Music for the Doge in Early Renaissance Venice (original) (raw)
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A Companion to Venetian History, 1400-1797
2013
The field of Venetian studies has experienced a significant expansion in recent years, and the Companion to Venetian History, 1400-1797 provides a single volume overview of the most recent developments. It is organized thematically and covers a range of topics including political culture, economy, religion, gender, art, literature, music, and the environment. Each chapter provides a broad but comprehensive historical and historiographical overview of the current state and future directions of research. The Companion to Venetian History, 1400-1797 represents a new point of reference for the next generation of students of early modern Venetian studies, as well as more broadly for scholars working on all aspects of the early modern world.
A Brief Survey of Histories of Venice
In Companion to Venetian History, 1400-1797, ed. Eric Dursteler. Leiden: Brill, 2013: 1-24, 2013
This essay provides a survey of histories of Venice from the earliest medieval works, through the transformative nineteenth-century publications of Romanin and others, up to the most recent collective projects of the late twentieth century.
Medieval and Renaissance Venice
1999
Book Reviews / Comptes rendus / 81 Après les entrées du roi et de la reine, il y a eu deux rencontres entre le conseil du roi et les représentants de la ville pour discuter des difficultés financières de Lyon et des répercussions diplomatiques et militaires après la visite royale au Piémond. Le mardi fut destiné aux jeux nautiques, qu'Henri II apprécie, et à la remise de deux sculptures en or, réalisées par l'orfèvre Jehan Delabarre et dessinées par Bernard Salomon d'une valeur totale de mille trois cents ecus. Le montant est chiffré exactement, mais il est bien moindre que celui des cadeaux faits à Paris. Ces précisions sont importantes; elles témoignent de la volonté de la ville de faire connaître la valeur exacte des cadeaux: signe de richesse et de prospérité pour la ville, ainsi qu'un signe de fierté; c'est aussi une valeur de négociation et d'affirmation d'une ville fidèle au roi. La reine reçoit un deuxième cadeau, une fleur de lys (symbole de la France et de Rorence) en or de cinquante centimètres de haut. Le banquet est offert par Hyppolite d'Esté dans la Maison de Rontalon, propriété de l'archevêque. Puis ont lieu la visite du nouveau jeu de paume, à l'heure du thé, une promenade sur l'eau, le dîner à l'Archevêché et le théâtre italien. En 1622, l'entrée de Louis XIII changera de circuit et se prolongera dans l'espace et dans le temps. Ces relations d'entrée, intéressantes en elles-mêmes, acquièrent tout leur sens lorsqu'elles sont lues en série. Et Richard Cooper réussit très bien à mettre en perspective cette entrée d'Henri
Knowledge and debate in the field of sixteenth- and early seventeenth-century Venetian music has greatly benefitted in recent decades from studies of major institutions, composers, repertories and sources, as also from investigations of the quantitative aspects of musical life in what was one of the largest, richest and most commercially oriented cities on the Italian peninsula: the Venetian musical phenomenon includes, on the one hand, regular or sporadic musical activities in the city’s many churches and private palaces (activities which provided significant earnings for large numbers of musicians, whether or not salaried members of the ducal cappella) and, on the other, the auxiliary trades of music printing and instrument making. The transmission of the musical repertories has also received notable attention: in particular, the contemporary and later reception of Venetian musical repertories in different political, linguistic and/or confessional areas. Central, too, have been questions of ‘sound’, both with regard to the particular interaction between musical composition, the spatial peculiarities and the specific liturgical and ceremonial traditions of the Venetian ducal chapel, and in the context of music-making at large. This collection of essays on the life, times and works of a composer who ranks among the most outstanding musical personalities of his day variously unites these strands in an albeit partial attempt to interpret Giovanni Gabrieli’s output and activities in their Venetian context and, at the same time, cast light on their broader historiographical significance: on the one hand Gabrieli as point of synthesis of a complex Venetian musical tradition, on the other his interaction with and impact on contemporary musical life, his influence on later generations of composers both at home and abroad, the rediscovery of his achievements by nineteenth- and twentieth-century historians and performers, the revisitations of his music by twentieth-century composers. Reviews: – Rivista Italiana di Musicologia 53 (2018), p. 285–291 (Michelangelo Gabbrielli) – Early Music 46 (2018), p. 167–169 (Eleanor Selfridge-Field); reply: Early Music 46 (2018), p. 367–368 – Renaissance Quarterly 71 (2018), p. 776–777 (Tim Shephard) – Music & Letters 100 (2019), p. 543–546 (Tim Carter)