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Written on: 06. 05. 2011 [11:42]
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Klaus Keil
Topic creator
registered since: 16.07.2010
Posts: 56
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Christoph Wolff wrote:
As for limits, opera and 19th century, I personally would find it important to focus on opera (oratorios and other genres will only muddy the water). Regarding the 19th century, however, I would prefer to handle it in a more flexible way. That is, perhaps includethe early 19th century (Rossini, for example) but not go into it all the way (Wagner, Verdi, Debussy, etc.).
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Written on: 06. 05. 2011 [11:46]
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Klaus Keil
Topic creator
registered since: 16.07.2010
Posts: 56
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Catherine Massip wrote:
About the limits, I agree with the focus on opera (does it include operatic genres like opéra-comique and ballet de cour for instance ?)
We have to find arguments for the chronological limits (historical events, dates of composers, works, Rossini Guillaume Tell 1829 ? und so weiter but this may be a good topic for discussion).
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Written on: 02. 02. 2012 [12:06]
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Steffen Voss
registered since: 13.09.2010
Posts: 1
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I have some doubts about the idea of excluding oratorio libretti from the project. Sartori has them included in his catalogue, why should one exclude them again (with all the important informations about performances, interpretes ecc.)?
They are very important sources, also for the identification of anonymous or wrongly attributed music manuscripts and for the dating of musical works. (Examples: a latin oratorio attributed to Hasse in D-Mbs actually is Galuppi's "Aqua e rupe Horeb" AKA "Petra in deserto", "Die Erlösung des Volkes Israel aus der Ägyptischen Dienstbarkeit" attributed to Händel in D-B is a 2-part Telemann cantata from 1733, the passion oratorio "Colpa pentimento e grazia" wrongly attributed to Pergolesi (= PayP 326) is by Antonio Caputi ecc.
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Written on: 17. 07. 2012 [14:05]
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Federica Riva
registered since: 01.12.2010
Posts: 1
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Taking into account the open view of Petrobelli's article in Fontes, Sartori's experience and printed catalogue, the amount of librettos of the 19. century already catalogued in the SBN networok preserved in Italian libraries as Conservatory library in Naples, Milano, Roma (catalogue on CD-ROM), it seems that any limit - chronological or by music genre - is a great risk to diminish the sense of the project itself.
It seems that a unique point of view raises from the Italian bibliographical and musicological experience about librettos.
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