Ducal patronage of music in Mantua, 1587--1627: An archival study
Parisi, Susan Helen
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https://hdl.handle.net/2142/20696
Description
Title
Ducal patronage of music in Mantua, 1587--1627: An archival study
Author(s)
Parisi, Susan Helen
Issue Date
1989
Doctoral Committee Chair(s)
Ward, Thomas R.
Department of Study
Music
Discipline
Music
Degree Granting Institution
University of Illinois at Urbana-Champaign
Degree Name
Ph.D.
Degree Level
Dissertation
Keyword(s)
Fine Arts
Music
History, Modern
Language
eng
Abstract
On the basis of archival documents, musical activity at the court of Mantua is studied for the reigns of four Gonzaga dukes, Vincenzo I (1587-1612), Francesco (1612), Ferdinando (1613-1626), and Vincenzo II (1627). The dukes' tastes in music, attitudes toward their musicians, and usage of music in court events are assessed.
Under Vincenzo I secular music came to occupy a significant new role, despite a series of temporary recessions between 1595 and 1602. Between 1602 and 1609 the cappella attained the largest size in its history, recruiting operations intensified, and, for the first time, instrumentalists received permanent appointments. In Vincenzo's final years productions were staged less often and less ostentatiously, partly due to his declining health and natural disasters that struck the city.
During Francesco's rule musical performance reached a low point. Approximately one quarter of the musicians were dismissed, including Claudio and Giulio Cesare Monteverdi.
Ferdinando rebuilt the cappella to its former strength, initiating a new wave of activity between 1615 and 1622. Florentine and Roman musicians were hired, new dramatic works commissioned, and friendly relations with Monteverdi reestablished.
After 1623 performance again waned, and by the beginning of the war of succession (1628-1630), the state of music reached its lowest ebb in forty years.
Despite these fluctuations, the important role of music in court ceremonies allowed the Gonzagas to use it, throughout the period, as a manifestation of their status and power.
Also examined are the undated pay lists, the court's system of recruiting and training musicians, and new documents pertaining to leading musicians of the period, including Adriana Basile, Claudio Monteverdi, and Girolamo Frescobaldi. A chronicle of musical events--not hitherto available--is included in each chapter. Appendixes offer biographical sketches of 141 court musicians, a reconstruction of the court's musical holdings, and details of a new manuscript of Mantuan-Roman monody and canzonette.
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