Guido Olivieri
Guido Olivieri (Ph.D. UCSB) is Professor of Musicology at The University of Texas at Austin, where he also directs the Early Music Ensemble “Austinato” A Research Fellow at the University of Liverpool (UK) and The Italian Academy for Advanced Studies in America at Columbia University, and a Mellon Fellow and Visiting Assistant Professor at the University of Michigan, he has co-authored with Marc Vanscheeuwijck the volume "Arcomelo 2013. Studi in occasione del terzo centenario della nascita di Arcangelo Corelli" (LIM, 2015), and is the author of the critical edition of A. Corelli "Le sonate da camera di Assisi" (LIM, 2015). He has published reviews and articles in scholarly journals (Studi musicali, Rivista italiana di musicologia, Analecta Musicologica, Pergolesi Studies, Notes, Il Saggiatore) and collective volumes, contributed to The New Grove Dictionary of Music, the MGG, and the Dizionario Biografico degli Italiani, and presented papers at meetings of the AMS, IMS, and SECM, among others. Olivieri is currently working on the critical edition of D. Cimarosa "Il matrimonio segreto" for Bärenreiter, in collaboration with the University of Vienna. His groundbreaking research - focusing in particular on the developments of string sonata in Naples at the beginning of the eighteenth century - and collaborations with international artists have significantly contributed to the revival of interest on Neapolitan instrumental music and musicians.
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Videos by Guido Olivieri
Enrico Gatti and Ensemble Aurora
Outhere Music
https://lnk.to/The_Fiery_GeniusID
Books by Guido Olivieri
Illustrates the crucial role of instrumental music in major Neapolitan music institutions, where scholars have previously focused on opera and song
Examines aspects of music pedagogy, performance practices, and patronage through careful study of original sources
Places Neapolitan music culture at the core of the aesthetic and cultural developments of other European centers including Vienna and Paris
Papers by Guido Olivieri
The analysis of a forgotten source sheds light on the early history of the cello in seventeenth-century Naples. The manuscript MS 2-D-13, held in the library of the Montecassino Abbey, dates from around 1699 and contains two unknown cello sonatas by Giovanni Bononcini, together with passacaglias, sonatas for two ‘violas’ and elaborations over antiphons by Gaetano Francone and Rocco Greco, two prominent string performers and teachers in Naples. A study of this remarkable source helps to clarify the nomenclature of the bass violins in use in the city and offers new evidence on the practice of continuo realization at the cello, as well as on the connections with partimento practice. This collection is thus of critical importance for a discussion of the technical achievements and developments of the cello repertory in Naples before the emergence of the celebrated generation of Neapolitan cello virtuosi in the early years of the eighteenth century.
Enrico Gatti and Ensemble Aurora
Outhere Music
https://lnk.to/The_Fiery_GeniusID
Illustrates the crucial role of instrumental music in major Neapolitan music institutions, where scholars have previously focused on opera and song
Examines aspects of music pedagogy, performance practices, and patronage through careful study of original sources
Places Neapolitan music culture at the core of the aesthetic and cultural developments of other European centers including Vienna and Paris
The analysis of a forgotten source sheds light on the early history of the cello in seventeenth-century Naples. The manuscript MS 2-D-13, held in the library of the Montecassino Abbey, dates from around 1699 and contains two unknown cello sonatas by Giovanni Bononcini, together with passacaglias, sonatas for two ‘violas’ and elaborations over antiphons by Gaetano Francone and Rocco Greco, two prominent string performers and teachers in Naples. A study of this remarkable source helps to clarify the nomenclature of the bass violins in use in the city and offers new evidence on the practice of continuo realization at the cello, as well as on the connections with partimento practice. This collection is thus of critical importance for a discussion of the technical achievements and developments of the cello repertory in Naples before the emergence of the celebrated generation of Neapolitan cello virtuosi in the early years of the eighteenth century.
The edition is available on line at : http://www.sedm.it/sedm/en/instrumental-music/157-bononcini-olivieri.html
-Musicological introduction by Guido Olivieri
- Critical notes by Enrico Gatti
- Critical edition in a separate file, suitable for performance
Texts both in Italian and English
Guido Olivieri ©️ 2022
Liner notes © Guido Olivieri 2021
Sulla base di materiale d’archivio inedito, il saggio ricostruisce la figura di fatto sconosciuta di Margherita Balletti (Milano, 1680 ca.-Londra?, post 1738), moglie di Giovanni Bononcini ed esponente di un’importante famiglia di comici dell’Arte in azione nelle principali piazze dell’Italia settentrionale e presso le corti dell’Europa centrale già dalla metà del XVII secolo. Margherita non si dedicò al teatro, ma coltivò la pittura. Seguì il marito a Vienna, a Roma, a Londra e a Parigi, ma il matrimonio naufragò nei debiti e negli scandali.
(1666-1747)
International Symposium
Modena, 2-4 December 2016
The Festival Musicale Estense “Grandezze & Meraviglie” and the Gruppo Arcomelo 2013 are organizing an international symposium on the Bononcini family during the first weekend of December 2016. The conference will focus on the period that begins with the artistic début of Giovanni Maria (Primi frutti del Giardino musicale op. 1, 1666)— launching the golden age of the Modena violin school—through the European success of the Musico Prattico (1673), paralleling that of the ducal court after the marriage (also in 1673) of Maria Beatrice d’Este and the Duke of York James Stuart, and the second generation of Bononcini musicians (Giovanni and Antonio Maria), who were instrumentalists and opera composers of great international renown.
Objectives of the conference are both to explore the life, works, and influence (in a European perspective) the Bononcinis had on Emilian instrumental and vocal music, and to shed light on the circulation of music and musicians from Emilia, and on issues of performance practice. Although preference will be given to papers dealing with these three major topics, the scientific committee also invites proposals concerning other aspects of Emilian music, including the relationship between musical patronage and production, reciprocal influences between instrumental and vocal music, instrument making, etc.
The scientific committee, created three years ago for the organization of the Congresso Arcomelo 2013 (Enrico Gatti, Marc Vanscheeuwijck, Guido Olivieri, Agnese Pavanello, and Francesco Zimei) invites paper proposals through submission of an abstract. Paper presentations will be rigorously limited to 25 minutes in order to allow some time for discussion.
The (anonymous) abstract should include the title of the paper and a text of maximum 250 words, and indicate the topic and/or thesis, the state of research, the principal sources used, and a statement on the relevance and originality of the contribution. In a separate file, please indicate the paper title, first and last name of the author, e-mail address, and provide a short half-page CV.
The abstract and additional files should be sent as an attachment to [email protected] by March 31st, 2016.
The organization will host all presenters for the entire duration of the conference.
We expect a peer-reviewed publication of the proceedings. Upon their arrival in Modena presenters will be asked to provide a Word file including the complete text of their paper in the format that will be communicated in detail when the scientific committee has completed the selection of papers. After the conference presenters will have 60 days for corrections and modifications before we begin the editorial work of the proceedings.
SCIENTIFIC COMMITTEE
Enrico Gatti (Royal Conservatoire, Den Haag, NL - Conservatorio "G. B. Martini", Bologna)
Guido Olivieri (The University of Texas, Austin, USA)
Agnese Pavanello (Schola Cantorum Basiliensis, Basel, CH)
Marc Vanscheeuwijck (University of Oregon, Eugene, USA)
Francesco Zimei (Istituto Abruzzese di Storia Musicale)