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Singing Games in Early Modern Italy
In Italy during the late cinquecento, printed music could be found not only in the homes of the wealthy or the music professional, but also in lay homes, courts, and academies. No longer confined to the salons of the elite, music took on the role of social play and recreation. Paul Schleuse examines these new musical forms through a study of the music books of Italian priest, poet, and composer, Orazio Vecchi. Composed for minor patrons and the wider music-buying public, Vecchi's madrigals took as their subjects game-playing, drinking, hunting, battles, and the life of the street. Schleuse looks at how music and game-playing allowed singers and performers to play the roles of exemplary pastoral characters and also comic, foreign, and "rustic" others in ways that defined and ultimately reinforced social norms of the times. His findings reposition Orazio Vecchi as one of the most innovative composers of the late 16th century.
The Madrigal
The Madrigal: A Research and Information Guide is the first comprehensive annotated bibliography of scholarship on virtually all aspects of madrigal composition, production, and consumption. It contains 1,237 entries for items in English, French, German, and Italian. Scholars, students, teachers, librarians, and performers now have access to this rich literature in a single volume.
NU Quarter Notes
None
Selva di varia ricreatione (1590)
Orazio Vecchis Selva di varia ricreatione (1590) broke new ground in several respects. It was the first Italian print to contain secular polyphony for a wide variety of ensembles, ranging from three to ten voices or instruments, and its thirty-seven pieces include--extraordinarily--every established Italian secular genre of the day, with poetry believed to have been written almost entirely by the composer himself. These works include "serious" madrigals and dialogues in literary Tuscan, smaller-scale arias and canzonettas (provided with lute accompaniment), and witty vernacular pieces in several regional dialects and foreign languages. Vecchi explains both the size and variety of the collection by association with its title, likening the book to a forest in which a rich variety of foliage is a source of pleasure.
Jean-Luc Godard
Filmographie (p. 101-116)
