Centro Studi Opera Omnia Luigi Boccherinilogocs

Research in Musicology

Monumenta Musica Europea

 

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Vol. III/2: Bernardo Pasquini - Le Cantate

edited by Alexandra Nigito, Turnhout, Brepols, 2012,
cclxxxiv+777 pp., 230 x 310 mm, 2011, Hardback ISBN 978-2-503-51519-9

This critical edition collects Bernardo Pasquini's sixty-plus unpublished cantatas. It not only enriches the field of studies on Roman vocal music during the last quarter of the 17th century, but also enhances our knowledge of this versatile composer. Although today Pasquini's name is still primarily associated with his keyboard works and his fame as a virtuoso, we must not forget that a substantial part of his output was devoted to vocal music. As was then customary, most of his cantatas are chamber works, for one voice only, and secular in content. To these, however, we must add the large festive cantatas, composed for important celebrations and scored for various voices and instruments, and the spiritual cantatas, which can be likened to small oratorios. Given that this repertory was transmitted exclusively in manuscripts (though in no case autograph manuscripts), a study has been carried out on the late-17th-century Roman and Modenese copyists responsible for the surviving sources. Careful examination of the poetic texts, all anonymous, has also led to the identification of the authors of a very small number of the works: they include Cardinal Benedetto Pamphili, Francesco Maria Paglia and Alessandro Guidi. Finally, recent archival research has brought to light new information on the composer's life.

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Vol. II/1: Florence, BNC, Panciatichi 27: Text and Context

edited by Gioia Filocamo, translated by Bonnie J. Blackburn, Turnhout, Brepols.
XX+988 pp., 230 x 310 mm, 2010, Hardback ISBN 978-2-503-51518-2

The volume comprises a complete edition of the large manuscript Panciatichi 27, compiled at the beginning of the sixteenth century: 185 compositions (parts of masses, motets, Magnificat sections, litanies, lamentations, dances, instrumental pieces, frottole, laude, chansons, etc.). Nearly one-third of the compositions have Italian texts. The introduction takes into account the complex relationships with some 600 concordant sources, both poetic and musical, manuscript and print. Some compositions are closely related to printed sources of the early sixteenth century: several pieces were copied from publications by Petrucci and the Canzoni nove of Antico (1510), which helps in dating the manuscript. The work of a single scribe (apart from two pieces), the manuscript was evidently compiled for practical purposes, as is evident from the small format, the absence of decorative elements, erasures and corrections, alternative readings, duplications of parts of the texts, and the intriguing presence of arabic numbers at the ends of many pieces, related to the number of semibreves in the composition or its parts. It has been suggested that Panciatichi 27 was copied in northern Italy (Mantua or Ferrara); further evidence — in particular a repertorial connection with Augsburg, Staats- und Stadtbibliothek, MS 2° 142a — points to Mantua. The commentary on each composition includes a complete list of concordances (many newly discovered) with bibliographical references and an evaluation of the relationships with concordant sources.

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Vol. II/2: Mogens Perdersøn (Magno Petreo), Madrigali e madrigaletti

edited by Kitti Messina, Turnhout, Brepols, 2005.
CXIII+214 pp., 230 x 290 mm, 2005, Hardback ISBN 978-2-503-51801-5

This publication offers a critical edition of all the secular works of the Danish composer Mogens Pedersøn (1585?-1623?), together with a historical-critical introduction, diplomatic and diplomatic-interpretative editions of the poetic texts and three appendixes.
The following themes are examined in the introduction: the biography and personality of King Christian IV of Denmark, Pedersøn's patron; the splendid musical life at the Danish court in the late 16th and early 17th centuries; and the life and works of Pedersøn himself, with particular regard to his relations with the Venetian environment — and specifically with the school of Giovanni Gabrieli where he trained. A further useful tool for further research is a table of the works of composers who set the same texts as Pedersøn.
The introduction is followed by a double edition of the various texts set to music: first a conservative edition respecting the graphic conventions of the period, aimed at presenting the text just as it is transmitted by the early sources; then the edition adopted in the score, in which the text is normalized to conform to current orthographic usage. There follows a critical edition of the music of Pedersøn's 31 five-voice madrigals and 2 three-voice madrigaletti.
The appendixes contain editions of the texts and music of works by Hans Nielsen, Francesco Di Gregorii and Amante Franzoni set to the same poetic texts used by Pedersøn.
Review:
"(...) readers might value this publication for its excellent and detailed presentation of the madrigal texts." (P. Hauge in: Danish Yearbook of Musicology, 33, 2005)
"The result is a welcome contribution that positions Danish court music as a musical monument of European stature." (S. L. Hammond in: Scandinavian Studies, 78.3, Fall 2006, p.355-357)

Vol. III/1: U. W. van Wassenaer. Sei Concerti Armonici

edited by Albert Dunning, lxxx+165 pp., isbn 2-503-51459-6 (score), isbn 5-503-51460-X (separate parts)

 

The critical edition of the Sei Concerti armonici by the 'amateur' musician Count Unico Wilhelm van Wassenaer (Twickel, [Delden, Holland] 1692 - Den Haag, 1766) can be seen as the final stage of a long sequence of studies undertaken by the eminent Dutch musicologist Albert Dunning: studies that aimed first to identify the work's composer, then to consolidate its text by means of rigorous scholarly reconstruction. The enigma of the attribution of the Concertos dates back to 1740, when the editio princeps was printed, for on its title-page we read: «vi Concerti Armonici a quattro violini obligati, alto viola, violoncello obligato e basso continuo. Dedicati all'illustrissimo Signore, il Signore Conte di Bentinck […] dal suo humilissimo servitore, C. Ricciotti, detto Bacciccia, e stampati à sue spese, alla Haye, in Hollanda.» No composer is mentioned, therefore: only the publisher Carlo Ricciotti, the undistinguished director of a French opera company operating in The Hague, and the dedicatee Willem Bentinck, a friend of Van Wassenaer. The mystery is merely increased by the dedicatory letter accompanying the volume, in which Ricciotti declares: «Mi restringo sol dunque à / suplicarla d'accettar tanto più volontieri questo / lavoro che è parto d'un Illustre mano, che V. S. / Illustrissima stima, ed honora […].» («I limit myself thus merely to / begging you to accept even more willingly this / work, since it is the creation of an Illustrious hand that Your Lordship / respects and honours, and if I owe this work to this personage, / that is thanks to your intercession.») The situation is then confused further in the following edition, published by Walsh (London, 1755). There the title-page reads: «vi Concerti Armonici […] Composti da Carlo Bacciccia Ricciotti», hence unduly elevating Ricciotti to the rank of composer. After yet more false attributions, which cannot be listed here, we finally end up with the name of Pergolesi, inscribed on an early 19th-century manuscript preserved in the Library of Congress of Washington. Its title-page reads: «6 Concertini per 4 Violini. Alto. Violoncello e Basso continuo in partizione. Pergolesi». It is with this title and attribution, therefore, that the musicological and musical world became acquainted with the Concerti armonici, at least until the 1980s, when Albert Dunning unearthed a manuscript score of the Concertos, this time back in Holland in the castle of Twickel. Here the work is introduced as follows: «Partition de mes concerts, gravez par le Sr. Ricciotti, surnommé Bachiche. Ces concerts ont eté composez en differens tems entre les années 1725 et 1740. A mesure qu'ils furent faits, je les portai au concert etabli a la Haije, entre Messrs Bentincq, moij et quelques Seigneurs etrangers […]». The handwriting was indeed that of «un Illustre mano» («an Illustrious hand»): that of Unico Wilhelm van Wassenaer. The new critical edition of the Concerti armonici offers a text that comes closest to this 'newly discovered' composer's final conceptions. It thereby aims to disseminate some splendid works that even impressed a composer as distinguished as Stravinsky, who based the Tarantella of his Pulcinella on the last movement of Concerto armonico ii.