New Book | Music and Power in the Baroque Era

Posted in books by Editor on November 21, 2018

From Brepols:

Rudolf Rasch, ed., Music and Power in the Baroque Era (Turnhout: Brepols, 2018), 463 pages, ISBN: 978-2503580715, $150.

Music always functions in a specific environment and, viewed from the other side, environments use music to confirm and strengthen their identities. Institutions of power have in all times employed music to present themselves to the outside world, alongside other means such as architecture, fine arts, design and fashion. The present volume brings together a number of studies that all deal, in one way or another, with the question of how power was implemented in music in what is called the Baroque Era, roughly the seventeenth century and the first half of the eighteenth. The essays can be grouped under four main headings: court opera, ceremonial music, ‘musicians’, and miscellaneous studies. Several essays discuss court opera, one of the most conspicuous musical forms with which a monarch could display his power. Music could also accompany festivities and ceremonies of all sorts, of very different kinds of institutions, courtly, civil, or ecclesiastical. Not only sovereign rulers could employ music to confirm their power, also lower-ranking powers such as nobility often invested in music in order to gain prestige. Various studies highlight this aspect of ‘music and  power’. Finally, there are studies that deal with more general questions, such as the representation of power in Baroque opera, dedications of musical works to royals and other patrons, and the social status of musicians as they are positioned between patrons and public.

Rudolf Rasch taught theory and the history of music at the Department of Musicology of Utrecht University for many years. Among his interests are tuning and temperament, the musical history of the Netherlands, the history of music printing and publishing, and the works of composers such as Corelli, Vivaldi, Geminiani and Boccherini. He is the general editor of the Complete Edition of the Works of Francesco Geminiani (Bologna: Ut Orpheus Edizioni).


R. Strohm, Emblems and Problems of Rulership in Early Modern Opera
A. De Feo, I libretti encomiastici di Giovanni Andrea Moniglia: Dalle corti di Firenze e Vienna ai teatri veneziani
M. Klaper, ‘La piu bella festa, che in teatro serrato, si sia veduta in Firenze’: Francesco Cavalli compone per la corte medicea
O. Jesurum, I soggiorni romani di Francesco Galli Bibiena
R. Erkens, Accounting for Opera: Financing Theatre Seasons on Roman Stages in the 1720s
D. Blichmann, The Stuart-Sobieska Opera Patronage in Rome: Political Propaganda in the Teatro Alibert, 1720–1823
A. Giust, Dalla corte al teatro: l’opera italiana in Russia al tempo di Elisabetta Petrovna (1741–1762) con uno sguardo al regno di Caterina II
A. Robinson, Music and Politics in the Entry of Maria de’ Medici into Avignon, 19 November 1600
S. Ciofli, Music and Splendour in Roman Graduation Ceremonies
R. Rawson, Suffering and Supplication as Emblems of Power in Music Relating to the 1683 Ottoman Siege of Vienna
C. Palliccia, Le cantage natalizie per il Palazzo Apostolico fra tradizione musicale e politiche pontificie: Uno sguardo ai topoi della pace
A. Fiore, Musica, potere e devozione: Le celebrazioni del Corpus Domini a Napoli fra XVII e XVIII secolo
A. Palidda, Redivia sub optimo principe hilaritas publica: Music, Consensus, and Celebration in Habsburg Milan
N. Matsumoto, Pio Enea degli Obizzi, 1592–1674: Power and Authorship
J. Frankova, Wenzel Anton von Kaunitz-Rietberg and His Grand Tour: Inspiration for His Future Musical Patronage?
B. Gleason, Mounted Cavalry and Court Kettledrummers and Trumpeters, 1600–1750
B. Saglietti, Il potere della parola: Le prime autobiografie di musicisti germanofoni nella Grundlage einer Ehren-Pforte di Johann Mattheson (1740)
V. Anzani, In the Service of Elector Palatine Johann Wilhelm, 1690–1716: Castrati as Secret Agents and a Controversial Case of Diplomatic Immunity
G. Viverit, Giuseppe Tartini e l’aristocrazia: La formazione dei violinisti per le corti europee e per i mecenati privati
R. Rasch, Composers, Patrons and Dedications: From Arcangelo Corelli to Pietro Antonio Locatelli

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