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Istituto: Antonio Vivaldi Institute

    Italian Antonio Vivaldi Institute

    Founded by Antonio Fanna and Angelo Ephrikian in 1947 and becoming part of the Fondazione Giorgio Cini in 1978, the Institute is responsible for the preservation and publication of Red Priest’s music in modern editions. All instrumental music (approximately 550 titles) and sacred and secular vocal music (87 works) have been published with the publisher Ricordi. A critical edition of the Opere teatrali is currently in preparation, consisting of operas, serenades, oratorios, and arias.

    The Institute organises annual meetings on the performance practice of Antonio Vivaldi’s compositions, dedicated to young singers and musicians: Accademia Vivaldi. The students selected through a call for applications have the opportunity not only to refine their interpretation but also to explore the various musicological aspects of the compositions under the guidance of musicologists and Vivaldi scholars. Between the 1970s and 1980s, the Institute curated seven editions of the Vivaldi Festival in collaboration with the Teatro La Fenice. Since 1990, it has organised the Premio Internazionale del Disco Antonio Vivaldi per la musica antica italiana (‘Antonio Vivaldi International Record Prize for Italian Early Music’) for twelve consecutive years. The Institute also curated the photographic exhibition Antonio Vivaldi e il suo tempo, which was displayed in several Italian cities and in numerous countries across Europe and America.

    The Institute edits a series of publications. The series Quaderni vivaldiani (Olschki publisher) compiles the proceedings of the study conferences organised since 1978, as well as extensive monographic essays on the life and work of Antonio Vivaldi. In collaboration with the publisher S.P.E.S., it published a series of Opere incomplete, featuring Vivaldi’s music that has come down to us in fragmentary form, and a series titled Vivaldiana, consisting of facsimiles. In collaboration with the University of Venice, the Drammaturgia musicale veneta series was published in 1982, offering a facsimile edition on the evolution of melodrama in Venice from 1640 to 1800. Since 1980, it has published an annual journal, Studi vivaldiani, which is distributed worldwide.

    Since 1997, the Institute has been directed by Francesco Fanna.

    Accademia Vivaldi 2023 © Fondazione Giorgio Cini

    The Institute preserves copies of all music composed by Antonio Vivaldi (including manuscripts and period prints), as well as modern editions of the same, monographic essays, and extensive audio and video documentation, all of which are available to scholars for consultation.

    Events
    STUDI VIVALDIANI

    In addition to specific essays on musical, cultural, and socio-historical production, the annual journal features two regular columns: Michael Talbot’s Miscellanea, which primarily includes reports on new Vivaldi discoveries, recent publications, and notable Vivaldi performances, and Roger-Claude Travers’ Discographie vivaldienne, which lists and comments on the annual release of recordings of the renowned composer’s music.

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    Publications

    Italian Antonio Vivaldi Institute

    DIRECTOR
    Francesco Fanna
    CONTACTS
    segreteria.vivaldi@cini.it

    Gli Incontri dell’Accademia Vivaldi

    The concert by Accademia Vivaldi students will feature arias from Antonio Vivaldi’s serenata La Senna festeggiante, RV 693. The serenata is the subject of this month’s Accademia Vivaldi masterclass, led by soprano Gemma Bertagnolli.

    The serenata, which owes its name to the context in which it is performed, i.e. outdoors (in a garden or courtyard) in merry  weather, is a dramatic form between the chamber cantata and the dramma per musica. In common with operas it has the opening symphony, in our case a beautiful French-style overture, the alternation of recitatives and arias and the closing with a chorus. The dimensions are decidedly smaller than an opera but more generous than a cantata. The singers perform in costume, in front of a backdrop, usually fixed but often holding sheets of music.

    Usually serenades were composed to celebrate special occasions, which could be fixed (name days or birthdays of important people) or unique events (births, weddings, coronations, etc.). La Senna Festeggiante was probably performed on 25 August 1726 on the occasion of Louis XV’s name day and commissioned by the French ambassador to Venice, Jacques-Vincent Languet, Count of Gergy.

    The three allegorical characters of this serenade are: The Seine, Virtue and the Golden Age. The two female entities meet on the banks of the French river, which accompanies them – followed by swarms of nymphs, gods and river fauna – along its course, singing the praises and exploits of the French royal family and proclaiming the beginning of a new era of prosperity.

    Call for contributions | Studi vivaldiani

    ‘Studi vivaldiani’ publishes articles concerning not only Antonio Vivaldi and his musical production, but also musical, cultural, social and historical context in which the Red Priest lived and worked. Submitted articles ‘Studi vivaldiani’, without length limits, can be in Italian, English, German, French or Spanish. Once accepted are reviewed by two readers following the ’double blind’ system, for which reason authors are asked to remove reference to their own name in the article at the time of initial submission (although that name may of course appear in bibliographical references in the footnotes). Contributors are asked to submit articles in Word, but music examples, illustrations and diagrams are most conveniently presented in separate graphic files (PDF, JPG, TIFF etc.).

    It is the responsibility of contributors to secure prior permission to reproduce privately owned material or material subject to copyright.

    Regarding styling, contributors are asked to follow the example of articles in the same language published in recent volumes of ‘Studi vivaldiani’, which can be downloaded from here. For accepted articles, authors will be asked to supply in addition a summary of about 300 words for translation into Italian or English as appropriate.

    The article files, and any attachments, must be sent to the secretariat of the Istituto Italiano Antonio Vivaldi at the email: segreteria.vivaldi@cini.it

    Concert Scaramuccia Ensemble

    Asolo Musica, in collaboration with the Italian Antonio Vivaldi Institute, will present a concert by the Scaramuccia Ensemble, in which a sonata for violin and basso continuo by Antonio Vivaldi – recently rediscovered by
    Francisco Javier Lupiáñez Ruiz and Fabrizio Ammetto as part of a miscellaneous collection conserved at the Österreichische Nationalbibliothek in Vienna – will be given its first modern performance.
    At the opening of the concert, Professor Fabrizio Ammetto will provide a short introduction, describing the characteristics of the sonata and the history of its discovery.

    Accademia Vivaldi 2024. Masterclasses on the interpretation of the music of Antonio Vivaldi

    In 2024, the advanced Masterclasses on the performance of Antonio Vivaldi’s music will continue in six encounters lasting three to four days each.
    Over the course of the year, there will be six appointments dedicated to singing (sacred vocal music, secular vocal music and musical drama), held by Gemma Bertagnolli and Gianluca Capuano and one appointment
    dedicated to the basso continuo, to be held by Antonio Frigé. The Masterclasses will take place on the following dates: 20 to 22 March, 8 to 11 April, 8 to 11 May, 12 to 15 June, 3 to 6 July 2024. The ten selected students
    and scholarship winners will have the opportunity not only to enhance their own interpretation, but also to explore musicological aspects of the pieces examined, thanks to lectures given by musicologists in partnership
    with the Italian Antonio Vivaldi Institute and with the research group La drammaturgia musicale a Venezia (1678–1792) of the Fondazione Ugo e Olga Levi. There will be a concert at the end of each of the encounters.
    In February, prior to the start of the courses, an appointment will be held by Federico Maria Sardelli, entitled “Interpretare Vivaldi a partire dai suoi manoscritti” (‘Interpreting Vivaldi on the basis of his manuscripts’),
    providing an introduction to the subsequent courses, aimed at instrumentalists, singers, conductors and musicologists who wish to enhance their understanding of the performance practices of Vivaldi’s music through
    the study of his manuscripts and the many interpretative notes to be found therein. More than any of his contemporaries, Vivaldi was the composer who littered his scores with invaluable indications for the performer.
    Gathering them from all his manuscripts, learning how to interpret them and contextualise them is of great help to performance practices, providing answers to many questions and allowing us to correct numerous errors
    and misunderstandings of our time.

     

    The courses will be held on the following dates:

     

    March 20 – 23
    Thursday, March 20 at 5 p.m. there will be a lecture at the Giorgio Cini Foundation organized in collaboration with the Levi Foundation

     

    April 8 – 11

     

    May 8 – 11

    Singing (Gemma Bertagnolli)

    Thursday, May 9 at 6 p.m. there will be a lecture by Professor Lucio Tufano (University of Palermo) organized in collaboration with the research group La drammaturgia musicale a Venezia (1678-1792) of the Ugo and Olga Levi Foundation.

     

    June 12 – 15

    Singing (Gianluca Capuano)

    The course will be dedicated to Antonio Vivaldi’s Drammi per musica; concluding concert open to the public on Friday, June 14.

     

    July 3 – 6

    Singing (Gemma Bertagnolli)

    The meeting will be entirely dedicated to the serenade La Senna Festeggiante, RV 693 so all the pieces presented must be taken from this work; in addition, all admitted singers will have to prepare the three choruses of the serenade (the initial one and the two concluding ones of the first and second parts).

     

    The course will conclude with the performance of the Serenata in a public concert.

    Scholarships Accademia Vivaldi 2024 Masterclass on the performance practice of the music of Antonio Vivaldi

    Scholarships Accademia Vivaldi

    Application deadlines: 20 February; 8 March; 8 April; 13 May; 3 June; 27 October 2024.

     

    The Istituto Italiano Antonio Vivaldi organizes six meetings on the performance practice of the compositions by Antonio Vivaldi, dedicated to young singers (max 39 years) and players.

    Each meeting will take place at Fondazione Giorgio Cini, on the island of San Giorgio Maggiore, in Venice.

    Masterclasses will begin at 2.30 pm on the first day and end at 1.00 pm on the last day.

    Teachers are the soprano Gemma Bertagnolli, the conductor Gianluca Capuano and the organist and harpsichordist Antonio Frigé.

     

    In cooperation with Fondazione Ugo e Olga Levi, lectures by musicologists from the research group La drammaturgia musicale a Venezia (1678-1792) are scheduled at each meeting.

     

    Calendar

    20 – 22 March: Basso Continuo, (Antonio Frigé). Harmonization of the bass in the compositions of Vivaldi and in the compositions at the time of Vivaldi.

    8 – 11 April: Singing (Gemma Bertagnolli)

    8 – 11 May: Singing (Gemma Bertagnolli)

    12 – 15 June: Singing (Gianluca Capuano)

    3 – 6 July: Singing (Gemma Bertagnolli)

    27 – 30 November: Singing (Gemma Bertagnolli)

    Performing Vivaldi on the basis of his manuscripts. Seminar with Federico Maria Sardelli

    The Italian Antonio Vivaldi Institute proposes a series of seminars aimed at instrumentalists, singers, conductors and musicologists who wish to study the performance practices of Vivaldi’s music in depth. The encounters focus on the study of his original manuscripts and the many performance indications contained therein.

     

    PROGRAM

    5 February: 2.30 pm-5.30 pm

    6 February: 9.30 a.m.-12.30 p.m. and 2-5 p.m.

    7 February: 10 a.m.-1 p.m.

    On Tuesday 6 February, at 6 pm at the Fondazione Ugo e Olga Levi, Federico Maria Sardelli’s book Vivaldi secondo Vivaldi – Dentro i suoi manoscritti will be presented.

     

    Participation in the Seminar is free of charge, subject to registration by 31 January 2024.

    Participants will be given the opportunity to stay, at a reduced price, on the Island of San Giorgio Maggiore, at the Residence of the Vittore Branca International Centre for the Study of Italian Civilisation. Request to be sent to segreteria.vivaldi@cini.it no later than 31 January.

    Books at san Giorgio

    November sees the resumption of the encounters of Libri a San Giorgio, the cycle of presentations dedicated to the Fondazione Giorgio Cini’s new publications, now at its eighteenth edition.

     

    The first presentation, on 15 November, is devoted to Studi Vivaldiani, the annual journal of the Fondazione Giorgio Cini’s Italian Antonio Vivaldi Institute. The journal, published since 1980 and distributed worldwide, contains articles on the life and musical production of Antonio Vivaldi, as
    well as on the musical, cultural, social and historical context in which the
    ‘Red Priest’ lived and worked.

    The second event, on 25 January 2024, will feature the presentation of The Mediations of Music. Critical Approaches after Adorno. This book grew out of an event by the Accademia Musica le Chigiana on the occasion of the fiftieth anniversary of Adorno’s death (2019). The authors discuss problematic
    junctures in the philosopher’s thought and show its potential. In any chapters, the opposite mediation – immediacy – which often plays a key role in mediation processes, is brought into play.

    In the last event, on 9 February 2024, Egisto Macchi: The Assassination of Trotsky: Sources of the Creative Process, Marco Cosci (ed.), published by Brepols, will be presented, tracing Egisto Macchi’s creative process for the soundtrack of The Assassination of Trotsky directed by Joseph Losey (1972). Through a careful reading of the sources preserved in the Egisto Macchi archive at the Fondazione Giorgio Cini Institute of Music, and at the Joseph Losey Collection and the British Film Institute (London), the book sheds light on the initial partnership between Losey and Macchi, which continued over the following years
    for the film Mr. Klein (1976).

     

    [accordion][/accordion]

    [accordion_entry title=”Programme Concert”]

    Egisto Macchi (1928-1992)
    Voci (1963) versione per 8 cantanti
    Egisto Macchi
    da Repliche di Bruna (1988) per soprano e pianoforte
    n. 2 Colore d’ombra
    Soprano Teresa Varelli
    Pianoforte Cinzia D’Anella
    Egisto Macchi
    da A(lter)Ac(tion) (1966)
    Cadenza per voce sola
    Mezzosoprano Virginia Guidi
    Egisto Macchi
    da Il mestiere della Pace (1958) per baritono e pianoforte
    n. 1 Il cimitero
    Baritono Niccolò Panigutti
    Pianoforte Cinzia D’Anella
    Domenico Guaccero (1927-1984)
    Esercizio per 8 voci (1980)
    Giacinto Scelsi (1905-1988)
    Tre Canti Sacri per otto voci miste (1958)
    I. Angelus Domini
    II. Requiem aeternam
    III. Gloria in excelsis Deo

     

    [/accordion_entry]

    [accordion][/accordion]

     

    EVO Ensemble:
    Teresa Varelli – soprano
    Veronica Bartolomei – soprano
    Cinzia D’Anella – mezzosoprano e pianoforte
    Vittoria De Vincentiis – contralto
    José Gabriel Falla Obando – tenore
    Edoardo De Vincentiis – tenore
    Alessandro Cavazzani – baritono
    Niccolò Panigutti – baritono
    Virginia Guidi – mezzosoprano, coordinamento e direzione

    Accademia Vivaldi. Masterclasses on the interpretation of the music of Antonio Vivaldi

    The courses of the Accademia Vivaldi will continue in the autumn with masterclasses on the performance practices of Antonio Vivaldi’s compositions, dedicated to young singers and instrumentalists. The last two encounters will be dedicated to singers and will be led by baritone Sergio Foresti and soprano Gemma Bertagnolli. The ten students selected and scholarship winners will have the opportunity not only to enhance their own interpretation, but also to explore musicological aspects of the pieces examined, thanks to lectures given by musicologists in partnership with the Istituto Italiano Antonio Vivaldi and with the research group ‘La drammaturgia musicale a Venezia (1678–1792)’ of the Fondazione Ugo e Olga Levi.

    There will be a concert at the end of each of the two encounters.

    «Studi vivaldiani» 22

    • Giuseppe Gullo, Antonio Vivaldi’s Chronic Illness: Shedding New Light on an Old Enigma

    • Ella Bernadette Nagy, Discography with Commentary on the Compositions for Lute and Mandolin by Vivaldi

    • Miscellany (M. Talbot)

    • Discographie Vivaldi 2021-2022 (R.-C. Travers)

     

    Download the pdf of Studi vivaldiani 22 – 2022

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