Mariateresa Storino

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Mariateresa Storino


Mariateresa Storino studied Musicology at the University of Bologna and earned a Ph. Degree in Science of Music at the Trento University, where she completed a dissertation on the perception of musical style.

She was rewarded with the prize “Psicologia e musica” (2008) thanks to her PhD thesis and with the “Premio Liszt” (1999) thanks to her degree thesis. After different researches in the field of the psychology of music, she chose the historical musicology as her elected field, with a particular interest towards the work of Liszt and the form of the symphonic poem.

PhD. Storino has done extensive research on the life and music of Franz Liszt: the miscellaneous book Franz Liszt – Jessie Taylor Laussot Hillebrand: un capitolo inedito della storia musicale dell’Ottocento (LIM 2016); the essays Il soggetto o i soggetti? La Dante-Symphonie di Franz Liszt (Università degli Studi di Torino 2018), Il carteggio Liszt – Laussot (LIM 2016), Attorno al Simon Boccanegra: la trascrizione da Verdi nel contesto dell’opera dell’ultimo Liszt (2014), The never-ending story: Jeanne d’Arc au bûcher (Studia Musicologica 2013), New Liszt Letters to Jessie Laussot (Herrmann  2013), Franz Liszt and Augusta Holmès: Portrait of a musical friendship (Vrin 2012), De l’orchestre aux claviers: Die Ideale de Liszt (Analyse musicale 2011), Chère Illustre: Franz Liszt ad Augusta Holmès (Rugginenti 2010), Il Konzertstück di Weber nell’interpretazione lisztiana (Rugginenti 2007). In these essays she studied unknown aspects of Liszt as man and composer. In 2006 she edited the first edition of the unpublished Lisztian autograph for piano Concerto sans orchestre (Rugginenti). In 2009 she published the monograph Franz Liszt. Sonata in si minore, well received by the international critic.

She won different grants to fulfil many researches in the field of the historical musicology (Università degli studi di Pisa, Borsa MIRA – Conseil Régional Rhone-Alpes; Borsa di studio Alpe-Adria -Bayerischen Staatministerium für Unterricht, Kunst, Wissenschaft); she refined her knowledge attending academic masters  (“Musical Cultures in the 1900s”, “Music and the Sacred” at the Tor Vergata University – Roma, “Analisi e Teoria musicale” at the University of Cosenza), annual advanced post-degree courses  (“Communicating with the interactive multimedia board – LIM”, “Communicating in the classroom: dynamics and models” at the University of Florence), professional training courses (“Orchestral Musicians”, “Musical criticism”) and seminars.

She participated in national and international conferences as a lecturer with papers about historical musicology, analysis and psychology of music: “Music and Figurative Arts in the Nineteenth century”, Centro Studi Opera Omnia Boccherini, Lucca 2018; IX EUROMAC, Strasburg 2017; “The Rethinking of Religious Belief in the Making of the Modernity”, Blagoevgrad – Bulgaria 2017; “Nineteenth-Century Programme Music”, Centro Studi Opera Omnia Boccherini – Palazzetto BruZane, Lucca 2016; “Nineteenth-Century Music Criticism”, Centro Studi Opera Omnia Boccherini – Palazzetto BruZane, Lucca 2015; “Music and War in Europe from the Napoleonic Era to WWI”, Centro Studi Opera Omnia Boccherini – Palazzetto BruZane, Lucca 2014; I Congres Avamus, Valencia 2014; 12th Annual Conference of the Society for Musicology in Ireland, Dublino 2014; XXV, XXIII and XX Colloquio di musicologia della SIDM, Bolzano 2018, Como 2016 and Foggia 2013; 9th ICMPC, Bologna 2006; 5th ESCOM, Hannover 2003; 2. Jahrekongresses der Deutschen gesellschaft für Musiktheorie, Monaco 2002; Il Saggiatore Musicale, Bologna 2007 and 2001; etc.. In particular, in 2011, given the anniversary of Franz Liszt bicentenary, she was invited to participate in national and international conferences and her proposed abstracts were selected for international congress (VII EUROMAC 2011, Roma; International Liszt Conference, Utrecht; Colloque International “Franz Liszt et la France”, Dijon; Triple Colloque “Franz Liszt: Miroir d’une société européenne en évolution”, Villecroze; International Liszt Conference “Liszt and the Arts”, Budapest). She was also invited by musical institutions for conferences and stages about the Hungarian composer (Conservatory of Verona, Department of Culture of Florence, Institute of Musical Studies “F. Vittadini” of Pavia, Honorary Consulate of Hungary).

Recent publications are the essays Liszt, Sgambati, Jessie Laussot (Accademia di Santa Cecilia 2018); Le Roi Lear de Shakespeare dans la lecture de Felix Weingartner (Le Paon d’Hera 2017); L’unità della musica oltre il tempo: Ferruccio Busoni (Patron 2017). She has published also essays about the symphonic poems of Augusta Holmès (Solidarity of Peoples and the Idea of Fatherland: The Symphonic Poems by Augusta Holmès, Brepols 2016), the piano works by Marco Enrico Bossi (A un’altra tastiera: il pianoforte di un organista, Clueb 2012), the German instrumental music in Bologna in the second half of the Nineteenth century (Mozart, Beethoven, Chopin: solo nomi?, LIM 2013).

In 2005-2008 she taught in Laboratories of Musical Diffusion, pointed to students of the secondary school and to adults (LADIMUS), for the ‘Casa della Musica’ of Parma. Since 2001 she has been collaborating with the Liszt Institute Foundation – Fondazione Istituto Liszt (Bologna).

In 2017 she participated as a co-curator in organizing the exhibition “Italy through the eyes of Franz Liszt” for the Liszt Museum in Budapest (11 May 2017 – 8 May 2018, In the same year she won the grant “Liszt a Pisa” (University of Pisa) in order to realize a research about the presence of Liszt in Pisa in 1839; the results of the research have been published in the volume Liszt a Pisa. Alle radici del recital pianistico tra suggestioni pittoriche e letterarie (Pisa University Press 2018).

She is teacher of History of music at the Conservatory of Music “G. Rossini” of Pesaro (Italy).