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This volume aims to investigate the role and forms of improvisation in Baroque music. In the Baroque period there is a large discrepancy between sound entity and musical notation. In a context where the musical tradition, handwritten and printed, at times suggests the possible execution of a passage, at times indicates a specific mode of execution often adapted by the ability of the performer or the musical occasion, the margin for improvisation is wide. The in-depth and possibly comparative study of musical sources, their historical contextualization, their evaluation on the basis of documentary and theoretical testimonies, allows us to shed light on the real aural rendering of the synthetic written page. This volume aims to investigate the role and forms of improvisation in Baroque music under many of its multifaceted aspects, in a study that will define the links between creative process and executive practice. Fulvia Morabito is currently President of the Centro Studi Opera Omnia Luigi Boccherini, Lucca. She is General Editor of the series 'Monumenta Musica Europea' and 'Studies on Italian Music History' (Brepols Publishers). She is a member of both the scholarly committee of the Italian National Edition of Luigi Boccherini's Complete Works and the Advisory Board of the Francesco Geminiani's Opera Omnia (Ut Orpheus Edizioni).

Improvisation (musique) --- Musique --- Baroque (musique). --- Histoire et critique. --- Baroque (musique) --- Improvisation (Music) --- Music --- Performance --- History --- History and criticism --- 78.25 --- Baroque music --- Interpretatie --- Uitvoeringspraktijk --- Improvisaties --- Barok --- 17e eeuw --- 18e eeuw

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The nineteenth century in Italian music may legitimately be considered as the triumph of song. This was cultivated both in theatres and in the magnificent salons of the aristocratic palaces or in the more modest bourgeois drawing-rooms; here especially, with the help of the pianoforte, they gave voice to a more intimate genre, normally precluded from the clamour of the stage, yet equally loved: the chamber song. The contribution which we present here was intended to concern itself specifically with this immense and precious musical inheritance with which the past century has regaled us, illustrating and rebuilding the history of a genre for years neglected by "official" musicology, because too easily dismissed as inevitably trivial, here to-day and gone to-morrow, and unworthy of attention. The study starts with the first years of the nineteenth century with Gioachino Rossini and Vincenzo Bellini - an epoch when eighteenth-century ariettas for voice and basso continuo were giving way to accompanied melody - and ends with the first decades of the twentieth century with the composers of the "Eighties generation". Such an enormous time span has made it possible to document the birth, development and decline of the chamber song; a decline which was fruitful however, given that from its ashes arose two new genres: the commercial popular song and the twentieth century chamber lyric, both manifestations of the dual and ambivalent nature of the song, always poised between serious and light music, straying sometimes more into one sphere than the other. The panoramic and necessarily general study which has emerged from it does not aim to be a detailed examination of the entire Italian vocal-chamber production for solo voice and pianoforte, and does not attempt to analyze in depth the most anonymous excerpt by the most anonymous composer, but is intended to be a first approach to a genre for years forgotten; it also provides a sort of introduction

Songs --- Italy --- 19th-20th centuries --- History and criticism --- Vocal music - Italy - 19th century - History and criticism --- Chamber music - Italy - 19th century - History and criticism --- Chamber music. --- Vocal music --- Musique vocale --- Histoire et critique --- Chamber music

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Kwintetten --- Strijkers --- Gitaar --- Italië --- 18e eeuw

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Kwintetten --- Strijkers --- Gitaar --- Italië --- 18e eeuw