edited by Rohan H. Stewart-MacDonald, Turnhout, Brepols, 2016 (Studies on Italian Music History, 10), pp. xxii+334, isbn 978-2-503-56801-0.
The Early Keyboard Sonata in Italy and Beyond takes as its subject the birth of the keyboard sonata in Italy and its subsequent efflorescence. With a time-frame spanning the mid-seventeenth and late eighteenth centuries the book proceeds outwards from the contributions of Italians Lodovico Giustini (Pistoia), Francesco Geminiani (Lucca, Naples, London), Baldassare Galuppi (Venice), Giovanni Battista Sammartini (Milan) and Domenico Scarlatti, with new insights on the sonata outputs of Germans George Frideric Handel, Johann Ulrich Haffner and Johann Christian Bach. The book employs a mixed methodology, with source studies alternating with analytical investigations, considerations of performance practice and organology. Central themes include the initial coalescence of the keyboard sonata as a genre and the problems of reconciling diversified usages of the term ‘sonata’; the keyboard sonata’s dissemination through contemporary published sources, accessed by an international community of amateur and professional players; the ambiguous distinction, in this period, between composition and arrangement; and the relative status of the keyboard sonata and neighbouring genres. Several chapters will consider the stylistic developments undergone by the keyboard sonata in the middle and later eighteenth century. This will lead to critical re-examination of traditional distinctions between ‘Baroque’ ‘Galant’ and ‘Classical’ keyboard idioms, and most importantly, reconsideration of the traditionally narrated evolution of ‘sonata form’ from the ‘mid-century’ sonata to the ‘high Classical’ of synthesis of Haydn, Mozart and Beethoven, that understates or otherwise distorts the significance of earlier Italian models. One of the book’s overriding aims is to support and build on recent attempts to counteract the traditional view of an eighteenth century subdivided between ‘Baroque’ and ‘Classical’ eras.
Published with the Assistance of Fondazione San Giovanni (Pistoia) and Credito Cooperativo Banca di Pistoia, under the Auspices of 'Amici di Groppoli (Pistoia).
edited by Fulvia Morabito, Turnhout, Brepols, 2015 (Studies on Italian Music History, 9), pp. xiv+406, ISBN 978-2-503-55535-5
2014 witnessed the 250th anniversary of the death of two violin virtuosos: Pietro Antonio Locatelli (Bergamo 1695 – Amsterdam 1764) and Jean-Marie Leclair (Lyon 1697 - Paris 1764). The influence of Locatelli’s output on the development of violin composition lay in the sphere of virtuosity. The present book explores the figures of Locatelli and Leclair, circumstantiating their relationships and developing new perspectives onto them. The two virtuosos provide a suitable starting-point from which to investigate the violin bravura tradition, which, beginning in Italy, spread through France and the rest of the xix century Europe. The volume thus encompasses articles dedicated to Artôt, Baillot, Guignon, Guillemain, Mondonville, Pagin, Rode, Spohr, Tessarini, Tartini, Ysaÿe. The authors are: Sallynee Amawat, Fabrizio Ammetto, Alejandra Béjar Bartolo, Paola Besutti, Gregorio Carraro, Étienne Jardin, Walter Kurt Kreyszig, Candida Felici, Priscille Lachat-Sarrete, Simone Laghi, Alessandro Mastropietro, Fulvia Morabito, Paola Palermo, Rudolf Rasch, Renato Ricco, Rohan H. Stewart-MacDonald, Michael Talbot, Guillaume Tardif and Neal Zaslaw.
Published with the Assistance of Fondazione MIA (Bergamo) and Fondazione della Comunità Bergamasca (Bergamo).
edited by Roberto Illiano, Turnhout, Brepols, 2013 (Studies on Italian Music History, 8), pp. xii+396, ISBN: 978-2-503-54884-5
The present book investigates the musical landscape of the Italian peninsula from the Risorgimento to the formation of the unitary State, focusing in particular on the relationship between music and national identity. The editor’s aim has been to examine a number of significant aspects of the topic, including: great musical figures and popular music; Italian musical institutions of the mid-nineteenth century, and the relationship between artistic output and the historical, political and social dynamics which culminated in the unification of Italy. The authors featured are: Cristina Aguilar Hernández, Angela Bellia, Raffaella Bianchi, Maria Birbili, Carmela Bongiovanni, Pinuccia Carrer, Anna Cicatiello, Basil Considine, Mariateresa Dellaborra, Federico Gon, Philip Gossett, Jehoash Hirshberg, Olga Jesurum, Marina Mayrhofer, Joseph E. Morgan, Fiamma Nicolodi, Renato Ricco, Víctor Sánchez Sánchez, Chloe Valenti.
Published with the Assistance of 'Direzione Generale per le Biblioteche, gli Istituti Culturali e il Diritto d'Autore' - MIBACT (ex circolare 108/2012 anno 2013)
edited by Lorenzo Frassà and Michela Niccolai, Turnhout, Brepols Publishers, 2013 (Studies on Italian Music History, 7), ISBN: 978-2-503-54615-5.
Organized in conjunction with the bicentenary of the birth of Giuseppe Verdi, this book contains fourteen contributions in which international scholars investigate the reception of Verdi’s operas in Europe and United States: ten chapters are dedicated to England, France, Germany, Greece, Italy, Poland, Russia, Serbia, Spain, and United States, followed by fours essays on the musical legacy of Verdi. The contributors are: Rosamund Bartlett, Simone Ciolfi, Ben Earle, Sophia Kompotiati, Massimiliano Locanto, Ralph Locke, George Martin, Hendrikje Mautner-Obst, Nadežda Mosusova, Michela Niccolai, Fiamma Nicolodi, Katy Romanou, Víctor Sánchez Sánchez, Andrzej Tuchowski, Claudia Polo.
with documents transcriptions on Cd-Rom.
Turnhout, Brepols, 2011 (Studies on Italian Music History, 6)
XII+526pp, Hardback, ISBN 978-2-503-51033-0
From its very creation the musical chapel of Santa Maria Maggiore in Bergamo was always one of the most outstanding of the North-Italian ecclesiastical institutions. Among the 16th-century maestri di cappella there were musicians of the calibre of Gasparo de Albertis, Pietro Ponzio, Pietro Vinci and Ippolito Camaterò, while in the following century the list includes key figures such as Giovanni Cavaccio, Alessandro Grandi, Tarquinio Merula, Maurizio Cazzati and Giovanni Battista Bassani — to mention just a few. To these we should certainly add two illustrious organists: Giovanni Battista Quaglia and Giovanni Legrenzi. Inevitably the presence of these important composers has generated a series of important studies, such as the (by now classic) ones by Gary Towne, Alberto Colzani and above all Maurizio Padoan, all of which focus on the 16th- and early 17th-century history of the chapel. The following periods, however, have been substantially overlooked by modern research, or at most approached merely with reference to Johann Simon Mayr and his pupil Donizetti. Paola Palermo and Giulia Pecis Cavagna's book, which aims to fill this large gap, examines the period ranging from 1657, the year of Cazzati's departure, to 1810, by when Mayr had been maestro for some time. An impressive array of documents — all of which can be consulted on a CD-Rom attached to the volume — help to reconstruct not only the activities of this important institution (with its various maestri, regular members and temporary collaborators), but also the church's liturgy, an aspect which naturally had a close bearing on the chapel's functions. The book comes with a valuable appendix listing all the musicians (salaried and otherwise) associated with the chapel and mentioned in the documents.
edited by Andrea Barizza and Fulvia Morabito
Turnhout, Brepols, 2010.
Paganini is considered to be the greatest violin virtuoso of all time. He was a virtuoso who relied on the astonishment that he aroused in those who heard him. One of the criticisms that he himself addressed to other violinists was that they failed to 'surprise' the audience. Paganini, on the other hand, succeeded. But to what extent? Much was due to the improvisational side of his music. Whenever he played, he was unable to perform a piece without enriching it not only with virtuoso embellishments, but also with accents and colouristic inflections. The true novelty of his violin idiom can be identified in the probing of the instrument's sonic potential and in the peculiarities of gesture. Perhaps we should consider him not so much as a virtuoso musician but as a representative of a new generation of composers for whom emphasis was a positive, constructive quality, whether it be connected to sound, gesture and improvisation or to 'technical' display.
In this book, edited by Andrea Barizza and Fulvia Morabito, about thirty scholars investigate different aspects of the life and works of Nicolò Paganini, and his relationship with the 18th- and 19th-centuries school of the Violin techinque.
edited by Anna Cattoretti, Turnhout, Brepols, 2004.
Turnhout, Brepols, 1999.
Turnhout, Brepols, 1998.
Turnhout, Brepols, 1997.