Bernhard Schrammek's report offers a concise account of Harfenlabor's interdisciplinary international symposium Convening around the Barberini Harp Project, which took place on 14-16 December 2016, in Roma, in collaboration with the Museo Nazionale degli Strumenti Musicali, Istituto Storico Austriaco a Roma, and the Deutsche Botschaft Rom.
Sociology of Art
Chiara Granata and Dario Pontiggia present findings and analysis related to new facts about the Barberini Harp. By integrating technical and historical research, they offer facts as well as open questions about this sumptuous musical instrument and its contexts. Unlike the other analyses presented by Harfenlabor, Granata and Pontiggia posit that Giovanni Lanfranco's painting Venus Playing the Harp does not depict the Barberini Harp.
May 18, 2022Read more
Giovanni Lanfranco’s painting Venus Playing the Harp depicts a harp very similar to the Barberini Harp. Elisabetta Frullini shares analysis and archival research to propose that Lanfranco might have indeed depicted the Barberini Harp, on commission by his friend, the harpist Marco Marazzoli. Frullini’s research highlights the aesthetic and social importance of this precious instrument and the representations of it.
May 17, 2022Read more
Dinko Fabris presents his research into Luca Antonio Eustachio, described in Marin Mersenne's Harmonie Universelle (1637) as the inventor of triple harp. Whilst Eustachio’s role in harp development remains unclear, Fabris clearly establishes that Eustachio did exist and offers significant insights into his role of a musician and cameriere segreto to pope Paolo V.
May 16, 2022Read more
A drawing titled Progetto per un’arpa, in the collection of the Uffizi, presents a project for a harp with a richly decorated column. Ursula Verena Fischer Pace presents arguments stating that not only was this a design drawing for the Barberini Harp, but also that the drawing ought to be attributed to Giovanni Battista Soria. Soria had worked for the Barberini; his hand is clearly recognisable in this design for a harp.
May 14, 2022Read more
Marzia Faietti provides art historical context for music iconography and its relation to mythological figures within the graphic art of the 16th and the 17th century at the Uffizi. Faietti's analysis of a preparatory drawing for a richly decorated harp, often attributed to Giovanni Battista Soria, offers a fascinating insight into the aesthetic, political, musical, ceremonial and economic importance of such an instrument.
May 8, 2022Read more
Master string maker Mimmo Peruffo is one of the very few remaining makers of musical gut strings. He has learnt this secret art from an old master from Abruzzo through oral transmission and teaching of gestures. In his workshop in Vicenza, Peruffo demonstrates elements of this ancient technique and its simple tools, and offers insights as to why gut string making has been such a closely guarded secret for centuries.
May 6, 2022Read more
In this Harfenlabor online zoom lecture, Anne Marie Dragosits, harpsichordist, brings “New information on Giovanni Girolamo Kapsperger - with special focus on his material for the basso continuo”; Michele Pasotti, lutenist, conducts close reading and analyses of manuscripts and transcripts in “Passaggi per suonare sopra la parte. Kapsperger and other 17th century Italian sources for basso continuo on the theorbo.”
May 4, 2022Read more
Michele Pasotti, musician, lutenist, conductor, researcher and philosopher shares fascinating insights into his musical passion, the “medieval music,” in particular the musical style known as Ars subtilior. Thrilled by the refinement, elegance and complexity of this music, moved by its dulcedo and sensuality, Pasotti shares his discoveries of the layers of subtle information between the lines in the manuscripts of the period.