PADRE MARTINI, GAETANO GASPARI AND THE ‘PAGLIARINI COLLECTION’: A RENAISSANCE MUSIC LIBRARY REDISCOVERED

2010 ◽  
Vol 29 ◽  
pp. 241-324
Author(s):  
Kate van Orden ◽  
Alfredo Vitolo
Keyword(s):  
Nineteenth Century ◽  
Renaissance Music ◽  
Partial Dispersion ◽  
Complete Index

A substantial collection of Cinque- and Seicento prints lies hidden in the Museo Internazionale e Biblioteca della Musica in Bologna. Practically unknown to scholars, at 274 titles it is among the largest collections dating from the Renaissance. The fortunate series of events that account for its survival are retraced, beginning with its formation c. 1580 and its purchase by Padre Giambattista Martini (1706–84) from the Pagliarini booksellers in Rome with the aid of Girolamo Chiti, and ending with its partial dispersion in the nineteenth century. A complete index of the collection is included, together with a list of the unica.

Prophets Looking Backwards: German Romantic Historicism and the Representation of Renaissance Music

2000 ◽  
Vol 125 (2) ◽  
pp. 164-204
Author(s):  
James Garratt
Keyword(s):  
Nineteenth Century ◽  
Art History ◽  
Golden Age ◽  
Church Music ◽  
Universal Model ◽  
Historical Representation ◽  
Protestant Church ◽  
The Reformation ◽  
Renaissance Music ◽  
Italian Music

AbstractCrucial to understanding the reception of Renaissance music in nineteenth-century Germany is an appreciation of the contradictory components of Romantic historicism. The tension between subjective and objective historicism is fundamental to the historiographical reception of Renaissance music, epitomizing the interdependency of historical representation and modern reform. Protestant authors seeking to reform church music elevated two distinct repertories — Renaissance Italian music and Lutheran compositions from the Reformation era — as ideal archetypes: these competing paradigms reflect significantly different historiographical and ideological trends. Early romantic commentators, such as Hoffmann and Thibaut, elevated Palestrina as a universal model, constructing a golden age of old Italian church music by analogy with earlier narratives in art history; later historians, such as Winterfeld and Spitta, condemned the subjectivity of earlier reformers, seeking instead to revivify the objective foundations of Protestant church music. Both approaches are united, however, by the use of deterministic modes of narrative emplotment.

Introduction to the Special Issue on Ottocento Opera

2010 ◽  
Vol 7 (2) ◽  
pp. 3-5
Author(s):  
Roberta Montemorra Marvin
Keyword(s):  
Nineteenth Century ◽  
Special Issue ◽  
The Past ◽  
Italian Opera ◽  
Princeton University ◽  
Renaissance Music

In the early 1960s a PhD candidate at Princeton University informed his professors that he wished to write a dissertation on the operas of Gioachino Rossini. He was pointedly discouraged from doing so and told that, if he wished to be taken seriously in musicology, he should focus on worthwhile repertory such as Renaissance music or works by nineteenth-century German composers. The student persisted in his purpose and, with his groundbreaking dissertation, set the study of ottocento opera on a solid trajectory. That student was Philip Gossett. Recently, at a gala event celebrating Philip's ‘retirement’, many of us who have focused our scholarship on this repertory were reminded about the evolution of the study of nineteenth-century Italian opera during the past 50 years.

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