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Beginning in the second half of the fifteenth century, under the patronage of the Gonzaga family, the northern Italian city of Mantua became a vibrant center for visual art, theatre, and music. The performance at the Gonzaga court of Poliziano's Fabula di Orfeo, around 1480, marked the beginning of secular music theatre. The use of musical numbers within the drama anticipated the beginnings of opera at Florence a century later, as well as the first masterpiece of the genre, Monteverdi's La favola d'Orfeo at Mantua in 1607. Mantua reached the zenith of its artistic distinction during the reign of Duke Vincenzo I, between 1587 and 1612. During this time, Wert and Gastoldi were joined at the court by the important Jewish composer Salamone Rossi and, most notably, by Monteverdi. The premieres of his Orfeo and Arisanna made the Gonzaga court, for that brief period, the most important center in the development of opera.
In Music at the Gonzaga Court in Mantua, Donald C. Sanders discusses musical composition at the court in the context of the brilliant visual art that provided such a conducive environment. Sanders also traces the history of this very colorful family and their relationships with the emperors, kings, and popes who shaped modern Europe. Part history, part musicology, Sanders' analysis spans the fifteenth century through the seventeenth century, filling informative gaps with details essential for students in courses on Renaissance or Baroque music, or in more specialized courses on madrigal, opera, or liturgical music. Music at the Gonzaga Court in Mantua is also important reading for knowledgeable musical amateurs and anyone with interest in Italian history and arts.
- Sales Rank: #5171469 in Books
- Published on: 2012-03-22
- Original language: English
- Number of items: 1
- Dimensions: 9.16" h x .84" w x 6.22" l, 1.05 pounds
- Binding: Hardcover
- 200 pages
Review
The author provides...many interesting stories of intrigue, deception, and humor in sixteenth-century Italian musical life, and the acquisition for instruments, singers, and composers. (Sixteenth Century Journal)
Sanders has combed the considerable literature on Mantua and sifted through archival records, weaving them into a fascinating account of the city’s musical life during the glory years of the ‘long’ sixteenth century, all in the context of political, ecclesiastical, and intellectual developments of the time. It is certain to find a place alongside classic studies of the subject. (Linda P. Cummins, Coordinator of Musicology, University of Alabama)
Mantua has long been known as one of the great intellectual and artistic centers of the Italian Renaissance. Now Donald Sanders places musical composition and performance in this context, in a thoroughly researched and engagingly written account centering on the period from the 1490 marriage of Francesco II and Isabella d’Este through the Counter-Reformation to the creation of opera at the time of Monteverdi. It is at once a scholarly achievement and a good read. (Jan Herlinger, Louisiana State University)
About the Author
Donald C. Sanders is professor of music and Chairperson of Keyboard and Academic Studies in the School of the Arts at Samford University in Birmingham, Alabama.
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A special book for those with special interests
By GDP
'Music at the Gonzaga Court in Mantua' is a terrific book if you are devoted to the birth of opera, other early music, or are focused upon the Italian Renaissance, but it may test the patience of general readers. Author Sanders takes a detailed look at the court in Mantua where music flourished under the patronage of the Gonzaga's (who ruled the city and territory for nearly 400 years, c. 1300-1700).
The family rose to prominence "the old fashioned way" - as warriors and mercenaries, subsequently attaining noble status through deft diplomacy and a flair for pageantry (as well as a cash payment to the emperor, of course). Ultimately there were ten Dukes of Mantua from the Gonzaga clan (and more than a handful of cardinals). Throughout, the Mantua court was an active supporter of both sacred and secular music - although the level of that support rose and ebbed depending upon the predilection of the ruling Duke (or sometimes, as importantly, the Duchess), as well as the depth of financial resources available to them.
All families have their "delicate" moments, and the Gonzaga's have their share of episodes that would be right at home in a Puccini opera - including fratricide and one very odd pre-nuptial requirement.
Integral to the tale is the relationship between nearby courts of Este Ferrara and Medici Florence, which cooperated and competed with one another through their patronage of arts (symbiosis with an edge). Accomplished musicians and vocalists would be "loaned" to one another at the same time that rival courts would attempt to establish eminent status through the sponsorship of musical productions (the most elaborate generally associated with marriages between dynastic families). Magnanimity must be a variation of conspicuous consumption in some cases.
Of course musical Mantua is probably most renown for being one of the principle homes of Claudio Monteverdi (1567-1643), who primarily served Vincenzo I, Duke of Mantua during his reign of 1587-1612. Vincenzo was a bit of a free spender who also vigorously supported the visual arts (Peter Paul Rubens was the court painter in 1600-1608) which, along with his other pursuits, pretty much emptied the treasury by the end of his reign. It was during this period that Monteverdi composed his 'La favola d'Orfeo' (1607) and his 'Vespers of 1610' - money well spent, don't you think?
The book reveals transitory periods (e.g., the Counter-Reformation), musical styles, composers, singers, and musicians of Mantua, and that led to, at a special time, the circumstances for the creation of what is generally considered the first "great" opera, Monteverdi's 'Orfeo'. The discussion comparing this 'Orfeo' to one of it's operatic predecessors, Peri's 'Euridice', is enlightening, and nicely articulates the specialness of each. The entire commentary on Monteverdi and his work is worthwhile.
Like all good history books, this one provides a deep and satisfying view of its subject, in this case one of the petri dishes that helped spawn opera. It provides a reader with a better appreciation of the texture of a consequential time and place in the history of music.
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