Papers by Fabrizio Ammetto
RICSH Revista Iberoamericana de las Ciencias Sociales y Humanísticas
En este artículo se presenta una obra para violonchelo y piano compuesta por el compositor mexica... more En este artículo se presenta una obra para violonchelo y piano compuesta por el compositor mexicano Rubén Montiel (1895-1985) perteneciente al género de las microformas realizadas por el autor. Los aspectos abordados incluyen una descripción de la obra desde el punto de vista del análisis filológico-musical, llevado a cabo a partir del manuscrito original utilizado como fuente primaria. Dicho documento se encuentra dentro del acervo personal de la familia del compositor. Se realiza un análisis estructural de forma descriptiva de la obra con el fin de conocer su forma compositiva, armónica y así, investigar su posible inserción dentro de un tiempo, un espacio y un estilo creativo relacionado con el desarrollo de los géneros propios de la música mexicana de concierto. En esta investigación aplicada, se pueden ver detalles y aspectos propios de la partitura, así como valoraciones de interpretaciones filológicas relacionadas con su propia notación y la edición crítica de la misma.
RIDE Revista Iberoamericana para la Investigación y el Desarrollo Educativo
La labor de los actuales integrantes del Cuerpo Académico Consolidado [CAC] “Musicología” ha impu... more La labor de los actuales integrantes del Cuerpo Académico Consolidado [CAC] “Musicología” ha impulsado, a nivel nacional e internacional, al área musical-musicológica del doctorado en Artes de la Universidad de Guanajuato. Entre 2014 y 2021, logró la titulación de 13 doctores (originarios de España, Italia, México y Rusia), quienes, posteriormente, se han distinguido en el país por sus logros académicos (reconocimiento del perfil del Programa para el Desarrollo Profesional Docente [PRODEP] e ingreso al Sistema Nacional de Investigadores [SNI]) y laborales (contratación como profesor en universidades públicas). En este artículo se describen las investigaciones realizadas en las disertaciones doctorales y se enlistan las publicaciones derivadas (libros, capítulos de libros, artículos arbitrados e indexados, discos de audio), a través de lo cual se comprueba la formación en México de recursos humanos altamente especializados, así como la creación y coordinación de un sólido grupo de tr...
Revista Vortex, Apr 1, 2017
¿Flecha propicia o perfección indecible? Un nuevo caso de 'contrafactum' en una composición de Ig... more ¿Flecha propicia o perfección indecible? Un nuevo caso de 'contrafactum' en una composición de Ignacio Jerusalem 1
RICSH Revista Iberoamericana de las Ciencias Sociales y Humanísticas, 2021
En este artículo se presenta la obra electroacústica Agon (1998) del compositor argentino Horacio... more En este artículo se presenta la obra electroacústica Agon (1998) del compositor argentino Horacio Vaggione (1943-), relacionada con dos composiciones anteriores del mismo autor: Schall (1995) y Nodal (1997). Se ofrece una propuesta metodológica de análisis musical basada en los conceptos y reflexiones del propio compositor (tales como micromontaje, mixidad, procesamiento, etc.), con el objetivo de apreciar todas sus dimensiones y componentes, así como sus técnicas de realización y estructuración, todo lo anterior con el fin último de proponer una mejor recepción y apreciación de esta obra.
Los Conciertos para cuatro violines ‘sin bajo’ del compositor alemán Georg Philipp Telemann (1681... more Los Conciertos para cuatro violines ‘sin bajo’ del compositor alemán Georg Philipp Telemann (1681-1767) representan una experiencia muy singular en el panorama de su abundante producción camerística, que incluye tanto composiciones para uno, dos, tres o cuatro instrumentos y bajo continuo, así como también piezas instrumentales ‘sin bajo’: es el caso de las tres colecciones de Fantasías para un solo instrumento (flauta, violín, bajo de viola), de los numerosos Duetos, de las Sonatas para tres instrumentos, y de los Conciertos para cuatro violines, TWV 40:201-203. Estos tres últimos conciertos constituyen un excelente material didáctico, tanto para la ejecución instrumental (en las clases de violín y de música de cámara), como también para los aspectos analíticos (armónicos, estructurales, estilísticos, interpretativos, etc.). Gracias también al CD adjunto (que contiene la ejecución completa de los tres conciertos), el ensayo resulta particularmente útil ya sea para los estudiantes d...
STUDI VIVALDIANI (ISSN: 1594-0012), XXI, pp. 25-59, 2021
His travels across Italy in 1716-17 constituted for Johann Georg Pisendel a full-blown study tour... more His travels across Italy in 1716-17 constituted for Johann Georg Pisendel a full-blown study tour, during which this musician from Saxony had the opportunity to become acquainted with numerous violinists and composers in the cities he visited: these men included Tomaso Albinoni, Giuseppe Tartini, Francesco Maria Veracini and Antonio Vivaldi in Venice, Antonio Montanari in Rome, and Martino Bitti and Giuseppe Maria Tanfani in Florence. In particular, his encounter with the Red Priest is well documented by the incomplete manuscript of a violin concerto by him (consisting of the first movement alone in score plus a few sketches for the remaining two), which is today preserved in Dresden (at the SLUB) in the ‘Schrank II’ collection (Mus.2421-O-14). The special significance of this manuscript, long recognized by students of both Pisendel and Vivaldi, lies in the fact that it contains autograph annotations made by the latter that turn it into a veritable ‘exercise in composition’. Despite this, the interaction of the two composers to produce this score has not been studied in detail previously. Thanks to the identification of individual hands made for the first time in this article it has become possible to pinpoint successive phases of the drafting and revision of the concerto. These stages emerge clearly from the numerous corrections, additions and compositional second thoughts originating from both violinists. Analysis of these changes sheds light on the ‘modus operandi’ of both Pisendel and Vivaldi, the second man being concerned, in particular, to improve the counterpoint between the voices, differentiate timbres more sharply and vary the accompanimental textures during solo passages, besides making adjustments to the proportions and elements of structural unity in the orchestral ritornellos.
As a complement to the article, the authors append a score of the concerto’s first movement in its final state (i.e., following the changes made by both composers). This score corrects various errors present in an earlier transcription made by Wolfgang Hochstein that was published in 2010 in a volume of proceedings of a conference dedicated to the German violinist.
STUDI VIVALDIANI (ISSN: 1594-0012), XXI, pp. 61-77, 2021
In Issue 48 (Spring 2021) of the journal “Early Music Performer” the American violinist Jude Zili... more In Issue 48 (Spring 2021) of the journal “Early Music Performer” the American violinist Jude Ziliak reviewed my reconstruction of the (lost) violin concerto BWV 1052R by J.S. Bach (Edition HH, 2020), the scholarly basis for which had been explained in an article by me published in Volume 20 (2020) of “Studi vivaldiani”. In his text Ziliak called into question the validity of certain aspects of my reconstruction, especially regarding perceived problems encountered in passages employing ‘bariolage’, in arpeggios, in cadenzas and in phrasing marks, concluding that “technical issues in the third movement mean that players will continue to need to refer to other editions”, meaning specifically the ‘official’ one made by Wilfried Fischer for the ‘Neue Bach Ausgabe’ (Bärenreiter, 1970), including a revised version of it by Werner Breig (1976), plus a less well known one by Benjamin Shute (Prb Productions, 2013 and 2017).
With the support of historical, source-critical, musical and instrumental technique-related arguments, and also ones connected with Bach compositional process, this postscript analyses in detail all the individual passages criticized by Ziliak, showing by means of a minute analysis based on a close reading of the text of the known original sources that the two modern editions just mentioned, taken as a model by the reviewer, in fact harbour serious conceptual and methodological shortcomings in that they use as the foundation of their reconstruction the final reworking of the concerto (BWV 1052, almost a quarter-century later than the original version) or, in the worst cases, combine readings belonging to different phases of Bach’s process of composition and recomposition.
The postscript therefore provides convincing evidence that historically and musicologically aware performers will not, in fact, be able to continue “to refer to editions by Fischer and Shute”, contrary to Ziliak’s hopes. In doing so, it also provides some useful detail additional to the original article.
Segun el compositor italiano Giancarlo Aquilanti (Stanford University) la produccion de una nueva... more Segun el compositor italiano Giancarlo Aquilanti (Stanford University) la produccion de una nueva opera en musica es un evento extremadamente importante, sobre todo para una ciudad como Guanajuato en donde la cultura es tan relevante: “Angela, Dante y Umbria” podria representar el primer ejemplo en la historia de las Universidades mexicanas de una opera que se produce de la A a la Z.
La frase en latin del titulo de este articulo Contraria contrariis curantur (“los contrarios se c... more La frase en latin del titulo de este articulo Contraria contrariis curantur (“los contrarios se curan con los contrarios”) no hace referencia a la doctrina de “lo similar cura lo similar” del sistema de la homeopatia (medicina alternativa) creado por Samuel Hahnemann en 1796, sino que es el titulo de la decima composicion musical incluida en la coleccion impresa Artificii musicali ne quali si contengono canoni in diverse maniere, contrapunti dopii, inventioni curiose, capritii e sonate, opus XIIIi (Modena, 1689) del violinista y compositor italiano Giovanni Battista Vitali (1632-1692).
RICSH Revista Iberoamericana de las Ciencias Sociales y Humanísticas
El compositor mexicano Ramiro Luis Guerra González, acerca del cual se lee en pocas ocasiones y m... more El compositor mexicano Ramiro Luis Guerra González, acerca del cual se lee en pocas ocasiones y más raramente se escucha su obra, formó parte del movimiento musical activo en Monterrey, Nuevo León, en la segunda mitad del siglo XX. En este artículo se analiza la evolución del proceso compositivo en sus obras para cuarteto de cuerdas que abarcan distintas etapas de la formación del autor, lo que permite establecer y analizar las características propias de cada composición. Además, se resuelven algunas incongruencias textuales presentes en los manuscritos autógrafos de estos cuartetos, con el fin de facilitar la preparación de ediciones musicales sucesivas de dicho repertorio.
REVISTA IBEROAMERICANA DE LAS CIENCIAS SOCIALES Y HUMANÍSTICAS (ISSN: 2395-7972), vol. 7, n. 14, pp. 41-60, 2018
The Mexican composer Ramiro Luis Guerra González, whose name appears only occasionally and whose ... more The Mexican composer Ramiro Luis Guerra González, whose name appears only occasionally and whose works are heard even less often, belongs to the musical movement active in Monterrey (Nuevo León) in the second half of the 20th century. This article analyses the evolution of the compositional process in his string quartets, which represent different stages in the composer’s evolution – a fact that allows us to identify and analyze the characteristics peculiar to each composition. In addition, certain textual incongruities present in the autograph manuscripts of these string quartets are resolved, the aim being to facilitate the preparation of future musical editions of this repertoire.
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Papers by Fabrizio Ammetto
As a complement to the article, the authors append a score of the concerto’s first movement in its final state (i.e., following the changes made by both composers). This score corrects various errors present in an earlier transcription made by Wolfgang Hochstein that was published in 2010 in a volume of proceedings of a conference dedicated to the German violinist.
With the support of historical, source-critical, musical and instrumental technique-related arguments, and also ones connected with Bach compositional process, this postscript analyses in detail all the individual passages criticized by Ziliak, showing by means of a minute analysis based on a close reading of the text of the known original sources that the two modern editions just mentioned, taken as a model by the reviewer, in fact harbour serious conceptual and methodological shortcomings in that they use as the foundation of their reconstruction the final reworking of the concerto (BWV 1052, almost a quarter-century later than the original version) or, in the worst cases, combine readings belonging to different phases of Bach’s process of composition and recomposition.
The postscript therefore provides convincing evidence that historically and musicologically aware performers will not, in fact, be able to continue “to refer to editions by Fischer and Shute”, contrary to Ziliak’s hopes. In doing so, it also provides some useful detail additional to the original article.
As a complement to the article, the authors append a score of the concerto’s first movement in its final state (i.e., following the changes made by both composers). This score corrects various errors present in an earlier transcription made by Wolfgang Hochstein that was published in 2010 in a volume of proceedings of a conference dedicated to the German violinist.
With the support of historical, source-critical, musical and instrumental technique-related arguments, and also ones connected with Bach compositional process, this postscript analyses in detail all the individual passages criticized by Ziliak, showing by means of a minute analysis based on a close reading of the text of the known original sources that the two modern editions just mentioned, taken as a model by the reviewer, in fact harbour serious conceptual and methodological shortcomings in that they use as the foundation of their reconstruction the final reworking of the concerto (BWV 1052, almost a quarter-century later than the original version) or, in the worst cases, combine readings belonging to different phases of Bach’s process of composition and recomposition.
The postscript therefore provides convincing evidence that historically and musicologically aware performers will not, in fact, be able to continue “to refer to editions by Fischer and Shute”, contrary to Ziliak’s hopes. In doing so, it also provides some useful detail additional to the original article.