{"id":1879,"date":"2022-02-16T21:47:24","date_gmt":"2022-02-16T20:47:24","guid":{"rendered":"https:\/\/www.luigicherubini.de\/wordpress\/florence-2010\/"},"modified":"2022-02-16T21:47:24","modified_gmt":"2022-02-16T20:47:24","slug":"florence-2010","status":"publish","type":"page","link":"https:\/\/www.luigicherubini.de\/fr\/florence-2010\/","title":{"rendered":"Florence 2010"},"content":{"rendered":"\t\t
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Actuellement uniquement disponible en anglais…<\/em><\/p>\n

Cherubini al \u201eCherubini\u201c nel 250\u00b0 anniversario della nascita<\/h1>\n

Firenze, 8\u20139 ottobre 2010<\/h1>\n

A Conference Report<\/h1>\n

Fabio Morabito<\/em><\/p>\n

The international conference Cherubini al \u201eCherubini\u201c was the first symposium planned in 2010 for the 250th anniversary of the birth of Luigi Cherubini. This meeting was organized by the Conservatorio \u201eLuigi Cherubini\u201c di Firenze (under the patronage of the Universit\u00e0 di Firenze, Facolt\u00e0 di Lettere e Filosofia) and took place in the beautiful Sala del Buonumore of the Conservatorio, from October 8th\u20139th 2010. Cherubini al \u201eCherubini\u201c brought together ten researchers and music scholars \u2013 mainly from Italian universities \u2013 to discuss a wide scope of topics: Cherubini\u2019s youthful employment in Florence (e. g. at the Teatro della Pergola and the Cappella Musicale of S. Giovanni), Italian and French operas, solemn masses, music for keyboard instruments, Cherubini\u2019s reception in France and Italy in the 19th and 20th centuries, as well as some aspects of his creative process. The conference was divided into three sessions, each of which concluded with a debate concerning the three \/ four papers presented in each single session.<\/p>\n

The first session (Friday morning, Chair: Fiamma Nicolodi) was opened by Giovanni Carli Ballola (Universit\u00e0 del Salento, Italy), whose pa- per was entitled \u201eLe messe dei gigli d\u2019oro\u201c. His research aimed at offering a new stylistic survey of the six solemn Masses composed by Cherubini for the Royal Chapel (1816\u20131825) that demonstrate a significant technical development when compared to the masses for Chimay (1808) and Eisenstadt (for Prince Nikolaus II. Esterh\u00e1zy, 1811). Based on the historical sources preserved in the Library of the Conservatorio in Florence, Andrea Chegai (Universit\u00e0 di Arezzo, Italy) recognized some characteristics of the Cherubini\u2019s<\/p>\n

\u201eItalian\u201c opera production before the composer definitely settled in Paris. In his paper \u201eCherubini autore d\u2019opera italiana. Percorsi di formazione\u201c Chegai considered primarily the scores of Armida abbandonata (1782) and Giulio Sabino (1786), in order to examine Cherubini\u2019s structural choices and models during the period of his apprenticeship with Sarti and other Italian composers. Lorenzo Mattei (Universit\u00e0 di Bari, Italy) also dealt with the Italian production of Cherubini in those years, particularly Ifigenia in Aulide (1788): the paper he proposed, \u201eUna sflilata di Ifigenie: elementi r\u00e9tro del Cherubini serio\u201c, examined the friction between conventions and experimentation in a comparison with three other contemporaneous works based on the same sub- ject (by Martin y Soler, Ignaz Pleyel and Vittorio Trento). At the end of the first session, Christine Siegert (Universit\u00e4t der K\u00fcnste Berlin, Germany) took us back about 15 years, studying the involvement of the young Cherubini in the musical life of Florence between 1773 and 1776. The paper she presented, entitled \u201eCherubini a Firenze. Nuove considerazioni\u201c, focused on a close reading of the primary sources preserved in the Archivio of the Teatro della Pergola, and particularly the lists of the staff employed at the theatre year by year.<\/p>\n

Although not physically present, Dani\u00e8le Pistone (Universit\u00e9 Paris-Sorbonne, France) provided a paper entitled \u201eLuigi Cherubini nell\u2019immaginario musicale parigino\u201c, which was read at the beginning of the second session (Friday afternoon, Chair: Franco Piperno). Based on a wide assortment of documents (e. g. articles in periodicals, correspondences, etc.), this survey aimed at presenting the ways the Parisian public has welcomed the composer and his music from 1786 until today. On the other hand, Marco Capra (Universit\u00e0 di Parma, Italy), with his paper \u201eRicezione e contestualizzazione ottocentesca\u201c, focused on Cherubini\u2019s reception and fortune in Italy during the 19th century. This study examined newspapers and magazines (with special regard to those published in Florence), theatre seasons and concert notices, suggesting in conclusion a comparison between the Italian reception of Cherubini and that of Ferdinando Pa\u00ebr. Regarding the studies on the composer\u2019s creative process, Fabio Morabito (Internationale Cherubini-Gesellschaft Berlin, Germany) presented a paper entitled \u201eIl processo compositivo di Cherubini: il caso dei quartetti\u201c. After a thorough analysis of the autograph manuscripts, Morabito illustrated some of the most specific features of Cherubini\u2019s work during the composition of his six string quartets (e. g. use of sketches, drafts, revision marks, construction of autograph scores, etc.). A concert of Cherubini\u2019s overtures and arias (from different Italian and French operas), performed by the students of the Conservatorio di Firenze, brought the afternoon session to a close.<\/p>\n

The third session (Saturday morning, chair: Pierluigi Petrobelli) began with Gabriele Giacomelli (Universit\u00e0 di Firenze, Italy), whose paper \u201eCherubini e la cappella musicale di San Giovanni\u201c dealt with the participation of the 14-year-old Cherubini \u2013 as a contralto \u2013 in the polyphonic chapel of the baptistery of San Giovanni, from 1774. With her survey \u201eCherubini alla tastiera\u201c, Federica Rovelli (Universit\u00e0 di Cagliari, Italy) led us on an exploratory mission through Cherubini\u2019s production for keyboard instruments. Focusing primarily on the Sei sonate per cimbalo op. 1 (1780) and the Capriccio, ou \u00e9tude pour le fortepiano (1789) \u2013 both carried out in significant moments of the composer\u2019s career \u2013, Rovelli ana- lysed a particular paratactic procedure underlying the formal structure, which appears much closer to the works of Boccherini than to Viennese keyboard writing at the turn of the century. In the last paper scheduled, \u201e,Le Ciel enfin punit le crime\u2018: tiranni, fortezze e abbattimenti nella produzione seria di Luigi Cherubini\u201c, Paolo Mechelli (Con- servatorio \u201eS. Giacomantonio\u201c di Cosenza, Italy) dealt with the most representative scenes of tyr- anny, imprisonment and liberation in Cherubini\u2019s opera seria and op\u00e9ra-comique. His investigation concentrated mainly on Lodo\u00efska (1791), with the purpose of exploring the political implications of these dramatic sequences as symbolic representations of despotism.<\/p>\n

At the end of the conference, participants and guests were invited to an exhibition mounted in the Manuscript Room of the Library, with some of Cherubini\u2019s autograph manuscripts (e. g. the autograph score of Armida abbandonata and a letter to Ferdinando Morini dated 18 July 1837) and several first editions, as well as historical transcriptions of Cherubini\u2019s operas (mainly adapted for wind ensemble or string quartet). Concluding the meeting, Pierluigi Petrobelli (Universit\u00e0 di Roma \u201eLa Sapienza\u201c, Italy) pointed out the urgency of an international cooperation to develop a thematic catalogue of the composer\u2019s complete works. Today, this project is currently being designed \u2013 by the Conservatorio \u201eLuigi Cherubini\u201c (Firenze) in collaboration with the Internationale Cherubini-Gesellschaft (Berlin) \u2013 with the aim of documenting all manuscript and printed sources as well as providing incipits, full bibliographic details and other related materials. The official inauguration of the project was held (together with the presentation of the conference proceedings) on October the 22nd, 2011 (10.30 a. m.) at the Conservatorio \u201eLuigi Cherubini\u201c in Florence.<\/p>\n\t\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t

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Actuellement uniquement disponible en anglais… Cherubini al \u201eCherubini\u201c nel 250\u00b0 anniversario della nascita Firenze, 8\u20139 ottobre 2010 A Conference Report Fabio Morabito The international conference Cherubini al \u201eCherubini\u201c was the […]<\/p>\n","protected":false},"author":2,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"elementor_header_footer","meta":{"footnotes":""},"class_list":["post-1879","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/www.luigicherubini.de\/fr\/wp-json\/wp\/v2\/pages\/1879","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.luigicherubini.de\/fr\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/www.luigicherubini.de\/fr\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/www.luigicherubini.de\/fr\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/www.luigicherubini.de\/fr\/wp-json\/wp\/v2\/comments?post=1879"}],"version-history":[{"count":1,"href":"https:\/\/www.luigicherubini.de\/fr\/wp-json\/wp\/v2\/pages\/1879\/revisions"}],"predecessor-version":[{"id":1880,"href":"https:\/\/www.luigicherubini.de\/fr\/wp-json\/wp\/v2\/pages\/1879\/revisions\/1880"}],"wp:attachment":[{"href":"https:\/\/www.luigicherubini.de\/fr\/wp-json\/wp\/v2\/media?parent=1879"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}