In this essay there is an attempt to answer those questions deemed fundamental in order to scientifically set up a thematic catalogue of Sgambati’s compositions. When the author was still living, why had several of his works doubled in numbering? Which of them belong to the official corpus? How many compositions did he actually write and how can we order them? To answer these queries, the essay is structured into two different parts. In the first one, there is a philological research aimed at tracking the origin of the double numbering; in the second one, the entire compositional activity of Sgambati known to us through synoptic tables is organized. All the most important biographic profiles, all the dictionary terms dedicated to Sgambati during the 1900s have always offered a double numbering, without providing the specific origin. In the essay, two original sources are identified: Giovanni Sgambati: Katalog seiner hauptsächlichsten Werke bis auf die Neuzeit vervoll- ständigt (printed in 1910 by Schott, publisher of the majority of Sgambati’s works) and the essay I musicisti italiani contemporanei: Giovanni Sgambati (“Rivista musicale italiana”, xix, 1912), written by Alberto De Angelis under the supervision of the composer. From the comparison of the two different numerical orders, inconsistencies, gaps and discrepancies arise. In the essay it is shown how some of these gaps can be completed thanks to archive sources. Where the support of the sources is missing, the historic research helps. One must reflect upon the last years of the composer’s life, upon the image of himself he wanted to leave behind and how deriving from the latter changes of heart on the nature and dimension of the corpus of his works. The second part of the essay offers the catalogue of Sgambati’s works. It does not contain information related to the status of the manuscript sources nor to the subsequent printed editions and it does not correlate them with the biographic data, but it organizes, integrates, completes and corrects the lists of works so far prepared by numerous scholars researching Sgambati’s figure (among others Domenico Carboni, Dudley Newton and Sergio Martinotti). The catalogue is divid- ed into five sections. The first one contains all the numbered compositions. The numbering follows and compares Schott’s and De Angelis’ numeration. In the second and third sections, all the numbered compositions, dated or not dated, are listed. In the fourth, all Sgambati’s works which have been transcribed by other composers. Finally, the last contains all the didactic works.

Per un catalogo delle opere di Sgambati / Caputo, Simone; Mastrangelo, Daniele. - (2018), pp. 261-290. (Intervento presentato al convegno Convegno di studi e concerto dedicati a Giovanni Sgambati 1914-2014 tenutosi a Roma).

Per un catalogo delle opere di Sgambati

Simone Caputo;Daniele Mastrangelo
2018

Abstract

In this essay there is an attempt to answer those questions deemed fundamental in order to scientifically set up a thematic catalogue of Sgambati’s compositions. When the author was still living, why had several of his works doubled in numbering? Which of them belong to the official corpus? How many compositions did he actually write and how can we order them? To answer these queries, the essay is structured into two different parts. In the first one, there is a philological research aimed at tracking the origin of the double numbering; in the second one, the entire compositional activity of Sgambati known to us through synoptic tables is organized. All the most important biographic profiles, all the dictionary terms dedicated to Sgambati during the 1900s have always offered a double numbering, without providing the specific origin. In the essay, two original sources are identified: Giovanni Sgambati: Katalog seiner hauptsächlichsten Werke bis auf die Neuzeit vervoll- ständigt (printed in 1910 by Schott, publisher of the majority of Sgambati’s works) and the essay I musicisti italiani contemporanei: Giovanni Sgambati (“Rivista musicale italiana”, xix, 1912), written by Alberto De Angelis under the supervision of the composer. From the comparison of the two different numerical orders, inconsistencies, gaps and discrepancies arise. In the essay it is shown how some of these gaps can be completed thanks to archive sources. Where the support of the sources is missing, the historic research helps. One must reflect upon the last years of the composer’s life, upon the image of himself he wanted to leave behind and how deriving from the latter changes of heart on the nature and dimension of the corpus of his works. The second part of the essay offers the catalogue of Sgambati’s works. It does not contain information related to the status of the manuscript sources nor to the subsequent printed editions and it does not correlate them with the biographic data, but it organizes, integrates, completes and corrects the lists of works so far prepared by numerous scholars researching Sgambati’s figure (among others Domenico Carboni, Dudley Newton and Sergio Martinotti). The catalogue is divid- ed into five sections. The first one contains all the numbered compositions. The numbering follows and compares Schott’s and De Angelis’ numeration. In the second and third sections, all the numbered compositions, dated or not dated, are listed. In the fourth, all Sgambati’s works which have been transcribed by other composers. Finally, the last contains all the didactic works.
2018
Convegno di studi e concerto dedicati a Giovanni Sgambati 1914-2014
music catalogue; archive; biographic profile
04 Pubblicazione in atti di convegno::04b Atto di convegno in volume
Per un catalogo delle opere di Sgambati / Caputo, Simone; Mastrangelo, Daniele. - (2018), pp. 261-290. (Intervento presentato al convegno Convegno di studi e concerto dedicati a Giovanni Sgambati 1914-2014 tenutosi a Roma).
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Utilizza questo identificativo per citare o creare un link a questo documento: https://hdl.handle.net/11573/1283880
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