Luca Lévi Sala PhD

• Music Criticism and the Eugenic Representation of Fascist Language
• Music and Politics in the Rise of the Italian Fascist State: the View from the Press
• Composers as Officials and Critics on the Eve of the Italian Racial Laws
• The Concept of Sacred and Religious in the Deformed Linguistic Fascistization of the Italian Music Press in the 1930s.
• Sacred and Music: Religious Symbolism in Luigi Dallapiccola's Works

• Muzio Clementi (1752-1832). Studies of the Autograph Scores
• New Catalogue of the Works of Muzio Clementi (Thematic Catalogue with updated Bibliography for each work, Documents and Iconography relevant to Muzio Clementi’s life)

• Text, Sound and Performance (1650-1850): Treatises, Places and Instruments
• Music Philology and the Sound: Living Text and Performance Practice

In preparation

• Music Philology and the Critical Editing of Music.
• Muzio Clementi (1752-1832). Studies of the Autograph Scores.
• New Catalogue of the Works of Muzio Clementi (Thematic Catalogue with updated Bibliography for each work, Documents and Iconography relevant to Muzio Clementi’s life), Bologna, Ut Orpheus Edizioni (Opera Omnia, Italian National Edition XV).
• “The I-BGi Preis.h1.8764 Autograph: ‘Haydn’s Symphonies Scored by Clementi.’ A New Source of the London Symphonies,” to be submitted Eighteenth-Century Music (Cambridge University Press).

• 2025, Book: Music Criticism and Politics in the Italian Fascist State in the 1930s, committed for Palgrave & Macmillan (NY).
• 2023, Critical Edition: Muzio Clementi: Sonatas for Piano Op. 32 and W06, Bologna, Ut Orpheus, (Opera Omnia, Italian National Edition IX.2, CCE 4).
• 2023, Peer-Reviewed Dictionary Article: “Music and Italian Fascism,” Oxford Bibliographies Online, Music Subject Area, Kate Van Orden (ed.), Oxford-New York, Oxford University Press (2011—).

• 2022, Muzio Clementi: Musical Characteristics for Harpsichord (Piano) Op. 19, 1 “Fantaisie avec Variations” for Piano Op. 48 and 12 Monferrinas for Piano Op. 49, Bologna, Ut Orpheus, (Opera Omnia, Italian National Edition IX.2, CCE 4), xli-143, ISMN: 979-0-2153-2613-2.

• 2022, “Michela Niccolai-Charlotte Ginot-Slacik”, Musiques dans l'Italie fasciste (1922-1943), Fayard, 2019,” Revue de Musicologie, (108/2, 2022), Paris, Société française de musicologie, 521-523, ISSN 0035-1601.

• 2021, “Cultural Cleansing in Italian Music Criticism in the early 1930s: Autarchy, Eugenics and Anti-Semitism,” in Italian Jewish Musicians and Composers during Fascism: Let Our Music Be Played, ed. Annalisa Capristo and Alessandro Carrieri (London-New York: Palgrave Macmillan).
• 2020, Book (ed.): Jewishness, Jewish Identity and Music Culture in 19^th Century Europe, (Bologna: Ut Orpheus Edizioni), ISBN: 978-88-8109-521-6.
• 2019, “Mieczysław Karłowicz Dzieła / Werke / Works,” Studia Chopinowskie 2, no. 4, Warsaw, Narodowy Instytut Fryderyka Chopina, ISSN 2545-0883 (studiachopinowskie.pl/pages/issue/111/7#121).
• 2019, “Clementi, Muzio,” (with Leon Plantinga and Alan Tyson), Grove Music Online, Deane Root (ed.), Oxford University Press (doi:10.1093/gmo/9781561592630.article.40033).
• 2019, “«Much land and water have I and my sweet companion run over…»: newly discovered letters from Muzio Clementi to Gottfried Christoph Härtel,” Early Music 47, no. 4 (November 2019), Oxford, Oxford University Press, doi.org/10.1093/em/caz082, 569-581.
• 2019, “Clementi, Muzio,” Oxford Bibliographies Online, Music Subject Area, Kate Van Orden (ed.), Oxford-New York, Oxford University Press (2011—), (doi: 10.1093/OBO/9780199757824-0253).
• 2019, Muzio Clementi and British Musical Culture: Sources, Performance Practice, Style (with Rohan H. Steward-MacDonald), New York, Routledge, ISBN 978-1-138-63389-6.
• 2019, “Muzio Clementi’s Output Beyond England: Dissemination, Issues of Authenticity and Textual Problems in Vienna (1787-1799),” Muzio Clementi and British Musical Culture, cit., 41-68, ISBN 978-1-138-63389-6.
• 2018, Muzio Clementi: Sonatas for Piano or Harpsichord Opp. 7-10 (with Rohan H. Steward-MacDonald), critical edition, Bologna, Ut Orpheus Edizioni (Opera Omnia, Italian National Edition VIII.2, CCE 3), lii+181, ISMN 978-88-8109-499-8, ISBN 979-0-2153-2382-7.
• 2018, “Karłowicz, Mieczysław,” Oxford Bibliographies Online, Music Subject Area, Bruce Gustafson (ed.), Oxford-New York, Oxford University Press (2011—), (doi: 10.1093/OBO/9780199757824-0232). 
• 2017, “Autograph Revisions and Reissues. Performance Practice and Publishing in Clementi’s Op. 12: The ‘Lawrell’ Collection (US-NH),” Ad Parnassum. A Journal of Eighteenth- and Nineteenth-Century Instrumental Music (XV/30), Bologna, Ut Orpheus Edizioni, ISSN 1772-3954, 61-94.
• 2017, Report: “The Italian National Edition of the Complete Works of Muzio Clementi,” Eighteenth- Century Music (14/1), Cambridge University Press, ISSN 1478-5706, 1-2, doi: 10.1017/S1478570616000452.
• 2015, “Le fonti secondarie francesi dello Stabat Mater 61 di Luigi Boccherini: due manoscritti inediti,” Die wiener Klassiker und das Italien ihrer Zeit, Petra Weber (ed.), Munich, Fink, 217-226, ISBN 978-3-7705-5875-9.
• 2016, Luigi Boccherini: Stabat Mater (Due Versioni/Two Versions/Zwei Versionen) G 532, critical edition, Bologna, Ut Orpheus Edizioni (Opera Omnia, Italian National Edition VI, BCE 6), cxxxviii+190, ISMN 979-0-2153-2378-0, ISBN 978-88-8109-498-1.
• 2014, “Le Stabat Mater 61 (1801) de Luigi Boccherini: genèse et état des sources,” Revue de Musicologie, (100/2), Paris, Société française de musicologie, ISSN 0035-1601, 323-356.
• 2014, “An Unpublished Letter by Mieczysław Karłowicz and Others Previously Unknown Documents. The «Souvenirs inédits de Frédéric Chopin»: New Evidence,” Ad Parnassum. A Journal of Eighteenth- and Nineteenth-Century Instrumental Music (XII/24), Bologna, Ut Orpheus Edizioni, ISSN 1772-3954, 55-88.
• 2014, “Propaganda, Negotiations, and Antisemitism at the Teatro La Fenice, 1937–43: Proscription Lists and Other Unpublished Documents,” Journal of Musicological Research (33/4), Routledge, ISSN 0141-1896, doi: 10.1080/01411896.2014.954510, 271-314.
• 2014, “Deux manuscrits inconnus du Stabat Mater 61 de Luigi Boccherini,” Quatre siècles d’édition musicale. Mélanges offerts à Jean Gribenski, Joann Élart, Etienne Jardin and Patrick Taïeb (ed.), Basel, Peter Lang, 147-155, ISBN 978-2-87574-212-4.
• 2014, “J.P.E Harper-Scott, The Quilting Points of Musical Modernism: Revolution, Reaction, and William Walton, New York, Cambridge University Press, 2012.” Review, Notes (70/4), New York, Music Library Association, ISSN 0027-4380, doi:10.1353/not.2014.0066, 710-712.
• 2014, “Le Stabat Mater (1781) de Luigi Boccherini: nouveaux témoignages sur le manuscrit M. 2103.3 B65 de la Bibliothèque du Congrès de Washington,” Boccherini Studies: New Evidence, Christian Speck (ed.), Bologna, Ut Orpheus Edizioni, 95-117, ISBN 978-88-8109-486-8.
• 2014, “Le manuscrit espagnol I-Li PI 233 du Stabat Mater 61 de Luigi Boccherini: ce que les sources nous disent,” Boccherini Studies: New Evidence, Christian Speck (ed.), Bologna, Ut Orpheus Edizioni, 119-139, ISBN 978-88-8109-486-8.
• 2013, “Gli anni Quaranta di Luigi Dallapiccola tra ricostruzione ed espressione e la genesi di Rencesvals: note di carteggio inedito,” Umbruchzeiten in der italienischen Musikgeschichte, Roland Pfeiffer and Christoph Flamm (ed.), Kassel, Bärenreiter («Analecta Musicologica», 50), 187-212, ISBN 978-3-7618-2136-7.
• 2012, Muzio Clementi: Concerto per cembalo e orchestra/Concerto for Piano and Orchestra Op-sn 30, critical edition, Bologna, Ut Orpheus Edizioni (Opera Omnia, Italian National Edition II.5, CCE 2), xxxix+65, ISMN 979-0-2153-1996-7, ISBN 978-88-8109-477-6.
• 2011, “«Allo stato di intuizione». Precisazioni a margine di Volo di notte di Luigi Dallapiccola,” Studi Musicali (Anno 2 - NS/2), Roma, Accademia di Santa Cecilia, ISSN 0391-7789, 447-490.
• 2011, “«What has already been will return no more». Bianca da Molena by Mieczysław Karłowicz: A test of musical theater,” Ad Parnassum. A Journal of Eighteenth- and Nineteenth-Century Instrumental Music (IX/18), Bologna, Ut Orpheus Edizioni, ISSN 1772 3954, 41-70.
• 2011, “«Vol de Nuit» de Luigi Dallapiccola. Ce que les sources nous disent,” Musique et Littérature au XXe siècle, Francis Buil, Belén Hernández Marzal and Paloma Otaola González (ed.), Lyons, Éditions Lyon 3 (Université Jean-Moulin), 401-421, ISBN 978-2-916377-98-8.
• 2011, Review: “Stephen Downes, Music and Decadence in European Modernism: The Case of Central and Eastern Europe, Cambridge University Press, 2010,” Rivista Italiana di Musicologia (xlvi/2011), Lucca, LIM, 2011, ISSN 0035-6867, 309-310.
• 2010, European Fin-de-siècle and Polish Modernism: The Music of Mieczysław Karłowicz, Bologna, Ut Orpheus Edizioni, xiv+416, ISBN 978-88-8109-467-7. Published under the auspices of the Polish Cultural Institute in Rome [Review in: Nineteenth-Century Music Review (2011/8), 322-325, ISSN 1479- 4098, Cambridge University Press, by Anne Swartz (Baruch College and The Graduate Center, The City University of New York); Ad Parnassum. A Journal of Eighteenth- and Nineteenth-Century Instrumental Music(IX/18), Bologna, Ut Orpheus Edizioni, ISSN 1772 3954, 73-75, by Didier Van Moere (Grenoble University); Polish Contemporary Music Magazine, Cracow, 3/10, Polskie Wydawnictwo Muzyczne, ISSN 2080-4598, 14; Fontes Artis Musicae (60/1), 35-37, by Maja Trochimczyk (Moonrise Press, Los Angeles); Muzyka. Kwartalnik poświęcony historii i teorii muzyki (LVIII/2:229), ISSN 0027-5344, 94-99, by Grzegorz Zieziula (Polish Academy of Sciences)].
• 2006, “Veracini, Francesco Maria,” Die Musik in Geschichte und Gegenwart. Allgemeine Enzyklopädie der Musik, begründet von Friedrich Blume. Zweite, neubearbeitete Ausgabe, Ludwig Finscher (ed.), 29 vols., Kassel-Basel-London-New York-Prague, Bärenreiter; Stuttgart-Weimar, Metzler, 1994-2008, vol. 16, 1419-1423, ISBN: 978-3-7618-1100-9. Also, “Veracini, Francesco Maria,” MGG Online, Laurenz Lütteken (ed.), Kassel, Stuttgart, New York, 2016 (https://www.mgg-online.com/mgg/stable/12603).
• 2002, Muzio Clementi: Studies and Prospects (with Roberto Illiano and Massimiliano Sala), Introduction by Leon Plantinga (Yale University), Bologna, Ut Orpheus Edizioni, xxviii-473, ISBN 978-88-8109-448-6.

Papers, Talks and Guest Lectures

Accepted

• 2023, Talk: “«Haydn’s Symphonies Scored by Clementi».” A New Source of the London Symphonies,” SECM 10th Conference, Denton (TX), October 5-8.

Attended (Selected)

• 2022, Talk: “«Haydn’s Symphonies Scored by Clementi».” A New Source of the London Symphonies,” American Musicological Society (HSNA Mini-Conference), Hilton New Orleans Riverside, New Orleans, November 10.

• 2022, Invited Talk: “Music Criticism, Eugenics, and Anti-Semitism in Fascist Italy,”Jews in the Italian Musical Life, 1450-1950, organized by the Center for Jewish Studies, Arizona State University, Tempe, November 6, 2022.
• 2022, Invited Keynote Speaker: “«Il Musicista» and the National Fascist Union of Musicians: Chronicle of a Racist Rationale,” Music and Institutions in Fascist Italy, organized by Centro Studi Opera Omnia Luigi Boccherini (Lucca), October 8, 2022.
• 2022, Talk: “«Haydn’s Symphonies Scored by Clementi».” A New Source of the London Symphonies,” AMS-Greater NYC (Spring Meeting), New York, New York University, May 7.
• 2021, Talk: “Evolving Piano Techniques and Publishing Market in Clementi’s Output: The Case of Opp. 2 and 12,” The sound of empire soundscapes, aesthetics, and performance between ancien régime and restoration(Centro Studi Opera Omnia Luigi Boccherini, Lucca, Palazzetto Bru Zane – Centre de musique romantique française, Venice), Lucca, November 12.
• 2021, Guest Moderator: Panel session for the round table about the book Jewishness, Jewish Identity and Music Culture in 19th-Century Europe, organized by the Jewish Music Forum, A Project of the American Society for Jewish Music, New York, November 10.
• 2021, Guest Lecture: “Italian Fascism and Culture: Historiographical Paths and New Research Perspectives,” organized by the Department of Italian Studies, on the occasion of the Italian Cultural Month, New York, Manhattan College (Kelly Commons Building), October 13.
• 2021 Talk: “«Nazism in Germany was a metastasis of a tumor originating from Italy» (Primo Levi). Italian Music Criticism and Fascist Eugenics in the early 1930s,” German Studies Association, Forty-Fourth Annual Conference, Washington, D.C. (Crystal City), October 2.
• 2021 Talk: ‘Pompously oblivious’: Schizophrenic Casella and the Semantic Axes of Fascist Racist Rhetoric in Music Criticism in the 1930s,” AMS-Greater NYC (Spring Meeting), New York, New York University, 8 May.
• 2019, “The Textual Tradition of Muzio Clementi’s Output: Consistency and the Problem of the Work Title,” Works, Work Titles, Work Authorities: Perspectives on Introducing a Work Level in RISM, Mainz, Akademie der Wissenschaften und der Literatur, 11 May.
• 2018, “Autograph Revisions and Reissues. Performance Practice and Publishing in Clementi’s Opp. 2 and 12: The «Lawrell» Collection (US-NH),” Perspectives on Historically Informed Practices in Music (Transforming C19 HIP), Oxford, Oxford University, 10 September.
• 2018, “Boosting the Core: Revision and Expansion of Muzio Clementi’s Thematic Catalogue. New Evidence,” IAML Congress 2018, Leipzig, Hochschule für Musik, 23 July.
• 2018, “Autograph Revisions and Reissues. Performance Practice and Publishing in Clementi’s Opp. 2 and 12: The «Lawrell» Collection (US-NH),” 20th Biennial International Conference on Nineteenth-Century Music, Creative Arts Building, Huddersfield, University of Huddersfield, 4 July.
• 2018, “Muzio Clementi’s Output Beyond England: Dissemination, Issues of Authenticity and Textual Problems in Vienna (1787-1799),” AMS-Greater NYC (Winter Meeting), New York, Columbia University, 27 January.
• 2017, “Cultural Purification: Musical Autarchy and Antisemitism in Italian Music Criticism of the 1930s,” Composers and Music Critics, AMS-Greater NYC (Fall Meeting), New York, New York University, 23 September.
• 2017, “La diffusion des œuvres de Muzio Clementi à Paris: texte et problèmes chez Boyer, Sieber et Naderman,” De la typographie à la gravure: la partition de musique en France aux XVIIe et au XVIIIe siècle et ses problèmes éditoriaux, Paris, IreMus (Institut de Recherche en Musicologie, laboratoire de recherche mixte CNRS - Université de Paris Sorbonne), 13 May.
• 2017, “«After Tyson»: Revision and Expansion of Muzio Clementi’s Thematic Catalogue. New Evidence,” 20th Quinquennial Congress, International Musicological Society, Tokyo, University of the Arts, 21 March.
• 2016, “«Liberaci dalla cultura»: Musique et propagande dans le contexte des politiques culturelles fascistes,” Musique et propagande, Montréal, Université de Montréal, 24 November.
• 2015, “Antisemitismo e propaganda al Teatro La Fenice, tra il 1937 e il 1943,” Italian Jewish Musicians and Composers during Fascism, Trieste, University of Trieste, 26 October.
• 2015, “«After Tyson»: Revision and Expansion of Muzio Clementi’s Thematic Catalogue,” Music Department (Stoeckel Hall), New Haven, Yale University, 12 May.
• 2014, “La critique musicale italienne dans les journaux des années trente: le cas de Il Tevere (1932-1938). Modèles et axes sémantiques de la propagande,” Crítica, polémica y propaganda (Congreso Nacional del Grupo de Trabajo Música y Prensa de la Sociedad Española de Musicología), Murcia, University of Murcia 24 October.
• 2013, “Épreuves, ébauches et variantes d’auteur: les cas de Vol de nuit et Ulisse de Luigi Dallapiccola,” Tracking the Creative Process in Music, OICRM, Montréal, Université de Montréal, 1 October.
• 2013, “Tests, sketches and authorial variants: work in progress and creative process in Luigi Dallapiccola’s Volo di notte and Ulisse,” Eighth Biennial International Conference on Music Since 1900, Liverpool, Liverpool Hope University, 15 September.
• 2013, “Romantic Traditions and Conceptual Opera. Elements of Wagnerian Intoxication and Artistic Palingenesy in Mieczysław Karłowicz’s Symphonic Poems,” Richard Wagner’s Impact on His World and Ours, Leeds, University of Leeds, 31 May.
• 2013, “Reflets wagneriens chez Mieczysław Karłowicz,” Verdi et Wagner: 1813-2013, Rennes, Université de Rennes 2, 14 February.
• 2012, “Identity and National Influences in Mieczysław Karłowicz Symphonism,” 19th Congress. Musics, Cultures, Identities, International Musicological Society, Rome, Accademia Nazionale di Santa Cecilia, 3 July.
• 2010, “«Volo di notte» di Luigi Dallapiccola e il dramma della modernità,” Italienische Musik der 1940er Jahre, 2° Roundtable coordinated by Christoph Flamm, Mobility and Change in Music: Music and Music Research in International Context, Rome, Gesellschaft für Musikforschung, German Historical Institute, 4 November.

• 2021— Visiting Scholar, New York University, New York, NY, USA
• 2020— Adjunct Assistant Professor, Manhattan College, NY, USA

• 2021 (Spring Sem.) Visiting Teaching Professor, Jagiellonian University, Cracow, Poland
• 2020-2021 (Fall Sem.) Visiting Teaching Professor, Adam Mickiewicz University, Poznań, Poland
• 2017-2020 Professeur associé, Université de Montreal, Montréal, QC, Canada
• 2017 Visiting Researcher, New York University, New York, NY, USA
• 2016 Visiting Research Fellow, Yale University, New Haven, CT, USA
• 2015 Visiting Research Fellow, Yale University, New Haven, CT, USA

• 2020    North American British Music Studies Association (NABMSA)
• 2020    German Studies Association
• 2020    Historical Keyboard Society of North America (HKSNA)

• 2020    AANE (Asperger Autism Network)

• 2019     SIGMA Xi (The Scientific Research Honor Society)
• 2019— Society of 18^th-Century Music
• 2018-2019 Music Library Association (MLA)
• 2017-2019 International Musicological Society
• 2015— American Musicological Society

• 2021 Awarded Travel Fund (German Studies Association, Conference 2021)
• 2017-2020 Awarded nomination as Professeur Associé Université de Montréal, Montréal, QC
• 2016— Qualification MCF, Section no. 22 02/05/2016, no. 16222243734
, Conseil National des Universités, Paris, France
• 2002 Awarded Visiting Exchange Student Scholarship Jagellonian University, Cracow, Poland
• 2001 Awarded Grant of the Polish Ministry of Foreign Affairs Jagellonian University, Cracow, Poland

Editorial Positions & Boards

• 2023— Founding Co-Editor-in-Chief, Sound Studies Revies. An International, Peer-reviewed Music Journal (Manhattan College and Brepols Publishers).
• 2017— Editor-in-Chief, Journal of Music Criticism
• 2015— General Editor, Music, Criticism and Politics Series, Brepols Publisher, Turnhout, Belgium
• 2011— General Editor, Ad Parnassum Studies, Ut Orpheus, Bologna, Italy
• 2011— Board, Italian National Edition of Luigi Boccherini’s Complete Works, Rome, MiBACT (Ministry of Cultural Heritage and Activities)
• 2008— Board, Italian National Edition of Muzio Clementi’s Complete Works, Rome, MiBACT (Ministry of Cultural Heritage and Activities)
• 2007— Board, Boccherini Studies Series, Ut Orpheus, Bologna, Italy
• 2004— Board, Quaderni clementiani Series, Ut Orpheus, Bologna, Italy
• 2003— Founding Co-Editor, Ad Parnassum. A Journal on   Eighteenth- and Nineteenth-Century Instrumental Music, Ut Orpheus, Bologna, Italy