Institute of Music – Page 5 – Fondazione Giorgio Cini

Books at San Giorgio

The presentations of new books published by or associated with the Fondazione Giorgio Cini resumes on 14 September with Lo specchio del gusto. Vittorio Cini e il collezionismo d’arte antica nel Novecento, edited by Luca Massimo Barbero and published by Marsilio. The book contains the proceedings from a conference held on San Giorgio in 2017, devoted to Vittorio Cini as a highly refined patron of the arts and historic art collecting in the 20th century.

On 15 October, the featured book will be “Forse tu sola hai compreso”. Lettere di Eleonora Duse a Emma Lodomez Garzes, edited by Marianna Zannoni and published by Marsilio. The book consists of 350 letters from the great diva to her friend Emma Lodomez Garzes. Previously unpublished, this correspondence arrived in the Fondazione Cini in 1977 and is now in the Duse Archive in the Institute of Theatre and Opera.

On the third date, 27 October, there will also be a concert at the Squero Auditorium to accompany the presentation of „Wechsel der Töne“: Musikalische Elemente in Friedrich Hölderlins Dichtung und ihre Rezeption bei den Komponisten, edited by Gianmario Borio and Elena Polledri and published in Heidelberg by Winter in 2019. The book brings together the results of a multi-year project carried out at the Fondazione Giorgio Cini on the relationship between Hölderlin’s poetry and its musical reception by 20th-century composers.

On the third date, 4 November, the seventh volume in the “Musical Cultures of the Twentieth Century” series will be presented: The Female Voice in The Twentieth Century: Material, Symbolic and Aesthetic Dimensions, edited by Serena Facci and Michela Garda and published by Routledge. This book is the result of a research project whose aim is to offer theoretical perspectives on the voice developed from the analysis of cases in various contexts of vocal practices: opera, experimental
composition, performance art, jazz, popular music and folk revival.

Lastly, on 3 December, the featured book is a volume in the series entitled “The Critical Edition of the Operas of Antonio Vivaldi”: Il Teuzzone in a critical edition by Alessandro Borin and Antonio Moccia, published by Ricordi. The collected edition of operas by Antonio Vivaldi thus gains a new volume that brings to completion the diptych written by the “Red Priest” for Mantua. Premiered during the last days of 1718, the opera preceded by a few months the production of Tito Manlio, RV 738.

Call for applications Workshop Research-led Performance Harmony and Form in the String Quartets of John Cage, Bruno Maderna, and Giacomo Manzoni

The Istituto per la Musica, in collaboration with mdi ensemble, organizes a new Workshop of the Research-led Performance cycle: Harmony and Form in the String Quartets of John Cage, Bruno Maderna, and Giacomo Manzoni.

The workshop is aimed at already formed string quartets (2 violins, 1 viola, 1 cello).

The works will take place at Fondazione Giorgio Cini on the Island od San Giorgio Maggiore in Venice 2 – 3 October 2021.

The following compositions will be discussed in theoretical and practical sessions:

– John Cage, String Quartet in Four Parts

– Giacomo Manzoni, Musica per Pontormo (Secondo Quartetto)

– Bruno Maderna, Quartetto in due tempi

Download the complete call

Download the application form

The outcome of the selection will be communicated via e-mail and published on the website www.cini.it from September 10, 2021.
The selected ensembles must confirm their participation within 10 days, under penalty of exclusion from the ranking.

Info: concorsimusica@cini.it

Books at San Giorgio online | Investigating Musical Performance: Theoretical Models and Intersections

New appointment, in the month of June, for Books at San Giorgio on line, the book launch series dedicated to the latest Fondazione Giorgio Cini publications.

On Monday 7 June, at 5.00 pm on the YouTube channel of the Giorgio Cini Foundation, will be presented live the volume:
Investigating Musical Performance: Theoretical Models and Intersections
Musical Cultures of the Twentieth Century series (volume 5)
curated by Gianmario Borio, Giovanni Giuriati, Alessandro Cecchi and Marco Lutzu

The volume will be presented by:

Amanda Bayley (Bath Spa University)
Enrique Cámara de Landa (Universidad de Valladolid)

The editors of the volume will also participate.

Workshop Research-led Performance Harmony and Form in the String Quartets of John Cage, Bruno Maderna, and Giacomo Manzoni

The workshop is aimed at already formed string quartets (2 violins, 1 viola, 1 cello).

The works will take place at Fondazione Giorgio Cini on the Island od San Giorgio Maggiore in Venice 2- 3 October 2021.

The following compositions will be discussed in theoretical and practical sessions:

– John Cage, String Quartet in Four Parts

– Giacomo Manzoni, Musica per Pontormo (Secondo Quartetto)

– Bruno Maderna, Quartetto in due tempi

Archival Notes No. 5

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.

Articles

Norberto Cordisco Respighi, Financial Aspects in the Correspondence between Respighi and his Publishers
Anna Giust, The Ways to Russia of Alfredo Casella
Pietro Milli, Dialectics and Matter in the Aesthetics of Giacomo Manzoni
Nicholas Moroz, Hacking the Hallucinatory: Investigating Fausto Romitelli’s Compositional Process through Sketch Studies of «Professor Bad Trip: Lesson I»

Focus

Giorgio Biancorosso, The Appraisal of Film Music Sources: the Case of «Rear Window» (Paramount, 1954)
David George Cooper, The Trevor Jones Archive: Issues in the Establishment and Management of a Film and Television Music Archive

A Performer’s Eye

Jonathan Brandani, A Last Version of «Napoli milionaria»: Nino Rota’s Revision Process after the Spoleto World Première
Elena Casoli, ‘Vibrante, luminoso!’ Signs, Language, Sound Research and Musical Invention in Fausto Romitelli’s «Solare» for Classical Guitar

Documents and Reports

Angela Carone, Publications and Activities

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

Conference The Sounds of Italian Documentaries: 1945-1975

Coordinated by Marco Cosci, this conference involving scholars from various disciplines will explore the soundtracks of Italian documentaries made between the late 1940s and the 1970s. In the last few decades, musicological studies have mainly focused on the sound dimension of fictional films, leaving aside almost entirely the field of investigation of documentary films. But, in fact, documentary production presents variable and peculiar conditions that distinguish it from the more standardised production of feature films. The aim of the conference is to reconstruct the various aspects of the production system and the creative strategies enabling audiovisual products to focus, also by means of the soundtrack, on crucial post-war themes, such as the promotion of the country’s art heritage, the modernisation of society, and the recording of the soundscape in relation to ethnographic enquiries. There will be a special focus on documentaries explicitly dealing with music events: on one hand, styles of performances will be studied and, on the other, the growing interest in the potential of the audiovisual medium as a research and documentation resource will be analysed. Speakers: Marco Bertozzi, Giorgio Biancorosso, Alessandro Bratus, Roberto Calabretto, Angela Carone, Alessandro Cecchi, Giuliano Danieli, Marco Lutzu, Ilario Meandri, Ivelise Perniola, Antonella Sisto, Gaia Varon and Francesco Verona.

It will be possible to participate in the conference through the Zoom platform, subject to availability, by requesting the link to coordinamentomusica@cini.it.
The conference can also be followed in live streaming on the Facebook page of the Giorgio Cini Foundation.

Sounds and words for Mario Messinis

With this event, the Istituto per la Musica of the Fondazione Giorgio Cini would like to remember the brilliant personality and extensive activity of Mario Messinis, who recently passed away.

At the top of the most important institutions for the musical life of our country – the Venice Music Biennale (1979-1989 and 1992-1996), the RAI Orchestra of Turin (1986-1989) and the RAI Orchestra of Milan (1989-1994) ), Superintendent at the Teatro La Fenice, Venice (1997-2000) – Messinis distinguished himself for an original and stimulating programming, which placed him among the European excellences in artistic direction.

A capillary knowledge of twentieth-century composition, whose events he had experienced firsthand thanks to the frequentation of its protagonists (in particular Bruno Maderna and Luigi Nono), combined in him with the ability to identify the most vital aspects of tradition.

His concert programs are multidirectional networks, in which the past appears as a segment of the present and the present as the result of winding paths through the centuries.

His interest in new music has never ceased, as evidenced by the involvement of young composers in the programming of the concerts.

Messinis has been linked to the Giorgio Cini Foundation since the very first years of its establishment and has participated in musical initiatives even before the birth of the Istituto per la Musica; emblematic is the curation of the volume Omaggio a Malipiero (1977), in which the contributions of a conference held in San Giorgio in 1972 are collected. He was a member of the jury of the “Antonio Vivaldi International Disco Award for Italian Early Music”, which the Antonio Vivaldi Institute has organized since 1990 for 12 consecutive years.

Messinis supported the activities of the first director of the Institute for Music, Giovanni Morelli in various contexts, among which the initiatives around the figure of Luigi Nono before and after the establishment of the Luigi Nono Archive stand out.

In 2002, the Foundation published Ah les beaux jours, a large collection of his writings, on the occasion of his 70th birthday.

The strings of the mdi ensemble will perform, on 20 October at 6.00 pm at the Auditorium “Lo Squero”, the Quartet in two strokes by Bruno Maderna (1955) and the String Quartet in Four Parts by John Cage (1949-1950).

Sandro Cappelletto will than make a speech on Listening, reflecting, deciding. The mastery of Mario Messinis.

For information coordinamentomusica@cini.it

Music Theory and Performance Workshop Harmony and Form in the String Quartets of Niccolò Castiglioni, Bruno Maderna and Giacomo Manzoni

This workshop is part of the three-year project Concepts of Harmony in Musical Composition: 1945- 1975, coordinated by Gianmario Borio, Pascal Decroupet and Christoph Neidhöfer, and funded by the Ernst von Siemens-Musikstiftung. It is the first practical step in the theoretical path undertaken by a research group in events held in Venice and Boston in 2019. The theme concerns the repercussions of the study of compositional sources (especially those concerning harmonic structures) on performance practice.

The workshop will be held in close collaboration with the musicians of the mdi ensemble and is an educational opportunity for young performers who will be hosted following a call for participants. The objects of study are works by two composers whose collections are preserved at the Institute of Music: Castiglioni’s Romanze for string quartet and Musica per Pontormo (Secondo Quartetto) by Manzoni. There will also be a focus on Maderna’s Quartetto in due tempi to mark the centenary of the composer’s birth.

❗️ POSTPONED ❗️ Poetic and Musical Tribute to Friedrich Hölderlin for the 250th Anniversary of His Birth

The event is postponed until a later date.

“Bald sind wir aber Gesang” (But soon we shall be song), in this verse Friedrich Hölderlin seemed almost to foresee the musical fortune of his lyrical poetry, which exerted such a great attraction over 20th-century composers. To mark the 250th anniversary of the poet’s birth, the Institute of Music, in collaboration with the University of Ca’ Foscari, Venice, the Hölderlin-Gesellschaft, the University of Udine and the Centro Tedesco di Studi Veneziani will pay hom-age to Hölderlin with an event featuring his poetry set to music at the Squero Auditorium, On 25 March (5.30 pm), Pietro Cavallotti and Markus Ophälders will present the book “Wechsel der Töne”: Musikalische Elemente in Friedrich Hölderlins Dichtung und ihre Rezeption bei den Komponisten (Winter: Heidelberg, 2019), edited by Gianmario Borio and Elena Polledri, the result of a long-term project on the relationship between Hölderlin’s verse and music. The presentation and conversation about Hölderlin and his musical reception will serve as an introduction to a con-cert by pianist Luca Ieracitano and soprano Carolina Mattioda, who will perform piano pieces “with titles on the words of Friedrich Hölderlin” by Josef Matthias Hauer (op. 25), Benjamin Britten’s Sechs Hölderlin-Fragmente (op. 61), Wolfgang Rihm’s Drei Hölderlin-Gedichte and Hans Eisler’s Sechs Hölderlin-Fragmente. The event is part of the international conference “Wir sind nichts; was wir suchen, ist alles.” Hölderlin. For 250 years since his Birth (24 and 25 March 2020), organ-ised by the Ca´ Foscari Department of Linguistic and Cultural Studies in collaboration with the Department of Languages and Literature, Communication, Education and Society of the University of Udine, the Hölderlin-Gesellschaft and the Centro Tedesco di Studi Veneziani, under the patronage of the Consulate General of the Federal Republic of Germany, Milan. Richard Marquis, Silhouettes and Stripes Marquiscarpa, 1999,(detail), Photo: Enrico Fiorese

“Istantanee” – Collective Improvisation in Europe: Techniques and Styles

This webinar is intended as a preparatory event for a workshop originally scheduled for 11-13 March 2020 and postponed due to the onset of the pandemic. Improvisation is an eminently practical activity, which takes place in real time and is based on the interaction of all those involved.

The online mode for this bridging event led to a reconfiguration of the program and objectives; has also posed new challenges, primarily that of explore the possibilities and the sense of collective performance with performers located in different places and sounds conveyed by the digital medium.

The basic idea remains: a close collaboration between performers and musicologists that is able to trigger a circle of mutual enrichment. The historical focus also remains: the styles and techniques of the European improvisation groups of the two decades in question. Finally, there remains the objective of an all-out teaching, in which technical-instrumental notions are combined with historical knowledge. The twelve young instrumentalists selected by an announcement have the task of interacting with teachers, asking questions and discussing the solutions of the performance techniques.

The reconstruction of the historical framework takes place in three phases: documentation and profiles of the groups, elaboration of theoretical and analytical issues, improvisation tests under the guidance of Walter Branchi, John Heineman, Evan Parker and Giancarlo Schiaffini.

In the first session, contexts and protagonists of the European scene will be presented. Valentina Bertolani (University of Birmingham) will talk about the British scenes, Floris Schuiling (Utrecht University) about the events in Amsterdam, Kai Stefan Lothwesen (Staatliche Hochschule für Musik Trossingen) by Alexander von Schlippenbach and the Globe Unity Orchestra, Sabine Feisst (Arizona State University) of the group New Phonic Art and Veniero Rizzardi (Conservatory of Padua) of Musica Elettronica Viva.

The second session is devoted to theoretical and analytical problems. It will be opened by David Bernstein (Mills College, Oakland, California) with a talk on the concept of freedom in improvisation; Vincenzo Caporaletti (University of Macerata) will show techniques of transcription and analysis of improvised music; Laurent Cugny (Université La Sorbonne, Paris) will talk about the relationship between free improvisation and the ontology of the musical work; Ingrid Pustijanac (University of Pavia) will focus on instrumental techniques; Pierre Michel (Université de Strasbourg) will propose concluding comments.

The third session focuses on performance: Ingrid Pustijanac and Veniero Rizzardi will dialogue with Branchi, Heineman, Parker and Schiaffini, alternating historical and theoretical reflections with rehearsals for solo performances and in variable groups.

HOW TO PARTICIPATE

The workshop will take place on 18, 19, 20 March 2021 (4.30pm to 7.30pm) and will be broadcasted on the Fondazione Giorgio Cini Youtube Channel.

Is it also possible to participate as attendees on the Zoom Platform, filling the following form.

You will recive instruction via e-mail.

REGISTRATIONS CLOSED