Monteverdi and his Contemporaries

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Contents: Introduction
Music publishing in Italy, c.1580-c.1625: some preliminary observations
On the composition and performance of Caccini's Le nuove musiche (1602)
Caccini's Amarilli, mia bella: some questions (and a few answers)
New songs for old? Guarini and the monody
'An air new and grateful to the ear': the concept of aria in late Renaissance and early Baroque Italy
Artusi, Monteverdi, and the poetics of modern music
'Sfogava con le stelle' reconsidered: some thoughts on the analysis of Monteverdi's Mantuan Madrigals
Resemblance and representation: towards a new aesthetic in the music of Monteverdi
Possente spirto: on taming the power of music
Intriguing laments: Sigismondo d'India, Claudio Monteverdi, and Dido alla parmigiana (1628)
'In Love's harmonious consort'? Penelope and the interpretation of Il ritorno d'Ulisse in patria
Re-reading Poppea: some thoughts on music and meaning in Monteverdi's last opera
Index.

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This collection of reprinted essays takes the trends of the author's Music, Patronage and Printing in Late Renaissance Florence (also in the 'Variorum' series) in a somewhat different direction. If the focus there was primarily on archival documents, here it is on the actual music. The starting-point is similar - the rise of the 'new music' for solo voice and basso continuo in late sixteenth- and early seventeenth-century Florence, in particular the songs of Giulio Caccini. But it moves on to broader aesthetic issues crystallized in contemporary theoretical debate and musical practice - not least the rise of aria-based styles - and concludes with a series of studies of Claudio Monteverdi's works for the theatre, including the operas Il ritorno d'Ulisse in patria (1640) and the ever-problematic L'incoronazione di Poppea (1643).

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for me it certainly does...anyone with an interest in this period in musical history and this repertoire cannot but find Carter's writings hugely informative and stimulating

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