Univ.-Prof. Giulia NUTI , B.Mus., M.Phil.
Akademischer Titel: Univ.-Prof.
Nachgestellte(r) Titel: B.Mus., M.Phil.
Hauptinstrument: Cembalo
Tätigkeitsbereich: Universitätsprofessorin für Cembalo und Historische Aufführungspraxis
E-Mail: giulia.nuti@gmpu.ac.at
Fachbereich(e)
Cembalo und Historische Aufführungspraxis
Funktion
Universitätsprofessorin für Cembalo und Historische Aufführungspraxis
Künstlerisch-Pädagogisches Profil
Giulia Nuti was born in Cambridge and grew up in Florence. She specialises in Italian and French music and treatises of the late renaissance and baroque. Her solo recordings have won many awards, and are admired by music-lovers and scholars; her first solo CD, “Les Sauvages: Harpsichords in pre-Revolutionary Paris”, was released in 2014 with Deutsche Harmonia Mundi/Sony and was awarded a Diapason d’Or. Her second solo CD, “Le Coeur et l’oreille: Manuscript Bauyn” was released with Arcana/Outhere and was awarded the prestigious Preis der Deutschen Schallplattenkritik in 2017. This was followed with the publication of her recording of English virginalist music, “The fall of the leaf” in 2022 and, more recently, the Six Partitas of J.S. Bach; both were met with critial acclaim.
As a soloist, accompanist and continuo player she has appeared in concerts and music festivals throughout Europe (Festival Itnéraire Baroque en Périgord; I Concerti della Normale, Pisa; Muse Salentine Festival, Alessano; Innsbrucker Festwochen der Alten Musik; Bologna Festival; Ravenna Festival; Birmingham Early Music Festival; Festival Oude Muziek, Utrecht; Festival de Musica Antiga de Barcellona; Musikfestspiele Potsdam Sanssouci; Musica e Poesia a S.Maurizio; Torino Milano Festival Internazionale della Musica; Maggio Musicale Fiorentino; Amici della Musica, Firenze; Göttingen Handel Festival; Alderburgh Festival; Festival d’Ambronay; Altstadtherbst kulturfestival Dusseldorf; The Grange Festival, Hampshire; Buxton International Festival; Festival de Beaune; Teatro La Fenice, Venezia, among others).
She has performed with the ensembles Modo Antiquo, Musica Antiqua Roma, Il Pomo d’Oro, Il Complesso Barocco, The Academy of Ancient Music, Orchestra of the Age of Enlightenment, Maggio Musicale Fiorentino, Orchestra del Teatro la Fenice, Orchestra Toscanini, among others. She has recorded for Arcana/Outhere music, Deutsche Harmonia Mundi, Sony, Deutsche Grammophon, Naïve, Passacaille, Glossa. Since 2002, Giulia has taught harpsichord at the Scuola di Musica di Fiesole, in Florence. She has also given masterclasses, seminars and lectures at the Royal College of Music London, the Guildhall School of Music and Drama, the University of Birmingham, the University of Cambridge, the Conservatorio della Svizzera Italiana in Lugano. In 2024 she was appointed Universitätsprofessorin für Cembalo und Historische Aufführungspraxis at the Gustav Mahler Privatuniversität für Musik, Klagenfurt.
Wissenschaftliches Profil
Giulia studied at the Royal College of Music, London. After gaining Diplomas in Early Music, and in Harpsichord (winning the prizes in harpsichord, continuo, accompaniment, and early music) she took a First Class honours degree. She obtained her Masters degree, on Italian performance practice in early keyboard, at King’s College Cambridge.
Giulia has also published extensevely on basso continuo, improvisation and accompaniment; her book The performance of Italian basso continuo (Ashgate, 2007) is cited as an essential text for performers and scholars.
Publications Book Nuti, G. (2007). The performance of Italian basso continuo; style in keyboard accompaniment in the seventeenth and eighteenth centuries. Aldershot: Ashgate.
Book Contributions Nuti, G. (2023). Antonio Vivaldi's use of figures: «Per li coglioni» and other examples. In M. Mazzetti (Ed.), Basso continuo in Italy: Sources, Pedagogy and Performance. Brepols: Turnhout.
Nuti, G. (2022). A Thousand Kinds of Inventions. Considerations on the Accompaniment of Sacred Music in Rome in the First Half of the Seventeenth Century. In A. Campagne, M. Grassl (Eds), "Cantare nel Gravicembalo": Ensemble- und Begleitpraxis in der italienischen Musikkultur um 1600. Wiener jahrbuch fur musikwissenschaft, Anklaenge 2020/2021.
Nuti, G. (2009). 'Imitando l'Arietta, ò altro allegro, cantata di fresco': keyboard realization in Italian continuo arias. In M. Talbot (Ed.), Aspects of the Secular Cantata in Late Baroque Italy. Aldershot: Ashgate.
Articles MacRitchie, J., Nuti, G. (2015). Historical accounts of harpsichord touch with empirical measurements of the production and perception of dynamics on the 1788 Taskin. Frontiers in Cognitive Science 6:183 http://journal.frontiersin.org/article/10.3389/fpsyg.2015.00183/abstract Nuti, G., Solomon, A., Williamon, A. (2009). The Listening Gallery: Integrating music with exhibitions and gallery displays. In A. Williamon, S. Pretty, & R. Buck (Eds.), Proceedings of the International Symposium on Performance Science 2009 (pp. 341-346). European Association of Conservatoires AEC. Nuti, G. (2015) Giorgio Sanguinetti, The art of partimento: history, theory and practice [review article]. Il saggiatore musicale, Anno XXII, 2015, n. 1. Chiller-Glaus, S., Nuti, G., MacRitchie, J., (2016). Biases in the perception of dynamics in harpsichord performance. In Proceedings: 9th Triennial Conference of the European Society for the Cognitive Sciences of Music.