A Correspondence of Renaissance Musicians
This book comprises an edition of the Spataro Correspondence, so called after its main author, the Bolognese music theorist Giovanni Spataro (c. 1459-1541). Spataro's main correspondents were Giovanni del Lago and Pietro Acron. The 110 letters, which survive in the Biblioteca Apostolica Vaticana and the Bibliotheque Nationale, offer a vivid insight into the intellectual world of a group of 16th-century music theorists and performing musicians living in Italy. Each letter appears in its entirety in the original Italian, with a full English summary, commentary and notes. A reference section includes a biographical dictionary and explanatory notes on problematic terms.
- Hardback | 1111 pages
- 150 x 230 x 63.5mm | 2,267g
- 07 Nov 1991
- Oxford University Press
- Clarendon Press
- Oxford, United Kingdom
- English, Italian
- Annotated edition
- music examples throughout, bibliography
Table of contents
Part 1: a correspondence of Renaissance musicians; history of the manuscripts; Giovanni Spataro; Pietro Aaron; the art of composition; Giovanni del Lago and his "Epistole"; Giovanni del Lago's "Authorities"; mensural notation. Part 2 The letters: the correspondence between Giovanni Spataro, Marc'Antonio Cavazzoni, Giovanni del Lago, and Pietro Aaron (nos. 1-67); Giovanni del Lago's correspondence with other musicians (nos. 68-98); Pietro Aaron's correspondence with other musicians (nos. 99-105); miscellaneous letters (nos. 106-110).
"The magnitude of the editors' achievements seems to me indisputable....Much more than an edition, the work as a whole constitutes a resource to which serious students of the Renaissance may refer with profit again and again."--Sixteenth Century Journal"What an achievement it is. Carried out in accordance with the highest scholarly standards, the edition is quite simply a landmark in Renaissance musicology. The edition shows careful planning to make the extraordinarily complex material both accessible and relatively easy to use....there is much to praise in this edition. The richness of the scholarship and the extent of the original contributions are evident throughout....We owe an enormous debt of gratitude to the editors for making so precious a source available to us in such a fine edition."--Journal of the American Musicological Society"A monumental study....The editors are to be congratulated and thanked for undertaking such an immense project....Their painstaking care has resulted in a valuable addition to the references available on the history of music theory."--Indiana Theory Review"The editors...have done a remarkable job. The correspondence is completely and painstakingly transcribed; it is informatively annotated and is all translated, in a mercifully abbreviated way that retains the essence while eliminating repetitions and rhetorical superfluities....A splendid achievement."--Renaissance Quarterly