Francesco Buti tra Roma e Parigi: diplomazia, …, 2009
... Dicerie sacre" (1614). L'ispirazione a comporre i "Fiori" nasce nell'... more ... Dicerie sacre" (1614). L'ispirazione a comporre i "Fiori" nasce nell'ambito della civiltà dei giardini romani e si colloca nel contesto del mecenatismo del cardinale Francesco Barberini, nipote di papa Urbano VIII. Inoltre, la raccolta ...
The fulfilment of the operatic reform, managed by Christoph Willibald Gluck and his librettist Ra... more The fulfilment of the operatic reform, managed by Christoph Willibald Gluck and his librettist Ranieri Calzabigi in 1760s\u2019 Vienna, is a well-known topic. This event, whose seeds date back to the 1740s, has been examined according to theatrical and literary experiences in France and Italy. However, the question of acting influence on opera can be reconsidered at the light of the latest discovery of symbols collected and labelled as drammatica \u2013 metodo italiano. Engraved in some writings, this set of signs is often connected to music and offers the matter for a new critical survey about the discourse on music declamation before and after Calzabigi. From the 1830s onwards the theory of acting in Italy was supported by handbooks which gathered symbols of pronounce, expression, gesture and, most important, tone of voice. Apart from the effort to establish a supranational graphic system in Italy and abroad, another common trait, which could be recognized in the treatises, concer...
The article is the result of some researches about the ideas on the operatic reform appeared in I... more The article is the result of some researches about the ideas on the operatic reform appeared in Italy and France from 1740s onwards. On the basis of acting, some treatises written by actors, philosophers and musicographers claim the dramatic superiority of recitativo secco or obbligato, and the beauty of aria parlante. (e.g., L. Riccoboni, Dell\u2019arte rappresentativa, 1728, G. Manfredi, L\u2019attore in scena, 1734, G. R. Carli, L\u2019indole del teatro tragico, 1746, and Osservazioni sulla musica antica e moderna, 1744-1786, G. Tartini, Trattato di musica secondo la vera scienza dell\u2019armonia, 1754, F. Algarotti, Saggio sopra l\u2019opera in musica, 1755). Owing to its particular speaking tone linked to declamation, the aria parlante was the preferred tool by philosophers, like Rousseau, Diderot, Milizia, and Planelli. In addiction, this kind of aria is described in detail by the painter and music amateur ...
The essay "Il morlacchismo di Omero" (1797), written in Italian by Giulio Bajamonti, is... more The essay "Il morlacchismo di Omero" (1797), written in Italian by Giulio Bajamonti, is the first contribution to the romantic Croatian literature. At the light of Vico\u2019s "Scienza nuova" (1744), Bajamonti introduces Homer\u2019s paradigm to demonstrate that the way of life of the Vlach (i.e. Morlack), who inhabited the interior of Dalmatia, shows close analogies with the heroes of the Iliad. Like Homer and the Highland bards of the Ossian\u2019s poems (Macpherson), the Vlach sings the ancient epic verses accompanied by a gusle. Following this paradigm Bajamonti recognizes in the Vlach\u2019s poetry the authentic national spirit of the South Slavic people. The article analyses: the passage from the exotic Vlach, as a model of the primitive group or the bon sauvage of the Enlightenment (abb\ue9 Fortis), to the incorrupted Slavic people different from the Dalmatians devoted to the Italian culture; Bajamonti\u2019s friendship with 0uro Feri\u107, Michael Denis and Melchiorre Cesarotti, translators of the ancient Slavic songs, Homer and Ossian, in the floating context of the Bardendichtung and primitivism; Bajamonti\u2019s romantic point of view, who, as Herder, rejects also any classicistic misinterpretation of the people\u2019s poetry ; Bajamonti\u2019s aim in establishing the confrontation with the ancient Greek without Ossian, and the reason why he substitutes the Gaelic bard with his own Vlach
Negli scritti di Miroslav Krleža, romanzi, drammi, poesie e saggi, il fango pannonico è un topos ... more Negli scritti di Miroslav Krleža, romanzi, drammi, poesie e saggi, il fango pannonico è un topos ossessivo. Si colloca nella periferia croata, sempre eguale a se stessa, sempre oggetto di vessazioni, anche dopo il tramonto dell’impero austriaco. In questo luogo senza tempo, il fango è una creazione della natura che assume il ruolo di paradigma, paragonabile a un evento sine qua non. Il fascino della narrazione di Krleža tuttavia non può trarre in inganno. Anche se il fango funge da simbolo metastorico della stagnazione sociale, che attraversa qualsiasi ordine diacronico senza scalfitture, le sue conseguenze sono imprevedibili. A ravvivare il paradosso concorrono gli oggetti e gli ambienti della quotidianità creati dall’uomo: un cappello stiriano, le bettole fumose, il pavé di piazza San Marco a Zagabria. A loro volta questi sono gli indicatori dell’autorappresentazione mediata da un populismo bifronte e settario. Ma palesano anche le aspirazioni a un’arte nazionale senza precedenti, libera da compromessi con la politica, nell’ambito di un dibattito aspro nato nella sinistra durante gli anni Trenta del secolo scorso. La sconcertante sequela di situazioni grottesche, la labile condizione dei subalterni pronti alla ribellione, o incapaci di fuggire dal fango, sono il teatro nel quale si consuma l’esperienza anarchica, espressionista e nondimeno modernista di Krleža, intellettuale croato, jugoslavo, soprattutto europeo
Clanak saddi neke vijesti o muzickom zivotu XVI stoljeéa pri «Accademia Palladia» u Kopru, gdje s... more Clanak saddi neke vijesti o muzickom zivotu XVI stoljeéa pri «Accademia Palladia» u Kopru, gdje su se na sastancima izvodili madrigali koje su sastavljali sami clanovi akademije i raspravljala filozofska i glazbena pitanja. Clanovima te akademije pripadaju jos i razgovori Deset od sto ljubavnih sumnja, koji zauzimaju citavo poglavlje posveéeno disciplini (1590, ali je izdanje iz 1621). Giambattista Zarotti, naime, raspravlja tehnickom vjestinom o platonskoj ideji ljepote, o njezinim vezama s muzikom i o ideji harmonije. Sluzeéi se aluzijama pjesnicke naravi - ili tipicnim nacinom ljubavnih rasprava - dijalog, u novoj humanistickoj dimenziji, ozivljava topoi antickog muzickog znanja. Tako bivaju ponovno cijenjeni znameniti odlomci iz Platona (Republika X 617b, Timej 47d), Boecija (De lnstitutione musica), Ficina (De Triplici vita) i takoder iz Homerove lljiade te iz Ovidijevih Metamorfoza. U Zarottijevoj raspravi pojam harmonije rastavlja se na vise nacina, kako se u staro doba shvaé...
“Doktor Faustus” of Thomas Mann, as explained by its author, is a novel on German civilization in... more “Doktor Faustus” of Thomas Mann, as explained by its author, is a novel on German civilization in which music plays the role of paradigm. Nevertheless the author grasps a lot of quotations from different disciplines and topics, ― e.g., theology, policy, philosophy, music, chemistry ― with the aim of depicting the creation of a second nature in music according the rules of twelve-note composition established by Arnold Schoenberg. The starting point of this complicated narrative is the reinterpretation of Theodor W. Adorno’s “Philosophie der neuen Musik”, a book that inspired Mann in tracing the idea of “second nature” created by the composer Adrian Leverkühn. The article focuses on some keywords used in the famous novel, and taken from inorganic chemistry and geology, working as metaphors on the thin line between nature and nurture. This analogy is retraceable in the biography of Adrian Leverkühn, whose music is the result of a demiurgic, daemonic power he gained after his deal with the devil.
After obtaining the status of free port under the Austrian administration (1719), Trieste was tra... more After obtaining the status of free port under the Austrian administration (1719), Trieste was transformed into a rich cosmopolitan town of the Adriatic sea, in which conveyed German and Slavic peoples, and then some groups from the Mediterranean countries. Among them, the Czechs played a key role in spreading the classical style at the end of the eighteenth century, as testified by the individual migration of composers to the nearby cities of Gorizia and Ljubljana (František Josef Dusík, Vaclav Vratny, Jan Kejha, Johannes Schreiber). Equally important, in the second part of the nineteenth century, was the creation of the modern violin school thanks to the contribution of Friedrich Pixis’s pupils, namely the violinists Otakar Ševčik and Petr Téply (known as Pietro Caldo, sic). At that time, in particular after the March revolution, many families of Bohemian middle-class settled in Trieste for trading (about 2.000 people in the first decade of the twenty century). They cooperated with Slovenes and Croats in establishing some societies, in order to preserve their national identity. The aim of the meetings of these societies, created on the model of Czech’s besedý, was to support the idea of national awakening of the South Slavic people, as well as the development of a different kind of Pan-Slavism, the so-called Austro-Slavism against the aggressive Pan-Germanism. The beginning of the official Slovene activity in the North Adriatic area must be traced back to 1848, when the Slavjansko društvo was founded in Trieste. This society not only enclosed Slovenes, Czechs and Croats, but also Serbs and Poles. Afterwards, in 1861 arose the Slavjanska narodna čitalnica (Slavic National Reading Room), which attempted to unify the Slavic communities of the city. The main activities of the čitalnice was focused on choral music, Lieder and national anthems written by Czech musicians, such as the choirmaster and patriot Jan Lego. Later, within the same cultural frame, the opera Bartered Bride of Bedřich Smetana was staged in the theatre annexed to the Narodni Dom, in which also the instrumental music of Antonín Dvořák was performed.
The fi rst issues on popular music in Italy arose during the last decades of the eighteenth centu... more The fi rst issues on popular music in Italy arose during the last decades of the eighteenth century, at the time when European civilization was stressing the concept of exoticism in connection with the music of ‘wild’ peoples of other continents, beginning to consider, at the same time, the oldest cultures in the Mediterranean basin such as the Turkish and the Arab ones. Almost immediately, in consonance with the Volkslied, as it was conceived by Johann Go fried Herder, it is worth taking into account the emergence of songs linked to the origin of every nation, dignifi ed a er the lifelong debate upon the ancient bards such as Homer. However, any comparison between music of the ancient Greek civilization and contemporary folksongs was avoided by Italian literati and musicographers. The above-mentioned paradigms, peculiar to the mentality of the Enlightenment – the so-called musica naturalis and the music of the nations provided by Jean-Jacques Rousseau, Jean-Benjamin De Laborde, Cha...
Francesco Buti tra Roma e Parigi: diplomazia, …, 2009
... Dicerie sacre" (1614). L'ispirazione a comporre i "Fiori" nasce nell'... more ... Dicerie sacre" (1614). L'ispirazione a comporre i "Fiori" nasce nell'ambito della civiltà dei giardini romani e si colloca nel contesto del mecenatismo del cardinale Francesco Barberini, nipote di papa Urbano VIII. Inoltre, la raccolta ...
The fulfilment of the operatic reform, managed by Christoph Willibald Gluck and his librettist Ra... more The fulfilment of the operatic reform, managed by Christoph Willibald Gluck and his librettist Ranieri Calzabigi in 1760s\u2019 Vienna, is a well-known topic. This event, whose seeds date back to the 1740s, has been examined according to theatrical and literary experiences in France and Italy. However, the question of acting influence on opera can be reconsidered at the light of the latest discovery of symbols collected and labelled as drammatica \u2013 metodo italiano. Engraved in some writings, this set of signs is often connected to music and offers the matter for a new critical survey about the discourse on music declamation before and after Calzabigi. From the 1830s onwards the theory of acting in Italy was supported by handbooks which gathered symbols of pronounce, expression, gesture and, most important, tone of voice. Apart from the effort to establish a supranational graphic system in Italy and abroad, another common trait, which could be recognized in the treatises, concer...
The article is the result of some researches about the ideas on the operatic reform appeared in I... more The article is the result of some researches about the ideas on the operatic reform appeared in Italy and France from 1740s onwards. On the basis of acting, some treatises written by actors, philosophers and musicographers claim the dramatic superiority of recitativo secco or obbligato, and the beauty of aria parlante. (e.g., L. Riccoboni, Dell\u2019arte rappresentativa, 1728, G. Manfredi, L\u2019attore in scena, 1734, G. R. Carli, L\u2019indole del teatro tragico, 1746, and Osservazioni sulla musica antica e moderna, 1744-1786, G. Tartini, Trattato di musica secondo la vera scienza dell\u2019armonia, 1754, F. Algarotti, Saggio sopra l\u2019opera in musica, 1755). Owing to its particular speaking tone linked to declamation, the aria parlante was the preferred tool by philosophers, like Rousseau, Diderot, Milizia, and Planelli. In addiction, this kind of aria is described in detail by the painter and music amateur ...
The essay "Il morlacchismo di Omero" (1797), written in Italian by Giulio Bajamonti, is... more The essay "Il morlacchismo di Omero" (1797), written in Italian by Giulio Bajamonti, is the first contribution to the romantic Croatian literature. At the light of Vico\u2019s "Scienza nuova" (1744), Bajamonti introduces Homer\u2019s paradigm to demonstrate that the way of life of the Vlach (i.e. Morlack), who inhabited the interior of Dalmatia, shows close analogies with the heroes of the Iliad. Like Homer and the Highland bards of the Ossian\u2019s poems (Macpherson), the Vlach sings the ancient epic verses accompanied by a gusle. Following this paradigm Bajamonti recognizes in the Vlach\u2019s poetry the authentic national spirit of the South Slavic people. The article analyses: the passage from the exotic Vlach, as a model of the primitive group or the bon sauvage of the Enlightenment (abb\ue9 Fortis), to the incorrupted Slavic people different from the Dalmatians devoted to the Italian culture; Bajamonti\u2019s friendship with 0uro Feri\u107, Michael Denis and Melchiorre Cesarotti, translators of the ancient Slavic songs, Homer and Ossian, in the floating context of the Bardendichtung and primitivism; Bajamonti\u2019s romantic point of view, who, as Herder, rejects also any classicistic misinterpretation of the people\u2019s poetry ; Bajamonti\u2019s aim in establishing the confrontation with the ancient Greek without Ossian, and the reason why he substitutes the Gaelic bard with his own Vlach
Negli scritti di Miroslav Krleža, romanzi, drammi, poesie e saggi, il fango pannonico è un topos ... more Negli scritti di Miroslav Krleža, romanzi, drammi, poesie e saggi, il fango pannonico è un topos ossessivo. Si colloca nella periferia croata, sempre eguale a se stessa, sempre oggetto di vessazioni, anche dopo il tramonto dell’impero austriaco. In questo luogo senza tempo, il fango è una creazione della natura che assume il ruolo di paradigma, paragonabile a un evento sine qua non. Il fascino della narrazione di Krleža tuttavia non può trarre in inganno. Anche se il fango funge da simbolo metastorico della stagnazione sociale, che attraversa qualsiasi ordine diacronico senza scalfitture, le sue conseguenze sono imprevedibili. A ravvivare il paradosso concorrono gli oggetti e gli ambienti della quotidianità creati dall’uomo: un cappello stiriano, le bettole fumose, il pavé di piazza San Marco a Zagabria. A loro volta questi sono gli indicatori dell’autorappresentazione mediata da un populismo bifronte e settario. Ma palesano anche le aspirazioni a un’arte nazionale senza precedenti, libera da compromessi con la politica, nell’ambito di un dibattito aspro nato nella sinistra durante gli anni Trenta del secolo scorso. La sconcertante sequela di situazioni grottesche, la labile condizione dei subalterni pronti alla ribellione, o incapaci di fuggire dal fango, sono il teatro nel quale si consuma l’esperienza anarchica, espressionista e nondimeno modernista di Krleža, intellettuale croato, jugoslavo, soprattutto europeo
Clanak saddi neke vijesti o muzickom zivotu XVI stoljeéa pri «Accademia Palladia» u Kopru, gdje s... more Clanak saddi neke vijesti o muzickom zivotu XVI stoljeéa pri «Accademia Palladia» u Kopru, gdje su se na sastancima izvodili madrigali koje su sastavljali sami clanovi akademije i raspravljala filozofska i glazbena pitanja. Clanovima te akademije pripadaju jos i razgovori Deset od sto ljubavnih sumnja, koji zauzimaju citavo poglavlje posveéeno disciplini (1590, ali je izdanje iz 1621). Giambattista Zarotti, naime, raspravlja tehnickom vjestinom o platonskoj ideji ljepote, o njezinim vezama s muzikom i o ideji harmonije. Sluzeéi se aluzijama pjesnicke naravi - ili tipicnim nacinom ljubavnih rasprava - dijalog, u novoj humanistickoj dimenziji, ozivljava topoi antickog muzickog znanja. Tako bivaju ponovno cijenjeni znameniti odlomci iz Platona (Republika X 617b, Timej 47d), Boecija (De lnstitutione musica), Ficina (De Triplici vita) i takoder iz Homerove lljiade te iz Ovidijevih Metamorfoza. U Zarottijevoj raspravi pojam harmonije rastavlja se na vise nacina, kako se u staro doba shvaé...
“Doktor Faustus” of Thomas Mann, as explained by its author, is a novel on German civilization in... more “Doktor Faustus” of Thomas Mann, as explained by its author, is a novel on German civilization in which music plays the role of paradigm. Nevertheless the author grasps a lot of quotations from different disciplines and topics, ― e.g., theology, policy, philosophy, music, chemistry ― with the aim of depicting the creation of a second nature in music according the rules of twelve-note composition established by Arnold Schoenberg. The starting point of this complicated narrative is the reinterpretation of Theodor W. Adorno’s “Philosophie der neuen Musik”, a book that inspired Mann in tracing the idea of “second nature” created by the composer Adrian Leverkühn. The article focuses on some keywords used in the famous novel, and taken from inorganic chemistry and geology, working as metaphors on the thin line between nature and nurture. This analogy is retraceable in the biography of Adrian Leverkühn, whose music is the result of a demiurgic, daemonic power he gained after his deal with the devil.
After obtaining the status of free port under the Austrian administration (1719), Trieste was tra... more After obtaining the status of free port under the Austrian administration (1719), Trieste was transformed into a rich cosmopolitan town of the Adriatic sea, in which conveyed German and Slavic peoples, and then some groups from the Mediterranean countries. Among them, the Czechs played a key role in spreading the classical style at the end of the eighteenth century, as testified by the individual migration of composers to the nearby cities of Gorizia and Ljubljana (František Josef Dusík, Vaclav Vratny, Jan Kejha, Johannes Schreiber). Equally important, in the second part of the nineteenth century, was the creation of the modern violin school thanks to the contribution of Friedrich Pixis’s pupils, namely the violinists Otakar Ševčik and Petr Téply (known as Pietro Caldo, sic). At that time, in particular after the March revolution, many families of Bohemian middle-class settled in Trieste for trading (about 2.000 people in the first decade of the twenty century). They cooperated with Slovenes and Croats in establishing some societies, in order to preserve their national identity. The aim of the meetings of these societies, created on the model of Czech’s besedý, was to support the idea of national awakening of the South Slavic people, as well as the development of a different kind of Pan-Slavism, the so-called Austro-Slavism against the aggressive Pan-Germanism. The beginning of the official Slovene activity in the North Adriatic area must be traced back to 1848, when the Slavjansko društvo was founded in Trieste. This society not only enclosed Slovenes, Czechs and Croats, but also Serbs and Poles. Afterwards, in 1861 arose the Slavjanska narodna čitalnica (Slavic National Reading Room), which attempted to unify the Slavic communities of the city. The main activities of the čitalnice was focused on choral music, Lieder and national anthems written by Czech musicians, such as the choirmaster and patriot Jan Lego. Later, within the same cultural frame, the opera Bartered Bride of Bedřich Smetana was staged in the theatre annexed to the Narodni Dom, in which also the instrumental music of Antonín Dvořák was performed.
The fi rst issues on popular music in Italy arose during the last decades of the eighteenth centu... more The fi rst issues on popular music in Italy arose during the last decades of the eighteenth century, at the time when European civilization was stressing the concept of exoticism in connection with the music of ‘wild’ peoples of other continents, beginning to consider, at the same time, the oldest cultures in the Mediterranean basin such as the Turkish and the Arab ones. Almost immediately, in consonance with the Volkslied, as it was conceived by Johann Go fried Herder, it is worth taking into account the emergence of songs linked to the origin of every nation, dignifi ed a er the lifelong debate upon the ancient bards such as Homer. However, any comparison between music of the ancient Greek civilization and contemporary folksongs was avoided by Italian literati and musicographers. The above-mentioned paradigms, peculiar to the mentality of the Enlightenment – the so-called musica naturalis and the music of the nations provided by Jean-Jacques Rousseau, Jean-Benjamin De Laborde, Cha...
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