Recording Tarquinia: imitation, parody and reportage in Marc’Antonio Ingegneri's ‘Hor che 'l ciel e la terra e 'l vento tace’
Recording Tarquinia: imitation, parody and reportage in Marc’Antonio Ingegneri's ‘Hor che 'l ciel e la terra e 'l vento tace’
In mid-October 1568 a banquet in Modena was attended by Alfonso II d'Este, Duke of Ferrara, his wife, Barbara of Austria, and his sister, Lucrezia d'Este.1 A local gentlewoman sang and played for the duke, and must have created a deep and lasting impression, for some 15 years later she joined the Este court as a professional musician. Remarkably, the story of her performance is recorded in two quite different sources—a polyphonic madrigal by Marc'Antonio Ingegneri and a philosophical treatise by Francesco Patrizi. These sources variously provide compelling evidence of musical practice in the mid to late 16th-century, and create a representation of a performance by Tarquinia Molza, who was to become one of the most celebrated singers of the Ferrarese court. Furthermore, the madrigal reveals the extremes to which a composer could stretch the device of imitatio by incorporating musical parody, textual allusion, expression and reportage into a single five-voice work.
tarquinia, stras, laurie, imitation, parody, reportage
358-378
Stras, Laurie
b1021221-b68d-4a48-bf3c-890e5a63438a
1999
Stras, Laurie
b1021221-b68d-4a48-bf3c-890e5a63438a
Stras, Laurie
(1999)
Recording Tarquinia: imitation, parody and reportage in Marc’Antonio Ingegneri's ‘Hor che 'l ciel e la terra e 'l vento tace’.
Early Music, 27 (3), .
(doi:10.1093/earlyj/XXVII.3.358).
Abstract
In mid-October 1568 a banquet in Modena was attended by Alfonso II d'Este, Duke of Ferrara, his wife, Barbara of Austria, and his sister, Lucrezia d'Este.1 A local gentlewoman sang and played for the duke, and must have created a deep and lasting impression, for some 15 years later she joined the Este court as a professional musician. Remarkably, the story of her performance is recorded in two quite different sources—a polyphonic madrigal by Marc'Antonio Ingegneri and a philosophical treatise by Francesco Patrizi. These sources variously provide compelling evidence of musical practice in the mid to late 16th-century, and create a representation of a performance by Tarquinia Molza, who was to become one of the most celebrated singers of the Ferrarese court. Furthermore, the madrigal reveals the extremes to which a composer could stretch the device of imitatio by incorporating musical parody, textual allusion, expression and reportage into a single five-voice work.
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Published date: 1999
Keywords:
tarquinia, stras, laurie, imitation, parody, reportage
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Local EPrints ID: 67403
URI: http://eprints.soton.ac.uk/id/eprint/67403
ISSN: 1741-7260
PURE UUID: 4db3dba7-7e78-4378-8c0a-c4a7b90abdd4
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Date deposited: 20 Aug 2009
Last modified: 14 Mar 2024 02:37
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