Скрипка Льва

Примечания

1

David Gilmour, The Pursuit of Italy: A History of a Land, Its Regions and Their Peoples, Allen Lane, 2011, p. 397.

2

Стендаль, Пармская обитель.

3

William Henry Hill, Arthur F. Hill and Alfred Ebsworth Hill, The ViolinMakers of the Guarneri Family (1626—1762), Dover Publications, 2016, p. 6.

4

Ibid., P. xxviii.

5

Patricia Fortini Brown, Private Lives in Renessance Vinice, Yele University Press, 2004, p.123.

6

Elizabth M. Poore, Ruling the Market: How Venice Dominated the Early Printing World, Musical Offerings, vol. 6, no.I, Article 3, 2015, pp. 49-60. https:// bit.ly/2kpKmCk.

7

Ibid.

8

David Schoenbaum, The Violin: A Social History of the World's Most Versatile Instrument, Norton, 2013, p. 26.

9

Ibid., p. 7.

10

Roger Hargrave, The Cremonese Key to Expertise. https://bit.ly/30S Zvfl.

11

Toby Faber, Stradivarius: Five Violins, One Cello and a Genius, Macmillan, 2004, р.119.

12

W. Henry Hill, Arthur F. Hill and Alfred E. Hill, Stradivari, His Life and Work (1644—1737), Dover, 1963, p. 13.

13

Amelia Edwards, Untrodden Peaks and Unfrequented Valleys: A Midsummer Ramble in the Dolomites, Virago, 1986, pp. 169-71.

14

www.italy-tours-in-nature.com/vanoi.html

15

Amelia Edwards, Untrodden Peaks and Unfrequented Valleys: A Midsummer Ramble in the Dolomites, Virago, 1986, pp. 226-7. Если не указано иное, следующая информация о торговле древесиной между Альпами и Венецией взята из Gianfranco Bettega and Ugo Pistoia, Un Fiume di legno, fluitazione del legname dal Trentino a Venezia, with maps and illustrations by Roswitha Asche, Quaderni di cultura alpine, Priuli & Verlucca editori, 2010.

16

Karl Appuhn, A Forest on the Sea: Environmental Expertise in Renaissance Venice, Johns Hopkins University Press, 2009, p. 164.

17

Eleanor Selfridge Field, Venice in an Era of Political Decline, in G. J. Buelow (ed.), The Late Baroque Era, Man & Music, Palgrave Macmillan, 1993, p. 74.

18

David D. Boyden, The History of Violin Playing from Its Origins to 1761, Clarendon Press, 1965, p. 243.

19

John Spitzer and Neal Zaslaw, The Birth of the Orchestra: History of an Institution, 1650—1815, Oxford University Press, 2005, p. 117.

20

Ibid., p. 122.

21

Denis Arnold, Orphans and Ladies, Proceedings of the Royal Musical Association, 89th Sess. (1962—3), pp. 31—47, 35.

22

Жан-Жак Руссо, Исповедь, изд. Азбука, Москва, 2013 (Jean-Jacques Rousseau, Confessions, https://bit.ly/2KZgoiy)

23

Giuliano Procacci, The History of the Italian People, Penguin, 1978, p.248.

24

Charles Dickens, Pictures from Italy, Bradbury and Evans, 1846, p. 112.

25

Cissie Fairchilds, Marketing the Counter Reformation, in Visions and Revisions of Eighteenth-Century France, ed. C. Adams et al., Penn State Press, 2005.

26

Peter Spufford, Power and Profit: The Merchant in Medieval Europe, Thames & Hudson, 2006.

27

Rachel King, The Beads with which we Pray are Made of It, in Wietse de Boer and Christine Göttler, Religion and the Senses in Early Modern Europe, Brill, 2013, p. 165.

28

Rachel King, Finding the Divine Falernian, V&A Online Journal, Issue no. 5, Autumn 2013, ISSN 2043-667X. https://bit.ly/2BTe08p.

29

K. G. Fellerer and Moses Hadas, «Church Music and the Council of Trent», The Musical Quarterly, vol. 39, no. 4 (October 1953), pp. 576—7.

30

John Spitzer and Neal Zaslaw, The Birth of the Orchestra: History of an Institution, 1650—1815, Oxford University Press, 2005, p. 118.

31

Ibid., p. 160.

32

Michael Talbot, The Sacred Vocal Music of Antonio Vivaldi, L. S. Olschki, 1995, p. 61.

33

Paul Henry Lang, Tales of a Travelling Musical Historian, The Journal of Musicology, vol. 2, no. 2 (Spring 1983), pp. 196—205.

34

Charles Burney, The Present State of Music in France and Italy, Elibron Classics, 2005, p. 184.

35

David Schoenbaum, The Violin: A Social History of the World's Most Versatile Instrument, Norton, 2013, p. 289.

36

Charles Burney, The Present State of Music in France and Italy, p. 326.

37

Ibid., pp. 325-6.

38

Ibid., p. 327.

39

Toby Faber, Stradivarius: Five Violins, One Cello and a Genius, Macmillan, 2004, р.72.

40

С.Burney, The Present State of Music in France and Italy, pp. 273 and 303.

41

Ibid., p. 72.

42

Ibid., pp. 129—30.

43

Из письма, опубликованного в статье Alessandra Barabaschi, Tarisio's Cozio archive (https://bit.ly/2HU88zC). Позже Страдивари изготовил еще два инструмента, завершив комплектацию квинтета.

44

Gabriele Rossi Rognone (ed.), Strumenti musicali, guida alle collezione medicee e lorenesi, Galleria dell'Academia, Giunti, 2018, p. 327.

45

Bishop Burnet's Travels through France, Italy, Germany and Switzerland, 1750.

46

Harold Acton, The Last Medici, Cardinal, 1988, pp. 151-152.

47

Suzanne G. Cusick, Francesca Caccini at the Medici Court: Music and the Circulation of Power, University of Chicago Press, 2009, p. 61.

48

Ibid., p. 63.

49

Charles Burney, The Present State of Music in France and Italy, Elibron Classics, 2005, p. 303.

50

Toby Faber, Stradivarius: Five Violins, One Cello and a Genius, Macmillan, 2004, pp. 155—6.

51

John Dilworth and Carlo Chiesa, «Luigi Tarisio, part 1», Cozio Archive, 22 November 2017.

52

David Schoenbaum, The Violin: A Social History of the World's Most Versatile Instrument, Norton, 2013, p. 150.

53

Toby Faber, Stradivarius: Five Violins, One Cello and a Genius, Macmillan, 2004, P. 79.

54

Schoenbaum, The Violin, p. 42.

55

Toby Faber, Stradivarius: Five Violins, One Cello and a Genius, Macmillan, 2004, p.112.

56

Ibid., p. 143.

57

John Dilworth and Carlo Chiesa, Luigi Tarisio, part 2, Cozio Archive, 22 November 2017.

58

Faber, Stradivarius, pp. 143—5.

59

Jon Whiteley, Stringed Instruments, Ashmolean Museum, Oxford University Press, 2008, p. 56.

60

Ibid., p. 147.

61

Charles Beare, The Life of a Masterpiece, in The Absolute Stradivari: The «Messie» Violin 1716/2016, Catalogue for 'Lo Stradivari Messia torna a Cremona' Exhibition, 2016, pp. 26—7.

62

H. R. Haweis, My Musical Life, Longmans, 1868, p.317.

63

oneredpaperclip.blogspot.com

64

Elisabeth Braw, Stradivariuses, the Latest Financial Fiddle: Investors are Using Stradivariuses as a Hedge Fund, in Newsweek, 22 May 2014. https://bit. ly/2kxFzPt

65

Fred R. Myers (ed.), The Empire of Things: Regimes of Value and Material Culture, School of American Research Press, 2001, p. 12.

66

Charles Burney, The Present State of Music in France and Italy, Elibron Classics, 2005, p. 124.

67

R. Strom (ed.), The Eighteenth-Century Diaspora of Music and Musicians, Brepols, 2001.

68

Gesa Zur Nieden, in Musicians' Mobilities and Music Migrations, Biographical Patterns and Cultural Exchanges by Gesa Zur Nieden and Berthold Over (eds.), Transcript verlag, Blelefeld, 2016, p. 9.

69

John Rosselli, Music and Musicians in Nineteenth-Century Italy, Batsford, 1991, p. 17.

70

Ibid.

71

Marina Ritzarev, Eighteenth-Century Russian Music, Ashgate, 2006, pp. 39—41.

72

Большая часть моей информации о Перуци и его труппе взята из Daniel E. Freeman, The Opera Theater of Count Franz Anton von Sporck in Prague , in Janacek and Czech Music: Studies in Czech Music, Volume 1, M. Beckerman and G. Bauer (eds.), Pendragon Press, 1995.

73

Стендаль, Пармская обитель.

74

Il Teatro nelle Marche, architettura, scenografia, spettacolo, ed. Fabio Mariano, Nardini, 1997, p. 80.

75

Ibid., p. 24.

76

M. Salvarini, Il Teatro La Fenice di Ancona, Cenni storici e cronologia dei drammi in musica e balli, Fratelli Palombi Editori, 2001, p. 56.

77

G. Moroni, Teatro in musica a Senigallia, Fratelli Palombi Editori, 2001, p. 18.

78

Stendhal, Life of Rossini, John Calder, 1956, p. 399.

79

Ibid., p. 48.

80

Quoted by David Gilmour in The Last Leopard, Quartet, 1988, pp. 102—3.

81

David Gilmour, The Pursuit of Italy: A History of a Land, Its Regions and Their Peoples, Allen Lane, 2011, p. 166.

82

John Rosselli, The Opera Industry in Italy from Cimarosa to Verdi, Cambridge University Press, 1984, p. 39.

83

Santino Spinelli, Rom, Genti Libere, storia, arte e cultura di un popolo misconosciuto, Dalai editore, p. 76.

84

Ibid., p. 82.

85

Ibid.

86

Ibid.

87

Синти именуют цыган, живущих в Западной и Центральной Европе, а рома – это цыгане, живущие в Восточной и Южной Европе.

88

Santino Spinelli, Rom, Genti Libere, storia, arte e cultura di un popolo misconosciuto, Dalai editore, pp. 259—60.

89

Erik Levi, The Aryanization of Music in Nazi Germany, The Musical Times, vol. 131, no. 1763 (January 1990), pp. 19—23.

90

Robert K. Wittman and David Kinney, The Devil's Diary: Alfred Rosenberg and the Stolen Secrets of the Third Reich, William Collins, 2016, p. 362.

91

Erik Levi, Music in the Third Reich, Macmillan, 1994, pp. 212—13.

92

Howard Reich and William Gaines, How Nazis Targeted the World's Finest Violins, in Chicago Tribune, 19 August 2001.

93

Szymon Laks, Music of Another World, Northwestern University Press, Illinois, 1989, p. 5.

94

Ibid, p. 117.

95

James A. Grymes, Violins of Hope, Harper Perennial, 2014, p. 116.

96

Ibid, pp. 111—12.

97

Ibid., p. 134, цитируется рассказ Генри Майера.

98

Цитата из James A. Grymes, Violins of Hope, Harper Perennial, 2014, p. 134.

99

Akinsha Kozlov, Stolen Treasure, Weidenfeld, 1995, p. xvi.

100

Toby Faber, Stradivarius: Five Violins, One Cello and a Genius, Macmillan, 2004, p. 200.

101

Ibid, p. 201.

102

Ibid, p. 201.

103

Ibid, p. 201.

104

W. Henry Hill, Arthur F. Hill and Alfred E. Hill, Antonio Stradivari: His Life and Work (1644—1737), Dover Publications, 1963, p. 211.

105

Florian Leonhard, Florian Leonhard on a Mysterious Violin and the Process of Authentication, Strings magazine, 7 December 2016. https://bit.ly/2NoDf9d

106

Femke Colborne, Can you Tell a Fake Instrument from the Genuine Article? The Strad, 6 August 2019. https://bit.ly/2QhU6tA