Copertina per la stampa UK 12-07-2007 17:13 Pagina 1 Lettera da San Giorgio Lettera da San

Paolo Caliari called Veronese, The Wedding at , Paris, Musée du Year IX, n° 17. Six-monthly publication. September 2007 – February 2008 Spedizione in A.P. Art. 2 Comma 20/C Legge 662/96 DC VE. Tassa pagata / Taxe perçue Copertina per la stampa UK 12-07-2007 17:13 Pagina 3

Contacts Programmes (September 2007 – February 2008) Copertina per la stampa UK 12-07-2007 17:13 Pagina 5

31 August – 6 September Course of Bharata Natyam dance by Raghunath Manet 3 – 7 November Course Interpreting Luigi Nono’s works for live electronics and tape , Island of Venice, Island of San Giorgio Maggiore

1 September – 28 October Exhibition Rosalba “prima pittrice de l’Europa” 14 November Concert by the Accademia Musicale di San Giorgio Venice, Palazzo Cini at San Vio Paul Sacher Concerts Venice, Island of San Giorgio Maggiore 1 September – 29 December Hello, Mr. Fogg! Round the world in music on fifty-two Saturdays Venice, Palazzo Cini at San Vio 15 – 16 November International Workshop The new forms of cultural co-operation in the globalised world 11 September Inauguration of the exhibition The Miracle of Cana. Originality through Venice, Island of San Giorgio Maggiore re-production Venice, Island of San Giorgio Maggiore 28 November Polyphonies “in viva voce” 11 Seminar Female Polyphonies from Georgia 12 – 14 September I Dialoghi di San Giorgio Concert by the ensemble Mzetamtze Inheriting the past. Tradition, translation, betrayal, innovation Venice, Island of San Giorgio Maggiore Venice, Island of San Giorgio Maggiore 29 November Concert by the Ex Novo Ensemble 15 September – 30 September Exhibition Giuseppe Santomaso (1907-1990) 12 October – 16 December The Miracle of Cana. Originality through re-production Venice, Island of San Giorgio Maggiore Venice, Island of San Giorgio Maggiore 5 – 6 December International Study Conference 19 – 22 September Third World Conference on the Future of Science: Energy Symbiosis almost osmosis Venice, Island of San Giorgio Maggiore Venice, Island of San Giorgio Maggiore

October Books at San Vio 30 November – 2 December Music from Iran AAA TAC and AAM TAC Course on Iranian percussion Zarb by Bijan Chemirani Venice, Palazzo Cini Gallery at San Vio Venice, Island of San Giorgio Maggiore

17 October International Study Conference 5 – 6 December International Study Conference “Alla Liberalità deesi aggiungere un’altra Virtù, la quale fa un uso Eroico delle Giuseppe Santomaso (1907-1990) ricchezze: ed è la Magnificenza”. The Venetian patriciate and the arts from the 16th in collaboration with Ca’ Foscari University, Venice to the 17th Century Venice, Island of San Giorgio Maggiore in collaboration with the Doctorate School of Humanistic Sciences, History and Art History Course, University of Trieste 22 December Concert by the Accademia Musicale di San Giorgio Venice, Island of San Giorgio Maggiore Paul Sacher Concerts Venice, Teatro La Fenice 19 – 21 October Course of diphonic singing by Tran Quang Hai Venice, Island of San Giorgio Maggiore November – January 2008 Courses of Ethnomusicology Foundations of research and documentation in ethnomusicology 23 – 25 October International Study Conference Filming music Artistic bronze production in Venice and Northern during the in collaboration with the G. Mazzariol Department of History of the Arts and Conservation Venice, Island of San Giorgio Maggiore of the Artistic Heritage, Ca’ Foscari University, Venice Venice, Ca’ Bonvicini 25 October Homage to Alain Daniélou Concert by the former students of the Intercultural Institute for Comparative 20 – 25 January 2008 XXV Advanced Course Music Studies Umberto and Elisabetta Mauri School for Booksellers Venice, Island of San Giorgio Maggiore Venice, Island of San Giorgio Maggiore

29 – 30 October International Study Conference 24 – 26 January 2008 14th International Seminar of Ethnomusicology Forms and currents of Western Esotericism Visual ethnomusicology Venice, Island of San Giorgio Maggiore by Francesco Giannattasio and in collaboration with the G. Mazzariol Department of History of the Arts and Conservation of the Artistic Heritage, Ca’ Foscari University, Venice November Books at San Vio Venice, Island of San Giorgio Maggiore Cenacoli. Circoli e gruppi letterari, artistici, spirituali Venice, Palazzo Cini Gallery at San Vio

For further information: www.cini.it San Giorgio Lettera 17 UK 12-07-2007 18:05 Pagina 2

Contents

I Programmes (September 2007 – February 2008)

3 Editorial

Main Future Activities

4 Exhibition Rosalba “prima pittrice de l’Europa”

5 Hello, Mr. Fogg! Round the world in music on fifty-two Saturdays

6 Inauguration of the exhibition The Miracle of Cana. Originality through re-production

7 I Dialoghi di San Giorgio Inheriting the past. Tradition, translation, betrayal, innovation

8 Third World Conference on the Future of Science: Energy

9 International Study Conference Artistic bronze production in Venice and Northern Italy during the Renaissance

10 International Study Conference Forms and currents of Western Esotericism

10 Course Interpreting Luigi Nono’s works for live electronics and tape

11 International Workshop The new forms of cultural co-operation in the globalised world

12 Polyphonies “in viva voce” 11 Seminar Female Polyphonies from Georgia Concert by the ensemble Mzetamtze

12 International Seminar of Ethnomusicology Visual ethnomusicology

13 Books at San Vio

Collections 14 Recent acquisitions by the Institute of Art History Library

Projects and research 16 The Wedding at Cana facsimile

Presences on San Giorgio 21 on San Giorgio

24 Publications

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Editorial

“It’s a pity that you could not have spoken beneath the light and colour of one of the most prodigious colourist miracles of – The Wedding at Cana by Paolo Veronese. Here it was in ideal harmony, or rather inspired symbiosis, with the composed architecture designed by Palladio for this Refectory. Veronese the painter, Palladio the architect, and André Malraux their poet”. This was how Vittorio Cini complimented André Malraux on his enlightening introduction to “The Secret of the Great Venetians”, a speech given at the Giorgio Cini Foundation on 17 May 1958 to officially open a series of seminars entitled “The Venetian Civilisation of the Baroque Age”.The feeling of loss after Napoleon’s commissars had removed the famous painting is something that can only be fully understood when you are standing in front of the bare wall in the Palladian Refectory, stripped of its masterpiece. Over the last hundred years, that feeling has driven many leading figures in Italian culture from Canova to Branca to attempt to retrieve the “colourist miracle” and place it back in its original setting.Today a previously apparently impossible undertaking has been completed and the “symbiosis” so deeply mourned by Vittorio Cini can finally be admired again. The leading players in this “miracle” are the visionary English artist, Adam Lowe, and his assistants in the Factum Arte workshop. They have made a one-to-one scale facsimile of The Wedding at Cana by Paolo Veronese, reproducing the harmony of the composition, the detail of the paint and the variety of colours. The result cannot be distinguished with the naked eye from the original in the Louvre. On 11 September 2007 this incredible feat of technology and the imagination will be unveiled to the public, and the inspiring space of the Palladian Refectory will once again be enjoyed in its entirety.The museum of the Louvre played a key role in this remarkable recovery operation. Symbolically, the project completes the large-scale restoration works on the monumental complex on the Island of San Giorgio Maggiore, begun by Vittorio Cini over fifty years ago. By a nice coincidence, the work will be unveiled in the year of the 30th anniversary of the founder’s death. Our next commitment will be to promote the further development of the island, fully respecting its original vocation. This objective includes the projects for the Branca School, the completion of the large library in the Manica Lunga, the creation of extra exhibition spaces and the construction of a new residence, providing accommodation for students and researchers who will come to the Giorgio Cini Foundation from all over the world to enhance their education. President Giovanni Bazoli

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Main Future Activities In her pastels Rosalba takes us to the threshold of interior life. Some of her most emblematic portraits are on show in the exhibition. Her faces are not easily forgotten, such as that of the prelate of Casa Le Blond (Venice, Accademia). He is permeated by a kind of intelligent thoughtfulness, the lips slightly stretched into a bitter twist in a grey-on-grey portrait that is a masterpiece of chromatic sobriety. But Rosalba Carriera 1 September – 28 October also portrayed herself. She did so several times throughout her career and more Exhibition Rosalba “prima pittrice de l’Europa” often than any other Venetian painter. The series of self-portraits form an impressive Venice, Palazzo Cini at San Vio sequence, directly illustrating her development towards a more introspective style, increasingly focused on the face, almost seen in isolation. In the first self-portrait, dating Following on from the international conference this spring, the Giorgio Cini from 1708-1709 (courtesy of the Gallery of the Uffizi, Florence) she is smiling with a Foundation and the Region pay further homage to Rosalba Carriera with an rose in her hair, while showing a newly painted portrait of her beloved sister Giovanna. exhibition wholly dedicated to the artist to mark the 250th anniversary of the death. The exhibition has been able to rely on the practical collaboration of several insti- The aim of the exhibition is to present her art – she has never been the subject of a tutions in Italy and abroad, including the National Gallery of Ireland, Dublin, the one-woman show – to a broad international public and at the same time further know- Northampton Museum and Art Gallery, the Munich Residenz Museum and the ledge about a long career still full of problematic aspects. The exhibition will feature Bayerische National Museum, Bavaria, the Staatsgalerie, Stuttgart, the Musée des pastels, miniatures and from major private and public European museums Beaux-Arts, Dijon, the Accademia di San Luca, Rome, the Sabauda Gallery and the and collections. Rosalba Carriera (1673-1757) was the most celebrated Italian artist of Palazzo Madama Museum, Turin, the Poldi Pezzoli Museum, Milan, the Uffizi Gallery, her day. Everyone concurred about the excellence of portraits – from English Lords to Florence, the Ca’ Rezzonico 18th-Century Venice Museum, the Accademia Galleries, princes of the empire. For almost half a Century all the European courts sought her Venice, and the Civic Museums of Padua and Treviso. services. Yet despite the frequent invitations and generous offers, apart from three brief 1. Rosalba Carriera, Portrait of George, periods spent in Modena, in Paris and in Vienna, she chose to stay in Venice, where First Marquess of Townshend, Milan, 1 FAI – Fondo per l’Ambiente Italiano she worked constantly throughout her life. Consequently, her strong link with her 1 September – 29 December Veneto homeland is one of the central topics in the exhibition, especially since Rosalba Hello, Mr. Fogg! Round the world on fifty-two Saturdays made some of the most perceptive portraits of leading figures in 18th-Century Venetian idest Harmonia caelestis seu Melodiae musicae per decursum society. She also made a key contribution to the development of French portrait pain- totius anni adhibendae ad cultum humanae voluptatis ac ting. She was an unsurpassed interpreter of the ideals of grace and elegance in an age venetiarum civitatis when the “happy life” entered the collective imagination and was identified with the Venice, Palazzo Cini at San Vio ancien régime. Rosalba’s excellence in the artistic field is not the only reason for cele- brating her. She was also at the centre of a network of European relations involving Hello, Mr. Fogg! continues the experiment in the form of a permanent “exhibition” at sovereigns, members of the aristocracy, connoisseurs and art lovers. All English, French Cover of the first Supercharge record, 1976, the Palazzo Cini of recordings and films of rare and recherché music to be presented in or German-speaking nobles passing through Venice wished to have a portrait made by photograph by Eric Meola fifty-two afternoon sessions at 5.30 pm every Saturday. The voyage is dedicated to Rosalba Carriera, or bought some of her miniatures. As far as the miniatures are con- exploring the monuments, roots, foliages, oases, bushes, shoots, cuttings, petals, cerned, the exhibition will present for the first time an extraordinary selection of pain- archetypes, models, monsters, seeds, grains, fragrances and moods of music worldwide tings of great quality, including the morceau de réception sent from the Accademia di in an undefined but real historical period. San Luca in Rome. Today, however, Rosalba’s fame with the wider public still mainly rests on her pastels. A 1 Sepember - Sicily Alfredo Casella: Suite op. 41 La Giara / Strauß – Huillet: Sicilia! 8 September - new technique meant the work could be completed rapidly, thus avoiding long boring New Mexico Sacred and profane folk music. Devotions and Bailes; 15 September - Amatrice Le ciaramelle sittings in pose. All of this meant much more naturalness. But through the new media di Amatrice; 22 September - USA Songs from various immigrant enclaves; 29 September - Pratolino – coloured dust only takes a puff of air to be blown away – the painter grasped both the Händel. Selection of opera arias for the Grand Prince: Vincer se stesso è la maggior vittoria; 6 October fleeting grace and transience of appearances. In the gentlest possible way Rosalba - Peru Siglo de oro en el Nuevo mundo; 13 October - Vercelli Canti di mondine; 20 October - Itaca suggested that the reality of each individual, the truth of each face, was ephemeral. Selections from Il Ritorno di Ulisse in patria by Claudio Monteverdi; 27 October - Dartford One plus

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one, film by Jean-Luc Godard, Simpathy for the Devil; 3 November - Roma città occupata The Missa the foreground. The facsimile is sponsored by Enel, Consorzio Venezia Nuova, Fondazione pro pace in tempore belli by Alfredo Casella; 10 November - Bologna Messa per l’incoronazione di Banco di Sicilia, S.Pellegrino and Casinò di Venezia. Carlo Quinto; 17 November - Helsinki Saariaho: Nymphea; 24 November - Amiata (Tuscany) I Bei The Miracle of Cana. Originality through re-production is a section in a large travelling dei Cardellini; 1 December - La Alberca (Salamanca) Alborade sagrade; 8 December - USA Stephen exhibition on the theme Facsimiles. Originality through (digital) reproduction, curated by Sondheim, Thomas “Fats” Waller, George Gershwin, Duke Ellington and other American musicians Bruno Latour and Adam Lowe, organised by Factum Arte in collaboration with the sing their songs; 15 December - Napoli - Montecatini Ruggero Leoncavallo, the complete piano Giorgio Cini Foundation. The exhibition will go to many world museums, including works; 22 December - Venice Gian Francesco Malipiero Magister Iosephus, St Mark’s cantata; the ZKM, Karlsruhe, and the Centraal Museum, Utrecht. 29 December - Novgorod La rosa di Novgorod Nino Rota, musical scenes from War and Peace. 1 For updates, consult www.cini.it 12 – 14 September The Dialoghi di San Giorgio 11 September Inheriting the past. Tradition, translation, betrayal, innovation Inauguration of the exhibition Venice, Island of San Giorgio Maggiore The Miracle of Cana. Originality through re-production Venice, Island of San Giorgio Maggiore People have always wondered how to give meaning, value and uses to traditions, knowledge and artefacts handed down to them from previous generations. For us the In conjunction with the unveiling of the facsimile of The Wedding at Cana in the question is particularly obvious in the field of works of art. In the modern collective Palladian Refectory on San Giorgio Maggiore, an exhibition dedicated to the painting imagination they have become the most precious legacy of the past. The ‘sanctuarization’ will be held on the island. Entitled The Miracle of Cana. Originality through re-production, of art works thus cuts away their links with their traditions: the ‘original’ work acqui- the exhibition has been designed and curated by the Giorgio Cini Foundation Institute res a value per se for its uniqueness and the ‘aura’ associated with it. Subsequently, the of Art History and the Factum Arte atelier, Madrid, and made possible thanks to the Stages in printing the facsimile of The Wedding at copy is divested of its etymon – whereby it was abundance and wealth – to become collaboration of the Musée du Louvre. Cana, Madrid, Factum Arte Atelier an impoverished version and therefore the “fake” or “false” version of a “true” original. There are two main sections in the exhibition. The first explores the history and popularity The radical distinction between the original and the copy and the translation of this of Veronese’s painting through videos and the display of a large literary and icono- dichotomy into terms of true and false has weakened the transmission of knowledge Montage with The Wedding at Cana in its original graphic documentation consisting of ancient printed books and a series of copies or – both formal and tacit. From time immemorial this has been based on repetition, setting works derived from The Wedding at Cana. duplication and the reinterpretation of an original experience. The past will vanish, if They include two major copies made at the end of the 16th Century and the early 17th it is not reproduced, imitated and re-invented. Today, new technology is available for Century (now in the Vicenza Civic Museum and the Giorgio Cini Foundation) and reproducing historical items of all forms and nature, leading us to raise these questions some engraved versions by Giovan Battista Vanni and John Baptist Jackson. Charles in a different way. The new intimacy with works of art created by these technologies Lebrun’s The Feast of the Pharisee with Mary Magdalene at Christ’s Feet will also be on reveals unexpected aspects and potential, and in some cases allows us to study them show. Two videos tell the history and recount the critical success of The Wedding at Cana. more freely and more creatively: by placing the work of art in the context for which Other items on show include ancient printed books, such as Vincenzo Maria Coronelli, it was created, re-establishing the original conditions of its enjoyment or, conversely, Veduta del refettorio di San Giorgio Maggiore, Marco Boschini, Le Carta del Navegar recreating it in another environment making it easier to ‘read’. How we inherit the pitoresco, Carlo Ridolfi, Le Maraviglie dell’Arte, and Anton Maria Zanetti, Della pittura past is a crucial question not only in the world of art and art conservation, but also veneziana. in other fields, at the center of the contemporary debate on the subject. The mainte- Curated by Factum Arte, the second section will illustrate all the various stages in the nance of ecosystems, for example, is taking on special importance. Here we can ask creation of the facsimile through videos, images, panel presentations and the presence exactly the same questions: is it possible and legitimate to artificially create an appro- of some of the instruments used to make the facsimile, such as the 3-D scanner, an priate way of keeping a “natural” system alive? How far can the new technologies help outline of the painting on a white background, the tiles used for the surface testing and us maintain the character and balance of ecosystems by reinventing their constituent samples employed in colour comparisons. Part of this section will be dedicated to the elements and relations? Musicology – and especially ethnomusicology – is showing a still unsolved greatly debated issue of the colour of the clothes of one of the figures in growing interest in the diachronic dimension of musical traditions and the problem

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of their relationship with the context in which they were created: how can an oral Economics. The energy challenge is now known to be related in a fundamental way the music tradition survive and be re-elaborated in the present without losing its character? global environmental challenge. Both have major ethical, political and economic The key issue thus lies in understanding how it is technically possible to revive the implications. For both, a key concept is sustainability, whose ramifications and im- past or ‘to let the past resonate’, avoiding at the same time fetishism and refusal, plications are emerging from research involving the physical and natural scientists on slavish imitation and betrayal; and how, through comparisons, the practices used in one hand and the social scientists on the other. Strategies to address energy needs and the different fields mentioned mutually can inform and enhance each other. At a environmental problems must be practical enough to form a basis for stable interna- time of growing fundamentalism of all denominations, this comparative exercise tional agreements but cannot afford to neglect the ethical dimension, since decisions focused on understanding how we can inherit the past “well”, seems a decisive way of are being taken that will have major impacts on future generations. being faithful to the calling of ‘I Dialoghi di San Giorgio’, aimed at encouraging exchanges of views between experts from various disciplines and cultural traditions on issues of crucial importance to contemporary society. The participants at the dialogues include: Frederick Brenk, Paolo Fabbri, Steven Feld, Carlo Ginzburg, Joseph Koerner, 23 – 25 October Bruno Latour, Adam Lowe, Pedro Memelsdorff, Richard Powers, Shirley Carol Strum, International Study Conference David Western and Albena Yaneva. Artistic bronze production in Venice and Northern Italy during the Renaissance Venice, Island of San Giorgio Maggiore 19 – 22 September Third World Conference on the Future of Science: Energy The National Committee for the Celebrations for the 550th Anniversary of the Birth Venice, Island of San Giorgio Maggiore of Tullio Lombardo has organised a conference to follow up the 2006 conference on Tullio Lombardo sculptor and architect in artistic culture. This The Third World Conference on the Future of Science will examine the immense second conference sets out to explore another aspect of the artist and the whole family problem of future sources of energy, consonant with the Venice Charter’s declaration that workshop in general: i.e. the production of large monumental bronzes and small major goals of applied scientific research must be: – reduced use of fossil fuels – expanded collectors’ bronzes. The Lombardo’s bronze output is one of the most difficult histo- use of alternative energy sources. Following the tradition of past editions, the Conference riographic issues to solve. In the case of works generically attributed to Tullio and will last three days, gathering together in Venice speakers of international renown from Antonio Lombardo we still have to tackle the particularly tricky question of working various scientific disciplines. They will be able to exchange views in a debate in which all out the relation between a possible model and the work of the caster: i.e. to establish the participants will contribute to spreading and developing scientific thought. whether behind the very fine series of small ideal heads, small figures, and ancient-style Thursday, 20th the theme of discussion will be Energy. Present and future Sources. It is busts, there might have been an autograph model, or if they were simply works vital to have the means to assess the environmental, social and economic impacts of Master of the Barbarigo Altar, influenced by the dominant style in 15th- and 16th-Century Venice. Since the indu- different approaches to energy production and storage for the future. In this session Our Lady of the Assumption, Venice, Ca’ d’Oro strial and artistic practice in the output of bronzetti is characterised by continuity in various energy sources will be surveyed, including nuclear fission, nuclear fusion, fossil the techniques and workmanship – for example, the long line of families of artists and fuels, plant biomass, solar energy and geothermal energy, and their possible roles in a craftsmen throughout the Renaissance – it is worthwhile extending the enquiry to the future sustainable energy scenario examined. Friday, 21st the theme of discussion will whole of the Cinquecento and thus also take into account the work of Alessandro be Enviroment and Health. Carbon dioxide, released into the atmosphere by burning, is Vittoria, Girolamo Campagna, Tiziano Aspetti and Nicolò Roccatagliata. The docu- a major greenhouse gas, and is now known to be causing climate change on a massive mentary and historical wealth of the second half of the 16th Century could produce scale. There will be changes in the atmosphere, the oceans and terrestrial ecosystems elements casting light on the preceding period. that will profoundly affect the lives and health of ordinary people, the world economy, As happened in the 2006 conference, the last part of the meeting will focus on the and the well-being of the planet. These far-reaching effects of past and future energy ‘material’ aspects of the works, their techniques and workmanship but also their resto- use will be discussed: the projected climate changes and their consequences will be ration. This is not simply because conservation is inevitable, but because in such a examined, including their effects on biodiversity, individuals and humanity as a whole. specific sector as the small bronzes, the aspects of workmanship are indispensable in Lastly, Saturday 22nd, the theme of discussion will be Energy. Ethics, Politics and reaching a complete understanding of the nature of the work.

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29 – 30 October will be organised into individual study sections (instruments, voice, sound direction) International Study Conference and group classes on sound direction. At the end of the last day there will be a final Forms and currents of Western Esotericism concert. Venice, Island of San Giorgio Maggiore

This first unique conference of its kind in Italy is dedicated to the history, prominent 15 – 16 November people, texts and doctrines of Western esotericism. The conference will be attended by International Workshop leading experts on this relatively new subject which has been becoming increasingly The new forms of cultural co-operation in the popular in many European and other universities. The experts’ papers will update the globalised world current state of studies and research concerning the main forms and currents of Venezia, Isola di San Giorgio Maggiore Western esotericism, starting from the last centuries of the ancient world and going up through the Middle Ages and Renaissance to the contemporary age. The participants Organised by Michele Trimarchi, a lecturer in the economics of culture at the will analyse migrations, derivations, breaks and transformations in this complex and University of Bologna, the workshop will bring together scholars of culture and still little-known aspect of European culture in the light of the most recent research. society, philosophers, creative artists, and experts and people working in the field of Poliphilo at the three doors leading to the divine The subjects examined will thus include neo-Alexandrine Hermeticism, giving rise to the international cultural co-operation. They will exchange ideas with the aim of encouraging way to Virtue, the worldly way to Vice, and so-called “Hermetic Philosophy”, of which Giordano Bruno was the leading exponent, critical thinking on the forms, technologies, practices, functions and objectives of the central way to love, from Hypnerotomachia Poliphili by Francesco Colonna, Venezia, 1499 the art of memory, spiritual alchemy, the Christian Kabbalah, Paracelsism, Rosicrucian international cultural co-operation. literature and Theosophy. There will also be a special emphasis on the historically crucial “Plate of the longest rivers in the world”, The “waning of ideologies”, the rise of the “free-market logic” on a global scale and in Maps of the Society for the Diffusion of Useful phenomenon of the complex interaction between Western esoteric religiosity and the Knowledge, England, 1844 the simultaneous forceful re-affirmation of local identities have increasingly outmoded processes of modernisation, originating in the Renaissance. Lastly, contemporary currents, the conception of cultural co-operation as a vehicle – often indirect and subtle – of which since the 18th Century have more or less followed in the wake of previous ideological propaganda. Even the naive and spurious “exporting” of political values movements, will also be considered. and systems has turned out to be a tragic illusion. Although globalisation cuts across borders and annuls distances, multiplying the opportunities for meetings/clashes between cultures, the problem arises for all cultural 3 – 7 November systems of how to exchange values and resources with other systems, since no system can Course Interpreting Luigi Nono’s works for live electronics survive autarchically in a globalised world. The search to “link up systems of meaning” and tape will probably become the primary objective of future co-operation. Venice, Island of San Giorgio Maggiore The inevitable questions become: today who are the “others” with whom we must establish meaningful contact? What general conditions generate mutual trust making Promoted by the Luigi Nono Archives, the Giorgio Cini Foundation and the such contact possible? Is the offer of a free physical space, put forward by generous Experimentalstudio für akustische Kunst e.V., Freiburg, this course is intended for pro- and hospitable animators, still attractive in the age of the Internet and its powerful research fessional musicians who wish to further explore Luigi Nono’s poetics and the interpre- engines, capable of making billions of web pages available in a fraction of a second? tation of his works for live electronics. The course is also open to graduate or final What role do the so-called “virtual” scientific communities play today (although in year students from music schools (flute, clarinet, tuba, piano, violin, singing, and actual fact because of ICT they are becoming remarkably “real”)? Having gone beyond sound direction). The course will be taught by leading historical interpreters of Nono’s the traditional form of the bilateral agreement, can the organisational model of the Luigi Nono in the Experimentalstudio, repertoire: André Richard, Susanne Otto, Roberto Fabbriciani, and some collaborators web give rise to promising new forms of intercultural co-operation? Heinrich Strobel Foundation, Freiburg of the Experimentalstudio who will bring along equipment on which many of the works The Venetian workshop aims to offer possible answers to these question through a studied in the course came into being (Das atmende Klarsein, Io, frammento dal Prometeo, critical exchange of ideas, experiences and broad heterogeneous overviews, elaborating Quando stanno morendo, Diario polacco 2°, Prometeo, Omaggio a György Kurtag, A the guidelines for effective and appropriate forms of exchanging values. It will thus be Pierre. Dell’azzurro silenzio, inquietum, Post-prae-ludium n.1 “per Donau”, La fabbrica possible to trace a global map of new routes used in exchanging and spreading creative illuminat... offerte onde serene..., La lontananza nostalgica utopica futura). The course ideas, passions and skills.

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28 November forms of communication. If music is primarily organised sound, as it is defined today, Poliyphonies “in viva voce” 11 it is also sound in movement: not only because it can be realised and perceived in its Seminar Female Polyphonies from Georgia time dynamics, but also insofar as it is the outcome of an action. Moreover, the Concert by the ensemble Mzetamtze musical sound materialises and propagates in a physical and social space, in which Venice, Island of San Giorgio Maggiore individuals and groups are organised and interact according to modes variously encoded and formalised. In this sense, music in action is an overall perceptive expe- Begun in 1997, the Polyphonies “in viva voce” programme has hosted singers from many rience, situated in a crossroads between various languages: linguistic-verbal, non- Italian and European regions at the Giorgio Cini Foundation, Venice. For the experts, verbal sound, spatial-gestural, playful, ritual, etc. Naturally cinema captures and shows researchers and music-lovers who have flocked to the venue on San Giorgio, the the audio-visual experience, also for the purposes of analysis, in a much more realistic The Mzetamtze ensemble in concert seminars and concerts have led to a deeper knowledge and greater appreciation of the Sequence from the film Zene by István Gaál, way than a straightforward sound recording. From this point of view, as Diego major examples of the art of polyphony. This year the eleventh edition will be dedicated Hungary, 2006 Carpitella was fond of saying, when film has the right syntax and grammar it can to female polyphonies from Georgia. Many musicologists have for long considered and replace books of words. described Georgia as the “cradle” of polyphony in Europe, on the grounds of its great For three days the seminar will discuss how cinema can attempt to grasp the overall exuberance and variety of procedures and genres found in the practices of ensemble singing expression of music. The relation between sound and filmed image will be assessed in the region. Although this interpretation has gradually been put back in perspective, starting from the presentation of some of the most interesting recent examples of visual Georgian polyphonic phenomena are still undoubtedly extremely lively and complex. ethnomusicology and in discussions with their directors. The seminar will also provide Indeed for Georgians, singing in groups is an almost spontaneous everyday custom. the opportunity to update the participants’ knowledge as regards the use of new Although mainly a male practice and often associated with convivial experiences, in digital filming technology and editing for the purposes of ethnomusicological research. Georgia there are also female polyphonies found in arguably less ostentatious occasions, but equally important in social and cultural terms, with fascinating musical results. The evening concert for this year’s seminar will feature the female polyphonic group Mzetamtze, created in 1987. Now also well-known outside Georgia, they perform songs Books at San Vio both from the traditional repertoire and recently composed music, a sign of the con- Venice, Palazzo Cini Gallery at San Vio tinuity and vitality of Georgian polyphony. The afternoon seminar session, aimed at furthering knowledge about the musical features and cultural aspects of Georgian The autumn season of the series Books at San Vio continues with the launch of new polyphonic practices, will be attended by some leading experts in analysing and Giorgio Cini Foundation publications in the splendid setting of the Palazzo Cini. classifying polyphonic practice: Maurizio Agamennone, Simha Arom, Polo Vallejo and The first date, in October, will be dedicated to the presentation of AAA TAC and AAM Nato Zumbadze. The seminar and concert have been organised in collaboration with the TAC, the third issue of the annual magazines edited by Giovanni Morelli. The magazines G. Mazzariol Department of Art History and the Conservation of the Artistic Heritage, aim to investigate acoustic arts and artefacts from an unusual and fresh point of view, Ca’ Foscari University, Venice. with a special emphasis on aspects of technology, aesthetics and communications. In November the featured publication will be the fourth issue in the series Viridarium: Cenacoli. Circoli e gruppi letterari, artistici, spirituali, edited by Francesco Zambon. This 24 – 26 January book brings together a series of studies on the role and influence that the existence of 14th International Seminar of Ethnomusicology small groups or circles have exercised on the literary, artistic, philosophical activity of Visual ethnomusicology individuals, including figures of great intellectual stature. The book considers themes Venice, Island of San Giorgio Maggiore and phenomena in both Eastern and Western cultures over a long period – from antiquity to the 20th Century. The theme chosen for the 14th ethnomusicology seminar – Visual ethnomusicology – has multiple meanings: from allusions to cinema techniques involved in rendering the sounds and images of a musical event, especially in oral traditions, to more general theoretical considerations with possible interactions between different languages and

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Collections University of Padua. Made up of important and rare exhibition catalogues, valuable monographs and essays, the donation significantly enhances the existing material in the art history Recent acquisitions by the Institute of Art History library. Library There have also been a number of more recent donations: the personal libraries of Pietro Zorzanello and Mario Manzelli and books which once belonged to Francesco Valcanover. The Giorgio Cini Foundation documentary resources, consisting Pietro Zorzanello was a leading figure on the Venetian library of huge library collections and valuable archives, will play a key scene. He began his career in the Biblioteca Marciana, and later role in the strategies of reorganising, developing and giving greater became director from 1927 to 1934. After being director of the visibility to the Foundation. To this end, in addition to creating Biblioteca Palatina, Parma, for political reasons he was then de- new spaces (e.g. the Manica Lunga) for consulting, studying and moted and transferred to the Biblioteca Marciana, where he promoting the documents kept in the Foundation, a number of devoted himself to making catalogues of the Italian manuscripts ongoing activities are aimed at making greater use of the materials in the library. The Zorzanello donation, made thanks to the and increasing the already rich collections in the Foundation. generosity of his son Giulio, includes some interesting periodical The core of the collections in the Institute of Art History Library material, a rich collection of essays on the history of books and is made up of specialised libraries on the history of art, including some valuable historic volumes which have already been given those once belonging to Giuseppe Fiocco, Rodolfo Gallo, Raymond an appropriate location and pre-catalogued. van Marle, Antonio Muñoz and Achille Bertini Calosso. They Mario Manzelli is a scholar of 18th-Century vedutismo and the have recently been enhanced by valuable major donations. author of monographs on Antonio Joli, Michele Marieschi and In 2003 a large bibliographic archive was acquired containing Francesco Albotto. In addition to his photo library, he donated a works once in the personal library of Egle Renata Trincanato, an large number of volumes reflecting his overall research interests. architect and lecturer in the Elements of Architecture and Surveying Longhena’s salone in the Art History Library A former superintendent of the artistic and historical heritage in Venice, Francesco Monuments at the Venice University Institute of Architecture of the Giorgio Cini Foundation Valcanover dedicated his studies to 14th to 18th-Century Veneto painting. He has (IUAV). Trincanato made a big impact on the IUAV because his published countless papers, essays and monographs. His precious legacy adds material best-known work Venezia minore, renewed architectural research, of great interest to the Foundation collections, building up the section on Venetian art shifting the focus of study from the major palaces to so-called in all its aspects: from exhibition and museum catalogues to monographic essays on “minor architecture”. the leading figures in Veneto and Venetian artistic life. The Italian President Giorgio Napolitano visiting This donation has brought into the Institute of Art History Library exhibition cata- Combined with a careful longsighted policy of acquisitions, these donations make the San Giorgio Maggiore, 26 March 2007 logues and specialist monographs dedicated to artists and art collections, general Giorgio Cini Foundation a key facility for art scholars, especially of Veneto art, from reference books, museum catalogues, books on photography, city guides, local mono- all the world. The strengths of the library services may be summed up in the constant graphs and books on Venice, works of history and the history of architecture, improvements with a focus on being user-friendly (facilitating stays and research), the restoration, town planning and countless art and architecture magazines. The around availability of huge collections of documents, and the inspiringly austere, peaceful 2000 publications were marked with an ex-libris indicating their provenance. They 18th-Century reading room, encouraging concentration and fertile study activities. were also inventoried and catalogued by the library staff and therefore can be consulted by all those interested through the SBN’s OPAC system. The Giorgio Cini Foundation has also been presented with the library of Franca Zava. Lucia Sardo A student of Giuseppe Fiocco and assistant of Rodolfo Pallucchini, Zava is an eminent scholar of Veneto art history (see, for example, her contribution to 16th-Century Venetian painting, her book on Pittoni, and studies of frescoes in 17th- and 18th- Century Venetian villas), and formerly professor of modern art history at the

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Every intervention and change says as much about the values that prevailed at the Projects and research time they were done as they do about the painting. If the painting had had another history and had been taken to England it would certainly look very different from the way it looks today. You only need to compare the three panels of the Battle of San The Wedding at Cana facsimile Romano by Uccello that went to the Musée de Louvre, the National Gallery (London) and the Galleria degli Uffizi (Florence) to see how dramatic the interventions can be. The transformations have now become part of The Wedding at When Factum Arte started working with the Fondazione Cana and are a reflection of its continued importance. In a Giorgio Cini on the production of an accurate facsimile of world of genetic modification notions of originality may not be Veronese’s vast painting The Wedding at Cana we asked a as obvious as they once seemed. It is becoming clear that simple question: “if Paolo Caliari walked into the Musée du originality doesn’t exist in a quasi-religious notion of ‘aura’ but Louvre now would he recognise the painting as the work that lies in things that are more physical. It lies in the qualities that he finished in 1563?” are intrinsically part of the object and in the biography of that He would certainly be surprised to see it where it is, and would object. Originality is not fixed. As it moves it changes and it is be perplexed by the unimaginable series of historical and changed. Some of these changes are beneficial, others not. political events that lead to its removal from the refectory for Veronese might be alarmed by some of the transformations that which it was painted, but surely he would feel flattered by the his masterpiece has undergone and as a virtuoso he would fact that it has retained its reputation as one of the world’s certainly be both opinionated and articulate. However he would greatest paintings, and that time has not diminished the im- be satisfied that a painting to which his name is attached has Stages in scanning the painting portance of his achievement. Stages in printing the facsimile of The Wedding continued to be studied, shared and discussed and appreciate the fact that the of The Wedding at Cana, Paris, Musée du Louvre As a painter he would be more aware than most that everything is in a constant state at Cana, Madrid, Factum Arte Atelier qualities that make The Wedding at Cana specifically what it is continue to be valued. of transformation, and that without constant care and attention his efforts would have He could hardly have imagined that an estimated nine million people visit the room gradually faded into obscurity. where it now hangs every year (a significant percentage of these hardly notice his vast When he originally painted the picture it is reported that he wanted it to have all the work as they stream in to see the ). qualities of a fresco. In the damp saline environment of Venice traditional fresco All good restoration projects begin with an in-depth study of the painting and an techniques are unstable so he went to great lengths to ensure its longevity by open-minded questioning of the reasons a painting looks the way it does. It is a preparing the walls, covering them with canvas, gesso coating the surface and working forensic activity involving many people. Cross-section images of the paint layers, with the finest pigments, oils and resins to create the specific illusion he sought. He multi-spectral photography, chemical and microscopic analysis now all play an was a master technician working with a team of skilled craftsmen. They worked fast important role. New technologies are constantly being developed that facilitate new and with a confident control of anatomy, and painting techniques that perceptions and deeper understandings. But human judgement and manual skill resulted in a harmony of colour, tone and composition for which Venetian painting is ultimately define the interventions that are made. This is as true in the production of famous. These skills seem even more remarkable today than they would have been an accurate facsimile as it is in the restoration of a painting. Since last year this work when he painted the picture. has been ongoing and has involved a number of people from different parts of the We cannot know how the painting looked when it was finished and its appearance world with different skills. In the autumn of 2006, in fact, the Musée du Louvre has certainly changed. Some of these changes are the product of time and some are reached an agreement with Fondazione Giorgio Cini and granted Factum Arte access the result of human intervention. It is not the same size, significant loss has occurred to record The Wedding at Cana. at the edges of the image, the whites have become more transparent and the ground The record of the painting of 67.29 square meters created logistical problems. Factum has yellowed, other colours have darkened and become more opaque. It has been Arte decided to develop a new scanning system that could record at actual size and at framed and was cut into strips when removed from the wall. It has been repeatedly re- the highest possible resolution within the limitations of both time and budget. The lined and re-stretched, varnished (more recently with an optically clear varnish), result is a non-contact colour scanning system that uses a large format CCD and cleaned, filled and partially re-painted. integrated LED lights. During the recording 1516 individual files were saved resulting

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in an archive of 400 gigabytes. The lower part of the painting was recorded using a paintwork itself. As a result a brush-mark made by Veronese or 3D scanning system made by NUB 3D (Spain). NUB 3D Sidio White Light an assistant is treated in the same way as an infill, join or repair. Scanning System uses a mix of optical technology, 3D topometry and digital image This approach results in a surface that resembles the original in processing to extract 3D coordinates from the surface of an object. This technique, more ways than we are used to. It would be possible to work known as structured white light triangulation, produces accurate measurements of the with a number of experts and attempt to present the painting as surface by analyzing the deformation caused when lines and patterns of light are it might have looked when finished. But this was not the projected onto the surface of an object. current brief and would be an inherently subjective task. Our During the recording great emphasise was given to the colour. aim is to create a harmonious visual experience that allows the Extensive colour notes were made using a series of colour sticks viewer to concentrate on the painting (in its current state) made on site and matched to specific points on the surface of rather than the fact that it is a copy. the painting. These were fixed into a book containing a 1:1 The many hours spent in close scrutiny of the image yield some scale line drawing of the painting and a section of the colour interesting insights. The 1854 restoration was heavily criticised stick was fixed into the book at the corresponding point on the for “disfiguring the painting” by a M. Planche, a claim that the painting. The system we use was originally developed for The colour reference book used in scanning Musée du Louvre publicly denied. However, the criticism rumbled on until the mid the painting of The Wedding at Cana, recording the colour in the tombs in the Valley of the Kings in Paris, Musée du Louvre 1870’s by which time the allegations were that the harmony of the painting had been Egypt. Colour is one of the least understood and most complex destroyed. Disfiguring the painting is a very specific allegation and it seems likely that subjects. In the production of a facsimile you are seldom the allegations surround changes made to the faces of Christ and Mary. dealing with a standard flat colour. Most coloured materials age Count Nieuwerkerke wrote a report on the restoration work that he had supervised in complex ways – some of the most important are the changes and he alludes to repainting in the sky but does not mention any work on the faces of Stages in printing the facsimile of The Wedding at in transparency revealing or obscuring the layered nature of the paint, complex changes and Mary – two central figures in the composition. Nowhere in the records is Cana, Madrid, Factum Arte Atelier in texture resulting in an irregular surface complete with shadows and highlights and there any reference to significant changes to the painting until Jean Habert’s book an uneven surface reflectivity. The recording is now complete. The archives of different The Wedding at Cana by Veronese was published after the restoration in 1992. This types of data have been joined without distortion and merged together. Extensive book explains in detail the changes that were made – some of which are significant material, printing and colour tests have been carried out and a direct comparison like the removal of the red paint from the robes of the attendant. It is clear, both from between the colour of the printed samples and the colour of the painting have been the detailed information recorded by Factum Arte and from the x-rays photographs made. The logistical and practical task of producing the facsimile is now under way. taken during the 1992 restoration that something has happened to the faces of This work resembles the task of physically restoring the actual painting in almost every Jesus and Mary even if it is not recorded in the archives. The early copy now hanging way. The facsimile will be installed in the refectory in August and unveiled on 11th in the entrance to the refectory shows Jesus semitic face full of expressive character. September. An exhibition is being organised by the Fondazione Giorgio Cini that The x-ray seems to confirm this and shows modeling in the painting. In his current will include early copies, documentary evidence, written descriptions of the painting state the figure has an idealized romantic face staring blankly into the middle distance. and detailed information about the production of the facsimile. A discordant black line runs along the left shoulder, across his collar and into the edge While the practical work is going on research continues into the history of the of his beard. When studying the scanned data at high resolution you can also see that painting in the hope that we will find information that will help us understand why it the paint is thin and the canvas texture predominates. Mary appears to have a similar looks as it does. In the archives of the Réunion des Musées Nationaux in Versailles the surface and colour (a pinky grey as opposed to the ochre flesh colour) while the group records describe a restoration that took place between 1852 and 1854. Particular of heads that surround them are richer, darker and in harmony with the rest of the attention is paid to a join just above the balustrade and the repair work around the picture. Taken in isolation and put in line like a police identification parade these two edges of the painting. The join was described as a “disagreeable fold that had been faces don’t seem belong in this painting. A great deal more research is required before filled with mastic”. It was redone and refilled and the edges were subjected to similar making any comments about why this might be the case. Going back to the primary work that resulted in a thick impasto surface. An important part of the facsimile work sources and studying the published criticisms of M. Planche may be a good place is to replicate the surface characteristics of the whole painting. This means that equal to start. attention is paid to the changes brought about by time and restoration as it is to the An accurate facsimile installed in its original setting makes sense of the composition of

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the painting and the architectural references that have Presences on San Giorgio conditioned its design. The collaboration between Palladio and Veronese resulted in an environment that was one of the crowning achievements of the Venetian renaissance. The refectory, once in a very poor state of repair and significantly Paolo Veronese on San Giorgio altered from its original design has now been fully restored. Without the painting (that was a major part of the original design) it is incomplete. It is to be hoped that when the facsimile is installed its magnificence will be returned and In 1560, when the Benedictine monks on the Island of San Giorgio scholars and tourists alike will be able to see the painting in its Maggiore chose the great architect (1508-1580) proper context, at the right high and without a frame. to renew their monastery, they wanted the reconstruction work to begin with the refectory. Initially the great hall designed by Palladio was furnished with benches and ornamental hangings. Adam Lowe Then, in 1562, Paolo Veronese was asked to decorate the rear wall behind the ’s chair. Veronese and Palladio thus once more worked on the same project, as they had the previous year in the Villa Barbaro at Maser. For around a decade Veronese had been enjoying considerable success in Venice and had obtained a num- ber of major commissions, such as the decoration of the Libreria Stages in scanning the painting Marciana, the church of San Sebastiano and the Palazzo Ducale. of The Wedding at Cana, Paris, Musée du Louvre Paolo Caliari called Veronese, The Wedding at Cana, The contract for the commission of the great canvas (6,8 x 10,4 metres), which because Paris, Musée du Louvre of its size had to be painted in situ, was stipulated on 6 June 1562. Veronese worked on his masterpiece in the monastery refectory using a similar procedure, also in technical terms, as he would have used for a fresco. In addition to the contract conditions, which included board for the painter in the monastery, this procedure suggested that “Veronese was present on the worksite every day. He arrived in the morning on San Giorgio by boat from his house at San Samuele, and spent the whole day on the island, lunching in the refectory and returning home in the evening” (J. Habert, Il restauro delle ‘Nozze di Cana’ di Veronese: qualche osservazione, in Arte Veneta, 1993). This information thus fully justifies our including him among the “presences” on San Giorgio. The contract was signed by Veronese, Father Alessandro from Bergamo and the cellarer Don Maurizio from Bergamo. It established that Veronese should “make a painting for the new refectory the height and width of the wall, filling it completely with the story of the feast with Christ’s miracle at Cana in Galilee, and ensuring the appropriate number of figures required for such a creation can fit in easily; the said Master Paulo shall provide his work as a painter and also all the paints whatever their nature and shall prepare the canvas and everything else required at his own expense; the monastery will only provide the canvas and will have the canvas for the said painting made; moreover it will include the canvas and other items that may be required in its expenses, while the said Master Paulo will be obliged to provide the work and excellent colours and not leave out anything which has very fine ultramarine and other flawless colours approved by all the experts. And for his

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remuneration we have promised for the said work the sum of 324 ducats of 6 lire 4 soldi as the “treasurer of art and colours”, and “the truly laureate Apollo”. Boschini goes on to per ducat, giving the monies as required each day, and as a deposit we have given him 50 comment on the Wedding: “Questa no xe Pitura, l’è magia / Che incanta le persone che la ducats, the said Master Paulo having promised to complete the work by the Feast of the vede / O vera de Virtù divina rede / Che l’anime impersona e i cuori pia!” (This is not Madonna in September 1563. Furthermore, we have promised him a barrel of wine to be painting, this is magic / which enchants people who see it / O true heir to Divine Virtue taken to Venice and placed at his disposal. The monastery will provide him with board / who bodies forth souls and beguiles hearts!). for the time he shall work on the said painting and that board will be consumed in the From Zanetti (1771) onwards, most experts agree that many of the figures in the painting refectory... the monastery will give him the scaffolding so that he can work with ease.” are portraits of contemporaries: Alfondo d’Avalos and Vittoria Colonna are the couple to The work was actually completed by 6 October 1563, almost completely respecting the the left, Francis I and his wife the characters beside them with “Acmer II”, the King of contract deadline, and earning the maestro, as had been agreed, the considerable sum of Turks, while in the corner of the same portion of the painting is a portrait of Charles V. 324 ducats. The subject of the painting was the celebrated episode from the Gospels of But the most famous portraits concern the celebrated concertino. Without any apparent the “Wedding at Cana” (St John, 2, 1-12), the first miracle attributed to Christ, and historical justification the musicians were said to be with the bass, Paolo himself obviously a particularly fitting theme for the refectory decoration. This work is one of with the cello, with the violin, Bassano with the flute, and Veronese’s brother several famous feast scenes by Veronese mentioned by the historical sources as among Benedetto Caliari, standing wearing a flowery drape and holding a glass. the marvels to be seen when in Venice (the Feast in the House of Simon, once in the In the eighth position on the right, as was discovered in a recent restoration, Veronese Paolo Caliari called Veronese, The Wedding at Cana, refectory of the Servite Friars, was donated by the Venetian Republic to Louis XIV and Paolo Caliari called Veronese, The Wedding at Cana, added the face of a priest, made on paper and then applied to the canvas. In this case detail, Paris, Musée du Louvre detail, Paris, Musée du Louvre is now in Versailles, while the Feast in the House of Levi for the monastery of Santi the critics believe the figure to be the Abbot of San Giorgio, Andrea Prampuro from Giovanni e Paolo is now in the Gallerie dell’Accademia). Veronese can thus be seen as Asolo, appointed to the position in 1564, when the painting had already been having been an unsurpassed specialist on this subject. completed. The artist clearly had to meet the demands of the newly elected Abbott who Veronese gave the work a marvellous architectural construction which, in addition to wished to appear in the work like his predecessor, Girolamo Scrocchetto, the third being an illusionistic continuation of the hall, allowed him to harmoniously arrange the banqueter from the right, wearing dark blue clothes. figures in a lively arrangement of fleeting light and very luminous shade. Set in the centre, Almost overnight the work became one of the marvels of Venice and the whole of the the figure of Christ is portrayed with hieratic rigidity, estranging him from everything history of painting, on a par with ’s School of Athens and Leonardo’s Last Supper. that is going on all around. This is the immobile driving force in a skilful composition in Indeed Giacomo Barri (Viaggio pittoresco, 1671) was to write that “anyone who comes to which the festive liveliness is achieved through continuous variations in poses, gestures Venice, and leaves without seeing it, may say that they have seen nothing”. Since the work and expressions. Far from giving the subject a purely secular interpretation, as at times he was being copied by so many artists, often commissioned by foreign princes and rulers, was accused of having done, here Veronese proposes a version both noble and full of in 1705 the monks met in the chapter and decided to limit the number of reproductions. empathy for the episode, a harbinger of the Eucharist – significantly Christ is in line with In August and September 1797, with the fall of the Republic and the French conquest, the slaughtered lamb on the balustrade above (for this and other iconological details, see the great painting was requisitioned by the Directory commissars and, after a long D. Rosand, “Theater and Structure in the Art of Paolo Veronese”, in Art Bulletin, 1973). The journey of almost ten months, eventually reached Paris on 15 July 1798. Antonio Ca- painting was thus also a very human testimony to Christ’s love for his children and their joy. nova attempted to retrieve the work but his efforts were in vain. The French claimed it was Immediately next to Christ, Mary is a figura Ecclesiae, here in the guise of the sponsa Christi. too fragile to travel and offered in exchange Charles Lebrun’s painting of the Feast of According to some experts (P.P. Fehl, “Veronese’s Decorum: Notes on the Marriage at the Pharisee with Mary Magdalene at the Feet of Christ, now in the Gallerie dell’Accademia. Cana”, in Art the Ape of Nature. Studies in honour of H. W. Janson, 1981), Veronese Since then Veronese’s painting – a source of inspiration and study, admired by whole probably fairly faithfully followed the description of the feasts provided by Pietro generations of artists from Delacroix to Cézanne – has been in the Musée du Louvre. Aretino in his Quattro libri de la humanita di Cristo (1539). The “Four Books on the From 1989 to 1992 the painting underwent major restoration work. In the cleaning Humanity of Christ” narrate the story with a great wealth of detail not found in the stages some red paint, which although old was judged to have been added later by Gospels, dwelling particularly on the large number of guests, their clothes and the another hand, was removed from the seneschal, who now appears dressed in green, on luxurious tableware used for the banquet. the left of the painting. The chromatic harmony in the painting is remarkable. Not only in the individual parts but also in the overall effect, where Veronese skilfully apportions complementary colours. Marco Boschini justifiably described the maestro in his Carta del navegar pitoresco (1660) Denis Ton

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Publications figurative art are the artists from that century present in the selection: in addition to a remarkable thirteen drawings by Donato Creti, there are works by Rolli, Stringa, Dal Sole, Crespi, Bigari, Bertuzzi and Gionima. The works on show also included drawings by artists outside Bolognese and Emilian circles, such as the Lombard painters Polidoro da Caravaggio and Aurelio Luini, the Venetian Battista Franco, Marc’Antonio Catalogues Bassetti from Verona, and Central Italian artists of the calibre of Pollini, Balducci and Diamantini. To these we must add the rare item of a drawing attributed to the sculptor Il segno dell’arte. Disegni a figura della collezione Certani of Flemish origin Giusto Le Court, represented in the exhibition by a study for a alla Fondazione Giorgio Cini (1500-1750) figure in the Pesaro Monument in the church of the Frari, Venice. edited by Vincenzo Mancini and Giuseppe Pavanello Bononia University Press, Bologna, 2007

The extraordinarily rich collection of graphic works in the Certani archives includes figure and landscape drawings, architectural and decorative studies, stage designs, and Essays various other kinds of works, spanning a period from the early 16th Century up to the mid-18th Century. This major collection now belonging to the Giorgio Cini Foundation Esumazione di un Requiem. Edizione anastatica della was put together by the eminent Bolognese musician and cellist Antonio Certani partitura e note informative sul ritrovamento del giovanile (1879-1952), who acquired the works on the local antiquarian market between the Requiem di Bruno Maderna wars. The collection is quite exceptional because it features examples of works by the edited by Veniero Rizzardi leading artists from the golden age of the celebrated Emilian school. In fact an invaluable Collana “Studi di musica veneta. Archivio Gian Francesco Malipiero”, vol. 3 group of around one hundred of these drawings generated the most interest in a Leo S. Olschki Editore, Florence, 2007 Bologna exhibition (Signs of art. Figure drawings in the Certani Collection at the Giorgio Cini Foundation 1500-1750) held at the Palazzo Saraceni from 20 April to 17 June 2007, Bruno Maderna composed his monumental Requiem in 1946. Long thought to have and organised by the Giorgio Cini Foundation in collaboration with the Francesco been lost, it has now been musicologically “exhumed” in a facsimile version of a manu- Francia Association and the Cassa di Risparmio Foundation, Bologna. script score found in a US library in September 2006. In his introductory note to the Preceded by essays dedicated to the figure of Antonio Certani and an analysis of his col- facsimile score, Veniero Rizzardi relates how the manuscript was lost and found. lection, the exhibition catalogue publishes all the works showed, accompanied by entries Rizzardi also reconstructs the genesis of the composition, mainly by considering the compiled by a team of specialists. The works are divided in two sections: an initial section composer’s correspondence. Bruno Maderna (1920-1973) wrote the Requiem just after of seventy drawings by leading Emilian painters from 1500 to 1750, and a second sec- the Second World War, when he was already seen as a leading member of “that young tion featuring a selection of eighteen graphic works by artists chosen to represent Italian school”, whose main reference point was Gian Francesco Malipiero. Indeed it significantly different schools of painting in Italy – from the Veneto to Rome. was Malipiero who introduced the young Maderna to the American composer and The most interesting works include a young St Sebastian attributed to the 15th-Century critic Virgil Thomson on a visit to Venice. Greatly struck by the young Venetian’s master Nicoletto da Modena and two drawings by the Bolognese artist Passerotti – all score, Thomson wrote an enthusiastic article in the International Herald Tribune and very high standard examples of 16th-Century art. The golden age of the 17th Century made efforts so that the work would be performed in the United States. Maderna is represented by some invaluable works, such as a drawing by Ludovico Carracci, prepared a copy of the manuscript for Thompson but when the attempts to perform some studies by Guido Reni and his contemporaries and followers, like Cantarini, the Requiem on the other side of the Atlantic came to nothing, he did not bother to Schedoni, Cavedone, Torri, Brizio, Pasinelli and Sirani. Among the more immediately recover it. Written for four soloists, a double choir and large orchestra, Maderna’s striking works are four red-chalk masterpieces by Guercino, including the celebrated Requiem may be considered not only a valuable contribution to the artist’s biography Woman Feeding a Child for the fresco of Venus Feeding Love on a bedroom mantel- but, most importantly, a highly significant posthumous addition to the symphonic- piece in the Palazzo Pannini, Cento, and an extraordinarily freshly rendered Head of choral repertoire of the 20th Century. Boy with Hat. Less well known but no less representative of 18th-Century Emilian

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corroborated by important theatre sources, such as the Peretc and Tikhonov collections, Giovanni Viviani, Silvana Zanolli and especially in the intermezzo “The fake German” and the “Intermediary n°7”, trans- Fiabe e racconti veronesi raccolti da Scipione Righi. Volume III lated here in Italian for the first time. The book ends with a memoir by Prof. Erik “Cultura Popolare Veneta” Amfitheatrof. His grandparents, Aleksandr and Illarija, a couple of Russian intellectuals Angelo Colla Editore, Costabissara (Vicenza), 2007 who emigrated to the West in the early 20th Century, made a significant contribution to consolidating the considerable fame of Goldoni and his favourite character Pantalone This third volume completes the publication of Fiabe e racconti veronesi raccolti da in Venice and Russia. The book has been published as part of the initiatives financed Ettore Scipione Righi (“Veronese fables and stories collected by Scipione Righi”), a by the Veneto Region to mark the third centenary of the death of Carlo Goldoni. project begun in 2004 as part of the Veneto Popular Culture series, a Veneto Region initiative with a contribution from the Giorgio Cini Foundation, Venice. The seventy stories in the third volume complete the total of 230 in the whole col- lection, making it one of the largest collections of popular narrative in Italy, compa- Il culto dei santi e le feste popolari nella Terraferma veneta. rable in size to the works put together by Giuseppe Pitrè or Vittorio Imbriani. L’inchiesta del senato veneziano, 1772-1773 The great interest and positive comments not only from experts in ethno-anthro- edited by Simonetta Marin pology, folklore, linguistics, and dialectology, but also from schools and non-specialist “Cultura Popolare Veneta” readers, have confirmed the remarkable impact of the collection. Angelo Colla Editore, Costabissara (Vicenza), 2007 As Daniela Perco points out in the introduction to the first volume, Righi was driven by a “kind of mission, informed by a linguistic-type sensitivity, but also by a faith in In 1772 the Senate of the Venetian Republic launched a survey to find out which religious progress and the conviction that nothing should be neglected or is pointless in the feasts were celebrated in each parish on the Venetian mainland in addition to the world, and that everything contributes to the incessant development of civilisation, to obligatory dates imposed by the official Church calendar. The reason for doing so was which the wills of all great minds and honest spirits tend in different ways”. to attempt to drastically reduce the number of festivities in the variegated popular and peasant calendar and so stem the fall in production due to lost work and the vices associated with all the uninhibited celebrations and fun. In this way the Venetians also hoped to beat the competition from neighbouring powers in farming and trade. Maria Pia Pagani The detailed answers provided by the parish priests enable us to explore the plethora of I mestieri di Pantalone. popular cults of saints, ranging from those in ecclesiastical orthodoxy, like the ever- La fortuna della maschera tra Venezia e la Russia present St Roch, St Anthony Abbot, St Sebastian and St Mark, to those invented by “Cultura Popolare Veneta” the collective imagination, such as the legendary San Defendente. Angelo Colla Editore, Costabissara (Vicenza), 2007 The written reports sent to the Senate, now in the Biblioteca Marciana, transcribed and published for the first time by Simonetta Marin, also describe the types of votive and The publication of the book I mestieri di Pantalone. La fortuna della maschera tra Venezia devotional feasts, their known or supposed origins, the rites characterising them, proces- e la Russia by Maria Pia Pagani coincides with the third centenary of the birth of sions, vigils, worship of relics, prayers, the excesses of superstition and the attendant Carlo Goldoni. social and moral disorders. Pantalone’s centuries-long theatrical journey took him from Venice to the remote land This book provides a vivid picture of popular religiosity, rural habits and folklore of the Tsars, bringing great success. The portrait built up from the main 20th-Century throughout the Veneto and Friuli and as far as Brescia and Bergamo. Moreover, as studies on Commedia dell’Arte, shows him as a father and man busy with various socially Claudio Povolo points out in his enlightening critical essay introducing the survey, the important crafts and trades: merchant, professional actor and physician (associated with documents provide interesting material for broader considerations concerning cultural the martyr St Pantaleon, whose cult spread from the Christian East to the Byzantine anthropology and even the aspects of justice linked to moral problems. world, Venice and Russia). Pantalone has lived on in the Russian memory thanks to an In the foreword, Antonio Niero outlines the history of attempted reforms of saints’ cults epic song about a Venetian merchant who goes to Kiev on business and after various and reductions in religious feasts, made to little effect by the post-Tridentine popes. misadventures marries the niece of the Grand Prince Vladimir. His presence is also

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never previously been unpublished. This was partly due to its size and partly because of Manlio Cortelazzo objective difficulties in interpreting many sections and the need to continually explain Dizionario veneziano della lingua e della cultura popolare remote and now obscure situations associated with daily life in 18th-Century Venice. nel XVI secolo Muazzo’s biography and manuscript were made known in detail by Paolo Zolli in 1969. “Cultura Popolare Veneta” After lengthy reflection, however, Zolli gave up the idea of trying to publish “the col- La Linea Editrice, Limena (Padova), 2007 lection of Venetian proverbs, sayings, judgements, words and phrases”. The linguist Franco Crevatin from the University of Trieste, partly to commemorate his friend and This dictionary of 16th-Century Venetian language and popular culture was edited by colleague, courageously took the work in hand again and has successfully completed it. Manlio Cortelazzo, who had previously collaborated with Gianfranco Folena on Even a cursory look through the book reveals the huge amount of information of all designing and setting up the Venetian Lexical Archives at the Giorgio Cini Foundation. kinds it contains. Initially the aim was only to increase the growing card catalogue by processing a number of more obscure 16th-Century Venetian authors. But as the catalogue gradually grew, Cortelazzo realised it would be more useful to have a larger systematic work, with the results being included in the Archives. This in turn gave rise to the idea of a large dictionary. Now, after forty years’ preparing and compiling, the dictionary is a very valua- ble tool not only for linguists and dialectologists but also for enthusiasts of the history Opere musicali, edizioni critiche of Venice, historians of customs and society at the time of the Serenissima and experts on popular traditions, who enjoy or need to interpret the many rare and common terms I giuochi d’Agrigento used during one of the most fascinating periods of Venetian life – the 16th Century. Libretto by Alessandro Pepoli and music by Giovanni Paisiello The individual entries, which compared to the best-known historical dictionaries are Facsimile edition of the opera score and edition of the libretto, with an essay wider ranging since they include idioms, the first lines of songs, Latin and foreign words by Lorenzo Mattei and expressions, and other previously neglected elements, are illustrated by examples “Drammaturgia musicale veneta”, 27 taken from the most disparate sources – educated, average or plebian Venetian and also Publisher BMG Ricordi, Milan, 2007 regional Italian. At times the entries are followed by explanatory notes to facilitate understanding of the many unknown or in some ways obscure terms. The result of a collaboration between an eccentric nobleman devoted to the theatre and one of the greatest of European opera composers, I giuochi d’Agrigento by Alessandro Pepoli and Giovanni Paisiello is a summation of the most progressive currents within opera seria at the very end of the eighteenth Century. The primacy of Francesco Zorzi Muazzo the aria – a form treated here with great structural variety – is challenged by the frequent Raccolti de’ proverbi, detti, sentenze, parole e frasi veneziane, appearance of separate ensemble numbers (introductions, act finales, ensembles placed arricchita d’alcuni esempi ed istorielle within scenes) and sumptuous choruses. The voice of the castrato singer remains subor- edited by Franco Crevatin dinate not only to those of the first tenor and the prima donna but even to that of the “Cultura Popolare Veneta” bass, which is assigned one of its first great roles in the history of modern opera. The Angelo Colla Editore, Costabissara (Vicenza), 2007 music is required to assume new narrative functions by means of the introduction of diegetic choruses, the employment of interesting motivic reminiscences and some Francesco Zorzi Muazzo (1732-1775), an eccentric 18th-Century Venetian patrician, was sophisticated associations between solo instruments and the psychological states of cha- known to scholars not only for his dissolute life, which led his relatives to lock him up in racters. The credit for such experimentalism can be laid at the door both of the refor- an asylum, where he died, but also as the compiler of a dictionary sui generis. Starting from ming tendencies of Count Pepoli, a disciple of Calzabigi, and of the Venetian operatic a dialect word as an entry, he described the meaning and, most importantly, made use of milieu, which was hospitable to the commingling of dramatic styles that accompanied it in a meandering digression on his experiences and people he had met as well as various the move from Metastasian dramma per musica to romantic opera. considerations on Venetian customs at the time. Despite its obvious value, the work has

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Antonio Vivaldi Federico Maria Sardelli Concerti con molti Istromenti, RV 558, RV 552, RV 540, RV 149 Vivaldi’s Music for Flute and Recorder Facsimile edition with a critical introduction by Karl Heller Ashgate, Aldershot, 2006 “Vivaldiana”, 5 S.P.E.S., Florence, 2007 This is a new, English-language edition, with additions, of the book La musica per flauto di Antonio Vivaldi (“Quaderni vivaldiani”, 11, 2001), which is a detailed study made by The fifth volume in the series “Vivaldiana” reproduces the elegant manuscript containing Sardelli of Vivaldi’s music for flute and recorder. The favourable reception of the Italian a group of instrumental works that are today among those most familiar and dearest to edition and its wide sale necessitated a new edition in English, enriched with much new the public: the sinfonia and three concertos “con molti Istromenti” composed in celebra- information and updated as far as the latest Vivaldian discovery, the recorder sonata RV tion of the visit paid by the crown prince of Saxony, Friedrich Christian, to the Ospedale 806. A further “added value” of this edition is its translation by Michael Talbot, who, besi- della Pietà in 1740, one year before the composer’s death. Although the manuscript des turning the original prose into elegant English, collaborated with the author by preserved in Dresden was seriously damaged by the bombing of March 1945, this fac- exchanging views and making suggestions that have contributed towards the book’s simile edition thanks to a patient work of restoration, restores the text in its completeness. enrichment. In addition to establishing the central place occupied by Vivaldi in the history Karl Heller, who has already edited these concertos once for an edition – today very and repertory of the flute and recorder, Sardelli’s study sheds light on the date and desti- scarce – published in 1978 by the Zentralantiquariat der DDR, now provides a new, nation of several works, clarifying some uncertainties about the choice of instrument. In exhaustive historical-critical commentary enabling us to reach a complete understan- the light of this study, as many as eight works previously attributed to Vivaldi are shown ding of this precious group of works that mark Vivaldi’s final farewell to Venice. to be spurious, while other works discovered only recently are described for the first time.

Antonio Vivaldi CD Concerti con due violini e due violoncelli RV 575 Critical edition by Federico Maria Sardelli Ottorino Respighi Edizione critica delle Opere incomplete di Antonio Vivaldi Liriche da camera I S.P.E.S., Florence, 2006 Edizioni Stradivarius, Milan, 2007

The collection of incomplete works by Vivaldi is enriched by a new title both substantial The CD Liriche da camera I di Ottorino Respighi was presented on 30 May, during a and interesting: the concerto for two violins and two cellos RV 575. This is a work that concert given on the island of San Giorgio Maggiore. Released by Stradivarius, the CD has already been published by Ricordi, and performed and recorded several times has sixteen tracks, mostly given over to the Poema Paradisiaco by Gabriele d’Annunzio without its incompleteness being noticed. The case is extremely peculiar in that the loss and Il Tramonto, a lyrical poem by Percy Bysshe Shelley translated into Italian by of a folio from the manuscript, containing about 14 bars of music, has nevertheless Roberto Ascoli. The music is performed by Marta Moretto, mezzo-soprano, and Aldo resulted in a situation where the surrounding portions make a good join, both harmo- Orvieto, piano. In his essay Tra D’Annunzio e Elsa. Figure e tipi della lirica da camera di nically and melodically, thereby giving the impression that the work has come down to Ottorino Respighi, 1914-1920, Virgilio Bernardoni describes Respighi’s approach to the us complete. However, closer examination of the work reveals the presence of this texts by D’Annunzio: “In the output of lyrical works for the period 1914-20 what significant gap, which the editor has filled with a plausible attempt at restoration. In stands out is the large number of works to texts by Gabriele D’Annunzio and, of these, addition to this long passage of music, the manuscript can be shown to lack some especially the series of Quattro liriche dal poema paradisiaco ... The content of the Quattro intended brief echo responses among the soloists: a further reason for offering a critical liriche dal poema paradisiaco are completely different in nature, and fully oriented towards edition and commentary aimed at future, better informed performances. a discursive musical quality. This is the case with the beatless rhythmic scansion in the irregular metre (in the unusual time of 11/8) and the continuous harmonic shifts of Un sogno; similarly, the circumlocutions of the sustained series of five chords in the piano

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part of La Najade are almost indifferent to the declaiming scansion of the song text, which becomes vibrantly prosodic in La sera, underscored by the iambic beat of the sustained piano. In Sopra un’aria antica, arguably rather ingenuously taking D’Annunzio’s poem to the letter, Respighi creates a discourse on two contiguous but not parallel levels: on one hand, the song monologue unfolds with almost scenic implications; on the other, the piano with an alienating effect sets out the melody of a 17th-Century air “as if from afar”. In this way Respighi ultimately confirms he prefers the verse of the poet’s early period, i.e. when what emerges is the idea of poetry as an independent fascinating music of the word, culminating in the Poema paradisiaco (1891-92). And in fact Respighi produces his best results in this “Decadent” world, when he tackles languidly crepuscular lunar topics, as is clearly illustrated by the examples of Un sogno and La sera.

Three sonata concertante for fortepiano, violin and cello A rare Beethoven edition

Last July at the Giorgio Cini Foundation, Davide Amodio (a lecturer in string ensemble playing at the Conservatory of Trieste), Edoardo Torbianelli (professor of fortepiano at the Schola Cantorum, Basilea), and Franck Bernède (professor of cello and musicology at the University of Taipei), made a very unusual recording of a previously unrecorded composition by Ludwig van Beethoven. Highly innovative recording techniques were used to capture the sounds of period instruments: a fortepiano from 1823, identical to the instrument owned by Beethoven, a perfectly intact Teckler cello, and a Pique violin from 1793, with bare gut strings and classical bows, all played using period performing techniques (violin with no chin or shoulder pads, cello with no endpin). The great variety of the fortepiano harmonics create balances unimaginable for a modern piano as the trio explores the world of the infinitely soft with extremely delicate touches (Beethoven was famously one of the first to introduce “ppp”) but also breaks out into startlingly ener- getic fortissimi. The overall effect is thus always tight and invigorating. Each instrument dominates its own range with extreme ease. The pieces played here (the original trans- criptions for trio of quartets I, II and IV, opus 18) provided a unique opportunity to perform works that are both well-known but previously unperformed in this form, thus free of influences and previous interpretations. The CD will be released with the magazine Amadeus in autumn 2007.

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Lettera da San Giorgio The Giorgio Cini Foundation Istituto di Storia dell’Arte Gli Amici di San Giorgio Published by Isola di San Giorgio Maggiore - 30124 Venezia Giuseppe Pavanello, director Assicurazioni Generali S.p.A. Fondazione Giorgio Cini ONLUS tel. +39 041 5289900 – +39 041 2710211 – fax: +39 041 5238540 Secretary’s office: tel. +39 041 2710230 – +39 041 2710239 Intesa Sanpaolo Chief Editor http: //www.cini.it fax: +39 041 5205842 Fondazione Cariplo Gilberto Pizzamiglio e-mail: [email protected] e-mail: [email protected] Co-ordination Banco Popolare di Verona e Novara Anna Balgera President Istituto per la Storia della Società e dello Stato Veneziano Fondazione Prada Emilio Quintè Giovanni Bazoli Gino Benzoni, director S.Pellegrino Marta Zoppetti Secretary’s office: tel. +39 041 2710226 – +39 041 2710227 Design Secretary General e-mail: [email protected] Olivier Maupas Graphic Design Pasquale Gagliardi Palazzo Cini a San Vio Photolithography Istituto per la Musica Dorsoduro (San Vio), 864 - 30123 Venezia Multigraf srl Secretary’s Office Giovanni Morelli, director tel. +39 041 5210755 Printed by tel. +39 041 2710229 – fax +39 041 52 23 563 Secretary’s office: tel. +39 041 2710220 Multigraf srl, Spinea (VE), Via Negrelli 10 e-mail: [email protected] e-mail: [email protected] Accademia Musicale di San Giorgio Secretary’s office: Registrazione del Tribunale di Venezia n. 209 Press Office Istituto Italiano Antonio Vivaldi tel. +39 041 2710206 – 2771267 Year IX, number 17 tel. +39 041 5205558 – fax: +39 041 5238540 Francesco Fanna, director e-mail: [email protected] September 2007 – February 2008 e-mail: [email protected] Secretary’s office: tel. +39 041 2710220 – +39 041 2710259 e-mail: [email protected] Fondazione Scuola di San Giorgio Publication sponsored by Communication and Marketing Secretary’s office: tel. +39 041 5207757 tel. +39 041 2710402 – fax: +39 041 5238540 Istituto Interculturale di Studi Musicali Comparati [email protected] e-mail: [email protected] Giovanni Giuriati, director http://www.scuoladisangiorgio.it Secretary’s office: +39 041 2710357 – +39 041 5230555 Editorial Office e-mail: [email protected] tel. +39 041 2710202 – fax: +39 041 5238540 e-mail: [email protected] Centro Studi per la Ricerca Documentale sul Teatro e il Melodramma Europeo Maria Ida Biggi, director How to reach the Giorgio Cini Foundation Secretary’s office: tel. + 39 041 2710236 from Ferrovia, Piazzale Roma, Tronchetto, Zattere, Zitelle, San Zaccaria: fax: +39 041 2710215 vaporetto number 82 every 10 minutes e-mail: [email protected]

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