Report To Credit Bureau As Un Secured

"Vision for Grand'organo," a novel published by Ulisse Matthey Carrara of Bergamo

E' CON IMMENSO PIACERE CHE

ANNUNCIO LA PUBBLICAZIONE DI

Ulisse Matthey (Torino, 1876 - Loreto, 1947)

Visione per Grand'Organo

[prima edizione a stampa

a cura di Michele Bosio-Hiroko Miura ]

Num. 5175 delle Edizioni Carrara.

L'organo Tamburini del Conservatorio di Torino

Ulisse Matthey negli anni della maturità

FONTE

Ms. cart., sec. XX, cm 34x25, cc. 4; senza numerazione. Autografo con dedica «Al distint. mo Maestro V.zo Germani/in segno di stima ed amicizia/Ulisse Matthey»; attualmente custodito a Casalmaggiore (Cr), presso l'archivio privato di Vincenzo Germany (1).

NOTES

addition to the above-mentioned manuscript version of Matthey, there is also a copy, Vincent from Germany to study needs and performance: Ms. cart., 1943, 35x25 cm, cc. 4, without numbering. After the title is specified, "the original copy / 10 - April 943.

For the present edition has been chosen to operate a collation between the two samples, since the version of the Germans, while identical to that of Matthey, it adds to the pedaleggiatura, also reported in full in this edition.

ULYSSES MATTHEY (Torino, 1876 - Loreto, 1947) (2)

organ virtuoso, pianist, composer and scholar, reformer, Ulisse Matthey was born in Turin on April 17, 1876. Child prodigy, he studied at the Liceo Musicale of his city. Studied Remondi organ with Robert (1850-1928) and graduated from Parma in the class of Arnaldo Galliera (1871-1934). Perfected in the following disciplines of counterpoint, the fugue and composition in Milan with Vincenzo Ferroni (1858-1934). Moreover, he went to Paris to study organ with the great Alexandre Guilmant (same Guilmant had to declare these lessons: "exchange of advice ').

In 1902 he was appointed organist of the Holy House of Loreto, which took place until 1923, when he was called to teach organ at the Liceo Musicale "Giuseppe Verdi" of Turin, a position he held from 1923 to 1943.

concerted effort by the exceptional musical talent, the Matthey held around the world an impressive number of concerts and tests (526 concerts between 1898 and 1946) while maintaining a flawless execution level from all points of view. He was also the designer of important instruments, among them the fivefold organ of the Cathedral of Bologna (three keyboards, 60 records, 3500 pipes) was built in 1929 by Giuseppe Rotelli. He was a prolific composer, after all, but with melodic vein and ease of writing. The song most representative of its transcendental virtuosity is certainly Studio Concerto for Pedal , probably composed for the inauguration of the great Tamburini organ of the Turin Conservatory, designed by Matthey and opened May 10, 1933. Several compositions of Maestro - handwritten and printed - are housed in the Library of the Conservatory of Turin and the archives of the Holy House of Loreto, as well as in private collections of former students. Matthey was also the author of several transcripts, which is organ piano.

Knowing it to be sick and to die, he asked that destroyed his own compositions and his most trusted students, Pietro Ferrari and Bernard Offida father, chose works to be saved. Of course, nothing was destroyed, but in the last months of his life he had burned a lot of their music. He died in Loreto, after a long illness, July 6, 1947.

PRESENTATION

The Vision for Grand'organo that the teacher gave his student Vincenzo Cremona Germans (probably on the occasion of its 500th organ concert held on 18 January 1942 at the Tamburini organ della chiesa di Sesto Cremonese) si presenta come un Adagio in si [maggiore] che vive dei colori eterei e violeggianti dell'organo ceciliano, legato, denso di estenuante cromatismo, basato su una figura ritmica ostinata che per tre volte cede il passo alla melodia-corale - ma non completamente - poiché frammenti della cellula ritmica ritornato come accompagnamento al canto.

Si potrebbe definire un modo di comporre “cerebrale”, poco orecchiabile, quello del Matthey - come del resto quasi tutte le sue composizioni dimostrano - sempre e comunque particolarmente impegnative per l'esecutore, uscite dalla penna penna di un autentico virtuoso, per il quale nulla risulta impossibile. Brani altalenanti tra una scrittura di stampo improvvisativo e vicina alla tradizione tedesca di un Max Reger ( Tempo di Sonata in re minore ), a volte suggestionata da fuggevoli “tocchi impressionisti” ( Visione ) e stilemi armonici del tardoromanticismo francese ( Armonie Lauretane ), ma sempre di solida struttura, saldamente ancorata alla forma.

Michele Bosio

__________________

1) A big thank you to Dr. Mina Clare, grandson of the master Germans, for having allowed the publication of Vision for Grand'organo Ulysses Matthey.

2) The more substantial contribution to the figure of Ulysses Matthey is still the volume of Father Bernard Offida Ulisse Matthey , Loreto, 1951, Libreria Editrice St. Francis of Assisi. Reprinted in 1987 by Father Julian roads by adding, among other things, the various tracks offered in its 526 official concerts.

Pokemon Heart Gold Rom Mac

Opera Works for organ by Marco Enrico Bossi - No review of the volume VI - Towards a

Marco Enrico Bossi, Opera omnia vol. 6 - works with no catalog number , [edited by Andrea Macinanti, Luca Salvadori, Francesco Tasini, Wijnand van de Pol], Carrara, Bergamo 2009

Giunge al sesto volume l'edizione critica dell'opera omnia per organo di Marco Enrico Bossi (1861-1925). Il presente volume risulta particolarmente gradito, poiché ha l'enorme pregio di raggruppare in un solo libro tutte le composizioni senza numero d'opera del maestro salodiano, nonché frammenti di opere incomplete.

A parte pochi titoli reperibili nel secondo ed ultimo volume dell'antologia che l'editore Peters ha dedicato a Bossi, il resto delle composizioni proviene da miscellanee, riviste e manoscritti di difficile od impossibile reperibilità. Per non parlare poi dei frammenti, assolutamente inediti.

We cite for example the unpublished Jeanne d'Arc , a sort of tone poem for organ from the very dense writing, part of which was reused in the penultimate scene of Johanna d ' Arc op. 135 (opera in a prologue and three parts with a libretto by Luigi Orsini). Or Rhapsody in three connected , track and compiled by the son of Mark Henry, Renzo, containing the Prologue of Malombra (opera in a prologue and three is drawn from the acts novel Fogazzaro).

valuable The book ends with the reconstruction of a song titled playful, self-titled movement Sonata for violin and piano op. 117. This Bossi sketched only 83 measures, the remaining 243 are by the composer Luca Salvadori.

This volume, like its predecessors devoted to compositions by opus number, include: Foreword, Biographical, Some tools inaugurated by Marco Enrico Bossi, Editorial Policy, Synopsis and Catalog of Apparatus Critical.

Equipment Of Volleyball Wikipedia

"Bossi Renaissance"? Marco Enrico Bossi

Mascioni Organ (1913) designed by Marco Enrico Bossi

Como

Institute Carducci, Henry Hall Musa

Friday, May 14, 2010 - 16:15

Roundtable on Mark Henry Bossi,
famous composer and organist

involved: Maria Bedendo, Michele Bosio, Vittorio Carrara Raffaele Bruno Foti, Andrew Macinanti, Chiara Milani, Gian Enzo Rossi.

Coordinator Stephanie Lamon

18.00 - ORGAN CONCERT

Maestro Andrea Macinanti

Music by Mark Henry Bossi, made in Como

Mascioni Organ (1913) designed by Marco Enrico Bossi

under the auspices of the Culture of the Municipality of Como

Small Lightweight Binoculars

second Macinanti Andrea - Bologna conversation with the specialist, interpreter complete organ works -

Macinanti and Michele Andrea Bosio

Macinanti Master, could you briefly explain the important role by Mark Henry Bossi in the history of Italian music of the twentieth century?

Post way, the question leads to a disappointing answer: if you exit the organ context, Bossi was not an innovator. He was faithful to the tradition, the avant-garde looked at with suspicion (the same Respighi irritated him), watched with profound intelligence because it was beyond the Alps and was soon let go to his unique style that unfortunately could not develop dying in his full creativity. It was true discoverer of the past, think of the Missa pro defunctis op. 83, in the style of Palestrina, and engages in tutti i generi musicali tranne in quello del quartetto. Tuttavia, la sua musica rivela a chi la sta scoprendo, eseguendo ed ascoltando senza falsi pregiudizi, valori di grande compostezza formale, sapiente costruzione e italianissima cantabilità.

Come è nata l'idea di dedicarsi all'edizione critica dell' opera omnia per organo di Bossi?

Ho sempre cercato di dare il mio modesto contributo alla musica organistica italiana nata tra l'8 e il 900, or of the period of transition to full wrongly considered 'critical' or worse 'limitation'. From an early age I was absolutely convinced that, beyond the myriad of poems and verses in which the public was bored of our concerts and organ music far beyond the quaint taste of drama with which he tried to amuse him, you were wise to sound production and high musical content. I let myself be taken over by Bossi and music from the greats of his generation (Respighi, Perosi, Radish, Matthey, Yon ...) and, since the early nineties, I devoted almost entirely to us. The idea to produce an edition complete works for organ bossiane, was born out of many hard to find brani, dalla necessità di scoprire le molte pagine inedite e soprattutto dall'impulso vitale e coraggioso dell'editore Carrara che fu il primo a volere, a pianificare quest'opera estremamente complessa. Il sesto volume appena uscito, chiude il ciclo delle opere originali. Ora si continua con le trascrizioni, le opere per organo e orchestra, per voci e strumenti e organo e per harmonium.

Su quali testimoni musicali e su quali fonti storiche vi siete basati?

Abbiamo utilizzato esclusivamente partiture a stampa appartenute Master, full of his notes fingering, pedaleggiatura, registers, records and other corrections. We have compared the manuscripts with creating a complex but compelling reading syncretic. They have all published and unpublished address all phases of the 'construction' of each song, showing in critical apparatus, sketches and reconstructions.

could talk about the close link between the music of Bossi and instruments for which it was designed?

The sound world of Bossi is very close to that of the Italian organ. He was always faithful to the characteristics of classical organ school (in particular the pure voice of the filling) by requiring builders who shared his career ( primarily the supreme Vegezzi-Carlo Bossi), innovation and progress, but always faithful to the primitive core of our school. That's why the organ music of Bossi 'Italian' is like that of Franck "French" or that of Reger is 'German'. It 'a repertory that lives in a particular tone of a specific case, as in the case of lied it is the German language. Who does not have it as mother tongue, can approach the required sound by composers, but not getting it at all.

seems strange observation, but did have a hard choice, appropriate to the organ music by Bossi, because today it seems there are few specimens in a state of complete authenticity ...

It has been said a million times that so-called Cecilian have destroyed ancient organs. This is partly true because the anxiety Reform has not expressed almost never had to address that with the noble example set Bossi or Perosi: keep intact the old and build something new .... It has been amended, replaced, defaced ... But we must begin to have the seriousness to say that in recent times - thanks to the diligent work, almost "ethnic cleansing" of Iconoclasts, known philologists! - You are literally "thrown away" dozens of bodies Cecilian . There is still plenty of old organs, of every age and every school, but between the two organs built centuries intact and preserved from stupid 'baroque style' or electrification programs, there remain very few. A three keyboards are perhaps only 4-5 on the Italian territory: among them the superb Vegezzi-Carlo Bossi (1902) of the Cathedral of Aosta. Shame on you!

Linsey Dawn Mckenzie Belly

opening concert of the XXII edition of the "old organ" THE PROVINCE OF BOLOGNA

Andrea Macinanti [artistic director]

CASTENASO Church of San Giovanni Battista Monday, April 5, 2010 - 20:45 Music by NINO ROTA (1911 - 1979) Arcangelo Corelli (1653 - 1713) Marco Enrico Bossi (1861 - 1925) Heinrich Ignaz von Biber (1644 - 1704) FELICE MORETTI (1791 - 1863) Francesco Maria Veracini (1690 - 1750) GIULIO VIOZZI (1912 - 1984) GIUSEPPE TARTINI (1692 - 1770) CAMILLE SAINT-SAËNS (1835 - 1921) Soprano, HIROKO MIURA Duo Merveille de I Solisti Laudensi: Violinista: ABIGEILA VOSHTINA Organista: FABIO MERLINI

Hdmi Receiver No Audio

Moratti From the Gelmini: at worst there never end!

reported for the article in full musicologist Claudio Bolzan about the serious situation of education in Italy music, as it has been published in the April issue of the journal "music"

***

's polemic in April 2010

What high school musical?

With the launch of the reform of secondary education and the consequent disruption to the precarious situation of teachers and a drastic reduction in the time framework, especially in technical and professional, has emerged in all its drama, the question of the new high school music and dance. Not a few, in fact, the questions raised by managers, teachers, trade unions, local administrations. A first question concerns the number of these new institutions. According to the latest reports (but the situation is not clearly defined), the musical high schools will be allowed in all 23 (and not 40 as suggested at first) and one choral (in Rome), established on the basis of experiments carried out until now. The question is at this point: Why only 23? It 'clear that many young people from middle school musical will not be able to access, as will be further deprived of their musical training, since the music is totally excluded from most other colleges.
Another serious problem is then the recruitment of teachers: Who will teach the subjects to address (instrument, music history, harmony, theory and composition, etc.).? Even in this case the fog is thick. The Conservatives are generally opposed to a recruitment made in them and top-down, since this would mean a real downgrade: the rest of the salaries of teachers of high school are much lower than those of the teachers of the Conservatory, in the face a greater number of hours of work and activities of non-teaching. It is not clear then what criteria should be recruiting. At first it seemed that were to be used those who had earned a master's level (o specialistica), come sarebbe logico; di questo però non si parla affatto, così come non si parla di indire nuovi concorsi pubblici, anche perché ciò significherebbe un sostanziale incremento delle spese da parte dello Stato, mentre, si sa, la riforma dovrebbe avvenire senza eccessivi oneri!
Il senso di frustrazione da parte di chi ha tanto investito nello studio e nella formazione artistico-musicale non può che essere enorme. Inevitabile, a questo punto, un’altra domanda: a quale scopo sono state istituiti i corsi di laurea di secondo livello? Per arricchire ulteriormente il numero dei precari e dei disoccupati? Per un semplice adeguamento dei Conservatori alle Università? Ad ogni modo una convenzione tra i futuri High schools and music conservatories is required for ministerial regulations in order to establish criteria for the entrance exams in the transition from middle school (with musical direction) to the same high school, to determine the requirements of staff for the contributions of the Conservatory on all 'teaching of certain subjects, for assessment of competence to be fixed for the admission of students leaving the high school. Even so the schools have already activated the Venetian, giving rise to a consortium of seven Conservatives in the area, the consortium that has been placed in close liaison with the Regional School Office in order to initiate reform in a serious and staff. Many problems, in short, and still unclear: the next day would still be decisive in order to better understand what the future education of young people interested in music and the fate of those who would like this art and could teach it.

Claudio Bolzan