A01=Richard Wistreich
Alla Napolitana
Author_Richard Wistreich
bass
Bass Singer
Bass Songs
Blaise De Monluc
brancaccio
Cappella Sistina
Category=AV
Category=AVLA
Category=CB
Category=DNBF
Category=JBCC1
Category=N
Category=NHD
Category=NHTB
cesare
chivalric honour studies
Dinko Fabris
early modern musicology
eq_art-fashion-photography
eq_bestseller
eq_biography-true-stories
eq_dictionaries-language-reference
eq_history
eq_isMigrated=1
eq_isMigrated=2
eq_music
eq_nobargain
eq_non-fiction
eq_society-politics
Felice Anerio
Francesco Rognoni
giulio
Grand Duke
Italian noble identity
La Civil Conversazione
Lodovico Zacconi
Luca Marenzio
Lute Intabulation
Ma Il
Ma Si
male singers in Renaissance courts
Mi Fa
musica
Musica Secreta
musiche
nuove
orlande
Orlande De Lassus
Orlando Di Lasso
Paul III
Renaissance court culture
secreta
singers
sixteenth-century masculinity
social performance theory
Stefano Guazzo
Vincenzo Galilei
Viola Bastarda
Vittoria Accoramboni
Young Men
Product details
- ISBN 9780754654148
- Weight: 657g
- Dimensions: 156 x 234mm
- Publication Date: 28 May 2007
- Publisher: Taylor & Francis Ltd
- Publication City/Country: GB
- Product Form: Hardback
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Giulio Cesare Brancaccio was a Neapolitan nobleman with long practical experience of military life, first in the service of Charles V and later as both soldier and courtier in France and then at the court of Alfonso II d'Este at Ferrara. He was also a virtuoso bass singer whose performances were praised by both Tasso and Guarini - he was even for a while the only male member of the famous Ferrarese court Concerto delle dame, who established a legendary reputation during the 1580s. Richard Wistreich examines Brancaccio's life in detail and from this it becomes possible to consider the mental and social world of a warrior and courtier with musical skills in a broader context. A wide-ranging study of bass singing in sixteenth- and early seventeenth-century Italy provides a contextual basis from which to consider Brancaccio's reputation as a performer. Wistreich illustrates the use of music in the process of 'self-fashioning' and the role of performance of all kinds in the construction of male noble identity within court culture, including the nature and currency of honour, chivalric virtù and sixteenth-century notions of gender and virility in relation to musical performance. This fascinating examination of Brancaccio's social world significantly expands our understanding of noble culture in both France and Italy during the sixteenth century, and the place of music-making within it.
Richard Wistreich, Director of Research, Royal College of Music, London, UK
