The International conference is organised by the Italian Antonio Vivaldi Institute, the Fondazione Ugo e Olga Levi’s research group ‘La drammaturgia musicale a Venezia (1678-1792)’ and the research group ‘WoVen’, University of Science and Technology of Norway – NTNU.
The subject of the study will be the way in which, between 1700 and 1740, the programming of the Sant’Angelo Theatre explored various declinations of musical dramaturgy, in decades of transition and coexistence between seventeenth-century models, Zeno’s reformed drama and the new acquisitions of Neapolitan opera. An entire session will be devoted to Vivaldi’s activity at the Sant’Angelo as impresario (1712–16; 1725–27), specifically investigating his programming choices, his strategies for
planning theatre seasons, his interventions in the scores to be performed – both his own and others’ – as well as his contribution to the production of pasticci operas.
The study days of 16 and 18 November will be held at the FondazioneLevi, while the day of 17 November, dedicated to Vivaldi, will be held at the Fondazione Cini, and will conclude with a concert by the students of the Accademia Vivaldi who will perform a selection of arias written for the Teatro Sant’Angelo under the management of Vivaldi.
Categoria Evento: Conferences and Seminars
Seminar: The Harmonic Structures of Post-Tonal Composition: 1900–1930
With this seminar organised by the Institute for Music, preparatory to the production of an online volume by Fondazione Giorgio Cini, the three year project on post-tonal harmony financially supported by the Ernst von Siemens Musikstiftung comes to a close.
The research group, which held its preliminary work in online sessions in the years 2021 and 2022, will present monographic works on the instrumental music of Bartók, Debussy, Hindemith, Schoenberg, Skrjabin, Stravinsky, Varèse and Webern.
The analysis of selected scores will be accompanied by insights into the treatises of the early decades of the twentieth century and a number of reflections on terminology.
Participants: Gianmario Borio, Mario Carrozzo, Pietro Cavallotti, Paolo Dal Molin, Federica Di Gasbarro, Francesco Fontanelli, Massimiliano Locanto and Ingrid Pustijanac.
International Study Conference: Bohemian Glass
The exploratory conference, staged in conjunction with the exhibition dedicated to Bohemian glass – to be held in the Stanze del Vetro from 14 May to 26 November 2023 – will investigate the thematic scope of the key tradition that characterises the Czech Republic with regard to the working of this fascinating material.
The overview of the various contributions will provide unprecedented insight into the personalities and contents presented in the exhibition, especially in relation to the timespan examined: from the years following the end of the Great War up to the present day. In fact, the international symposium proposed by the Glass Study Centre will aim to involve experts and authoritative testimonials, who will provide a general and at the same time detailed overview of the historical and contemporary context with regard to design trends. The protagonists of the lectures will be the key figures of Bohemian glass art, their experiments, works, methodological and technical choices, but above all their approach to the choice of shapes and colours, right up to the analysis of the most daring applications and decorations of the glass surface.
The study day will therefore offer a reflection on these research perspectives through the interventions of both Italian and foreign experts, with the aim of comprehensively outlining the various personalities and careers of artists – from their formative years through to professional maturity – such as Miluše Roubíčková, René Roubíček, Václav Cigler, Vladimír Kopecký, Stanislav Libenský and Jaroslava Brychtov. An opportunity to introduce the public to the value of the glass creations of Czech exponents who have influenced taste and multifaceted application opportunities, as well as enriching prestigious collections, not without continuing to influence choices and generate constant innovation and comparison in design on the international scene.
Seminar “The Greater Mediterranean, its History and its Present”
The Mediterranean has once again become the centre of the world’s geopolitical dynamics. From the Italian perspective, we speak of the Mediterranean and the ‘Greater Mediterranean’, which is a broader horizon converging more towards the ancient sea. Here the political aspects are complex and manifold: from Exclusive Economic Zones and the sustainable exploitation of marine resources to communications not only by sea but also by computer, the use of renewable resources, tourism as viewed on a Mediterranean-wide scale, the movement of people, war emergencies as well as national and international security issues.
Italy measures itself against all this from day to day. This is the norm for a country that lies at the heart of the Mediterranean. And behind the present lies a long history in which Italy has played a major role for centuries. A history in which special significance has been attached to Venice, the Venetian state and civilisation for centuries. In the history of the Mediterranean, Venice is indeed a key protagonist. It started out from a remote point in the Mediterranean space; it expanded and integrated into it, and then it dominated the eastern part of the sea with its navy and trade, representing a gateway between the Orient and Europe. Indeed, it is in Venice that the Greater Mediterranean finds its most remote link.
Setting out from these assumptions, it is worth questioning how much today’s reality is mirrored in the history of the Mediterranean and that of Venetian Italy. And to what extent these histories are reappearing in renewed forms in today’s geopolitical dynamics. These are questions that we shall attempt to answer in the seminar The Greater Mediterranean: its History and its Present, organised by the Institute for the History of the Venetian State and Society.
Seminario “Il Mediterraneo allargato tra storia e attualità”
Il Mediterraneo è tornato ad essere il centro delle dinamiche geopolitiche del mondo. Dalla prospettiva italiana si parla di Mediterraneo e di Mediterraneo allargato, che è un orizzonte più ampio, che converge verso l’antico mare. Qui gli aspetti politici sono complessi e si stanno
moltiplicando: dalle Zone economiche esclusive e dallo sfruttamento sostenibile del mare alle comunicazioni non solo marittime ma anche informatiche, all’uso delle risorse rinnovabili, al turismo visto su scala mediterranea, alla circolazione delle persone, alle emergenze belliche, alla
sicurezza nazionale e internazionale. L’Italia si misura con tutto questo di giorno in giorno. Si tratta della normalità per un paese che di per sé costituisce il centro del Mediterraneo. E dietro al presente c’è una lunga storia, in cui l’Italia ha ricoperto per secoli un ruolo fondamentale. Una
storia in cui un particolare significato ha riguardato per secoli Venezia, il suo Stato e la sua civiltà. Nella storia del Mediterraneo, Venezia è infatti una protagonista. Essa nasce in un punto remoto dello spazio mediterraneo, si espande e vi si integra, domina la parte orientale del mare con la sua marineria e i suoi commerci, rappresenta la giuntura tra l’Oriente e l’Europa. A Venezia il Mediterraneo allargato trova il suo nesso più remoto.
Partendo da questi presupposti è il caso di interrogarsi quanto la realtà di oggi si specchia nella storia del Mediterraneo, dell’Italia di Venezia. E quanto queste storie si ripresentano in forme aggiornate nelle dinamiche odierne. Sono domande a cui si cercherà di rispondere nel Seminario Il Mediterraneo allargato tra storia e attualità, a cura dell’Istituto per la Storia della Società e dello Stato Veneziano.
Seminar: The conservation of company memories: the new horizon of digital archives
The seminar, held by the Fondazione Giorgio Cini ARCHiVe Centre and the Italgas Heritage Lab, stems from the desire to promote a wide-ranging exchange on potential new approaches to the issues of digitalising company archives. The day will include talks by professors from Ca’ Foscari University of Venice, the director of the College of Humanities of the Swiss Federal Institute of Technology in Lausanne (EPFL), representatives of Italian Ministry of Culture, the ICAR (Central Archive Institute) and PARER (Archive Hub of Emilia Romagna), with a focus on the case studies of the historical archives of Intesa San Paolo, the Emilia Romagna Region and the Heritage Lab of Italgas: the new centre that deals with the digitalisation and enhancement of the archives of the historic Turin-based company.
Franz Schubert ammiratore di Beethoven. Trii, opus 99 and opus 100 (1827-28)
Franz Schubert ammiratore di Beethoven.
Trii, opus 99 and opus 100 (1827-28)
Director: Pedro Memelsdorff
Seminar
20-23 June 2023, Giorgio Cini Foundation
To participate as an auditor, please contact the secretariat at: musica.antica@cini.it
Concert
Friday 23 June 2023, 6 p.m., Sala degli Arazzi
Admission free subject to availability
Between 1827 and 1828, moved by the death of Beethoven and aware of the fragility of his own health, in addition to the lieder from the Schwanengesang, the young Franz Schubert composed some of his greatest instrumental masterpieces, including the three late sonatas for fortepiano, the famous string quintet with two cellos, sketches for the tenth symphony, and the two trios op. 99 and 100 for fortepiano, violin and cello. The latter are the focus of the seminar that the Fondazione Giorgio Cini wishes to dedicate to the great Viennese composer. The first of these (op. 99, in B flat major) was published posthumously only in 1836, while the second (op. 100, in E flat major) saw the light of day, as well as its concert première, a month before the composer’s death in November 1828. Almost a ‘wordless lieder’, the slow tempos of those trios have marked the Schubertian canon ever since. The two compositions will be compared to Beethoven’s piano and string trios opus 70 and opus 97.
The teachers will be Andreas Staier and Amandine Beyer. Staier is probably the greatest living historical keyboardist, with an impressive repertoire ranging from the late Renaissance to Romanticism. His interpretations of Schubert are among the most famous in the world. Amandine Beyer is one of the most innovative and virtuosic historical violinists of recent generations: hers include some of the most remarkable solo and orchestral recordings, from Corelli, Bach and Vivaldi to Boccherini, Haydn and Mozart.
The seminar includes the participation of a group of scholarship winners, selected by means of an international contest, specifically two trios of musicians (each consisting of a forte-pianist, a cellist and a violinist) and a fortepianist who will perform in the customary final recital concert.
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Concert
Friday 23 June 2023, 6 p.m., Sala degli Arazzi
Admission free subject to availability
Musicians:
Basel Piano Trio
Leo Appel, violin
Pau Fernandez Benlloch, fortepiano
Blai Bosser Toca, cello
Philos Trio
Hyngun Cho, cello
Jean-Christophe Dijoux, fortepiano
Liv Heym, violin
and
Arash Rokni, fortepiano
Musicians will be directed by Andreas Staier and Amandine Beyer.
Workshop “Research-Led Performance. Conducting Twentieth-Century Music for Ensemble”
The Research-Led Performance cycle resumes with a workshop for young conductors, organised by the Institute for Music, coordinated by Marco Angius with the participation of soloists from the Orchestra of Padua and the Veneto Region, dedicated to the conducting of chamber ensembles: a formation varying in number and type of instrument that has characterised musical production ever since Arnold Schoenberg’s Kammersymphonie (1906). Six young conductors who have shown interest and aptitude for this repertoire will be selected by means of a call for applications. Alongside Schoenberg’s pioneering composition, two works by Italian composers who established a long-distance dialogue with the Viennese master will be tackled: Serenata No. 2 by Bruno Maderna and Hölderlin: Epilogo by Giacomo Manzoni. Practical sessions will alternate with theoretical ones, held by Gianmario Borio and Francisco Rocca. At the end of the work, a number of students will demonstrate the outcomes of the workshop in a public event.
Stories of Creative Women in the Twentieth Century from Russia to Europe
The Institute of Theatre and Opera hosts two meetings in the cycle Stories of Creative Women in the Twentieth Century from Russia to Europe organised by Ca’ Foscari University in collaboration with the LEI (Leadership, Energy, Entrepreneurship) project. The initiative, divided into nine thematic encounters, is dedicated to an in-depth biographical and artistic investigation of emblematic female characters from the twentieth century. Retracing their narratives will allow us to reflect on the overcoming of both identitary and national boundaries.
Germano Celant: Venice
The conference, organised at the Giorgio Cini Foundation in collaboration with the Studio Celant as part of the thematic Study Days: Germano Celant. Chronology of a Militant Critic, aims to provide an initial survey of what Germano Celant did in Venice, focusing on and emphasising those initiatives which, once put into perspective, turned out to constitute founding moments in his career.
The history of Celant’s activity in the city of Venice begins in the mid-1960s, when still in his twenties. Thanks to the relationship of esteem and trust with Umbro Apollonio, he wrote for the magazine La Biennale di Venezia. Rassegna delle arti contemporanee. From the Biennale, he later received assignments that were fundamental for his emergence, curating the exhibition Ambiente/Arte: dal Futurismo alla Body Art (1976), crucial for the achievement of his critical maturity, and later Futuro Presente Passato at the XLVII International Art Exhibition. Venice Biennale (1997). Of the 1980s and 1990s, mention should be made of his decisive contribution to the realisation of Il Corso del Coltello: a performative work resulting from the collaboration between Claes Oldenburg, Coosje van Bruggen and Frank O. Gehry, staged in 1985; his collaboration with Pontus Hultén on the occasion of the exhibition Futurismo & Futurismi (1986), with whom he later curated Arte Italiana. Presenze 1900–1945 (1989), both held at Palazzo Grassi; with Michael Govan the exhibition Mondrian e De Stijl. L’ideale moderno (1990) at the Giorgio Cini Foundation and with Giandomenico Romanelli Anselm Kiefer. Himmel-Herde (1997) at the Museo Correr. In the 1980s, his relationship with Emilio Vedova intensified, leading him to the role of curator of the Fondazione Emilio e Annabianca Vedova: a place where he also held major exhibitions. For Fondazione Prada, he curated exhibitions in the spaces of the Fondazione Giorgio Cini such as the Thomas Demand solo show (2007) and the John Wesley retrospective (2009), up until the renovation and opening of Ca’ Corner della Regina, where he curated the exhibition When Attitudes Become Form. Bern 1969/Venice 2013 (2013), which was to make its mark on the international scene by virtue of the fervent debate it provoked. In 2019, the same spaces would host the exhibition that Celant dedicated to the career of Jannis Kounellis. He was to return to the Cini Foundation in 2013 with the Marc Quinn exhibition – featuring a selection of over fifty works including sculptures, paintings, drawings and other art objects by one of the best-known exponents of the Young British Artists generation – and in 2019 with Emilio Isgrò, a key anthological exhibition exploring his career from his early erasures in 1964 to the historical volumes of the Enciclopedia Treccani (1970) and the ethnic volumes of the Ottoman codices (2010).
