1 1 1 1 The Places of Music in Venice: the city's Conservatory Benedetto Marcello inaugurates its Museum The Benedetto Marcello Conservatory in Venice has recently inaugurated its Museum: during restoration works a number of frescoes and alchaemic signs opened up for the possibility of a "massonic temple" within Palazzo Pisani, an affiliation perhaps of its historical owners.

The institute's instruments have been gathered in various thematic areas: stringed, wind, other than various mementos, drawings, photographs, signed scores that are witness to the school's history and the presence of great personalities. Of particular relevance the double basses, the ancient pianos, the harps and some wind instruments. The oldest piece is a natural horn dated XVII century. A viola d'amore attrubuted to Santo Serafin, a bust of the composer Giuseppe Verdi, one of his unmistakable berets. Among the documents of the rich library, the scores of six Vivaldi violin concerts dedicated by the composer to Anna Maria "dal violin" by Federico Guglielmo.

The exhibition is located in one of the most prestigious sections of the Palazzo; spaces which were part of the nuptial apartment of its then owner, Alvise Pisani.

Other historical sites in Venice host collections of ancient instruments, for example: 

Museum of the Music (Church of San Maurizio):The Music Museum is an exhibition dedicated to one of the artistic demonstrations that highlighted the Italian culture: the liuteria (the making of musical instruments). Venice, the city where exposition takes place, has been the “storage” of important instrument constructers, particularly for violins. Its craftsmen were excellent in the experimenting and production of musical instruments that were continuously worked and progressed on until responding in an optimal way to the needs of the sonority that was slowly defining those days. Throughout the Music Museum, Interpreti Veneziani narrates the '700, epoch that represents the most significant period of the Italian violin-making tradition, is narrated throughout the Music Museum. It is, in fact, the decade that goes through the achievement of the Cremonese School, that later became and remained, for today’s public, as a referring point for the construction of strings instruments. 
The exhibition of “Antonio Vivaldi e il suo tempo”, which is hosted in the splendid Church of San Maurizio, has the goal to relive the sound of musical instruments, such as Amati, Guadagnini and Goffriller, in an environment of beauty and history, creating a moment of absolute perfection. 
This is the tribute of Artemio Versari and of the Interpreti Veneziani in the city of Venice. (free entrance www.museodellamusica.com)

Church of San Giacomo, Rialto: the Antonio Vivaldi Collection 
(in collaboration with Prof. Artemio Versari) (http://www.museodellamusica.com/gli-strumenti-della-chiesa-di-san-giacomo-di-rialto) hosts violins (for example Paolo Antonio Testore 1760), cellos (Pietro Paolo Desideri, 1795), mandolins (Vincenzo Vinaccia, 1761), a 1600 archlute and a 1850 hurdy-gurdy (both anonimous). (Free entrance http://www.museodellamusica.com/gli-strumenti-della-chiesa-di-san-giacomo-di-rialto) />
Church of San Vidal, Campo San Vidal: The following violin-makers' instruments are on permanent exhibit: L.Bisiach 1896, R.Antoniazzi 1906, S.Scarampella 1905, G.Ornati 1921, F.Garimberti 1954, A.Poggi 1936, A.Pollastri 1925, E.Soffritti 1926, G.Fiorini 1925, G. Sgarabotto 1922, C.Oddone 1931, E.E.Guerra 1920, A.Fagnola 1928. C.Candi 1915, E.Rocca 1907, V.Postiglione 1907, A.Fracassi 1958, E.Degani 1887,M.Capicchioni 1967 (free entrance, www.interpretiveneziani.com).

Procuratie Nuove del Museo Correr, San Marco:
the following violins are on showi: Giorgio Serafin, 1749, Santo Serafin, 1730,  Jakob Stainer,1674 and a Stradivari, 1707. (http://www.museodellamusica.com/gli-strumenti-della-chiesa-di-san-giacomo-di-rialto) />
Music Room at the Querini Stampalia Foundation (Campo Santa Maria Formosa): here we find a number of string and wind instruments belonging to the original owning family. Amongst the most interesting ones two violins attributed to the first significant instrument craftman working in Venice, Martinus Kaiser (Füssen, 1642 circa - ?. 1695 circa), believed to be the Maestro of Venetian violin-making, and the two small arches for violin attributed to Carlo Tononi (Bologna, 1625 – Venice, 1730). Tononi used to initial his works with a negative fire stamp (the name appears clear with a burning all around) in two different points: on the strips near the button and, at the bottom, below the knuckle as evidenced on the two arches of this collection. There exist only three arches by Tononi; the third is part of the Albert Cooper collection. Worth of notice also the "ribalta con alzata"(wood and walnut briar-rootband flap), collocated between the windows, dating back to the first half of the XVIII century. It is a prestigious piece of forniture made of two parts separated by golden elements onion-shaped lathed veneered in walnut briar-rootband and embellished by gracious golden finishes that light up the bureau-trumeau’s coat. At reception times this piece of furniture was left open to reveal the collection of little statues in the dedicated compartments, an all-Venetian theatre (www.museodellamusica.com).

The Museum of the Benedetto Marcello Conservatory
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