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Singing Games in Early Modern Italy

Paul Schleuse

Published by Indiana University Press

Schleuse, Paul.
Singing Games in Early Modern Italy: The Music Books of Orazio Vecchi.
Indiana University Press, 2015.
Project MUSE. muse.jhu.edu/book/40539.

For additional information about this book


https://muse.jhu.edu/book/40539

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Index

Index of Works by Orazio Vecchi “Ah! Isabella, che fai!,” 156–160, 157, 160–161
“Al bel de tuoi capelli,” 104
Collections
“Amante se ti piace,” 76–77
Amfiparnaso, L’, 7, 93, 100, 130, 132–160, 133, “Amor di propria man,” 65–67, 68–69
134, 142–143, 241 “Amor’ è foco,” 130
“Amor m’ha posto come scoglio al’onda,”
Canzonette a sei voci, 37, 46, 52–53 329n2
Canzonette a tre voci, 93, 119, 144 “Amor opra che puoi,” 117
Canzonette . . . libro primo a quattro voci, 4–5, “Ardi e gela à tua voglia,” 49–52, 51
6, 14, 15, 16–28, 79 “Ardo sì, ma non t’amo,” 49–52, 51
Canzonette . . . libro secondo a quattro voci, 6,
29–36 “bando del asino, Il,” 121, 123, 200–211, 204–
Canzonette . . . libro terzo a quattro voci, 6, 45, 206, 207–210, 292
75–77 “Battaglia d’Amor e Dispetto,” 116, 291–292
Canzonette . . . libro quarto a quattro voci, 6, “Benché siat’usi, o spettatori illustri,”139
14, 45, 77–89 “bianco e dolce cigno, Il,” 53, 56–58, 56–57,
Convito musicale, 7, 90, 93–94, 119–134, 124– 60–61
125, 171, 176, 200, 242–243, 291 “Bisticcio,” 213–215, 216–218, 220

Hymni qui per totum annum in Ecclesia Roma- “caccia d’Amore, La,” 213, 220, 226–230, 229
num concinnuntur, 294 “Canzonette d’amore,” 13, 17–18, 19
“Cara mia Dafne, a dio,” 53
Lamentationes cum quattuor paribus voci- “Caro dolce mio bene,” 76–77
bus, 45 “Che fia lasso di me?” 47–48
“Che volete voi dir,” 145
Madrigali a cinque voci, 6, 46, 53–64, 75, 103 “Chi è fermato di menar sua vita,” 123,
Madrigali a sei voci, 6, 36, 44–45, 47–52, 65 126–127, 127
Mascherata della Malinconia et Allegrezza, “Chi mira gl’occhi tuoi,” 19, 36, 81–83
232, 235, 293 “Chi vuol goder il mondo,” 249–253, 258
Motecta, 46, 77, 91 “Chi vuol veder un bosco,” 19
Motetti a otto voci, 329n1 “Cicirlanda,” 262, 264–270, 276
“Con voci da i sospiri,” 67, 70
Sacrarum Cantionum (Sacrae Cantiones), 4, “Coppia reale e bella,” 130, 291
93, 119 “Corre la nave mia colma di gioia,” 123
Selva di varia ricreatione, 7, 46, 77, 90–92, “Corrit, corrit Messer Aron!” 224–225
94–119, 101, 120, 176, 241–243, 291 “Corse alla morte,” 19
“Cruda mia tiraniella,” 22–24, 23
veglie di Siena, Le, 100, 125, 167, 177, 212–244,
294 “De la mia cruda sorte,” 104–105, 106–
107, 108
Individual Works
“Deh, cant’Aminta un’aria a la romana,” 93
“A chi di voi d’al core.” See “Bisticcio” “Dice la mia belissima Licori,” 53
“Affrettiamoci tutti,” 115 “Diversi linguaggi,” 118, 262, 292
“Dolce cantava a l’apparir del sole,” 333n18 “mie lagrim’amare, Le,” 232, 235
“Dove s’intese mai,” 85–86 “Miri e stupisca il mondo,” 125
“Misero che farò,” 147–153, 149, 150–151, 152,
“Ecc’il bon Bacco à noi viene.” See “Je veu le 154–155
cerf du bois salir” “Mostrava in ciel,” 115–116
“Ecco che piu non resta,” 153–156, 155, 158–159
“Ecco nuncio di gioia,” 291 “Non basta contentarmi di parole,” 128
“Ecco su’l tauro,” 291 “Non ha, finto amator,” 80–83
“Non mi toccare,” 257–258
“Fa una Canzona senza note nere,” 31–32 “Non più pen’ e tormenti,” 123
“Fammi una Canzonetta capricciosa,” 32–33 “Non sarò piu ritrosa,” 86–87
“Fantasia senza parole,” 118 “Non veggio ove scampar mi poss’omai,” 48
“Felice schiera di leggiadr’e belle,” 123
“Fummo felici in tempo,” 123 “O Bacco, apportator de l’allegrezza,” 125
“O bella ò bianca piu che la cagiata,” 255–
“Gioite tutti,” 114–115, 116 256, 257
“Gitene, Canzonett’al mio Signore,” 52–53, “O donna ch’a mio danno il ciel ti denno,”
54–55 33–36, 34–35, 213
“Gitene ninfe,” 113–114, 116 “O giardiniero,” 113, 123, 200, 278–290, 284–
“Gode la terr’e ‘l mare,” 129 285, 287–290
“O gramo Pantalon, mal’arivao,” 129–130
“Hor che lieta stagion gli huomini invita,” 235 “O messir, o patru,” See “Diversi linguaggi”
“Hor che’l ciel’e la terr’e ‘l vento tace,” 231 “O Pierulin, dov’estu?,” 145, 146
“Hor che’l garrir,” 75 “O tu che vai per via,” 24–27, 25, 26
“Hor ch’io son gionti quivi,” 29–30 “onda lascia e gli scogli, L’,” 48–49
“Hor ch’ogni vento tace,” 125
“hore di recreatione, L’” 6, 12, 36–42, 141, 180, “Partirò si,” 86
262, 296–328 “Pastor tutti correte,” 127–128
“Piu cantar non vogliamo,” 128
“In questa piaggia,” 130 “Privilegi della corte,” 127
“Io son fenice,” 80–83
“Ite rime dolent’al duro sasso,” 53 “Qual honor, qual degna lode,” 235–236,
237–239
“Je veu le cerf du bois salir,” 273–277, 278 “Quando mirai s’a bella faccia d’oro,” 33n10
“Quella ch’in mille selv’e’n mille fratte,”
“Lassa, che veggio?” 145 60–64, 63, 144
“Lieva la man di qui,” 33
“Lotto amoroso,” 195–200, 200 “Raggi, dov’è’l mio bene,” 79
“Lucilla, io vo morire,” 65 “Raggi, dov’è’l mio male,” 79

“Madonna, io v’hò da dir,” 21–22 “Saltarello detto il Vecchi.” See “Gioite tutti”
“Margarita dai corai,” 106, 108–111, 109, in the Index of Works
253, 256 “Saltarello detto Trivella,” 113, 114, 115, 116
“Mentre il cuculo,” 333n9 “Sanitae allegrezza e bezzi assai,” 117
“Mentre io campai contento,” 79 “Sapete voi, Bifolci,” 258, 259–261
“Mentre io vissi in dolore,” 79 “Se da le treccie mie,” 83–85
“Mentr’ebbi al bel camic l’aer sereno,” “Se desio di fuggir,” 95, 103, 113
329n2 “Se glie vero Himeneo,” 117
“Mi vorrei trasformare,” 333n9 “Se ‘l vostro volto è d’un aria gentile,” 19

366 Index
“Se piu t’amassi, ingrato,” 48 Arcadelt, Jacques: “Il bianco e dolce cigno,”
“Se son’ quest’occhi tuoi,” 80–83 6, 53, 56–58, 59; popularity, 11
“Se tra verdi arbuscelli,” 103–104 Archpoet, 110
“Si grav’è il mio dolore,” 231–232, 233, 234 Aretino, Pietro, 87; Sonetti lussuriosi, 110
“Sia benedetto amore,” 75–76 aria, 117, 144
“Sia maledetto amore,” 75 Ariosto, Ludovico, 99; Orlando furioso, 7, 44,
“So ben mi c’ha bon tempo,” 112, 118, 127, 83–89, 267, 331n27
246–249, 247, 252–253, 258 Aristotle, 99, 137, 241–242, 349n72
“Son questi i crespi crini,” 83–85 Arteaga, Stefano, 164–165, 167
Artusi, Giovanni Maria, 8, 231–232, 236,
“Tibrinia, bella Tibrina,” 129 243–244, 351n40
“Tich-toch,” 106, 111, 144 Attaignant, Pierre, 273
“Tra le choime d’oro,” 18–19 Aulus Gellius, Noctes Atticae, 96
“Tra mille fiamme e tra mille cathene,” 232
“Trà verdi campi a la stagion novella,” 18–19, balletti. See Gastoldi, Giovanni Giacomo,
27–28 Balletti
“Tremolavan le fronde e la marina,” 70–75, Balsamino, Simone, 175
71, 72–73, 74 Banchieri, Adriano, 129, 162, 167, 170, 172;
“Trista novella,” 87–89, 115 Festino del giovedì grasso avanti cena, 262,
“Tu dolce anima mia,” 48 273, 347n43, 351n40; La pazzia senile, 144;
“Tuttu lu tiempu,” 222–223 Prudenza giovenile, 344n60; “Vinata di
brindisi e ragioni,” 271–273
“Udit’, udite Amanti,” 14, 77–78 Bargagli, Girolamo, 4, 36, 43, 125, 177–178,
241–242. See also Dialogo de’ giuochi
“Vaga Nigella, hor sù non più dor- (Bargagli)
mire,” 53 Bargagli, Scipione, 177–178, 241–242
“Vaghe Ninfe e Pastori,” 29–30 Barros, Alonso, 187, 188
“Vanne la nave mia pront’e sicura,” 123 bastarda, cantare alla, 129
“Veder beltà divina,” 123 battaglia, 206, 291–292
“Viva la gioia,” 232, 235 Beccuti, Francesco, 329n2
“Voi che già stanchi sete,” 122–123 Bellavere, Vincenzo, 39, 117, 291; “Tutto il di ti
“Volgi cor lasso,” 4 te spampoli,” 39, 40
Bembo, Pietro, 102, 219, 228
Berger, Harry, 8, 248, 251–252
General Index
Berni, Francesco, 179
References to musical examples, figures, Bertani, Lelio, 53
and tables are indicated by italics. Bevilacqua, Mario, 4, 16
Bianchi, Pietro Antonio, 94
Accademia degli Intronati, 177, 211–212, 219, Biancolini, Ercole (Ercole Sforzini), 292
226–227, 230, 236, 241, 267 bisticcio. See under games
Accademia Filarmonica, 16 Bonagiunta, Giulio, 174, 179
Adkins, Cecil, 172–174, 173 Borchgrevinck, Melchior, 240
alba, 115–116 Borromea, Isabella, 246
allemand. See tedesca Bottegari, Cosimo, 246, 252
Ambrose, August Wilhelm, 166 Brancaccio, Giulio Cesare, 11, 330n5
amorosa Ero, L’, 176 Bravusi, Paolo, 6, 293–294
Andreini, Isabella, 341n32
Anerio, Giovanni Francesco, 97 caccia, 206, 226–230, 292
Anti-epicureanism. See Epicureanism Caimo, Gioseppe, 77, 333n9

Index  367
Calcagno, Mauro, 102, 172 Croce, Giovanni, 170; “Il gioco dell’oca,” 174,
Callot, Jacques, 136 186–195, 282; Mascarate, 174; Triaca musi-
Calori, Paolo, 93 cale, 129, 167, 174
Candido, Serafino, 28 Croce, Giulio Cesare, 340n11
canzone villanesca alla napolitana. See
villanesca dance, 32–33, 102–103, 113–116
canzonetta, 13–14, 127; comedy in, 20–28; Dante Alighieri, 197
spiritual, 97; for three voices, 129; use of D’Arienzo, Nicola, 168
tablature with, 118 De floridi virtuosi d’Italia, 348n65
Capello, Bianca, 49, 291 Della Casa, Giovanni, Galateo, 248, 252–253,
Capilupi, Geminiano, 6, 292–294; Canzonette 270–271, 290
a tre voci (see the Index of Works) Denores, Giasone, 99
capriccio, 102–103, 106–113 Dent, Edward, 169
Caravaggio (Michaelangelo Merisi), 184–185, Dialoghi musicali di diversi eccelentissimi au-
185, 282 tori, 92
Cardamone, Donna G., 13 Dialogo de’ giuochi (Bargagli), 4, 125; classi-
Cardano, Gerolamo, 179, 183–184, 195 fications in, 200, 211–212, 215, 219; games
Cardon, Capitan, 141, 148 in “Cicirlanda,” 177, 267–270; “Giuoco
Casali, Lodovcio, 347n47 della Caccia d’Amore,” 226; “Giuoco della
Cassinense, Congregatione, 93 Musica del diavolo,” 202; “Giuoco delle
Castelvetro, Lodovico, 137–138 belle parti,” 258; “Giuoco delle lingue,”
Castiglione, Baldessare, 44, 183, 184, 212, 242, 220; “Giuoco di gridare un’arte,” 201, 202;
248, 267 “L’ospedale de’ pazzi incurabili,” 244
Catelani, Angelo, 166 dialogue, musical, 41, 62, 118, 144–145,
Cavaliere, Emilio, 165 159, 196
Celiano, Livio. See Grillo, Angelo Donati, Baldassare, 291
chanson à boire, 273, 275–277 Doni, Antonfrancesco, 44, 56, 176
Chiabrera, Gabriello, 331n30 drinking song. See vinata
Christian IV, King of Denmark, 240
Cicero, 120 echo, 129–130
Claudio da Correggio. See Merulo, Claudio Eco, Umberto, 1–2
(Claudio da Correggio) Einstein, Alfred: on L’Amfiparnaso, 132, 171;
commedia dell’arte, 92, 111, 117, 132, 136, on Convito musicale, 119, 120; on Gastoldi,
140–141, 145. See also Cardon, Capitan; 172; on Gesualdo, 120, 286; on “madrigal
Graziano, Dottore; innamorati; Panta- comedies,” 168, 170–172; on Marenzio,
lone; zanni 171; on “O Giardiniero,” 286; on Striggio,
Conati, Marcello, 108 180; on Vecchi’s career, 92, 277, 333n13
concerto delle donne, 12, 36, 47, 213 Elias, Norbert, 251–252
Conversi, Girolamo, 172 Epicureanism, 120–121
Corona di dodici sonetti, 130 equivocal language. See obscenity
Correggio, 45, 90–92 eroticism, 245
Correggio, Camillo da (Camillo d’Austria), Essegna, Salvatore, 4, 177
46, 77, 91 Este, Alessandro, d’, 93–94, 136
Correggio, Claudio da. See Merulo, Claudio Este, Alfonso II, d’, duke of Ferrara, 5, 136
(Claudio da Correggio) Este, Barbara, d’, 335n46
Correll, Barbara, 251 Este, Cesare, d’, duke of Modena, 5, 48, 93,
Corsi, Jacopo, 165 136, 232, 235, 291–294
Cortese, Laura, 93 Este, Laura, d’, 232, 235, 293
Cortesei, Valentino, 341n25 fantasia, 112

368 Index
Farnese, Clelia, 291–292 Giovannelli, Ruggiero, 11
Fate ben per voi, 21–22, 22 giustiniana, 39–40, 117, 129–130, 221, 273,
Feldman, Martha, 102 292–293
Feliciani, Andrea, 47–48 Giustiniani, Vincenzo, 2, 10–14, 20, 117, 183
Ferdinand II, Emperor of Austria, 94, 120 Gonzaga, Guglielmo, 227
Ferretti, Giovanni, 52, 111; “Berlinghin,” Gonzaga, Marc Antonio, 46, 53
262–264, 264–266, 271, 276; “Or va can- Gonzaga, Vincenzo, 46, 333n18, 335n46
zona mia,” 39 Grand bible des noelz, La, 275–276
Fétis, François-Joseph, 166 Graziano, Dottore, 141
fidi amanti, I, 176 Grillo, Angelo, 331n22
Fiorino, Gasparo, 19 Guarini, Giambattista: “Ardo sì, ma non
Floria, Gismondo, 293 t’amo,” 47, 49–52; Compendio della poe-
Fontanelli, Alfonso, 349n78 sia tragicomica, 99–100, 147, 160; “Dice
Forno, Mesin, 12 la mia belissima Licori,” 53; Il pastor
Frantz, David O., 254 fido, 102, 136, 138, 147; poetic theories,
frottola, 254 137; “Se più t’ammasi, ingrata,” 47;
Fugger, Jakob, 46, 91 “Tirsi morir volea,” 6, 64–75, 80; Il
Fugger, Johannes, 46, 91 verrato, 99, 160; Il verrato secondo,
Fuhrmann, Christina, 256–257 138, 160
Guidiccioni, Giovanni, 53
Gabrieli, Andrea, 39, 92, 117, 172, 291, 292 Gustafson, Donna Mae, 174–175
Gabrieli, Giovanni, 92, 240
Galen, 65, 121 Haar, James, 57, 244
gambling, 4, 178–200; risks of, 183. See also Harrán, Don, 225
games Homer, 242, 349n75
games: ball, 40; bisticcio, 33–36, 212–215; Horace, 138; Ars poetica, 98–100; Satires, 197
cards (see primero); drinking (see vinata); Huizinga, Johan, 1
formal structure, 4, 176, 212; gioco dell’oca humanism, 97, 98
(Game of the Goose), 186–195, 187, 188,
189, 190; giuochi di scherzo/di spirito (see illustrations. See woodcuts
Dialogo de’ giuochi (Bargagli): classifica- imitation, musical: of animals, 174, 203, 206,
tions in); imitation in, 201, 220 (see also 214, 227; of battles, 291–292; of comic
imitation, musical); lotteries, 195–200. characters, 117; of foreigners, 174, 199,
See also Dialogo de’ giuochi (Bargagli) 220–226; of hunting, 226–230; of Jews,
Gardano (printing firm), 16, 92, 135, 163, 291 141, 224–225; of lower social classes, 21,
Gargano, Luchino, 187, 189, 191, 346n27 24, 117, 123, 174 (see also villotta); of mu-
Garuti, Isabetta, 4 sical instruments, 201–202, 211, 223; of
Garzoni, Tomaso, 244 noise, 206, 227, 292; of social elites, 8, 33;
Gastoldi, Giovanni Giacomo, Balletti, 113, 118, of theatre, 140. See also pastoralism; sub-
172, 223, 246 jectivity: double
Gatti, Altiero, 187, 190 innamorati, 141, 144
Gemma musicalis, 335n2 instruments, in vocal music, 2, 221
genere concitato, 292 Intronati. See Accademia degli Intronati
Gerbino, Giuseppe, 28, 147, 335n44
Gesualdo, Carlo (Prince of Venosa), 120, Janequin, Clement, 226, 292
170, 286 Jews. See imitation, musical: of Jews
Giamberti, Giuseppe, 108
giardiniero, 112–113. See also “O giardiniero” in Kade, Otto, 167
the Index of Works Kerman, Joseph, 246

Index  369
King, Jennifer, 79 Medici, Virginia de’, 48
Kirkendale, Warren, 21 Mendaño, Juan de, 97
Merisi, Michaelangelo. See Caravaggio (Mi-
La Tour, Georges, de, 185–186, 186 chaelangelo Merisi)
Lasso, Orlando di: career, 92, 277, 333n13; Merlo, Alessandro, 52
and the commedia dell’arte, 335n8; Libro Merulo, Claudio (Claudio da Correggio),
de villanelle, moresche, ed altri canzoni, 3, 45, 291
175; as madrigalist, 11; “Matona mia cara,” Mexia, Pedro, 96
92, 110–111, 256; “O la, o che bon eccho!,” Milleville, Alessandro, 53
339n75; villanescas by, 13 mode, 14, 19, 102, 108, 330n13
lauro secco, Il, 94, 119, 123 Modena, 4, 44, 93, 162
lauro verde, Il, 94 Monte, Philippe de, 11
Lawrenson, Thomas Edward, 136 Monteverdi, Claudio, 7, 154, 169, 243; “Era
Leichtentritt, Hugo, 167 l’anima mia,” 232; L’Orfeo, 236; Il quinto
Libro quinto delle muse, 4, 329n2 libro de madrigali, 102, 175; “Raggi, dov’è’l
lieti amanti, I, 53 mio bene,” 79; Scherzi musicali, 236,
Luzzaschi, Luzzasco, 12 347n53; Selva morale, 97
Monteverdi, Giulio Cesare, 236, 243
Macque, Giovanni di, 48 Morgan, Jonathan, 100
Macy, Laura, 65 Mori, Giacomo, 335n46
Madeleine, Stéphan de la, 165 Morley, Thomas: “Now is the Month of May-
madrigal: after ca. 1570, 2, 12; before ca. 1570, ing,” 112, 246; Plaine and Easie Introduc-
2, 19; in Selva di varia ricreatione, 102, tion to Practicall Musicke, 112, 118
103–105; spiritual, 97. See also individual mountebank shows, 111
composers and titles Munich, 92
“madrigal comedy,” historiography of the Muratori, Lodovico Antonio, 162–163, 166
term, 7, 161–175
Maffei, Scipione, 163 Negri, Cesare, 246, 249
Manchicourt, Pierre du, 273–276, 274–275 Newcomb, Anthony, 12, 231, 235
Marenzio, Luca: “Dolorosi martir,” 105; noise. See imitation, musical: of noise
Madrigali a quattro, cinque, e sei voci, Nola, Domenico da, 19
105, 127; as madrigalist, 11, 102; “Pas- Nutter, David, 235
sando con pensier per un boschetto,”
171; Settimo libro de madrigali, 175; “Solo obscenity, 106–111, 245, 252–253, 256–258, 281,
e pensoso,” 148; “Tirsi morir volea,” 65, 293. See also villotta
75; “Vienne, Montan,” 62–63; villanelle, Oddi, Sforza, 341n33
14, 117 opera, L’Amfiparnaso said to be, 132, 161–170;
Marino, Giambattista, 346n22 Florentine, 161; Vecchi’s relationship to,
Marshall, Melanie, 252 97
Martini, Giovanni Battista (Padre Mar- Ordei, Ascanio, 175
tini), 164 Ossi, Massimo, 172
mascherata, 293 ottonari, 236
Masetti, Giulio, 5 Ottuso, Accademico, L’, 243
Massaino, Tiburzio, 291
materiality, printed books and, 17, 78, 119 Padre Martini. See Martini, Giovanni Bat-
Mazzone, Marc’Antonio, 330n10 tista (Padre Martini)
Medici, Francesco de’ (Grand Duke of Tus- Pallavicino, Benedetto, 65
cany), 49, 291 Panciatichi, Vincenzo, 136
Medici, Leonora de’, 333n18 Pantalone, 39, 117, 129, 141, 145, 293

370 Index
Parabosco, Girolamo, 135 quinari, 27, 87
Parry, Charles Hubert, 168–169 Quintillian, 96
Pasquini, Ercole, 335n44
passamezzo, 114 Radziwiłł, Alberto (Albrycht), 45
Passi, Carlo, 97 Rangoni, Baldassare, 4
pastoral literature, 7, 99, 133, 335n44 Recueil Fossard, 136
pastoralism, 27–28, 29–36, 103; and first- representation. See imitation, musical
person plural, 130; parodies of, 128; Riccò, Laura, 177
and the sampogna, 53; tragicomedy in, Richetti, Fabio, 5
136–160 Ringhieri, Vincenzo, 4, 43, 76
Pellegrini, Camillo, 29 Rinuccini, Ottavio, 162–163, 165
Peri, Jacopo, 163, 165 risposta. See proposta/risposta
Pericolo, Lorenzo, 185 Rolland, Romain, 165
Petrarch (Francesco Petrarca), 19, 102; Romano, Giulio, I modi, 110
“Amor, che meco al buon tempo di stavi,” Roncaglia, Gino, 134–135, 169–170
196, 197; “Amor m’ha posto come segno Rongoni, Francesco, Selva di varia passaggi,
al strale,” 329n2; “Chi è fermato di menar 97
sua vita,” 123, 127; “Grazie ch’a pochi il Rore, Cipriano de, 11, 174, 179; Madrigali a
Ciel largo destina,” 197; “Hor che’l ciel’e cinque voci, 102; “Un’altra volta la Ger-
la terr’e ‘l vento tace,” 231; “In qual parte mania strida,” 37–38
del ciel,” 123; “Ite, rime dolent’al duro Rousseau, Jean-Jacques, 164
sasso,” 53; “Mai non vo’ piu cantar com’ Rubini, Camillo, 45
io soleva,” 128; “Mie venture al venir son Rubini, Thomaso, 45
tarde e pigre,” 197; “Non veggio ove scam- Rudolph II, Holy Roman Emperor, 5
par mi poss’omai,” 47, 48; “Qual donna
attende a gloriosa fama,” 197; “Tacer non Salò, 44
posso, et temo non adopre,” 346n30 Saltarello, 113, 114, 115
piane, rime, 61 Sannazzaro, Jacopo, 29, 53, 58, 60–64
Picinelli, Filippo, 132 Sanseverina, Barbara, 335n46
Pico, Alessandro, Prince of Mirandola, 232, Sansovino, Francesco, 96
235, 293 Sanudo, Leonardo, 174
Pietra, Pietro Antonio, 91–92 Sassuolo, 93
Pio, Leonora, 93 Scala, Flaminio, 141, 145
Pio, Marco (Marco Pio di Savoia), 291–292 Sdegnosi ardori, 49, 176
Pirrotta, Nino, 172 sdruccioli, 29, 61
Pitoni, Giuseppe Ottavio, 163–164 seconda prattica, 178, 231–232, 236, 240–244
poesia per musica, 3, 43 Serlio, Sebastiano, 136, 156
Poliziano, Angelo, 40, 129 Sforza, Francesco, 48
Pollastri, Mariarosa, 70 Sforzini, Ercole. See Biancolini, Ercole (Er-
Praetorius, Michael, 112 cole Sforzini)
primero, 178–186 Siena, 4, 48
print culture, 17, 78, 119 Silingardi, Gaspare, 294
Privitera, Massimo, 231 sodomy, 110–111, 252–253, 286, 290
Prizer, William, 255 Somma, Bonaventura, 344n70
proposta/risposta, 6, 49, 75–77, 78–85 Spaccini, Giovan Battista, 5, 292–294
Prunières, Henry, 169 sprezzatura, 3, 8, 183, 248, 251–252
Purkis, Helen, 136 Statius, Papinius, 95–96
Stefanini, Giovan Battista, 293
Quadrio, Francesco Saverio, 163 Storace, Bernardo, 97

Index  371
Striggio, Alessandro (the elder), 11, 48, 170; Vecchi, Orazio: career, 3, 4–6, 44–46, 91–93,
“La caccia,” 174, 179, 227, 292; “Il cicala- 177, 240, 291–294; contemporary refer-
mento delle donna al bucato,” 167, 171, ences to, 4, 11; dedication and preface to
174, 179, 256–257; “Gioco di primiera,” 171, Convito musicale, 120–122; dedication and
178–186, 282 preface to Le veglie di Siena, 240–244;
Strozzi, Giovanni Battista (the elder), 47, dedication to Selva di varia ricreatione,
48–49 46, 91, 94–95, 98, 100; dedications and
subjectivity, 50, 71; double, 17, 25, 75, 78, 95, prefaces to L’Amfiparnaso, 137, 139, 162;
140, 251 dedications to canzonetta books, 16, 29,
suicide, 136, 139, 141, 147–160 45–46; dedications to madrigal books,
Susato, Tylman, 273 46; dedications to sacred music books,
45–46, 91; early life, 4; personality, 4;
tablature, 12, 117, 118 poetic style, 19–20; ties to Este family, 12,
Tansillo, Luigi, 329n2 291–294; tombstone inscription, 162, 294
Tasso, Torquato, 99; Aminta, 147, 148–151, Vecchi, Orfeo, 339n2
153, 154, 175; “Ardi e gela a tua voglia,” 47, vecchio, 111, 129, 141. See also Pantalone
49–52; Gerusaleme liberata, 154, 242; “Se ‘l villanella, 11–12, 13, 111, 117, 223–224, 273
vostro volto è d’un aria gentile,” 19 villanesca, 6, 13–14, 108, 254
tedesca, 115–116 villotta, 110–111, 123, 252–262, 278–279
Thompson, Roger, 245 vinata, 8, 106, 111–113, 123, 125, 262–277, 278
Tiraboschi, Girolamo, 5, 165 Virgil, 242, 349n75
tongue twister. See games: bisticcio Visdomini, Sisto, 46
Torelli, Gasparo, 175
Tosca, Jean, 257 Werrecore, Matthias, 292, 350n25
tragicomedy, 136–160 Wert, Giaches de, 12, 92, 102, 154; “Tirsi morir
Trapolini, Giovanni Paolo, 135–136, 135 volea,” 65, 70
tronche, rime, 86 Wilhelm V (Duke of Bavaria), 46, 91
Tudino, Cesare, 19 Willaert, Adriano, 13
woodcuts, 7, 134–136, 145, 151–153, 156–157
Vagnoli, Virginia, 48
Valderrábano, Enriquez de, 97 zanni, 111, 141, 248–249, 252
variety, of genres, 90, 92, 94–100, 137, Zarlino, Gioseffo, 98–99
240–241 Zeno, Apostolo, 163
Vecchi, Giovanni di, 4 Zrínyi, Miklós, 197

372 Index
PAUL SCHLEUSE is associate professor of music at Binghamton Univer-
sity, State University of New York. His work on early modern music engages
issues of print culture, sociability, sexuality and obscenity, and theories of
genre. He has published the critical edition of Orazio Vecchi’s Selva di varia
ricreatione as well as articles and reviews in the Journal of Musicology, the
Journal of Seventeenth-Century Music, and several collections. He lives in
Binghamton and New York City.