Articles and Book Chapters by Gabriele Taschetti
Musica e liturgia in Italia nel Sei e Settecento, 2025
The Veneranda Compagnia del Rosario di Pavia, established in 1574 at the Dominican church of St T... more The Veneranda Compagnia del Rosario di Pavia, established in 1574 at the Dominican church of St Thomas, played a significant role in fostering religious devotion in the city during the Early Modern period. A portion of the company’s records, now preserved in Pavia’s Archivio Storico Civico, provides insight into the musical performances that accompanied its main celebrations. Contracts from 1595 to 1636 reveal a rich calendar of events, totalling approximately 145 public performances per year. Notable occasions included the feast of the Rosary and two additional feasts instituted in 1577 and 1630 as votive offerings to Mary, seeking protection from plague. The musicians involved, some already familiar names, were part of a vibrant network that linked musical institutions across the Lombard-Po Valley region.
L'elenco dei libri di musica di Camillo da Brescia CRL nel convento di San Bartolomeo a Lodi (ca. 1600)
L'Organo, 2022
This article examines the book list of Camillo da Brescia, a Lateran Canon Regular at the convent... more This article examines the book list of Camillo da Brescia, a Lateran Canon Regular at the convent of S. Bartolomeo in Lodi, which documents a significant collection of musical prints now dispersed. Following a general contextualisation, the article provides a bibliographic analysis with proposed identifications of the musical editions, presented in the appendix. Among these are some lost editions by Camillo Cortellini, Francesco Guami, Pedro Guerrero, Fiorenzo Maschera, Tiburzio Massaini, Grammatico Metallo, Vincenzo Ruffo, Ippolito Sabino, and the otherwise unknown Gasparo Patavino and Deodato Viti.
Il presente articolo prende in esame l’elenco dei libri di Camillo da Brescia, canonico regolare lateranense del convento di S. Bartolomeo di Lodi, che testimonia una significativa collezione di stampe musicali oggi dispersa. Dopo una contestualizzazione generale, viene offerta in appendice un’analisi bibliografica con la relativa proposta di identificazione delle edizioni musicali. Fra queste figurano alcune edizioni perdute di Camillo Cortellini, Francesco Guami, Pedro Guerrero, Fiorenzo Maschera, Tiburzio Massaini, Grammatico Metallo, Vincenzo Ruffo, Ippolito Sabino e degli altrimenti sconosciuti Gasparo Patavino e Deodato Viti.
Musica Iagellonica, 2024
This article retraces the history of the circulation and assimilation of the madrigal Morir non p... more This article retraces the history of the circulation and assimilation of the madrigal Morir non può ’l mio core by Giovanni Maria Nanino, highlighting several previously unexplored examples of sacred compositions it inspired. Among these is the Missa Morir non può ’l mio core, a sixteen-voice, four-choir work by the Brescian composer Valerio Bona (fl. 1590–1619), which is given particular focus. Like most of Bona’s works, this Mass has come down to us incomplete; however, analysis clearly reveals the main formal strategies and techniques of musical borrowing used by the composer. Rather than drawing conceptual parallels between the text of the madrigal and the Mass Ordinary, Bona’s attention is directed towards creating structural coherence within each section of the Mass and across the entire cycle.
This case study also provides an opportunity to examine the criticisms made of Bona by Michael Praetorius in the third volume of his Syntagma Musicum (1619). Despite its incomplete form, this Mass—and many other incomplete works still awaiting study—offers valuable insights into the networks of influence, intellectual exchange, and compositional practices that shaped early seventeenth-century music.
Fonti Musicali Italiane, 2024
New documents shed light on music books purchased by the maestri di cappella at the Basilica of S... more New documents shed light on music books purchased by the maestri di cappella at the Basilica of St. Anthony in Padua (c. 1600–1623). The purchase lists note music shops (Amadino, Gardano, Pigna [Vincenti], Raverii), prices, bindings, and include at least three now-lost works.
La cappella musicale della Basilica di Sant’Antonio di Padova fu una delle istituzioni musicali ecclesiastiche più importanti del contesto padano di primo Seicento. La sua storia, la sua organizzazione (regolamenti, organici) e le personalità di maggior rilievo sono state oggetto di numerosi studi. Un aspetto ancora poco indagato rimane invece quello del repertorio, sul quale vengono a gettare luce alcuni documenti, presentati in questa sede, relativi ai libri di musica custoditi o fatti acquistare dai maestri di cappella Costanzo Porta (1600), Giulio Belli (1606), Giovanni Antonio Filippini da Cento (1614) e Giovanni Ghizzolo (1623). Le informazioni incluse negli elenchi permettono di identificare la maggior parte delle raccolte musicali che vi sono menzionate, di cui almeno tre risultano oggi perdute (G. Fattorini, G. Lambardi, E. Radesca), consentendo di valutare le scelte dei maestri, anche in relazione a quanto già noto sugli organici attivi in cappella. Gli elenchi riportano inoltre alcune informazioni di interesse per la storia del mercato librario musicale dell’epoca, come la bottega di provenienza («dal Gardano», «dalla Pigna», «dall’Amadino», «dal Raveri»), il prezzo e il tipo di legatura dei libri acquistati.
Giovanni Battista Riccio, Il primo libro delle divine lodi (Venezia, 1612), edited by Chiara Comparin (Giovanni Battista Riccio Opera Omnia, 1), 2024
Motets on the Song of Songs in the Collection Symbolae diversorum musicorum (Venice, 1621) edited by Lorenzo Calvi
The Song of Songs in European Poetry (Twelfth to Seventeenth Centuries). Translations, Appropriations, Rewritings, edited by Camilla Caporicci, 2024
De musica disserenda, Vol. 19 No. 2 (2023): Authentic, Fake or Mistaken Identity? Creation, Recreation, Deception and Forgery in Music , 2023
Through the recent identification of the model for a contrafactum, a composition by Domenico Mich... more Through the recent identification of the model for a contrafactum, a composition by Domenico Micheli dedicated to Tarquinia Molza has been discovered. This has turned out to be of earlier date than those dedicated to her by other composers. The incompletely preserved madrigal can be partially reconstructed with the aid of the parts belonging to the contrafactum and opens up new research perspectives on Molza and Micheli as well as on the process of retextualization carried out by Geronimo Cavaglieri, author of the new text.
Musica e cultura nella Padova di Pietro Bembo, ed. Cristina Cassia, 2023
Storie interrotte. Riconoscere e valorizzare il patrimonio dimenticato, eds. Veronica Gallo, Marta Previti, Clelia Sbrolli, Gabriele Taschetti, Luca Zamparo, 2022
Numerous printed music editions from the 16th and 17th centuries have reached us in an incomplete... more Numerous printed music editions from the 16th and 17th centuries have reached us in an incomplete state. Taking the case study of the collection 'Motetti concertati a due voci' by Tomaso Cecchini (Venice, 1613), this article aims to present theoretical and methodological reflections, outlining a potential approach to enhance the value of incomplete repertoire. Additionally, it briefly touches upon the challenge of reconstructing the missing parts.
Između Srednje Europe i Mediterana: glazba, književnost i izvedbene umjetnosti / Between Central Europe and the Mediterranean: Music, Literature and the Performing Arts, eds. Ivana Tomić Ferić, Antonela Marić, 2021
The Op. 14 by Tomaso Cecchini (c1583–1644) was published in 1619, when the composer had been acti... more The Op. 14 by Tomaso Cecchini (c1583–1644) was published in 1619, when the composer had been active in Lesina (Hvar) as maestro di cappella of the cathedral already for five years, having the support of the local nobility and clergy. The lines in the dedicatory letter of the collection, apparently the typical passage of an eminently laudatory character, hide the suggestions of a complex diplomatic affair. Signed by the canon of Hvar Nicolaus De Vivis (1582–?), and addressed to the Hungarian bishop Janos Erdődy (1589–1626), it crosses the stories and ambitions of power of various personalities between Venetian Dalmatia, Kingdom of Hungary and Rome. This article aims to reconstruct the cultural context in which Cecchini’s opus and its dedication were conceived and to briefly illustrate the nature of the compositions in the collection.
Music Patronage in Italy, ed. Galliano Ciliberti, 2021
The biography and philosophy of the archbishop of Spalato, the relapsed heretic and ‘twice conver... more The biography and philosophy of the archbishop of Spalato, the relapsed heretic and ‘twice converted’ Marcantonio De Dominis (1560-1624), wielded great influence throughout the Europe of his time. His life story saw two climaxes, firstly in 1616 when he renounced the post of archbishop and fled to England, and then in 1624, a few months after his death, when his corpse was burnt along with his writings in Campo dei Fiori in Rome. At the margin of this story we find the figure of Tomaso Cecchini (c.1583-1644), a composer who after having worked in Spalato (Split) as chapelmaster during the episcopacy of De Dominis, left the city in 1614. Only in 1624, shortly after the death of the archbishop, was he able to freely admit that he had moved away from Spalato because he was «forced by serious circumstances». In the light of the biography of Marcantonio De Dominis, the present article attempts to retrace the career of Tomaso Cecchini and his relations with the various patrons and dedicatees of his works, influenced on several occasions by the uncomfortable figure of the archbishop.
Contrafacta. Modes of Music Re-textualization in the Late Sixteenth and Seventeenth Century, eds. Marina Toffetti, Gabriele Taschetti, 2020
The present volume offers a reflection on the phenomenon of the re-textualization of vocal music ... more The present volume offers a reflection on the phenomenon of the re-textualization of vocal music in the 16th and 17th century. Its main object of investigation is the contrafactum, an intertextual artifact par excellence that is studied here from multiple points of view.
The first part of the book examines some procedures of textual substitution carried out in various parts of Europe by poets, literati, men of culture, or culturally updated members of the clergy, who produced highly refined contrafacta.
The second part deals with the adaptation of texts dictated by necessities of various kinds (celebratory, political, confessional), often made in a hasty manner and re-using pre-existing vocal compositions, but still able to reveal significant aspects of the history of religious culture in Europe at the time of the Reformations.
Furthermore, it represents a useful work tool for anyone wishing to carry on the research into the European assimilation of the secular vocal forms in the Italian language, by making available to the reader a description of the contents of most printed collections including contrafacta published in Europe between 1576 and 1649.
Full-text here https://mi.pl/pl/p/Marina-Toffetti%2C-Gabriele-Taschetti-eds.-Contrafacta.-Modes-of-Music-Re-textualization-in-the-Late-Sixteenth-and-Seventeenth-Century/433
La Chiesa Evangelica Metodista di Padova: appunti di storia nel 150° anniversario della sua fondazione (1886-2016), ed. Vincenzo Vozza, 2017
Other by Gabriele Taschetti
Procedimenti di revisione nelle due edizioni de Il terzo libro delli concerti (Milano, 1615 - Venezia, 1623) di Giovanni Ghizzolo
BA Thesis, University of Padua, Dec 7, 2016
This thesis explores the differences between the first and second editions of Giovanni Ghizzolo's... more This thesis explores the differences between the first and second editions of Giovanni Ghizzolo's third book of motets. The second edition introduces significant changes, such as the omission of a composition and the addition of the "Agnus Dei" section at the end of the Litanies. Additionally, the organ partbook of the second edition replaces the short-score format with a single-stave basso. Furthermore, certain motets feature completely rewritten sections, suggesting different strategies in terms of formal and tonal organisation.
Conference Presentations by Gabriele Taschetti
Società Italiana di Musicologia, XXIX convegno annuale, Cremona, 21-23 ottobre 2022, Palazzo Raim... more Società Italiana di Musicologia, XXIX convegno annuale, Cremona, 21-23 ottobre 2022, Palazzo Raimondi, corso Garibaldi 178
Re-textualizing Music Contrafact as a Complex Cultural Process Round table and open discussion. P... more Re-textualizing Music Contrafact as a Complex Cultural Process Round table and open discussion. Padova, Dipartimento dei Beni Culturali Sala Sartori, November 16th 2021
Società Italiana di Musicologia, XXVIII Convegno annuale, Roma, 29-31 ottobre 2021, Accademia Naz... more Società Italiana di Musicologia, XXVIII Convegno annuale, Roma, 29-31 ottobre 2021, Accademia Nazionale di Santa Cecilia, Auditorium Parco della Musica
The Figured Bass Accompaniment in Europe. International Virtual Conference. 9-12 September 2021. ... more The Figured Bass Accompaniment in Europe. International Virtual Conference. 9-12 September 2021. Organized by Centro Studi Opera Omnia Luigi Boccherini, Lucca, PALMA CHORALIS® . Research Group & Early Music Ensemble, Dipartimento di Musica Antica ‘Città di Brescia’
XVII Convegno Internazionale di Analisi e Teoria Musicale, 26-29 Novembre 2020, su piattaforma on... more XVII Convegno Internazionale di Analisi e Teoria Musicale, 26-29 Novembre 2020, su piattaforma online
Società Italiana di Musicologia, XXVII convegno annuale, Siena, 16-18 ottobre 2020, Università di... more Società Italiana di Musicologia, XXVII convegno annuale, Siena, 16-18 ottobre 2020, Università di Siena, Accademia Musicale Chigiana
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Articles and Book Chapters by Gabriele Taschetti
Il presente articolo prende in esame l’elenco dei libri di Camillo da Brescia, canonico regolare lateranense del convento di S. Bartolomeo di Lodi, che testimonia una significativa collezione di stampe musicali oggi dispersa. Dopo una contestualizzazione generale, viene offerta in appendice un’analisi bibliografica con la relativa proposta di identificazione delle edizioni musicali. Fra queste figurano alcune edizioni perdute di Camillo Cortellini, Francesco Guami, Pedro Guerrero, Fiorenzo Maschera, Tiburzio Massaini, Grammatico Metallo, Vincenzo Ruffo, Ippolito Sabino e degli altrimenti sconosciuti Gasparo Patavino e Deodato Viti.
This case study also provides an opportunity to examine the criticisms made of Bona by Michael Praetorius in the third volume of his Syntagma Musicum (1619). Despite its incomplete form, this Mass—and many other incomplete works still awaiting study—offers valuable insights into the networks of influence, intellectual exchange, and compositional practices that shaped early seventeenth-century music.
La cappella musicale della Basilica di Sant’Antonio di Padova fu una delle istituzioni musicali ecclesiastiche più importanti del contesto padano di primo Seicento. La sua storia, la sua organizzazione (regolamenti, organici) e le personalità di maggior rilievo sono state oggetto di numerosi studi. Un aspetto ancora poco indagato rimane invece quello del repertorio, sul quale vengono a gettare luce alcuni documenti, presentati in questa sede, relativi ai libri di musica custoditi o fatti acquistare dai maestri di cappella Costanzo Porta (1600), Giulio Belli (1606), Giovanni Antonio Filippini da Cento (1614) e Giovanni Ghizzolo (1623). Le informazioni incluse negli elenchi permettono di identificare la maggior parte delle raccolte musicali che vi sono menzionate, di cui almeno tre risultano oggi perdute (G. Fattorini, G. Lambardi, E. Radesca), consentendo di valutare le scelte dei maestri, anche in relazione a quanto già noto sugli organici attivi in cappella. Gli elenchi riportano inoltre alcune informazioni di interesse per la storia del mercato librario musicale dell’epoca, come la bottega di provenienza («dal Gardano», «dalla Pigna», «dall’Amadino», «dal Raveri»), il prezzo e il tipo di legatura dei libri acquistati.
The first part of the book examines some procedures of textual substitution carried out in various parts of Europe by poets, literati, men of culture, or culturally updated members of the clergy, who produced highly refined contrafacta.
The second part deals with the adaptation of texts dictated by necessities of various kinds (celebratory, political, confessional), often made in a hasty manner and re-using pre-existing vocal compositions, but still able to reveal significant aspects of the history of religious culture in Europe at the time of the Reformations.
Furthermore, it represents a useful work tool for anyone wishing to carry on the research into the European assimilation of the secular vocal forms in the Italian language, by making available to the reader a description of the contents of most printed collections including contrafacta published in Europe between 1576 and 1649.
Full-text here https://mi.pl/pl/p/Marina-Toffetti%2C-Gabriele-Taschetti-eds.-Contrafacta.-Modes-of-Music-Re-textualization-in-the-Late-Sixteenth-and-Seventeenth-Century/433
Other by Gabriele Taschetti
Conference Presentations by Gabriele Taschetti