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Markus Engelhardt (Hrsg.): Musikstadt Rom. Geschichte - Forschung - Perspektiven Schriftenreihe Analecta Musicologica

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Markus Engelhardt (Hrsg.): Musikstadt Rom. Geschichte - Forschung - Perspektiven Schriftenreihe Analecta Musicologica Markus Engelhardt (Hrsg.): Musikstadt Rom. Geschichte - Forschung - Perspektiven Schriftenreihe Analecta musicologica. Veröffentlichungen der Musikgeschichtlichen Abteilung des Deutschen Historischen Instituts in Rom Band 45 (2011) Herausgegeben vom Deutschen Historischen Institut Rom Copyright Das Digitalisat wird Ihnen von perspectivia.net, der Online-Publikationsplattform der Max Weber Stiftung – Deutsche Geisteswissenschaftliche Institute im Ausland, zur Verfügung gestellt. Bitte beachten Sie, dass das Digitalisat der Creative- Commons-Lizenz Namensnennung-Keine kommerzielle Nutzung-Keine Bearbeitung (CC BY-NC-ND 4.0) unterliegt. Erlaubt ist aber das Lesen, das Ausdrucken des Textes, das Herunterladen, das Speichern der Daten auf einem eigenen Datenträger soweit die vorgenannten Handlungen ausschließlich zu privaten und nicht-kommerziellen Zwecken erfolgen. Den Text der Lizenz erreichen Sie hier: https://creativecommons.org/licenses/by-nc-nd/4.0/legalcode Musikstadt Rom Geschichte – Forschung – Perspektiven Analecta musicologica Veröffentlichungen der Musikgeschichtlichen Abteilung des Deutschen Historischen Instituts in Rom Band 45 Musikstadt Rom Geschichte – Forschung – Perspektiven Beiträge der Tagung »Rom – Die Ewige Stadt im Brennpunkt der aktuellen musikwissenschaftlichen Forschung« am Deutschen Historischen Institut in Rom 28.–30. September 2004 Herausgegeben von Markus Engelhardt Bärenreiter Kassel . Basel . London . New York . Praha Gedruckt mit freundlicher Unterstützung der Deutschen Forschungsgemeinschaft. Bibliografische Information der Deutschen Nationalbibliothek Die Deutsche Nationalbibliothek verzeichnet diese Publikation in der Deutschen Nationalbibliografie; detaillierte bibliografische Daten sind im Internet über www.d-nb.de abrufbar. www.baerenreiter.com © 2011 Bärenreiter-Verlag Karl Vötterle GmbH & Co. KG, Kassel Umschlaggestaltung: www.takeoff-ks.de, christowzik + scheuch, Kassel (Foto: Markus Engelhardt, Blick auf Rom vom Gianicolo aus) Lektorat: Ilka Sührig Korrektur: Anton Thanner, Weihungszell, und Kara Rick, Eberbach Innengestaltung und Satz: EDV + Grafik, Christina Eiling, Kaufungen Druck und Bindung: Druckhaus »Thomas Müntzer«, Bad Langensalza ISBN 987-3-7618-2131-2 Inhalt Vorwort 7 Einführungen zu Sektionen der Tagung (2004) 9 La corte papale e le chiese (Giancarlo Rostirolla) 9 . Le committenze nobi- liari (Claudio Annibaldi) 14 . L’oratorio (Saverio Franchi) 21 . La musica a Roma nel Settecento (Francesco Paolo Russo) 26 . Roma nell’Ottocento: appunti e prospettive di storiografia musicale Franco( Piperno) 32 . La mu- sica d’avanguardia a Roma nella ricerca storico-artistica e musicologica (Daniela Tortora) 36 »Capella«: per una rivalutazione della terminologia nel campo della ricerca musicologica Sabine Ehrmann-Herfort 49 Lo stato dell’editoria filologica riguardante la »scuola romana« Peter Ackermann 59 Le cappelle delle grandi chiese romane dal Cinque al Settecento Relazione sullo stato della ricerca Wolfgang Witzenmann 69 Lo stato della ricerca riguardante la Cappella Sistina Adalbert Roth 90 Roma como centro de la »musica theorica« en el siglo XVI: Francisco Salinas Amaya García Pérez 102 Quale Roma al Nord? L’immagine musicale di Roma nel primo Seicento a partire dal caso di Giovanni Francesco Anerio Daniele V. Filippi 120 Music at Roman Confraternities to 1650 The Current State of Research Noel O’Regan 132 Die Arciconfraternita del SS. Crocifisso und ihre Oratorienmusik in der ersten Hälfte des 17. Jahrhunderts Juliane Riepe 159 Un modello di committenza musicale: i Borghese nella seconda metà del Seicento Arnaldo Morelli 204 La vicenda di Adonia nelle opere di Girolamo Frigimelica Roberti (1695) e Pietro Ottoboni (1699): un unico progetto ottoboniano? Teresa Chirico 218 Dai Barberini all’età dell’Arcadia Nuova indagini sulla poetica drammaturgico-musicale sacra di Arcangelo Spagna Mauro Sarnelli 263 »Das Theatralische in der Kirche« Zur Tradition der Lübecker Abendmusiken und ihren römischen Vorbildern Volker Scherliess 306 La vita musicale a Roma nella seconda metà del Settecento Nuove acquisizioni e prospettive di ricerca Bianca Maria Antolini 328 La vita operistica a Roma nell’Ottocento Arrigo Quattrocchi † 361 August e Herrmann Kestner cultori della musa popolare: le vicende avventurose d’una raccolta manoscritta Luigi Ferdinando Tagliavini 370 Liszt e Roma: bilancio e prospettive di ricerca Nicolas Dufetel 452 Musica a Roma nella prima metà del ’900 Fiamma Nicolodi 478 Franco Evangelisti »ambasciatore musicale« tra Italia e Germania Christine Anderson 499 Personenregister 517 Abbildungsnachweise 544 Vorwort Paris und London, Mailand, Venedig, Neapel haben Musikgeschichte geschrieben, haben Gattungen, Formen, Stile und Moden geprägt, Praxis, Theorie und Ästhe- tik der Musik, waren Geburtsstätten über die Zeiten wirkender Musikerkarrieren, waren Schrittmacher und Gradmesser musikalischer Prozesse, die in ihnen zusam- menliefen und von ihnen aus auf Europa und die Welt ausstrahlten. Rom aber ist auch als Musikstadt unvergleichbar, unvergleichbar in der zahlreichen Präsenz ›natio- nal‹ geprägter Stile, im produktiven Zusammenspiel von geistlichen und weltlichen Musiktraditionen, von politischer wie religiöser Macht und musikalischer Institutio- nalisierung, von Ritualisierung kirchlicher Herrschaft und Funktionalisierung der Musik, ihrer Autorinnen und Autoren, Interpretinnen und Interpreten. Der neue Band der Analecta musicologica verdankt sein Entstehen einer inter- national besetzten Tagung, die vom 28. bis 30. September 2004 am Deutschen Historischen Institut in Rom stattgefunden hat. Anliegen der von der Deutschen Forschungsgemeinschaft (DFG) geförderten Tagung war es, die Vielfalt und Aktu- alität musikwissenschaftlicher Forschungen zur Ewigen Stadt zu dokumentieren. Gegenüber dem Tagungsprogramm mit seinen 26 Vorträgen weist er erhebliche Lücken auf, die trotz größter Bemühungen vonseiten des Herausgebers leider nicht geschlossen werden konnten. Die Schwerpunkte der Tagungsarbeit bilden sich den- noch deutlich ab: Musik am päpstlichen Hof sowie in den Basiliken und Kirchen, das Musikmäzenatentum des römischen Adels, das Oratorium und die musikalische Produktivität der Erzbruderschaften und schließlich die Musik des römischen Sei-, Sette-, Otto- und Novecento sowie die Rolle Roms als Modell und Impulsgeber für die Entwicklung von Musiktheorie und -praxis in Europa. Den Aspekten des musikalischen Transfers und der Rezeption ›römischer‹ Musik wird ebenso für das 17. Jahrhundert nachgegangen wie für die faschistische Zeit und die nach 1945. Eine unerwartete wie höchst willkommene Ausweitung der Tagungsperspektive auf die ›musica popolare‹ brachte der nachträglich aufgenommene Beitrag von Luigi Ferdi- nando Tagliavini. Allen Autorinnen und Autoren gilt der besondere Dank des Her- ausgebers, Dank gilt den ›Chairs‹, die sich bereit gefunden haben, ihre Einführungen zu den Sektionen für den Tagungsband auszuarbeiten; sie wurden diesem vorange- stellt und erweisen sich nun in der Zusammenschau als ein kleines Kompendium musikgeschichtlicher Forschungen zu Rom. Wir schließen mit der schmerzlichen Mitteilung, dass Arrigo Quattrocchi das Erscheinen seines Vortrages zu Rom als Musiktheaterstadt im 19. Jahrhundert nicht mehr erlebt hat; der geschätzte Kollege ist mit 48 Jahren verstorben, mit ihm eine Stimme verstummt, die im Musikleben Italiens Gewicht hatte, dieses zwei Jahrzehnte kommentierend begleitet hat und in seinen historischen Dimensionen stets höchst kompetent auszuloten wusste. Rom, im Februar 2010 Der Herausgeber 7 Einführungen zu Sektionen der Tagung (2004) La corte papale e le chiese Giancarlo Rostirolla Fin dagli albori della storiografia musicale, le istituzioni musicali sacre di Roma, con i loro preziosi archivi, non di rado conservati integralmente (cappelle Sistina, Giulia, Lateranense, Liberiana, San Luigi dei Francesi, San Girolamo della Carità, Chiesa Nuova, ecc.) hanno offerto ai primi ricercatori un terreno fertilissimo per rintracciare notizie su personaggi più o meno noti del mondo della musica (com- positori ed esecutori), per indagare sugli aspetti più rimarchevoli della vita musicale di particolari istituzioni religiose (tipologia istituzionale, impianto amministrativo, attività liturgico-musicale, aspetti di prassi esecutiva, ma innanzitutto repertori), con- sentendo di illuminare gradualmente tutta una serie di questioni e circostanze, che hanno favorito la formazione e l’iter professionale di numerosi esponenti del mondo dell’arte dei suoni in periodi tanto pregnanti per la creazione artistica. A partire dagli anni Sessanta del secolo scorso la musicologia internazionale con strumenti critici e metodologici sempre più affinati, sulla scia delle tracce e dei risultati ottenuti dalla protomusicologia ottocentesca, ha ripreso analoghi progetti di ricerca, mirati ad approfondire lo studio di una notevole serie di tali istituzioni, riconsiderando, integrando e aprendo altresì panorami nuovi e sconfinati che hanno allargato considerevolmente un quadro storico-musicale, quello della città di Roma, tra i più vasti e variegati al mondo. Uno dei primi frequentatori di archivi di cappelle musicali ecclesiastiche, dopo le prime esplorazioni di Charles Burney, fu certamente, in ambito romano, l’abate Giuseppe Baini (1775–1844), prima cappellano cantore e poi compositore, ovvero responsabile della musica nell’ambito della Cappella Pontificia. Tra gli ultimi lustri del secolo XVIII e i primi del successivo, colui che può a ben ragione essere con- siderato, dopo
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