Francesca Calciolari – Casa Ricordi

I completed my doctoral studies in musicology at Cremona, and I am grateful to have the chance to recall this experience. When I arrived in Cremona I discovered a whole new world and immediately plunged into it, trying to absorb as much as possible. It was not always easy, but I was well aware of the exclusive opportunity I had been given, and of the fact that this Department is unique in the Italian academic panorama, offering as it does a professional training that is at the same time varied, specific and complete as regards this field of research. Concurrently, it was fundamental for me to come into contact with other historical contexts and disciplines thanks to the chance of attending the seminars and conferences that were part of this PhD program, as well as those held at other institutions in Italy, above all Bologna and Venice. All of this gave me the chance to acquire knowledge of research methodologies and a critical and comparative outlook that has proved its usefulness throughout my career.

At the end of the program, I was immediately offered employment by the Ricordi publishing house. I began by working in its historical Archives, and found it highly stimulating, right from the start, to apply the expertise I had acquired to a concrete professional situation, faced with requests from users, readers and the “public”. Over the years I have covered various roles within this firm, coming into contact with our contemporary composers and dealing with theatres, engaged – in a word – in ‘live’ musicology. I am convinced that I was able to reach my current position thanks inter alia to the training I received during the years of my doctoral studies.

Federica Rovelli - Beethoven-Haus

Cremona has been my home for over 12 years. Like many other students, I came there with a great passion for music, history, literature and philosophy; and I could not imagine how my life would be changed from that moment onward. Those years were an important transformational experience for most of us. We had the opportunity to develop our professional skills in a stimulating environment constituted by small groups of people. We had the opportunity to work side by side with international recognized musicologists who were coming from different experiences and could follow closely our educational path. The most important thing I learned during those years, something that also remains a fundamental part of my professional strategy today, is to work using different points of view and experimenting different methodological approaches – in other words: to keep learning.

Following my graduation, I started immediately to collaborate as tutor for the younger students and I obtained my PhD in “Musicology and Philological Sciences” in 2009. My international experiences and philological specialization improved exactly in that period with the encouragement of my supervisors and the help the professional network I developed in the same years. In 2012 I was awarded with a fellowship of the Alexander von Humboldt Foundation, which definitely changed my career. Now I have the great honor to work for one of the most important musicological fundamental projects about Beethoven in Europe (Beethovens Werkstatt. Genetische Textkritik und digitale Musikedition) in the institution where, I could say, our discipline was born: the Beethoven-Haus in Bonn. I would not be here today without the experiences in Cremona.

I am very glad to learn about the initiative of the new international master in musicology Music and Cultural Practice in Europe, organized by the Department of musicology and cultural heritage in Cremona. I believe that other young scholars coming from different parts of the word should have the right to such formative experiences and that the Department deserves to became an official international reference point for our disciplines.

Michele Calella - The University of Vienna

Studying musicology in Cremona was an extraordinary experience for me, and proved to be fundamental for my musicological training and my activities abroad. Over the years in which I have studied and taught in other universities, I have rarely encountered an academic environment as rigorous as the one responsible for the training I received at the Department of Musicology and Cultural Heritage (then known as the “Scuola di Paleografia e Filologia musicale”). The faculty provided me with the basic methodological tools necessary for an extremely solid philological, analytical and aesthetic approach to the discipline, all of which significantly eased my access to an academic career.

When I arrived in Cremona in 1986 my goal was to become an expert in medieval music, and I can still recall the thrill I felt during the first lesson as I observed, fascinated, reproductions of illuminated codices. But Cremona is also the place where I reoriented my studies, dedicating myself to 18th century opera, which became my primary field of research. Only years later, when in Germany and Switzerland I became interested in the composer as “author” in the Middle Ages and the Renaissance, was I able to rely on the knowledge I had gained in this area at my alma mater. It was in Cremona that, engaged in my first critical readings of texts by Dahlhaus, my interest was kindled for the kind of epistemological discussion that is still part of my research program.

Still today, I advise my students to receive part of their musicological training in Cremona: the intense contact between the teaching staff and students, the high level of the courses, the research output of professors with a huge international reputation and the excellent library make of this department a circle of intellectuals that continues to train and inspire generations of researchers.

The Department of Musicology and Cultural Heritage of the University of Pavia is in my opinion the ideal setting for an international master’s course in which cutting-edge research can be conjoined with an intense instructive training. Few musicological institutions in the world can boast the professional contribution of as many prestigious specialists.

Constanze Köhn - Musicology Student

Stefano Vizioli - Opera Director