Recording Tarquinia: imitation, parody and reportage in Marc’Antonio Ingegneri's ‘Hor che 'l ciel e la terra e 'l vento tace’


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), pp. 358-378. (doi:10.1093/earlyj/XXVII.3.358).

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Description/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 midto 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

Item Type: Article
Digital Object Identifier (DOI): doi:10.1093/earlyj/XXVII.3.358
ISSNs: 1741-7260 (print)
Related URLs:
Keywords: tarquinia, stras, laurie, imitation, parody, reportage
Subjects:
ePrint ID: 67403
Date :
Date Event
1999Published
Date Deposited: 20 Aug 2009
Last Modified: 18 Apr 2017 21:26
Further Information:Google Scholar
URI: http://eprints.soton.ac.uk/id/eprint/67403

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