Patronat muzyczny w renesansowych Włoszech (1470 - 1527): Mediolan, Ferrara, Mantua, Florencja, Rzym
Gespeichert in:
| 1. Verfasser: | |
|---|---|
| Format: | Buch |
| Sprache: | Polish |
| Veröffentlicht: |
Poznań
Wydawnictwo Naukowe UAM
2013
|
| Ausgabe: | Wyd. 1. |
| Schriftenreihe: | Uniwersytet im. Adama Mickiewicza w Poznaniu / Seria Muzykologia
9 |
| Schlagworte: | |
| Online-Zugang: | Inhaltsverzeichnis |
| Beschreibung: | Zsfassung in engl. Sprache u.d.T.: Musical patronage in Renaissance Italy (1470 - 1527) Bibliogr. s. 410-451. Indeks |
| Beschreibung: | 469, [3] s. Notenbeisp. 24 cm |
| ISBN: | 9788323225881 |
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| 490 | 1 | |a Uniwersytet im. Adama Mickiewicza w Poznaniu / Seria Muzykologia |v 9 | |
| 500 | |a Zsfassung in engl. Sprache u.d.T.: Musical patronage in Renaissance Italy (1470 - 1527) | ||
| 500 | |a Bibliogr. s. 410-451. Indeks | ||
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Datensatz im Suchindex
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| adam_text |
SPIS TREŚCI
PRZEDMOWA
. 7
Wprowadzenie
PATRONAT I MUZYKA
. 15
Pojęcie patronatu
. 15
Muzyka, dwór i prestiżowa konsumpcja
. 22
Magntßcentia
principie.
26
Patronat a wymiana społeczna
. 30
Rozdział I
MEDIOLAN
. 37
Gałeazzo Maria
Sforza. 37
Una celebre
et
digna
cappella . 40
Weerbeke,
Compere,
Martini. 46
Ludovico
Sforza . 51
Motetti missales. 57
„Styl
mediolański"?
. 65
Josquin Desprez
. 68
Gaffurius
jako kompozytor
. 75
Gaffurius
jako teoretyk
. 84
Od teorii
do
praktyki:
Spataro
і
Aaron
. 90
Zmierzch patronatu Sforzów
. 96
Matthias Werrecore
. 98
Rozdział
II
FERRARA
I MANTUA
. 103
Ferrara: Èrcole
I
d'Esté
. 103
Obrecht,
Josquin
i ponownie Obrecht
. 108
Polifonia sakralna
. 113
Msze
Martirviego
. 116
Msze
Josquina
. 121
Msze Obrechta
. 128
Dzieła motetowe
. 132
Muzyka świecka
. 139
Alfonso
i Sigismondo
d'Esté
. 145
Lucrezia Borgia ifrottolisti
. 154
Ippolito I
d'Esté
. 156
Adrian Willaert
. 158
Mantua: la prima donna
del mondo
. 164
Isabella
d'Esté
i rozwój frottoli
. 169
Francesco
II
Gonzaga
. 175
Frottola:
istota, formy i styl
. 178
Do problemu włoskiej deklamacji muzycznej
. 186
Rozdział III
FLORENCJA
. 191
Lorenzo
de'
Medici
. 193
Cantori ài San Giovanni
. 196
Henricus Isaac, servitore carissimo
. 200
Canzoni francesi
. 206
Karnawał i muzyka
. 213
Canto carnascialesco:
istota, formy i styl
. 224
Bruccianienti delle vanità
. 229
Lauda
і
fanciulli
. 234
Okres restauracji Medyceuszy
. 237
Florencka szkoła kompozytorska
. 240
Bernardo Pisano,
Francesco
de Layolle i inni
. 244
Accademia
Oricellaria
. 250
Rozdział
IV
RZYM
. 255
Pontyfikat Sykstusa
IV
. 255
Watykańskie kodeksy muzyczne
. 260
Pontyfikat Innocentego
VIII. 265
Pontyfikat Aleksandra
VI
. 270
Marbriano
de Orto
i
Bertrand Vaqueras
. 273
Josquin
Desprez
. 279
Pontyfikat Juliusza
II
. 293
Cappella Sistina
і
Cappella
Giulia
. 296
Pontyfikat Leona
X
. 302
Konkordat w Bolonii i jego muzyczne konsekwencje
. 306
Genet, Bruhier, Andreas
de Silva . 309
Musici secreti
i
Brandolini
. 315
Pontyfikat Klemensa
VII.
321
Muzyka świecka
. 326
Papieże Medyceusze a repertuar
Cappella
Sistina
. 329
Drukarstwo muzyczne w Rzymie
. 333
Patronat muzyczny w erze druku
. 342
ANEKS: PRZYKŁADY NUTOWE
. 347
SPIS PRZYKŁADÓW NUTOWYCH
. 407
BIBLIOGRAFIA
. 410
INDEKS OSÓB
. 452
MUSICAL
PATRONAGE IN RENAISSANCE ITALY
(1470-1527).
MILAN,
FER¬
RARA,
MANTUA, FLORENCE AND ROME (Summary)
. 467
MUSICAL PATRONAGE IN RENAISSANCE
ITALY
(1470-1527).
MILAN,
FERRARA,
MANTUA, FLORENCE
AND ROME
Summary
This book
offers
an analysis of the patronage practices in five most dynamically
developing musical centers in Renaissance Italy: Milan,
Ferrara,
Mantua, Florence
and Rome. It discusses the specificity of musical patronage and its influence on mu¬
sical culture in particular centers. It also presents the role that Franco-Flemish musi¬
cians played in the development of the repertoire which has been preserved there,
examines the extent to which they assimilated Italian musical style, and attempts to
reconstruct the impact their activity had on local composers. The time frame covered
in this book is from
1470
to
1527.
The first date coincides with the development of
musical patronage on an unprecedented scale that commenced with the beginning of
the rule of Galeazzo Maria
Sforza
in Milan
(1466),
Lorenzo
de'
Medici in Florence
(1469),
Èrcole
I
d'Esté
in
Ferrara
(1471)
and Pope
Sixtus
IV in the Holy See
(1471).
The dramatic events related to the conquering and plundering of Rome by the army
of Emperor Charles V
{sacco di Roma) in
1527
mark the end of this period.
The years of political stability in Italy after the Peace of
Lodi
(1454)
was signed
facilitated the development of patronage of the arts. The rulers of Italian states and
principalities, who were followed by church dignitaries and the wealthiest patri¬
cians, devoted all their energies to exuding an aura of luxury that guaranteed pres¬
tige and was a sign of being the most important among the rival clans. Musicians
also constantly worked in a competitive atmosphere. Both ecclesiastical and secular
dignitaries, who were either motivated by political aspirations or commitments to
their dynasties, invested in any forms of musical activity on an unprecedented scale
by engaging singers and instrumentalists as well as by commissioning them to com¬
pose new works or organize drama and music performances. Music, like other arts,
was used as a kind of tool of persuasion and was to convince observers of the excep¬
tional importance of the rulers or to confirm the legitimacy of their rule.
The book consists of an introduction and four chapters. The introduction out¬
lines the issue of musical patronage in early modern Europe. No cohesive and uni-
~467~
versally accepted definition of patronage has been created so far but, due to the ex¬
isting terminological differences and different semantic ranges of this concept, the
key question remains whether patronage of art, literature, theater and music can be
separated from the more general system of patronage. It seems that looking at all
these forms of creative activity in isolation from the broadly understood patronage is
not justified as they were always dependent on material support in early modern
Europe. The presence of artists, musicians and writers around rulers or church dig¬
nitaries was a universally accepted systemic solution. Therefore, patronage is a cate¬
gory which is very useful for studying the social context of music. As it was neces¬
sary to constantly compete at the top levels of the social hierarchy, one had to flaunt
one's wealth by, for example, financing music bands. Similarly to sumptuous palac¬
es, mansions and art galleries, music communicated rulers' prestige and gave them
a privileged position in negotiating contracts or treaties as well as in a dynastic mari¬
tal policy, etc.
The FIRST CHAPTER of the book is devoted to analyzing the strategy of musical
patronage implemented by the
Sforza
dynasty of Milan. Although the beginning of
the 16th century saw the twilight of this dynasty's rule, the model established during
the three previous decades by Galeazzo Maria
Sforza
and
Ludovico Sforza II Moro
set
standards for other Italian rulers. This chapter discusses the activity of the most
important
oltremontani in
Milan
(Gaspar
van Weerbeke, Loyset
Compère,
Johannes
Martini, Josquin
Desprez
and Matthias Werrecore), as well as the works of a native
composer and theoretician
—
Franchinus Gaffurius, who was the maestro
di musica
of
the Milan Cathedral. In particular, these reflections are focused on motetti missales,
i.e. a genre which was typical of Milan's musical culture, as well as on the "Milan
style", whose features can be found in a range of works composed during the reign
of Galeazzo Maria
Sforza
and
Ludovico Sforza II Moro.
The second chapter contains reflections on the musical culture of
Ferrara
and
that of Mantua, which had many economic and cultural ties with the former. The
political ambitions of two families that ruled there, i.e. the
Este
and
Gonzaga
dynas¬
ties, caused their courts to become dynamic centers of musical patronage. Particular
rulers rightly noticed that one could increase a court's splendor by supporting prom¬
inent composers. This chapter analyzes the works of Johannes Martini, Jacob
Obrecht and Josquin
Desprez,
which were composed in
Ferrara,
as well as anony¬
mous secular works. It presents the patronage practiced not only by the rulers of
both principalities but also by their wives. It also discusses the role that the
Este
dynasty played in developing musical culture during the first decades of the 16th
century (Alfonso, Ippolito and Sigismondo d'Este). Particular emphasis is placed on
Isabella d'Este's and Lucrezia Borgia's role in popularizing frottole. The chapter also
traces this genre's evolution up until the second decade of the 16th century. In the
late period, frottolisti increasingly often turned to more mature literary forms and
more widely recognized poets. Petrucci's last book of frottole
(1514)
is a telling tes¬
timony to this trend as it shows a shift from simple, unpretentious texts toward more
sophisticated poetry (Petrarch, Poliziano, Tebaldeo,
Bembo
and Castiglione).
The THIRD CHAPTER concentrates on musical patronage in Florence. Patronage
practices there were considerably different from the model established in other Ital-
~468~
ian
cities because there was no prince's court in Florence and it was ruled by large
guild corporations
(Arti Maggiori),
through which the Florentine oligarchy could
influence the city's history and musical culture. During the analyzed period there
were at least four types of musical patronage:
(1)
private patronage, which was exer¬
cised by wealthy merchant and banking families (Medici, Rucellai,
Strozzi
and oth¬
ers);
(2)
corporate patronage, which was related to the activity of two merchant
guilds: the guild of wool merchants
(Arte della Lana),
who took care of the Cathedral
of Santa Maria del
Fiore,
and the guild of cloth merchants
(Arte di Calimala),
who
were responsible for the Baptistery of San Giovanni;
(3)
church patronage, which
was closely connected to corporate patronage; as well as
(4)
city patronage, which
was practiced by
signorìa
and which consisted of different groups of instrumentalists
(trombetti
and
pifferi),
whose task was to represent the authorities outside. These four
different types of patronage had an impact on the development of different kinds of
repertoire, and the joint financial effort made it possible to hire a large number of
highly qualified singers and composers of international renown.
This chapter describes patronage of sacred and secular music. Judging from the
eight Florentine manuscripts from the second half of the 15th century that have been
preserved, Florence was a particularly active center of nurturing and collecting the
repertoire of French chansons. Also,
canti carnascialeschi'
's
development can also be
explained by the specificity of Florentine patronage. Neither Savonarola's preaching
nor the development of polyphonic
lauda
that he supported managed to hinder the
popularity of secular music. The artistic output of Franco-Flemish musicians in Flor¬
ence (Henricus Isaac and others) and local Florentine musicians
(Alessandro Coppi-
ni, Bartolomeo
degli Organi,
Giovanni
Serragli,
Bernardo
Pisano,
Francesco
de
Lay
olle
and others) testifies to the cardinal importance of the Medici dynasty's pat¬
ronage for the development of the „Florentine school of composers".
Accademia
Oricellaria''s activity as well as the role it had in the development of new trends in
secular music constitutes a separate object of interest in this chapter.
The fourth chapter is devoted to papal patronage. It describes the role that
Pope
Sixtus
IV played in developing the papal chapel, as well as the content of the
then Vatican codices and the specificity of the musical patronage practiced by Pope
Innocent
VIII,
Pope Alexander VI and Pope Julius II. It also presents the develop¬
ment of
Cappella Sistina's
repertoire and the artistic output of its composers (Marbri-
ano
de Orto,
Bertrand Vaqueras and Josquin
Desprez).
Next, the chapter analyzes
Pope Leo X's and Pope Clement
VII'
s
patronage practices concerning both sacred
and secular polyphony as well as virtuoso soloists and improvising poet-singers. It
describes the consequences of the Concordat of Bologna for music as well as the
functioning of papal
musica segreta
and the importance of
Raffaele Brandolini's
activ¬
ity and treatise. Although there are almost one hundred pieces of information about
Pope Leo X's connections with music, which are scattered across different sources,
they do not provide sufficient grounds for determining the extent of his patronage
activities. This documentation leaves no doubt, however, that support for sacred and
secular music as well as theater and music performances, and traveling poet-
-musicians, was a constant element of Pope Leo X's patronage strategy. It resulted
not only from his artistic tastes, but also from a desire to glorify his own family and
469
enhance its prestige. Given the above, Pope Clement VIFs musical patronage needs
to be regarded as relatively modest. And while this pope's achievements in the area
of supporting visual arts were significant and his enthusiasm for secular music, es¬
pecially instrumental music, resulted in creating new repertoire, his patronage prac¬
tices related to sacred music did not go beyond his normal duties as the head of the
Papal States.
This chapter closes with reflections on the role of music printing industry in
Rome. The analysis of
Antico'
s, Giunta's
and Pasoti's typographic activity indicates
that the popularization of print led to increasingly serious changes in the functioning
of music in society, thus causing patrons and their clients to adjust to the new situa¬
tion. However, it did not invalidate the existing system of patronage, and it even
enriched this system with a range of new possibilities. Regardless of whether music
that was released in print was intended for a market made up by private customers
who were known by their names or a market made up by anonymous buyers, it
gradually left the area of patronage and entered the world of market mechanisms.
Translated by Anna Mojska
Bayerische 1
Staatsbibliothek j
München
j |
| any_adam_object | 1 |
| author | Wieczorek, Ryszard J. 1956- |
| author_GND | (DE-588)1089750595 |
| author_facet | Wieczorek, Ryszard J. 1956- |
| author_role | aut |
| author_sort | Wieczorek, Ryszard J. 1956- |
| author_variant | r j w rj rjw |
| building | Verbundindex |
| bvnumber | BV041640355 |
| classification_rvk | LH 60460 LQ 81603 |
| ctrlnum | (OCoLC)883910279 (DE-599)BVBBV041640355 |
| discipline | Kunstgeschichte Musikwissenschaft |
| edition | Wyd. 1. |
| era | Geschichte 1470-1527 gnd |
| era_facet | Geschichte 1470-1527 |
| format | Book |
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| geographic | Italien (DE-588)4027833-5 gnd |
| geographic_facet | Italien |
| id | DE-604.BV041640355 |
| illustrated | Illustrated |
| indexdate | 2025-01-02T19:16:29Z |
| institution | BVB |
| isbn | 9788323225881 |
| language | Polish |
| oai_aleph_id | oai:aleph.bib-bvb.de:BVB01-027081167 |
| oclc_num | 883910279 |
| open_access_boolean | |
| owner | DE-12 DE-355 DE-BY-UBR |
| owner_facet | DE-12 DE-355 DE-BY-UBR |
| physical | 469, [3] s. Notenbeisp. 24 cm |
| publishDate | 2013 |
| publishDateSearch | 2013 |
| publishDateSort | 2013 |
| publisher | Wydawnictwo Naukowe UAM |
| record_format | marc |
| series2 | Uniwersytet im. Adama Mickiewicza w Poznaniu / Seria Muzykologia |
| spelling | Wieczorek, Ryszard J. 1956- Verfasser (DE-588)1089750595 aut Patronat muzyczny w renesansowych Włoszech (1470 - 1527) Mediolan, Ferrara, Mantua, Florencja, Rzym Ryszard J. Wieczorek Wyd. 1. Poznań Wydawnictwo Naukowe UAM 2013 469, [3] s. Notenbeisp. 24 cm txt rdacontent n rdamedia nc rdacarrier Uniwersytet im. Adama Mickiewicza w Poznaniu / Seria Muzykologia 9 Zsfassung in engl. Sprache u.d.T.: Musical patronage in Renaissance Italy (1470 - 1527) Bibliogr. s. 410-451. Indeks Geschichte 1470-1527 gnd rswk-swf Muzyka / mecenat / Włochy / 15 w jhpk Muzyka / mecenat / Włochy / 16 w jhpk Musik (DE-588)4040802-4 gnd rswk-swf Mäzenatentum (DE-588)4074442-5 gnd rswk-swf Italien (DE-588)4027833-5 gnd rswk-swf Italien (DE-588)4027833-5 g Musik (DE-588)4040802-4 s Mäzenatentum (DE-588)4074442-5 s Geschichte 1470-1527 z DE-604 Seria Muzykologia Uniwersytet im. Adama Mickiewicza w Poznaniu 9 (DE-604)BV008212078 9 Digitalisierung BSB Muenchen 19 - ADAM Catalogue Enrichment application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=027081167&sequence=000002&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA Inhaltsverzeichnis |
| spellingShingle | Wieczorek, Ryszard J. 1956- Patronat muzyczny w renesansowych Włoszech (1470 - 1527) Mediolan, Ferrara, Mantua, Florencja, Rzym Muzyka / mecenat / Włochy / 15 w jhpk Muzyka / mecenat / Włochy / 16 w jhpk Musik (DE-588)4040802-4 gnd Mäzenatentum (DE-588)4074442-5 gnd |
| subject_GND | (DE-588)4040802-4 (DE-588)4074442-5 (DE-588)4027833-5 |
| title | Patronat muzyczny w renesansowych Włoszech (1470 - 1527) Mediolan, Ferrara, Mantua, Florencja, Rzym |
| title_auth | Patronat muzyczny w renesansowych Włoszech (1470 - 1527) Mediolan, Ferrara, Mantua, Florencja, Rzym |
| title_exact_search | Patronat muzyczny w renesansowych Włoszech (1470 - 1527) Mediolan, Ferrara, Mantua, Florencja, Rzym |
| title_full | Patronat muzyczny w renesansowych Włoszech (1470 - 1527) Mediolan, Ferrara, Mantua, Florencja, Rzym Ryszard J. Wieczorek |
| title_fullStr | Patronat muzyczny w renesansowych Włoszech (1470 - 1527) Mediolan, Ferrara, Mantua, Florencja, Rzym Ryszard J. Wieczorek |
| title_full_unstemmed | Patronat muzyczny w renesansowych Włoszech (1470 - 1527) Mediolan, Ferrara, Mantua, Florencja, Rzym Ryszard J. Wieczorek |
| title_short | Patronat muzyczny w renesansowych Włoszech (1470 - 1527) |
| title_sort | patronat muzyczny w renesansowych wloszech 1470 1527 mediolan ferrara mantua florencja rzym |
| title_sub | Mediolan, Ferrara, Mantua, Florencja, Rzym |
| topic | Muzyka / mecenat / Włochy / 15 w jhpk Muzyka / mecenat / Włochy / 16 w jhpk Musik (DE-588)4040802-4 gnd Mäzenatentum (DE-588)4074442-5 gnd |
| topic_facet | Muzyka / mecenat / Włochy / 15 w Muzyka / mecenat / Włochy / 16 w Musik Mäzenatentum Italien |
| url | http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=027081167&sequence=000002&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA |
| volume_link | (DE-604)BV008212078 |
| work_keys_str_mv | AT wieczorekryszardj patronatmuzycznywrenesansowychwłoszech14701527mediolanferraramantuaflorencjarzym |