138 research outputs found
Arturo Toscanini e la direzione d'orchestra tra Ottocento e Novecento
No full textThe article focuses on Toscanini’s authoritative skill at the light of conducting emergence during the second half of the 19th century. It examines in particular the role played by repertoire and the related problems of interpretation, developed in Europe at the time of maestro’s early youth. From this point of view some details of his biography are regarded in relationship to previous experiences, namely those of A. Mariani and the unknown French musician M. K.
The author suggests also an unexplored musicological topic through the comparison between several handbooks and various Toscanini’s records. Even though it is incorrect to consider at the same extent different fields of sources, as the treatise and the performance, one can admit that the sketches of baton movements can be compared with the rehearsals and concerts recorded by the Italian conductor. Furthermore a short meditation on "Die Meistershaft des Maestro" (1958), an essay of Th. W. Adorno dedicated to Toscanini’s conducting, is joined. The negative judgement of the philosopher, who describes the interpretation of Toscanini as non romantic but also a mechanized manner influenced by the modern mass culture, opens today some hermeneutic perspectives of hearing
“L’Animo ciascuna sua passion sotto el contrario manto ricopre”. Guichardin et les passions “italiennes” dans le livre I des Essais
No full textThe article analyzes the relationship between history and the passions thorough the borrowings from the Storia d’Italia. Guicciardini by Francesco Guicciardini. Guicciardini's influence on the author of the Essais seems to extend to both the content and the form of the borrowed texts (their style, description techniques, and so on), and indeed to the treatment of the passions described. The analysis of the examples borrowed from Guicciardini in Book I fo the Essais leads to some initial conclusions ; although, there is further research yet to be done.L’étude analyse le rapport entre l’Histoire et les passions à travers les emprunts à la Storia d’Italia de Guichardin. L’influence de Guichardin sur l’auteur des Essais semble toucher tant le contenu des textes empruntés que la forme (style, modalités de la description, etc.), ainsi que le traitement des passions décrites. L’analyse des exemples empruntés à Guichardin dans le livre I des Essais permet de tirer les premières conclusions ; cependant, la recherche aurait besoin d’être poursuivie
"J'ay un dictionnaire tout à part moy": la pratique du 'dictionnaire' chez Montaigne écrivain italien
No full textThe article focuses on the writing of the italian part of Montaigne's "Journal the voyage". The author has maybe read or used grammar books, dictionaries or linguistic works to learn how to write correctly. The article gives a general overview of such linguistic production in the period of Montaigne's travel to Italy (1580-81)
L'adriatico e la ricerca dell'identità nazionale in musica
No full textThe author analyses Friedrich Meinecke's concepts of 'Staatsnation' and 'Kulturnation' in relation to tendencies of nationalism and cosmopolitanism in Italian, Slavic and German music in the region of the North Adriatic under the Absburg administration from 1860 to 1918 (Trieste, Istria, Rijeka/Fiume, Dalmazia).
With regard to nationalism, the biographies of Ivan von Zajc and Nikola Strmic, both supporters of Italian opera and later proponents of the national Croatian opera (Strmic only for a short period), are useful exemplars.Other composers, such as the Italian Antonio Smareglia and the Slovenian Marij Kogoj, kept faith with the cosmopolitan idea of the Austrian intellectuals (typical also of the non-German Austrians) and were inspired by the supranational music of Wagner and Schoenberg, becoming estranged in their native countries after the fall of the empire (i.e. in Italy and Yougoslavia)
L’Hippolyte de Jean Yeuwain (1591). Des chœurs “tournés de Sénèque”? Le cas du chœur de l’acte II
No full textJean Yeuwain’s Hippolyte (1591) is a rewriting of Seneca’s play. However, the author introduces new elements, some of which affect the role and the linguistic features, including the versification, of the four choruses, where novelty manifests itself to the utmost degree. The first is devoted to Venus “mère des deux Cupidons” (v. 389) and to her son, “cet Archerot” (v. 396) who is constantly teasing human beings; the second is a celebration of Hippolyte’s beauty, in a natural and bucolic setting. The third deplores the lack of harmony in Nature, despite it being perfect in the proportions of the stars and the skies; the fourth laments the inconstancy of Fortune (“Fortune perverse”, v. 1891), which especially endangers the richest and most powerful people, rather than the humblest.L’Hippolyte de Jean Yeuwain (1591) est une réécriture de la pièce de Sénèque. Cependant l’auteur introduit des nouveautés par rapport au texte source. Une partie importante de ces nouveautés concerne le rôle, la langue, y compris la versification, des quatre chœurs, qui deviennent des lieux de nouveauté. Le premier est consacré à Vénus «mère des deux Cupidons» (v. 389) et à «cet Archerot» (v. 396) son fils qui ne laisse jamais en paix les humains ; le deuxième élève un chant à la beauté d’Hippolyte fuyant, s’immergeant dans un paysage naturel et bucolique. Le troisième dénonce le manque d’harmonie de la Nature, qui pourtant est parfaite dans les proportions des astres et du firmament; le quatrième déplore l’inconstance de la Fortune («Fortune perverse», v. 1891), qui expose à des périls les hommes les plus riches et les plus puissants plus que les plus modestes
Nuove riflessioni sul canone teatrale del madrigale drammatico
No full textThe article deals with some case studies on theatrical spectacles with music, as the “mascherate” composed by Orazio Vecchi in Modena. Further, it examines some excerpts of the sixteenth-century Italian polyphony, which have not written for the stage, thus recreating the musical landscape inspired by popular songs and the onomatopoeic lexicon drawn from pastoral dramas and comedies before Vecchi’s "Amphiparnaso" (1597). In the second part, applying the criteria of narratology, the author analyses the works of Alessandro Striggio ("Il cicalamento delle donne al bucato", 1567), Gaspare Torelli ("I fidi amanti", 1600) and Adriano Banchieri ("La pazzia senile", 1607 2edn., "La prudenza giovenile", 1607, "La saviezza giovenile", 1628). This approach to the matter is required by the plot of the mentioned madrigal comedies, as suggested by stage directions, subtitles and various details joined to the introductions and intermedi. The co-existence of musical and stage traits acquires more evidence in Banchieri’s oeuvre, in which various accurate references to the scenarios occur, particularly referred to the staging of "Prudenza Giovenile". L’articolo presenta alcuni casi di testi di carattere teatrale posti in polifonia, di
citazioni di canti popolari o polifonici usati in spettacoli teatrali ed elenca le concordanze
tra le mascherate messe in scena da Orazio Vecchi a Modena e i brani da
lui mandati successivamente in stampa. Ciò allo scopo di dimostrare che la creazione
di un paesaggio sonoro di ascendenza rappresentativa è un patrimonio comune derivato dalla favola pastorale e dalla commedia, anteriore alla rivoluzionaria opera
compiuta da Vecchi con l’"Amphiparnaso".
Nella seconda parte l’autore ricorre alla narratologia per esaminare le composizioni
di Alessandro Striggio ("Il cicalamento delle donne al bucato", 1567), di Gaspare Torelli
("I fidi amanti", 1600) e di Adriano Banchieri ("La pazzia senile", ed. 1607, "La prudenza
giovenile", 1607, "La saviezza giovenile", 1628), poiché esse contengono didascalie e intermedi
che funzionano come veri e propri scenari di teatro. In questo senso rivestono
particolare importanza le indicazioni di Banchieri per un’autentica rappresentazione
della "Prudenza giovenile"
From the Morlack to the Slav: Images of South Slavic People between Exoticism and Illyrism in Italian Literature and Opera during the 19th Century
No full textAlberto Fortis’ “Viaggio in Dalmazia” (Padua, 1774) described for the first time the Morlacks (Cr. “Vlasi”) of the inner Dalmatia as the true model of a primitive group, whose characteristics became a source of inspiration until 1830s for some Italian writers and ballet composers devoted to exoticism. Contemporaneously, Homer’s paradigm, introduced by Melchiorre Cesarotti in the foreword to the Italian version of the poems of Ossian (1763), as quoted by Fortis, was in turn transformed by the composer and doctor of Split Giulio Bajamonti. Even though published in Italian, Bajamonti’s “Morlacchismo d’Omero” (Venice, 1797) must be considered as the first contribution to the romantic Croatian literature. In fact, the essay recognizes in the poetry and music of the Morlacks the authentic national spirit of South Slavic people. At the light of Vico’s “Scienza nuova” (1744) the author renews Homer paradigm to show close ties between the Morlack’s way of life and the Homeric heroes’ behaviour in the Iliad. Further, he compares the Morlack “guslar”, who plays by heart epic verses, to the ancient Greek bard.
The figure of the Morlack disappeared around the 1840s, at the time when some intellectuals of Dubrovnik and Venice edited articles and novels on Serbs, Croats, Bosnians and Montenegrins in the Italian periodical “La Favilla”. With the aim of creating a unifying language in the Balkan area and the Slavic lands of Mitteleuropa, writers such as Ivan August Kaznačić, Medo Pucić, Niccolò Tommaseo and Francesco Dall’Ongaro promoted in Trieste the Serbo-Croatian literature based on the unwritten tradition of the guslari’s epic songs. These intellectuals, as supporters of the Illyrian Movement born in Croatia, exalted the South Slavic epic in rejecting the well known Italian and “Gothic” literatures (i.e. English and German). The Romantic vision of a standardized South Slavic type substituted the previous wild Morlack but not his culture. This phenomenon involved two composers of the 1860s, Nikola Strmic di Valcrociata and Pietro Platania, who wrote new operas on this topic, always characterizing the South Slav as primitive, honest, hospitable and vindictive
Istarske glazbene teme i portreti od 16. do 19. stoljeca
No full textThe book “Themes and Portraits of Music in Istria from 16th to 19th Centuries” is a revised collection of essays previously published in Italian, Croatian and Slovenian. It can offer a comprehensive survey on various aspects of music history of Istria between 16th and 19th century. In a wider sense, it considers the role of music in different contexts examining the patronage of churches, academies and noblemen within the frame of a multilingual area, in which Italian and Slavic cultures co-existed, Divided between Venice and Habsburg government, and now between Slovenia, Croatia and Italy (with the small town of Muggia), the peninsula, till today, represents an unsolved issue if the historians watch to Italian music as the unique “national” model of music art. On the contrary, until 19th century Italian music was a supranational/cosmopolitan phenomenon that covered both the coastal towns, namely inhabited by Italians, and the inner cities, where Slovenians and Croats settled.
The first chapter is devoted to Gabriello Puliti, a Tuscan friar appointed organist and chapel master in Trieste, Muggia, Koper, Piran, Labin, Pula. Puliti, the most representative composer who increased the 17th-century monody in Istria, worked as a protégé of some local noblemen and the Habsburgs, as Ferdinand archduke of Graz. His three voices “mascherate” (“Ghirlanda odorifera”, 1612), composed in honour of Tranquillo Negri, a nobleman and poet of Labin, are compared to the carnival masquerades described by the chorographer Giacomo Filippo Tomasini (cf. the 17th-century manuscript “Commentari storici-geografici della provincia dell’Istria”). The primary poetic source of “Ghirlanda” is Giulio Cesare Croce’s “Le ventisette mascherate piacevolissime” (1603), and the theatrical suggestion in these “Ghirlande” is frequently emphasised by the openings of the poems where the characters are represented by the motto “Noi siamo”. They represent an imaginary gallery of the Italian comedy based on parodies of several dialects and languages. Puliti’s approach to this genre is linked in various ways to musical painting. Almost every piece is marked by some distinctive features, whose purpose is to depict the characters in a very refined manner. To this end Puliti resorts to three different degrees of mimesis: onomatopoeic sounds, the imitation of human voices, and the abstract imitation of words through mensuration and the intensive use of the “coloured” notes (“Augenmusik”).
Probably Puliti entered to the Palladia Academy of Capodistria (now Koper) with the nickname “Accademico armonico detto l’Allegro”. This academy was an important circle of intellectuals that in seventy years of activity (from 1567 to 1637) promoted some pastoral plays with music (cf, “Filliria” 1585, “Selve incoronate” 1590 and other pastorals) and published an important treatise titled “Dieci de’ cento dubbi amorosi” (posthumous, 1621). To demonstrate the extraordinary effect of music in human behaviour, this platonic dialogue contains a series of references drawn from Plato, Horace, Macrobius, Boetius, Ficino and Jewish theologians collected in Francesco Zorzi’s “Harmonia mundi” (1525). In choosing different sources from the classic and medieval philosophies, Giambattista Zarotti, one of the authors of the dialogue, exceeds the lavish quotations, which are used as a tool for a new proposal. He aimed at giving a modern commentary on the debate on music and feelings, evaluating the ancient theories on the basis of modern music.
Another study focuses on the unknown book “Ghirlande conteste” (1588), a set of intermedi staged in the island of Cres and published by Stefanello de Petris in honour of Sebastiano Quirini. These mythological spectacles, with chorus, consort and singers, exalt the benefits in behalf of the island, given generously by the cleaver count Quirini. The accuracy of description lets us acquire a detailed reconstruction of the sceneries and performances of musicians, even though, as it is custom in theatre, the score was not printed.
The following chapters deal with Antonio Tarsia’s monodies written for the Koper’s cathedral, which are compared with the contemporaneous work of Giovanni Legrenzi, and two treatises written by Gianrinaldo Carli during his stay in Padua (1740/50), on the concepts of genius and “sentimental music” applied to Giuseppe Tartini’s instrumental works (“Dell’indole del teatro tragico”, “Osservazioni sulla musica antica e moderna”). Influenced by the English Enlightenment, on the example of Richardson’s “Pamela”, Carli developed a revolutionary idea of “sentimental theatre and music” inspired by nature. He promoted both a simple music and a simple stage upon realistic performances, without any implication with the cultivated tragedies of the conservative Italian writers of his time.
Finally, the author analyses the operas “Pittori fiamminghi” (1893) and “Nozze istriane” (1895) of Antonio Smareglia, in which the technique of the Wagnerian leitmotif appears. Smareglia, educated in Milan and Vienna, as an Italian-Croatian-German speaking rejected the national ideas of his time. Involved in the cosmopolitan atmosphere of Central Europe, he did not accept the fall of the Habsburg Monarchy and, as a consequence, he developed a special feeling for a supranational drama based on the Italian librettos translated into German. Alike some artists and writers, after the collapse of the Austro-Hungarian Empire, Smareglia experienced and shared the unhappiness of the so-called “Austrians without Austria”
ORAL CONTRIBUTION - “Three-dimensional anisotropic electronic properties of solution-grown semiconducting organic single crystals” - PRESENTING AUTHOR
No full textOcular blood flow evaluation in injured and healthy fellow eyes
No full textPURPOSE. To assess if injured eyes develop ocular blood flow disturbances that may contribute to development of traumatic glaucoma. METHODS. Twenty-five eyes of 25 patients hospitalized from January 1997 to July 1999 for blunt (15) or penetrating (10) eye injury and elevated intraocular pressure (IOP) (> 23 mm Hg) were controlled at least 24 months after the trauma and underwent visual field examination, pulsatile ocular blood flow (pOBF), and color Doppler imaging (CDI) analysis of ophthalmic artery, central retinal artery, nasal and temporal short posterior ciliary arteries. Uninjured healthy eye was used as control. RESULTS. IOP was significantly higher in injured eyes (15.1 +/- 3.3 vs 13.0 2.7 mmHg; p < 0.01), but only 2 eyes (8%) were under medical treatment. pOBF values were significantly lower in injured eyes: 11.25 +/- 6.56 muL/sec in the trauma eyes and 15.40 +/- 7.29 in fellow eyes (p = 0.002). Resistivity index of all investigated retrobulbar vessels was very significantly higher in injured eyes than in fellow eyes (p < 0.0001). There is no significant correlation between IOP and ocular blood flow disturbance. CONCLUSIONS. Long-term follow-up (mean 39 +/- 12 months) of injured eyes shows, besides a slight but significant increase of IOP, a very significant impairment of ocular blood supply to injured eyes compared to healthy fellow eyes with reduction of pulsatile ocular blood flow and marked increase of resistance to flow in all retrobulbar vessels. These anomalies may be considered an independent risk factor to develop traumatic glaucoma
- …
