Research - Javier Lupiáñez

The Thematic Catalogue of the Musical Works of Johann Georg Pisendel (PW): I. The Chamber Music. Fabrizio Ammetto, Francisco Javier Lupiáñez Ruiz, Luis Miguel Pinzón Acosta. “Ad Parnassum. A Journal of Eighteenth- and Nineteenth-Century Instrumental Music“ Volume 20, Issue 39 (October 2022), pp. 1-25.
Three New Sonatas for Violin and Continuo by Johann Georg Pisendel. “Ad Parnassum. A Journal of Eighteenth- and Nineteenth-Century Instrumental Music“ Volume 18, Issue 35 (April/October 2020), pp. 39-68.

Completando lo inacabado. Consideraciones sobre el compositor, el intérprete y la ornamentación a través de los manuscritos de Johann Georg Pisendel. “Quodlibet, revista de especialización musical” Núm. 73 (2020), pp. 7-49.

Personal Manuscripts as Sources for Ornamentation: the Embellishments of Pisendel in Schrank II, with a Special Focus on Vivaldi. Early Music Performer, Issue 46, Spring 2020.

Las anotaciones de Pisendel en el Concierto para dos violines RV 507 de Vivaldi: Una ventana abierta a la improvisación en la obra del “Cura Rojo”. Javier Lupiáñez – Fabrizio Ammetto ‘Musical Improvisation in the Baroque Era’, Brepols (Turnhout, Belgium) Series of Centro Studi Opera Omnia Luigi Boccherini, 2019

Una nuova cadenza vivaldiana in un concerto per violino anonimo – A New Vivaldi Cadenza in an Anonymous Violin Concerto. Javier Lupiañez – Fabrizio Ammetto. Studi Vivaldiani 17

Pisendel. Neue Sonaten. Booklet. Snakewood Editions, SCD202001, 2020.
1717. Memories of a Journey to Italy. Booklet. Snakewood Editions, SCD201801, 2018.
TELEMANN.Chamber music treasures from Dresden and Darmstadt. Booklet. Musica Ficta MF8029 , 2018
Antonio Lucio Vivaldi. Nuove Sonate. Booklet. Ayros, AY-RA02, 2016
Georg Philipp Telemann. Booklet. Ambronay Éditions, AMY 302, 2012
Transfigurations. Booklet. Ambronay Éditions, AMY 039, 2013

Nardini’s Italian style of ornamentation vs German style. Convegno internazionale di studi dedicato a Nardini nel terzo centenario della nascita. Università Roma Tre

Ornamentando en los tiempos de Herrando. Jornadas “José Herrando” de Castellón

“Wild and eccentric”. Ornamenting in the style of Vivaldi’. “LOOK AGAIN” | Early Music Seminar.

New approaches to ornamentation in the 18th century though the “working manuscripts” of Johann Georg Pisendel. The 19th Biennial International Conference on Baroque Music 2021.

«Un gusto barbaro». Vivaldi’s Italian ornamentation style versus Quantz’s German mixed style. Lecture and workshop at Mozarteum, Salzburg, 9th June, 2021

Ornamentation sources on how [not] to follow the rules. The embellishments of Pisendel in the Schrank II, with a special focus on Vivaldi. Lecture and workshop at Mozarteum, Salzburg, 5th June, 2019

Pisendel ornamenta Vivaldi. IX Coloquio Interno de Exposición de Avances de Tesis del Posgrado en Artes de la Universidad de Guanajuato, Mexico, 28th May 2019

The annotations of Johann Georg Pisendel in the Dresden manuscripts: an open window to the improvisation in the first half of the 18th century. The 18th Biennial International Conference on Baroque Music will be hosted by the Musicology and Cultural Heritage Department of Pavia University in Cremona, from Tuesday 10 July to Sunday 15 July, 2018.

Pisendel’s annotations in the Concerto for two violins RV 507 by Vivaldi: an open window on improvisation in the work of the “Red priest”. International Conference “Musical Improvisation in the Baroque Era” Lucca, Complesso Monumentale di San Micheletto, 19-21 maggio 2017

New discoveries of Vivaldi in Dresden: trio sonata RV 820, sonata RV 205/2 and a new vivaldian cadenza in an anonymous concerto. Ex umbra in solem: On musical works that have been lost, rediscovered or deserve reassessment Haliciana Schola Cantorum, L’viv, Ukraine, November, 2017

Nuevos Descubrimientos Vivaldianos en Dresde, metodología de la identificación. Lecture at Conservatorio Superior de Música de Vigo, Spain, February, 2017

New discoveries of Vivaldi – Attribuzione definitiva di composizioni dubbie ad Antonio Lucio Vivaldi. Lecture at Conservatorio Statale di Musica, Cagliari, Italy, March, 2016

New discoveries of Vivaldi in Dresden. Lecture-Recital at Festival Musica Antica, The Hague, The Netherlands, September, 2016

Some anonymous works that I have managed to name:

Corelli – Sonata Op. 5 No. 9 by Corelli transcribed for organ in the Ms. HC449c2/C28 (pp. 35-43). Foundling Museum, Gerald Cock Handel Collection
Colombi or Lonati movement inserted in a Bitti Sonata. Mus.2362-R-2. The 3rd movement of a sonata by Bitti TalB SV10 can be also found in Colombi’ sonata contained in Libro XIV.
Leclair – A movement of a Leclair Sonata (Op. 1, No. 7/3) inserted in the anonymous sonata Mus.2-R-8,33.
Maccarani – A movement form Trattenimenti musicali Op. 1 by Stefano Alli Maccarani inserted in an anonymous sonata from the Schrank II, Mus.2-R-8,19.
Pisendel – Three new violin sonatas.
Vivaldi – A new violin cadenza. See: Una nuova cadenza vivaldiana in un concerto per violino anonimo – A New Vivaldi Cadenza in an Anonymous Violin Concerto. Javier Lupiañez – FabrIzIo Ammetto. Studi Vivaldiani 17.
Vivaldi – Basso part of Vivaldi concerto RV 205 (second movement).inserted in an anonymous sonata Mus.2-R-8,50.
Vivaldi – Sonata for violin and continuo RV 205a.
Vivaldi – Triosonata for violin, violoncello and continuo RV 820.
Westhoff – Imitatione delle Campane inserted as last movement in an anonymous sonata. Mus.1-R-70. See: Kees Vlaardingerbroek – Michael Talbot, Vivaldi, Bariolage and a Borrowing from Johann Paul von Westhoff – Vivaldi, il bariolage e un imprestito da Johann Paul von Westhoff in Studi Vivaldiani (18). See p. 97.