The Musical and Theatrical Activities of the Jesuits in the Kingdom of Naples: Accounts from the Gazzetta di Napoli (1675-1768) (original) (raw)
Related papers
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.
Eighteenth-Century Politics and Patronage: Music and the Republican Revolution of Naples
Eighteenth Century Music, 2007
These sources include legal and civic documents, personal diaries and correspondence, employment rosters, newspapers (giornali), opera librettos and musical compositions. They illustrate the effects of the revolution on contemporary artistic practices, specifically with regard to those political and social uses of the operatic stage by the new regime that had consequences for repertory choice, production practices, theatrical management and the artists themselves. The bringing-together of these sources provides not only a detailed chronicle of contemporaneous events, but also significantly furthers present-day understanding of artistic practices during the Republic as well as providing a context for the policies enacted with the restoration of the Bourbon monarchy.
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, Spectacle and Cultural Brokerage in Early Modern Italy, 2 vols.
Florence: Olschki, 2011
is a scholar of Italian and French music, literature, opera, theatre and culture of the late sixteenth-and early seventeenth centuries. Her publications include A Muse of Music in Early Baroque Florence: the Poetry of Michelangelo Buonarroti il Giovane (Olschki, 2007) and numerous articles.
Myself when Young: Becoming a Musician in Renaissance Italy—or Not
Proceedings of the British Academy Volume 181, 2010-2011 Lectures, 2012
Architects many years ago, I noted with surprise how often he mentions artists who were talented as musicians when they were young but decided to turn to art. Why should that be? Was it a better career choice to become an artist rather than a musician in Renaissance Italy? But if music was the greater lure, should one try to become a professional performer, or play music simply for pleasure? These questions still occupy us today. But there are others that were also asked in the Renaissance: Just how far should a gentleman go in showing his musical expertise? Was it acceptable for women to perform in public? How important was it for rulers to employ the best musicians? These are some of the questions I shall consider. * * * Benvenuto Cellini, looking back on his childhood, recounted his experience of learning music as follows: 'My father began teaching me to play the recorder and to sing; and though I was at the very young age when little children like to play with a whistle and such toys, I had an overwhelming Read at the Academy 27 October 2011. Musical examples at the lecture were performed by the Marian Consort, directed by Rory McCleery, and the lutenist Katalin Ertsey.