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).
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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
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