Albano Biondi, Rolando Bussi and Carlo Giovannini, 6 vols. (see under the ‘Indice’, mentioned above, in Sartori, Bibliografia).ģ1 A number of sources are relevant to the treatment of Uccellini's biography in correlation with his dedications, namely: Giovan Battista Spaccini (1570–1636), Cronaca di Modena, ed. Many titles, however, have a pronoun in the feminine or masculine to match the instrumental type, yet a family name in the opposite gender or in the plural: ‘Sonata il Corisino’, ‘Ricercata la Brancadoro’, ‘Sonata la Campori’, ‘Ballo il Campeggi’, ‘Capriccio il Calderini’, etc. ballo, balletto, brando) and masculine word endings, thus, from the general literature, for the first, ‘Sinfonia detta la Serra’, ‘Corrente la Riccazola’, and for the second, ‘Ballo il Bonfigliolo’, ‘Brando il Bianchino’. sonata, sinfonia, corrente) and feminine word endings, and similarly between instrumental types in the masculine (e.g. As a general principle, there seems to be a correlation between instrumental types in the feminine (e.g. #Abscissa and charybdis full4, with two names in the masculine: ‘il Caporal Simon’, in the aria undecima, and, in the aria duodecima, ‘Bigaran’, of which the full title reads (after the original poem from which it was drawn): ‘Nearby there stands the great soldier Bigaran who made the discovery’ (‘Le stà quel gran solda(to) Bigaran che à fatto la scoperta’) for more on ‘Bigaran’, see below. There is an important volume with proceedings of a conference on Uccellini: Marco Uccellini da Forlimpopoli e la sua musica (Forlimpopoli, 26–27 October 1996) (Lucca, 1999), but it contains nothing of relevance to the dedications in his works.Ģ0 For exceptions in Uccellini's works, see op. Thomas Binkley (Bloomington, 1990), 99–119 Peter Allsop, The Italian ‘Trio’ Sonata: from its Origins until Corelli (Oxford, 1992), 116–23 and Pajerski, ‘Marco Uccellini (1610–1680) and his Music’, 69–126. For a detailed consideration of his works, see Willi Apel, Italian Violin Music of the Seventeenth Century, originally Die italienische Violinmusik im 17. edn, London, 2001), xxvi, 24, and by Bernhard Schrammek in Die Musik in Geschichte und Gegenwart, ed. Dunn in The New Grove Dictionary of Music and Musicians, ed. Other, more general sources on the composer are the entries (under his name) by Thomas D. Assuming that the information gleaned from the titles to Uccellini's works can serve as a measuring rod for those in others' works, the author summarizes the questions that apply methodologically to the study of dedications in the seventeenth-century instrumental literature at large (section 4).ġ2 For Uccellini in Modena, see Gino Roncaglia, La cappella musicale del duomo di Modena: catalogo delle musiche dell'archivio (Florence, 1957), 113–27. a triumphant Victoria, a satisfied Luciminia and a shining Laura Uccellini may have drawn some of them from literary and historical sources (section 3). Beyond having Uccellini's first examples of solo sonatas, six in all, the opus warrants attention for the inscriptions, in the six, to various women, e.g. After preliminary information on the composer and his instrumental works (section 1), the author considers his dedication practices as an exercise in morphology and typology (section 2). About one third of the works, 92 to be exact, carry titles or labels of various kinds. Marco Uccellini (1610–80) published seven instrumental collections, four in the 1630s–40s and three in the 1660s.
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