“Arrivo a Milano dell’Improvvisatore Cicconi”
On the occasion of his arrival in Milan, Cicconi’s highly debated tragedy, “Parisina,” is remembered.
Tag: Florence
“Die heutigen Improvisatoren in Italien” (Illyrisches Blatt)
Drawing on Wilhelm von Müller’s Rom, Römer und Römerinnen, the article describes Sgricci and Taddei, the most famous Italian improvisatori of the day. The author is of the opinion that improvisation, although impressive and captivating, represents a regression (rather than progress) in the art of poetry.
“Inedited Letters of Celebrated Persons” (Mrs. Piozzi)
Piozzi writes of hearing Giannetti improvise a eulogy, and contrasts him with those who improvise verses to music.
“Luigi Cicconi Improvvisatore di Tragedie”
By improvising two tragedies in Florence, the young Cicconi has revealed that he is a worthy successor to Sgricci. He is garnering praise in distinguished journals such as L'Antologia di Firenze for his learned and poetic diction, his vivid action, and his beautiful choruses.
“Modern Italian Improvisatori” (London Magazine)
An article, translated from the German Morgenblatt, describing improvisation in Italy, with specific accounts of performances by Sgricci and Taddei in Rome, based on the travel writings of Wilhelm Müller. The author of the article appreciates the talents of both improvisatori, but does not view improvisation as an advancement of art and poetry more generally.
[Theodore Dwight], A Journal of a Tour in Italy
The American writer describes the exaggerated style of an improvisatore during the Carnival in Florence.
Charles Burney, The Present State of Music in France and Italy
Burney describes his meeting with Corilla and mentions her musical talent as well as her skill in poetic improvisation.
Charles Victor de Bonstetten, “Corilla, die Stegreifdichterin”
Bonstetten describes the famous improvisatrice Corilla. He writes that Corilla’s difference from other improvisatori consists in her knowledge of people, and her ability to make witty jokes for and about them. He also mentions other select details about her life and character, including her crowning at the capital in 1776.
Charles Victor de Bonstetten, Souvenirs
Bonstetten describes meeting Corilla in Florence, and praises her touching performance at a dinner – although he also quotes her as saying that real poets don’t improvise, but write.
Henrietta Louise, Countess of Pomfret, Correspondence between Francis, Countess of Hertford, and Henrietta Louise, Countess of Pomfret, between the Years 1738 and 1741
The Countess of Pomfret describes an improvised performance she witnessed in Florence, by a man and a woman improvising together. The Countess provides some details about the talents and virtue of the female improvisatrice in particular.
Hester Lynch Piozzi, Observations and Reflections Made in the Course of a Journey through France, Italy, and Germany
Piozzi describes her experience of poetic improvisation in Italy. While visiting Ferrara, she recalls the performance of the improvisatore Talassi in London in 1770, which brings about reflections on the practice of poetic improvisation in general. In Florence, she notes the fading voice of the aging Corilla, whose character however remains as sharp and humorous as ever, and emphasizes the charm of the younger and more beautiful Fantastici. Piozzi also praises the talents of the Abate Lorenzi and the Abate Bertola and comments on written and oral improvisation of Latin verses.
J. J. Volkmann, Historisch-kritische Nachrichten von Italien
In his travel notes, Volkmann describes Italian improvisation as a light diversion typical of that nation. He mentions several famous improvisatori, and notes that improvisation is not a new art form, but has existed for centuries.
Joh. Bernoulli, Zusätze zu den neuesten Reisebeschreibungen von Italien nach der in Herrn D. J. J. Volkmanns historisch kritischen Nachrichten angenommenen Ordnung
In a series of annotations, Bernoulli provides brief descriptions of some currently and recently living improvisatori.
John Moore, A View of Society and Manners in Italy
Moore writes that he does not expect Italian poetic improvisation to yield good poetry. However, he gives an anecdote of a thoughtful, elegant performance by Corilla.
Joseph Forsyth, Remarks on Antiquities, Arts, and Letters
Forsyth remarks on Fantastici’s impressive improvisatory techniques, but mentions that her published poetry is dull, suggesting that powerful poetic improvisation does not translate to poetic skill. Forsyth also compares the style of Italian improvisatori to Homer’s poetic style.
Joseph Jérome Le Français de Lalande, Voyage d’un François en Italie
Lalande lists and describes the most celebrated improvisatori in Italy, and claims that Lorenzi is the best.
Joseph Spence, Observations, Anecdotes, and Characters of Books and Men, Collected from Conversation
Spence compiles his own observations on the improvisation of poetry in Italy with Dr. Cocchi’s comments on Perfetti and Manfredi and anecdotes from the Abbe Vanneschi on contests between improvisatori.
M. Valery [Antoine Claude Pasquin], Historical, Literary, and Artistical Travels in Italy, A Complete and Methodical Guide for Travellers and Artists
The author recounts the decline of improvisation in Florence, and alludes to the former fame of improvisatori such as Sgricci, and before him Fra Filippo, who was one of the great improvisatori of the sixteenth century. The second excerpt is a brief mention of Fantastici, who in addition to improvising, also devoted herself to translation.
M. Valery [Antoine Claude Pasquin], Voyages historiques et littéraires en Italie, pendant les années 1826, 1827 et 1828; ou L’Indicateur Italien
The author recounts the decline of improvisation in Florence, and alludes to the former fame of improvisatori such as Sgricci, and before him Fra Filippo, who was one of the great improvisatori of the sixteenth century. In the second excerpt, he mentions seeing the crown Corilla received at the Capitol for her achievements as an improvisatrice.
Robert Gray, Letters during the Course of a Tour through Germany, Switzerland and Italy
Gray describes Corilla’s faded improvisatory abilities in her old age, and remarks that Italians–in general–have not lost the talent for poetic improvisation.