AA.VV.

1666–1747. L’Accademia Filarmonica di Bologna nella prassi editoriale e nella diffusione europea della musica strumentale

  • Publisher: Lim
  • Code: 9788855430272
  •   In Stock
  • € 38.00


Marc Vanscheeuwijck Introduzione/Introduction

Maria Paola Del Duca Una prole così privilegiata. I madrigali da camera ‘figli’ del Musico Prattico di Giovanni Maria Bononcini

Annarosa Vannoni – Romano Vettori 1666–1747. L’Accademia Filarmonica di Bologna nella prassi editoriale e nella diffusione europea della musica strumentale

Walter Kurt Kreyszig The Canon in Giovanni Maria Bononcini’s Instrumental Music, 1666–1678: Negotiating Between Compositional Practice and Music Theoretical Discourse

Guido Olivieri Due sonate per violoncello di Giovanni Bononcini in un manoscritto napoletano

Marc Vanscheeuwijck The Violoncello of the Bononcini Brothers
Angela Romagnoli «Per l’ammirabile armonia che spiegò con il flauto». Antonio Bononcini, Giuseppe I, Vienna e il flauto dolce: su alcune cantate inedite

Teresa Chirico «Che nel cielo d’Arcadia spunti il mio sol». Giovanni Bononcini e L’Amor eroico frà pastori (1696)

Rosalind Halton From serenata to opera stage: Giovanni Bononcini’s serenata Amor per Amore (Rome, August 1696) as inspiration and source material for Il Trionfo di Camilla (Naples, December 1696)

Elena Abbado La fortuna di Giovanni Bononcini a Firenze attraverso gli oratori e i centoni

Holly Roberts Divine Love, Death, and Penance in Giovanni Bononcini’s La Conversione di Maddalena

Chiara Pelliccia Le serenate romane di Giovanni Bononcini e Silvio Stampiglia per Lorenza de la Cerda Colonna

Federico Lanzellotti Sotto le ali della «grand’aquila»: L’Euleo festeggiante di Giovanni Bononcini

Livio Marcaletti ‘Viennese-Flavored’ Orchestration in Antonio Bononcini’s Stage Works for Emperor Joseph I: A Preliminary Inquiry

Michela Zaccaria La signora Bononcini e i comici dell’Arte


A cura di Marc Vanscheeuwijck

In 1666, the year of publication of the Primi frutti del Giardino musicale, a due violini e basso continuo (the first printed work of Giovanni Maria Bononcini), the Accademia Filarmonica of Bologna was founded. It quickly became the fulcrum of local and national musical life, an institutional point of reference for not only Emilian, but also Italian and European, professional musicians. At century’s end and in the decades to come, the Accademia gained great renown through its members, who spread the characteristics of instrumental and vocal music. The Bononcinis of Modena exemplify the excellence of this diaspora of Italian music and of its transfer abroad. This study is articulated in two tightly linked parts. The first half analyzes in depth the diffusion of the printed compositions of Bolognese Accademia members, first in Bolognese and then in European publishing. The publications of the Bononcinis are the first witnesses to the circulation of Italian music and treatises in an ever-broadening array of publishers and dedicatees.
The second part documents and illustrates the major theoreticians, performers, and composers of the Accademia Filarmonica in their activity through their works preserved and their performing forces. The research trajectory is based on Accademia documents, many unpublished, which have not yet been the subject of systematic study. These materials belong to both the historical archive and the original collection of music donated by the founder Vincenzo Maria Carrati and then enlarged by the Accademia members themselves. We will demonstrate the strongly organic nature of the seventeenth-century prints (including the treatises), a resource used in the weekly “exercises” and reference point for the theoretical debates in which the Accademia was the recognized international arbiter.

Author: AA.VV.

Code: 9788855430272

Codice int.: 317913