![]() ![]() Palisca places this performance in 1582 see C. Solerti, Le origine del melodrama (Turin, 1903 repr. 4–75) by Vincenzo Galilei is reported by Pietro de' Bardi some fifty years after the fact to have been performed in the house of Count Giovanni de' Bardi (see A. A now lost setting of the lament of Count Ugolino ( Inferno, xxxiii. Campagnolo, ‘Il Libro Primo de la Serena e il madrigale a Roma’, Musica Disciplina, 50 (1996), pp. ![]() On the Roman environment out of which Montanaro's setting may have come, see S. The only other published piece by Montanaro is in Francesco Soriano's Second Book for Five Voices of 1592, where Soriano identifies Montanaro as his teacher. The 1562 print survives complete in the British Library, a copy not registered in RISM, series A. Jane Bernstein speculates that this publication may be a re-edition of a publication from the previous decade by the Roman printer Barré ( Music Printing in Renaissance Venice: The Scotto Press, 1539–72 (New York and Oxford, 1998), pp. The setting of 1562, in an expressively neutral imitative style, is by the minor Roman composer Giovanni Battista Montanaro, and appears in Il primo libro delle muse a tre voci (Venice: Scotto, 1562). Degrada, ‘Dante e la musica del Cinquecento’, Chigiana, 22 (1965), pp. 142–55 id., The Italian Madrigal, 3 vols. 405–20, including a transcription of the settings of Quivi sospiri by Luzzaschi and Domenico Micheli id., ‘Dante, on the Way to the Madrigal’, Musical Quarterly, 25 (1939), pp. Einstein, ‘Dante im Madrigal’, Archiv für Musikwissenschaft, 3 (1921), pp. Both Rore and Castelvetro may be seen as icons of Ferrarese cultural prestige in the ongoing battle for precedence between the Este and the Medici.Ħ On settings of Dante in the sixteenth-century madrigal, see A. ![]() Finally, I propose that the musical style chosen by Luzzaschi for this setting was an extraordinary and retrospective homage to the late style of his teacher Cipriano de Rore, another artistic figure intimately connected with the Este court. I also speculate that the disastrous Ferrarese earthquakes of the early years of the decade may have resounded for Ferrarese culture in the particular lines from the Commedia. I speculate that Castelvetro, a subject of the duke of Ferrara, may have had a role in the choice of text. A particular focus is the quarrel in literary criticism of the early years of the 1570s over the place of Dante in the Italian literary firmament, and the position of the influential Modenese critic and philologist Lodovico Castelvetro in this quarrel. This article examines the Ferrarese cultural context surrounding the virtually unprecedented choice of a text from Dante's Commedia for setting in Luzzaschi's Second Book of Madrigals of 1576. ![]()
0 Comments
Leave a Reply. |
Details
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |