It is a notable achievement that this exhibition which will be of undoubted success opens the celebrations of the 250th Anniversary of Vivaldi's death. Vivaldi, one of the greatest and certainly the most famous Venetian Maestro of the 18th Century lived an worked in the Istituto della Pieta in Venice.
The "return" of this cultural heritage is an achievement in itself. In fact, when the Institute re­ quested the return of the collection after 120 years from the Venetian Musei Civici, they received im­ mediate co-operation. This was due to the acceptance, by the Istituto della Pieta of the demands im­ posed to guarantee the correct preservation of the Collection - the Fondo Vivaldiano (the Vivaldi collec­ tion - one of the few, still intact in Venice) As a collection of this historical value is not only the property of whoever actually owns it, but also of the people, it had to be ensured that this would not mean that the collection would be submitted to non-cultural activities. In wishing this exhibition every success, it is hoped that this "change in direction" will be the beginning of a new appreciation of Venetian heritage. Such an immense artistic wealth can hardly be preserved without the cooperation of boards and institutions. Even if the State offices have the technical and scientific responsability of the preservation of cultural heritage there should also be participation from external groups or persons interested in the care and the promotion of these beni culturali (works of art).This role is essential for anyone who values history, culture and society: in one word, humanitas

Foreword

The ancient institution of Ospedale della Pieta is in possession of an important collection of his­ torical musical instruments, both bowed and wind, the significance of which is enhanced by the fame of Antonio Vivaldi, the most well-known maestro dei concerti (composer and teacher) in the eighteenth century. He was one of the music tutors for the foundlings living in the Ospedale. Antonio Vivaldi became music teacher in 1703 and we know from Pieta records that he worked continuously unitil 27 April 1740, with some interruptions. Consequently, it has been supposed, that at least some, if not all of the instruments of the collection, could be among those played by Vivaldi's pupils or even by Vivaldi himself. Such a possible supposition bestows upon the above mentioned instruments the character of higly significant reliquiae.
As yet unfortunately, no documentary evidence has been found that might establish exact the instruments came into the possession of Pieta. Furthemore, most of the items do not bear any indica­ tion that might allow us to identify their origin more easily, as well as their age - except for the wind instruments which bore some indication of their place and date of construction. What makes the collection very important, is that it is presently extremely difficult, if not impossi­ ble, to find in other parts of the world such an amount of bowed and wind instruments preserved in their original conditions and also in the same place where they were first played. Naturally, this means that they were not subject to the general shift from historical bowed instruments to modern professional musical tools, which occurred about 150 years ago.
Besides the papers in the archive of the Museum Correr concerning the cataloguing of the musical instruments owned or kept by the museum 1, others regard the transfer of the items to the Conservatorio di Musica "Benedetto Marcello" in Venice, are still kept the wind on instruments of the collection. The removal of 50 instruments was permitted by the Mayor of Venice 12.10.1939, but 51 items are listed in the record compiled on 12.10.1939, not counting an instrument case and two expertises 3.
Five violins were witheld for reasons of security 4 and they were then handed over with the minutes on 11.4.1942, about one year after the transfer of the others. Till then the proposal was put forward of restoring at least the most prized violins if not all the instruments 7 the poor state of which had previously been pointed out. 8.Only the restoration ofthe two cellos was recorded, but not the "operations" concerning "repairs" and cleaning of varnishes covered by a dangerous dark coat».
In their present state some violins show that they were handled in various ways. Certain changes registred in the inventory have been revised and they are here listed there 11. Of interest is the "Rela– zione della Commissione di esperti sullo stato di conservazione degli strumenti ad arco di proprieta del Museo Correr in deposito presso il Conservatorio B. Marcello" (Report of the Commission of experts on the state of the bowed instruments in possession of the Correr Museum kept in the Conser– vatorio B. Marcello") of 8.3.1954, except for four un-listed instruments 12.A few instruments stolen in 1978, were recovered 14, and once again stored in the Museum Correr


NOTE DENDROCRONOLOGICHE SUGLI STRUMENTI



ANALISI GASCROMATOGRAFICA
DI POLVERE INSETTICIDA
PRELEVATA DALL'INTERNO DEGLI STRUMENTI
DELLA COLLEZIONE DELL'ISTITUTO DELLA PIETA'


RILIEVO FOTOGRAMMETRICO DELLA VIOLA

ESAME FISICO ACUSTICO


CRITERI ADOTTATI NELLE OPERAZIONI
DI RESTAURO CONSERVATIVO


IL PROGETTO DI RESTAURO CONSERVATIVO DEGLI STRUMENTI AD ARCO

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Violino

Viola

Violoncello

Contrabbasso

Corno