'Padron mio colendissimo...': Letters about Music and the Stage in the 18th Century
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Description
This volume explores the important role which epistolary exchanges play in the reconstruction of musical and theatrical contexts all over Europe in the early modern age, with particular attention to the century of the Enlightenment. Correspondence often bears witness to the reconstruction of performers' careers and theatrical venues, and to the transfers of professionals and repertoires, as well as to social themes and production issues. Archival sources, private letters, and official documents are not only rich in precious data and information, but can also provide elements for new research perspectives related to their methodological implications and to the interpretation of the music and theatre of that period, as well as to questions about historical performance practices and their current revival.
Auteur
Iskrena Yordanova is violinist and musicologist. Her main research interest focuses on Portuguese and Italian 18th-century repertoire. Since 2014 she is coordinating the research activities and international conferences at "Divino Sospiro Centro de Estudos Musicais Setecentistas de Portugal". She edited serenatas and oratorios by D. Perez, N. Jommelli, J. Cordeiro da Silva, J. de Sousa Carvalho and P. A. Avondano. Cristina Fernandes is a contracted researcher at INET-md, Universidade Nova de Lisboa. She took part in several research projects and has published on various topics related to music and the performing arts in the 18th century, such as ceremonial and performance practices at the Portuguese Royal Chapels, patronage and diplomacy, musicians' professional careers, and cultural transfers between Portugal, Spain, and Italy.
Résumé
This volume explores the important role that epistolary exchanges play in the reconstruction of musical and theatrical contexts all over Europe in the early modern age, with particular attention to the century of the Enlightenment. Correspondence often bears witness to the reconstruction of performers' careers and theatrical venues, and to the transfers of professionals and repertoires, as well as to social themes and production issues. Archival sources, private letters, and official documents are not only rich in precious data and information, but can also provide material for new research perspectives, related both to their methodological implications and to the interpretation of music and theatre in a given time and place, along with raising questions about historical performance practices and their current revival.
Contenu
Introduction ISKRENA YORDANOVA CRISTINA FERNANDES Lettere dal passato: testimoni poco attendibili e tuttavia insostituibili RAFFAELE MELLACE PART I THE LETTERS OF PIETRO METASTASIO I codici e il racconto: per l'edizione dell'epistolario di Metastasio ALBERTO BENISCELLI Esercizi di stile: le lettere del giovane Metastasio da Napoli FRANCESCO COTTICELLI PAOLOGIOVANNI MAIONE PART II THE IMPERIAL COURT IN VIENNA AND ROME "un sommo profitto sotto la direzione del nostro Signor Bononcini": Giovanni Bononcini e la serenata Sacrificio a Venere (Roma, 1714) FEDERICO LANZELLOTTI Fra editi-inediti del carteggio DurazzoFavart: scenografi parigini a Vienna per gli spettacoli del 1760 ARMANDO FABIO IVALDI PART III LISBON La politica del teatro e il teatro della politica: le lettere del Nunzio apostolico e altri carteggi sulla musica a Lisbona (17421755) GIUSEPPINA RAGGI Um espectáculo preso por um fio JOSÉ CAMOES PART IV CENTRAL ITALY "Questo è l'unico mio divertimento": notizie musicali da Roma, Napoli, Milano e Venezia nelle lettere del Conte Francesco Maria Zambeccari (17011744) SERGIO MONFERRINI Patrimoni, matrimoni e tresche di virtuose, cantanti, canterine e figlie da camera attraverso le lettere di supplica ai loro Serenissimi Padroni VALENTINA ANZANI Epistolary Triangles between Bologna and Madrid: Bernacchi, Farinelli, Raaff, and Martini's Storia della musica ELISABETTA PASQUINI Teatro a Bologna tra villeggiatura e accademie: questioni di prassi scenica dai carteggi di Francesco Albergati Capacelli ELENA ZILOTTI Il carteggio di Violante di Baviera come fonte di studio dello spettacolo italiano ed europeo del primo Settecento LEONARDO SPINELLI PART V NAPLES La "corrispondenza" dei Conservatori Napoletani nel XVIII secolo MARTA COLUMBRO CHIARA MACOR Notizie su strumenti musicali a Napoli da epistolari della seconda metà del Settecento FRANCESCO NOCERINO PART VI VENICE AND SPLIT "Lettera a Noi": Su alcuni casi di lettere-recensioni nella Gazzetta Urbana Veneta del 1789 LORENZO MATTEI GIOVANNI POLIN The European Enlightenment Spirit in the Correspondence of the Croatian polyhistor and composer Julije Bajamonti IVANA TOMI FERI "dove sono le belle melodie de' nostri antichi": pratiche musicali ed estetica ancien régime nei carteggi di Giovanni Battista Perucchini MARIA ROSA DE LUCA CARLIDA STEFAN PART VII NORTHERN ITALY Appalti, subappalti, suppliche e divieti: scorci di vita concreta al Regio Ducal Teatro di Milano ALESSANDRA MIGNATTI Rif lessi del teatro d'opera nel carteggio dei fratelli Pietro e Alessandro Verri CESARE FERTONANI Sull'utilità della musica nella "Moderna educazione" (1771) PAOLA BESUTTI Organi "spiritosi" nel secondo Settecento sabaudo, tra scrittura cembalo-organistica, musica sacra e trattatistica musicale PAOLO CAVALLO Chronicles of two Piedmontese in Paris: The stage designer Ignazio Degotti and the composer Gian Battista Viotti ELISA CAZZATO PART VIII HAMBURG The repertoire of the Hamburg Theater in the letters of Friedrich Ludwig Schröder to Friedrich Wilhelm Gotter SONIA BELLAVIA PART IX BETWEEN THE OLD AND THE NEW WORLD Cartas sobre teatro para um salão literário setecentista MARTA BRITES ROSA The Letters of Joseph Quesnel and the Creation of the First Canadian Opera KURT SVEN MARKSTROM APPENDIX INDEX OF PERSONS LIST OF ILLUSTRATIONS
