Musicological Series
&
Journals
Musicological Series and Journals
NAPOLI E L’EUROPA
Naples and Europe
T
his series will present critical and urtext editions of music by composers of the Neapolitan
School from 17th to 19th century.
Ut Orpheus Edizioni has been chosen as the exclusive publisher for the Neapolitan
School project, created by Maestro Riccardo Muti, who is running it at the helm of the
Orchestra Giovanile Luigi Cherubini. For five years, starting in 2007, in association
with the Ravenna Festival, the Salzburg Festival will produce, for the Whitsun
Festival, operas, oratorios and masses of great musical relevance, rarely performed
or even unheard. The Demofoonte by Niccolò Jommelli
(1770), in coproduction with the Opéra National de Paris, and
the Missa defunctorum by Giovanni Paisiello (1789/1799) are on the
programme for 2009.
Ut Orpheus Edizioni will publish the critical edition of the music in the series Naples and Europe,
in the section Masterpieces of the Neapolitan School selected by Riccardo Muti for the Salzburg Whitsun
Festival project in association with the Ravenna Festival.
— Published Volumes —
Masterpieces
of the
NeapolitaN school
selected by
riccardo Muti for the salzburg WhitsuN festival
raveNNa festival
project
iN associatioN With the
NAPOLI E L’EUROPA
VOL. 1
C APOLAVORI DELLA S CUOLA NAPOLETANA SCELTI DA R ICCARDO MUTI
Niccolò Jommelli (1714-1774)
Demofoonte. Dramma per musica (1770)
Critical Edition by Tarcisio Balbo
(Napoli 1770)
The Demofoonte version performed on 4 November 1770 at the Teatro San Carlo in Naples – of which eight manuscript sources have
survived – is the last of the four versions conceived by Jommelli on
the same libretto by Metastasio, after the ones composed in 1743
(Padua, Teatro Obizzi), 1753 (Milan, Teatro Regio Ducale) and 1764
(Stuttgart, Ducal Theatre).
UT ORPHEUS EDIZIONI
NAP 1, pp. LXXIII-319
ISMN 979-0-2153-1610-2 € 160,00
Niccolò Jommelli
Demofoonte
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the NeapolitaN school
froM the
17th
to the
123
19th ceNtury
Leonardo Vinci (ca.1696-1730)
Oratorio di Maria dolorata
NAPOLI E L’EUROPA
VOL. 2
L A S CUOL A N A POLETA NA DA L XVII A L XIX SECOLO
for 5 Voices, Choir and Instruments
(Napoli, ca. 1723)
Leonardo Vinci
Critical Edition by Gaetano Pitarresi
Oratorio di Maria dolorata
The only source for this oratorio, composed around 1723, is a
manuscript score, made in Naples in 1731, and there guarded in
the Library of the Conservatorio di Musica “San Pietro a Majella”. Maria dolorata was commissioned to Vinci by the Congregation of the Seven Pains of the Virgin Mary, that had the princess
Aurora Sanseverino among his illustrious members.
(Napoli, ca. 1723)
NAP 2, pp. XVIII-152
ISMN 979-0-2153-1611-9 € 160,00
UT ORPHEUS EDIZIONI
NAPOLI E L’EUROPA
VOL. 3
L A S CUOL A N A POLETA NA DA L XVII A L XIX SECOLO
Alessandro Scarlatti
Alessandro Scarlatti
Il Giardino di Rose. La Santissima Vergine del Rosario.
Oratorio for 5 voices and instruments
(1707)
NEW
Critical Edition by Giovanni Piero Locatelli
and Nicolò Maccavino
Il Giardino di Rose
La Santissima Vergine del Rosario
Oratorio per 5 voci e strumenti
(1707)
The only source for this oratorio, whose libretto was not published,
is the manuscript score realized in Rome in 1707, and preserved at
the collection Santini of the Diözesanbibliothek of Münster. It deals
with the “beautiful oratory” heard under Marquis Ruspoli auspices
in the Palazzo Bonelli on Easter Sunday (24 April) of 1707.
UT ORPHEUS EDIZIONI
NAPOLI E L’EUROPA
VOL. 4
L A S CUOL A N A POLETA NA DA L XVII A L XIX SECOLO
NAP 3, pp. XXI-168
ISMN 979-0-2153-1836-6 € 160,00
NEW
Nicola Fiorenza
Opera Omnia - Vol. I
Critical Edition by Giovanni Borrelli
Nicola Fiorenza
Opera Omnia
Vol. I
UT ORPHEUS EDIZIONI
Nicola Fiorenza (1700?-1764), composer and virtuoso Neapolitan
violinist, lived during the first half of the 1700s. His musical production, whose manuscripts are preserved for the big part in the
Library of the Conservatorio di Musica S. Pietro a Majella in Naples,
is composed of 15 concerts with different instrumental organics, 9
symphonies whose principal instrument is the violin, some pieces for
one or two instruments with continuo and two cantatas.
NAP 4, pp. XXVI-212
ISMN 979-0-2153-1837-3 € 160,00
➝
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124
— Forthcoming Volumes —
Masterpieces of the Neapolitan School selected by
Riccardo Muti for the Salzburg Whitsun Festival
project in association with the Ravenna Festival
• Alessandro Scarlatti - La Vergine addolorata (1717).
Oratorio for 4 voices and instruments - Critical Edition
by Gaetano Pitarresi (Publishing date: 2010)
La Vergine addolorata is the last oratorio composed by Alessandro
Scarlatti which has reached us. It was commissioned by the
Congregation of the Seven Paints of the Virgin Mary, as Maria dolorata of Leonardo Vinci. The main source is a manuscript
copy at the Library of the Conservatory of Music, Bruxelles.
• Giovanni Paisiello - Missa defunctorum (1789) for 4 voices
and instruments - Critical Edition by Tarcisio Balbo
The Missa defunctorum or Requiem mass in C minor was
written in 1789, while Paisiello was still working in Naples. The
main source is a manuscript copy kept at the Library of the
Conservatorio di Musica “San Pietro a Majella” in Naples.
• Giovanni Paisiello - Il matrimonio inaspettato (1779).
Dramma giocoso in two acts
Il Matrimonio inaspettato was written in 1779 on a libretto by
Pietro Chiari, and had its first performance in Kammeniy
Ostrov, St. Petersburg on the same year. The main source is an
autograph manuscript kept at the Library of the Conservatorio
di Musica “San Pietro a Majella” in Naples.
• Johann Adolf Hasse - I pellegrini al sepolcro di Nostro
Signore (1742). Oratorio for 5 voices and instruments
The Oratorio I pellegrini al sepolcro di Nostro Signore was
composed in 1742. The first performance took place in the
Dresden Court Chapel.
• Domenico Cimarosa - Il ritorno di don Calandrino
(1778). Opera buffa in two acts
Il ritorno di don Calandrino was performed for the first time at the
Teatro Valle in Rome during the Carnaval of 1778. The main
source is an autograph manuscript kept at the Library of the
Conservatorio di Musica “San Pietro a Majella” in Naples.
The Neapolitan School
17th to the 19th Century
from the
• Nicola Fiorenza - Opera Omnia - 3 Vols. - Critical
Edition by Giovanni Borrelli (Publishing date:
2009/2010/2011)
Nicola Fiorenza (1700?-1764), composer and virtuoso Neapolitan
violinist, lived during the first half of the 1700s. His musical production, whose manuscripts are preserved for the big part in the Library of the Conservatorio di Musica S. Pietro a Majella in Naples,
is composed of 15 concerts with different instrumental organics, 9
symphonies whose principal instrument is the violin, some pieces
for one or two instruments with continuo and two cantatas.
• Nicola Porpora – Il Trionfo della Divina Giustizia (1716)
- Critical Edition by Gaetano Pitarresi (Publishing date:
2009)
• Nicola Fago - Il Faraone sommerso. Oratorio for 4 voices
and instruments (1709) - Critical Edition by Gaetano
Pitarresi (Publishing date: 2010)
This edition of the only surviving oratorio of Nicola Fago is
based on two manuscript sources: Florence, Library of the Conservatorio di Musica “Luigi Cherubini”, and Oxford, Bodleian
Library. The oratorio dates back to the year when Fago was
appointed Maestro di Cappella at the Tesoro di San Gennaro of
the Naples Cathedral.
• Leonardo Vinci - Oratorio per la Santissima Vergine
del Rosario for 4 voices and instruments (ante 1730) Critical Edition by Giovanni Piero Locatelli and Nicolò
Maccavino (Publishing date: 2011)
Composed to be performed on the occasion of the Feast of the
Madonna of the Rosary it is, among the surviving oratorios of
Leonardo Vinci (1696ca.-1730), the only one to report to his
activity at the Convent of Saint Caterina in Formiello, Naples.
The manuscript is preserved at the Library of the Conservatorio
di Musica “San Pietro a Majella”, Naples.
• Niccolò Jommelli - Isacco figura del Redentore. Oratorio
for 5 voices, choir and instruments (1742) - Critical
Edition by Gaetano Pitarresi (Publishing date: 2012)
Isacco is the first oratorio of Jommelli on text by Pietro Metastasio. Its large circulation is attested by over twenty manuscript
copies of the score. The main source is the score and set of parts
at the Church of Santa Maria della Fava,Venice, in the 18th Century held by Padri Filippini, that commissioned this oratorio.
• David Perez - La Passione di Gesù Cristo Nostro Signore.
Dramma sacro for 4 voices and instruments (1742) Critical Edition by Giovanni Piero Locatelli and Nicolò
Maccavino (Publishing date: 2012)
Commissioned by the viceroy Bartolomeo Corsini within the musical activity of the Chapel di Nostra Signora della Soledad, Palermo, La Passione di Gesù Cristo Nostro Signore is the second oratory of David Perez (1711-1778)
which has reached us. The sources are a printed libretto
(Palermo, 1742) preserved at the British Library, London, and a
manuscript score at the Kongelige Bibliotek, Copenaghen.
• Francesco Durante - Sant’Antonio da Padova.
Componimento sacro for 3 voices and instruments (1753)
- Critical Edition by Giovanni Piero Locatelli and Nicolò
Maccavino (Publishing date: 2013)
Sant’Antonio da Padova is the last oratorio composed by
Francesco Durante (1684-1755). It was commissioned by
the Congregation of the Oratorio of Naples. The main
sources are the manuscript score and the libretto printend in Venice (1753) preserved both at the Church of Santa
Maria della Fava, Venice, that in the 18th Century was held by
Padri Filippini.
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TESORI MUSICALI EMILIANI
Emilian Musical Treasures
edited by Francesco Lora and Elisabetta Pasquini
T
his series offers the edition of wide interest musics from an historical, stylistic and performing perspective – of them, renowned musicians and musicographers of international notoriety dedicate
praise – owed to Emilian composers, Emilian by birth or by adoption, active in the 17th and 18th
centuries. In the ample range of the musical genres offered, a special interest is reserved to oratorios and
musics for the liturgy: ambit of the most inspired expression by composers like G.P. Colonna, G.B. Bassani,
D. Gabrielli, G.A. Perti and G.B. Martini, such genres reserve concrete evidence on the success of the music
within fraternal orders and princely courts, and on the fullness and theatricality of the technical and artistic
resources in the musical chapels practise.
— Published Volumes —
TESORI MUSICALI EMILIANI
VOL. 1
Giovanni Battista Bassani
Giovanni Battista Bassani (1650-1716)
Giona (Modena 1689)
Oratorio for 5 Voices (SSATB), Strings and Continuo
Critical Edition by Elisabetta Pasquini
Giona
TME 1, pp. XXVI-163
ISMN 979-0-2153-1609-6 € 160,00
Oratorio a 5 voci (SSATB),
archi e basso continuo
(Modena 1689)
UT ORPHEUS EDIZIONI
TESORI MUSICALI EMILIANI
VOL. 2
Giacomo Antonio Perti
Thanks to its patron the Duke Francesco II, Modena became a capital
city worldwide for the oratorio genre: renowned maestro di cappella
in Ferrara, also Bassani wished to offer to the Duke his own work,
setting aside for him the summit of his melodic and dramaturgical
inventiveness.
Giacomo Antonio Perti (1661-1756)
Complete Sacred Works for Ferdinando de’ Medici,
prince of Tuscany (1704-09)
Vol. I: Motets Gaudeamus omnes, Date melos, Cantate laeta carmina
Integrale della musica sacra
per Ferdinando de’ Medici, principe di Toscana
(Firenze 1704-1709)
Vol. I
UT ORPHEUS EDIZIONI
NEW
Critical Edition by Francesco Lora
TME 2, pp. XXI-237
ISMN 979-0-2153-1838-0 € 160,00
Eight grandiose motets, with rich appendix, and two solemn Benedictus
make the opera omnia of the Bolognese Perti for the court of the
Florence grand duke: the scores, rendered here in the tricentennial of
their composition, in that time impressed the Emilian audience as much
as the Tuscan one.
➝
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126
— Forthcoming Volumes —
Giacomo Antonio Perti
Complete Sacred Works for Ferdinando
de’ Medici, prince of Tuscany (1704-09)
Melpomene coronata da Felsina: cantate
musicali a voce sola, date in luce da Signori
Compositori Bolognesi (1685)
edited by Francesco Lora (2 Vols.)
Antology of cantatas for voice and continuo
Eight grandiose motets, with rich appendix, and two
solemn Benedictus make the opera omnia of the Bolognese
Perti for the court of the Florence grand duke: the scores,
rendered here in the tricentennial of their composition,
in that time impressed the Emilian audience as much as
the Tuscan one.
edited by Francesco Lora and Elisabetta Pasquini
Cessate mortis funera, Canite cives, Benedictus I-II, Alleluia
The come-out of this collection of cantatas personifies
the cohesion of the members of the Philharmonic
Academy of Bologna; to this collection contributed –
confronting their ability – twelve illustrious members:
Albergati Capacelli, Arresti, Colonna, Frabetti, Gabrielli,
Gherardini, Giovanardi, Monari, Passarini, Perti, Sanuti
Pellicani and Tosi.
Mottetti in stile concertato a otto voci per le
basiliche di Bologna
Giacomo Antonio Perti
I conforti di Maria Vergine (1723)
edited by Francesco Lora and Elisabetta Pasquini
Oratorio for 4 voices, strings and continuo
Vol. 2: 1707-1709
To the more solemn religious ceremonies were
designated majestic motets with a double chorus,
concerted with strings and sometimes with trumpet.
Survive today only a few scores characterized by such
a structure: the anthology collects all those kept in the
Bolognese collections.
Contents:
P. Franceschini, Ad haec solemnia (1676) and Redde sol
novo splendore (1680); G.A. Perti, Plaudite mortales and
Date rosas (ca. 1683); F.A. Lazzari, Crudelissimi regnantis
(1703)
Giovanni Paolo Colonna
La caduta di Gierusalemme (1688)
Oratorio for 6 voices, strings and continuo
edited by Francesco Lora
Is the unholy monarch entitled to govern? Such is the
demand that the Duke of Modena put to himself in
the last oratorio that was dedicated to him by Colonna:
a throbbing score in the narration, analytic in the
psychology; the matter anticipates, in an unpredictable
viewpoint, the Nabucco by Solera-Verdi.
(Appendix: Anonymous, Maria addolorata.
Cantata for solo, oboe, strings and continuo)
edited by Francesco Lora
In 1723 the old Perti maybe thought to compose, on
the libretto of the renowned poet Frugoni, what could
have been his last oratorio: he made of it a masterpiece,
where the simple preeminence of late secentismos
cohabits with the dawn of the rococo style, and
where the lament on Christ death becomes a delicate
theological dialogue.
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BOCCHERINI STUDIES
General Editor
Christian Speck
Centro Studi Opera Omnia Luigi Boccherini-Onlus – Lucca
Ut Orpheus Edizioni - Bologna
Editorial committee:
Lorenzo Frassà, Roberto Illiano, Fulvia Morabito,
Luca Sala, Massimiliano Sala
www.luigiboccherini.com
www.utorpheus.com
— Published Volumes —
Vol. i
Vol. ii
Edited by Christian Speck
Edited by Christian Speck
Essays by:
Essays by:
Cesare Fertonani, Elisa Grossato,
Germán Labrador, Elisabeth Le Guin,
Miguel Ángel Marín, Christian Orth,
Mara Parker, Rudolf Rasch,
W. Dean Sutcliffe
Germán Labrador, Isabel Lozano,
Fulvia Morabito, Rudolf Rasch,
Christian Speck
mmVii
Bologna, Ut Orpheus Edizioni 2007,
BS 1, pp. 350
ISBN 978-88-8109-461-5 € 80,00
Bologna, Ut Orpheus Edizioni 2009,
BS 2, pp. 229
ISBN 978-88-8109-465-3 € 120,00
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128
AD PARNASSUM STUDIES
T
he series of Studies of the twice-yearly journal Ad Parnassum. A Journal of 18th and
19th-Century Instrumental Music is devoted to individual composers who have made a
significant impact in the field of instrumental music. In this way they remain securely within
the journal’s area of interest, though without actually imposing strict limits on the specific
themes treated, given that the entire output of the composers concerned may be taken into
account, not just the instrumental music.
— Published Volumes —
Hector berlioZ
miscellANeous studies
Edited by
Fulvia Morabito, Michela Niccolai
Introduction by
Julian Rushton
Essays by
Diana Bickley, Claudio Bolzan, Guillaume Bordry, Laura
Cosso, Katharine Ellis, Roberto Illiano, Michela Niccolai,
Mark A. Pottinger, Alban Ramaut, Cécile Reynaud,
Julian Rushton, Lesley A. Wright
Bologna, Ut Orpheus Edizioni, 2005 - pp. 304
ISBN 88-8109-453-3 (APS 1) € 50,00
GioVANNi bAttistA Viotti
A composer
betWeeN tHe tWo
reVolutioNs
Edited by
Massimiliano Sala
Essays by
Clive Brown, Giuliano Castellani, Federico Celestini,
Mariateresa Dellaborra, Alessandro Di Profio, Alexandre
Dratwicki, Simon P. Keefe, Warwick Lister, Simon McVeigh,
David Milsom, Mara Parker, David Rowland, Bruce R.
Schueneman, Christian Speck, Rohan H. Stewart-MacDonald,
Robin Stowell, Denise Yim
Bologna, Ut Orpheus Edizioni, 2006 - pp. 468
ISBN 88-8109-457-6 (APS 2) € 80,00
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129
domeNico scArlAtti AdVeNtures
essAYs to commemorAte tHe 250tH
ANNiVersArY oF His deAtH
Edited by
Massimiliano Sala, Dean Sutcliffe
Essays by
João Pedro d’Alvarenga, Andrea Coen, Todd Decker, Emilia
Fadini, Sara Gross Ceballos,Valerio Losito, Jacqueline Ogeil,
Serguei N. Prozhoguin, Joel Sheveloff, Rohan H. StewartMacDonald, W. Dean Sutcliffe, Colin Timms, Chris Willis
Bologna, Ut Orpheus Edizioni, 2008 - pp. 476
ISBN 978-88-8109-462-2 (APS 3) € 120,00
europeAN FIN-DE-SIÈCLE
tHe music
NEW
oF
ANd
polisH moderNism
miecZYsŁAW KArŁoWicZ
Edited by
Luca Sala
Essays by
Tomasz Baranowski, Andrzej Chwałba, Stephen Downes,
Peter Franklin, Stefan Keym, Ryszard D. Golianek,
Agata Mierzejewska, Michael Murphy, Jadwiga Paja-Stach,
Luca Sala, Renata Suchowiejko, Emma Sutton, Andrzej
Tuchowski, Alistair Wightman, James L. Zychowicz
Bologna, Ut Orpheus Edizioni, 2010 - pp. 432
ISBN 978-88-8109-467-7 (APS 4) € 120,00
iNstrumeNtAl music
ANd tHe iNdustriAl reVolutioN
NEW
Edited by
Roberto Illiano, Luca Sala
Essays by
Luca Aversano, Claudio Bacciagaluppi, Carmela Bongiovanni, Andrea Cardone,
Jen-yen Chen, Simone Ciolfi, Andrea Coen, Therese Ellsworth,
Joël-Marie Fauquet, Florence Gétreau, Consuelo Giglio, Outi Jokiharju,
Roe-Min Kok, Paul R. Laird, Marie Sumner Lott, Simon McVeigh,
Elio Matassi, Russ Manitt, Jenny Nex, Leon Plantinga, Alban Ramaut,
Rudolf Rasch, David Rowland, Laure Schnapper,
Rohan H. Stewart-MacDonald, Renata Suchowiejko, Maria Alice Volpe
Bologna, Ut Orpheus Edizioni, 2010 - pp. 656
ISBN 978-88-8109-468-4 (APS 5) € 120,00
130
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QUADERNI CLEMENTIANI
Opera omnia Muzio Clementi / Ut Orpheus Edizioni - Bologna
Editorial committee:
Roberto Illiano, Luca Sala, Massimiliano Sala
www.muzioclementi.com
www.utorpheus.com
— Published Volumes —
muZio clemeNti
cosmopolitA
dellA
musicA
Atti del convegno internazionale in occasione
del 250° anniversario della nascita (1752-2002)
Rome, 4-6 December 2002
Edited by
Richard Bösel and Massimiliano Sala
Essays by:
Eva Badura-Skoda, Otto Biba, Federico Celestini, Andrea
Coen, Dorothy de Val, Anselm Gerhard, Alberto Iesuè,
Roberto Illiano, Leon Plantinga, David Rowland, Luca
Sala, Massimiliano Sala, Rohan H. Stewart-MacDonald
Bologna, Ut Orpheus Edizioni, 2004 (QC 1), pp. 256
ISBN 88-8109-450-9 € 50,00
roHAN H.
steWArt-mAcdoNAld
oN
NeW perspectiVes
tHe KeYboArd soNAtAs
oF muZio clemeNti
Bologna, Ut Orpheus Edizioni, 2006 (QC 2), pp. 452
ISBN 978-88-8109-458-5 € 80,00
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131
lA
culturA del FortepiANo
(tHe culture oF tHe FortepiANo)
die Kultur
des
HAmmerKlAViers
1770-1830
Atti del Convegno internazionale di studi
Roma, 26-29 Maggio 2004
Edited by
Richard Bösel
Essays by:
Rudolf Angermüller, Bianca Maria Antolini, Luca Aversano, Otto Biba,
Ala Botti Caselli, Anik Devriès-Lesure, Arnfried Edler, Markus Engelhardt,
Christoph Flamm, Anselm Gerhard, Rudolf Hopfner, Roberto Illiano,
Janina Klassen, Laurence Libin, Elena Previdi, Rudolf Rasch, Massimiliano
Sala, Guido Salvetti, Duane White, Christian Witt-Dörring
Bologna, Ut Orpheus Edizioni, 2009 (QC 3), pp. 516
ISBN 978-88-8109-463-9 € 70,00
+ Free Bonus CD:
J.B. Cramer (1771-1858), Sonata in A min. op. 22 n. 3 (1799) – J.N. Hummel (1778-1837), Sonata in E flat maj. op. 13 (1800) – A. Eberl
(1765-1807), Grande Sonate Caractéristique in F min. op. 12 (1802) – L. van Beethoven (1770-1827), Sonata in A maj. op. 2 n. 2 (1797)
Performer: Arthur Schoonderwoerd
Fortepiano: Copy from Anton Walter, Vienna 1795/1800 ca. (Poletti & Tuinman)
Ad pArNAssum
A JourNAl oF eiGHteeNtH- ANd NiNeteeNtH-ceNturY iNstrumeNtAl music
Editor-in-Chief
Roberto De Caro
Editors
Roberto Illiano – Fulvia Morabito – Michela Niccolai – Claudio Nuzzo – Luca Sala – Massimiliano Sala
Advisory Board
Theophil Antonicek, Vienna – Eva Badura-Skoda, Vienna – Clive Brown, Leeds – Michele Calella,
Vienna – Federico Celestini, Graz – Bathia Churgin, Ramat Gan – Andrea Coen, Rome – Barry Cooper,
Manchester – Dorothy de Val, Toronto – William Drabkin, Southampton – Sergio Durante, Padua – Dinko
Fabris, Bari – Christopher Hogwood, Cambridge – Ralph Locke, Rochester – Elio Matassi, Rome – Simon
McVeigh, London – Leon Plantinga, New Haven – Irena Poniatowska, Warsaw – Rudolf Rasch, Utrecht –
Giancarlo Rostirolla, Rome – David Rowland, Cambridge – Manfred Hermann Schmid, Tübingen – László
Somfai, Budapest – Christian Speck, Koblenz-Landau – Rohan H. Stewart-MacDonald, Cambridge – Larry
Todd, Durham
Consultant Editors
Paolo Dal Molin, France – Antonio Ezquerro Esteban, Spain – Giacomo Fornari, Italy – Andrea LindmayrBrandl, Austria – Peter Niedermüller, Germany – Adena Portowitz, Israel – Barbara Przybyszewska-Jarmińska,
Poland – Marina Ritzarev, Israel – Angela Romagnoli, Italy – Renata Suchowiejko, Poland – Claudia Vincis,
Switzerland – Pietro Zappalà, Italy
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133
Ad Parnassum, a twice-yearly musicological journal, was conceived to become a prestigious Italian
achievement, and a reference point in the international music scene.
Ad Parnassum deals exclusively with instrumental music of the 18th and 19th centuries. The journal,
which appears each year in April and October, accepts contributions in Italian, English, French,
Spanish and German.
Each issue includes articles of major scholarly interest (each article is provided with an English
summary), a debate of musicological interest, reviews of books relevant to the journal’s field of
interest and news.
Ad Parnassum is also complemented by monographs.
The publishing project has been undertaken by Ut Orpheus Edizioni of Bologna. The publishing
house is one of the most active and dynamic in Europe in the field of Classical music publication.
Ut Orpheus Edizioni, besides guaranteeing the high level of information technology demanded
in the printing of the journal, arranges for its distribution on an international scale.
The founding of a periodical of cosmopolitan scope like Ad Parnassum has brought together
numerous scholars of diverse nationalities. Roberto De Caro (Bologna), editor of the journal,
is supported by an editorial committee consisting of musicologists with extensive experience in
the specific field - a scholarly committee of great prestige. The journal also calls on the varied
expertise of external collaborators.
www.adparnassum.org
www.utorpheus.com
Subscriptions and Rates
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Ad Parnassum
Index of Articles
• Vol. 1 - No. 1 - April 2003
Barry Cooper: Subthematicism and Metaphor in
Beethoven’s Tenth Symphony
Hartmuth Kinzler: Themeninvention und ihre variative
Ausarbeitung im . Satz von Schuberts A-Moll-Sonate Op.
 (D )
Rohan H. Stewart-MacDonald: Canonic Passages in
the Later Piano Sonatas of Muzio Clementi: Their Structural
and Expressive Roles
Peter Niedermüller: Soziale und ästhetische Implikationen
des öffentlichen Konzertlebens in Wien zu Beginn des
neunzehnten Jahrhunderts
Paul Cienniwa: Unexpected Examples of Sonata Form:
Claude-Bénigne Balbastre’s  «Pièces de clavecin, premier
livre»
Federico Celestini: Das blicklose Auge der klassischen
Kunst. Ein Beitrag zur Klassik-Diskussion
Federico Maria Sardelli: Il flauto nell’Italia del primo
Settecento, con cenni particolari a Vivaldi e Venezia
Elio Matassi: The Adaemonic/Daemonic Spirit of
Music: E. T. A. Hoffmann’s Review of Beethoven’s Fifth
Symphony and the Apology of Instrumental Music in W. H.
Wackenroder
Rudolf Rasch: Pietro Antonio Locatelli and his Opera
omnia
• Vol. 2 - No. 4 - October 2004
Jarmila Gabrielová: Die Variation in den Orchesterwerken
von Antonín Dvo�ák
Peter Holman: «A Solo on the Viola da Gamba»: Carl
Friedrich Abel as a Performer
Hartmuth Kinzler: Chopins B-Moll-Sonate:Vier seiner
tollsten Kinder – genetisch verwandt?
Bella Brover-Lubovsky: When the Dominant Doesn’t
Dominate:Tonal Structure in Vivaldi’s Concertos
• Vol. 1 - No. 2 - October 2003
Adena Portowitz: The Recapitulation as Climax in the
First Movements of Mozart’s Early Concertos
Therese Ellsworth: Women Soloists and the Piano
Concerto in Nineteenth-Century London
Antonio Cascelli: Schenker, Chopin’s «Berceuse» Op. 
and the Rhetoric of Variations
Jen-yen Chen: The Sachsen-Hildburghausen Kapelle and
the Symphonies of Christoph Willibald Gluck
Ryszard Daniel Golianek: Three Previously Unknown
Musical Pieces by Juliusz Zar�bski
Abigail Chantler: The Classical Period: A Musicological
Misnomer
Michael Walter: Analyse und Wahrnehmungsperspektive
am Beispiel von Mozarts Violinkonzert KV 218
• Vol. 3 - No. 5 - April 2005
Christian Speck: Über Zusammenhänge zwischen
thematischer Arbeit und metrischer Reguliertheit des
musikalischen Baus in der Streichquartett-komposition von
Luigi Boccherini
Stefan Eckert: «[…] wherein good Taste, Order and
Thoroughness rule». Hearing Riepel’s Op. 1 Violin
Concertos through Riepel’s Theories
Renata Suchowiejko: Henryk Wieniawski in America
Guy Dammann: «Sonate, que me veux-tu?»: Jean-Jacques
Rousseau and the Problem of Instrumental Music
• Vol. 2 - No. 3 - April 2004
James L. Zychowicz: Mahler’s Instrumental «Entr’act»
for Die drei Pintos and His Emerging Symphonic Style
Michele Calella: Gattung und Erwartung: Brahms, das
Leipziger Gewandhaus und der Mißerfolg des Klavierkonzerts
Op. 15
John Tyrrell: Janá�ek and Programme Music
• Vol. 3 - No. 6 - October 2005
Rita Steblin: Anton Gräffer’s Reminiscences of Paganini’s
Viennese Concert Tour of 1828: An Inside View of the First
Performance and the Break with Antonia Bianchi
Susan Wollenberg: Master of her Art: Fanny Hensel
(née Mendelssohn Bartholdy), 1805-1847
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Benedict Taylor: The Problem of the ‘Introduction’ in
Beethoven’s Late Quartets
Germán Labrador: Música y vida cotidiana en la corte
española (1760-1808): la afición musical de Carlos iv
Rohan H. Stewart-MacDonald: Elements of
‘Through-composition’ in the Violin Concertos Nos. 23 and
27 by Giovanni Battista Viotti
Derek Carew: Hummel’s Op. 81: A Paradigm for
Brahms’ Op. 2?
135
• Vol. 5 - No. 10 - October 2007
Rohan H. Stewart-MacDonald:
Clementi’s
Orchestral Works, Their Style and British Symphonism
in the Nineteenth Century: S. Wesley, Crotch, Potter,
MacFarren and Sterndale Bennett
Jeremy Eskenazi:
Clementi’s «Gradus ad Parnassum» on
the Concert Stage
Stephan D. Lindeman:
Continental Composers and their
English Influence, as Manifested in the Piano Concertos of
William Sterndale Bennett
• Vol. 4 - No. 7 - April 2006
Alexandre Dratwicki: Les ‘impressions de voyage’,
source d’inspiration pour les pensionnaires compositeurs de la
Villa Médicis (1880-1910)
Chadwick Jenkins: Influence and Revolt: Mozart’s ‘Paris’
Symphony, K. 297
Sion M. Honea: Christian Rummel’s Suites for Military
Band
Kordula Knaus: Adolf B. Marx, Ludwig van Beethoven
• Vol. 6 - No. 11 - April 2008
John Irving:
Listening again and again: Mozart’s Music in
Niemetschek’s ‘Life’
Martin Eybl:
From Court to Public: The Uses of
Keyboard Concertos in Austria 1750-1770
Daniela Macchione:
Gioachino Rossini: «Aria variata
per il violino». Storia di un tema
und die «gendered sonata form»
Eduardo Lopes:
Rhythm and Meter Compositional Tools
in a Chopin’s Waltz
Uri Golomb: Mendelssohn’s Creative Response to
late Beethoven: Polyphony and Thematic Identity in
Mendelssohn’s Quartet in A-major Op. 13
• Vol. 6 - No. 12 - October 2008
Beverly Jerold: The Tromba and Corno in Bach’s Time
• Vol. 4 - No. 8 - October 2006
Walter Schenkman: Rethinking Diabelli’s Waltz in
Relation to Beethoven’s Variations
Stephan D. Lindeman: An Insular World of Romantic
Isolation: Harmonic Digressions in the Early NineteenthCentury Piano Concerto
Peter Holman: Early Music in Victorian England: The
Case of the 1845 Concert
Keith Chapin: Classicist Terms of Sublimity: Christian
Friedrich Michaelis, Fugue, and Fantasy
• Vol. 5 - No. 9 - April 2007
Maiko Kawabata: Violinists ‘Singing’: Paganini,
Operatic Voices, and Virtuosity
Walter Schenkman: Notes and Numbers in the
«Goldberg»
Elio Matassi: «Musical Carpets»: Philosophy of the
History of Music ‘contra’ the Sociology of Music
Anatole Leikin: Thematic Rapprochement in the
Recapitulations of Haydn, Mozart, and Beethoven
Rohan H. Stewart-MacDonald: The Treatment of the
Sonata Principle and the Cultivation of ‘Cyclic’ Processes in the
Symphonies of Sir Charles Villiers Stanford (1852-1924)
• Vol. 7 - No. 13 - April 2009
Floyd Grave: Galant Style, Enlightenment, and the Paths
from Minor to Major in Later Instrumental Works by Haydn
Balázs Mikusi: Haydn’s «Requiem for Mozart»? Revisiting
the Slow Movement of Symphony No. 98
Stéphanie Moraly: Aux sources d’un Âge d’Or. La Sonate
pour violon et piano en France au xixe siècle
João Pedro d’Alvarenga: Some Preliminaries in Approaching Carlos Seixas’ Keyboard Sonatas
Dillon R. Parmer - Nicole Grimes: «Come, Rise to
Higher Spheres!» Tradition Transcended in Brahms’s Violin
Sonata No. 1 in G Major, Op. 78