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Organi mobili e regali nelle chiese di Milano nei secoli XVII e XVIII
No full textPortable organs and regal organs in the churches of Milan between 17th and 18th century.
The changes in musical taste during the golden era of sacred music in Milan (the central part of 18th century) caused a sudden and definitive drop of the regal organs in the churches with none of them left in the city. For the same reasons, in the following century many portable organs were sold to smaller churches in the suburbs or given to organ builders as a partial payment for their new organs built in the latest fashion, these new organs made their way into Milan only at the beginning of 19th century. Without any surviving of these older little organs, the archival documents at least allow to report about this common practice in the liturgical music of the time
La vera storia del Requiem di Verdi. Musica, politica e religione sull'altare (della Patria) il 22 maggio 1874
No full textLa mattina del 22 maggio 1874, nella chiesa milanese di San Marco, Giuseppe Verdi diresse il suo Requiem per il primo anniversario della morte di Alessandro Manzoni. La ricorrenza del centocinquantesimo dal debutto dell’omaggio che il compositore di Busseto volle tributare ‘a quel Santo di Manzoni’ ha avviato un’indagine volta a svelare la vera storia del Requiem di Verdi. I documenti d’archivio restituiscono una narrazione divergente rispetto alla vulgata che vede nel Requiem un concerto lirico camuffato da musica sacra
Organi e organisti nella Ca’ granda e nelle chiese ospedaliere di Milano fra XVI e XIX secolo
No full textIn the modern era, charity towards the poor people in the city of Milan was not provided just by medical care and subsistence. The beauty of art and music during the liturgies celebrated in the churches annexed to hospitals, conservatories and charities, were a balsam for both the soul and the body. This essay considers the history of music, organs and organists in the churches managed by the Ospedale Maggiore in Milan from the era of S. Carlo Borromeo to the verge of WWI: the church of SS. Annunciata alla Ca’ Granda, with an organ tradition dating from the one by Michelangelo Valvassori to the complete rebuilt by Pietro Bernasconi in 1889, the foppone of S. Michele ai Nuovi Sepolcri (today known as Rotonda della Besana), the Pia casa of S. Caterina alla Ruota and the church of S. Maria alla Senavra in the Casa de’ Pazzi
I fondi musicali napoleonici della Biblioteca del Conservatorio “G. Verdi” di Milano: la musica sacra
No full textThe recent discovery of the inventory of the music of the Napoleonic Court of Milan has started the investigation aimed at finding the scores of those funds in the Library of the Milan Conservatory. The analysis of the scores of sacred music, together with the consultation of documents and ancient testimonies, restores the picture of the liturgical and musical practice of the chapel of S. Gottardo in Corte of Milan in the Napoleonic period
La musica sacra a Milano fra il ventennio francese e l’episcopato del cardinale Gaisruck attraverso le testimonianze del Fondo musicale del santuario di San Celso nell’Archivio Storico Diocesano di Milano
No full textDuring the years of Cardinal Gaisruck's episcopate, the process of critical reflection on the state of stalute of sacred music in the churches of Milan began. The Restoration years saw the restoration of liturgical and musical activity after the Napoleonic restrictions. This process does not take on the connotations of a faithful restoration to the ‘status quo’ of the late 18th century, but inevitably the demands of the imminent Risorgimento creep into the liturgy as well
Mottetti sacri nella Milano del XVIII secolo
Get PDFIn the second half of the 18th century, the liturgical-musical practice of Milan’s churches viewed the sacred motet as sealing a particularly exciting era in the history of Modern-age Milanese sacred music. Political and economic stability produced a flowering of the arts which led to frequent stagings in the city’s churches involving music chapels and the most acclaimed musici. Inserting itself into the wake of a centuries-old tradition, the sacred motet reached full maturity in the mid-18th century and stood as a distinctive trait of contemporary sensibilities by virtue of adopting the most current and effective musical language. This can be seen reverberating in both the textual and stylistic components of the subjects composers adopted: on the one hand we see the motets of blessed angelic contemplation (with Mozart’s Exultate, jubilate standing out) while on the other hand are those in tempesta. This paper follows the development of the sacred motet in Milan from the mid-18th century until it naturally died out in the years of the Restoration
Paolo Sperati (1814-1881): storia di un organista milanese
No full textLa biografia dell’organista milanese Paolo Sperati (1814-1881), autore di una fortunata serie di messe d’organo costruite con celebri temi operistici, è stata sino ad ora confusa con quella di un omonimo compositore e direttore d’orchestra piemontese espatriato in Svezia. L’apparente incompatibilità fra il contesto culturale in cui tradizionalmente si pensava Sperati avesse operato e una produzione liturgica marcatamente patriottica (e ambrosiana) non sembra esser stata rilevata dai molti che ne hanno riproposto l’opera organistica. Studi musicologici sullo Sperati piemontese e inediti documenti d’archivio milanesi hanno permesso di ricostruire la vicenda biografica dell’omonimo musicista di chiesa che fu per lunghi decenni maestro di cappella e organista nelle chiese di S. Francesco di Paola e S. Giorgio al Palazzo di Milano, apprezzato didatta, compositore di musica sacra e anima – insieme a Carlo Fumagalli (1822-1907) – delle fortunate iniziative editoriali finalizzate alla circolazione di repertorio organistico per tutte le mani
Storia, teoria e pratica della musica nei conventi dell'Italia settecentesca: il caso di Milano
No full textThe reconstruction of the musical events of the Franciscan churches of Milan has shown the insertion of the Milanese Franciscan musical habits in a circuit of national scope - from the relationships of the Milanese convents with the sum auctoritas of Father Martini to the presence of figures such as Father Francesco Anotnio Urio who concluded in Milan, a career that saw him wander throughout Italy - and the city dimension that exalted the two teachers and theorists of eighteenth-century Milan: padre Narciso da Milano and padre Giandomenico Catenacci
Non solo partiture: fonti musicali di età moderna all'Ambrosiana
No full textThe musical holdings of the Biblioteca Ambrosiana in Milan offer a privileged vantage point from which to reconsider the very notion of what constitutes a “musical source” in the early modern period. Far from being confined to scores and musical manuscripts, the Ambrosiana preserves a remarkably diverse range of materials — theoretical treatises, correspondence, pedagogical manuals, liturgical texts, and documents of a non-musical nature — which, when examined together, reveal the cultural and institutional density of Milan’s musical life over the past four centuries. Alongside medieval codices and printed collections of sacred and secular music, the library houses important works of music theory by Angelo da Pizzighettone, Nicola Vicentino, and Vincenzo Galilei, as well as normative writings on canto fermo by Camillo Perego and other early modern treatises. Equally significant for the city’s cultural and musical history are diaries, gazettes, periodicals, and encomiastic publications that record the reception, circulation, and daily practice of music within the more than three hundred churches of seventeenth- and eighteenth-century Milan. Sources such as the Diario milanese of Don Giovanni Battista Borrani or the Ragguaglj di Varj Paesi, when read alongside the musical manuscripts of Gianandrea Fioroni, Carlo Monza, and Agostino Quaglia, demonstrate how musical activity was embedded within broader cultural frameworks that extended far beyond the purely musical domain. This plurality of perspectives encourages us to move beyond the traditional hierarchy of sources and to regard every document — whether a score, a theoretical treatise, an archival record, or a narrative chronicle — as part of a shared evidentiary corpus. Taken together, these materials enable a more coherent reconstruction of early modern Milanese musical practice and reaffirm the Ambrosiana’s role as a vital repository for understanding the intersections between music, written culture, and institutional history
Nicola Zingarelli e la musica sacra a Milano (1785-1796)
No full textNicola Zingarelli lived in Milan in the last quarter of the 18th century and composed sacred music commissioned by Duke Serbelloni. Thanks to the success achieved at La Scala with some operas, Zingarelli tried to obtain the position of maestro di cappella of the Duomo. In 1787 he composed the Oratorio della Passione for Milan
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