Music patronage in Italy:
This book focuses on the various aspects of music patronage in Italy from the fifteenth to the eighteenth century During the Renaissance and throughout the Baroque and Classical periods, musical production was linked to patronage. There are essentially two types of patronage. The first relates to po...
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| Other Authors: | |
|---|---|
| Format: | Book |
| Language: | English Italian |
| Published: |
Turnhout
Brepols
2021
|
| Series: | Studies on Italian music history
volume 15 |
| Subjects: | |
| Online Access: | Inhaltsverzeichnis |
| Summary: | This book focuses on the various aspects of music patronage in Italy from the fifteenth to the eighteenth century During the Renaissance and throughout the Baroque and Classical periods, musical production was 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, has 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 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. |
| Physical Description: | xviii, 491 Seiten Illustrationen, Notenbeispiele |
| ISBN: | 9782503595443 |
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| 520 | 3 | |a This book focuses on the various aspects of music patronage in Italy from the fifteenth to the eighteenth century During the Renaissance and throughout the Baroque and Classical periods, musical production was 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, has 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 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. | |
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Record in the Search Index
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Contents Galliano Ciliberti Preface ix Patronage as an Historiographical Problem Reinhard Strohm Hosting Foreigners — and the History of Italian Music Iain Fenlon Private, Princely, and Collective Patronage in Sixteenth-Century Italy 3 21 Patronage, Diplomacy and Power Relationships in Rome Thomas Neal Printing and Patronage in Early Modern Rome: The Early Publications of Giovanni Pierluigi ‘da Palestrina’ 45 Michela Berti - Emilie Corswarem «Capitale del Mondo [.] onorata da Nazioni straniere». Il particolare mecenatismo nelle chiese nazionali di Roma 73 Galliano Ciliberti «Les Goûts réunis». Diplomazia e mecenatismo musicale a Roma nel Seicento: il caso della Francia 93
Patronage, Diplomacy and Power Relationships in Venice Gabriele Taschetti Marcantonio De Dominis: A Patron manqué for Tomaso Cecchini? 147 Adriana De Feo Il casato di Hannover a Venezia e le scritture per Apostolo Zeno e Girolamo Frigimelica Roberti 165 Giovanni Tribuzio «Or giunte siamo dove il principe nostro potremo vagheggiar». Tre serenate di D’Alessandro/Vivaldi, Carcani e Paradies/Galuppi per Federico Cristiano di Sassonia (Venezia, Ospedali Grandi, 1740) 191 Musical Patrons and Italian Cultural Life Cristina Cassia Pietro Bembo and Music Patronage 243 Marcello Mazzetti - Livio Ticli «I raggi della chiarissima Casa Gambaresca»: The Gambaras’ Music Patronage and the Performance Practice in I5th֊i7th-Century Brescia 267 Nicolò Maccavino Tipologie di mecenatismo e committenza musicale in alcune città del Val di Noto in Sicilia fra Cinque e Settecento 315 Annabelle M. Page Patronage in Absentia: A Case Study of the Patronage of Marcus Sitticus (c. 1612-1619) 369 Maria Birbili Music Patronage and Politics in the Early 19th Century: Rossini, the ‘Holy Alliance’, and the Use of autoimprestito as a Means of Ironic Distance 391
Manuscript Production and Music Publishing Marina Toffetti Music Publishing and Patronage in Milan in the First Thirty Years of the Seventeenth Century: An Overview 405 Angela Fiore «Sotto l’ale protettrici dell’Aquile Coronate»: copisti stampatori e mecenatismo deha corte estense Abstracts Index of and Biographies Names 443 463 475 |
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Contents Galliano Ciliberti Preface ix Patronage as an Historiographical Problem Reinhard Strohm Hosting Foreigners — and the History of Italian Music Iain Fenlon Private, Princely, and Collective Patronage in Sixteenth-Century Italy 3 21 Patronage, Diplomacy and Power Relationships in Rome Thomas Neal Printing and Patronage in Early Modern Rome: The Early Publications of Giovanni Pierluigi ‘da Palestrina’ 45 Michela Berti - Emilie Corswarem «Capitale del Mondo [.] onorata da Nazioni straniere». Il particolare mecenatismo nelle chiese nazionali di Roma 73 Galliano Ciliberti «Les Goûts réunis». Diplomazia e mecenatismo musicale a Roma nel Seicento: il caso della Francia 93
Patronage, Diplomacy and Power Relationships in Venice Gabriele Taschetti Marcantonio De Dominis: A Patron manqué for Tomaso Cecchini? 147 Adriana De Feo Il casato di Hannover a Venezia e le scritture per Apostolo Zeno e Girolamo Frigimelica Roberti 165 Giovanni Tribuzio «Or giunte siamo dove il principe nostro potremo vagheggiar». Tre serenate di D’Alessandro/Vivaldi, Carcani e Paradies/Galuppi per Federico Cristiano di Sassonia (Venezia, Ospedali Grandi, 1740) 191 Musical Patrons and Italian Cultural Life Cristina Cassia Pietro Bembo and Music Patronage 243 Marcello Mazzetti - Livio Ticli «I raggi della chiarissima Casa Gambaresca»: The Gambaras’ Music Patronage and the Performance Practice in I5th֊i7th-Century Brescia 267 Nicolò Maccavino Tipologie di mecenatismo e committenza musicale in alcune città del Val di Noto in Sicilia fra Cinque e Settecento 315 Annabelle M. Page Patronage in Absentia: A Case Study of the Patronage of Marcus Sitticus (c. 1612-1619) 369 Maria Birbili Music Patronage and Politics in the Early 19th Century: Rossini, the ‘Holy Alliance’, and the Use of autoimprestito as a Means of Ironic Distance 391
Manuscript Production and Music Publishing Marina Toffetti Music Publishing and Patronage in Milan in the First Thirty Years of the Seventeenth Century: An Overview 405 Angela Fiore «Sotto l’ale protettrici dell’Aquile Coronate»: copisti stampatori e mecenatismo deha corte estense Abstracts Index of and Biographies Names 443 463 475 |
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| spelling | Music patronage in Italy edited by Galliano Ciliberti Turnhout Brepols 2021 xviii, 491 Seiten Illustrationen, Notenbeispiele txt rdacontent n rdamedia nc rdacarrier Studies on Italian music history volume 15 This book focuses on the various aspects of music patronage in Italy from the fifteenth to the eighteenth century During the Renaissance and throughout the Baroque and Classical periods, musical production was 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, has 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 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. Beiträge teilweise englisch, teilweise italienisch Geschichte gnd rswk-swf Musik (DE-588)4040802-4 gnd rswk-swf Patronage (DE-588)4044925-7 gnd rswk-swf Italien (DE-588)4027833-5 gnd rswk-swf Italien (DE-588)4027833-5 g Musik (DE-588)4040802-4 s Patronage (DE-588)4044925-7 s Geschichte z DE-604 Ciliberti, Galliano ca. 20. Jh. (DE-588)1023716682 edt Studies on Italian music history volume 15 (DE-604)BV036668031 15 Digitalisierung BSB München - ADAM Catalogue Enrichment application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=032781763&sequence=000001&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA Inhaltsverzeichnis |
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| title | Music patronage in Italy |
| title_auth | Music patronage in Italy |
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| title_full | Music patronage in Italy edited by Galliano Ciliberti |
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| title_short | Music patronage in Italy |
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