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MECENATISMO MUSICALE NELLA ROMA DEGLI ANNI TRENTA: I CONCERTI DI PRIMAVERA DI MIMÌ PECCI-BLUNT.

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Title: MECENATISMO MUSICALE NELLA ROMA DEGLI ANNI TRENTA: I CONCERTI DI PRIMAVERA DI MIMÌ PECCI-BLUNT. (Croatian)
Authors: MARAS, ALESSANDRO
Source: Il Saggiatore Musicale; 2023, Vol. 30 Issue 2, p193-218, 26p
Subject Terms: FASCISM, ART patronage, POLITICS & culture, CENTERS for the performing arts, 20TH century music, CONCERTS
Geographic Terms: ROME
Abstract: The musical activities carried on by Countess Anna Laetitia 'Mimì' Pecci-Blunt in Rome during the 1930s were a shining exception within the challenging, conservative, and oppressive context of fascist culture. The Pecci-Blunt sphere - internationalist, aristocratic, cultured, and progressive - managed to disentangle itself from the interference of power, and from a public that was sometimes uninterested in European musical and artistic novelties. In the process, it established itself as one of the major, if not the only, social and artistic salons in the capital. Building on several inter-artistic initiatives already underway in Paris - such as the Société de la Sérénade, of which Pecci-Blunt was among the patrons - the countess inaugurated a series of musical initiatives in Rome that was first called 'Concerti di primavera' (1934-36) and then 'Sabati di primavera' (1937). Thanks to the musical advice of Vittorio Rieti and Mario Labroca, through careful socio-cultural policy, and by means of a constant dialogue with the literature and art cultivated in the parallel institution of the Comet Gallery, each concert hosted music from the Western canon (from Palestrina to Ravel) and the debut of the young Italian school (Petrassi, Salviucci, Dallapiccola etc.). Concerts also featured World, Italian or Roman premieres of works performed by some of the most established soloists of the time or by the composers themselves, most prominent among whom Stravinsky, Hindemith, Poulenc and Milhaud. Through this essay, I intend not only to reconstruct these concert series for the first time, but also to shed light on the role of the Pecci-Blunt salon within the cultural politics of the Rome of the Ventennio. I also aim to address the function of the salonnière in a context dominated by "fascist virilities," and thus to illustrate the dynamics and outcomes of production and promotion of contemporary music of Europeanist tendencies in one of the periods and places least open to this kind of practice. [ABSTRACT FROM AUTHOR]
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Abstract:The musical activities carried on by Countess Anna Laetitia 'Mimì' Pecci-Blunt in Rome during the 1930s were a shining exception within the challenging, conservative, and oppressive context of fascist culture. The Pecci-Blunt sphere - internationalist, aristocratic, cultured, and progressive - managed to disentangle itself from the interference of power, and from a public that was sometimes uninterested in European musical and artistic novelties. In the process, it established itself as one of the major, if not the only, social and artistic salons in the capital. Building on several inter-artistic initiatives already underway in Paris - such as the Société de la Sérénade, of which Pecci-Blunt was among the patrons - the countess inaugurated a series of musical initiatives in Rome that was first called 'Concerti di primavera' (1934-36) and then 'Sabati di primavera' (1937). Thanks to the musical advice of Vittorio Rieti and Mario Labroca, through careful socio-cultural policy, and by means of a constant dialogue with the literature and art cultivated in the parallel institution of the Comet Gallery, each concert hosted music from the Western canon (from Palestrina to Ravel) and the debut of the young Italian school (Petrassi, Salviucci, Dallapiccola etc.). Concerts also featured World, Italian or Roman premieres of works performed by some of the most established soloists of the time or by the composers themselves, most prominent among whom Stravinsky, Hindemith, Poulenc and Milhaud. Through this essay, I intend not only to reconstruct these concert series for the first time, but also to shed light on the role of the Pecci-Blunt salon within the cultural politics of the Rome of the Ventennio. I also aim to address the function of the salonnière in a context dominated by "fascist virilities," and thus to illustrate the dynamics and outcomes of production and promotion of contemporary music of Europeanist tendencies in one of the periods and places least open to this kind of practice. [ABSTRACT FROM AUTHOR]
ISSN:11238615