Papers by Laura Mauri Vigevani
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Philomusica on-line, 2006
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La pubblicazione ufficiale della scheda nazionale SMO (Strumenti Musicali – Organo) sul sito dell... more La pubblicazione ufficiale della scheda nazionale SMO (Strumenti Musicali – Organo) sul sito dell'ICCD (Istituto Centrale per il Catalogo e la Documentazione) rappresenta il raggiungimento degli obiettivi del seminario cremonese del 2005. La presentazione della SMO nell'attuale seminario unisce contributi di riflessione sul cammino percorso a iniziative didattiche e gestionali per la divulgazione dell'utilizzo della scheda. Gli interventi di positiva collaborazione da parte dei responsabili delle maggiori collezioni italiane di strumenti musicali e l'effettiva partecipazione dell'ICCD alle giornate del seminario hanno permesso di concordare le basi per una progettazione condivisa della scheda nazionale per gli altri strumenti musicali.
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Philomusica on-line, 2003
... e gli undici Steinway, rettangolare, a coda (di cui uno senza incrocio delle corde), a granco... more ... e gli undici Steinway, rettangolare, a coda (di cui uno senza incrocio delle corde), a grancoda, verticale, autopiano (sistema a rulli Welte e ... L'agile Guida di Fabio Perrone alle collezioni italiane visitabili costituisce uno strumento assai utile per amatori e studiosi, che trovano un ...
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Rinascimento italiano e committenza valenzana. Atti del Convegno , 2011
The twelve musician angels in the vault of Valencia Cathedral (1472-1476) are attributed to Paolo... more The twelve musician angels in the vault of Valencia Cathedral (1472-1476) are attributed to Paolo da San Leocadio, brought to Valencia by cardinal Rodrigo Borgia together with Vincenzo Pagano for the two painters frescoed the apse. They are a precious witness for music, art, history.
The highly innovative painting of the italian artist, of an impressive modernity, suddenly appears in an environment that is still late Gothic, opening Spain to the Renaissance.
The iconographic layout of the vault, the musical instruments construction methods and decorations style are italian. The executive practice corresponds to that described in the fifteenth-sixteenth century musical treatises.
The essay proposes that the viola da gamba was born in a spanish environment in Italy and that the musical instruments represent the collection that Cardinal Borgia most likely kept in Rome in his sumptuous palace, celebrated as one of the most beautiful in all of Italy.
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Giovan Gerolamo Savoldo. La pala di Pesaro a cura di Mariolina Olivari, Electa, Milano, 2008, pp. 116-126., 2008
Considering the angels with shawm and lute, this essay offers an interpretation of the altarpiec... more Considering the angels with shawm and lute, this essay offers an interpretation of the altarpiece painted (1524-1526) by Giovanni Gerolamo Savoldo for the church of San Domenico in Pesaro, preserved in Brera.
Contrary to an established iconographic tradition, neither angel is playing.
Why?
The proposed answer derives from the historical and liturgical context: the desired Catholic Reform, the role of the duchess Leonora Gonzaga Della Rovere (whose favorite musician, Marcantonio Cavazzoni, was in 1524 among the witnesses to the contract for the altarpiece ), the repertoire of sequences that the Dominicans used extensively.
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Philomusica on-line, 2016
Sono esaminati affreschi di Santa Maria in Castello di Adro, Santa Maria Assunta a Gussago, Santa... more Sono esaminati affreschi di Santa Maria in Castello di Adro, Santa Maria Assunta a Gussago, Santa Maria dei campi a Travagliato (opera di Vincenzo Civerchio), San Pietro a Coccaglio e Santa Maria Assunta a Esine (attribuiti a Giovan Pietro da Cemmo). In tutte queste opere la scelta e la collocazione degli strumenti musicali non sono affatto casuali, non dipendono unicamente da criteri compositivi estetici ne si limitano a riprodurre frammenti di pratica musicale contemporanea. Si mostra come gli insiemi strumentali raffigurati non costituiscono un semplice, forse pleonastico commento a margine del soggetto principale, bensi sono coprotagonisti del racconto figurativo e concorrono in modo peculiare a esprimerne il significato.
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Philomusica on- …, 2007
... relative a campagne di catalogazione che hanno usato questo modello «Mischiati-Chierici» sono... more ... relative a campagne di catalogazione che hanno usato questo modello «Mischiati-Chierici» sono il pregevole lavoro di Loris Stella, autore delle schede tecnico-descrittive degli organi in Organi e tradizioni organarie nel Friuli Venezia Giulia. ... [14] Michele Bosio, organista e ...
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Books by Laura Mauri Vigevani
Rugginenti, 2003
Critical edition of two music books printed in Venice in 1584 with 25 3-part canzonette by Cesare... more Critical edition of two music books printed in Venice in 1584 with 25 3-part canzonette by Cesare Borgo and 18 4-part canzonette by Giuseppe Caimo, prominent Milanese musicians.
The canzonette, which combine the elevated style with the popular genre, are analyzed in the poetic and in the musical text and related to other compositions.
The extensive preface concerns the life and works of the two musicians in connection with the historical and artistic environment of the time. Caimo's membership in the Accademia della Val di Blenio (chaired by the painter Giovan Paolo Lomazzo) and his attempts to be hired at the Bavarian court are investigated. Letters from Caimo to Cardinal Carlo Borromeo are published.
The diversified contribution of the two musicians illuminates the specific musical role of Milan.
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Papers by Laura Mauri Vigevani
The highly innovative painting of the italian artist, of an impressive modernity, suddenly appears in an environment that is still late Gothic, opening Spain to the Renaissance.
The iconographic layout of the vault, the musical instruments construction methods and decorations style are italian. The executive practice corresponds to that described in the fifteenth-sixteenth century musical treatises.
The essay proposes that the viola da gamba was born in a spanish environment in Italy and that the musical instruments represent the collection that Cardinal Borgia most likely kept in Rome in his sumptuous palace, celebrated as one of the most beautiful in all of Italy.
Contrary to an established iconographic tradition, neither angel is playing.
Why?
The proposed answer derives from the historical and liturgical context: the desired Catholic Reform, the role of the duchess Leonora Gonzaga Della Rovere (whose favorite musician, Marcantonio Cavazzoni, was in 1524 among the witnesses to the contract for the altarpiece ), the repertoire of sequences that the Dominicans used extensively.
Books by Laura Mauri Vigevani
The canzonette, which combine the elevated style with the popular genre, are analyzed in the poetic and in the musical text and related to other compositions.
The extensive preface concerns the life and works of the two musicians in connection with the historical and artistic environment of the time. Caimo's membership in the Accademia della Val di Blenio (chaired by the painter Giovan Paolo Lomazzo) and his attempts to be hired at the Bavarian court are investigated. Letters from Caimo to Cardinal Carlo Borromeo are published.
The diversified contribution of the two musicians illuminates the specific musical role of Milan.
The highly innovative painting of the italian artist, of an impressive modernity, suddenly appears in an environment that is still late Gothic, opening Spain to the Renaissance.
The iconographic layout of the vault, the musical instruments construction methods and decorations style are italian. The executive practice corresponds to that described in the fifteenth-sixteenth century musical treatises.
The essay proposes that the viola da gamba was born in a spanish environment in Italy and that the musical instruments represent the collection that Cardinal Borgia most likely kept in Rome in his sumptuous palace, celebrated as one of the most beautiful in all of Italy.
Contrary to an established iconographic tradition, neither angel is playing.
Why?
The proposed answer derives from the historical and liturgical context: the desired Catholic Reform, the role of the duchess Leonora Gonzaga Della Rovere (whose favorite musician, Marcantonio Cavazzoni, was in 1524 among the witnesses to the contract for the altarpiece ), the repertoire of sequences that the Dominicans used extensively.
The canzonette, which combine the elevated style with the popular genre, are analyzed in the poetic and in the musical text and related to other compositions.
The extensive preface concerns the life and works of the two musicians in connection with the historical and artistic environment of the time. Caimo's membership in the Accademia della Val di Blenio (chaired by the painter Giovan Paolo Lomazzo) and his attempts to be hired at the Bavarian court are investigated. Letters from Caimo to Cardinal Carlo Borromeo are published.
The diversified contribution of the two musicians illuminates the specific musical role of Milan.