I BONONCINI: DA MODENA ALL'EUROPA (1666–1747) MODENA, 2–3 DECEMBER 2016

According to Barnett, Bononcini, urged by what he perceived as a music-theoretical crisis, brought together in an original vision the theoretical and practical aspects of music in his time. Through musical analysis and by looking at a remarkable assortment of sources, including treatises, archival documents and outstanding iconographical evidence, Vanscheeuwijck demonstrated the great variety and flexibility of performance practices relating to this musical corpus, paying special attention to the tunings and set-ups of the instruments used by these two composers. [...]a careful look at the performing parts for these cantatas reveals the use of the bassoon as a continuo instrument and recorders playing in unison, practices of which there is no trace in the scores. Chirico examined the favola entitled L'amor eroico frￃ pastori, a puppet opera premiered in Cardinal Ottoboni's Palazzo della Cancelleria during Carnival 1696. Since the score and printed libretto of this work are lost, Chirico's reconstruction was based on manuscript librettos and extant aria anthologies.