Faà di Bruno, Giovanni Matteo [Horatio, Orazio] 83



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Fabbri, Paolo


(b Ravenna, 15 Oct 1948). Italian musicologist. After graduating in humanities at Florence University (1971), he undertook postgraduate study in musicology at Bologna University (1976). He has taught music history at the school of music in Ravenna (1980–87), and was appointed professor of music history and musical aesthetics at the universities of Udine (1987–91) and Ferrara (from 1991). During 1992 he was the visiting professor at the University of Chicago. He has been a member of the administrative and editorial board of the journal Rivista italiana di musicologia (1977–85), and a committee member of the Società Italiana di Musicologia (1989–91) and the IMS (1992–7). Fabbri’s main area of research is Italian music from the 16th century to the 19th. In 1989 he joined the editorial board for the complete edition of the works of Rossini, and he is also on the advisory committee for the complete edition of Andrea Gabrieli. He was vice-director of the Fondazione Rossini in Pesaro (1994–8) and co-director of the journal Bollettino del Centro rossiniano di Studi (1996–8). He is also one of the musical directors of the Istituto di Studi Rinascimentali in Ferrara and the Fondazione Donizetti in Bergamo. In 1989 he was awarded the Dent medal.

WRITINGS


‘Tasso, Guarini e il divino Claudio’, Studi musicali, iii (1974), 233–54

‘Un’antologia emiliana di villanelle alla napoletana’, Studi musicali, v (1976), 59–94

‘Fatti e prodezze di Manoli Blessi’, RIM, xi (1976), 182–96

‘Storia e preistoria dell’opera a Varsavia: il passaggio per Mantova di Ladislao, principe di Polonia’, Quadrivium, xviii (1977), 135–47

‘Presenze rossiniane negli archivi ravennati’, Bollettino del Centro rossiniano di studi, xviii (1978), 5–30

‘Inediti monteverdiani’, RIM, xv (1980), 71–86

‘Il soggiorno veneziano di Ladislao principe di Polonia: un incontro con Claudio Monteverdi’, Subsidia musica veneta, iii (1982), 27–52

‘Concordanze letterarie e divergenze musicali intorno ai “Madrigali a cinque voci […]” libro primo di Claudio Monteverdi’, Musica e filologia, ed. M. Di Pasquale (Verona, 1983), 53–83



ed., with A. Pompilio: Il Corago o vero alcune osservazioni per metter bene in scena le composizioni drammatiche (Florence, 1983)

with A. Pompilio and A. Vassalli: ‘Frescobaldi e le raccolte con composizioni a voce sola del primo Seicento’, Girolamo Frescobaldi: Ferrara 1983, 233–60

Tre secoli di musica a Ravenna: dalla Controriforma alla caduta dell’Antico Regime (Ravenna, 1983)

with A. Vassalli: ‘Andrea Gabrieli e il madrigale: interferenze musica, letteratura e società’, Andrea Gabrieli 1585–1985 (Venice, 1985), 47–57 [pubn of the Biennale di Venezia, Settore musica]

‘Andrea Gabrieli e le composizioni su diversi linguaggi: la giustiniana’, Andrea Gabrieli e il suo tempo: Venice 1985, 249–72



Monteverdi (Turin, 1985; Eng. trans., 1994)

with R. Verti: Due secoli di teatro per musica a Reggio Emilia: repertorio cronologico delle opere e dei balli 1645–1857 (Reggio nell’Emilia, 1987)

‘Istituti metrici e formali’, SOI, vi (1988), 163–233



ed.: Il madrigale tra Cinque e Seicento (Bologna, 1988)

‘Teatralità “non apparente” de L’Armida di Francesco Eredi (1629)’, Tasso: la musica, i musicisti, ed. M.A. Balsano and T. Walker (Florence, 1988), 121–35

‘Riflessioni teoriche sul teatro per musica nel Seicento: “La poetica toscana all’uso” di Giuseppe Gaetano Salvadori’, Opera e libretto, i (Florence, 1990), 1–31

Il secolo cantante: per una storia del libretto d’opera nel Seicento (Bologna, 1990)

ed.: Gioachino Rossini: Pesaro 1992

‘Un compositore in cerca d’autore: Rossini come personaggio letterario nell’Ottocento’, La recezione di Rossini ieri e oggi: Rome 1993, 149–63

‘New Sources for Poppea’, ML, lxxiv (1993), 16–23

‘La parola cantata’, Claudio Monteverdi: Mantua 1993, 513–23

‘Saverio Mattei: un profilo bio-bibliografico’, Napoli e il teatro musicale in Europa tra Sette e Ottocento: studi in onore di Friedrich Lippmann, ed. B.M. Antolini and W. Witzenmann (Florence, 1993), 121–44

‘Il conte Aventi, Rossini e Ferrara’, Bollettino del Centro rossiniano di studi, xxxiv (1994), 91–157

‘Metro letterario e metro musicale nelle pagine di un critico di Chiabrera’, Musicologia humana: Studies in Honor of Warren and Ursula Kirkendale, ed. S. Gmeinwieser, D. Hiley and J. Riedlbauer (Florence, 1994), 373–81

‘Rossini the Aesthetician’, COJ, vi (1994), 19–29

‘On the Origins of the Operatic Topos: the Mad-Scene’, Con che soavità: Studies in Italian Opera, Song and Dance, 1580–1740, ed. I. Fenlon and T. Carter (Oxford, 1995), 157–95

‘Origini del melodramma’, ‘Caratteri e funzioni dell’opera’, ‘Diffusione dell’opera’, ‘L’apogeo dell’opera’, Musica in scena: storia dello spettacolo musicale, i: Il teatro musicale dalle origini al primo Settecento, ed. A. Basso (Turin, 1995), 59–82, 83–104, 105–29, 131–57

‘Rossini e Bellini a paragone’, Musica Franca: Essays in Honor of Frank A. D’Accone, ed. I. Alm, A. McLamore and C. Reardon (Stuyvesant, NY, 1996), 283–95

TERESA M. GIALDRONI


Fabbri, Stefano.


See Fabri, stefano (i) or (ii).

Fabbrini [Fabrini], Giuseppe


(b ?Siena; d Siena, 20 Nov 1708). Italian composer and organist. Since he is represented in a collection of motets dedicated to St Ignatius Loyola (RISM 16951), he was presumably a Jesuit. Documents exist (in I-Sd) showing that he received payments as organist of Siena Cathedral from November 1671 until 1685, when he was appointed maestro di cappella. He held this post until 1704. In 1705 and 1706 he again acted as organist but was maestro from 1707 until his death. Dedications and prefaces to the librettos he set to music show that he taught music and singing at the Collegio Tolomei, Siena, a famous institution open only to the nobility. The writings of Gerolamo Gigli, one of the best-known literary figures of the period, contain many references to musical activities at the college during Fabbrini's years there. His operas to librettos by Gigli were all written for the college theatre

which opened in 1685. The preface to the libretto of the version of Alessandro Scarlatti's L'honestà negli amori performed in the theatre of the Accademia dei Rozzi, Siena, in 1690, for which Fabbrini wrote the prologue, all the intermezzos and some additional pieces, shows that he was a member of the academy with the name ‘L'Armonico’.


WORKS

operas


music lost; first performed at Siena, Collegio Tolomei, unless otherwise stated

La Genefieva (G. Gigli), 1 Feb 1685, lib US-Wc

La forza del sangue e della pietà (Gigli), 15 Feb 1686, lib Wc

Lodovico Pio (Gigli), 3 Feb 1687, lib Wc

La fede ne' tradimenti (Gigli), 12 Feb 1689, lib Wc

Prol and addns to A. Scarlatti: L'honestà negli amori (G.F. Bernini), Siena, Accademia dei Rozzi, 24 May 1690, lib I-Bc

La forza d'amore (Gigli), 1690, lib US-Wc, tentatively attrib. Fabbrini by Sonneck

L'Eudossia (Gigli), carn. 1696, lib Wc, tentatively attrib. Fabbrini by Sonneck

Coriolano (?Gigli), carn. 1706, lib Wc, tentatively attrib. Fabbrini by Sonneck

oratorios





l cielo, la terra, l'abisso, prostrati al nome ineffabile di Giesù (G.B.F. Lupi), 4vv, insts, Vienna, 1680 (?orig. intended for Siena), A-Wn

La madre de' Maccabei (Gigli), 1688, described by Allacci as an orat, anon., pubd lib of performance in Florence, 1694, Brompton Oratory, London

La glorie del nome di Giesù (Lupi), Vienna, 1689, mentioned in RicordiE (?identical with Il cielo, la terra, l'abisso)

Il martirio di Sant'Adriano (Gigli), 1690, mentioned as anon. and without date in Allacci; attrib. Fabbrini in LaMusicaD

other sacred vocal


Motet, 1v, 2 vn, bc, 16951

Masses, introits, sequences, vesper psalms, compline psalms, antiphons for Vespers for all the saints, responses for the Office of the Dead, hymns, 1644–1708, I-Sd

Ricercari a 2 soprani, D-Bsb (according to Eitner)

BIBLIOGRAPHY


AllacciD

EitnerQ

LaMusicaD

RicordiE

SchmidlD

SchmidlDS

R. Morrocchi: La musica in Siena (Siena, 1886/R), 101–2

O.G.T. Sonneck: Library of Congress: Catalogue of Opera Librettos Printed before 1800 (Washington DC, 1914/R)

FABIO BISOGNI




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