
to encourage exchange of scholars working in this area and develop new research approaches and perspectives.
to present and discuss some innovative research tools, as the new database Printed Sacred Music in Europe 1500-1800.

Contacts

David Bryant – david.bryant@unive.it

Ca’ Foscari University, Venice

Luigi Collarile – luigi.collarile@unifr.ch

University of Fribourg / Ca’ Foscari University, Venice

Organised by

University of Fribourg – Switzerland

Institute of Musicology

Ca’ Foscari University, Venice – Italy

Department of Philosophy and Cultural Heritage

Fondazione Giorgio Cini, Venice – Italy

Institute for Music

Swiss Consulate in Venice – Italy

Program

Thursday, 13 February 2014

Swiss Consulate in Venice (Palazzo Trevisan)

9.00h Opening

David Bryant, Luigi Collarile, Jacqueline Wolf, Gianmario Borio

9.30h Key Note

Chair – David Bryant

Respondents – Neil Harris, Luca Zoppelli

Luigi Collarile (University of Fribourg – Ca’ Foscari University, Venice)

Edizioni musicali italiane perdute. Nuove prospettive bibliografiche e storiografiche

11.00h Study Session I

Respondents – Patrizio Barbieri, Iain Fenlon

Bianca Maria Antolini (Conservatorio di Perugia)

Il «Dizionario degli editori musicali italiani». Bilancio di una ricerca

Rodolfo Baroncini (Conservatorio di Adria)

«In Merzaria»: l’officina Gardano e il contesto socio-antropologico delle contrade di San Salvador e San Zulian (Venezia, 1580-1610)

15.00h Study Session II

Chair – Luigi Collarile

Respondents – Marco Di Pasquale, Rudolf Rasch

Patrizio Barbieri (Rome)

Prime testimonianze sui librai musicali di area veneta a Roma: nuovi documenti, 1567-1569

Rebecca Edwards (St. Martin’s University, Washington)

A Valuable Perspective on the Relationship between Musicians and Printers in 16th-Century Venice: the Case of Claudio Merulo

Carrie Churnside (Birmingham City University)

Reflections upon Working on Italian Music Printing and Publishing in the Seventeenth- and Eighteenth-Centuries Italy

17.00h Study Session III

Respondents – Rodolfo Baroncini, Rebecca Edwards

Iain Fenlon (King’s College, Cambridge)

Composers, Dedicatees and Publishers

Marco Di Pasquale (Conservatorio di Vicenza)

Intorno alla pratica della dedica. Il caso dell’Accademia Filarmonica di Verona

Friday, 14 February 2014

Fondazione Giorgio Cini (Island of S. Giorgio) Sala Barbantini

9.00h Study Session IV

Chair – David Bryant

Respondents – Bianca M. Antolini, Carrie Churnside

Constance Frei (University of Geneva)

I primi tipografi musicali bolognesi

Giulia Giovani (Istituto Storico Germanico, Rome)

Riflessioni sulla stamperia Silvani «all’insegna del violino»

Rudolf Rasch (Utrecht University)

Italian Engraved Music Editions before and after Corelli’s Sonatas Opus 5 (1700)

11.00h Study Session V

Respondents – Constance Frei, Giulia Giovani

Paolo Giorgi (Bologna)

Maurizio Cazzati (1616-1678) compositore e stampatore: un esempio di autoimprenditoria

musicale seicentesca

Daniele Torelli (Libera Università di Bolzano)

L’impronta dei piombi: il riconoscimento dei caratteri in edizioni musicali sconosciute

15.00h Study Session VI

Chair – Luigi Collarile

Respondents – Neil Harris, Daniele Torelli

Laurent Pugin (RISM Switzerland)

Aruspix – A Software Suite and its Applications

Rodolfo Zitellini (University of Fribourg – RISM Switzerland)

Mapping Music Typefaces. Toward a Digital Catalogue

17.00h Printed Sacred Music in Europe

Chair – Gianmario Borio (Fondazione Giorgio Cini)

Key Note

David Bryant, Elena Quaranta

(Ca’ Foscari University, Venice)

How does Printing Reflect Patterns of Consumption in the Church Music of Sixteenth-

and Seventeenth-Century Italy?

Presentation of the New Database

Luca Zoppelli (University of Fribourg)

with David Bryant, Luigi Collarile, Laurent Pugin, Elena Quaranta, Rodolfo Zitellini

Con la mente e con le mani. Improvisation from ‘cantare super librum’ to partimenti

Con la mente e con le mani. Improvisation from ‘cantare super librum’ to partimenti is the title of the second in a series of meetings organized by Institute of Music on improvised music in various historical periods. This event, dedicated to improvisation in the Renaissance and Baroque and organized in collaboration with McGill University thanks to the generous support of the Social Science and Humanities Research Council of Canada, continues the line of thought begun at the conference Improvised Music in Europe: 1966-1976 in November 2012.

In recent years, scholars and musicians have focused on the revival of improvisation as it was known in the Renaissance and Baroque. This historically informed practice is replacing the late Romantic concept of improvisation as a rhapsody, blossoming out the capricious genius of the player. In the Renaissance and Baroque, composing in the mind (alla mente) had an important didactic function, and it induced a better assimilation of the contrapuntal vocabulary by repetition and memorization of patterns and models. For several categories of musicians, the teaching of counterpoint happened almost entirely through practice on their own instrument: singers learned to improvise canons on a cantus firmus and make diminutions on a motet; organists seeking important positions had to be able to play with fantasia, answering the choir with versets, ricercari, and intonations.

The event is a real laboratory for improvisation and teaching, with lectures, panel discussions, lecture-recitals and musical demonstrations. The central theme will be how one can use improvisation today in theory teaching, and how it can be integrated into the different curricula around the world.

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Program

Saturday 9 November 2013

1 p.m.

Registration

2 – 2.45 p.m.

Opening Address

Massimiliano Guido & Peter Schubert (McGill University, Montréal)

Gianmario Borio (Istituto per la Musica, Fondazione Giorgio Cini, Venezia)

2.45 – 3.45 p.m.

Keynote Lecture: Theory in the Midst of Notes

Thomas Christensen (University of Chicago)

Keeping Score while Improvising

4 – 6 p.m.

First Session: The Art of Memory

Chair: Gianmario Borio

Stefano Lorenzetti (Conservatorio di Musica di Vicenza)

Musical Inventio, Loci Communes, and the Art of Memory

Discussant: Roberto Perata (Università Statale di Milano)

Massimiliano Guido (McGill University)

Climbing the Stairs of the Memory Palace: Gestures at the Keyboard for a Flexible Mind

Discussant: Arnaldo Morelli (Università de L’Aquila)

6.30 p.m.

Lecture-Recital

Bor Zuljan (Haute École de Musique de Genève)

‘Ricercar una Fantasia’: The Techniques for Improvising a Fantasia on Lute in the Sixteenth Century

Sunday 10 November 2013

9.30 – 10 a.m.

Poster Session: Ongoing Researches in Historical Improvisation

Niels Berentsen (Royal Conservatoire of The Hague)

Strategies for Improvisation in Early Fifteenth and Late Fourteenth Century Music

Jacques Meegens (Centre Études Supérieures Musique Danse, Poitou-Charentes)

Improvising a Fifteenth-Century Keyboard Prelud

Peter van Tour (Uppsala University)

Modulatory Segments in Partimenti by Nicola Sala and Fedele Fenaroli

10 a.m. – 1.15 p.m.

Second Session: Instrumental Counterpoint and Improvisation

Chair: Massimiliano Guido

Edoardo Bellotti (Eastman School of Music, Rochester University)

Composing at the Keyboard: Banchieri and Spiridion, Two Complimentary Methods

Discussant: Felix Marangoni (Università Ca’ Foscari, Venezia)

William Porter (Eastman School of Music, Rochester University)

Improvising a North German Preambulum

Discussant: Jacques Meegens (Centre Études Supérieures Musique Danse, Poitou-Charentes)

Giorgio Sanguinetti (Università di Roma Due ‘Tor Vergata’)

Cheating the Work-of-Art Paradigm: Partimento Implication for Classical Performers

Discussant: Marco Pollaci (Nottingham University)

3 – 5 p.m.

Third Session: Vocal Counterpoint and Improvisation

Chair: Peter Schubert

Philippe Canguilhelm (University of Toulouse)

Towards a Stylistic History of ‘Cantare super Librum’

Discussant: Peter van Tour (Uppsala University)

Giuseppe Fiorentino (University of Cantabria)

Singing ‘by Reason’ and Singing ‘by Use’: Extempore Polyphonies in Renaissance Spain

Discussant: Niels Berentsen (Royal Conservatoire of The Hague)

6 p.m.

Musical Demonstrations: Keyboard & Vocal Improvised Music

Instruments: Edoardo Bellotti & William Porter, harpsichords

Presentation of the Fondazione Accademia Internazionale di Smarano: Giacomo Corrà

Voices: Benjamin Duinker, Edmund Milly, Ellen Wieser, and Meagan Zantingh, singers from VivaVoce – Peter Schubert, conductor

Monday 11 November 2013

9 – 11 a.m.

Fourth Session: Pedagogy

Chair: Thomas Christensen

Jean-Yves Haymoz (Haute École de Musique de Genève)

Cantare super Librum: Strategies and Techniques.

Lecture and Workshop with Professional Singers

Peter Schubert (McGill University, Montréal)

Teaching Theory through Vocal Improvisation

Michael Callahan (Michigan State University)

Play It: Some Challenges of, and Solutions to, Teaching and Learning Undergarduate Music Theory at the Keyboard

12 – 12.30 p.m.

Panel Discussion: Improvisation as a Teaching and Analytical Tool

«AAA TAC» Acoustical Arts and Artifacts – Technology, Aesthetics, Communication

An International Journal Nr. 8, 2011
Edited by the Istituto per la Musica
Fabrizio Serra Editore, Pisa – Rome 2013

Con Giovanni Morelli
Per Diego Carpitella
Vincenzo Caporaletti, Lo swing, l’off-beat e la trance rituale. La relazione Dauer- Carpitella
Walter Brunetto, Il viaggio in Italia e il viaggio nel tempo. Aspetti, storia e problemi conservativi della raccolta Lomax-Carpitella
Maurizio Agamennone, Di certi parlati radiofonici e altre sbobinature. Diego Carpitella e la musica (non solo quella ‘popolare’), in dialogo con Alberto Mario Cirese ed Ernesto de Martino
Francesco Giannattasio, Etnomusicologia, ‘musica popolare’ e folk revival in Italia: il futuro non è più quello di una volta
Sound forms of images
Delphine Vincent, Listen with the Eyes. Hearing Perception and ‘strictly cinematic effects’ in opera relays; Marco Alunno, Narratività, ritmo e forma audiovisivi in Regen di Joris Ivens con musica di Hanns Eisler
Jazz and media
Leo Izzo, Il jazz nella musica per il cinema: 1927-1951
Veniero Rizzardi, Jazz come fonografia. Appunti per una storia parallela.