Guido Olivieri
Guido Olivieri (Ph.D. UCSB) is Professor of Musicology at The University of Texas at Austin, where he also directs the Early Music Ensemble “Austinato” A Research Fellow at the University of Liverpool (UK) and The Italian Academy for Advanced Studies in America at Columbia University, and a Mellon Fellow and Visiting Assistant Professor at the University of Michigan, he has co-authored with Marc Vanscheeuwijck the volume "Arcomelo 2013. Studi in occasione del terzo centenario della nascita di Arcangelo Corelli" (LIM, 2015), and is the author of the critical edition of A. Corelli "Le sonate da camera di Assisi" (LIM, 2015). He has published reviews and articles in scholarly journals (Studi musicali, Rivista italiana di musicologia, Analecta Musicologica, Pergolesi Studies, Notes, Il Saggiatore) and collective volumes, contributed to The New Grove Dictionary of Music, the MGG, and the Dizionario Biografico degli Italiani, and presented papers at meetings of the AMS, IMS, and SECM, among others. Olivieri is currently working on the critical edition of D. Cimarosa "Il matrimonio segreto" for Bärenreiter, in collaboration with the University of Vienna. His groundbreaking research - focusing in particular on the developments of string sonata in Naples at the beginning of the eighteenth century - and collaborations with international artists have significantly contributed to the revival of interest on Neapolitan instrumental music and musicians.
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Videos by Guido Olivieri
Enrico Gatti and Ensemble Aurora
Outhere Music
https://lnk.to/The_Fiery_GeniusID
Books by Guido Olivieri
Illustrates the crucial role of instrumental music in major Neapolitan music institutions, where scholars have previously focused on opera and song
Examines aspects of music pedagogy, performance practices, and patronage through careful study of original sources
Places Neapolitan music culture at the core of the aesthetic and cultural developments of other European centers including Vienna and Paris
Papers by Guido Olivieri
The analysis of a forgotten source sheds light on the early history of the cello in seventeenth-century Naples. The manuscript MS 2-D-13, held in the library of the Montecassino Abbey, dates from around 1699 and contains two unknown cello sonatas by Giovanni Bononcini, together with passacaglias, sonatas for two ‘violas’ and elaborations over antiphons by Gaetano Francone and Rocco Greco, two prominent string performers and teachers in Naples. A study of this remarkable source helps to clarify the nomenclature of the bass violins in use in the city and offers new evidence on the practice of continuo realization at the cello, as well as on the connections with partimento practice. This collection is thus of critical importance for a discussion of the technical achievements and developments of the cello repertory in Naples before the emergence of the celebrated generation of Neapolitan cello virtuosi in the early years of the eighteenth century.