17th Century Music

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.

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.

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.

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.

In music history during the period encompassing the years beginning from the late 15-th to the middle of the 18-th centuries a fundamental significance in music theory and practice had been designated to the definition of Tact and Tactus. Such a broad historical scope of our paper inevitably involves the inclusion of much material, and the authors were forced to concentrate mainly on materials of the 17-th and beginning of the 18-th centuries. In the discussion of the meaning of the terms Tact, Tactus and also the verb tangere we applyed not only to treatises on music, as compared with other scholars, but to different kind of language dictionaries of that

with genealogical contributions by François Huneau (Fontainebleau) and Michel Quagliozzi (Nice) In this, our third publication on the French composer-maestro al cembalo François Dieupart (Paris, 1676 -St-Germain-sur-École, ÎdF, 1751) a series of new findings demand a broader discussion. These concern both his recently surfaced musical autographs and supplementary archival documents, resulting in the first place in a renewed Life Calendar, three times larger than in our 2021 article*, accompanied with supplements treating relevant themes. From these new evidences, covering the period 1702-c1732, facsimile excerpts are reproduced. These contain once more eight novel Dieupart signatures, almost doubling the total number of known specimina up to seventeen, which now in abundance may confirm Dieupart's only and true first name: François, while at the same time the origin of the improper naming 'Charles' is unmasked, hopefully definitely. Historically, these findings comprise hitherto lesser-known details regarding Dieupart's next of kin, while allowing further insight in the period of his arrival in England, his London addresses and neighborhood, his personal and professional network, financial dealings, and 'status'. Finally, they narrow down the moment of his definitive return to his fatherland, clearing up his new assignment there, while presenting a conjecture regarding his possible last house. Dieupart's autograph testament of 1750 is given, in facsimile and transcription. At the same time, more light is thrown on the composer's 'protectrice', harpsichord playing Countess Elizabeth Sandwich, revealing her hitherto unnoticed bond with her melomane relatives, effective Prime Minister John Carteret, Earl Granville and his wife Frances, who sang, and played the harp and/or the harpsichord, proving them to be equally committed art patrons, whose friendship and protection apparently Dieupart enjoyed as well. Imagery illustrates architectural interiors and historical plans of the Carterets' grand London town house in Arlington Street, Westminster, and their two country residences in Bedfordshire and Cornwall, including their decorative elements surviving today. Here, "gentilhomme" composer-harpsichordist Dieupart used to escort the Carterets with their singing and harpsichord playing daughters, while obviously teaching them, accompanying their singing and dancing, and providing musical entertainments for the family and their guests. Also, Lady Elizabeth's activities in both England and France can be followed more closely now, elucidating her connection with the French Court and the melomane Régent, and her perilous dealings with the exiled Stuarts in St-Germain-en-Laye. Other points of interest are her close friendship and correspondence with opera-loving Sarah Marlborough, Queen Anne's confidant, which may have furthered Dieupart's London career. Finally, the Countess' later Parisian stays are addressed, when holding 'salon' in her "petit château", from which assembly we could identify twenty-three illustrious guests, among them Voltaire and Rousseau.

and others, and through the theory of the complex social systems in Niklas Luhmann and Walter Buckley -with the adaptation of Weberian types of control to the systemic approach by the later. In the first half of the twentieth century, the Catholic Musical Restoration and the Romanization determined a clear passage from the traditional Weberian type to the rational-legal, implying an adaptation of analytical tools: instead of pre-compositional models, it makes more sense to think the repertoire produced in this period from the normative control notion -that extended the compositional, interpretative and relational aspects. With Second Vatican Council, the control relationships were changed as well as the musical targets of the religious system. In Latin America, from the 1970s, a dualist discourse over the past meant the forgetfulness of the precounciliar musical practices, seeking inspiration in popular music and traditional Catholicism memories, and allowing for the development of a Brazilian repertoire, associated to the protest song. With John Paul II and Benedict XVI, these musical targets were diminished, due to the policy adopted by these pontiffs in relation to Liberation Theology. In this way, other memories were restored to emphasize the Second Vatican Council as continuity. The thesis results point to the coherency between the musical memories restored by specialists and academics and the discourses that determined the targets of whole religious system, as a factor of legitimation of these targets. This adequateness legitimized musical targets by tradition and revealed the process efficiency. On the other hand, the limits of the control were observed: musical memories, maintenances of collective identities and traditional religious manifestations, practical needs, emotional memories, political (national identity) and economical interests, and above all, the ability trading of individuals and local groups in relation to the targets of the religious system.

Penser, composer, pratiquer la musique au temps de Descartes. Textes réunis par Théodora Psychoyou et Isabelle His, Paris, Champion, 2024, 396 p.
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Rédigé en 1618, le Compendium musicæ est le premier écrit, peu connu, du jeune René Descartes, où se dessinent déjà les bases d’une nouvelle esthétique fondée sur la matérialité et la perception : « L’objet de la musique est le son, sa fin est de mouvoir en nous diverses passions ». Cet ouvrage propose d’en réévaluer la portée en le confrontant avec les productions théoriques et musicales des premières décennies du XVIIe siècle. Trois grands domaines se dégagent : celui des discours sur la musique et les sciences, celui de la composition et des pratiques d’exécution, enfin celui de l’enseignement, c’est-à-dire d’une théorie pratique. Dans une perspective pluridisciplinaire associant philosophie, histoire des sciences et musicologie, les essais réunis ici témoignent, sans prétendre à l’exhaustivité, de regards actuels sur cette période particulière. Ils abordent de façon renouvelée diverses manifestations du musical au temps de Descartes, en France et en Europe.
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Textes de Nicolas Andlauer, Peter Bennett, Frédéric de Buzon, Jean Duron, Inga Mai Groote, Christophe Guillotel-Nothmann, Jean-Yves Haymoz, Isabelle His, Carola Hertel, Alexander Jakobidze-Gitman, Isabelle His, Guido Mambella, Francesca Mignogna, Théodora Psychoyou, André Redwood et Brigitte Van Wymeersch.
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Isabelle His est professeure à l’Université de Poitiers, membre du CRIHAM. Ses recherches portent sur la musique de la Renaissance et du premier baroque, ainsi que sur les relectures et le renouveau de la musique ancienne au XXe siècle.
Théodora Psychoyou est professeure à Sorbonne Université, membre de l’IReMus. Elle s’intéresse à l’histoire de la théorie musicale, au rapport entre musique et sciences, et aux dynamiques de la modernité dans les discours sur la musique aux XVIIe et XVIIIe siècles.

The paper examines two main questions: first, could lutenists of the second half of the sixteenth century perform their works as preserved in printed lute books? And, secondly, how can modern performers approach this highly challenging and predominantly neglected repertoire? The first question is answered by critically examining existing musicological positions and introducing a new methodological approach: the comparative analysis of multiple source types. The results of this analysis will show how sixteenth century lutenists handled certain instrumental challenges and suggest that these solutions could be applied by modern performers.

Les langues du colloque sont l’anglais, le français, l’italien et l’espagnol. La publication d’un volume collectif contenant une sélection des communications présentées est prévue.

Les communications ne devront pas dépasser vingt minutes. Merci d’envoyer un résumé de 500 mots maximum et de joindre une notice biographique d’une page.

Les propositions devront être envoyées par courriel au plus tard le dimanche 16 février 2025 à l’adresse : conferences@luigiboccherini.org.

Le comité annoncera les propositions retenues au début du mois de mars 2025.

Appel à communication en anglais sur le site du Centro Studi Opera Omnia Luigi Boccherini :

https://www.luigiboccherini.org/2024/09/20/the-theatre-of-death-noble-funerals-with-music-in-early-modern-europe/

Two keyboard works by Frescobaldi (1583-1653) require the singing of a fifth part. The 1624 print contains a Capriccio with the title “Obligo di cantare la quinta parte senza toccarla”, and a second work appears in the “Fiori musicali” (1635), a ricercar for the Offertory in the third organ Mass. Both works include a separate “soggetto”. In the 1624 collection the notes correspond to the hexachord syllables: re fa fa mi sol fa mi re. For the opening syllables, “re fa fa”. the vowels evoke the same ones in the name of Ferrara, Frescobaldi’s native city. This study proposes solutions to the two “soggetti” that supply complete verbal mottos that express Frescobaldi’s tributes to Ferrara. Furthermore, the 12 capricci of 1624 each appear to commemorate aspects of Ferrara’s past musical glory, including the use of a hexachordal “soggetto” that recalls the same procedure in Josquin’s “Missa Hercules dux Ferrarie”, which is based on the vowels in the full title for Duke Hercules of Ferrara (“soggetto cavato dalle vocale”, re ut re ut re fa mi re).

Resumo : Os Responsorios do Sabado Santo (VII.11), do compositor napolitano David Perez (1711-1778), foram compostos em data desconhecida, mas certamente ja no seu periodo de atuacao em Portugal, a partir de 1752. A obra e transmitida por 23 fontes manuscritas, encontradas em arquivos portugueses e brasileiros. O processo de edicao da obra, ora em curso, demanda a analise estilistica aprofundada, que possa servir de base para as decisoes textuais. Alem disso, conhecer a musica de David Perez e importante para a compreensao estilistica da musica sacra portuguesa do seculo XVIII e da musica sacra brasileira do periodo colonial. Sua musica circulou no Brasil dos seculos XVIII e XIX em fontes manuscritas e ate impressa, alem de haver registro de execucao de seu Matuttino de morti no Rio de Janeiro, em 1819. O estudo das caracteristicas estilisticas dos Responsorios do Sabado Santo inclui itens, tais como harmonia, texturas, sintaxe da colocacao do texto liturgico, aspectos do baixo cont...

Perhaps the most frequently heard baroque lute duet is a suite by William Lawes found in an autograph manuscript in Oxford, The Bodleian Library. The suite is suspiciously French in style and thus stands apart from the rest of Lawes's compositions. Despite the fact that Lawes signed his name in several different places on the page, the suite is not entirely his own work. Published in The Journal of the Lute Society of America 16 (1983), 12-14.

, compositeur favori du roi Louis XIV, connaît la défaveur du monarque dans l'année 1686, en raison de sa liaison homosexuelle avec le jeune page Brunet. Le compositeur se tourne alors vers d'autres mécènes, notamment la famille des Vendôme. Le duc de Vendôme, homosexuel assumé, soutient un cercle de libres penseurs libertinsaristocrates et gens de lettres. Lully y rencontre le dramaturge Jean-Galbert de Campistron qui partage la même sexualité que lui et sans doute la même vision morale. Lully collabore avec Campistron pour une pastorale, Acis et Galatée, donnée chez Vendôme, ainsi que pour une tragédie en musique, Achille et Polyxène. Cette dernière fut achevée par Pascal Colasse, un disciple de Lully, en raison de la mort du compositeur le 22 mars 1687 : seuls l'ouverture et le premier acte subsistent de sa main. Nous proposons, dans cette intervention, de lire ces deux oeuvres dans une perspective queer : même si par certains aspects elle peut sembler anachronique, elle permet toutefois de dévoiler les écarts, voire les subversions par rapport aux normes hétérocentrées qui régissent le monde artistique de l'époque. Elle permet également de redéfinir un territoire de la masculinité qui s'envisage autant affectivement que sexuellement. Mais cette approche doit se conjuguer avec des indices heuristiques forts, empêchant d'extrapoler à partir de notre propre vision contemporaine. Ainsi, dans Acis et Galatée, il est évident que les caractérisations affectives des personnages relèvent du genre de la pastorale où la plainte reste un des moyens d'expression privilégié. Mais Lully renforce chez les deux héros bergers un caractère féminin par des procédés musicaux que nous définirons : tons mineurs, tons en bémol-« efféminés » selon la classification de Zarlino-, chromatismes, grands intervalles mélodiques. En insistant sur ces éléments, Lully dégenre en quelque sorte l'opéra en féminisant des héros qui devraient au contraire épouser une posture virile digne du pouvoir royal. Ce « trouble dans le genre » se retrouve dans le premier acte d'Achille et Polyxène, celui composé par Lully. Il est centré sur un couple masculin, Achille et Patrocle, héros de la guerre de Troie chantés par Homère. Il n'est pas choisi au hasard, car il jouit d'une tradition de représentation positive de l'homosexualité masculine, réactivée à la Renaissance. Les deux auteurs exploitent dès lors des situations dramatiques courantes dans l'opéra : le danger de la guerre ou du combat qui menace l'un des amants, comme dans le premier acte de Thésée de Quinault et Lully. Ainsi les deux auteurs subvertissent un matériau dramatique traditionnel pour une défense de l'homosexualité masculine empreinte de tendresse et d'affection. A cet effet, Lully utilise toute une palette d'expressions et d'éléments musicaux, dont certains sont neufs chez lui : des modulations lointaines, l'importance du basculement entre le majeur-ton de l'héroïsme viril-et le mineur-ton de la tendresse ou de la plainte-, les séquences chromatiques de basse, enfin les mélodies hérissées de grands intervalles dissonants, voire de cris de douleur. Mais contrairement aux héros efféminés d'Acis et Galatée, le couple de guerriers grecs affichent une virilité qui certes est due à leur statut, mais qui n'entravant en rien leur passion amoureuse : Lully et Campistron défendent ainsi, sous le voile de la fiction, leur désir amoureux et leur morale, subvertissant les normes sexuelles et genrées qui régissent la société de leur époque. Bertrand Porot CV Bertrand Porot est Professeur des universités émérite à l'Université de Reims et rattaché au Centre d'études et de recherches en histoire culturelle (CERHIC). Il est également chercheur associé à l'Institut de recherches en musicologie (IReMus, Sorbonne-CNRS).

The development of harmonic theories has often been associated with modern science and the Enlightenment. Despite of this, Rameau’s Traité de l’harmonie (1722) is not the only case at the time in which important constituents of modern harmony originated from pre-modern thought or in a pedagogical context. Comparative studies remain, however, difficult when historical discourses have just survived in fragments or later accounts.
The present talk departs from Rameau’s “Clermont notes” for drawing a comparison with contemporary documents from Padua and Venice. Both Christensen’s Rameau and Musical Thought in the Enlightenment (1993) and Holtmeier’s Rameaus langer Schatten (2017) contain an extensive discussion of Rameau’s lost writings. In this, Holtmeier pleads for a substantial revision of their previous dating. The relationship of the “Clermont notes” to the Traité is then not only a matter of chronology. For its examination also helps to identify key features of theoretical or pedagogical writings, before proceeding any further.
On the other side, Patrizio Barbieri’s Quarrels on Harmonic Theories in the Venetian Enlightenment (2020) adds new findings from c.1735 on, when part of the Scuola dei rivolti turned to modern science. My archival research included, instead, notes, sketches, and alternative versions of treatises from the 1720s to c.1734, beginning with the reconstruction and dating of a coherent text (Padua, c.1728) from disparate sheets of Vallotti (I-Pca A.VI.530; A.VI.537). These materials show how Calegari and Vallotti based their theories on a “Greco complesso.” In conclusion, certainly not the Greeks, but the semantic field of “sonus musicus” is essential for a historical-systematic comparison with Rameau.

Il Giosuè (1688) è il secondo oratorio di Giovanni Bononcini (1670-1747) e il primo la cui partitura sia giunta a noi. All’interno di questo, il violoncello è obbligato in tre arie, in una quarta gareggia con un violino solo, ed è l’unico a presentare passaggi virtuosistici nelle due sinfonie. L’articolo ricostruisce i natali del Giosuè, i rapporti con la corte estense, e indaga in particolare modo il ruolo del violoncello. Inoltre, le differenti scritture per questo strumento vengono approfondite attraverso tre arie: «Venir, pugnare e vincere», «Sempre invitto e sempre forte», «Al rotar di questo brando». Grazie a queste, si analizzano le influenze di compositori coevi su Bononcini, il rapporto tra voce e strumento, e la tipologia e l’accordatura del violoncello obbligato previsto.

Sung poetry is a complex phenomenon. We need to apply multiple points of view to understand how language, poetic conventions and music interact in a continuous historical development. Each of the components at play in sung poetry are attended to by vast and well-defined disciplines: (historical) linguistics; poetology and literary history; musicology. Moreover, the perspectives and terminologies of these disciplines often refuse to be mapped onto each other.

«¿Lope fue alguna vez joven?», si chiede Héctor Brioso Santos nella Presentación (p. 15) al volume che inaugura la collezione Papeles de Teatro della casa editrice Liceus e il cui titolo richiama l'ultimo verso di un sonetto delle Rimas: «Mi vida va volando, el tiempo corre, | y mientras mi esperanza con vos viene, | callando pasan los ligeros años» (Desde que viene la rosada Aurora, CXIII). Che cosa sappiamo realmente di quei «ligeros años», di quella fase di sperimentazione e tentativi precedente alla formulazione della comedia nueva celebrata nell'Arte nuevo de hacer comedias en este tiempo del 1609? A questa domanda cercano di rispondere gli studiosi che partecipano con i loro contributi a questa raccolta di recente pubblicazione, significativamente dedicata alla memoria di Stefano Arata di cui si riproduce un «Autógrafo 'velazqueño'» del 1991 (p. 17), dieci anni dopo la sua morte prematura. E cercano di rispondere avendo come orizzonte critico una serie di lavori fondamentali che hanno segnato gli studi su una tappa cruciale per il teatro barocco, quella dell'affermazione del teatro commerciale; lavori come quello pionieristico di Rinaldo Froldi

Parmi les copistes françaises actifs à la fin du XVIIe siècle, une place singulière est occupée par le copiste Z en raison de l’importance de sa
production. Il a copié plus de soixante manuscrits parmi lesquels figurent
des œuvres non imprimées de François Couperin, opéras, ballets, motets et musiques italiennes. Divers indices ont permis à Edward Corp de supposer l’identification de Z avec David Nairne (1655-1740), écossais vivant à Paris et sous-secrétaire de l’administration de James II Stuart (1633-1701), roi d’Angleterre, d’Irlande et d’Écosse en exil au château de Saint-Germain-en-Laye depuis 1689. Dans cette communication, après avoir analysé les caractéristiques de la main musicale de Z, nous soutiendrons l’identification avec Nairne à travers une minutieuse comparaison des graphies. Enfin, nous réfléchirons sur sa production et sa période d’activité.

The process that would have led to the recognition of the sanctity of Filippo Neri actually began at the very moment of his death on 26 May 1595. In the space of twenty-seven years the Oratorians had to keep alive the widespread feelings of veneration towards the founder of their congregation, striving, at the same time, not to force the will of the popes. The essay deals with the non-secondary role of music in the path that would lead Filippo Neri first to beatification and then to canonization: from the simple music sung in the chamber of the saint, to the impressive polychoral music performed in the church of S. Maria in Vallicella on the occasion of the anniversary of the death of Filippo Neri. Finally, the essay shows a motet by Gregorio Allegri in honour of Filippo Neri, which, as far as we know, seems to be the first one composed specifically in praise of the saint.