Storie delle musiche

Il recupero dell’antico alla Chigiana, aspetti di metodo in Mario Fabbri e la longevità dei loro effetti

Abstract

Within the Chigiana, the Settimana Musicale Senese has stood out as a festival with a musicological trend, for its rediscovery of composers, scores, and genres hitherto neglected. This came to a peak in the years when Mario Fabbri was artistic director (1963–1969). Unpublished and memorable opportunities for concerts and studies were devoted to composers such as Arcangelo Corelli, Alessandro Scarlatti, Giacomo Antonio Perti, and George Frideric Handel. This pioneering spirit encouraged the return of their music to concert seasons and the increase of specialized bibliography. It is advisable, however, to return to an old question still buried under a respectful conspiracy of silence. Fabbri published some sensational documents in order to restore the history of the scores he had chosen, but the original manuscripts have never been identified, and the information contained therein wavers before modern historical and musicological knowledge. Are these unscrupulous fakes, created on purpose? If so, then it is interesting to emphasize a phenomenon which germinated in those years and has produced more than ever today, throughout the world, a vast quantity of tasty but insidious fruits: offering early music, in fact, finds a guarantee in the tale that each score brings with itself, even at the cost of inventing it.

https://www.lim.it/it/chigiana/6951-chigiana-iii-6-liv-9788855434492.html#/2-tipo_prodotto-libro