A Florentine Sacred Repertory from the Medici Restoration

Cummings, Anthony M.

doi:10.2307/932848

Acta Musicologica

1983

DOI: 10.2307/932848

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A Florentine Sacred Repertory from the Medici Restoration

Anthony M. Cummings¹

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“… 38 On Medici influence at the Duomo and Baptistry of Florence, as well as specific evidence on the use of polyphonic music at those institutions, see D'Accone. On the possibility that the motets preserved in the Medici Codex found their way into the repertoire of the large Florentine institutions, see Cummings, 1983, 275, 281–82, and the inventory of the manuscript Florence BN II. I.…”

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“…1510–20 for the Prince-Elector of the Kurpfalz, who was not directly involved in the events that gave rise to the Medici Codex: see Weiss. However, and confusingly, the motet appears in no other sources before 1534; of Erasmus's very few other surviving motets, one appears unicum in the manuscript Florence BN II.I.232, which Cummings, 1983, 267–93, connects conclusively with Medici patronage at the same period.…”

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“… 103 Cummings, 1983, 281. Richafort was granted a benefice, and Longueval and Mouton were named protonotaries Apostolic.…”

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Constructing Identities in a Music Manuscript: The Medici Codex as a Gift^*

Shephard¹

2010

Renaiss. Q.

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The motet manuscript known as the Medici Codex is associated by modern scholarship with the 1518 marriage of Lorenzo II de' Medici and Madeleine de la Tour d'Auvergne. It was once thought that the manuscript was made in France and given to Lorenzo by Francis I, but now it is almost unanimously agreed that it was made in Rome under the patronage of Pope Leo X. Since this revision, no one has put forward a detailed view of how the manuscript relates to the circumstances under which it was given and to the individuals involved, or how it functions as a gift. This study places the manuscript in the context of other gifts associated with the marriage to arrive at such a view.

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Constructing Identities in a Music Manuscript: The Medici Codex as a Gift^*

Shephard¹

2010

Renaiss. Q.

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Giulio de' Medici's music books

Cummings

1991

Early Music History

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David S. Chambers's provocative study of the cardinalate in the late fifteenth and early sixteenth centuries is rich in implications for music historians. A document of December 1509 suggests that at that time a cardinal's household averaged 144 familiares, and the 1526 census revealed similar figures. Moreover, the corporate income of the College of Cardinals had been regulated since 1289 by a Bull of that year that decreed that a half of certain items of papal revenue was to be divided among cardinals resident in Rome, although the actual amounts that individual cardinals received fluctuated in response to changes in the size of the college. There were other sources of income: Roman residents were entitled to the revenue of their ‘title’ church, and those few who held office in the Roman bureaucracy commanded extraordinary salaries. For cardinals with musical interests, the institutional and economic conditions necessary to sustain a musical establishment therefore existed, and despite the relative absence of information on such establishments, we may assume that there were singers and instrumentalists among the familiares of many cardinals' households.

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Appropriating the Instruments of Worship: The 1512 Medici Restoration and the Florentine Cathedral Choirbooks^*

Tacconi

2003

Renaiss. Q.

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This study examines the impact of the 1512 Medici restoration on the antiphonaries and graduals of the Florentine cathedral. Seven choirhooks are recognizably Medicean in their artistic and, in one significant case, in their liturgical and musical content. Whether through depictions of the family's most distinguished members — notably Lorenzo il Magnifico and Pope Leo X — or the detailed representations of contemporary events in which the Medici were the protagonists, or whether through the creation of a new Office for Florentine bishop-saint Zenobius, these lavish manuscripts reflect the themes of control and propaganda central to the years of the Medici restoration.

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A Florentine Sacred Repertory from the Medici Restoration

Cited by 3 publications

References 0 publications

Constructing Identities in a Music Manuscript: The Medici Codex as a Gift^*

Constructing Identities in a Music Manuscript: The Medici Codex as a Gift^*

Giulio de' Medici's music books

Appropriating the Instruments of Worship: The 1512 Medici Restoration and the Florentine Cathedral Choirbooks^*

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Product

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About

A Florentine Sacred Repertory from the Medici Restoration

Cited by 3 publications

References 0 publications

Constructing Identities in a Music Manuscript: The Medici Codex as a Gift*

Constructing Identities in a Music Manuscript: The Medici Codex as a Gift*

Giulio de' Medici's music books

Appropriating the Instruments of Worship: The 1512 Medici Restoration and the Florentine Cathedral Choirbooks*

Contact Info

Product

Resources

About

Constructing Identities in a Music Manuscript: The Medici Codex as a Gift^*

Constructing Identities in a Music Manuscript: The Medici Codex as a Gift^*

Appropriating the Instruments of Worship: The 1512 Medici Restoration and the Florentine Cathedral Choirbooks^*