Institute of Music – Page 7 – Fondazione Giorgio Cini

Round Table The “Venetian School” in the Late 20th Century. Comparing Compositional and Educational Experiences

Coordinated by Angelo Foletto, the round table will investigate the idea of the “Venetian School” put forward by musicologist Giovanni
Morelli in his influential essay La Carica dei Quodlibet. What he was referring to was a milieu in the 1940s and ‘50s, or the “bottega degli
‘alti conversari’” (workshop of high-flown conversations) made up of a triangle of three composers: Gian Francesco Malipiero, Bruno Maderna and Luigi Nono. The intergenerational exchanges gravitated around the key topics of pre-tonal contrapuntal practices and the idea of space.

The Institute of Music’s recent acquisition of the archives of Renato De Grandis and Ernesto Rubin de Cervin (some important documentary sources will be on show during the meeting) now provides the opportunity to reconsider those issues in relation to Developments in the last decades of the 20th century and the early 21st century.

The participants at the round table will include: Claudio Ambrosini, Marino Baratello, Silvia Cappellini, Angela Carone, Mauro Lanza, Andrea Liberovici, Mario Messinis, Corrado Pasquotti, Massimo Priori, Veniero Rizzardi, Alvise Vidolin.

Archival Notes No. 3

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.

Preface

Articles

Nicolò Palazzetti, From Paris to Rome. Alfredo Casella and Béla Bartók in the Early Twentieth Century
Federica Di Gasbarro, Igor Stravinsky by Way of Alfredo Casella and Gian Francesco Malipiero
Christoph Neidhöfer, Character and Form by Way of Integral Serialism: An Analysis of «Fantasia concertante» (1957) by Camillo Togni
Marida Rizzuti, ‘The Sound of Industry’. Some Reflections on the Genesis and the Content of «Diagramma Circolare» by Alberto Bruni Tedeschi
Elena Salza, Egisto Macchi and Antonin Artaud: from «A(lter)A(ction)» to «München-Requiem» and Beyond
Ingrid Pustijanac, Spectral Morphology and Space in Fausto Romitelli’s «Natura morta con fiamme»

Focus

Gianmario Borio, Music Archives in the Twenty-First Century: The Challenges of Politics and Technology
Dörte Schmidt, ‘The Darmstadt Events’. Archival Strategies, Music-Historical Work and Cultural-Political Research Perspectives on the Development of the Digital Archive

Documents and Reports

Angela Carone, Publications and Activities

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

Concerts and performing arts

Concerts and performing arts
As part of the seminar entitled “Monteverdian Echoes in 20th-Century Italian Music”, organised by the Institute of Music, the mdi ensemble will give a concert for string quartet.

7 December 2018, Squero Auditorium, 7.00 pm

The Institute of Music continues its fruitful collaboration with the mdi ensemble from Milan, one of the most interesting young groups performing contemporary music. The ensemble immediately made a name thanks to its versatility and competence when working with leading contemporary composers, such as Helmut Lachenmann, Gérard Pesson and Stefano Gervasoni, or collaborating with conductors, such as Stefan Asbury, Emilio Pomarico, Beat Furrer, Pierre André Valade and Yoichi Sugiyama.

In 2017 the midi ensemble was honoured with “A Life in Music”, a special prize awarded every year by the Teatro La Fenice in Venice.

CONCERT

Bruno Maderna, Viola, for solo viola

Luciano Berio, Duetti per due violini, a selection of violin duos

Stefano Gervasoni, Recercar Chromatico post il Credo, for string quartet

Lorenzo Troiani, Cara è la fine II, for violin and two assistants

Gian Francesco Malipiero, Cantari alla madrigalesca, for string quartet

mdi ensemble

Lorenzo Gentili-Tedeschi, violin

Lorenzo Derinni, violin

Paolo Fumagalli, viola

Giorgio Casati, cello

Free admission while seats last

Nino Rota: La dolce vita. Sources of the Creative Process

Giada Viviani, Nino Rota: La dolce vita. Sources of the Creative Process
“The Composer’s Workshop” Volume 1
Brepols Publishers, Turnhout, 2018

By consulting the rich collection of sources kept at the Institute of Music, Giada Viviani has reconstructed the most significant phases of the composition process of the music written by Nino Rota for Federico Fellini’s film La dolce vita, as well as describing the close relationship between the two artists. The introductory essay describes the composer’s career, the film’s creative context and initial responses to it, its narrative structure, and the contribution of the music to the overall drama. The following four chapters then investigate many issues related to the compositional process: the standard approach to audiovisual sequences, the music for the introductory titles and final credits, the management of sound effects and improvised episodes, and the adoption of pre-existing materials or pieces of music. The text is illustrated by a wide selection of sources reproduced in facsimile.

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“Sotto la lente: Nino Rota” interview to Gianmario Borio and Giada Viviani on Radio3 Suite

Music, Writing, Difference – An Interdisciplinary Conference on Adorno’s Theory of Musical Reproduction

In occasion of the 50^th anniversary of the death of Theodor W. Adorno the Arnold Schoenberg Center in Vienna and the Accademia Musicale Chigiana in Siena, together with the Fondazione Giorgio Cini (Venice), will host two conferences dedicated to a wide area of thought outlined by the philosopher. The topics will include music writing, performance of musical texts and the most current forms of music mediation. Adorno’s essays will be examined in the light of recent acquisitions of the humanities and musical praxis.

Music, Writing, Difference – An Interdisciplinary Conference on Adorno’s Theory of Musical Reproduction (Vienna, 3-5 April 2019) is part of the international research project Writing Music, directed by Federico Celestini (Universität Innsbruck), Matteo Nanni (Universität Gießen), Simon Obert (Paul Sacher Stiftung Basel), Nikolaus Urbanek (Universität für Musik und darstellende Kunst Wien). Work will focus on the relationship between notation and sound production, a major subject in Adorno’s unfinished book Towards a Theory of Musical Reproduction.

This text will be also a key topic at the conference The Mediations of Music: Theodor W. Adorno’s Critical Musicology Today(Siena, 21-23 November 2019), coordinated by Gianmario Borio with the support of Stefano Jacoviello, Nicola Sani and Stefano Velotti. The relationship between sign and sound will be investigated along with the mediations of music that mechanical reproduction and electronic technologies have made possible.

Books at San Giorgio

8, 22 AND 29 NOVEMBER 2018
VENICE, ISLAND OF SAN GIORGIO MAGGIORE

Books at San Giorgio, a series of meetings presenting the latest publications concerning or
published by the Fondazione Cini, will resume this autumn.
The featured book on the first date, 8 November, is Giada Viviani’s Nino Rota: La dolce
vita. Sources of the Creative Process, the first volume in “The Composer’s Workshop”, a series
edited by Gianmario Borio. The book reconstructs the most significant phases of the composition
process of the music written by Nino Rota for Federico Fellini’s film La dolce vita, as well
as describing the close relationship between the two artists. The launch will end with a concert
by the flautist Federica Lotti.
The second meeting, on 22 November, will focus on the book Andrea Schiavone. Pittura incisione
disegno nella Venezia del Cinquecento edited by Chiara Callegari and Vincenzo Mancini. This
work brings together papers discussed during the international conference on Andrea Schiavone
and 16th-century Venetian art, held in spring 2016 at the Fondazione Giorgio Cini and in the
monumental rooms of the Biblioteca Nazionale Marciana. Scholars and experts have brought
to light unpublished aspects of the production of the great master from Dalmatia and explored
his intellectual and artistic complexity from the point of view of a critical profile, as well as his
unique role as a catalyst on the complex artistic scene at the height of the Cinquecento.
Lastly, the launch on 29 November features Shakespeare all’Opera. Riscritture e allestimenti di
“Romeo e Giulietta” edited by Maria Ida Biggi and Michele Girardi. The book contains the collected
proceedings of the international conference on productions of Romeo and Juliet, held at
the Fondazione Giorgio Cini in April 2018. Musicologists, historians of theatre and playwrights
analysed the contexts for the musical productions of Shakespeare’s play, which has inspired
librettists and composers from the early 17th century to the present day.

Seminar Echi monteverdiani nel Novecento italiano

Coordinated by Gianmario Borio and Anna Tedesco, this seminar is the first stage of a research project stemming from discussions at a conference on “Monteverdi’s Venetian Works”, jointly held by the Institute of Music and the Institute of Theatre and Opera in 2016. Starting from Gian Francesco Malipiero’s editions, a broad development can be reconstructed by examining stage productions of Monteverdi’s works in 1930s and 1940s. The reception of Monteverdi among Italian composers in the second half of the 20th century was widespread and significant.
For numerous composers (from Luciano Berio to Sylvano Bussotti, Niccolò Castiglioni, Luigi Dallapiccola, Domenico Guaccero, Egisto Macchi, Bruno Maderna, Giacomo Manzoni, Luigi Nono and Fausto Razzi), Monteverdi’s works were an important reference point in reflecting on how to set poetic texts to music and in describing avant-garde music for theatre. Transcriptions made by several Italian composers will be a special focus of interest during the seminar.
Participants include Angela Carone, Michele Chiappini, Angela Ida De Benedictis, Mila De Santis, Ilaria Grippaudo, Federico Lazzaro and Francisco Rocca. The seminar will end with a concert by the mdi ensemble at the Squero Auditorium.

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Concert

27 June 2018 7pm

AUDITORIUM ‘LO SQUERO’

CONCERT

FLORINDO BALDISSERA, chitarra

ELENA CASOLI, chitarra

MARTIN FAHLENBOCK, flauto

FEDERICA LOTTI, flauto

PROGRAM

Camillo Togni, Due preludi per ottavino

Fausto Romitelli, Solare

Claudio Ambrosini, Carnis ore, cordis ore per flauti e chitarra World Première

Niccolò Castiglioni, Romanzetta

Giacomo Manzoni, Echi

Fausto Romitelli, Dia Nykta per flauto

Free admission while seats last

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Workshop Research-led Performance: Flute and Guitar in Twentieth Century Music

This workshop marks a new departure in the Research-led Performance series, the Institute of Music’s way of taking an active part in musical life by creating a dialogue between archive research and musical performance. On one hand, performing practice is consolidated thanks to the acquisition of archival research and theoretical study; and on the other hand, scholarly investigations make use of the experience of performing and listening to verify, refine or redefine their own direction in studies. The combination of these activities generates a dynamic new research method. The workshop is the first stage in a joint three-year project with the Research Council at the Hochschule der Künste, Berne. The focus at the workshop will be on works by Castiglioni, Guaccero, Manzoni, Oppo, Romitelli and Togni.

Scholarships will be given to the twenty-four young instrumentalists attending the workshop: eight will come from the Hochschule der Künste, eight from the Venice Conservatory and eight will be selected through a competition. As in the previous editions of Research-led Performance, the event will alternate purely instrumental sessions, coordinated by the flute and guitar teachers, with discussion sessions on archive sources, conducted by the musicologists.

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Find out more info about the full call

Concert with Maria Pia De Vito and Huw Warren “DialeKtos”

In occasione del Convegno internazionale di studi The Female Voice in the Twentieth Century: Material, Symbolic and Aesthetic Dimensions saturday 17 March Auditorium ‘Lo Squero’ 6pm.

Free admission but booking required.