This paper need to re-read the Claudio Monteverdi's icon in an international perspective. It wants to determine if - and how - the icon was a pedagogical and cultural model for his German speaking contemporaneity who was interested to compose few voices motets, to adopt the stile rappresentativo and to use instruments in concertato. In particular, this paper wants to reconstruct the German creative debt through the analysis of the printed catalogues and the anthologies printed in German speaking Lands during the XVII century. It can surprise that the authority of the Italian model is only partially filtered by the name of Monteverdi in this forest of these anthological florilegi.
A new recognition of the presence of Claudio Monteverdi's sacred compositions in 17th-century German sacred anthologies
Mannoia V. M. R.
2019-01-01
Abstract
This paper need to re-read the Claudio Monteverdi's icon in an international perspective. It wants to determine if - and how - the icon was a pedagogical and cultural model for his German speaking contemporaneity who was interested to compose few voices motets, to adopt the stile rappresentativo and to use instruments in concertato. In particular, this paper wants to reconstruct the German creative debt through the analysis of the printed catalogues and the anthologies printed in German speaking Lands during the XVII century. It can surprise that the authority of the Italian model is only partially filtered by the name of Monteverdi in this forest of these anthological florilegi.I documenti in IRIS sono protetti da copyright e tutti i diritti sono riservati, salvo diversa indicazione.
