17th Century Music

Communication lors du colloque international « Performing Monteverdi’s L’incoronazione di Poppea Today (L’Incoronazione di Poppea di Monteverdi e la sua esecuzione e messa in scena oggi) » organisé par Ellen Rosand et Mauro Calcagno dans le cadre du Festival Morelli, à la Fondazione Ugo e Olga Levi, à Venise (Italie), les 13 et 14 mai 2025.

Duke Carl Eugen von Württemberg spared no expense in creating magnificent and innovative opera, ballet and theatre at his court in Stuttgart by engaging renowned musicians, dancers, singers, actors, composers (Jommelli), choreographers (Noverre), costume designers (Boquet), and scenographers (Colomba) from Italy and France for his productions. As Colomba took a leave of absence in 1763-4 and N. Servandoni from Paris was appointed as his substitute, the creation of the stage decorations for the opera Demofoonte (and its ballet intermedia) is well documented in the archives. Colomba initially wanted to reuse existing decorations for 4 of the 8 stage sets – a pragmatic solution in view of his imminent absence. However, with the appointment of Servandoni, plans changed: not only were 6 new sets produced – 2 of them by Servandoni, who also created 13 new sets for the two ballets – but they were also more elaborate than originally planned, i.e. the number of flats and set pieces was increased.
None of the stage decorations for Demofoonte have survived; only the description in the festival book provides clues as to their appearance and effect. However, Portici, Atrio, Piazza, Porto di mare, Luogo magnifico etc. were typical stage decorations for an Italian opera. Comparisons with surviving stage sets, designs, presentation sheets and prints by Colomba, Servandoni and contemporary scenographers can provide further clues.
By comparing Metastasio’s indications in the libretto, the archival documents and the corresponding dramatic and musical setting, I would like to analyse the following:
Does the more elaborate design of the stage sets have an impact on the (visual) dramaturgy or stage action of the opera? Or did it merely enhance the splendour of the production?
I will concentrate on the stage sets which show multiple locations. The stage set Atrio del tempio di Apollo (II,8-10) is of particular interest for this type. Firstly, because Metastasio requires that the singers also act pantomimically in this stage set. Secondly, it also has the task of visualising the preliminary events leading up to the scene, thus it has an enhanced dramaturgical function.

Method for harmonising a ‘given classical style melody’ :

1. Method (4 chapters)
2. Mechanical exercises
3. Texts and answers

(in french)
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Méthode pour harmoniser un "chant donné de style classique" :

1. Méthode (4 chapitres)
2. Exercices mécaniques
3. Textes et corrigés

Esta base de datos, resultante del proyecto FONDECYT 1230736, incluye 2146 registros correspondientes a partituras de villancicos de la época colonial que se han conservado en Hispanoamérica.
Ha sido publicada como conjunto de datos en el Repositorio de Datos de Investigación de la Pontificia Universidad Católica de Chile.

Claudio Monteverdi revived his second opera, "Arianna" (Mantua, 1608; now mostly lost) for performance in the new public opera houses of Venice in 1640. A close examination of the sources reveals what he added and removed, and also prompts consideration of how the opera was first staged some thirty years before.

Ivan Jarnović/Giovanni Giornovichi1 (1747–1804), slavni violinski virtuoz, koncertirao je u mnogim europskim gradovima i na plemićkim dvorovima izvodeći vlastite skladbe. U tekstu se analizira njegov nedavno istražen kratak boravak u Stockholmu početkom 1803., a njegova se aktivnost uspoređuje s tipovima i mogućnostima djelovanja u ostalim europskim središtima, što baca i posebno svjetlo na kulturnu klimu u švedskoj prijestolnici.

The revised English edition of Borbála Gulyás's 2020 Bocskay György kalligráfus művészete, which derived from her PhD thesis defended in 2013, was published in 2023. 1 The monograph introduces the lifework of George Bocskay, who was the sole calligrapher of Hungarian descent recognized for his contribution in calligraphy at the Habsburg court in Vienna. After giving a historiographic survey, Gulyás delves into the history of George Bocskay's family. 2 Born into the Slavonian side of the family, also known as the 'Raszinyai branch, ' he was the second cousin of Stephen Bocskay, the later prince of Transylvania, who belonged to the 'Kismarja branch' . The family had owned estates in the southern region of the Kingdom of Hungary since the fifteenth century. Concerning Bocskay's family, in this richly illustrated chapter we see the letters patent in part (p. 28) and in full (p. 34), along with its verbatim Latin text (pp. 32-34), issued to Bocskay and his siblings, which is addressed in a separate subchapter, indicating the thorough scholarly research conducted by the author. The following subchapter presents Bocskay's immediate family, his wife and his children, while the subsequent one exhibits the calligrapher's last will and testament. The recently discovered testament is crucial due to its reference to Bocskay's calligraphic activity, because in it he bequeathed his related books and tools to his sons. The verbatim Latin text of his will is also displayed (pp. 38-41). The second chapter follows Bocskay's administrative career from the inception to the conclusion of his thirty-year tenure at the Habsburg court in Vienna. He embarked on his journey as a scribe (notarius) at the Hungarian Court Chancellery, later served 1 Gulyás, Bocskay György kalligráfus művészete.

Novembre 1713 12 novembre. Nell' anno 1713, in cui nel novembre il padre Giambattista Pettinati successe nella congregazione al padre Giacomo Troger, cominciammo la congregazione a' 12 di novembre ove vi concorsero più sodali, che in verun giorno dell'anno scaduto. Si fece il sermone, e si distribuirono i santi del mese. Fù avvisato il padre preside, che sia meglio distribuire i santi del mese doppo il sermone, come già prima si usava, avvegna che molti vengono tardi, a' quali con molestia di tutti bisognerebbe darli il santo al fine. 19 novembre. Si recitò tutto l'officio de' morti, avendo così giudicato la più parte de' sodali per essere la prima volta. Si raccomandò la bisognevole per la festa della presentazione titolare della congregazione, e doppo un breve sermone si terminò il secondo convento. 21 novembre. Nella festa titolare della congregazione si comprarono 8 candele per l'altar grande, e due più piccole per l'altarino della Madonna; quelle per l'altar maggiore pesavano oncie sette l'una, le altre erano di 6 oncie. Si fece ornar l'altare al solito, e s'invitò a' primi vesperi, ed alla messa cantata a ponteficar l'illustrissimo signor Giuseppe barone della Rovere. Si mandarono otto giorni prima per le chiese le indulgenze e 48 Valja napomenuti kako nisu sačuvani zapisi od svibnja 1716. godine (str. 302) do kolovoza, vjerojatno 1749. godine (str. 617). Fontes 25 (2019) 355 nione il sagristano portommi la cera in camera. Alcuni sodali danno una petizza per una candela. Giudico, che alle volte si possa accettare, perché forse darebbono niente. Per altro in questa solennità la nostra congregatione non à niente fuori della communione generale. 7 gennaio si distribuirono i santi del mese, e si recitò l'ufficio per Giorgio Francovich. Doppo l'ufficio avanti l'esortazione s' avvisarono, che diano le candele quelli, che non la diedero per avanti, altrimenti saranno avvisati. 14 di gennaio. Si recitò l'ufficio de' morti per l'illustrissima signora Cecilia Zanchi nata Terzi e doppo terminato il sermone si raccomandò maggior dilegenza nel frequentare la congregatione i si fecero descriver tutti i nomi dal catalogo, poiche in altro libro non si trovan tutti, per far l'addietro un bell'ordine, acciò tutti si notino, e si sappia chi non frequenta. 21 Con consenso di tutti si recitò tutto l'ufficio de' morti pe' l padre Giambattista Schinderich, e poi coll' esortazione si terminò il convento. 28 gennaio. Si recitò l'ufficio per il mese de' morti, ed essendo stati pochi si differi la distribuzione de' santi del mese per la seg. congregatione. Febraio 4 Si recitò l'ufficio de' morti per Michele Stembergar, che da noi fu sepolto al solito a' 22 dello scaduto. Non furon date le consuete due torcie per essere stato povero il defonto. Si raccomandò la divozione per le 40 ore negl' ultimi tre giorni di carnevale e finita l'esortazione, e distribuiti i santi del mese si terminò il convento. 18 si recitò l'uffizio de' morti per lo mese e si promulgarono le indulgenze, e cosi coll'esortazione si terminò la congregatione. 25 l'esortazione colla promulgazion dell'indulgenze. Marzo 4 l'officio de' morti co' santi del mese. Furono avvisati chi recitassero più adagio l'officio, e che comparissero alla messa che si dirà per i morti ogni mese, e doppo promulgata le indulgenze si finì la congregatione colla distribuzione de' santi del mese. L'esortazione fù della crocifissione etc. A' 6 il padre preside lesse messa per i sodali morti, ove invitati come è l' usanza ogni mese, comparvero. Si posero 6 candele. Alli 11 di marzo si fece l'esortazione della Vergine dolorosa per tutto il tempo della congregatione i e mentre 〈più〉 avanti Pasqua non si frequenta, si avvisarono i signori sodali a voler comparir venerdì 23 del corrente a celebrar la festa de' dolori, ed a visitar Fontes 25 (2019) 357 10 giugno La rinovazione del magistrato, alla quale comparvero molti signori. Il padre preside invito l'illustrissimo baron capitano col B. Giulio, che furono pronti. Poi il segretario col vice sergretario invitarono il magistrato con altri gentiluomini si ecclesiastici si secolari. Il reverendissimo arcidiacono trovato da me in Collegio s'invitò sicche i primi personaggi della città comparvero. Recitò l'orazione il signor pre Moglè, ad le due altre piccole dicerie li signori Paduan, e Bianchi. Sucesse dunque solenissimamente il tutto. Monsignor vescovo Marotti non s'invitò per non metterlo forse col capitano in rischio di competenza. 17 giugno si recitò l'uffizio de' morti pel mese, poi si promulgarono gl'uffiziali restanti, come si vedranno notati nel libro grande, si raccomandò a' Tironi d'insinuarsi, ed a chi fu sodale nella congregatione degli scolari ad insinuarsi per essere iscritto, si promulgarono le indulgenze, e finita l'esortazione si terminò la congregazione colla distribuzione de' santi del mese. 24 giugno il giorno della Natività di san Giambattista a cagion della fiera non fu congregatione Luglio 1 L'uffizio tutto de' morti pel signor Bartolomeo(!) Stemberg lette l'indulgenze, e fatta l'esortazione si terminò la congregatione colla distribuzion de' santi del mese. Furono pochi, perche era solito, che non sia congregatione se sono vesperi, come oggi furono per la festa della visitazione titolare della congregatione degli scolari. 8 L'uffizio de' morti pel mese, e doppo l'esortazione si promulgò la mesa, e terminossi la congregatione 15 I vesperi, e la compieta della Madonna coll'esortazione 22 Non fu congregatione per la festa della Madonna del Carmelo, poiche è gran festa nel duomo, ed a Tersatto. A' 16 sepillimmo il proto Famoia, a cui assistè sin all'ultimo il padre preside. A' 29 recitammo l'uffizio pel defunto Famoia, e doppo l'esortazione dati i santi del mese si terminò etc. Agosto 5 L'uffizio de' morti coll'esortazione. 12 I vesperi, e compieta della Madonna coll'esortazione 19 L'uffizio tutto de' morti per Antonio Tomicich coll'esortazione 26 si fecero alcuni sodali con una brieve esortazione si animarono ad esser veri figli della baronessa e poi si fece la distribuzione de' santi per due mesi doppo recitato tutto l'uffizio de' morti pel signor Gaetano Marotti morto a Graz 15 agosto. 2 settembre ultimo congresso, che si termina coll'uffizio intiero de' morti coll'esortazione. Ai 5 di settembre sepelimmo l'illustrissimo e reverendissimo signor Ignazio de Terzi canonico d'Aquilea, e sebbene non era scritto nel catalogo, non di meno fu scritto a bella posta, acciò questo caso non tirasse consequenze, e fu sepolto come sodale, e stimato da tutti per tale. Si fece questo agio a quella cosa illustrissima, tanto più perchè il predetto barone Ignatio era affetissimo a noi, e pareva in bontà, ed affetto un angiolo di Dio. Ai dieciotto si seppellì il signor Marco Kerne sodale antico, e benefattore, ed essendo il padre preside negli esercizi, il padre Raicich lo supplì. A' 9 d'ottobre il signor barone Sigismondo Hundt, e poco doppo patron Marco Fracassa. Morì Paulo Debellaz a segnio circa i primi del novembre. Morì poi Tommaso Premus, Nicolò Bono Novembre Agli undeci si cominciò la prima congregatione si recito l'ufficio tutto de' morti per la prima volta, e doppo l'esorzione(!), e l'avviso per la presentazione si terminò senza distribuir i santi del mese perche erano pochi. Avanti pranso sepelimmo Michele Schittar. 28 L'uffizio pel baron Ignazio Terzi, avanti l'esortazione si avvisò un'altra per la festa titolare col raccomandarli le candele, e l'offertorio, e che venghino copiosi, poi doppo l'esortazione si distribuirono i santi del mese. 21 La festa della presentazione vennero da ottanta, ed il baron capitano mandò pure la sua torcia. All'altare furono 16 candele, si comprò l'incenso, s'invitarono i musici per i primi vesperi, per la messa, e per i secondi vesperi il padre preside invitò il baron capitanio, e mandò il segretario con un compagno ad invitar il parroco Monaldi a primi vesperi, ed alla messa. I sagrestani invitarono gli altri. L'offertorio fu sotto il credo. E così si terminò con pompa solenne la funzione. A' 29 non fu congregatione perche cominciava la Novena di san Saverio. Decembre 2 non fu congregatione perche furono i vesperi di san Saverio. 9 L'offizio de' morti tutto pel signor Marco Kerne, e doppo l'esortazione i santi del mese. Si lodarono quelli, che furono diligenti nella festa titolare della presentatione. Fontes 25 (2019) 359 16 L'uffizio tutto pel barone Sigismondo Hundt, e l'esortazione terminò il convento. A 11 sepelimmo Nicolò Bono. 23 L'uffizio tutto pel paron Marco Fracassa, e l'esortazione finì la congregatione 26 morì Steffano Paganetti 30 Tutto l'uffizio per Paolo Debellaz, e doppo l'esortatione s' indisse la communion generale per l'anno nuovo col raccomandar le candele a chi non la portò la festa 31 Sepelimmo Michele Salon Marangone. Gennaio 1715 A' 2 di gennaio sepelimmo il signor d. Luca Lepsanich sacerdote 6 si recitò l'uffizio de' morti tutto per Tommaso Premus, e doppo l'esortazione si distribuirono i santi del mese. Cadde la festa de' Tre Rè in domenica , e pur fu congregatione, alla qualle copiosissimi comparvero. A' 13 L'uffizio de' morti per lo mese, e doppo promulgate l'indulgenze, e raccomandata la mesa per i morti del mese coll'esortazione si terminò il convento. 20 Tutto l'uffizio de' morti per Michele Schittar. Si avvisarono i temmi, che restassero all'istruzione doppo (?) la congregatione si fece poi l'esortazione, e si finì colle nozze di Cana(?) allegramente. 27 Tutto l'ufficio per 〈Nicolo -Bono Michele Schittar〉 mese, e coll'esortazione si terminò il congresso. A' 3 l'uffizio tutto per paron 〈Steffeno Poganetti〉 Nicolo Bono, e doppo l'esortazione si distribuirono i santi del mese. A' 10 l'uffizio de' morti per Stefano Poganetti, e post exhortationem terminatis congressis. 14 dominica. Septembris tutto l'uffizio per Michele Solan(?), e doppo l'esurtazione etc. 24 L'uffizio de' morti tutto pel signor don Luca Lepsanich e doppo l'esortazione si raccomandò la divisione in questo...

The Senhor dos Passos procession in São Cristovão (SE/Brazil) is a 18th century tradition that is practiced up today at the city. In this paper we present the outcome of a documental survey conducted upon moteto`s sources still sung at the procession, with regards of understanding aspects of its origin, structure and style. In this context, it was necessary an archival survey in musical files, a bibliography and field research. The documental analysis allowed us to locate musicographic sources of the moteto`s practice in other localities in Sergipe. Therefore, attesting the continuity of this tradition up to present days.

Composta em 1824, a Missa Breve de Marcos Portugal é uma obra marcante do repertório musical brasileiro do século XIX. Escrita para solistas, coro e orquestra, a obra apresenta influência da chamada Primeira Escola de Viena. Nesse contexto, este trabalho tem como objetivo evidenciar aspectos dessa influência vienense, assim como apresentar considerações litúrgicas sobre a obra com base em documentos eclesiais.

Blinding light and gloomy darkness: Illumination, spectatorship, and the oratorio in baroque Rome HUUB VAN DER LINDEN PART JV Streets and squares 7 Sound and sensorial landscape: Early modern Rome as a full urban experience BRICE GRUET 8 "Comprando la maraviglia con l'impossibilita": The role of music in the space of a torneo. An unknown score of I Furori di Venere (Bologna 1639

Introduzione L'Accademia degli Infuocati ebbe lunga vita: la sua nascita risale al 1664 e il suo scioglimento al 1934. Purtuttavia, la storia secentesca dell'Accademia fino a una quindicina d'anni fa era nella sostanza sconosciuta, e soltanto nel decennio scorso il quadro documentario si è fatto chiaro, grazie soprattutto alle ricerche di Elvira Garbero Zorzi e di Daniela Sarà.

RESUMEN: La presencia del joven Rodrigo en los teatros de ópera italianos del s. XVIII ofrece diferentes e interesantes posibilidades de estudio. Sin embargo, este artículo repara en la primera aparición de los materiales de Guillem de Castro en los estados italianos, dentro de un libreto del poeta veneciano Matteo Noris, estrenado en 1681 o 1682, que no trata sobre el héroe hispánico.

Cestino, Giovanni. “‘Where the Old Men Used to Sing’: Experiments in Informed Re-Placing on the Ària Da Nuòto of the Italian Community of Rovinj-Rovigno (Croatia).” Philomusica on-line 23, no. 1 (2024): 221–52. https://doi.org/10.13132/1826-9001/23.2327.

This essay presents the results of research initiated in late 2022 on the ària da nuòto, a form of vocal polyphony specific to the Italian community of Rovinj-Rovigno (Croatia). A three-part male soloist singing tradition, reserved for the most skilled singers, the ària da nuòto owes its name (‘night song’) to its performance during the night or at dusk in specific locations of the town known for their distinctive acoustic and timbral qualities. While this aspect now belongs more to historical memory than to contemporary practice, it has been recovered and explored through collaboration with Alessio Giuricin and the vocal quartet Nuove Quattro
Colonne, founded and directed by him. This approach, termed informed re-placement, combines re-enactment, research-led practice, audiovisual ethnography, and historical-archival investigation to foster a different performance perspective and a deeper understanding of this polyphonic form. In addition to highlighting two potential relationships between soundmaking and placemaking, this case study offers methodological reflections on the interaction between artistic experimentation and research, as well as its impact on processes of tradition and identity construction.

Draft de l'article : Dolbeau Samuel, « La guerre des quintes parallèles. Constitution du répertoire de chants liturgiques de la Communauté de l’Emmanuel et oppositions sur le terrain paroissial français », dans Cristianesimo nella storia, 2024/3, 2025, p. 865‑884.

Reconnu comme une véritable vedette de son époque, il a repoussé les limites de la virtuosité sur la guitare, se produisant dans l’opéra « La Galanterie du temps », avec Jean-Baptiste Lully et servant les plus puissants rois d'Europe. Malgré sa renommée passée, Francesco Corbetta est aujourd'hui moins connu. Cet article se propose donc de revisiter la vie de cet artiste à travers ses diverses publications, ainsi que les sources primaires disponibles, afin de dresser de ce musicien une biographie. Nous présenterons ensuite les cinq publications encore existantes, accompagnées d'une traduction en français des informations les plus pertinentes concernant les pages liminaires originales en italien, ainsi qu'une réécriture des textes en français.

Jan Urban (1875 – 1952) was a Czech composer who spent most of his life in the South Slav area. In 1899, he arrived in the Kingdom of Serbia, where he was employed as a military band conductor until 1918, and subsequently continued the same service in the Kingdom of Serbs, Croats, and Slovenes and the Kingdom of Yugoslavia. As a military musician, from his original arrival in Serbia until his retirement in 1941, he participated in the two Balkan Wars as well as the First World War. His service during this period made it possible for Urban to work in a variety of different cities. Osijek would be the one city among all others that stood out with its own rich musical traditions, similar to his native Prague, and its unique position within the Habsburg Monarchy until 1918. Among Urban's most significant works are two operas (Mother and Djul Beaza), two operettas (Iguman's Sin and Terpsichore), various orchestral compositions (nine "Serbian Dances," thirteen "Salt...

Resumo. Este trabalho procede à análise comparativa do cantochão Asperges me, extraído do cantoral publicado para uso no Convento das Mercês do Pará, em 1780. O objetivo da comparação, e por conseguinte do trabalho, é o de identificar a provável origem da melodia deste canto, a partir da investigação de diversos cantorais que podem ter servido de fonte para esta compilação: mercedários, tridentinos (romanos ou portugueses) e dominicanos. A conclusão contribui para a hipótese de que este cantoral pode ser considerado um exemplo de "romanização" do rito mercedário na Amazônia do séc. XVIII. -chave. Cantochão. Mercedários. Música colonial brasileira. Romanização. Title. The Asperges Me Chant from The João da Veiga's Mercedarian Ritual: a Melodic-Comparative Investigation of its Origin Starting from mercedarian, tridentine and another religious orders chant book's.

Théodora Psychoyou (éd.), Marc-Antoine Charpentier, Salve Regina H.18, Bulletin de la Société Marc-Antoine Charpentier, 18 (2001), p. 29-36.

. présentation de la source et édition de l'œuvre, parue en 2001 dans cette revue depuis numérisée par le CmbV et disponible en ligne.

Théodora Psychoyou (éd.) : Marc-Antoine Charpentier, Motet pour Sainte Thérèse “Flores o Gallia” H.374, Bulletin de la Société Marc-Antoine Charpentier, 14 (1997), p. 29-35.
. présentation de la source et édition de l'œuvre datée entre 1678 et 1682, parue en 1997 dans cette revue depuis numérisée par le CmbV et disponible en ligne.

Théodora Psychoyou (éd.) : Marc-Antoine Charpentier, Bone pastor H.439, Bulletin de la Société Marc-Antoine Charpentier, 15 (1998), p. 23-35.

. présentation de la source et édition de l'œuvre, parue en 1998 dans cette revue depuis numérisée par le CmbV et disponible en ligne.

Théodora Psychoyou, « L’enjeu de la forme musicale dans la poétique du ballet jésuite », Le spectacle dans les collèges français de l’Ancien Régime, éd. Anne Piéjus, Rennes, Presses universitaires de Rennes, 2007, p. 43-53
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La nécessité d’un discours sur la forme musicale intrinsèque apparaît de plus en plus clairement vers la fin du XVIIe siècle, chez les théoriciens de la musique. Pourtant, les nombreux textes sur la poétique de la tragédie en musique, émanant essentiellement d’hommes de théâtre et poètes dramatiques et non de musiciens, ne considèrent pas véritablement la question, du fait sans doute du modèle de l’ancienne poétique qui définit les différentes problématiques. Le poème dramatique, certes mis en musique, impose la structure de l’œuvre, et la danse offre le cadre formel aux intermèdes instrumentaux. Dans le même temps, lorsque Ménestrier pose la question d’une poétique du ballet, qu’il compare et oppose à celles de la tragédie ou de la comédie, il donne à voir le besoin de forger un « discours sur », à l’instar du modèle aristotélicien et suivants : un nouveau discours pour un nouveau genre. Est-ce l’occasion de considérer la place de la musique et sa forme per se en dehors de l’encombrant modèle antique et donc selon les termes de son propre discours contemporain ? Le défi qui est posé se mesure certes au modèle mais considère aussi la question du caprice par rapport à la norme, non celle de la transgression, mais du besoin d’une codification, ici une codification formelle. Si la réponse ne s’y trouve pas in fine, la façon dont la question est posée est fondamentale.

Šiesty zväzok piatej série prináša opäť dve diela Matthäusa Apellesa von Löwensterna. Tentokrát ide o dve polychórické motetá na žalmové texty Man wird zu Sion sagen (MAL-m30) a Wie der Hirsch schreiet (MAL-m41). 1 Ich rozsah je krátky a po kompozičnej stránke v skladbách prevažujú antifonálne výmeny zborov, tak ako sme zvyknutí pri skladbách písaných kompozičnou technikou cori spezzati. Sliezsky rodák Matthäus Apelles (1594 -1648) 2 sa narodil v meste Neustadt (dnes Prudnik, Poľsko). Počas svojej kariéry vystriedal viacero pozícií. Od kantora a školského inšpektora sa postupne vypracoval na radcu vojvodu Heinricha Wenzella von Münsterberg (Oels -Berndstadt) a finálne až na pozíciu sekretára cisára Ferdinanda II. a neskôr jeho nasledovníka Ferdinanda III. Šľachtický prídomok von Löwenstern získal v roku 1634. 3 Zaujímavý doklad o informáciách z jeho života prinieslo posmrtné kielske vydanie tlače Fruelings-Mayen (1678). 4 Na rozdiel od toho prvého vroclavského, prináša jedinečný predhovor osobného priateľa, doktora medicíny a profesora Johanna-Daniela Majora. V texte z 3. júla 1678 sa okrem iného dozvedáme o jeho hudbymilovnosti a mecénskych aktivitách: "Tak, bez toho aby sme spomínali

Fraud, forgery, counterfeiting, various types of falsification – but also, in their day, perfectly legitimate practices of using or importing music by other authors in one’s own artistic works, whether intended seriously or as a hoax – predictably arouse great interest and curiosity in modern musicology. The present volume of collected articles discusses these matters in three groups. The first three texts, making up the section ‘Riddles, Deception and Forgery in Music’, are contributions by Peter Holman, Iain Fenlon and Eric Boaro. They deal with clear-cut musical fakes, the faking of documents in order to create spoofs and the fraudulent misattribution of the authorship of music in bygone centuries. A further three articles, by Florence Gétreau, Heidi von Rüden and Pascale Vandervellen, re-examine the authenticity of surviving early instruments and expand historically oriented research to include methods taken from the modern natural sciences. The most up-to-date methods for determining the actual age of musical instruments and the materials used for their original construction and the various renovations made over the centuries are able to bring to light many trade secrets of the forgers. The majority of the articles belong to a group given the general title of ‘Authorship in Music’, dealing with various aspects of this phaenomenon. They address questions that include the reconstruction of now missing original parts of compositions, the use of music by existing authors in new contexts and the presence of foreign elements taken from other composers and traditions in compositions by known authors. These topics, spanning the period from the sixteenth to the twentieth century, are discussed by Marina Toffetti, Gabriele Taschetti, Júlia Fedoszov, Yavor Genov and Benjamin Lassauzet.

Corneille ne s'est pas caché de vouloir séduire, par ses pièces, le public le plus large. Il s'en explique notamment dans la préface de La Suivante (1634) : Puisque nous faisons des poèmes pour être représentés, notre premier but doit être de plaire à la Cour et au peuple, et d'attirer un grand monde à leurs représentations. Il faut, s'il se peut, y ajouter les règles, afin de ne déplaire pas aux savants, et recevoir un applaudissement universel, mais surtout, gagnons la voix publique 1 . Cette formule de l'« applaudissement universel », courante dans les éloges d'oeuvres dramatiques, est prise à rebours un peu plus d'un siècle plus tard par Rousseau qui, dans son Discours sur les sciences et les arts, se dit résolu à énoncer des vérités déplaisantes au mépris de l'hostilité publique :

The relationship between the Order of Malta and Benedetto Pamphilj—who served as Grand Prior of Rome from 1678 to 1730—was mutually beneficial. The exceptionally educated young nobleman blossomed into a consummate cardinal patron, who took seriously his stewardship of the Order and the villa del Gran Priorato. My study of the archival record has resulted in a more accurate chronology and characterization of his patronage of the villa del Gran Priorato than previously known. In particular, it shows that major and much-needed repairs were executed from 1689 to 1705; the new «stanzione di ritiro» in the garden was designed and executed by Francesco Fontana in 1704; and the fresco of the Ecce angus Dei, in the vault of this pavilion, was painted by Luigi Garzi in this same year. Ultimately, the position of Grand Prior was the means through which Benedetto Pamphilj fulfilled the expectations of a cardinal-prince, at once wealthy secular aristocrat and pious apostolic successor.

Ayant été proposé en 2020 de dispenser le cours de « rhétorique musicale » à la HEM, j'ai dû me poser certaines questions fondamentales : Qu'est-ce que les auteurs anciens voyaient exactement en commun entre la disciplina rhetorica et la pratique musicale ? Est-ce que la musique (comme un discours) était censée véhiculer du sens, et si oui, comment cela fonctionnait-il ? Fautes de Figurenlehren élaborées en dehors de l'Allemagne, la « rhétorique musicale » était-elle tout simplement une aberration allemande ? Toutes ces questions m'ont amené à examiner le long Nachleben du concept platonicien de mimesis (lat. imitatio) dans les discussions sur l'expression musicale avant 1800. La similitude entre la musique et la rhétorique repose donc sur la capacité des deux à imiter - et ensuite exciter - les passions de l'âme, sans que l'une ne devienne l'équivalent direct de l'autre.

En este artículo se da cuenta de un nuevo hallazgo fruto de la investigación de la música para la emperatriz Margarita Teresa de Austria: un manuscrito con 14 tonos humanos a una, dos y tres voces. Según el estudio presentado, algos tonos fueron enviados de España y otros compuestos en la corte vienesa donde se copiaron a libros de partes que los músicos de la corte utilizarían en las veladas privadas para entretener a la familia imperial. Se realiza el estudio de las concordancias y fuentes que revela interesantes conexiones de la red global donde circulaban textos y música de tonos humanos y divinos incluyendo Cádiz, Olot, Madrid, Lisboa, México, Nápoles y Canet de Mar. Se editan así mismo los textos modernizados y la transcripción musical de todas las secciones a solo que se presentan completas.

Le corpus du projet repose sur les Cartapácios de Coimbra, un ensemble de manuscrits du milieu du XVIIe siècle, résolument passionnants et pratiquement inédits, issus de Santa Cruz et conservés à la Bibliothèque Générale de l’Université de Coimbra. Le présent travail s’inscrit dans un projet de recherche multidisciplinaire en cours à l’Université de Coimbra (Mundos e Fundos | CECH), et se concentre sur l´un des seize manuscrits de cette collection : le manuscrit musical 51 (MM 51). Il constitue la première étude détaillée d’un cartapácio comportant également son édition critique complète. Cette étude monographique engage également une confrontation permanente avec les quinze autres cartapácios et avec son contexte spécifique portugais et ibérique.D’après notre étude philologique, le MM 51 s’avère un cahier d’usage personnel d’un musicien à l’œuvre. Il contient un répertoire très varié regroupant des œuvres sur textes latins et sur textes vernaculaires. Les propositions polyphoniques...

In this paper I make a résumé of my thesis content on Joan of Arc modern and contemporary music, passing in review three European masterpieces of the modern opera and oratorio genres signed by Walter Braunfels, Henri Tomasi and André Jolivet, practically unknown to the researchers and to the great public, as well as my own opera which at the time of the publication of this paper was still in manuscript. 
I am briefly analyzing the "myth-history" relation between the librettos' sources as well as the "text-music" relation as revealed  by the dramaturgic process, all from a transversal perspective.

The presented dissertation is a report on a multilayered project that zooms in on a significant year in the history of Western music, the birth of opera as a modern genre, with Claudio Monteverdi in its centre.
We could categorise it as an inquiry into the narrative of Monteverdi, but I suggest labelling it as dramatised artistic research. It is based on Michael Polanyi’s epistemological theory of tacit (implicit) knowing and simultaneously addresses that kind of knowledge. The latter, for instance, manifests itself in compiling the libretto, composing new music for the production and the creative work of the Commedia dell’arte actors, as can be seen in rehearsal videos.
La Tragedia di Claudio M is an experiment to embody historical highlights in the first development of opera as a genre. In Polanyian terms the project is an interpretative framework, functioning as an artistic probe to reach over four centuries in time. It stages Monteverdi, his patron, librettist, and his singers using the verbatim theatre technique based on letters, treatises, and other documents.
The story spans approximately one year, from the aftermath of the premiere of Orfeo in the summer of 1607 to the performance of Arianna in the spring of 1608. The libretto has four layers: historical, mythological, allegorical, and dramatic. All these are interwoven during the action, which is mainly dictated by the sequence of events during the year at stake. The depth of the four layers and their interconnection are commented on and documented in several subsidiary chapters of the dissertation.
A special position is selected in the opera for the controversy between the rational defence of traditional composition models by theorist Giovanni Maria Artusi and the intuition-based innovations of theatrical music which marked the style of the practitioner Monteverdi. In the chapter ‘The Narrative’ it is made clear what role Monteverdi played in the narrative that was created about him and which lasted for centuries to come, even after his music had surfaced and started a new life from 1900 onwards. It is no coincidence that the core of the conflict is situated in the labyrinth of the Minotaur. It was the ‘year of truth’, a year of transformation for Monteverdi, which he confirmed later by stating that it almost took his life, but also that he found ‘la via naturale alla imitatione’ by composing the Lamento d’Arianna. Though he promised to explain himself and his style in a treatise about the Seconda Prattica, revealing what had been a tacit process of creation, the book was never written, and the ineffable kept its proper position.
The making of La Tragedia di Claudio M was a collective process. In this process, the role of text (oratione in Monteverdi’s terms) mirrored, where possible, the original ideology. This meant a challenge for the team of five composers and just as much for the five singers to allow the text its generating potential. The influence of seven Italian actors and their embodied knowledge enabled the project to function as an indwelling experience from the first rehearsal to the last performance. Polanyi’s conditions, such as passion, commitment, belief and truth to reach new knowledge by immersion, have been found on all levels, resulting in a comprehensive coherence of details. The deliberate choice of small-scale chamber opera staging enhanced the immediacy and intimacy that were sought to accentuate embodiment literarily. Consequently, the audience's proximity did not require extra communicative projection, but on the contrary, invited participation on a tacit level.

Elemento-cardine dell’estetica musicale barocca, l’artificio trovò massima espressione nella produzione strumentale degli ultimi decenni del Seicento. Lo sviluppo della tecnica esecutiva e di un repertorio indipendente fecero di questi ambito il campo di sperimentazione ideale per elaborare ingegnose strategie di trompe-l’œil, imitare fenomeni sonori extra-musicali ed evocare immagini, affetti e situazioni. Abbinati ad un’efficace dispositio, sempre al servizio della ‘bizzarria’ e del meraviglioso, tali artifici hanno trovato massima espressione nella musica di alcuni violinisti-compositori attivi tra il Nord Italia e l’Europa centrale, fra cui il milanese C. A. Lonati, il boemo H. F. I. von Biber e i tedeschi J. J. Walther e P. Westhoff. Attraverso l’esame di alcune loro composizioni, si propone una riflessione sul ruolo decisivo dell’artificio nella produzione strumentale del tempo e sulle complesse relazioni tra le esperienze musicali tardo-seicentesche e analoghi coevi indirizzi letterari, scientifici, teologici e più ampiamente artistico-culturali.

Philip Sidney's European sojourn (1572-1577) was undoubtedly a formative experience, one that shaped his political and literary development. Unsurprisingly, it has received much commentary. Nevertheless, one rather neglected sphere of influence on Sidney's education that deserves fuller attention is the coterie of high-standing and learned figures based in Central Europe, many of whom Sidney either corresponded with or met in person. This essay will consider the role of Carolus Clusius (1526-1609), a distinguished French botanist employed at the imperial court in Vienna. The influence of Clusius in Sidney's intellectual circle and Sidney's correspondence network will be surveyed, as well as whether Sidney's exposure to the work of Clusius and other botanists, physicians and emblematists would have inspired Sidney's ideas.

In the 16 th and 7 th centuries, the musical culture in the territory of today's Slovakia, which was part of the historical Hungary, was closely connected with the religion of the population. After 1517, the ideas of Martin Luther's Reformation began to spread into the Hungarian Catholic milieu from the areas of present-day Germany. These tendencies were also reflected in musical culture. Its peak in the 16 th and 7 th centuries can be observed in western Slovakia, in Bratislava in central Slovakia, in the mining towns of Banská Bystrica, Kremnica, Banská Štiavnica and Krupina, and in the east of the country, e.g. in the Spiš and Šariš regions, in the towns of Levoča, Bardejov, Sabinov, Kežmarok, Prešov and Košice. Today's Slovakia maintained close cultural, intellectual and economic contacts with its neighbouring countries: Austria, Silesia, the Polish-Lithuanian Commonwealth, the Czech and Moravian lands and also with countries with German-speaking populations. As a consequence, in the evangelical milieu (in addition to the predominantly evangelical composers), we observe the work of Catholic composers. In the Protestant repertoire, we register composers of German origin:

Tibor Klaniczay (1923-1992), a leading figure in the study of Hungarian Renaissance culture, was one of the first to study the life and works of the Flemish humanist Nicasius Ellebodius, who carried out most of his philological activities in Pozsony (today Bratislava), then capital of Hungary. Klaniczay promoted the publication of E.'s most important manuscript work, the Latin paraphrase of Aristotle's Poetics, and his correspondence. The project started in the 1980s, but was interrupted by Klaniczay's death and funding problems. Only decades later was it possible to continue the work. Zsuzsa Maurer published the Poetics in 2014 and in 2023 our team completed the edition of the correspondence, most of which Klaniczay himself collected, thus fulfilling his plan. With this volume we pay tribute to his memory on the 100 th anniversary of his birth. We thank all those who have helped us to study the manuscripts, obtain the books and photocopies essential to our work, and contribute advice, comments, and information to the production of this edition, the librarians of the Biblioteca Ambrosiana in Milan,