Papers by Federico Maria Sardelli
Choice Reviews Online, 2007
Page 1. ASHGATE id I' [KM Flute an ecor Federico Maria Sardelli Translated by Michael Ta... more Page 1. ASHGATE id I' [KM Flute an ecor Federico Maria Sardelli Translated by Michael Tallwt Page 2. Page 3. Page 4. Federico Maria Sardelli writes from the perspeetive of a professional baroque flautist and recorder-player ...
The major publishing event of the year [2012] for Vivaldians was the long-awaited appearance of F... more The major publishing event of the year [2012] for Vivaldians was the long-awaited appearance of Federico Maria Sardelli’s Catalogo delle concordanze musicali vivaldiane. This is one of those essential reference works that has been referenced (and not only by its author!) while still only a ‘work in progress’ so often, and with such positive results, that its nature and potentialities are by now widely known. It has already shown itself repeatedly to be an invaluable tool for establishing whether an anonymous or differently attributed composition is likely to be by Vivaldi and, within Vivaldi’s own oeuvre, for obtaining (in fortunate instances) a clearer idea of a composition’s date. I mean no disrespect to its author if I observe that the catalogue proper, which occupies approximately the last two thirds of the volume, despite being the raison d’être of the book and the portion ostensibly most germane to its status as a reference work, is almost cast into the shadows by the long, multi-sectional introduction preceding it. This introduction is in effect a vast and impressively wide-ranging exploration of the reasons why Vivaldi ‘repeats’ himself (and occasionally others) so prolifically – a historical, critical and analytical study in its own right. I predict that this part of the volume, the part that has not ‘leaked out’ in advance to the same extent, will come to be regarded as a classic, inspirational text leading to further advances in knowledge. MICHAEL TALBOT, Miscellany, «Studi Vivaldiani», 12, 2012
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Papers by Federico Maria Sardelli
Vivaldi research has been subject to amazingly numerous changes in recent years. For example, the number of works attributed to Vivaldi has increased by 17(!). In return, a number of works have had to be identified as spurious and moved to the appendix. Changes also occurred in the source research and evaluation. Current literature was incorporated, together with the findings of new cross-connections within the inventory of works. In short, hardly a stone was left unturned!
Federico Maria Sardelli has critically edited all addenda and corrigenda, meticulously documenting and organizing them clearly.
The result is a state-of-the-art “RV,” giving new impetus to Vivaldi research and a secure reference work to the practitioner and music lover.
I predict that this part of the volume, the part that has not ‘leaked out’ in advance to the same extent, will come to be regarded as a classic, inspirational text leading to further advances in knowledge.
MICHAEL TALBOT, Miscellany, «Studi Vivaldiani», 12, 2012
Editor: Sardelli, Federico Maria
Language of text: German, English
4 ° stampa 2017
It was in 1990 – more than 250 years after the publication of "Il Pastor Fido" – that the masterful forgery was exposed: not Antonio Vivaldi but in fact the French composer Nicolas Chédeville (1705–1782) turned out to be the true author of this sonata collection, which was subtly foisted upon the unsuspecting Parisian public in the middle of the 18th Century, at the height of Vivaldi's popularity in France. Vivaldi himself never came to know anything of the misuse of his name and musical intellectual property.
"Il Pastor Fido" offers a ‘Mélange‘ of very simple, movements and gallantries in the French style, as well as some throughout original movements of exceptionally fine music and powerful compositional ideas. Approximately ninety percent of “Il Pastor Fido” is Chédeville's own work; for the remainder, he adopted and built upon themes (or those which he thought to be) by Vivaldi, all the while demonstrating a thorough understanding of the style that he was striving to imitate.
As with all of Chédeville's other works and numerous other collections from the time, the original title mentions a series of instruments, all of which are suitable for performing these sonatas: the musette, hurdy-gurdy, flute, oboe and violin. Whilst the first two, which were popular instruments at the time and corresponded to the Arcadian sensibilities of the Age of Enlightenment, have long since been out of fashion, the flute is particularly well suited today to reflect the pastoral character – noted in the title of the collection (“Il Pastor Fido”: the Faithful Shepherd) – of the music.
The Bärenreiter Urtext edition was edited by the reputable Vivaldi scholar and conductor Federico Maria Sardelli. In addition to the musical text of the six sonatas, it contains a detailed preface (German/English), which not only tells the enthralling story of the forgery and reveals the "ingredients” required for such a composition. It also contains inspiring information on performance practice, whilst presenting a critical report with references to readings and editorial decisions.
- Bärenreiter Urtext edition by Federico Maria Sardelli
- Preface (German/English) and Critical Report (English)
- Inspiring information on historical performance practice