Papers by Maurizio Tarrini
La Casana, 2022
A codicological description of Nicolò Paganini’s “Sonata a Violin solo” preserved in a unique apo... more A codicological description of Nicolò Paganini’s “Sonata a Violin solo” preserved in a unique apograph manuscript source which belongs to the collection of the CARIGE bank (Cassa di Risparmio di Genova e Imperia) in Genoa. This composition dates back to Paganini’s early years and seems to be related to the violinist’s stay in Livorno. It is identified with number 83 in the Catalogue of Paganini’s works edited by Maria Rosa Moretti and Anna Sorrento.
The paper of the manuscript shows two types of watermark from the Netherlands and the anonymous copyst seems to be Hispanophone for the three terms he uses: “violin”, “por”, “cuerda”. The article contains a complete facsimile reproduction in a small size.
The critical edition of this Sonata has been edited by Italo Vescovo and published by Ricordi in 2021.
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ITALIANO: Con la fondazione della Societa Ligure di Storia Patria (1857) la Liguria ebbe – al par... more ITALIANO: Con la fondazione della Societa Ligure di Storia Patria (1857) la Liguria ebbe – al pari di altre regioni italiane – la sua istituzione ufficiale preposta all’organizzazione delle ricerche e degli studi storici. In questo contesto si collocano le prime ricerche sulla storia della musica ligure intraprese da Cornelio Desimoni (1813-1899), che ne presento i risultati sotto forma di ‘letture’ fatte nella sezione di Belle Arti della stessa Societa nel 1865 e nel 1872. L’opera del Desimoni fu proseguita e approfondita da Pier Costantino Remondini (1829-1893) con le sue ‘tornate musicali’ del 1875-76 ossia conferenze-concerto organizzate nell’ambito della sezione di Archeologia. Queste iniziative pongono la Liguria ai primi posti nella storiografia musicale della seconda meta dell’Ottocento e i loro promotori meritano a buon diritto di figurare fra i pionieri della musicologia italiana. L’articolo comprende la trascrizione integrale del carteggio tra Desimoni e Remondini, 1872-1...
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I Serassi e l'arte organaria fra Sette e Ottocento: atti del …, 1999
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Il Paganini, 2021
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Il Paganini, 2021
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Il Paganini, 2021
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L'Organo, 2018
Renaissance organ builders in Liguria: V - Miscellaneous documents (1436-1582).
This article focu... more Renaissance organ builders in Liguria: V - Miscellaneous documents (1436-1582).
This article focuses on miscellaneous documents from 1436 to 1582 with particular regard to the activity in Genoa of Giovanni Battista Facchetti from Brescia and his successor Tomaso Vitani. Other names of organ builders come also to light such as Benedetto Agnese, Tiburzio de Fiechi, Filiberto de Conventi and Pietro Tancredi.
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Atti e Memorie della Società Savonese di Storia Patria, 2021
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The Galpin Society Journal, 2021
This article discusses three early sixteenth-century Italian representations of harpsichords in t... more This article discusses three early sixteenth-century Italian representations of harpsichords in the choir stalls of Savona and Genoa cathedrals. These intarsias were made in the first quarter of the sixteenth century by several inlayers or marqueteurs of Piedmontese origins. Amongst them, Giovanni Michele Pantaleoni was the only one who brought together the skills of an inlayer, an organist and an organ builder but there is no evidence to suggest he was only responsible for those intarsia with musical subjects and in particular those representing harpsichords. The two intarsia of Savona cathedral are chronologically the first while the one of Genoa is slightly later. It is likely that the three Ligurian intarsia represent a type of harpsichord that was built in Italy during the late fifteenth and early sixteenth centuries, of which no specimens survive.
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Il Paganini, 2020
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Il Paganini, 2020
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Le grand livre de l'orgue à Monaco XVIIe-XXIe siècle, 2020
Article about Giovanni Oltrachino, native of Utrecht (Nederland), who worked in Italy (Pavia and ... more Article about Giovanni Oltrachino, native of Utrecht (Nederland), who worked in Italy (Pavia and Liguria) during the first part of 17th century.
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La Cappella Sistina di Savona. Due secoli e mezzo di storia, arte e musica. 1764-2014, 2020
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L'abbazia di san Giuliano a Genova, 2019
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Il Paganini, 2019
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Il Paganini, 2019
Personalità di primo piano della vita culturale e musicale genovese e italiana tra Otto e Novecen... more Personalità di primo piano della vita culturale e musicale genovese e italiana tra Otto e Novecento, Lorenzo Parodi (1856-1926) fu anche il primo bibliotecario e docente di Storia ed estetica della musica al Paganini dal 1906 al 1926. Il presente contributo bibliografico prosegue la ricerca volta ad approfondirne la figura e l’attività di pubblicista e di compositore.
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Organi Liguri, 2005
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Catalogo tematico delle musiche di Niccolò Paganini. Aggiornamento, 2018
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Arte organaria italiana, 2019
A seguito del precedente articolo pubblicato in questa rivista (vol. X, 2018, pp. 353-367), il su... more A seguito del precedente articolo pubblicato in questa rivista (vol. X, 2018, pp. 353-367), il successivo ritrovamento di un nuovo documento del 1794 con allegato un secondo contratto (datato 4 aprile 1791) getta nuova luce su alcuni dettagli costruttivi dell'organo modificati in corso d'opera. Tale contratto è seguito da una nota e da quattro ricevute sottoscritte dall'organaro Antonio Corsi fra il 1792 e il 1794 con annesso un riepilogo della contabilità.
Following from the previous article published in this review (vol. X, 2018, pp. 353-367), the subsequent finding of a new document from 1794 with an attached second contract (dated 4th April 1791), gives further evidence of the construction details of the organ modified during the execution. This contract is followed by a note and four receipts signed by the organ builder Antonio Corsi between 1792 and 1794, with the related summary of the accounting statement.
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Informazione organistica, 2017
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Papers by Maurizio Tarrini
The paper of the manuscript shows two types of watermark from the Netherlands and the anonymous copyst seems to be Hispanophone for the three terms he uses: “violin”, “por”, “cuerda”. The article contains a complete facsimile reproduction in a small size.
The critical edition of this Sonata has been edited by Italo Vescovo and published by Ricordi in 2021.
This article focuses on miscellaneous documents from 1436 to 1582 with particular regard to the activity in Genoa of Giovanni Battista Facchetti from Brescia and his successor Tomaso Vitani. Other names of organ builders come also to light such as Benedetto Agnese, Tiburzio de Fiechi, Filiberto de Conventi and Pietro Tancredi.
Following from the previous article published in this review (vol. X, 2018, pp. 353-367), the subsequent finding of a new document from 1794 with an attached second contract (dated 4th April 1791), gives further evidence of the construction details of the organ modified during the execution. This contract is followed by a note and four receipts signed by the organ builder Antonio Corsi between 1792 and 1794, with the related summary of the accounting statement.
The paper of the manuscript shows two types of watermark from the Netherlands and the anonymous copyst seems to be Hispanophone for the three terms he uses: “violin”, “por”, “cuerda”. The article contains a complete facsimile reproduction in a small size.
The critical edition of this Sonata has been edited by Italo Vescovo and published by Ricordi in 2021.
This article focuses on miscellaneous documents from 1436 to 1582 with particular regard to the activity in Genoa of Giovanni Battista Facchetti from Brescia and his successor Tomaso Vitani. Other names of organ builders come also to light such as Benedetto Agnese, Tiburzio de Fiechi, Filiberto de Conventi and Pietro Tancredi.
Following from the previous article published in this review (vol. X, 2018, pp. 353-367), the subsequent finding of a new document from 1794 with an attached second contract (dated 4th April 1791), gives further evidence of the construction details of the organ modified during the execution. This contract is followed by a note and four receipts signed by the organ builder Antonio Corsi between 1792 and 1794, with the related summary of the accounting statement.
The importance of this musical source is twofold, organological and palaeographical: l) it is the unique manuscript containing instructions for tuning the sordellina, a type of ltalian drawing-room bagpipe of which no specimens survive; 2) the musical notation (tablature with figures), similar to other notations in figures for the recorder and the musette, is not known elsewhere in this form; John Henry van der Meer has endeavoured to decipher it.
The facsimile edition of this manuscript is preceded by seven introductory chapters treating: I. the manuscript itself (codicological description, index, contents); II. the author’s biography; III. his poetical and literary interests; IV. the sordellina and its technique; V. documents about the sordellina, from the 15th to the 17th century; VI. musical transcriptions of some of the works in the tablature; VII. the identification of the buttafuoco, with a documentary appendix about this uncommon musical instrument.
THE BOOK IS NOW AVAILABLE AGAIN At: fontimusicaliguria@gmail.com
* * *
Spetta all’organologo genovese Pier Costantino Remondini (1829-1893), pioniere della musicologia in Italia, il merito di avere per primo riconosciuto – fin dagli anni ’70 dell’Ottocento – in Filippo Piccaluga (1719¬1779) e in Tommaso II Roccatagliata (1725-1798) i due maggiori esponenti della Scuola organaria ligure del Settecento. Tuttavia è solo con le ricerche più recenti, condotte soprattutto in occasione del restauro dell’organo ‘roveresco’ della Cappella Sistina di Savona negli anni 2008-2009, che è stato possibile far luce sulla bottega organara di Filippo Piccaluga, la cui attività risulta concentrata a Genova, nelle Valli Polcevera e Scrivia, nel Piemonte meridionale e nelle due Riviere nell’arco di un quarantennio, dal 1739-40 al 1779. La prosecuzione delle ricerche ha ulteriormente incrementato le conoscenze ed i ritrovamenti documentari unitamente all’importante recupero dell’organo della Parrocchiale di Spotorno conclusosi nel 2018. Il presente volume riunisce, pertanto, in occasione del III centenario della nascita di Filippo Piccaluga (1719-2019), i contributi che rappresentano il frutto di un decennio di ricerche, spaziando dagli aspetti biografici al censimento degli organi superstiti ed alle importanti acquisizioni tecnico-scientifiche in occasione dei recenti restauri. Inoltre si è ritenuto opportuno affi ancare all’aggiornamento degli studi la ristampa del CD registrato sull’organo della Cappella Sistina nel 2009.
Pier Costantino Remondini (Genova, 1829-1893), avvocato ed erudito, fu un pioniere della musicologia e dell’organologia in Italia. Il suo archivio personale e la sua biblioteca sono tuttora conservati quasi completamente e rappresentano un’importante fonte per la storia della riforma organaria e la restaurazione della musica sacra in Italia nella seconda metà del XIX secolo.
Pier Costantino Remondini (Gênes, 1829-1893), avocat et érudit, joua un rôle de pionier en Italie dans les domaines de la musicologie et de l’organologie. Ses archives et sa bibliothèque personnelle sont encore préservées de façon presque complète et représentent une source importante pour l’histoire de la réforme de l’orgue et la restauration de la musique religieuse en ltalie dans la seconde moitié du 19ème siècle.
This research was developped in two main ways: archive and bibliographic sources on the one hand; the inventory of the instruments on ther other. In fact, apart from Trice's biography (he was an apprentice and a friend of William Sweetland of Bath), the book shows for the first time the inventory of the surviving organs with information and documents even about the ones which have disappeared.
The research could not prescind from the historical background in which Trice worked: that is the period of the sacred music reform promoted in Italy by the so-called "Cecilian Movement". In this ambit, Pier Costantino Remondini (1829-1893), a Genoese lawyer, erudite and musicologist, played an important role in supporting the organ reform and encouraging Trice and his activity through a series of articles published in the genoese catholic newspaper "Il Cittadino" and in tha magazine "Musica Sacra" of Milan. Moreover the organ projects were submitted to the examination and approval of Remondini.
The book is provided with 78 photos and a great number of unpublished documents: amongst the,m above all, the foundation proceedings of the firm and the correspondence between Trice and Remondini (1881-1892). There are also some of Trice's organ pipes scales supplied by the "Bottega organara Dell'Orto e Lanzini" of Arona, and the description of Trice's patented soundboard (1882).
The bibliography and some onomastic and toponymic indexes complete the book.
Francesco Maria Della Rovere (Genoa, 1695-1768), the last descendant of the Ligurian branch of the noble family and doge of the Republic of Genoa in 1765-67, between 1762 and 1767 commissioned the building of three organs, the first of which for the chapel of his magnificent villa at Albisola Superiore.
The 250th anniversary of the organ built in 1762 by Tommaso II Roccatagliata (1725-1798) of Santa Margherita Ligure was an opportunity to make known one of the most representative and best-preserved instruments of Ligurian organ building art of the 18th century. Roccatagliata was, together with the Genoese Filippo Piccaluga (1719-1779), one of the most important representatives of this art.
I suoi scritti musicali riflettono i suoi principali interessi: musica sacra (canto gregoriano e polifonia), arte organaria, critica e bibliografia musicale. Tra gli scritti di organaria vi sono quelli che costituiscono il ‘manifesto’ della riforma dell’organo italiano («l’organo quale dovrebbe essere»), cioè i tre articoli apparsi nel 1879 – che innescarono una vivace polemica con l’organaro Luigi Lingiardi – e poi riuniti nell’opuscolo "Intorno agli organi italiani" (1879); il discorso su "L’organo considerato come strumento liturgico" e la relazione su "La riforma dell’organo italiano", letti al primo Convegno Ceciliano di Milano (1880). Da quel momento egli divenne un riferimento sicuro per organari e organisti interessati ai nuovi orientamenti costruttivi, come attestano i numerosi carteggi esistenti nel suo archivio.
Il presente volume riunisce per la prima volta tutti gli scritti musicali del Remondini pubblicati tra il 1874 e il 1892 unitamente a due scritti pubblicati postumi e a due trascrizioni musicali giovanili edite nel 1853 e nel 1857. Esso è inoltre corredato da un profilo biografico, dalla bibliografia di tutti gli scritti (compresi quelli di argomenti vari e di erudizione scientifica) e da alcune testimonianze sul suo ruolo nell’ambito del movimento ceciliano.
Questa iniziativa editoriale si inserisce nel quadro di un progetto promosso dalla Biblioteca Franzoniana di Genova e finalizzato alla valorizzazione del fondo musicale (archivio e biblioteca) “Pier Costantino Remondini”, conservato presso la stessa biblioteca, e all’approfondimento di questo erudito personaggio dai poliedrici interessi culturali.
The two madrigals with the addition of the sixth voice (marked respectively with a conventional mark) are published here for the first time with the related documents.
The importance of this musical source is twofold, organological and palaeographical: 1) it is the unique manuscript containing instructions for tuning the 'sordellina', a type of Italian drawing-room bagpipe of which no specimens survive; 2) the musical notation (tablature with figures), similar to other notations in figures for the recorder and the 'musette', is not known elsewhere in this form; John Henry van der Meer has endeavoured to decipher it.
The facsimile edition of this manuscript is preceded by seven introductory chapters treating: I. the manuscript itself (codicological description, index, contents); II. the author's biography; III. his poetical and literary interests; IV. the 'sordellina' and its technique; V. documents about the 'sordellina', from the 15th to the 17th century; VI. musical transcriptions of some of the works in the tablature; VII. the identification of the 'buttafuoco', with a documentary appendix about this uncommon musical instrument.