Lettera da San G iorgio - Fondazione Giorgio Cini

Lettera da San Giorgio
Year XVI, number 30. Six-monthly publication. March – August 2014
Spedizione in A.P. Art. 2 Comma 20/c Legge 662/96 DCB VE. Tassa pagata / Taxe perçue
13 FEB
Homage to Wagner
14 FEB
International workshop
Music Printing and Publishing in Modern Italy – New Approaches
21 FEB
International conference
Tomaso Buzzi, a pioneer of a modern Italian taste
28 FEB – 2 MAR
Seminar The soundscape of Italian cinema: 1945-1975
7 MAR – 31 MAY
Diverse Maniere: Piranesi, Fantasy and Excess
27 MAR
World Theatre Day Theatre in prison
3, 9 APR, JUN
Books at San Giorgio
6 APR – 3 AUG
Le Stanze del Vetro
Exhibition The Santillanas
7 -12 APR
Bîrûn. Ottoman Music Workshops
Persian Language Compositions at the Ottoman Court
29 APR
Georg Solti Accademia
Sixth Edition of the Solti Peretti Répétiteurs’ Masterclasses.
Final concert with five pianos and six voices
5 – 7 MAY
Historical Studies Seminar Macro-fears and micro-fears
Reconstructing Cambodia after the Khmer Rouge.
The life experience and work of Onesta Carpené
10 MAY
Performance by the Cambodia Royal Ballet Lights and Shadows
15 MAY
Book launch Protecting Nature, Saving Creation
edited by Pasquale Gagliardi, Anne Marie Reijnen, Philipp Valentini
15 MAY
Concert by Conservatorio Benedetto Marcello of Venice
Incidental music for A Midsummer Night’s Dream,
by Felix Mendelssohn-Bartholdy, op.21 & 61
17 – 21 MAY
The Egida Sartori and Laura Alvini Early Music Seminars
Alessandro Stradella 1639-1682.
Seven cantatas rediscovered in Fondazione Giorgio Cini archives
Staged reading
Tre quarti di luna by Luigi Squarzina
24 MAY – 2 NOV
Open to the public Palazzo Cini, the Gallery.
Tuscan and Ferrarese masterpieces from the Vittorio Cini collection
1 JUN – 31 JUL
Correspondences from the Giorgio Cini Foundation music archives
3 JUN – 23 NOV
Heinz Mack: The Sky Over Nine Columns
13 JUN
Commemorating Roman Vlad (1919-2013)
18 – 19 JUN
Performing music: a comparative approach (2 nd edition)
19 JUN
Performance of Traditional and Contemporary Korean Music and Dance
The Bridging Colours. White
21 GIU
Art Night Venezia 2014
24 – 25 JUN
Giammaria Ortes in 18th-Century Venice
27 – 28 JUN
Towards a Network of the European Archives of Twentieth-Century Music
– On the Correspondence of Musicians and Interaction between Archives
L.I.Ve. A music festival staged in collaboration with Ponderosa Music & Art.
Fondazione Giorgio Cini onlus
Isola di San Giorgio Maggiore, 1
30124 Venezia
tel. +39 041 5289900
fax +39 041 5238540
tel. +39 041 2710229 – fax +39 041 5223563
Giovanni Bazoli
tel. +39 041 2710402 – fax +39 041 5238540
tel. +39 041 2710280 – fax +39 041 5238540
Pasquale Gagliardi
tel. +39 041 2710202 – fax +39 041 5238540
Gilberto Pizzamiglio
Giovanna Pesaro
tel. +39 041 2710219 – fax +39 041 5238540
Elena Casadoro
Serena Concone
Anna Lombardi
Emilio Quintè
Marta Zoppetti
tel. +39 041 2710253 – fax +39 041 5238540
bruno – Andrea Codolo
Lucia Sardo, coordinator
tel. +39 041 2710407
Tipografia Nuova Jolly
Tipografia Nuova Jolly, Rubano (PD)
Viale dell’Industria 28
Registrazione del Tribunale di Venezia n. 209
Year XVI, number 30
March – August 2014
To the best of our knowledge, all images included
in this publication for which the copyright
is not explicitly stated are in the public domain.
Any non-credited owners of rights to one or more
images in the publication are invited to contact us
by email at ufficio.editoriale@cini.it
so that we can meet the attendant obligations.
IA 2
From San Zaccaria Monumento, Ferrovia, Piazzale Roma: vaporetto number
2 every 10 minutes to San Giorgio.
Publication sponsored by
The monumental complex of San Giorgio Maggiore can be visited
on a guided tour.
For bookings and further information:
Civita Tre Venezie, tel. 041.2201215 segreteria@civitatrevenezie.it
For updates, visit www.cini.it
Luca Massimo Barbero, director
Secretary’s office: tel. +39 041 2710230 – +39 041 2710239
fax +39 041 5205842
Maurice Aymard
Brenno Boccadoro
Steven Feld
Bruno Latour
Michael Talbot
Gino Benzoni, director
Secretary’s office: tel. +39 041 2710226 – +39 041 2710227
fax +39 041 5223563
Gianmario Borio, director
Secretary’s office: tel. +39 041 2710220 – fax +39 041 2710221
Francesco Fanna, director
Secretary’s office: tel. +39 041 2710220 – +39 041 2710259
fax +39 041 2710221
Giovanni Giuriati, director
Secretary’s office: tel. +39 041 2710357 – fax +39 041 2710221
Pedro Memelsdorff, director
Secretary’s office: tel. +39 041 2710258 – fax +39 041 2710221
Maria Ida Biggi, director
Secretary’s office: tel. +39 041 2710236 – fax +39 041 2710215
Secretary’s office: tel. +39 041 2710228
Secretary’s office: tel. +39 041 5207757
Secretary’s office: tel. +39 041 5230869
Secretary’s office: tel. +39 041 2711457
Secretary’s office: tel. +39 041 2710306
Secretary’s office: tel. +39 041 5287090
International conference Tomaso Buzzi, a pioneer of a modern Italian taste
World Theatre Day Theatre in prison
Books at San Giorgio
Le Stanze del Vetro. Exhibition The Santillanas
The soundscape of Italian cinema: 1945-1975
Diverse Maniere: Piranesi, Fantasy and Excess
Bîrûn. Ottoman Music Workshops
Persian Language Compositions at the Ottoman Court
Georg Solti Accademia
Sixth Edition of the Solti Peretti Répétiteurs’ Masterclasses.
Final concert with five pianos and six voices
Historical Studies Seminar Macro-fears and micro-fears
9Seminar Reconstructing Cambodia after the Khmer Rouge.
The life experience and work of Onesta Carpené
Performance by the Cambodia Royal Ballet Lights and Shadows
The Egida Sartori and Laura Alvini Early Music Seminars
Alessandro Stradella 1639-1682. Seven cantatas rediscovered
in Fondazione Giorgio Cini archives
Staged reading Tre quarti di luna by Luigi Squarzina
Heinz Mack: The Sky Over Nine Columns
Commemorating Roman Vlad (1919-2013)
Performing music: a comparative approach
Performance of Traditional and Contemporary Korean Music and Dance
The Bridging Colours. White
Giammaria Ortes in 18th-Century Venice
Towards a Network of the European Archives of Twentieth-Century Music
– On the Correspondence of Musicians and Interaction between Archives
The Palazzo Cini Gallery: a collector’s home
Illuminated pages, cuttings and manuscripts in the Fondazione Giorgio Cini:
the general catalogue
The manuscript of Stradella cantatas and arias in the Malipiero Archive
In 2014 our Foundation celebrates a very meaningful anniversary: sixty years ago this year the
Institute of Art History was created. The Institute was founded thanks to an inspired idea of
Vittorio Cini. Responding to new developments in the world of culture in those years, together
with Giuseppe Fiocco, he decided to set up a specialised institute in the Foundation, modelled
on the tradition of prestigious German institutes of art history (such as the Kunsthistorisches
Institut in Florence and the Bibliotheca Hertziana, Rome). The idea was to endow Venice with
an international centre for art studies, like those in other historic world art capitals.
The nascent Institute had great expectations, as can be deduced from the calibre of the experts
who formed the initial advisory board: Carlo Anti, Sergio Bettini, Vittore Branca, Luigi Coletti, Giuseppe Fiocco (who was to become the first director), Bruna Forlati Tamaro, Fausto
Franco, Tullia Gasparrini Leporace, Vittorio Moschini, Rodolfo Pallucchini, Renato Papò,
Antonino Rusconi and Pietro Zampetti. Right from the outset, the Institute aimed to encourage research by providing opportunities and resources for foreign and Italian scholars,
also through the creation of a major specialised library. In a very short time, the Institute of
Art History on the Island of San Giorgio became an indispensable reference facility for art
historians worldwide, as Marc Fumaroli commented in his book L’Etat Culturel (1991):
“The United States, Germany, Italy and Britain (which from 1933 hosted the Warburg Institute in
London, after it had been forced out of the Nazi state) were the first countries to create large libraries and academic institutions for the study of art history, the last-born of the humanistic disciplines
and younger sister of literary and philological studies. By the end of the 19th century, however, art
history had become a leading discipline in its own right, fuelled by the spirit of the time. The United
States had the Getty Museum in Malibu and the Getty Institute in Los Angeles; Germany had the
Bibliotheca Hertziana in Rome; and Italy had the Institute of Art History in the Fondazione Cini
on the Island of San Giorgio Maggiore in Venice (a place to which we never tire of returning).”
To celebrate the anniversary, we have planned a series of important initiatives, including the
highly significant permanent reopening of the suitably refurbished Palazzo Cini Gallery at
San Vio on 24 May. By so doing we also wish to celebrate another important anniversary:
the original inauguration of the gallery in 1984, after Yana Cini Alliata di Montereale had so
generously presented the Fondazione Cini with a part of the palace and some collections of
art works belonging to her father Vittorio.
But the list of anniversaries does not end here. In 2014 we will commemorate the tenth anniversary of the death of Tiziano Terzani, whose private library is now held by the Foundation.
Terzani will be celebrated not only by a special publishing initiative, which will be presented
in the second half of the year, but also in a way particularly congenial to him: a conference
on Cambodia, organised by the Intercultural Institute of Comparative Music Studies in May.
The conference will focus on the theme of international cooperation in Cambodia (inspired
by the story of the Italian cooperation worker Onesta Carpené). As part of this event the
Cambodia Royal Ballet will perform in Venice for the first time ever. Not surprisingly, on
the grounds of its extraordinarily rich artistic history, this dance company is included on the
UNESCO world intangible cultural heritage list.
Lastly, among the initiatives in the first half of the year we would like to mention the 2014
edition of the Early Music Seminars, this year devoted to the study of seven previously unknown cantatas by Alessandro Stradella, recently rediscovered in the archives of the Fondazione Cini by Giulia Giovani, a scholarship holder at the Vittore Branca Center. This find
highlights, yet again, the need to support the work of young researchers and the wealth of
unexplored treasures kept on San Giorgio. It also explains why, today as in the past, scholars
worldwide “never tire of returning” to the Fondazione Cini.
Il Presidente
Giovanni Bazoli
21 FEBRUARY 2014
Tomaso Buzzi, a pioneer of a modern Italian taste
Promoted and organised by the Institute of Art History, through its
Centre for the Study of Glass, this conference aims to further knowledge about the complex, multifaceted figure of the architect and deBowl of Hands, polychrome glass paste and gold leaf.
signer Tomaso Buzzi (1900-1981), an unchallenged pioneer of modDesigned by Buzzi for Venini (1932-1934)
ern Italian taste, together with Gio Ponti.
The meeting anticipates the autumn exhibition in the Stanze del Vetro entitled Tomaso Buzzi at Venini. Curated by Marino Barovier, the exhibition will explore
Buzzi’s relations with the Venini Glassworks, with which he collaborated from 1932 to 1934.
The conference will thus be an ideal complement to the exhibition and provide an opportunity
for in-depth study of the eclectic, protean activities of the architect from Valtellina.
Various aspects of the figure of Tomaso Buzzi will be addressed, from the many prestigious
commissions he received in the field of architecture (such as the Villa Necchi Campiglio in
Milan, when he took over from Portaluppi) to his relationship with his native region of Valtellina. There will also be a focus on his experience with glass, and especially his relations with
Paolo Venini in the light of some letters in the Buzzi Archive. Lastly, to make as complete and
detailed a survey as possible of Buzzi’s career, other themes will include his work for theatre,
the utopia of forms and colours at La Scarzuola and his contribution to the taste of modern
interior design.
28 FEBRUARY – 2 MARCH 2014
The soundscape of Italian cinema: 1945-1975
Organised by the Institute for Music, the seminar will tackle themes in the “audiovisual experience” research area as the first step towards a wide-ranging project concerning music for film
and television by Italian composers in the second half the 20th century. Eight speakers will
present to eight discussants the results from their enquiries into the soundscape of Italian cinema from 1945 to 1975. The papers will focus on: the relations between film music and opera
(Matteo Giuggioli and Gaia Varon), popular music (Luca Bandirali and Alessandro Bratus),
folk music (Ilario Meandri and Grazia Tuzi) and composing experimental music (Maurizio
Corbella and Giovanni De Mezzo). The discussants in the four sessions will be Emilio Sala
and Fabrizio Borin; Serena Facci and Massimo Locatelli; Maurizio Agamennone and Antioco
Floris; and Veniero Rizzardi and Manlio Piva. The seminar will be preceded by two lectures
on 28 February (3 pm) at which the two coordinators will present forthcoming publications:
Gianmario Borio, Il sistema simbolico di East of Eden. Osservazioni analitiche sul film di Elia Kazan con musica di Leonard Rosenman; and Roberto Calabretto, Luigi Nono e il cinema. Appunti
per una riflessione.
7 MARCH – 31 MAY 2014
Diverse Maniere: Piranesi, Fantasy and Excess
Sir John Soanes’ Museum has one of the richest holdings of graphic work by Piranesi and this exhibition, in collaboration with the
Fondazione Giorgio Cini, continues the exploration of Soane’s interest in Piranesi. Diverse Maniere will focus on Piranesi’s engagement
with the decorative arts. The displays will consist of meticulous threedimensional reproductions of the objects, such as coffee pots, chairs,
chimneypieces and antique candelabra, tripods and altars imagined
by Piranesi in publications such as Diverse Maniere or Vasi, Candelabri, Cippi…, but never actually realised physically. Now, using the
latest scanning and three-dimensional printing technologies, Factum
Giambattista Piranesi, Furniture designs.
(from Diverse maniere d’adornare i cammini, 1769)
Arte has realised Piranesi’s vision as a designer. Bronze tripods, porphyry altars and marble candelabra will embellish the rooms of No
13 Lincoln’s Inn Fields, whilst in the Soane Gallery a display of Piranesi’s related etchings and
explications of Factum Arte’s work will accompany the show. Surely, Sir John Soane, with his
love of new technologies, his collections of plaster “reproductions” after the antique, and his
fascination with Piranesi’s boundless imagination would have found this a particularly appropriate exhibition.
27 MARCH 2014
World Theatre Day Theatre in prison
On 27 March, to mark World Theatre Day 2014, the Centre for Theatre Studies has organised
a meeting, coordinated by Maria Ida Biggi and Paolo Puppa, on “Theatre in prison” .
Held in collaboration with the Department of Philosophy and the Cultural Heritage at Ca’
Foscari University, Venice, the event will be a chance to focus on the role of theatre in the difficult, problematic prison setting and to exchange views on the relationship between “inside”
and “outside”. After theoretical reflections by Gerardo Guccini, Fernando Marchiori, Andrea
Porcheddu, Paolo Puppa and Cristina Valenti, there will be a presentation by Vito Minoia, Valeria Ottolenghi and Daniele Seragnoli of “Suspended Footsteps”, a project by Balamòs Teatro,
a theatre company active in Venice prisons since 2006.
Books at San Giorgio
The series dedicated to the latest Fondazione Giorgio Cini publications resumes in spring. The
first presentation will feature the book Pietro Bertoja, scenografo e fotografo edited by Maria Ida
Biggi and produced as part of initiatives promoted by the Veneto Regional Committee for
the Celebrations of the Centenary of Pietro Bertoja’s death. The book documents his career as
stage designer and photographer and highlights his complex role on the theatre scene in the
second half of the 19th century. On the second date the focus will be on Antonio Vivaldi. A
life in documents, a book in which Mickey White presents the biography of the great composer
through a chronological series of original documents, supplemented by copious annotations.
Her work describes the figure of the composer very clearly in his musical, family, religious and
social settings and provides an accurate picture of his personality and day to day life.
The last book launch will be devoted to Scultura nei giardini delle ville venete. Il territorio vicentino, a book on villa garden sculpture, promoted by the Fondazione Giorgio Cini and the
Regional Institute for Venetian Villas with the support of the Fondazione Giuseppe Roi. The
book illustrates a rich, interesting but little studied area of Veneto art. The province of Vicenza
is particularly well endowed with this kind of sculpture since it is the area with the largest
number of Venetian villas and, therefore, related gardens.
6 APRIL – 3 AUGUST 2014
Le Stanze del Vetro. Exhibition The Santillanas
This exhibition entitled The Santillanas explores the artistic careers of
Laura de Santillana and Alessandro Diaz de Santillana. Descendants of
a famous glass-making dynasty, they are siblings who both live and work
in Venice. Having trained in the footsteps of their father Ludovico Diaz
de Santillana and grandfather Paolo Venini, since the 1980s they have
developed their own particular, internationally acclaimed art production. Apart from elements stemming from the common background,
Alessandro Diaz de Santillana, HGS 1, 2011.
The artist’s collection. Blown glass, hot-moulded and silver-plated
the two artists are united by a very special relationship. This is not the
on marine plywood
kind of collaborative relationship that might be expressed in works “for
four hands” or by pursuing joint projects. Nor does it come over in explicit formal affinities. The
bond emerges in the form of a continuous dialogue based on a subtle dialectic involving empathy
and distance, similarity and difference. The dialogue is based on shared references, exchanges of
ideas and mutual observations, which tend to confirm their respective creative processes.
Consisting of 130 works, the exhibition was conceived by the artists themselves, with the friendly participation of Martin Bethenod, in a series of informal conversations over a two-year period. The exhibition develops from a central group of around fifty items set out as the itinerary
of a past shared by Laura and Alessandro. Following a mnemonic criterion and free association,
showcases and shelves bring together works from different periods – from the 1980s to the present day – and most importantly very different types: full-blown works, sketches or preparatory
works, household objects, souvenirs, sources of inspiration, drawings and photographs. The
overall collection of items provides a kind of dynamic double portrait of the two artists. To grasp
the extraordinarily rich potential of the formal language of Laura and Alessandro through subsequent variations, it was decided to focus on one of their leitmotifs: the flat rectangular form created by a series of gestures made by the artists or delegated to others. From this particular point
of view, the exhibition may be seen as portraying a twofold series of encounters and exchanges
with some masters, but also with technicians, craftsmen and companies in the continual comings and goings between Venice, the United States, the Czech Republic, Japan and France.
7 – 12 APRIL 2014
Bîrûn. Ottoman Music Workshops
Persian Language Compositions at the Ottoman
The Intercultural Institute of Comparative Music Studies has organised the third edition of Bîrûn, a series of advanced workshops on
classical Ottoman music, directed by Kudsi Erguner, and intended for
professional and semi-professional musicians. The term Bîrûn refers to
what was once the school for Ottoman court musicians. One of the
overall aims of the workshops is to make San Giorgio a centre for the
cultural development of and thinking about the musical heritage of
Musicians at the Ottoman Court. A miniature from Sûrnâme
the Ottoman Empire in the Mediterranean basin. This year the workby Murad III (1582). Palazzo Topkapi Library, Istanbul,
shop will focus on the theme of Persian language composers at the
Ms. H 1344 fol. 19r.
Ottoman court. For week a group of scholarship winners specialised
in various instruments (ney, ûd, tanbûr, kanûn, kemençe, percussions and voice) will explore
the works composed by Persian and Persian-language poets and several sultans at the Ottoman
court. Persian was the literary language in the area and regularly used by composers in the art
music tradition. The workshop will end with a concert by the scholarship winners led by Kudsi
Erguner; the recording will be available as a CD published by Nota Edizioni.
This year Bîrûn will again be preceded by the Prelude to Bîrûn, an introductory study day organised by Giovanni De Zorzi at Ca’ Foscari University, Venice.
29 APRIL 2014
Georg Solti Accademia
Sixth Edition of the Solti Peretti Répétiteurs’
Masterclasses. Final concert with five pianos
and six voices
Five grand pianos will be installed in the Sala degli Arazzi in the Fondazione Giorgio Cini for an exceptional end-of-masterclass concert,
open to the public (booking required www.cini.it) and organised in
collaboration with the Georg Solti Accademia di Bel Canto and the
Honorary Swiss Consulate in Venice.
Created in 2004 to honour the memory of the legendary Hungarian orchestra conductor Sir
Georg Solti, the Accademia named after him today represents one of the most eloquent and exclusive training opportunities for young opera singers and répétiteurs who have reached a turning point in their careers. Since its foundation it has provided training to over one hundred
and eighty promising talents, many of whom have undertaken important professional careers
and obtained prestigious engagements in some of the most renowned festivals (Glyndebourne
and Santa Fe) or at major international opera houses (Royal Opera House, Covent Garden, La
Scala, Milano and the Metropolitan Opera House, New York).
In April the sixth edition of the Solti Peretti Répétiteurs’ Masterclasses will be held on the island
of San Giorgio Maggiore. Now with a considerable international reputation, it is the only
course of its kind. This year the first-rate team of teachers is composed of Pamela Bullock from
the Chicago Lyric Opera, Sir Richard Bonynge, Jonathan Papp, artistic director of the Georg
Solti Accademia di Bel Canto, and Audrey Hyland from the Royal Academy of Music. Following auditions held at the Royal Academy of Music, London in late January, six exceptionally talented students were selected from all over the world for the masterclasses. The student
repetiteurs, will work together with alumni from the Bel Canto course, and will be able to
extend and improve their skills, which include occasionally conducting rehearsals, managing
offstage activities and playing the continuo for recitatives. At the end of the course there will be
a final concert open to the public; for further information about the concert, visit www.cini.it.
5 - 7 MAY 2014
Historical Studies Seminar
Macro-fears and micro-fears
Organised by the Fondazione Cini Institute for the History of the Venetian State and Society,
in five half-days this seminar will address the theme of small and big fears, individual and
collective, implicit and explicit, repressed and uncontrollable. Fear is a constant presence in
collective psychology and frequently a disturbing intrusion in the psychology of individuals.
Fear is a monster that underlies all of life: fear of losing, of death, hunger, and illness; fear
of the plague, the arrival of barbarians, or the end of civilisation. Fear as the terror of hell,
systematically conjured up in sermons from pulpits threatening sinners and their indulgence in carnivalesque follies; while Lent preachers evoke eternal suffering. These fascinating
ideas and points will be focused on by the speakers at the seminar coordinated by Aurelio
Cernigliaro, Franco Angiolini, Marcello Verga, Giorgio Chittolini, Giuseppe Trebbi and Giuseppe Gullino.
9 MAY 2014
Reconstructing Cambodia after the Khmer Rouge.
The life experience and work of Onesta Carpené
10 MAY 2014
Performance by the Cambodia Royal Ballet:
Lights and Shadows
A key event in the 2014 programme of the Intercultural Institute of
Comparative Music Studies will be a seminar on Cambodia. Organised
in collaboration with the Centre for Comparative Studies of Civilisations and Spiritualities, the one-day event is dedicated to commemorating the important but little known figure of Onesta Carpené, an international co-operation professional in Cambodia from 1980 (when the
Khmer Rouge regime fell) until the early 2000s. Carpené’s story is thus
interwoven with the recent history of the country. Curated by Giovanni
Giuriati and Valerio Pellizzari, the seminar will be held on the island
of San Giorgio on 9 May and will be attended by leading scholars,
journalists and professionals in the field of international cooperation.
The seminar will be followed, on 10 May, by the Cambodia Royal
Ballet’s Venetian debut, at the Teatro Malibran. Cambodian dance-theatre has been known
in Europe since the early 20th century. In fact during King Sisowath’s visit to France, a Cambodian dance company performed in Paris and made a deep impression on the intelligentsia.
Since then, this art form has only rarely been seen in Italian theatres and never in Venice.
A UNESCO intangible cultural heritage of humanity, the Royal Ballet will present a new performance based on the epic of Ramayana (Reamker in Cambodian), with choreography by Her
Royal Highness Princess Norodom Buppha Devi. For the first time this kind of performance
will not only feature dance but also an episode of shadow puppet theatre (another UNESCO
heritage). As part of the event, there will be an exhibition of photographs of Cambodia by
Tiziano Terzani.
17 – 21 MAY 2014
The Egida Sartori and Laura Alvini
Early Music Seminars
Alessandro Stradella 1639-1682. Seven cantatas
rediscovered in Fondazione Giorgio Cini archives
In keeping with approach adopted in the new series of early music
seminars begun in 2007, under the direction of Pedro Memelsdorff,
this year’s seminar will be devoted to a completely unpublished repertoire in a manuscript source recently rediscovered in the Fondazione
Giorgio Cini archives: seven cantatas for voice and basso continuo by
Alessandro Stradella (1639-1682).
Bartolomeo Bettera (1639-1688). Still Life.
In summer 2012, musicologist Giulia Giovani – at the time she had a
The Israel Museum, Jerusalem
scholarship to the Vittore Branca International Centre for the Study
of Italian Culture – was doing research in the Fondazione Giorgio
Cini music archives when she came across a manuscript containing twenty-one cantatas and
two arias, mostly for soprano and basso continuo, by Alessandro Stradella (1639-1682). The
document was in the Archive of Gian Francesco Malipiero (1882-1973), one of the most important composers whose archives are housed in the Fondazione Cini. Certainly drafted in the
Veneto area and probably in Venice in the second half of the 17th-century, the manuscript is
important evidence of the reception of Stradella’s music in Venice and is the only source containing some chamber cantatas previously not in the catalogue of his compositions.
As usual, the seminar – this year directed by the celebrated early music conductor René Jacobs
– will host a number of scholarship holders selected by means of an international competition
for professional or semi-professional singers; at the final concert, they will perform the world
première of the previously unknown works.
23 MAY 2014
Staged reading
Tre quarti di luna by Luigi Squarzina
In collaboration with the Department of Philosophy and the Cultural Heritage at Ca’ Foscari
University, Venice, the Centre for Studies on Theatre has promoted a staged reading of an early
play by Luigi Squarzina, Tre quarti di luna (“Three-quarters Moon”) written in 1949. Before
he died the playwright presented his library to the Fondazione Cini, which wishes to commemorate him with initiatives like this staged reading.
First performed by Vittorio Gassman, Anna Proclemer and Luca Ronconi, the play was staged
at the Teatro Valle, Rome in 1953. Today it is reinterpreted by second-year students on an acting course at the Accademia Teatrale Veneta, directed by the actress Paola Bigatto.
The action takes place in the Fascist period and develops around the theme of the masterpupil, professor-student relationship, to the background of the Gentile educational reform.
The school environment is extended to become a mirror of life and history: “the school has the
healthy ferocity of life... anyone who really educates is killed or kills”.
3 JUNE – 23 NOVEMBER 2014
Heinz Mack: The Sky Over Nine Columns
On 3 June 2014 the installation The Sky Over Nine Columns by German artist Heinz Mack will open to the public on the Island of San
Giorgio Maggiore in Venice.
Paralleling the Architecture Biennale, nine columns-more than seven metres high and covered with a golden mosaic-stand in front of
the Church of San Giorgio Maggiore, bearing the sky above them.
Curated by art historian Robert Fleck, the installation offers a broad
scope for association. As a manifestation of the human being standing
upright, the column is the earliest element in the history of architecture and forms a direct relation between earth and sky. The golden
Photo: Reginald Weiss, Mönchengladbach
mosaic consisting of over 800,000 tesserae is an example of the long
tradition of local craftsmanship, representing Venice’s early cultural
relations between Orient and Occident. The sculptural ensemble serves as an instrument of
light performance, adding a widely visible source of fascination to the rich cityscape of Venice.
For more than 60 years, Heinz Mack has worked as a painter and sculptor. In 1958, he cofounded the group ZERO, an international movement with many artist friends such as Yves
Klein, Lucio Fontana and Piero Manzoni. In 1970, Mack represented Germany at the 35th
Biennale di Venezia with three other German artists. He has developed a genuine language of
light and colour art since the 1950s and is a key protagonist of kinetic art. His works in public
space – be it urban or in nature – are conceived as objects for the light. If the ideal space and
the ideal light meet the interested viewer, a fascinating symbiosis may occur.
The installation The Sky Over Nine Columns is realised by Beck & Eggeling International Fine
Art, Düsseldorf and Sigifredo di Canossa, in cooperation with the Fondazione Giorgio Cini.
The realisation is supported by Trend, Vicenza.
13 JUNE 2014
Commemorating Roman Vlad (1919-2013)
On 13 June, the Institute for Music, in collaboration with the Teatro La Fenice, is holding a
double event to commemorate Roman Vlad, the composer, pianist, music critic, musicologist, artistic director, and radio and television author, who died on 21 September 2013. In
July 2013 Vlad presented the Institute for Music with his personal archive, a wide-ranging
collection of materials reflecting 20th-century Italian musical life. Now, only a few months
since the beginning of reordering and cataloguing his material, the Fondazione Giorgio Cini
will host a round-table with speakers Stefano Catucci, Mario Messinis and Enzo Restagno.
There will also be a concert by pianist Carlo Grante, at 6 pm, on the same day, 13 June, in
the Sale Apollinee of the Teatro La Fenice. The programme of this recital dedicated to the
memory of Roman Vlad features two conceptually related works: Fantasia contrappuntistica
(1910) by Ferruccio Busoni and Opus Triplex (2001-2004) by Vlad, written for “the sensibility, mind and fingers of Carlo Grante”. The concert is by invitation only.
18 – 19 JUNE 2014
Performing music: a comparative approach
On 18-19 June scholars from the fields of ethnomusicology and the
history of music will gather in Venice with the principal objective
of comparing their experiences in studying the concept of performance in Western art music and oral-tradition music. Coordinated by
Gianmario Borio and Giovanni Giuriati, the seminar has been jointly
organised by the Institute of Music and the Intercultural Institute for
Comparative Music Studies and will enjoy the collaboration of the
AHRC Research Centre for Musical Performance as Creative Practice,
directed by John Rink from the University of Cambridge. Ethnomusicology aspects will be addressed by Francesco Giannattasio and Filippo Bonini Baraldi, while historical musicology issues will be tackled
by John Rink and Ingrid Pustijanac.
Photo: Giovanni Pancino
19 JUNE 2014
Performance of Traditional and Contemporary
Korean Music and Dance
The Bridging Colours. White
The Intercultural Institute for Comparative Music Studies resumes
its activities in the field of contemporary dance while also staging an
event featuring Korean performing arts. The Institute has not organised an event on Korea for many years and the show is also intended
to coincide with the return to teaching Korean language and literature
courses at Ca’ Foscari University, Venice. The show has been specifically created for the Fondazione Giorgio Cini by the Korean choreographer Cho Yong Min with the company A+M (Asia Movement),
of which Cho Yong Min is director, and in collaboration with the
Pyung-In Korean Dance Company and the Nol Eum Pan Korean Traditional Music Team. In the first part of the show artists will present
traditional music and dance associated with Shaman rituals, linked
symbolically by the colour white, which is connected to the idea of
death and rebirth and rituals enacting a reconciliation with the supernatural world. The same
musicians will then accompany the dancers in a performance of contemporary choreography.
Borrowing and re-elaborating movements from traditional dance, this choreography sets out
to explore the sphere of the senses and the space surrounding us. The performance has been
organised with the support of the Korean Ministry of Culture and the Korean Embassy in Italy.
24 – 25 JUNE 2014
Giammaria Ortes in 18th-Century Venice
To mark the third centenary of the birth of Giammaria Ortes (1713-1790), the Fondazione
Cini Institutes of Music History and History are organising a conference on the unusual
figure of the eclectic abbé whose interests ranged from economics to music. Promoted by the
Veneto Region through its Regional Committee for the Celebrations of the Third Centenary,
the event will highlight Ortes’s presence in Venice at a time when he stood out for his original
response to Enlightenment culture: on one hand, he was explicitly polemical and, on the
other, he went beyond the current debate in his economic thinking, soon to be taken into
account even by Marx.
Leading experts on the 18th century and Ortes will take take part in the conference, including
Piero Del Negro, Gianfranco Dioguardi, Bartolo Anglani and Paolo Farina.
27 – 28 JUNE 2014
Towards a Network of the European Archives of Twentieth-Century
Music – On the Correspondence of Musicians and Interaction
between Archives
Organised by the Fondazione Cini Institute of Music and the Fondazione Ugo e Olga Levi, Venice and coordinated by Paolo Dal Molin (in collaboration with the Fondazione Archivio Luigi
Nono and the Universities of Cagliari and Calgary), this symposium aims to strengthen and
promote closer interaction between the institutions concerned, starting from a comparative discussion on activities dedicated to correspondence between musicians, and especially composers.
From 27-28 June 2014 representatives from the principal European archives housing the
20th-century musical heritage will gather in Venice: the Arnold Schönberg Center, Vienna
(Austria), the Muzička Akademija, Zagreb (Croatia), the Département de la Musique della
Bibliothèque Nationale de France, Paris (France), the Akademie der Künste, Berlin and Internationales Musikinstitut, Darmstadt (Germany), the Fondazione Archivio Luigi Nono and
the Fondazione Giorgio Cini, Venice, the Fondazione Isabella Scelsi, Rome, the Bibliotheka
Universytecka w Warsawie (Poland), the British Library, London (UK), the Bartók Archives
at Hungarian Academy of Sciences, Budapest (Hungary) and the Paul Sacher Stiftung, Basel
(Switzerland). The first two sessions – Conserve, describe, make accessible and promote the correspondence of composers – will establish the state-of-the-art of archive processes applied to
letters. In the third session, Publishing composers’ letters, three case studies will be presented on
the relationship between research and accessibility of sources in publishing correspondences.
The examples will be illustrated by the editors of correspondences that have been innovative in
academic and editorial terms: Claude Debussy. Correspondance (Gallimard 2005), Briefwechsel
Arnold Schönberg – Alban Berg (Schott 2007) and L’epistolario Helmut Lachenmann - Luigi
Nono (Olschki 2012). In the final session, Towards a Network, the discussion introduced by
Friedemann Sallis (University of Calgary) will shed light on the present and future of collaboration and interaction between archives for several purposes: meeting the needs for increasingly
less compartmentalised studies; spreading and extending to the wider Europe good practices
for the conservation and use of music documents produced from the late 19th century on; and
highlighting priorities and joint perspectives.
In this sense, a key moment at the symposium conference will be the visit to the exhibition of
correspondences between musicians whose archives are kept in the Fondazione Giorgio Cini.
Curated by Francisco Rocca, Giada Viviani and Angela Carone, the exhibition will run from
1 June – 31 July.
The Palazzo Cini Gallery at San Vio:
a collector’s home
On 21 September 1984 the Fondazione Giorgio Cini opened up some
rooms to the public in the Palazzo Cini on the Grand Canal. Vittorio
Cini’s Venetian home since 1919, the palace had been constructed by
joining up two former noble residences belonging to the Foscari and
Grimani families. The rooms were open to the public to show the valuable collection of paintings, sculptures and objets d’art presented to
the Foundation in 1981 by Cini’s third daughter, Yana Cini, who had
become a princess on marrying Prince Fabrizio Alliata di Montereale.
The creation of the gallery in the Palazzo Cini came seven years after
The Palazzo Cini seen from Campo San Vio
Vittorio Cini’s death. A treasure trove of refined, marvels conceived
as a museum-house, the gallery provides fascinating insight into the
taste and culture that are the filigree expressions of the “art passions” of a major 20th-century
Italian collector. The legacy was a microcosm that directly represented – at least according to
the intentions of the project curators – the multifaceted universe of the collector and aesthete
Vittorio Cini. The Alliata di Montereale donation is particular emblematic of Cini’s love for
the painting of the so-called “Italian Primitives”, which was fuelled and constantly stimulated
by exceptional advisers and arbiters, such as Bernard Berenson or Federico Zeri. The donation
made it possible to conceive and design the gallery, which is still unique on the Venice art scene
and only a stone’s throw from the Gallerie dell’Accademia.
The unique nature of the collection was also due to the presence of a very highly selected group
of Renaissance Ferrara paintings, which entered the gallery in 1989 through a long-sighted
act of cultural patronage by another member of the Cini family. In 1989 Yana’s twin, Ylda
Cini Guglielmi di Vulci, decided to make a permanent loan to the gallery of masterpieces by
Tura, De Roberti, Dossi and Mazzolino, once in her father’s collection. This ensured that a
fundamental section of the original collection could also go on show, thus allowing visitors to
understand more fully the collector’s taste and his love for the art of his native city, Ferrara.
Further legacies and permanent loans over the years (for example, the collection of French ivories, including some remarkable high-quality 13th-century pieces) are evidence that the Cini
heirs took a constant interest in the museum-house and in the Foundation, often also offering
financial support for the maintenance and restoration of the art works.
In concomitance with the thirtieth anniversary of the inauguration of the rooms in the Palazzo
Cini, the gallery will open its doors again for scholars and visitors on 24 May 2014. The gallery
still has the same – now historical – configuration as when it was conceived and intelligently
laid out with the crucial support of Zeri: it is as if the rooms were still inhabited by the patron
and his two spouses, the actress Lyda Borelli, the classic Italian “silent diva”, and the Marchion-
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The drawing room on the piano nobile in the 1960s
ess Maria Cristina Dal Pozzo D’Annone, his second wife, whom he
married in 1967. The original principles underlying the gallery design
aimed to create Venetian patrician-style pomp. The highly varied nature
of the art objects – the specific binding characteristic of the whole collection – is also the dominant feature in the works on show in the gallery. The paintings, sculptures, furniture, ivories, porcelain, cassoni, and
rugs reflect Cini’s omnivorous voracity for the finest examples of human
creativity and ancient art, especially in the Humanist tradition. His constant attention and love for the antique generated one of the most wideranging systematic collections of its kind in 20th-century Italy, whereas
the variety of his cultural interests, from cinema to theatre, music and
history, prepared the ground for his philanthropist patronage in the second postwar period and the creation in 1951 of the Fondazione Giorgio
Cini. A centre for research, study and education with the accent on a
multidisciplinary international identity, the Foundation was created by
Vittorio Cini as a tribute to the memory of his first-born son.
Vittorio Cini as collector: an “Italian Faust”
Vittorio Cini (Ferrara 1885- Venice 1977) was an entrepreneur, manufacturer, ship-owner and politician involved in the most important
financial and productive undertakings characterising the development
of Italy from rural to advanced industrial country. He cultivated art
interests and indefatigably put together collections. His earliest acquisitions were made at the beginning of the century but then their
The Renaissance Room on the piano nobile in the 1960s
number rose considerably in the postwar period. The collections were
installed in a castle at Monselice and the Palazzo Cini, Venice. They
reflect perfectly his personality, marked by a special attraction for antique art, which he pursed with the same kind of passion as a “Renaissance prince”. Funded by
substantial economic resources, his collecting involved key figures in the history of antiquarianism, such as Salocchi and Volterra, and eminent specialists – expert art historians, such as
Zeri and Berenson, or Giuseppe Fiocco and Tammaro De Marinis.
Cini’s passion for collecting drove him to the “Faustian undertaking” (as Bernard Berenson comments in his diaries, Cini was “the only Italian Faust I have ever met”) of creating a microcosm
to represent all the artistic and craft forms of Western civilisation of the past. In this he pursued
an idea of the “total” collection along historicist lines, and was strongly influenced by regular
advice from the critic Nino Barbantini, the great organiser of exhibitions at Ca’ Pesaro in Venice
from 1908 and curator of the memorable exhibition on Renaissance Ferrara at the Palazzo dei
Diamanti in 1933. This event also occasioned the publication of Roberto Longhi’s masterpiece
Officina ferrarese (1934) and the rediscovery in both academic studies and collecting of the art
from the Este period, which Vittorio Cini was clearly also attracted to, given the presence of
paintings by the principal 15th- and 16th-century Ferrara artists in his collection. In 1935 Cini
turned to Barbantini for the renovation of the recently acquired Ca’ Marcello, the castle at Mon-
selice. The aim was to make this building his preferred home, a dwelling
of delights and pleasures, full of “Estense memories”, in which Cini’s
collecting passion could be expressed best, in a perfect historicised container with an almost obsessive attention to the decorative arts. Cini’s
choice of Nino Barbantini – he was also to become the first president
of the Fondazione Cini in 1951 – reveals his lucid and modern outlook
when selecting his cultural reference points.
The Palazzo Cini: from residence to gallery
The Palazzo Cini Gallery was different in taste from Ca’ Marcello, as is
revealed by the period photographs documenting the new exhibition
layout in the second half of the 1950s. Modelled on criteria of noble
décor and inspired by a sober elegance reflecting an upper middle-class
model, which made Cini akin to the other great 20th-century collectors,
such as Angelo Costa, Luigi Magnani and Riccardo Gualino, the rooms
The oval room, designed by Tomaso Buzzi,
in the residence on the Grand Canal strike a fine balance between the
with the Cozzi porcelain
functional requirements of everyday living and the need to showcase the
rich collection of paintings through subtle stage settings. Here there was
none of the overload of decoration and objects shaping the interiors of the castle. The aim was
for more rarefied presences, in line with the new museum theories: an antique-style atmosphere
created by the wallpapers and damask tapestries (alluding to 17th-century galleries) highlights the
lucid language of the items chosen for the walls, cleverly avoiding any double rows. In addition to
the paintings, arranged according to principles of harmonious proportions and fixed to the walls
by means of chords that give the striking effect of suspension, the furniture is set out sparingly,
with some antique pieces, such as 18th-century consoles with intaglios, Renaissance cassoni in
gilded pastiglia or with wooden inlays, placed beside modern sofas and armchairs. As regards the
decorative arts, the dominant elements are, on one hand, the porcelain, including many Oriental
pieces and, on the other, silver and glass objects which through reflections and transparency play
with the light in the rooms, thus making the various material shapes more dynamic. Murano
glass chandeliers and Persian and Anatolian rugs further enhance the feeling of sumptuousness.
The rooms in the palace were modelled thanks to the design of a leading architect of the day,
who responded carefully to the principle of a “period” setting, which was the hallmark of the
Cini residences. The architect in question was the great Valtellinese designer Tommaso Buzzi
(Sondrio, 1900 - Rapallo, 1981). Buzzi was very active and had a broad aristocratic and uppermiddle class clientèle. He designed renovation and interior decoration projects for their palaces
and villas (to mention but a few: Volpi di Misurata, Papadopoli, De Lazara Pisani, Contini Bonacossi and Visconti di Modrone). Buzzi worked for Cini on several occasions, offering his creative
flair as early as 1938 when he was responsible for the restoration of the castle at Monselice: he
designed hanging gardens, open-air staircases, terraces and ponds that looked to the tradition
of the Venetian villa and in which we already begin to see what was to become the architect’s
neo-Mannerist style. Cini’s relations with Buzzi grew even more intense in the following decades
with the renovation of numerous residences, such as the villas in Rimini and Taormina, for
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which Buzzi also designed the furnishing. The architect began renovations on the palazzo at San Vio in the 1940s but it was from 1956
to 1958 that he made a crucial contribution through the creation of
the delightful neo-Rococo oval room, which occupies the area of the
demolished stairway up to the piano nobile, and the addition of a oval
spiral staircase to this building previously owned by the Grimani, Caldogno and Valmarana families. The idea for the style of the small oval
living room, with its delicate white vegetable-motif stuccoes adorning
the ceiling (made by Giuseppe Boccanegra, like those in other rooms
in the palace) came from the stunning hard-paste porcelain tableware
kept in the room. The tableware was made by the Venetian manufacturers Cozzi between 1785 and 1795. The fleshy scrolls of the sauceboats
and cream bowls and the floral motifs decorating the plates, cachepots
and glassware provided the decorative guidelines from modelling, white
on white, the corner cupboards and the mouldings of the plate racks.
Enamelled copper plate, Venetian manufacture.
This minor masterpiece of a museum design in a period style is a good
Galleria di Palazzo Cini at San Vio
example of Buzzi’s genius and flair as an interior designer. On Vittorio
Cini’s death in 1977, the enormous overall collection was divided up
between the heirs, after groups were created according to criteria of geographical areas and
schools. A few years later Yana Cini Alliata di Montereale made her donation and at the same
time ceded part of the family palace. This far-sighted action guaranteed the possibility of preserving the indissoluble bond between the works and their setting and led to the opening of
the gallery in 1984. The criteria for exhibiting the works on the piano nobile of the Palazzo Cini
complied with the principles that had guided Buzzi and Vittorio Cini in the interior design in
the 1950s. The paintings, sculptures and art objects were thus arranged according to a language
carefully reflecting that taste.
Inside the gallery
The collection rooms are entered from Piscina del Fornér, on Rio San Vio, which affords a view
out towards the Giudecca. You are immediately captivated by the discrete charm of the rooms
in the gallery. In this age of semiotic overload and communicational mishmashes the gallery
emanates a crystal clear message of taste and passion for the antique, which has preserved its
design intact.
In the first room, the deeply moving 13th-century processional cross attributed to Giunta Pisano
(and more recently to the master of Santa Maria Primerana) is painted on both sides with the
double image of Christus Patiens and Christus Triumphans. Of the type used in the mendicant
spiritual world, this cross is the first in an iconographic series of crucifixions, including the
stunning devotional crucifixion by the 15th-century Sienese artist Pietro di Giovanni Ambrosi.
A perspicacious interpreter of Sassetta, he was an exponent of that “umbratical Renaissance”,
which tempered the masses of the Masaccian tradition with courtly niceties. After having admired the series of French ivories, four bone artefacts with wooden inlays made by the workshop
of the Embriachi, two portable triptych altarpieces and two nuptial jewel cases (capsae), the
visitor’s attention is attracted to the impressive group of Renaissance
enamelled copper objects of Venetian manufacture, second for quality
and quantity only to the collection in the Louvre: the bowls, plates for
special occasions, mirror and table candlesticks all have enamel and gilt
decoration. They testify to a great interest in a workshop which seems
to have been active for two generations at most, providing table decorations, paci, reliquaries and frames. Incidentally, the copper items will be
the subject of an important international conference at the end of the
year, promoted in collaboration with the Musée du Louvre, Paris. These
splendid honeycomb enamelled copper objects with drop, raceme and
small leaf textures dialogue in the same showcase with a 13th-century
Limousin champlevé pyx bearing the owner’s crest.
2. The most striking works in the second room are the “Primitive Tuscans”,
and especially two Maestà (Enthroned Virgin and Child), which highlight affinities and differences between the Giottesque and Ducciesque
traditions in early 14th-century Tuscany, represented, on one hand, by
the Master of the Horne Triptych, recently identified as Gaddo Gaddi
and, on the other, by the Master of the Badia a Isola, a follower of the
great Sienese artist. Other works in the showcase include: a fine early
13th-century painting of the Virgin and Child by the Master of the Bigallo Crucifix; a Giottesque fragment with Two Apostles, comparable in
Piero di Cosimo, Madonna and Child with Two Angels.
Galleria di Palazzo Cini at San Vio
style to the Stefaneschi Polyptych; two panels by Taddeo Gaddi (mid-14th
century) from the predella of a dismantled polyptych; some Daddesque
works of private devotion; a beautiful panel by Guariento, once part of one of his early polyptychs.
There is also a wonderful 14th-century polychrome sculpture. This work with Tuscan elements is
an austere Virgin and Child, in which the Classical-like gravitas is combined with French influences.
The large luminous Polyptych Room opens out into Buzzi’s salotto, in which Cozzi’s fine porcelain
pieces are sumptuously laid out. The room takes its name from two perfectly preserved intact
polyptychs. The first is a work by an artist in the circle of Orcagna (the commission documents refer to the painter as “Francesco”). Characterised by smooth colours and intricate punchwork, it was
originally in the church of Santa Caterina in Pisa. The second polyptych is by Lorenzo di Niccolò
(1404). About to undergo a delicate restoration operation, it is a perfect example of early 15th-century neo-Giottism, expressed in the rhythmic compositions established by Lorenzo’s father, Niccolò
di Pietro Gerini. The room also has an interesting series of examples of the Sienese Quattrocento
(from Sassetta to the Master of the Osservanza Triptych, Vecchietta and Matteo di Giovanni) and
a solitary panel from a polyptych with Six Saints. Other pieces of this work associated with the
Master of the Silver Crucifix are in the Musée Fesch, Ajaccio and Switzerland. The fourth room
features the great masterpieces in the collection: a wood panel of the Virgin and Child with Saints
and Musician Angels by Filippo Lippi, which, from around the time of the Madonna of Tarquinia,
translates into painting Brunelleschi’s perspective and architectural ideas; a small panel with Saint
Thomas Aquinas by Beato Angelico from a dismantled high altar in the Dominican church of San
Marco in Florence (1438-1443); the stunning Madonna and Child with Two Angels by Piero di
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Cosmè Tura, Saint George.
Galleria di Palazzo Cini a San Vio
LEFT Ludovico Mazzolino, Pietà.
Galleria di Palazzo Cini a San Vio
Cosimo (c. 1507 ), still in excellent condition, in which the Leonardesque hints (from the Leda) are combined with reflections on Raphael’s
compositional textures in his Florentine works, especially the Canigiani
Madonna; a Virgin and Child, attributed by some to Piero della Francesca
and by others to Luca Signorelli; a large panel with the Judgement of Paris
by Botticelli and his workshop from the 1580s, with particularly fine
details, such as the urban views and a lively dog seen from behind; an exquisitely made small wooden panel of a Madonna and Child with Angels,
attributed to the circle of the Ghirlandaio (possibly Mainardi), on the
grounds of the delicate, gilded embroidery of the cushion and the billowing clouds, rendered with very fine brushwork. In this room we also find
a timeless masterpiece, arguably the greatest gem in the whole collection:
the Portrait of Two Friends by Jacopo Pontormo (c. 1522 ). The splendid
material texture of this work is heightened by transparent lacquers, the
dark tones of the drapery and the background, highlighting the flesh,
rendered with very thin pastes for the varnishing and the white borders
of the blouses. A key role in the painting is played by a missive, which
one of the characters, the nephew of the Florentine glass-maker Becuccio
Bicchierai, holds in his hand while pointing to a passage from Cicero’s De
amicitia, setting the seal on the philia for the Humanities. This painting
is a crucial work in 16th-century portraiture on the grounds of the acute
psychological characterisation and a subtle sense of anxiety.
The gallery itinerary ends with the room devoted to Ferrara painting and
some representative masterpieces from the period of the Este court, such
as the highly strung, electrifying Saint George by Cosmè Tura, painted
with the care of a miniaturist. It was once part of the Colonna Altarpiece,
a late work in the artist’s production, close to the stories of San Maurelio
in Ferrara. In the same room three small panels by Ercole de’ Roberti,
once part of the now dismantled Floriano Griffoni altarpiece, were made by a young Ercole working alongside the elderly Francesco del Cossa between 1470 and 1473 for the Griffoni family
chapel (granted in giuspatronato) in the church of San Petronio in Bologna. The Portrait of Tito
Vespasiano Strozzi by Baldassarre d’Este, on the other hand, is modelled on all’antica medals produced to meet an antiquarian taste, of which the artist was a well-known exponent. Three very
fine panels by Ludovico Mazzolino, from different stylistic phases, include the moving Pietà, based
on a model by Ercole de’ Roberti and permeated by an expressionistic pathos derived from Turi.
The last great work from the Estense age is the celebrated Allegorical Scene by Dosso Dossi, which
still awaits a convincing iconographic interpretation. Once part of the ceiling in Alfonso I d’Este’s
bedroom in the Via Coperta of the Ducal Palace in Ferrara, it can be dated to the mid-1620s. This
Dossesque rebus constructed with musical symbols and humanistic emblems further enhances the
considerable fascination of the Cini collection.
Luca Massimo Barbero
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Illuminated pages, cuttings and manuscripts
in the Fondazione Giorgio Cini: the general catalogue
The Fondazione Giorgio Cini has launched a project to catalogue its
collection of illuminated pages, cuttings and manuscripts, comparable in terms of type and quality to the Lehman collection in America
and the Wildenstein collection, now in the Musée Marmottan, Paris.
The final result will be a printed catalogue due to be published by
the end of 2014, co-edited by two experts in the field of illuminated
manuscript decoration: Massimo Medica, director of the Museo Civico Medievale, Bologna and Federica Toniolo, a lecturer in the history of the illumination, University of Padua. Many scholars will be
involved in the research project aimed at an in-depth collecting study
on provenances and systematic updates of individual items, which
Don Silvestro dei Gherarducci, Prophet with Scroll
together constitute a fascinating fresco of the history of illuminated
(cut-out initial U )
manuscripts in Italy from the Gothic period to the late Renaissance.
After fundamental studies by Pietro Toesca and Giordana Mariani
Canova, this collection of remarkable art-historical interest was awaiting complete cataloguing. The team of specialists have been asked to work together on a number of themes and
art-historical aspects by tackling formal and stylistic questions concerning the decoration of
manuscripts, but also aspects such as material production, the history of the reception and
transmission of knowledge, liturgy and history of the church. Overall this will bring out the
complexity and wealth of the artistic phenomenon of the Italian miniature. Considerable
attention will be devoted to reconstructing the original manuscripts from which pages and
cuttings have come and the liturgical series, with the recovery, where possible, of all the fragments from the same codices.
Featuring some of the most important collections of anthologies of illuminated leaves and
initials, mainly from liturgical books, such as antiphonals and graduals, the collection of miniatures spans a period from the 11th to 16th century. It entered the Fondazione Giorgio Cini
in 1962 through a donation by Vittorio Cini, who had acquired the largest group in 1939
from the antique bookseller Ulrico Hoepli (1847-1935) in Milan. In 1940 there was a second acquisition, again from Hoepli bookshop: a uniform group of miniatures put together
by Professor Mario Armanni. Lastly, in 1943 the collection was completed by a small corpus
purchased from Alessandro Cutolo (Milan). In subsequent years the collection was enhanced
by the occasional acquisition of illuminated manuscripts on the antiquarian market thanks to
Cini’s continuing passionate interest in antique books.
The nature and type of collection must be seen to the historical background of the widespread plundering of libraries in suppressed northern Italian monasteries and convents and
Maestro Olivetano, Christ Giving Communion to the Apostles
(cut-out initial C)
Filippo di Matteo Torelli, Saint Giovanni Gualberto in Glory
(detached page)
the overriding 19th and early 20th-century taste for “Italian primitives”. Some miniatures in the collection, cut out and assembled on
parchment leaves from different periods, are interesting evidence of
the fashion for pastiche and collage, a typical phenomenon of collecting culture in the first half of the 19th century. One emblematic collector in this sense was the Venetian art merchant Abbé Luigi Celotti
(1759-1843), and one example in the Cini collection is the miniature
of Christ Giving Communion to the Apostles by the Maestro Olivetano,
formerly in the Ottley collection. Sold in London in 1838, the Ottley collection had mostly been formed by the dismemberment of the
Celotti collection.
Although still requiring confirmation, it has been suggested that the
first group of miniatures that Ulrico Hoepli put together in the 1920s
(catalogued and published in 1930 by Pietro Toesca) was once part of
a larger collection belonging to the English painter, bibliophile and
collector Charles Fairfax Murray (1849-1919). Having been inherited
by John Murray, as documented by some period photographs in the
Fondazione Cini archives, the collection was presumably broken up,
sold on the Florentine antiques market (possibly by Bruscoli) and
eventually ended up in the Hoepli antique booksellers in Milan and
in the American collection of Robert Lehman.
The heterogeneous and variously stratified Cini miniature collection
is representative of the main Italian regional styles of illumination.
Its 223 pieces include some of the most important illuminators from
the late 13th to the early 16th century: Neri da Rimini, Niccolò di
Giacomo, Jacopo di Paolo, Lippo Vanni, Pacino di Bonaguida, Cristoforo Cortese, Berardo da Teramo, Belbello da Pavia, Franco dei
Russi, Taddeo Crivelli, Francesco di Antonio del Chierico, Filippo
di Matteo Torelli, Francesco Marmitta and Bartolomeo della Gatta.
Another field of enquiry for the large group of scholars, selected from
among the leading and best qualified specialists, will be the small
but invaluable group of manuscripts with which Vittorio Cini supplemented his valuable collection of cuttings. Some of these manuscripts are richly decorated and evidence of the high standards of Italian Renaissance illumination. One book formerly in the collection of
the antique bookseller Ulrico Hoepli and in the Cini collection since
1939 is the extraordinary – also on the grounds of its small size –
Book of Hours of Charles VIII of France, commissioned by the Duke
of Milan, Ludovico il Moro around 1494-1495 and then presented
to the king. This is one of the most refined exemplars of the Book of
Hours from the Lombard area. It is illuminated by Giovanni Pietro
Birago with lively images of the months expressed through seasonal
2 3 — I L L U M I N AT E D PA G E S , C U T T I N G S A N D M A N U S C R I P T S I N T H E F O N D A Z I O N E G I O R G I O C I N I T H E G E N E R A L C ATA L O G U E
farm work. Also from Hoepli, and previously owned by Ashburner, is
the Martirologio della Confraternita dei Battuti Neri di Ferrara. Accompanied by a volume with the texts of the “privileges” (printing rights)
issued by the Dukes of Este and first granted to the confraternity in
1489, this manuscript has meditations on the suffering of Christ on
the cross and of some martyr saints. It was intended as an aid for people condemned to death, preparing them for suffering and offering
them assistance and comfort according to charitable practices associated with a “good and saintly death”. The pages of text are alternated
with miniatures by two illuminators working at different times: one
early 15th-century artist from the Padua-Ferrara area in the tradition
of Jacopo Avanzi; and the Master of the Plinio di Pico, active in Venice
between 1469 and 1495.
There are also some very interesting Venetian statute books and mariegole, especially those belonging to the Rule of the Confraternity of
Santa Maria della Misericordia, the patron of merchants and mariners (the first page was illuminated in the early 14th century) and the
Master of the Plinio di Pico, Martyrdom of Saint James Intercisus
(illuminated page in Martirologio dei Battuti Neri di Ferrara)
manuscript of the Rule of the Corpus Christi Confraternity of San
Nicolò, whose incipit is a lively narrative scene of the Communion of
the Infirm Confrere with an illusionistic perspective background.
Alessandro Martoni
The manuscript of Stradella cantatas and arias
in the Malipiero Archive
Alessandro Stradella (1639-1682) spent most of the year 1677 in Venice. His stay in the city
and the admiration expressed by Venetian patrons for his music are documented by letters
kept in the library of the Museo Correr, Venice and in the manuscripts of vocal chamber music
written in Venice and now in several libraries: the Biblioteca Estense Universitaria, Modena
(I-MOe, Mus. G.209), the Museo Internazionale e Biblioteca della Musica, Bologna (I-Bc,
V.41), the Biblioteca Nazionale Marciana, Venice (I-Vnm, It. IV, 463) and the Fondazione
Giorgio Cini Library (I-Vgc, MAL.T.272). In summer 2012 , on the Island of San Giorgio, I
came across the latter manuscript, previously unknown to scholars in the field. The manuscript
reflects the interest in early music of Gian Francesco Malipiero (1882-1973). Acquired by
Count Vittorio Cini in the 1960s, Malipiero’s library includes important sections of 17th- and
18th-century music. Besides the Stradella manuscript, the collection has music by Antonio
Lotti (Masses), Agostino Steffani (duets), Arcangelo Corelli (sonatas), Francesco Geminiani
(concerti grossi), Benedetto Marcello (cantatas, duets and madrigals), Tomaso Albinoni (sonatas), Leonardo Leo (the oratorio La morte di Abele), Nicolò Jommelli (Miserere), Baldassare
Galuppi (sonatas), Domenico Paradisi (sonatas) and Giovanni Paisiello (the operas: I giouchi
d’Agrigento and Socrate immaginario).
Malipiero’s love for early music – he himself described it as a “source” for his own musical
development – often led him to reflect on the subject. An important section of the Malipiero
catalogue concerns his reworking of music by composers from the past. As Nino Pirrotta
pointed out in 1984 (when he also mentioned the composer’s interest in Stradella), Malipiero mainly used the sources in the Biblioteca Marciana: “In the year 1919 alone, Malipiero
published music – adding his own carefully composed figured basses – by Giovanni Battista
Bassani, Baldassare Galuppi, Nicolò Jommelli, Benedetto Marcello and Giuseppe Tartini. All
of these composers are well represented in the Marciana archives. Although the original printed
version of the Rappresentazione di Anima et di Corpo by a sixth composer, Emilio dei Cavalieri, was not owned by the Biblioteca Marciana, it could be consulted in a facsimile edition
of 1912. I would add to this list the names of Domenico Scarlatti and Alessandro Stradella.
Malipiero would surely have been able to study Scarlatti’s harpsichord music in the fifteen
invaluable Marciana manuscript volumes, even before the complete works were published by
Alessandro Longo from 1906 to 1910. The Biblioteca Marciana owns a volume of cantatas
and a volume of serenades by Stradella; this second volume was the source of the serenade that
was included in the Transcriptions for String Orchestra of 1930” (N. Pirrotta, “Malipiero e il filo
di Arianna”, in Malipiero scrittura e critica, edited by M. T. Muraro, Florence, Olschki, 1984,
pp. 5-19: 13-14). In addition to the transcription for string orchestra of the serenade entitled
Qual prodigio è ch’io miri (Milan, Ricordi, 1930), Malipiero also critically edited a canzone by
2 5 — T H E M A N U S C R I P T O F S T R A D E L L A C A N TATA S A N D A R I A S I N T H E M A L I P I E R O A R C H I V E
Stradella, published in the series Dieci cori antichi (“Ten Antique Choruses”) for the American
publishers Birchard & Co. (1928). Further evidence of Malipiero’s interest in Stradella can be
found in a notebook (now also in the Fondazione Cini) with his observations on the 17th-century composer’s music.
The Stradella musical manuscript owned by Malipiero (it probably came into his possession
after 1930) includes twenty-one chamber cantatas and two arias, mostly for soprano with basso
continuo. The manuscript is evidence of the reception of Stradella’s music in Venice; moreover,
its importance also lies in being the only source to have conserved some previously unknown
works in the catalogue of the composer from Nepi. One of these is the first cantata in the
manuscript, Sotto l’ombra d’un aureo diadema: a lament by Sultan Suleiman the Magnificent,
who despairs for having lost his realm in the battles against the armies of the Holy League.
The previously unknown cantatas also include two so-called “love letters”. The protagonist in
the first (Su quel candido foglio) is a woman prisoner who writes to her beloved about the suffering she must endure because of their forced separation. In the second “love letter” (Vanne
foglio amoroso), the narrative voice is that of the shepherd Fileno, who begs a nymph to allow
him to love her and pledges that his feelings for her will never waver. The text of the cantata
Bella rosa nel cui stelo, on the other hand, compares the fragility of the rose with human life,
worn out by so many trials. Another two cantatas in the manuscript previously not included
in the Stradella catalogue are Come in ciel dell’aureo crine, a song about a peaceful landscape
suddenly shaken by the outbreak of a storm (the image is a metaphor for the fickleness of
human feelings), and Affligetemi pur, memorie amare, in which a woman tells of her suffering
for having lost her beloved. These two cantatas are mentioned elsewhere but they had never
previously been attributed to Stradella. There is another musical source of the cantata Come
in ciel dell’aureo crine, albeit with no attribution and transposed for contralto: a British library
manuscript (Add. 24311) in London containing music copied for the cardinals Pamphilj and
Ottoboni in Rome. The text of this cantata was also set to music by Antonio Solino, as revealed
by manuscript 33.4.13(b) in the library of the Conservatorio San Pietro a Majella, Naples. The
cantata Affligetemi pur, memorie amare, on the other hand, is attributed to Giuseppe De Santis
in a manuscript (Chigi Q.IV.18) in the Biblioteca Apostolica Vaticana.
In addition to the unknown pieces, the Cini manuscript contains other cantatas: Chi non sa
che la bellezza (already known in sources in Modena, Munster and Naples), Sopra candido foglio
(Bologna and Cambridge), Arresta, arresta il piè (Munster, Hamburg and Paris), Piangete occhi
piangete (Venice, Modena, Naples, Vienna, Brussels and Kaliningrad), M’è venuto a fastidio lo
sperare (Naples, Munster and Paris), Disperata rimembranza (Modena, Naples and Cambridge),
Voi sete sventurate (Modena), Sì ch’io temo e non disamo (Modena), Chi dà fede alla speranza
(Modena, Florence and Bologna), Empio Amor, tiranno arciero (Modena), Forsennato pensier che
far poss’io (Munster, Cambridge, London and Oxford), Costanza mio core (Venice and Brussels),
Doppo haver soggiogato (Turin) and Se t’ama Filli, o cor, tu sei felice (Munster and London ), plus
the arias Avete torto (for contralto, already known in Modena) and Fedeltà sin che spirto in petto
avrò (Vienna and Munich). The vocal range required to perform all the cantatas and arias of the
manuscript suggest that it was not put together for a specific singer but copied for collecting
purposes; this does not, however, rule out that the copy may been used for some performances.
The loss of the original manuscript cover due to a massive rebinding
operation involving all the books of music in the Malipiero Archive
in the 1960s means there are no clues about the patron, such as coats
of arms or inscriptions often found on covers. An examination of the
paper making up the manuscript and the copyist’s style of writing
do make it possible to date the work to the second half of the 17th
century and to a copyist in Venetian circles, although the contents are
definitely associated with Rome. This connection is revealed by the
presence of the cantatas Come in ciel dell’aureo crine, copied in a codex
with music for the Roman cardinals Pamphilj and Ottoboni, Affligetemi pur, memorie amare, also found in the Chigi manuscripts, and
Alessandro Stradella, Sotto l’ombra d’un aureo diadema, Venice,
M’è venuto a fastidio lo sperare, a text by Giovanni Filippo Apolloni, a
Fondazione Giorgio Cini, MAL.T.272, c. 2r.
poet associated with the Chigi family and author of many texts set to
music by the composer. Although it is still not possible to provide an
exact date for the manuscript, it may be presumed that it was copied just after the composer
had stayed in Venice. As demonstrated by letters in the Museo Correr library, Stradella reached
Venice on 24 January 1677 and then had to flee the city in June, leaving his “stuff” (instruments and books of music) in his Venetian home; three months later he asked for these items
to be returned to him. The manuscript now in the Fondazione Giorgio Cini may well have
been drafted by copying those pieces left in Venice, many of which were certainly composed in
Rome. The finding of this volume of music by Alessandro Stradella in the Malipiero Archive
demonstrates that the Cini collections – even though acquired decades ago and often examined by scholars – are a treasure trove of precious items just waiting to be brought to light and
restored to their rightful place in history.
Giulia Giovani
Giulia Giovani has a Ph.D. in Musicology from the Tor Vergata University, Rome. She won a scholarship to the
Vittore Branca International Center for the Study of Italian Culture for the second semester of 2012 with a research
programme focused on the Malipiero Archive.
2 7 — T H E M A N U S C R I P T O F S T R A D E L L A C A N TATA S A N D A R I A S I N T H E M A L I P I E R O A R C H I V E
Monica De Vincenti
Scultura nei giardini delle ville venete. Il territorio vicentino
Marsilio, Venice, 2014
Promoted by the Fondazione Giorgio Cini
and the Regional Institute for Venetian Villas with the support of the Fondazione Giuseppe Roi, this book illustrates one of the
most interesting, richest but little studied
chapters in Veneto art: garden sculptures.
The book consists of a dense introductory essay plus descriptions of around one hundred
sets of statues. The almost mandatory starting
point for a survey of this kind is the Vicenza
area, since the golden age of the Venetian villa
principally unfolded here. Moreover, the vast
majority of the statues were made using stone
from the local limestone quarries. Lastly,
some of the most important Italian sculptors,
such as the Albanese and especially the Marinali, were continuously active in this area.
Together with other artists, including some
lesser known ones brought to light by recent
research, these sculptors gave rise to a “gallery” that is quite extraordinary in terms of
quantity and aesthetic standards.
Garden statues played a far from secondary
role in country residences since they were
deemed a necessary complement to the artful
manipulation of nature in providing enjoy-
2 8 — P U B L I C AT I O N S
ment for the country gentleman. The statues made crucial contributions to defining
the unmistakable spatial organisation of the
Venetian villa, which combines functional
logic and high aesthetic standards. In this
context the statues are like “semiophores”, still
capable of entertaining the perceptive viewer
in a intense, fruitful dialogue. Through their
remarkable wealth of formal elements and
subjects – on a par with the frescoes decorating the villa interiors – they offer highly
diverse meanings conveying the patrons’ desire to parade their privilege and rank, events
in their lives or cultural interests. They may
thus embody nostalgia for a lost Eden, outside of time, or the particular ideology of the
moment. This unique heritage, unfortunately
increasingly damaged by the ravages of time,
if not by culpable human neglect, has been
the subject of a long-term research project
conducted by the Regional Institute, aimed
at creating a complete catalogue of the sculptural works: i.e. the “Atlas of Veneto Garden
Statues”, which can be viewed on the websites
of the Fondazione Giorgio Cini and the Regional Institute for Venetian Villas.
Protecting Nature, Saving Creation
edited by Pasquale Gagliardi, Anne Marie Reijnen and Philipp Valentini
Palgrave Macmillan, New York 2013
This book is drawn out of a “Dialogue”, held
in Venice at the Fondazione Cini in September 2010, aimed at exploring the relationship
between ecology and theology. The meeting
involved experts from different disciplines
(theologians, anthropologists, ecologists,
economists, philosophers and historians),
sharing the awareness that the gamut of
passions mobilised by ecology so far has not
reached the level or intensity required for the
huge task facing humanity today concerning
the fate of the Earth. Can religions help us
tackle the ecological crisis we are now facing? Can we redefine our relationship with
the Earth, giving spiritual depth to ecological issues? How to mobilise the notions,
cosmologies and rituals characterising some
religious traditions without overlooking the
conflicts underlying the ecological debate
and the essential role of politics?
Giuseppe Pavanello
Domenico Pellegrini 1759 - 1840
Saggi e profili di arte veneta
Scripta edizioni, Verona, 2013
Venice, Rome, Naples, London, Paris, Lisbon:
even just listing the cities in which Pellegrini
worked gives us a good idea of his truly European scope. This book is the first monograph entirely devoted to the Veneto painter. Compared
to what was previously known about him, it includes a considerable number of fresh additions
to his catalogue, historical information and descriptions of relations involving artists, art dealers and more or less illustrious figures in often
adventurous historical situations – Pellegrini
was even deported to the Azores – in a period
which witnessed upheavals that changed the political set-up in Europe as in few other ages. As a
major artist in the field of portraiture, Pellegrini
travelled widely in Europe: in Italy with its ancient regime states and to Britain, Portugal and
France. This book also contains his unexpectedly important correspondence. On reading it,
2 9 — VA R I O U S A U T H O R S
we are surprised to learn how many relations are
woven into his biography, especially later on in
his life. After becoming well off enough to lay
aside his brushes, he enjoyed the good life in
several cities, such as London, Paris, Florence,
Venice and Rome. To illustrate this, we only
need mention the fact that the soprano Giuditta
Pasta was one of his closest friends. He was also
a friend of Antonio Canova. In 1813 he wrote
to the sculptor from London, “I wanted riches
but they have made me melancholic. Now I am
more cheerful, and one of these days I will set
fire to everything and be quite happy again. I
see that only paints and the palette really make
me happy. O how happy I should be to meet
again so many friends who will now be all wrinkles and I think I can see that they will laugh at
my own good looks, which are half Portuguese,
half English and a little French.”
La vendita Tiepolo (Parigi 1845)
edited by Giuseppe Pavanello
Fonti e Documenti per la Storia dell’Arte Veneta
Cierre Edizioni, Sommacampagna, 2013
Artists’ private art collections, like their libraries, are now a favourite subject of study in art
history research. They may shed light on individual culture and learning as well as possible
visual sources that may be a key to the secret
workshop behind artistic creation. In the case
of Giambattista Tiepolo, great progress has
been made on investigating what he actually
kept in his house and studio, such as his works
– paintings, drawings and engravings – which
even Antonio Canova had his eye on. The discovery of unexpected visual sources have revealed some fascinating interests. Tiepolo thus
appears to have made use of or borrowed from
the engravings of Dürer, Jacques Callot, Stefano della Bella, Pietro Testa and Giulio Carpio-
ni. He also looked very carefully at Rembrandt’s
prints and those made after Rubens, and so on.
One important document providing information about items owned by Giambattista and
his son Giandomenico is this catalogue for an
auction held at the Hotel des Ventes, Paris –
with M. Bonnefons de la Vialle as commissairepriseur – on 10-12 November 1845. The title alone is eloquent evidence of the variety of
the items: “Collection d’estampes anciennes
d’après et par des peintres et graveurs des écoles
d’Italie, d’Allemagne, de Flandre, de Hollande,
de France et d’Espagne. De dessins, d’anciens
livres curieux sur les sciences et les arts, de
nielles florentins, d’ornements pour l’orfévrerie
par des artistes du XVe au XVIIe siècle”.
Antonio Vivaldi
Tito Manlio, RV 738
Critical edition by Alessandro Borin
Edizione critica delle Opere di Antonio Vivaldi
Ricordi, Milan, 2014
Antonio Vivaldi’s Tito Manlio was performed
at Mantua, in the winter of 1719, as the second opera of the Carnival season presided
over by the plenipotentiary governor of the
city on behalf of the Habsburgs, Philip of
Hesse-Darmstadt. For this occasion, Vivaldi
dusted off an old libretto by Matteo Noris
centred on an episode in Roman history as
related by the Paduan historian Titus Livius.
Vivaldi’s setting is conceived as a sumptuous
nuptial homage, since the opera was planned
3 0 — P U B L I C AT I O N S
to form part of the celebrations organized
for the occasion of the marriage of landgrave
Philip to princess Eleonora Gonzaga of Guastalla, announced (and then equally abruptly
cancelled) only a few weeks before the opening night. The first part of the extended essay
introducing the critical edition reconstructs
(with the inclusion of hitherto unpublished
archival documents) the economic, ideological and theatrical context relating to Mantua,
showing what a profound influence it exerted
over Vivaldi’s work, and, in fact, over the
whole poetic and musical form of his Tito
Manlio. Establishing the critical text proved
to be a particularly problematic and laborious task, since in the course of the season
the opera was subjected to a radical revision,
as evidenced by two manuscripts of the complete score. The methodological stance adopted for this edition is based on the concept
of “opera as a social phenomenon” proposed by the American literary scholar Jerome
McGann, according to whom every artefact
belongs to a complex system of production
and consumption, governed by the interaction between author(s), performer(s) and
consumer(s), which has the power to influence the moment both of creation and, more
specifically, of reception.
Antonio Vivaldi
La fida ninfa, RV 714
Reduction for voice and piano
Edizione critica delle Opere di Antonio Vivaldi
Ricordi, Milan, 2014
Vivaldi set to music the libretto of La fida
ninfa, an opera in three acts by Scipione Maffei, for the inauguration of the new theatre
of the Accademia Filarmonica of Verona,
which took place on 6 January 1732, during
the carnival season, with sumptuous stage sets
by Francesco Bibbiena. The present reduction
for voice and piano, prepared by Antonio Frigé, is based on the critical edition of the score
prepared by Marco Bizzarini and Alessandro
Borin (publisher Ricordi, Milan, 2012).
Antonio Vivaldi
L’estro armonico, Op. III
Edited by Michael Talbot
«Edizione critica delle Opere di Antonio Vivaldi»
Ricordi, Milan, 2014
This most emblematic and historically significant of all Antonio Vivaldi’s published collections of instrumental music – the twelve
concertos that truly “launched” him in the
European musical world – are among the
most difficult of his works to prepare for modern publication because of the complex relationship between the lost manuscripts sent
by the composer to Amsterdam and the engraved edition that came out in 1711. Close
examination shows that in some cases the pu-
3 1 — VA R I O U S A U T H O R S
blisher, Estienne Roger, either misinterpreted
Vivaldi’s text or chose to alter it, particularly
through the addition of extra bass figures.
This emerges most clearly from a comparison of early manuscript versions of two of the
concertos (RV 567 and RV 578a) with their
printed versions. For the first time the edition of the set includes, as appendices, both
early versions. A detailed critical commentary is provided, and also many recommendations by the editor concerning interpretation
and performance style. The single-volume
edition of the fourteen concertos (i.e., the
twelve published by Roger plus the two men-
tioned manuscript variants) is now followed
by the publication in a separate volume of
each concerto.
Studi vivaldiani
Annual Journal of the Istituto Italiano Antonio Vivaldi
New series no. 13
S.P.E.S., Florence, 2013
Jóhannes Ágústsson, The Secular Vocal Collection of Jan Dismas Zelenka: A Reconstruction
Marie Cornaz, A Belgian Visits Antonio Vivaldi: The Musical Journey of Corneille van den Branden de Reeth to France and Italy
Luigi Cataldi, Goldoni’s Rejection of Vivaldi’s Griselda: The Story of an Exemplary Opera
Miscellany, compiled by Michael Talbot
Discographie Vivaldi 2012-2013, aux soins de Roger-Claude Travers
Arts and Artifacts in Movie
Technology, Aesthetics, Communication
An International Journal No. 9, 2012
edited by the Istituto per la Musica
Fabrizio Serra Editore, Pisa - Rome 2013
Horizons of the unpredictable
Margot Galante Garrone, Zanz8 1/2. In-chiostro a Follina in memoriam
Giovanni De Zorzi, La spaesata dimensione sonora in Ashik Kerib di Sergej Parajanov
Silvia Vincis, A father rewritten by his daughter. Saraband by Ingmar Bergman and A blessed
child by Linn Ullmann
Luca Bottone, Un bloc-notes di critica cine-videomusicale
Attack and retreat: ah, sempre questi italiani!
Damiano Gui, Alberto Savinio e il cinema. Una mitologia in atto
Roberto Calabretto Tra malintesi ed equivoci: la generazione dell’ottanta e il cinema.
Uno sguardo sugli anni trenta
Fausto Vittori, Voci fuori campo: quattro film di Paolo Virzì
3 2 — P U B L I C AT I O N S
Fondazione Eni Enrico Mattei
Fondazione Virginio Bruni Tedeschi
Pentagram Stiftung
Rolex Institute
cover The spiral staircase designed by
Tomaso Buzzi in the Palazzo Cini at San Vio