Contrafacta. Music with nex texts for new contexts

Si terrà dal 25 al 29 marzo presso il Conservatorio ‘Arrigo Pedrollo’ di Vicenza (Contra’ S. Domenico 33) la Spring School internazionale Contrafacta, per studenti di musicologia o di Conservatorio interessati all'ambito della musica antica. L'iniziativa è organizzata in collaborazione con il Dipartimento dei Beni Culturali: archeologia, storia dell’arte, del cinema e della musica dell'Università di Padova, sotto la responsabilità scientifica di Marina Toffetti. Nel leggi tutto la presentazione e il programma,

The process of the European dissemination and assimilation of Italian musical culture has for years been at the center of the attention of an international research group active in the field of musicological studies. The circulation
and reception of the small-scale motet in the first decades of the seventeenth century was the focus of the previous International Winter School, held in Milan from 20 to 24 February 2017. The Spring School to be held in Vicenza
from 25 to 29 March 2019 will focus on the phenomenon of the European circulation of Italian madrigals subjected to different processes of re-textualisation and adaptation.

Monday, March 25
Conservatory of Vicenza, Sala Capitolare

9.30-9.45
Opening and welcome
(Roberto Antonello, Director of the Conservatory of Vicenza)

9.45-10.15
Presentation of the teaching staff and of the program

10.15-11.00
Introductory lecture. The phenomenon of re-textualization: cultural aspects and musical implications (Marina Toffetti, University of Padua)

11.00-11.30 Coffee break and informal discussion

11.30-13.00
Collaborative workshop: editing contrafacta between text adaptation and music adjusting

13.00-14.30 Lunch

14.30-16.30
A stroll through Vicenza and a visit of the Cathedral

17.00-18.30
Performing contrafacta. Andrea Gabrieli, Non ti sdegnar / Ne confide
(Stefano Lorenzetti, Conservatory of Vicenza*)

Tuesday, March 26
Conservatory of Vicenza, Sala Capitolare
9.00-10.30
Analysing contrafacta. The madrigals by Marco Scacchi, maestro di cappella at the Polish royal ensemble in the 17th century: problems of re-textualization (Aleksandra Patalas, Jagiellonian University, Cracow)

10.30-11.00 Coffee break and informal discussion

11.00-11.30
Research project. The R.I.M. (Rinascimento Musicale Italiano) data-base. A tool for research in the field of re-textualized madrigals (Marco Giuliani, Conservatory of Foggia)

11.30-13.00
Collaborative workshop: re-textualization

13.00-15.00 Lunch

15.00-16.00
The Teatro Olimpico: structure, acoustics and interactive visit

16.30-18.00
Performing contrafacta. Marco Scacchi, O come sei gentile / Herr für dein Angesichte (Stefano Lorenzetti, Conservatory of Vicenza*)

18.00-19.00
Conservatory of Vicenza, Sala Concerti Pobbe: Concert East & West
(Luca Santaniello, violin - Davide Vendramin, accordion, music by schnittke, Bartok, Stravinskij e Piazzolla)

Wednesday, March 27
Conservatory of Vicenza, Sala Capitolare

9.00-10.00
Research project. Whose song is this? A short story of musical exchange, textual adjustments and confessional confrontations in 17th-century Silesia (Katarzyna Spurgjasz, University of Warsaw)

10.00-11.00
Research project. Italian secular music and Protestant devotion in Thuringia: Backhaus’s re-texting of canzonas, canzonettas and madrigals in his Primus liber suavissimas [...] Italianorum cantilenas (1587) (Michael Chizzali, Johannes Gutenberg-Universität Mainz)

11.00-11.30 Coffee break and informal discussion

11.30-12.00
Conservatory of Vicenza, Church of San Domenico: organ demonstration (Andrea Zeni, Op. 40): Alberto Girardi** and Elia Bortolomiol**

12.00-13.00
Collaborative workshop

13.00-14.30 Lunch

14.30-16.30
Visiting Vicenza: Gallerie d’Italia Palazzo Leoni Montanari, the Church of Santa Corona and its historical organ (De Lorenzi, 1856). Organ demonstration: Mirco Vicentin***

17.00-18.30
Performing contrafacta. Andrea Gabrieli, Non ti sdegnar / Gott ist getreu (Stefano Lorenzetti, Conservatory of Vicenza*)

Thursday, March 28
Conservatory of Vicenza, Sala Capitolare

9.00-9.30
The new textualization of Giacomo Finetti’s motets in the German anthologies printed during the 17th century (Valeria Mannoia, University of Pavia-Cremona)

9.30-11.00
Analysing contrafacta. Arde Filli d’un viso / Isti sunt triumphatores: a re-texted madrigal by Stefano Landi, ascribed to Giacomo Carissimi (Lars Berglund, Uppsala University)

11.00-11.30 Coffee break and informal discussion

11.30-13.00
Collaborative workshop: re-textualizing the madrigal Arde Filli d’un viso

13.00-14.30 Lunch

14.30-16.30
Visiting Vicenza: the Palladium Museum

16.30-18.00
Performing contrafacta. Stefano Landi, Arde Filli d’un viso / Isti sunt triumphatores (Stefano Lorenzetti, Conservatory of Vicenza*)

Friday, March 29
Conservatory of Vicenza, Sala Capitolare

9.30-10.00
Research project. Reworking instrumental music: Giovanni Battista Riccio’s canzonas in the light of his borrowings from Giovanni Gabrieli (Marco Di Pasquale, Conservatory of Vicenza) Live performance: G. B. Riccio, Canzon La Rubina; Fabio Missaggia and Matteo Anderlini violins; Argentina Becchetti viola da gamba; Stefano Lorenzetti harpsichord****

10.00-10.30
Research project. Reconstructing the original lyrics of the concerto Mutetta super Nicolai Solemnia by Franciszek Lilius (Marek Bebak, The John Paul II Catholic University of Lublin)

10.30-11.00 Coffee break and informal discussion

11.00-11.30
Research project. Dall’altra parte dell’Adriatico / S druge strane Jadrana: the exchange of music and musicians between Adriatic coasts in the early 17th century (Dario Poljak, Zagreb)

11.30-12.00
Research project. From Padua to Nuremberg and Leipzig: Lodovico Balbi’s madrigal Mentre pastori e ninfe (Chiara Comparin, University of Padua)

12.00-13.00
Collaborative workshop: text adaptation

13.00-15.00 Lunch

15.00-16.00
Discussion: evaluation; suggestions; where next?

16.00-16.30 Coffee break and informal discussion

16.30-18.00
Visiting Vicenza: the Civic Art Gallery of Palazzo Chiericati

 

With the collaboration of the classes of Baroque singing (Gemma Bertagnolli*), Vocal chamber music (Elisabetta Andreani*), Organ (Amarilli Voltolina** and Pierluigi Comparin***) and of the Department of Ancient Music**** of the Conservatory of Vicenza.

 
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