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001 ocm03627712;

005 20141211234356.0;

008 780117s1980 njug 001 0 eng ;

010 a| 78000573;

020 a| 0691091250 :c| $50.00;

035 a| (Sirsi) o03627712;

035 a| (OCoLC)3627712;

040 a| DLCc| DLCd| EREd| UtOrBLW;

049 a| EREM;

050 00 a| ML290.8.F45b| N5;

082 0 a| 784/.1;

100 1 a| Newcomb, Anthony,d| 1941-2018=| ^A100406;

245 14 a| The madrigal at Ferrara, 1579-1597 /c| by Anthony Newcomb.;

300 a| 2 volumes :b| facsimiles, maps, music ;c| 28 cm.;

336 a| text2| rdacontent;

337 a| unmediated2| rdamedia;

338 a| volume2| rdacarrier;

490 1 a| Princeton studies in music ;v| no. 7;

504 a| Includes bibliographical references (v. 1, pages 285-292) and index.;

505 00 g| Volume 1.t| The singing ladies at Ferrara before 1580 --t| The formation of the Concerto delle Donne --t| The Concerto delle Donne in the 1580s.t| As part of the Ferrarese musical establishment ;t| As part of the general development of the madrigal --t| Musical practice within the Musica Secreta.t| Practices for which there remains little or no musical evidence ;t| Reflections of the Musica Secreta in the printed madrigal --t| Imitations of the Ferrarese Concerto delle Donne, 1584-1589.t| Florence ;t| Rome ;t| Mantua ;t| Ferrara --t| Ferrara and its Duke around 1590 --t| The new Ferrarese style of the 1590s --g| Appendix I.t| Musicians employed by the Este court at Ferrara (1560-1597).t| The cappella di musica: the nature of the documentary sources; table of musicians employed in the Cappella di Musica (1560-1597); dictionary of musicians employed in the Cappella di Musica ;t| The Musica Secreta: a dictionary of musicians --g| Appendix II.t| Dictionary of musicians who visited the court of Ferrara --g| Appendix III.t| Music holdings of the court of Alfonso II.t| Booklist ;t| Chronological summary of the items in the booklist --g| Appendix IV.t| Madrigal prints of the second half of the 16th century dedicated to members of the Ferrarese court or emanating from the Ferrarese environment - a chronological list --g| Appendix V.t| Documents in the original language --g| Appendix VI.t| Glossary of terms and proper names; a table of those members of the Este family with whom this study is concerned.;

505 00 g| Volume 2.t| Cantate ninfe from Il primo libro de madrigali a sei voci (1581) /r| Luca Marenzio --t| Lauro, ohime from Il lauro secco (1582) /r| Giovanni de' Bardi --t| Il gioco de la cieca, 1st and 2nd parts, from Il quarto libro de madrigali a cinique voci (1602) /r| G. G. Gastoldi --t| Hor fuggi infedel' from Il lauro secco (1582) /r| Giaches Wert --t| O in primavera eterna from Il lauro secco (1582) /r| Andrea Gabrieli --t| Fu il lauro sempre verde from Il lauro secco (1582) /r| Annibale Stabile --t| Se d'uno indegno from Il quarto libro delle muse (1574) /r| Giovanni Maria Nanino --t| Mentre l'aura spiro from Il lauro secco (1582) /r| Luca Marenzio --t| Movi il tuo plettro, Apollo from Il lauro secco (1582) /r| Lelio Bertani --t| Se il lauro e sempre verde from Il lauro secco (1582) /r| Luzzasco Luzzaschi --t| Vaghi boschetti from Il primo libro de madrigali a cinque voci (1581) /r| Benedetto Pallavicino --t| Quel canto, ohime from Madrigali libro terzo a sei voci (1582), breves 1-6 /r| Lodovico Agostini --t| Quando l'ira del cielo from Madrigali libro terzo a sei voci (1582) /r| Lodovico Agostini --t| Bianchi cigni, 3 parts, from Il lauro verde (1583) /r| Luca Marenzio --t| Verde lauro gentil from Il lauro verde (1583) /r| Annibale Stabile --t| Dai puri loro e limpidi cristalli from Il lauro verde (1583), breves 25-32 /r| Giovanni Maria Nanino --t| Da questo novo lauro from Il lauro verde (1583), breves 1-11 /r| Francesco Soriano --t| SeGU'A RINAscer' LAURA from Il primo libro de madrigali a cinque voci (1584) /r| Paolo Virchi --t| Non fonte o fume (to Laura) from Il primo libro de madrigali a cinque voci (1584), breves 1-10 /r| Paolo Virchi --t| Oime, l'antica fiamma from Il primo libro de madrigali a cinque voci (1584), breves 1-10 /r| Paolo Virchi --t| Rivi, fontane, e fiumi from Le gioie musicali (1589) /r| Luca Marenzio --t| Quante volte volgete from Il quarto libro de' madrigali a cinque voci (1594) /r| Luzzasco Luzzaschi --t| Il verdervi e lasciarvi from Terzo libro de madrigali a cinque voci (1582) /r| Luzzasco Luzzaschi --t| Dolorosi martir from Il terzo libro de madrigali a cinque voci (1586) /r| Giovanni Maria Nanino --t| De le odorate spoglie from Terzo libro de madrigali a cinque voci (1582) /r| Luzzasco Luzzaschi --t| Quando io miro from Il quarto libro de' madrigali a cinque voci (1594) /r| Luzzasco Luzzaschi --t| Amor, che rider suole from Primo libro di madrigali senza nome a cinque voci (1595) /r| Alfonso Fontanelli.;

520 a| Focusing on the court at Ferrara, in particular on its cultivation of secular vocal music and on the establishment there of a new group of performers in 1580, the author augments our understanding of one of the most brilliant cultural centers of the Renaissance, home of Ariosto, Tasso, and Guarini. On the basis of extensive research in previously unexplored documentary material in Italian libraries and archives, the author presents a substantially revised picture of musical culture in late Renaissance Italy. His text includes detailed analyses of over 25 complete madrigals that have been unavailable in modern editions and are contained here in an appendix. In his concern with the interaction of composer, performer, and patron in the evolution of musical style, the author discusses the position of music in the daily life at court, the circumstances under which the music was performed, and the pressures placed upon the artists by their patrons. He contends that the replacement within the court of the usual group of amateur madrigal singers by a professional group including several women was of crucial importance for the later development of secular vocal music in Italy. The exceptional ability of the singers, as well as the enthusiasm with the new group was received by sophisticated court audiences, stimulated composers to explore new stylistic possibilities.;

650 0 a| Madrigalsx| History and criticism.=| ^A575890;

650 0 a| Musicz| Italyz| Ferrara.=| ^A70716;

650 0 a| Musicx| History and criticismy| 16th century.=| ^A18818;

830 0 a| Princeton studies in music ;v| no. 7.=| ^A640824;

919 a| BOOK;

596 a| 3;

998 a| 130687;

999 a| ML290.8.F45 N5 V. 1w| LCc| 1i| 310372001587972d| 5/2/2022e| 2/13/2022f| 3/13/2025g| 6l| MCSm| JMUSICn| 14r| Ys| Yt| MCSSBKu| 3/21/1989x| BOOKz| MCIRCo| .STAFF. 0o| .STAFF. Copy Statement : v.1 c.1;

999 a| ML290.8.F45 N5 V. 2w| LCc| 1i| 30372004226749d| 5/2/2022e| 2/13/2022f| 3/13/2025g| 4l| MCSm| JMUSICn| 8r| Ys| Yt| MCSSBKu| 11/25/1987x| BOOKz| MCIRCo| .STAFF. .note. Temporary transfer #1 to HSL Temporary transfer #2 to HSLo| .STAFF. 0o| .STAFF. Copy Statement : v.2 c.1;

The madrigal at Ferrara, 1579-1597 / by Anthony Newcomb.

Author/creator	Newcomb, Anthony
Format	Book
Publication Info	Princeton, N.J. : Princeton University Press, ©1980.
Description	2 volumes : facsimiles, maps, music ; 28 cm.
Subjects	Madrigals--History and criticism. Music--Italy. --Ferrara. Music--History and criticism. --16th century.

Series	Princeton studies in music ; no. 7 Princeton studies in music ; no. 7. ^A640824
Contents	Volume 1. The singing ladies at Ferrara before 1580 -- The formation of the Concerto delle Donne -- The Concerto delle Donne in the 1580s. As part of the Ferrarese musical establishment ; As part of the general development of the madrigal -- Musical practice within the Musica Secreta. Practices for which there remains little or no musical evidence ; Reflections of the Musica Secreta in the printed madrigal -- Imitations of the Ferrarese Concerto delle Donne, 1584-1589. Florence ; Rome ; Mantua ; Ferrara -- Ferrara and its Duke around 1590 -- The new Ferrarese style of the 1590s -- Appendix I. Musicians employed by the Este court at Ferrara (1560-1597). The cappella di musica: the nature of the documentary sources; table of musicians employed in the Cappella di Musica (1560-1597); dictionary of musicians employed in the Cappella di Musica ; The Musica Secreta: a dictionary of musicians -- Appendix II. Dictionary of musicians who visited the court of Ferrara -- Appendix III. Music holdings of the court of Alfonso II. Booklist ; Chronological summary of the items in the booklist -- Appendix IV. Madrigal prints of the second half of the 16th century dedicated to members of the Ferrarese court or emanating from the Ferrarese environment - a chronological list -- Appendix V. Documents in the original language -- Appendix VI. Glossary of terms and proper names; a table of those members of the Este family with whom this study is concerned.
Contents	Volume 2. Cantate ninfe from Il primo libro de madrigali a sei voci (1581) / Luca Marenzio -- Lauro, ohime from Il lauro secco (1582) / Giovanni de' Bardi -- Il gioco de la cieca, 1st and 2nd parts, from Il quarto libro de madrigali a cinique voci (1602) / G. G. Gastoldi -- Hor fuggi infedel' from Il lauro secco (1582) / Giaches Wert -- O in primavera eterna from Il lauro secco (1582) / Andrea Gabrieli -- Fu il lauro sempre verde from Il lauro secco (1582) / Annibale Stabile -- Se d'uno indegno from Il quarto libro delle muse (1574) / Giovanni Maria Nanino -- Mentre l'aura spiro from Il lauro secco (1582) / Luca Marenzio -- Movi il tuo plettro, Apollo from Il lauro secco (1582) / Lelio Bertani -- Se il lauro e sempre verde from Il lauro secco (1582) / Luzzasco Luzzaschi -- Vaghi boschetti from Il primo libro de madrigali a cinque voci (1581) / Benedetto Pallavicino -- Quel canto, ohime from Madrigali libro terzo a sei voci (1582), breves 1-6 / Lodovico Agostini -- Quando l'ira del cielo from Madrigali libro terzo a sei voci (1582) / Lodovico Agostini -- Bianchi cigni, 3 parts, from Il lauro verde (1583) / Luca Marenzio -- Verde lauro gentil from Il lauro verde (1583) / Annibale Stabile -- Dai puri loro e limpidi cristalli from Il lauro verde (1583), breves 25-32 / Giovanni Maria Nanino -- Da questo novo lauro from Il lauro verde (1583), breves 1-11 / Francesco Soriano -- SeGU'A RINAscer' LAURA from Il primo libro de madrigali a cinque voci (1584) / Paolo Virchi -- Non fonte o fume (to Laura) from Il primo libro de madrigali a cinque voci (1584), breves 1-10 / Paolo Virchi -- Oime, l'antica fiamma from Il primo libro de madrigali a cinque voci (1584), breves 1-10 / Paolo Virchi -- Rivi, fontane, e fiumi from Le gioie musicali (1589) / Luca Marenzio -- Quante volte volgete from Il quarto libro de' madrigali a cinque voci (1594) / Luzzasco Luzzaschi -- Il verdervi e lasciarvi from Terzo libro de madrigali a cinque voci (1582) / Luzzasco Luzzaschi -- Dolorosi martir from Il terzo libro de madrigali a cinque voci (1586) / Giovanni Maria Nanino -- De le odorate spoglie from Terzo libro de madrigali a cinque voci (1582) / Luzzasco Luzzaschi -- Quando io miro from Il quarto libro de' madrigali a cinque voci (1594) / Luzzasco Luzzaschi -- Amor, che rider suole from Primo libro di madrigali senza nome a cinque voci (1595) / Alfonso Fontanelli.
Abstract	Focusing on the court at Ferrara, in particular on its cultivation of secular vocal music and on the establishment there of a new group of performers in 1580, the author augments our understanding of one of the most brilliant cultural centers of the Renaissance, home of Ariosto, Tasso, and Guarini. On the basis of extensive research in previously unexplored documentary material in Italian libraries and archives, the author presents a substantially revised picture of musical culture in late Renaissance Italy. His text includes detailed analyses of over 25 complete madrigals that have been unavailable in modern editions and are contained here in an appendix. In his concern with the interaction of composer, performer, and patron in the evolution of musical style, the author discusses the position of music in the daily life at court, the circumstances under which the music was performed, and the pressures placed upon the artists by their patrons. He contends that the replacement within the court of the usual group of amateur madrigal singers by a professional group including several women was of crucial importance for the later development of secular vocal music in Italy. The exceptional ability of the singers, as well as the enthusiasm with the new group was received by sophisticated court audiences, stimulated composers to explore new stylistic possibilities.
Bibliography note	Includes bibliographical references (v. 1, pages 285-292) and index.
LCCN	78000573
ISBN	0691091250 :

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The madrigal at Ferrara, 1579-1597 / by Anthony Newcomb.

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