After Napoleon’s fall, Papal rule was re-established in Ferrara in 1815 and the Arciconfraternita della Morte was restored at San Cristoforo church. Some documents preserved at the Archivio storico diocesano (the Diocesan Historical Archive) of Ferrara point out that in 1816 its members decided to create a musical congregation. Following the model of the ancient Accademia della Morte, it was called Accademia Filarmonica. According to its statute, the main aim of this institution was to make a music ensemble available for Ferrara’s churches. This paper investigates some specific aspects of the Accademia: its administration, its relationship with the cappella musicale of the Cathedral and the main implementors of the initiative. Unfortunately, there is a lack of documentary evidence about its activity and musical practice; however, documents relating to the restoration of the choir in the Arciconfraternita’s church and the subsequent installation of an organ there exist. Although some aspects remain ambiguous, it is clear that the new Accademia reflects some changes in Ferrara’s musical life that occurred in the early 19th century.
L’Accademia Filarmonica emanazione dell’Arciconfraternita della Morte: il progetto per l’istituzione di un sodalizio musicale nella Ferrara della Restaurazione
Enrico Scavo
2022
Abstract
After Napoleon’s fall, Papal rule was re-established in Ferrara in 1815 and the Arciconfraternita della Morte was restored at San Cristoforo church. Some documents preserved at the Archivio storico diocesano (the Diocesan Historical Archive) of Ferrara point out that in 1816 its members decided to create a musical congregation. Following the model of the ancient Accademia della Morte, it was called Accademia Filarmonica. According to its statute, the main aim of this institution was to make a music ensemble available for Ferrara’s churches. This paper investigates some specific aspects of the Accademia: its administration, its relationship with the cappella musicale of the Cathedral and the main implementors of the initiative. Unfortunately, there is a lack of documentary evidence about its activity and musical practice; however, documents relating to the restoration of the choir in the Arciconfraternita’s church and the subsequent installation of an organ there exist. Although some aspects remain ambiguous, it is clear that the new Accademia reflects some changes in Ferrara’s musical life that occurred in the early 19th century.I documenti in SFERA sono protetti da copyright e tutti i diritti sono riservati, salvo diversa indicazione.
