Rivista Italiana di Musicologia, XLI/1 (2006)



  • Gianciarlo Rostirolla, Eventi musicali sacri e spirituali nella Roma di Innocenzo X Pamphilj (1650). Abstract.
  • Carmela Bongiovanni, Luigi Boccherini a Genova (1765, 1767): novità e precisazioni. Abstract.
  • Claudio Bacciagaluppi, Primo violoncello al cembalo: sulla prassi esecutiva dei recitativi semplici nel primo Ottocento. Abstract.
  • Christiane Strucken-Paland, La ciclicità nella 'Sonata per violino' di César Franck: una revisione critica del concetto di 'principe cyclique' di Vincent d'Indy. Abstract.


  • Andrea Frova, Quale temperamento per Bach?


  • Il Canto Fratto, Un repertorio da conservare e da studiare, Atti dei Convegni tenuti a Radda in Chianti dal 1999 al 2004, a cura di Giacomo Baroffio e Michele Manganelli, Corale S. Niccolò Radda in Chianti, Settembre 2005 (Domenico De Cesare)
  • Grammatio Metallo, Ricercari a due voci (Venezia ante 1591), a cura di Lapo Bramanti, Bologna, Ut Orpheus Edizioni, 2005 (Piero Gargiulo).
  • Gaspare De Caro, Euridice. Momenti dell'Umanesimo civile fiorentino, Bologna, Ut Orpheus Edizioni, 2006 (Michelangelo Gabbrielli)
  • The Grotesque Dancer on the Eighteenth-Century Stage. Gennaro Magri and His Word, ed. by Rebecca Harris-Warrick and Bruce Alan Brown, Madison (Wisconsin), The University of Wisconsin Press, 2005 (Barbara Sparti)
  • Scapigliatura e fin de siècle. Libretti d'opera italiani dall'unità al primo Novecento. Scritti per Mario Morini, a cura di Johannes Streicher, Sonia Teramo e Roberta Travaglini, Roma, Ismez, s.d. [2005] (Carmela Bongiovanni).
  • La cultura dei musicisti italiani nel Novecento, a cura di Guido Salvetti e Maria Grazia Sità, Milano, Guerini, 2003 (Carlo Benzi).
  • Luca Lombardi, Construction of Freedom and Other Writings, Baden Baden, Verlag Valentin Koerner, 2006 (Enrico Fubini).


  • Aldo Castellani, Nuovi Canti Carnascialeschi di Firenze. Le 'canzone' e mascherate di Alfonso de' Pazzi, Firenze, Olschki, 2006 (Marta Marullo).
  • Elisabetta Pasquini, L'Esemplare, o sia saggio fondamentale pratico di contrappunto. Padre Martini teorico e didatta della musica, Firenze, Olschki, 2004 (Marina Toffetti).
  • Wolfgang Amadeus Mozart. L'autografo dei quartetti 'Milanesi'KV 155-160 (134a, 134b, 157-159, 159a) nella Musikabteilung della Staatsbibliothek (Preussischer Kulturbesitz) di Berlino (Segnatura: Mus MS. autogr. W. A. Mozart 155-160), edizione in facsimile a cura di Giacomo Fornari, Lucca, LIM, 2006 (Marta Marullo).
  • Francesco Attardi, Viaggio intorno al Flauto Magico, Lucca, LIM, 2006 (Marta Marullo).
  • F. Liszt. List of works, ed. by Michael Short and Leslie Howard, premessa di Rossana Dalmonte, Milano, Rugginenti, 2004 (Andrea Estero).

Libri ricevuti 

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Claudio Bacciagaluppi

Primo violoncello al cembalo: sulla prassi esecutiva dei recitativi semplici nel primo Ottocento

Chordal realisation of figured bass on the cello, a widespread baroque practice now slowly resurfacing in historically informed performances, survived in Italy until the early 20th century in the accompaniment of simple recitatives in comic opera repertoire. In Germany the tradition was lost soon after 1800; in Paris it was maintained for some time only owing to the Italianate performing practice at Napoleon's court and at the théâtre italien. When tracking the performing circumstances in Italy, many related topics need to be touched upon, such as the presence and the role of a 'cembalo' in the theatre orchestra, the nature of the keyboard instrument, the seating arrangement, the ratio of the cellos to the double basses, and the Italian three-stringed double bass. On the whole, conservative traditions were dominant in Italy and lost their strength only after 1850.



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Carmela Bongiovanni

Luigi Boccherini a Genova (1765, 1767): novità e precisazioni

An investigation on music in Genoa that takes account of the passage in this city of a personality among the most important in the international music scene in the late eighteenth century form the aim of this contribution. Nowadays we can affirm with certainty that Luigi Boccherini was in Genoa both in 1765 and in 1767. As documented in the Stati delle anime of the genoese parish of San Siro, in 1765 Luigi lived with his father Leopoldo at the genoese dwelling of the builder of musical instruments Cristiano Nonnemacker and his large family. It is no coincidence that his house was just a few steps far from the Church and Oratory of St. Philip Neri for whom Boccherini wrote the two oratorios Giuseppe riconosciuto and Gioas (the latter still lacks the start of the second part). The date of composition of his oratorios is almost definitely due to 1765. After the death of his father in 1767, Luigi Boccherini went back to Genoa. This time, as attested from the Stati delle anime of the parish of Santa Maria delle Vigne, he found lodging alone in the palace of 'Signori' Rovere, still visible on the genoese Rovere place. Just in the spring of that year, Luca Fabris played an aria especially written by Boccherini to be performed in the main theater of the city, the Sant'Agostino (until 1770 still owned by the family Pallavicini). In September 1767, Boccherini was probably paid by a member of the Pallavicini family, Giuseppe (belonging to the cadet branch of this family), for one or more performances, as documented in an ambiguous note. From this notice, included in his record of personal expenses by Giuseppe Pallavicino, we can imagine a connection with the future Spanish career of Boccherini: Giuseppe and his brother Domenico Pallavicini were cousins in the second degree with the Secretary of State of the king of Spain, the Genoese Gerolamo Grimaldi (1710-1789). The latter, strongly linked to his homeland, had at the same time a great influence in the Spanish Court where he was Segretario de Estado from 1763 to 1776. He belonged through his mother to the first branch of Pallavicini: infact his mother, Giovanna, was cousin of Giuseppe and Domenico's father, Paolo Gerolamo III (died in 1736).
In Genoa, one of the stages of the journey of young Boccherini, many sources are preserved of his music, and even some unica or manuscripts kept in very few copies elsewhere (the two oratorios Gioas and Giuseppe riconosciuto are just one example). Some of these Genoese sources are the result of his musical activity in Genoa between 1765 and 1767. Just the direct examination of musical sources stored in the library of the local Conservatory in Genoa, some of them certainly of Genoese origin, given the outcome of comparative examination of watermarks, can also provide important answers on their origin, on the historical ties with the city that host them and especially on Boccherini's activity during his brief stay in Genoa, at the moment little known.
Boccherini was employed as a musician and composer in two well-defined areas in Genoa: firstly the élite composed of the most remarkable Genoese patrician families, secondly the Church and Oratory of St. Philip Neri in Genoa. The musical activities of this sacred institution in the second half of the eighteenth century are poorly documented by the heavy register accounting still preserved in the archive of St. Philip Neri: while providing some details on costs for music by the fathers of St. Philip, it is almost totally silent on musicians engaged in the orchestra and choir of St. Philip Neri, as well as the composers of oratorios performed annually, during the winter season.



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Giancarlo Rostirolla

Eventi musicali sacri e spirituali nella Roma di Innocenzo X Pamphilj (1650)

Back in 16th-century Rome, a tradition of journals arose, reporting sacred and secular events—liturgies, rites, and festivals held in sacred places during the Holy Years—to glorify the Church, the Christian civilization, and the Pope's leadership. In the 17th century, in particular, day-by-day printed and manuscript record of major events, compiled by writers, academics, and the clergy often hosted relevant musical information—e.g. performances of oratorios and sacred cantatas, musical chapels of renown, brethrens and orders parading with singers and players. The emerging overall picture is interesting not only for the study of period musical life, but also for a history of Baroque festivals. Giovanni Simone Ruggieri's journal of the 1650 Jubilee is a case in point. It was not unknown to 17th-century Roman music and theatre historians, yet systematic research unearthed an unexpectedly large amount of significant musical/historical facts. After a general introduction, these are reproduced here in chronological format, as an aid to scholars, in three distinct appendices.



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Christiane Strucken-Paland

La ciclicità nella 'Sonata per violino' di César Franck: una revisione critica del concetto di 'principe cyclique' di Vincent d'Indy

Vincent d'Indy was the first to describe César Franck's principe cyclique in detail. However, his analysis, published in the Cours de composition, is sometimes inexact and often one-sided. To underline the cyclic interconnection d'Indy uses metaphors of architecture, literature and biology which are meant to illustrate the identity of themes resumed in different facets. In many respects his often quoted analysis of Franck's violin sonata shows defects which require a correction: contrasting with d'Indy, the motifs x, y and z figured out in his analysis belong to different layers of the setting; the transformations of themes have to be considered concerning their function and degree; furthermore d'Indy omits some themes which are also important for the cyclic construction and must therefore be added. As a corrective, this article develops some categories which are to analyse thematical recapitulations (reminiscences, quotations and transformations of themes) in Franck's violin sonata. These categories show some affinities to techniques of literary connection, they are geared to a psychological logic of remembrance and association and indicate the specific concept of time on which Franck's principe cyclique is based: a concept of stagnation and memory contrasting with a teleological development that cannot be integrated.