Il Grande Vangelo di Giovanni 1° volume (Italian Edition)

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The vast majority of this evidence converges on the same conclusion regarding trombe squarciate. The material we have gathered also suggests a reasonable hypothesis regarding the size, shape and function of trombe squarciate that responds to most of the questions that have been raised regarding the meaning of the term. Therefore we believe our hypotheses have a high probability of being historically accurate, though we cannot account at this time for the anomalous contradictory evidence from Verona and Mantua, two cities with close connections in their dialects and traditions.

This is not at all unusual, for historical controversies are controversial for the very reason that the available evidence is not definitive and may include contradictions or anomalies. The incompleteness and inconsistency of the historical record always leaves room for other, contradictory evidence to be discovered and interpreted. Scholars must always be prepared to adjust and adapt their thinking to new information, new ideas and new interpretations.

Just as history is the subject of scholarship, there is a history of scholarship itself, and for now we will have to leave it to the history of this issue to determine the reasonableness of our conclusions and the durability of our hypotheses. Leo Schrade followed suit, translating the same passage as "trombones.

Denis Arnold was casually ambiguous on the subject, twice referring to trombe squarciate as trumpets, in Monteverdi London: J. Denis Stevens vaguely seems to assume, following Vogel, that trombe squarciate are trombones in "Claudio Monteverdi: Selva morale e spirituale ," Claudio Monteverdi e il suo tempo , , and identifies them as "probably slide-trumpets or narrow-bore trombones" in his Monteverdi: Sacred, Secular, and Occasional Music Rutherford: Fairleigh Dickinson University Press, , He subsequently concluded, referring to a phrase by Giambattista Guarini see the discussion of Guarini's phrase in paragraphs Cremona: Fondazione Claudio Monteverdi, , I: See note for Peter Downey's assertion that trombe squarciate are trombones and James Moore's demonstration that they are trumpets.

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Return to note The Vulgate version does not use the term exquartiare but rather scindere , which also means "to cut, tear, rend asunder, split", according to D. Simpson, ed. The Vulgate version reads: "Et ecce velum templi scissum est in duas partes a summo usque deorsum, et terra mota est, et petrae scissae sunt, et monumenta aperta sunt; et multa corpora sanctorum qui dormierant surrexerunt. Venice: Iacopo Sarzina, , ; and 3rd ed. Lasciando in terra lo squarciato velo. The term squarciagola was first mentioned in the context of trombe squarciate by Denis Stevens in "Claudio Monteverdi: Selva morale e spirituale ," Milan: Ricordi, , IV: "forte ma acuta, sgraziata, disarmonica.

Bologna: Masi, , VI: —69 is "di grande apertura. In the Bolognese dialect, squarcia and its derivatives have similar connotations of showing off and excessive splendor. Bologna, —72 , Anche, Tronbadora. Milan: Gaetano Brigola, , Anche, Tromba. While the sound of a tromba squarciata may have been loud, we do not now think that was the reason the term squarciata was used.

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In personal communication, Meucci verifies that the three instruments with names and dates, restored by the firm of Onerati in Florence, show no signs of having been altered in recent times or having been assembled from fragments of other instruments. A fresco by Pinturicchio in his series of ten scenes from the life of Pope Pius II in the library of the duomo in Siena depicts a windband of two shawms and a U-shaped double-slide trombone facing three trumpeters on horseback, one of whom is holding a folded trumpet, while the other two are playing mid-length straight trumpets of about the size of those preserved in the Palazzo Pubblico.

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These frescoes were begun at the time of the coronation of Pius III in For a detail of this fresco, see Cellesi, "Documenti per la storia," Rivista musicale italiana According to Altenburg, the instrument has been patched together from four different pieces probably from different time periods. The instrument, X The recovery of the instrument was first described in Geert Jan van der Heide, "Reconstructie van een bijzonders Italiaanse trompet van de vindplaats Scheurrak SO1," Vis en Visvangst, eds.

Reinders and M. Bierma Gronigen, , — The names of neither maker are traceable beyond their inscriptions on these instruments. We are grateful to Steven Plank for drawing our attention to Altenburg's table. Most of the trumpets discussed by 18th-century theorists in Altenburg's table also fall within the same range; only two have a fundamental of G. Edward H. Crookes, For a detailed account of the ceremonies surrounding the "Mass of Thanksgiving" see Moore, " Venezia favorita da Maria. See the facsimile of the title page, where Ginammi is simply identified as Marc'Antonio Padavino, in Moore, " Venezia favorita da Maria ," The ceremonies continued with a procession to the site of the Church of Santa Maria della Salute see Document 1 and Document Patrick F.

This paper demonstrated Downey's distorted quotations, self-contradictions, suppression of evidence, and numerous logical fallacies. A longer version of this response will be published in a forthcoming issue of Irish Musical Studies. The instruments listed in the payment records for this celebration are specifically noted as trombetti in two separate accounts. The other instruments are subsumed generically under the term sonatori or sonadori. Bologna: Arnaldo Forni Editore, , The field trumpet with its instruction book might well refer to the famous Schnitzer trumpet of and the manual of Cesare Bendinelli donated by him to the Accademia in See Van der Meer and Weber, Catalogo degli strumenti dell'Accademia Filarmonica , 66—70 and photographs of the instrument on — The instrument is also pictured in Tarr, The Trumpet , The text of this latter catalog is drawn verbatim from Van der Meer's and Weber's Catalogo.

Turin: UTET, , For the full text, see Document See his "Monteverdi's 'Mass of Thanksgiving'," Opera Vigesima.

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In Bologna, per gli Heredi di Gio. Rossi M.

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  7. Bologna: Forni Editore, , English translation in Lee R. The passage is cited in Stefani, Musica e religione nell'Italia barocca , According to Banchieri, Fiammingo also built the organ in the cathedral of Orvieto, but Banchieri reserves his praise of many registers for the one in Gubbio. He also believed Fiammingo to be the inventor of the registers that imitated natural instruments. Olschki Editore, , However, any such non-Venetian expressions may have a different, localized meaning, as we have suggested for Verona.

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