From an historical perspective, three cardinals appear decisive in forming a musical identity of the Mantuan Gonzaga court:: Francesco (1444 - 1483, Cardinal from 1461), Ercole (1505 - 1563, Cardinal from 1527), Ferdinand (1587-1626, Cardinal 1607-1612). The contact with Poliziano and the production of the Fabula di Orfeo, the recruitment of Jachet de Mantua (1483 - 1559, in Mantua from 1526), the new musical arrangements of the roles of court after the dismissal (1612) by Claudio Monteverdi, the brief and ill-fated transfer from Rome to Mantua by Girolamo Frescobaldi (1614), are some salient episodes in the respective periods of influence of Francesco Ercole and Ferdinando and their supporters. The significance of these events is indicated by the extent to which they broke with the historical flow in which they fitted, leading us to reflect on their promoters. In their respective historical and biographical contexts, the Gonzaga Cardinals received adequate training for their office, and they lived for varying periods of prolonged in Rome, in palaces that became places of artistic and musical activity. This paper investigates how the peculiarities of the status of cardinals may have contributed to the relationship between different elements of the music they promoted, to the mutual integration of those elements and to the aspirations of renewal resulting from the dislocation of cultural models known elsewhere.

The music and the Gonzaga cardinals: from Francesco (1444-1483) to Ferdinando (1587-1626)

BESUTTI, Paola
2012

Abstract

From an historical perspective, three cardinals appear decisive in forming a musical identity of the Mantuan Gonzaga court:: Francesco (1444 - 1483, Cardinal from 1461), Ercole (1505 - 1563, Cardinal from 1527), Ferdinand (1587-1626, Cardinal 1607-1612). The contact with Poliziano and the production of the Fabula di Orfeo, the recruitment of Jachet de Mantua (1483 - 1559, in Mantua from 1526), the new musical arrangements of the roles of court after the dismissal (1612) by Claudio Monteverdi, the brief and ill-fated transfer from Rome to Mantua by Girolamo Frescobaldi (1614), are some salient episodes in the respective periods of influence of Francesco Ercole and Ferdinando and their supporters. The significance of these events is indicated by the extent to which they broke with the historical flow in which they fitted, leading us to reflect on their promoters. In their respective historical and biographical contexts, the Gonzaga Cardinals received adequate training for their office, and they lived for varying periods of prolonged in Rome, in palaces that became places of artistic and musical activity. This paper investigates how the peculiarities of the status of cardinals may have contributed to the relationship between different elements of the music they promoted, to the mutual integration of those elements and to the aspirations of renewal resulting from the dislocation of cultural models known elsewhere.
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Utilizza questo identificativo per citare o creare un link a questo documento: https://hdl.handle.net/11575/4521
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