Index 2006 vol. 3 number 1

EDITORIAL - by Egidio Pozzi
After nearly five years Analitica has once again taken up publication, on the solid basis of its long-term collaboration with the Dipartimento di Musica e Spettacolo of the University of Bologna, and, in an equally constant and decisive way, with the Gruppo di Analisi e Teoria Musicale. The review’s new editorial appearance – given that its home page includes both the pages of Analitica and the site of the GATM – is intended to underline the importance of this collaboration and the increasing unity of intents that has recently emerged between the activities promoted by Mario Baroni and Rossana Dalmonte and those undertaken by the Scientific Committee of the review. In first place the birth and growth of a specific study conference dedicated to topics in analysis and theory which, inaugurated in Bologna in February 2000, this year will reach its fifth appearance.
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MUSIC ANALYSIS IN THE THORETICAL, INTERPRETATIVE, HISTORICAL AND DIDACTIC STUDY OF MUSIC: the Fourth Convention of Analitica (Istituto "G. Lettimi", Rimini 2006)  -  by Alessandra Montali
From 16-18 March 2006, at the Istituto di Alta Formazione Artistica e Musicale “G. Lettimi” in Rimini, the Fourth Research Meeting of Analitica was held, organized by the G.A.T.M. (Group of Music Analysis and Theory), in collaboration with the Province and the Municipality of Rimini. The Scientific Committee of the Convention included: Mario Baroni, Antonio Bertozzi, Rossana Dalmonte, Gianluca Gardini, Enrico Meyer, Susanna Pasticci, Egidio Pozzi, Lorenzo Rinaldi, and Giorgio Sanguinetti. After the greetings warmly expressed by the Councillors for the Arts of the Province and the Municipality of Rimini (Marcella Bondoni and Stefano Pivato) and the generous welcome on behalf of the Director of the Institute, Prof. Enrico Meyer, the participants immediately got down to work. The four intense study sessions, spread over the three days of the Convention, were organized according to the following thematic areas: Tonal Repertories (pres. Giorgio Sanguinetti); Twentieth Century Music I (pres. Loris Azzaroni); Twentieth Century Music II (pres. Susanna Pasticci); Round Table on Luciano Berio’s “Rounds” (pres. Rossana Dalmonte).
Whereas some of the contributions presented at the Convention will be published on Analitica, the proceedings of the last day (concerning the analyses of Rounds by Luciano Berio), in addition to the works of Stella, Bollella, Alberti, Russo, Affortunato, Verzina, and Moiraghi, were selected for publication on the Rivista di Analisi e Teoria Musicale (RATM).
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BEETHOVEN REVISITING HIS OWN PAST: SOME CONSIDERATIONS ON THE RELATIONSHIP BETWEEN THE LAST TWO SONATAS AND OP. 10 N. 1 - by Piero Venturini
The objectives of this study fall into two categories: while the first involves theoretical reflection, the second is based upon firmly rooted performing experience.
One theoretical-poietic observation to begin with, that is trivial only if taken at face value: while in both the analytical and the musicological literature there is an enormous amount of material that traces the influence of preceding or contemporaneous composers on the work of Beethoven – at present I will only mention the texts by Webster [1995] and Dahlhaus [1990] – the influence that the young Beethoven had on the more mature composer has not been investigated to the same degree. In what sense do Beethoven’s last works owe something to those of his youth? More broadly, one might further ask for what reason a composer is driven to revisit his own past works, and in what key they should be reinterpreted.
From a practical-esthesic point of view, this work draws its inspiration from an extremely personal and subjective insight: the study of Op. 110 and 111 set off a series of spontaneous and irrational connections with Op. 10 n. 1; to be specific, after having played the last two Beethoven Sonatas at the piano, the writer over and over found himself singing various passages of Op. 10 n. 1. Given that this happened repeatedly, after virtually every practising session, the need of undertaking a study was felt, to clarify the relationship between the works in question. Obviously, the first thing to verify was whether these relations had an objective foundation, or were only the fruit of an individual form of musical experience, tied to subjective impressions. Two strategies were employed to avoid the risks of subjectivity: an exam of the literature on the topic, and the rigour of a solid analytical methodology.
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