andres locatelli | Università degli studi di Pavia (original) (raw)
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Talks by andres locatelli
This dissertation investigates Matteo da Perugia's 24 French compositions preserved in manuscript... more This dissertation investigates Matteo da Perugia's 24 French compositions preserved in manuscript Modena α.M.5.24-a major source for the study of polyphonic music at the turn of the fifteenth century. Chapter 1 is an introduction that summarizes the principal scholarship on the topic, pointing out the most problematic issues regarding the manuscript's dating hypotheses and the fragmentary evidence of Matteo's activity (§1.1). Dealing with such problems, §1.2 discusses a new archival record on Beltrame Feragut, Matteo's successor as maestro di cappella of the Milan Cathedral, whereas §1.3.1 to §1.3.4 describe newly discovered codicological details of the Modena source that illuminate specific moments of the main scribe's copying process. Through a
Firenze, presso la sede della Fondazione, via Montebello 7 14-17 dicembre 2015 18 dicembre 2015 -... more Firenze, presso la sede della Fondazione, via Montebello 7 14-17 dicembre 2015 18 dicembre 2015 -Certaldo
Papers by andres locatelli
Paper read at the American Handel Society Festival and Conference, Princeton University, 6-9 Apri... more Paper read at the American Handel Society Festival and Conference, Princeton University, 6-9 April 2017.
Paper read at Convegno di Studi Musica e Poesia in Italia e in Francia tra Duecento e Trecento. C... more Paper read at Convegno di Studi Musica e Poesia in Italia e in Francia tra Duecento e Trecento. Certaldo, 20.12.2019
Paper read at the 2019 MedRen Conference. Session 74, 6.07.2019 Chair: Michael Scott Cuthbert (MI... more Paper read at the 2019 MedRen Conference. Session 74, 6.07.2019
Chair: Michael Scott Cuthbert (MIT)
With more than 60 compositions transmitted in unicum, including virtually all extant works by Matteo da Perugia, the codex ModA (Biblioteca Estense Universitaria, a.M.5.24) stands out among the ’core’ sources of Ars Nova and Ars Subtilior music. Ever since its modern re-discovery, the chronology of the manuscript has haunted scholars, who have focused on the evident proximity of Matteo da Perugia to the collection, the style and provenance of the repertoire, and the political allusions contained in a number of works. The scant archival records that survive on Matteo’s career undoubtedly link him to the Visconti circuits of Milan and Pavia between 1402 and 1418, pointing at humanist Pietro Filargo (d. 1410) as his principal patron. Musicologist Anne Stone has convincingly proposed the 1420s as terminus post quem for the completion of ModA based on a datable heraldic reference found in one of Matteo’s ballades. Such observations support the tendency of other musicologists to chronologically place some of the Ars Nova anthologies later than traditionally assumed (see Karl Kügle, 2012).
Based on philological, codicological, and historical investigations, this paper will present new hypotheses on the chronology of the manuscript’s later layer and on Matteo’s possible activity within the Visconti circles around the 1420s-30s. Recently discovered allusions strengthen the link between the composer’s works and the politics of Duke Filippo Maria Visconti (d. 1447), whereas newly spotted codicological evidence has thrown light on the history of ModA, on Matteo’s link to Bertrand Feragut, and on the latter’s conjectural role in the transfer of the manuscript to its current location.
Paper read at Musik vor 1600 Gemeinsames Forschungskolloquium zur Musik vor 1600 der Institute fü... more Paper read at Musik vor 1600 Gemeinsames Forschungskolloquium zur Musik vor 1600 der Institute für Musikwissenschaft Mainz und Weimar-Jena. Florence, Palazzo Vecchio, 26.06.2019
CARA SCIENTIA MIA, MUSICA
Resumen El presente proyecto se basa en el análisis de las ballades de Filippotto da Caserta, com... more Resumen El presente proyecto se basa en el análisis de las ballades de Filippotto da Caserta, com-positor italiano de procedencia meridional vinculado a las cortes de Pavía y Aviñón durante el periodo del Gran Cisma (1378-1417). En el marco de las investigaciones más recientes sobre las categorías de la intertextualidad como fenómeno literario y musical en el Ars Nova italiano, han sido identificadas posibles referencias alusivas y citaciones textuales de materiales meló-dicos preexistentes. Se trata puntualmente de dos melodías propias del repertorio litúrgico di-rectamente ligadas a las composiciones polifónicas a nivel poético y musical. Dichas observa-ciones pueden representar un aporte significativo para el estudio de la intertextualidad como fenómeno constitutivo de la cultura, y a su vez, para contextualizar estas composiciones, cuya génesis, datación, destinación y ambiente de referencia son a menudo reconstruibles sólo en modo conjetural a causa de la escasa documentación disponible.
Conference Presentations by andres locatelli
SEMINARIO INTERNAZIONALE "Ars Nova tra Musica e Letteratura: temi e problemi di filologia e crit... more SEMINARIO INTERNAZIONALE
"Ars Nova tra Musica e Letteratura: temi e problemi di filologia e critica"
Centro Studi sull'Ars Nova Italiana del Trecento
Certaldo Alta, 16-17 dicembre 2016
Books by andres locatelli
The present contribution discusses a recent finding at the Milan State Archive regarding French m... more The present contribution discusses a recent finding at the Milan State Archive regarding French musician Bertrand Feragut. Feragut's activity in Northern Italy in the first decades of the fifteenth century is known thanks to documentary evidence belonging to the Milan Cathedral and to musical manuscripts and fragments that preserve his extant sacred and secular compositions. This new record shows Jacobus Lavezzi, a member of the Cathedral's chapter, absolved by the Archbishop's vicar after an alleged episode of physical aggression against Feragut. The new discovery, transcribed, translated, and analysed, is followed by another document, a papal absolution request on behalf of the monk Bertrandus Feraguti, signed on the exact same day as the Milanese record, which had been spotted by Alejandro Planchart several years ago but remained unpublished. A parallel reading of both absolutions sheds new light and raises new hypotheses on the life, clerical status and professional activity of the composer in the broader context of early-fifteenth-century Italian musical and institutional life. Moreover, the author rapidly re-examines the existing scholarly work on the musician, identifying an acrostic in one of Feragut's motets (Francorum nobilitati) that questions and dismisses previous assumptions made by musicologists about the circumstances of its composition.
Le composizioni francesi di Matteo da Perugia e il codice Modena α.M.5.24, 2019
PhD dissertation abstract and index. Università degli Studi di Pavia, 13.02.2020.
This dissertation investigates Matteo da Perugia's 24 French compositions preserved in manuscript... more This dissertation investigates Matteo da Perugia's 24 French compositions preserved in manuscript Modena α.M.5.24-a major source for the study of polyphonic music at the turn of the fifteenth century. Chapter 1 is an introduction that summarizes the principal scholarship on the topic, pointing out the most problematic issues regarding the manuscript's dating hypotheses and the fragmentary evidence of Matteo's activity (§1.1). Dealing with such problems, §1.2 discusses a new archival record on Beltrame Feragut, Matteo's successor as maestro di cappella of the Milan Cathedral, whereas §1.3.1 to §1.3.4 describe newly discovered codicological details of the Modena source that illuminate specific moments of the main scribe's copying process. Through a
Firenze, presso la sede della Fondazione, via Montebello 7 14-17 dicembre 2015 18 dicembre 2015 -... more Firenze, presso la sede della Fondazione, via Montebello 7 14-17 dicembre 2015 18 dicembre 2015 -Certaldo
Paper read at the American Handel Society Festival and Conference, Princeton University, 6-9 Apri... more Paper read at the American Handel Society Festival and Conference, Princeton University, 6-9 April 2017.
Paper read at Convegno di Studi Musica e Poesia in Italia e in Francia tra Duecento e Trecento. C... more Paper read at Convegno di Studi Musica e Poesia in Italia e in Francia tra Duecento e Trecento. Certaldo, 20.12.2019
Paper read at the 2019 MedRen Conference. Session 74, 6.07.2019 Chair: Michael Scott Cuthbert (MI... more Paper read at the 2019 MedRen Conference. Session 74, 6.07.2019
Chair: Michael Scott Cuthbert (MIT)
With more than 60 compositions transmitted in unicum, including virtually all extant works by Matteo da Perugia, the codex ModA (Biblioteca Estense Universitaria, a.M.5.24) stands out among the ’core’ sources of Ars Nova and Ars Subtilior music. Ever since its modern re-discovery, the chronology of the manuscript has haunted scholars, who have focused on the evident proximity of Matteo da Perugia to the collection, the style and provenance of the repertoire, and the political allusions contained in a number of works. The scant archival records that survive on Matteo’s career undoubtedly link him to the Visconti circuits of Milan and Pavia between 1402 and 1418, pointing at humanist Pietro Filargo (d. 1410) as his principal patron. Musicologist Anne Stone has convincingly proposed the 1420s as terminus post quem for the completion of ModA based on a datable heraldic reference found in one of Matteo’s ballades. Such observations support the tendency of other musicologists to chronologically place some of the Ars Nova anthologies later than traditionally assumed (see Karl Kügle, 2012).
Based on philological, codicological, and historical investigations, this paper will present new hypotheses on the chronology of the manuscript’s later layer and on Matteo’s possible activity within the Visconti circles around the 1420s-30s. Recently discovered allusions strengthen the link between the composer’s works and the politics of Duke Filippo Maria Visconti (d. 1447), whereas newly spotted codicological evidence has thrown light on the history of ModA, on Matteo’s link to Bertrand Feragut, and on the latter’s conjectural role in the transfer of the manuscript to its current location.
Paper read at Musik vor 1600 Gemeinsames Forschungskolloquium zur Musik vor 1600 der Institute fü... more Paper read at Musik vor 1600 Gemeinsames Forschungskolloquium zur Musik vor 1600 der Institute für Musikwissenschaft Mainz und Weimar-Jena. Florence, Palazzo Vecchio, 26.06.2019
CARA SCIENTIA MIA, MUSICA
Resumen El presente proyecto se basa en el análisis de las ballades de Filippotto da Caserta, com... more Resumen El presente proyecto se basa en el análisis de las ballades de Filippotto da Caserta, com-positor italiano de procedencia meridional vinculado a las cortes de Pavía y Aviñón durante el periodo del Gran Cisma (1378-1417). En el marco de las investigaciones más recientes sobre las categorías de la intertextualidad como fenómeno literario y musical en el Ars Nova italiano, han sido identificadas posibles referencias alusivas y citaciones textuales de materiales meló-dicos preexistentes. Se trata puntualmente de dos melodías propias del repertorio litúrgico di-rectamente ligadas a las composiciones polifónicas a nivel poético y musical. Dichas observa-ciones pueden representar un aporte significativo para el estudio de la intertextualidad como fenómeno constitutivo de la cultura, y a su vez, para contextualizar estas composiciones, cuya génesis, datación, destinación y ambiente de referencia son a menudo reconstruibles sólo en modo conjetural a causa de la escasa documentación disponible.
SEMINARIO INTERNAZIONALE "Ars Nova tra Musica e Letteratura: temi e problemi di filologia e crit... more SEMINARIO INTERNAZIONALE
"Ars Nova tra Musica e Letteratura: temi e problemi di filologia e critica"
Centro Studi sull'Ars Nova Italiana del Trecento
Certaldo Alta, 16-17 dicembre 2016
The present contribution discusses a recent finding at the Milan State Archive regarding French m... more The present contribution discusses a recent finding at the Milan State Archive regarding French musician Bertrand Feragut. Feragut's activity in Northern Italy in the first decades of the fifteenth century is known thanks to documentary evidence belonging to the Milan Cathedral and to musical manuscripts and fragments that preserve his extant sacred and secular compositions. This new record shows Jacobus Lavezzi, a member of the Cathedral's chapter, absolved by the Archbishop's vicar after an alleged episode of physical aggression against Feragut. The new discovery, transcribed, translated, and analysed, is followed by another document, a papal absolution request on behalf of the monk Bertrandus Feraguti, signed on the exact same day as the Milanese record, which had been spotted by Alejandro Planchart several years ago but remained unpublished. A parallel reading of both absolutions sheds new light and raises new hypotheses on the life, clerical status and professional activity of the composer in the broader context of early-fifteenth-century Italian musical and institutional life. Moreover, the author rapidly re-examines the existing scholarly work on the musician, identifying an acrostic in one of Feragut's motets (Francorum nobilitati) that questions and dismisses previous assumptions made by musicologists about the circumstances of its composition.
Le composizioni francesi di Matteo da Perugia e il codice Modena α.M.5.24, 2019
PhD dissertation abstract and index. Università degli Studi di Pavia, 13.02.2020.