Il nuovo catalogo delle opere di Luigi Gatti (original) (raw)
2017, In: Luigi Gatti (1740–1817). La musica a Mantova e a Salisburgo tra Sette e Ottocento, a cura di Alessandro Lattanzi, con la collaborazione di Eva Neumayr e Lars E. Laubhold, Lucca, LIM, 2017 (Studi e saggi, 2), pp. 5–12
The steady growth in the number of editions and recordings recently made available has led Luigi Gatti’s music to achieve a measure of recognition, which runs in parallel to scholarly studies of renewed vigor. A prominent example of this interest is the new thematic catalogue of Gatti’s works, which offers a significantly different outlook from that found in the 1959 catalogue by Monika Gehmacher, thus stimulating a reappraisal of Gatti’s artistic development and musical style.
Related papers
Per un catalogo delle opere di Sgambati
Giovanni Sgambati: musicista dell’avvenire o epigono romantico?, 2018
In this essay there is an attempt to answer those questions deemed fundamental in order to scientifically set up a thematic catalogue of Sgambati’s compositions. When the author was still living, why had several of his works doubled in number- ing? Which of them belong to the official corpus? How many compositions did he actually write and how can we order them? To answer these queries, the essay is structured into two different parts. In the first one, there is a philological research aimed at tracking the origin of the double numbering; in the second one, the entire compositional activity of Sgambati known to us through synoptic tables is organized. All the most important biographic profiles, all the dictionary terms dedicated to Sgambati during the 1900s have always offered a double numbering, without providing the specific origin. In the essay, two original sources are identified: Giovanni Sgambati: Katalog seiner hauptsächlichsten Werke bis auf die Neuzeit vervollständigt (printed in 1910 by Schott, publisher of the majority of Sgambati’s works) and the essay I musicisti italiani contemporanei: Giovanni Sgambati (“Rivista musicale italiana”, xix, 1912), written by Alberto De Angelis under the supervision of the composer. From the comparison of the two different numerical orders, inconsistencies, gaps and discrepancies arise. In the essay it is shown how some of these gaps can be completed thanks to archive sources. Where the support of the sources is missing, the historic research helps. One must reflect upon the last years of the composer’s life, upon the image of himself he wanted to leave behind and how deriving from the latter changes of heart on the nature and dimension of the corpus of his works. The second part of the essay offers the catalogue of Sgambati’s works. It does not contain information related to the status of the manuscript sources nor to the subsequent printed editions and it does not correlate them with the biographic data, but it organizes, integrates, completes and corrects the lists of works so far prepared by numerous scholars researching Sgambati’s figure (among others Domenico Carboni, Dudley Newton and Sergio Martinotti). The catalogue is divid- ed into five sections. The first one contains all the numbered compositions. The numbering follows and compares Schott’s and De Angelis’ numeration. In the second and third sections, all the numbered compositions, dated or not dated, are listed. In the fourth, all Sgambati’s works which have been transcribed by other composers. Finally, the last contains all the didactic works.
Osservazioni al catalogo di Giovanni Antonio Pilacorte
Ricche Minere, 2021
Giuseppe pavanello Comitato scientifico Francesco abbate • bernard aikema • irina artemieva • victoria avery • rosa barovier • Jean clair • roberto contini • keith christiansen • alberto craievich • Giovanni curatola • miGuel Falomir Faus • massimo Ferretti • alvar González-palacios • andreas henninG • larissa haskell • claudia kryza-Gersch • Justyna Guze • simonetta la barbera • donata levi • stéphane loire • lauro maGnani • anne markham schulz • Giuseppe pavanello • nicholas penny • louise rice • serena romano • pierre rosenberG • sebastian schütze • philip sohm • nico strinGa • michele tomasi • alessandro tomei
Bernardino Gatti: una rilettura degli anni di formazione e due inediti
LAVORI IN CORSO. RICERCHE DEGLI STUDENTI LAUREATI IN STORIA DELL’ARTE MODERNA DELL’'UNIVERSITÀ DI PARMA, 2024
Bernardino Gatti, known as Sojaro, a painter from Pavia of whom we have news from 1519 to 1576 livin between his hometown, Cremona, Vigevano, Piacenza and Parma, is still subject of contrasting critical interpretations. Although recognised as one of the leading protagonists of the 16th century in the Po Valley, throughout the 20th century he was uncritically considered, to be one of «Correggio’s most certain disciples». More recently, he has been ascribed – without necessarily rejecting his apprenticeship in Parma – to Giulio Romano’s environment in Mantova, until the recent suggestion that he was Pippi’s apprentice. The present essay critically retraces Gatti’s formation between Pavia and Cremona and adds two unpublished works to his production: the fresco of the Addolorata in the church of Saint Agatha in Cremona and the drawing of the Pietà between Saint Sebastian and Saint Rocco preserved at the National Gallery of Canada.
Quaderni dell'Istituto Nazionale Tostiano, 2023
The thematic catalog of Francesco Paolo Tosti's works was first published in 1991 by Francesco Sanvitale - historical director and founder of the Istituto Nazionale Tostiano (INT) - and updated by the same five years later. Since then, the study and research activities on the composer from Orvieto and on the salon romance promoted by the Istituto Nazionale Tostiano, the donations and purchases that have enriched the INT's Historical Archives, and the reorganization of the Historical Archives of Casa Ricordi, have brought to light many new documents and numerous unpublished musical manuscripts that have shed new light on the figure of Tosti. These very important materials, together with some critical issues present in the last editing of the catalog of Tosti's works, have made it necessary to update, completely revise and supplement it.
Il catalogo aperto dei manoscritti Malatestiani
Die Deutsche Nationalbibliothek verzeichnet diese Publikation in der Deutschen Nationalbibliografie; detaillierte bibliografische Daten sind im Internet über http://dnb.d-nb.de/ abrufbar. Leicht veränderte Fassung für die digitale Publikation (siehe Vorwort).
Aggiunte al catalogo di Giuseppe Antignati
"Viglevanum. Miscellanea di studi storici e artistici", a. XX, 2010, pp. 46-51, 2010
N egli ultimi anni le ricerche d'archivio hanno permesso di precisare meglio la figura dello scultore Giuseppe Antignati, in precedenza noto unicamente per aver realizzato il modello ligneo per la Madonnina del duomo di Milano su progetto di Giuseppe Perego (1). Le ricognizioni archivistiche, oltre a fornire sicuri termini cronologici, hanno dato l'avvio alla ricostruzione del suo catalogo; il conseguente riconoscimento di una precisa fisionomia stilistica ha infine consentito di restituire allo scultore milanese un gruppo di statue lignee nel territorio compreso tra la Lomellina e Pavia. Il presente contributo ha lo scopo di aggiungere al corpus di opere già note agli studi altre segnalazioni che confermano l'attività di Antignati e della sua bottega a Vigevano e nelle aree limitrofe. Giuseppe Antignati era figlio dello scultore Giovanni Battista (2), figura non ancora ben delineata ma che aveva intrattenuto documentati contatti con Carlo Francesco Mellone e con il filone della cultura figurativa milanese in stretti rapporti con l'ambiente romano tra la fine del XVII e la prima metà del XVIII secolo, rapporti che sarebbero stati di grande importanza per la produzione di Giuseppe. Dai dati emersi sino ad oggi è possibile stabilire che la prima opera autonoma di quest'ultimo è l'Immacolata, datata 1733, proveniente dalla chiesa dei Cappuccini di Morbegno e ora nella parrocchiale di Talamona in Valtellina, opera che si inserisce perfettamente nelle forme della coeva scultura gravitante intorno al cantiere del duomo milanese e che trova un esponente di spicco in Elia Vincenzo Buzzi. È possibile individuare all'interno della produ-46
Loading Preview
Sorry, preview is currently unavailable. You can download the paper by clicking the button above.