Federico Gon
Federico Gon (Trieste, 1982). Musicologist and composer, graduated (2009) and doctorated (2013) at Padua University, has partecipated to many conference and has published books and several essays on specialized reviews about opera and instumental music between 18th and 19th Century.
Winner of “Tesi Rossiniane” prize 2013 (Fondazione Rossini, Pesaro, Italy).
He is member of the “National Comiteè for the Edition of Domenico Cimarosa’s Commedie per Musica” and post-doc researcher at Vienna University (Austria).
After a beginnign a start as self-taught, he has studied composition under Azio Corghi and Mauro Bonifacio. Interested both in opera and instrumental music, his works have been commissioned and performed by institution like Teatro G Verdi in Trieste, Gran Teatro La Fenice in Venice and by ensembles like the Orchestra Sinfonica di Milano “G. Verdi”, the Orchestra Sinfonica di Sanremo, the Orchestra “I pomeriggi musicali” di Milano, the Quartetto Maffei.
Winner of “Tesi Rossiniane” prize 2013 (Fondazione Rossini, Pesaro, Italy).
He is member of the “National Comiteè for the Edition of Domenico Cimarosa’s Commedie per Musica” and post-doc researcher at Vienna University (Austria).
After a beginnign a start as self-taught, he has studied composition under Azio Corghi and Mauro Bonifacio. Interested both in opera and instrumental music, his works have been commissioned and performed by institution like Teatro G Verdi in Trieste, Gran Teatro La Fenice in Venice and by ensembles like the Orchestra Sinfonica di Milano “G. Verdi”, the Orchestra Sinfonica di Sanremo, the Orchestra “I pomeriggi musicali” di Milano, the Quartetto Maffei.
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Papers by Federico Gon
These options deserve to be re-discussed, analyzing those features which earned him the nickname of “il Tedeschino” (The Little German), the origin of the fortune of the topos which sees Rossini linked to the German music.
Into the Sonate a quattro, Haydn’s influence it is located at all levels of musical writing: harmony (relations of Third, tonal planning), melody (cantabile vs melodic economy), form (Sonata form), rhetoric (the “tertiary rhetorich” investigated by Somfai and Sisman), quotations and small musical gestures.
This study provide a new perspective about the roots of Rossini’s style in his youth, comparing the real opportunities that he had to study and play Haydn’s music (at Malerbi’s school in Lugo, and then in Bologna at the Liceo Musicale and in some local ‘Accademie’) with the tracks that this custom may have left in this small masterpiece, maybe at the real origin of “il Tedeschino”.
of opera, the relationship between the sound of the French horn and
marital infidelity is, although relatively rare, one of the subtlest topoi of opera.
This is based on the etymology of the Italian word: this verbal joke denotes
the attention that authors such as Cimarosa, Mozart, Rossini, Donizetti, Verdi
(and even Stravinsky) devoted to musical imagery, a field in which the relationship
horns vs ‘horns’ is frequently adopted. With the purpose of proposing a
taxonomy, this hilarious gimmick can be interpreted according to the dictates of
modern linguistics and semiotics.
These options deserve to be re-discussed, analyzing those features which earned him the nickname of “il Tedeschino” (The Little German), the origin of the fortune of the topos which sees Rossini linked to the German music.
Into the Sonate a quattro, Haydn’s influence it is located at all levels of musical writing: harmony (relations of Third, tonal planning), melody (cantabile vs melodic economy), form (Sonata form), rhetoric (the “tertiary rhetorich” investigated by Somfai and Sisman), quotations and small musical gestures.
This study provide a new perspective about the roots of Rossini’s style in his youth, comparing the real opportunities that he had to study and play Haydn’s music (at Malerbi’s school in Lugo, and then in Bologna at the Liceo Musicale and in some local ‘Accademie’) with the tracks that this custom may have left in this small masterpiece, maybe at the real origin of “il Tedeschino”.
of opera, the relationship between the sound of the French horn and
marital infidelity is, although relatively rare, one of the subtlest topoi of opera.
This is based on the etymology of the Italian word: this verbal joke denotes
the attention that authors such as Cimarosa, Mozart, Rossini, Donizetti, Verdi
(and even Stravinsky) devoted to musical imagery, a field in which the relationship
horns vs ‘horns’ is frequently adopted. With the purpose of proposing a
taxonomy, this hilarious gimmick can be interpreted according to the dictates of
modern linguistics and semiotics.