A Fresco

Peter Lang

2013

X, 531 p.

9783034313971

Contents/Contenu: Luigi Ferdinando Tagliavini: Organo e cembalo nell'opera di Girolamo Frescobaldi --Dinko Fabris : Frescobaldi et les Napolitains : une nouvelle source - Arnaldo Morelli: Un amico di Frescobaldi: Lelio Guidiccioni, uomo di lettere, connoisseur d'arte e di musica - Luigi Collarile/Claudio Bacciagaluppi: "Tutte le opere del Girolamo Frescovaldi" 1647: Roma - Lucerna, solo andata - Alexander Silbiger: Four Centuries of Frescobaldi Reception: How His Music Made Its Way Through the World from His Time to Ours - Adriano Giardina : Les mensurations et les proportions dans l'oeuvre imprimee de Tomas Luis de Victoria : etat des lieux, problemes et quelques reponses - Yves Fournier : La notation des gagliarde vers 1600 - Nancy Rieben : Le "Viersprachendruck" de Roland de Lassus - Jean-Claude Zehnder: Zur UEberlieferung von Bachs Passacaglia c-Moll BWV 582 - Constance Frei : Du manuscrit a la publication : un contrepoint epistolaire entre Beethoven et Breitkopf & Hartel - Laurent Pugin: Going digital: Finding the right path for critical music editions - Andrea Macinanti : Qui a de la tete & du genie! Ovvero: di come si possa render su gli strumenti [da tasto] il parlar del cuore, ora con delicato tocco d'angelo, ora con violenta irruzione di passioni - Martin Pearlmann: Armand-Louis Couperin and his Keyboard Instruments - Frederick Hammond: Sacred Sounds in Sacred Spaces: Two Venetian Puzzles - Georges Starobinski : Premieres voix du lied schumannien - Brenno Boccadoro: Rosenmuller: umori e affetti nei salmi veneziani - Eleanor Selfridge-Field: Associative Aspects of Perceived Musical Similarity and their Intersections with Seconda-prattica Affetti - Luca Zoppelli : "Une force invincible qui enleve l'ame". Les techniques d'ecriture handeliennes et la categorie esthetique du sublime - Jean-Jacques Nattiez : Pour un modele d'analyse du leitmotiv wagnerien - Yosihiko Tokumaru: Quotation and intertextuality from a Japanese viewpoint - Ervin Laszlo: A greater role for music in our common future.

As an internationally renowned musicologist well-known for his critical editions of Girolamo Frescobaldi, Etienne Darbellay is also a man arbiter of taste who appreciates painting as much as he does music. This is reflected in our title page. A fresco is a mural painting technique but is also an allusion to Frescobaldi. The contributions we find in this collection of essays touch on a wide range of disciplines, beginning with Darbellay’s favourite composer: music notation and editions, organology and history of music performance practice, aesthetics, rhetoric and perception. Such diversity in the essays was important, since for Darbellay, philology is at the heart of a vast range of works guided by a highly rigorous approach to the critical act. This approach sees a musical work, the embodiment of thought that engages Man in his entirety, as a vector of knowledge. Advanced musicological thinking must encompass reason and perception, an in-depth analysis of the texts (or of the paintings) and careful attention to the resulting works. The present publication realised in honour of Darbellay by his colleagues and followers takes the form of a collective fresco in which his presence may be felt throughout. This book contains essays in German, French, English and Italian.

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