Скрипка Льва - Хелена Аттли

class="p1">Fred R. Myers (ed.), The Empire of Things: Regimes of Value and Material Culture, School of American Research Press, 2001, p. 12.

66

Charles Burney, The Present State of Music in France and Italy, Elibron Classics, 2005, p. 124.

67

R. Strom (ed.), The Eighteenth-Century Diaspora of Music and Musicians, Brepols, 2001.

68

Gesa Zur Nieden, in Musicians' Mobilities and Music Migrations, Biographical Patterns and Cultural Exchanges by Gesa Zur Nieden and Berthold Over (eds.), Transcript verlag, Blelefeld, 2016, p. 9.

69

John Rosselli, Music and Musicians in Nineteenth-Century Italy, Batsford, 1991, p. 17.

70

Ibid.

71

Marina Ritzarev, Eighteenth-Century Russian Music, Ashgate, 2006, pp. 39—41.

72

Большая часть моей информации о Перуци и его труппе взята из Daniel E. Freeman, The Opera Theater of Count Franz Anton von Sporck in Prague , in Janacek and Czech Music: Studies in Czech Music, Volume 1, M. Beckerman and G. Bauer (eds.), Pendragon Press, 1995.

73

Стендаль, Пармская обитель.

74

Il Teatro nelle Marche, architettura, scenografia, spettacolo, ed. Fabio Mariano, Nardini, 1997, p. 80.

75

Ibid., p. 24.

76

M. Salvarini, Il Teatro La Fenice di Ancona, Cenni storici e cronologia dei drammi in musica e balli, Fratelli Palombi Editori, 2001, p. 56.

77

G. Moroni, Teatro in musica a Senigallia, Fratelli Palombi Editori, 2001, p. 18.

78

Stendhal, Life of Rossini, John Calder, 1956, p. 399.

79

Ibid., p. 48.

80

Quoted by David Gilmour in The Last Leopard, Quartet, 1988, pp. 102—3.

81

David Gilmour, The Pursuit of Italy: A History of a Land, Its Regions and Their Peoples, Allen Lane, 2011, p. 166.

82

John Rosselli, The Opera Industry in Italy from Cimarosa to Verdi, Cambridge University Press, 1984, p. 39.

83

Santino Spinelli, Rom, Genti Libere, storia, arte e cultura di un popolo misconosciuto, Dalai editore, p. 76.

84

Ibid., p. 82.

85

Ibid.

86

Ibid.

87

Синти именуют цыган, живущих в Западной и Центральной Европе, а рома – это цыгане, живущие в Восточной и Южной Европе.

88

Santino Spinelli, Rom, Genti Libere, storia, arte e cultura di un popolo misconosciuto, Dalai editore, pp. 259—60.

89

Erik Levi, The Aryanization of Music in Nazi Germany, The Musical Times, vol. 131, no. 1763 (January 1990), pp. 19—23.

90

Robert K. Wittman and David Kinney, The Devil's Diary: Alfred Rosenberg and the Stolen Secrets of the Third Reich, William Collins, 2016, p. 362.

91

Erik Levi, Music in the Third Reich, Macmillan, 1994, pp. 212—13.

92

Howard Reich and William Gaines, How Nazis Targeted the World's Finest Violins, in Chicago Tribune, 19 August 2001.

93

Szymon Laks, Music of Another World, Northwestern University Press, Illinois, 1989, p. 5.

94

Ibid, p. 117.

95

James A. Grymes, Violins of Hope, Harper Perennial, 2014, p. 116.

96

Ibid, pp. 111—12.

97

Ibid., p. 134, цитируется рассказ Генри Майера.

98

Цитата из James A. Grymes, Violins of Hope, Harper Perennial, 2014, p. 134.

99

Akinsha Kozlov, Stolen Treasure, Weidenfeld, 1995, p. xvi.

100

Toby Faber, Stradivarius: Five Violins, One Cello and a Genius, Macmillan, 2004, p. 200.

101

Ibid, p. 201.

102

Ibid, p. 201.

103

Ibid, p. 201.

104

W. Henry Hill, Arthur F. Hill and Alfred E. Hill, Antonio Stradivari: His Life and Work (1644—1737), Dover Publications, 1963, p. 211.

105

Florian Leonhard, Florian Leonhard on a Mysterious Violin and the Process of Authentication, Strings magazine, 7 December 2016. https://bit.ly/2NoDf9d

106

Femke Colborne, Can you Tell a Fake Instrument from the Genuine Article? The Strad, 6 August 2019. https://bit.ly/2QhU6tA