Liberalitas in Musical Exchanges in Florence and Ferrara (original) (raw)
Related papers
Baronial Patronage of Music in Early Modern Rome (book)
Routledge, 2018
This is the first dedicated study of the musical patronage of Roman baronial families in the sixteenth and early seventeenth centuries. Patronage - the support of a person or institution and their work by a patron - in Renaissance society was the basis of a complex network of familial and political relationships between clients and patrons, whose ideas, values, and norms of behavior were shared with the collective. Bringing to light new archival documentation, this book examines the intricate network of patronage interrelationships in Rome. Unlike other Italian cities where political control was monocentric and exercised by single rulers, sources of patronage in Rome comprised a multiplicity of courts and potential patrons, which included the pope, high prelates, nobles and foreign diplomats. Morucci uses archival records, and the correspondence of the Orsini and Colonna families in particular, to investigate the local activity and circulation of musicians and the cultivation of music within the broader civic network of Roman aristocratic families over the period. The author also shows that the familial union of the Medici and Orsini families established a bidirectional network for artistic exchange outside of the Eternal City, and that the Orsini-Colonna circle represented a musical bridge between Naples, Rome, and Florence. Keywords: Orsini family, Medici family, Colonna family, patronage of poetry and music in Rome (and Florence, ca. 1550-1656). The book also provides new information on various poets, singers, and composers, including Antonio Barre, Tommado Cimello, Giovanni dell'Arpa, Pietro Vinci, Diego Ortiz, Giovanni Pierluigi da Palestrina, Hieronimo Tastavin, Giulio Cesare Brancaccio, Scipione delle Palle, Luca Marenzio, Piero Strozzi, Giovanni Battista Strozzi il giovane, Emilio de Cavalieri, Francesco Rasi, Giulio Caccini, Francesca Caccini, Cristofano Malvezzi, Torquato Tasso, Ottavio Rinuccini, Vittoria Archilei, Isabella Andreini, Onofrio Gualfreducci, Simone Ponte, Cesare Zoilo, Francesco Petratti, Giovanni Marciani, Carlo Rainaldi, Giovanni Rovetta, Francesco Manelli, Stefano Landi, Claudio Monteverdi, Luigi Rossi, Venanzio Leopardi (among many others).
Music-Selling in Late Sixteenth-Century Florence: The Bookshop of Piero di Giuliano Morosi
Music and Letters , 1989
THE RISE of music-printing in sixteenth-century Italy and its effect on the production and dissemination of music in this period have rightly begun to attract the attention of scholars. We are slowly beginning to understand the day-today workings of sixteenth-century music presses as revealed by the bibliographical and typographical evidence of music prints and also by documentary evidence from the archives. Moreover, this understanding increasingly prompts more conceptual questions about how printing may have influenced perceptions of music on the part of composers and their public(s). l However, although the complex relationships between composer, printer and consumer are gradually being explored, some crucial links in the chain remain obscure. In particular, we scarcely yet know enough about how music was distributed from its place of printing to the public at large. Certain types of evidence that may illuminate the problem-notably printers', booksellers' and collectors' catalogues-are available,2 while the archives also have something to This is a much expanded and developed version of part of my paper given at the 14th Conference of the Interna
I Tatti Studies: Essays in the Renaissance, 1991
was celebrated in Florence in October, 1660: the elaborate festivities combined music, drama and spectacle in a manner customarily associated with Medici weddings. As usual, a commemorative account describing the event was published, the Descrizione delle felicissime nozze ... della Cristianissima Maesta di Madama Maria Medici, Regina di Francia e di Navarra (Florence, G. Marescotti, 1600) compiled by Michelangelo Buonarroti il giovane. Buonarroti's drafts of the descrizione also survive in manuscript, including one version with marginal annotations by Grand Duke Ferdinando I and his staff: these annotations reflect wide-ranging criticisms of Buonarroti's narrative, with specific instructions for revision-Non occorre nominare tanti musici (It is not necessary to name so many musicians) beside a list of composers is a typical example.1 All this material prompts intriguing questions about the This paper was presented at the seminar Cerimoniale, festa, teatro: momenti europei dello spettacolo italiano (un saluto per Louise George Clubb), Villa I Tatti, 30-31 May 1988. I am indeed grateful to the Harvard University Center for Italian Renaissance Studies at Villa I Tatti, and to the staff of the Archivio di Stato, Florence, and the Biblioteca Medicea-Laurenziana, for so generously supporting and assisting my research.
Musical Networks in Bergamo and the Borders of the Venetian Republic, 1580–1630
2020
"Musical Networks in Bergamo and the Borders of the Venetian Republic, 1580-1630," examines the mediation and circulation of northern Italian music through social and professional networks with an emphasis on Bergamo, a thriving musical center during this period. In so doing, I challenge established narratives of early modern history that limit centers of influence to larger cities such as Florence and Venice. A trend towards teleology has shifted musical histories towards the innovators, especially in those cities. I demonstrate through the study of musical institutions like Santa Maria Maggiore in Bergamo and forgotten composers such as Giovanni Cavaccio, who worked there as maestro di cappella (chapel master) from 1598 to 1626, that a reductive narrative of Florentine and Venetian innovation ignores the musical quotidian in the early modern period. The focus on perpetual innovation has obfuscated the reality of musical life-particularly sacred musical life-and how it relates to the larger political, cultural, and religious climate in early modern Italy, anachronistically relegating smaller cities like Bergamo to peripheral status. In addition to bringing neglected musical repertoires to life, I contribute a more robust notion of regional and interregional communication than currently recognized in musicology, thereby revealing a complex and supraregional network of musicians, composers, artists, poets, patrons, religious figures, and diplomats engaged in musical production. I additionally investigate cultural exchanges between, and exports from, Venice and Germanspeaking lands. The mobility of composers, musicians, and musical objects in and out of the Venetian Republic recasts the static idea of a city-centered music history into a fluid network of reciprocating influences. 4 ACKNOWLEDGMENTS My deepest gratitude goes to my advisor, Linda Austern, who has been a supporter of my work since my first day at Northwestern. Linda is an impeccable scholar, devoted mentor, and possesses an endless capacity for enthusiasm and intellectual curiosity. It has been a pleasure to work closely with her and she has read and commented on almost every word I wrote in the past seven years. I am tremendously thankful to the rest of my committee members, Drew Davies, Jesse Rosenberg, and Ed Muir, all of whom have supported this project at every stage. I remain in awe at the depth of Drew's knowledge and his feedback consistently helped me keep track of the big picture. Jesse has the singular ability to ask an absolutely perfect question and possesses a keen eye for detail. I am also appreciative for his help with many of the trickier Seicento Italian translations. As I began considering an Italianist project for my dissertation, Ed agreed to my request for an independent study. Those weekly meetings were a highlight of my time at Northwestern and he taught me to think like an historian. My committee has helped shape my identity as a scholar and provided four unique models not only of exceptional scholarship, but pedagogy, mentorship, collegiality, and kindness. My sincere thanks to Jeffery Kurtzman, Gary Towne, and Mara Wade, scholars outside Northwestern who read and offered valuable feedback on chapter drafts. A number of other faculty have invested their time and expertise into my development, and I am thankful for their guidance. At Northwestern,
Sound Patrons: the Medici and Florentine Musical Life
The Medici: Citizens and Masters, ed. Robert Black and John Law (Cambridge MA: I Tatti Studies), 2015
Medici musical patronage is usually considered only with respect to polyphonic music and repertory, a view that lends itself to ready comparison with other Italian signori and their aristocratic patterns of patronage. This article takes a more comprehensive view of their patronage of musicians, including the improvisatory singers with which all three generations of quattrocento Medici were closely involved. The situation became especially complex in Laurentian Florence with the increased presence of northern musicians and the humanist transformation of improvisatory singing (cantare ad lyram). While cultivation of both musical practices is superficially similar to seigniorial patronage patterns in Ferrara and Naples, Florence exhibits a more complex and de-centralized environment, one still conditioned (if less so) by older communal practices and values.
Collecting Music in Europe in the Second Half of the Seventeenth Century, 2023
Andrea Garavaglia and Nicola Usula, curators for the conference "Collecting Music in Europe in the Second Half of the Seventeenth Century," Faculté des Lettres, Université de Fribourg, October 20-21 2023, SNSF project "L’opera italiana oltre le Alpi: la collezione di partiture e libretti di Leopoldo I a Vienna (1640-1705)" (2021-2023, n. 100016_197560) The Department of Musicology at the University of Fribourg is pleased to present the two-day international conference "Collecting Music in Europe in the Second Half of the Seventeenth Century" on October 20 and 21, 2023. Different practices of 17th-century European music collecting are at the core of this international conference, funded by the Swiss National Science Foundation (SNSF) as an outcome of the research project launched in 2021 in the Department of Musicology at the University of Fribourg: "L'opera italiana oltre le Alpi: la collezione di partiture e libretti di Leopoldo I a Vienna (1640-1705)." In their papers fifteen speakers address various aspects of music collecting in the seventeenth century, in Italy, France, Scandinavia and the Holy Roman Empire, focusing on this phenomenon as a symptom (and trigger) of a wide process of dissemination, exchange and hybridisation of different European musical traditions. At the link is the two-day program and booklet with abstracts.
Music Patronage in Italy, edited by Galliano Ciliberti, Brepols, 2021
Mazzetti, Marcello, and Livio Ticli. ‘«I Raggi Della Chiarissima Casa Gambaresca». The Gambaras’ Music Patronage and the Performance Practice in 15th-17th-Century Brescia’. In Music Patronage in Italy, edited by Galliano Ciliberti, 267–314. Studies on Italian Music History 15. Turnhout: Brepols, 2021. ABSTRACT. Although for the last three decades music historiography has been reconsidering the role of Brescia within a broader musical landscape, there is still a lack of scholarship on noble patronage within Terraferma’s territories devoid of courts. In a city like Brescia, where a strong aristocracy built up a complex web between religious and civic institutions, the role of music as an instrument of assertion of power should not be underestimated. The chapter will focus on some members of the patrizio-veneto branch of the Gambara family who surrounded themselves with musical goods à la mode – increasing their instrument and book collections – and with a great number of musicians, who were appointed as family tutors and/or composers of sacred and secular works dedicated to the family. In this complex web, important names for the history of keyboard music come to light such as Fiorenzo Maschera, Costanzo Antegnati and Claudio Merulo. A central role was played by noblewomen of the Maggi and Gambara families choosing and buying instruments, hiring music teachers, organising private challenges and games based on poetry-music-dance synergies. New archival findings show an extended network between Brescia and other important cities across northern Italy. We will discuss the career of the count Francesco Gambara, who developed his musical and artistic preferences in Brescia by hosting at his palace the Accademia dei Rapiti (1590-1598), and in Bologna by attending the Accademia dei Gelati. These connections shed light on the genesis of important musical works by Banchieri and Bottrigari which Francesco Gambara directly patronised. The Gambara family is also an excellent case study for investigating how the patronage influenced ecclesiastic institutions such as Santa Maria delle Grazie in Brescia and its music chapel. Thanks to the cardinal Uberto Gambara, the San Girolamo congregation from Fiesole settled in Santa Maria delle Grazie at the beginning of the sixteenth century. The importance of this religious order in Brescia becomes clear if we consider that Pietro Lappi worked there as a kapellmeister and, benefitting from Gambara sponsorship for over thirty years, he could hire some of the most famous musicians of his time such as Cesario Gussago, Giovani Francesco Capello and Giovani Battista Fontana. Lastly, we will explore the reflection of Gambara patronage on music genres and forms strictly related to Brescia (canzona da sonare and canzonetta) by considering some works of Brescian Canons Regulars Floriano Canale and Giovanni Paolo Caprioli. BOOK ABSTRACT. During the Renaissance and throughout the Baroque and Classical periods, musical production is linked to patronage. There are essentially two types of patronage. The first relates to political institutions, to public life, and aims to promote musical events that highlight the wealth and power of the patron in the eyes of rival courts and subjects – hence the birth of the court chapels. The second type belongs to the private sphere, in which the patron, of noble birth and as such in possession of high moral and intellectual virtues, possesses a discriminating artistic sensibility — hence the promotion of chamber music activities, the collecting of rare and valuable musical instruments, and the compilation and collection of musical manuscripts, possibly in deluxe or personalized copies. This musical production system, as described, lasted until the middle of the nineteenth century, when the advent of capitalism and the rise of the bourgeois class caused the decline of patronage. This book focuses on the various aspects of music patronage in Italy from the fifteenth to the eighteenth century. The papers collected here deal with musical patronage and its relations with contemporary society from different points of view, offering new reserch perspectives.