Galeazzo Maria Sforza and musical patronage in Milan: Compère, Weerbeke and Josquin

Abstract

Galeazzo Maria Sforza (1444–76), fifth Duke of Milan, set out when he acceded to power in 1466 to style himself as one of the most glorious of rulers and to make his court (in the words of the contemporary chronicler Bernardino Corio) one of ‘the most splendid in the universe’. Galeazzo, a contemporary of King Louis XI of France and Duke Charles the Bold of Burgundy, entertained grand designs of turning his ducal coronet into a king's crown and transforming Lombardy into a royal realm, just as Charles the Bold sought to elevate the duchy of Burgundy to a kingdom. The two dukes, as vassals of the Holy Roman Emperor Frederick III, relied on that monarch's power to bestow the kingly crown; both failed tragically in the end. As part of his design to impress his contemporaries with the princely splendour of his court, in 1471 Galeazzo focused his energies particularly on the ambitious project of developing the best musical chapel in Italy. During the course of the next two years he sent emissaries to the rulers of England, Flanders, France, Naples and his neighbour Savoy, seeking to hire (or borrow, in the case of Savoy) the best singers available. His cappella grew to include more than thirty singers, making it larger than any other in Italy, even the papal chapel.

Performing for Strangers: Women, Dance, and Music in Quattrocento Florence*

“…76 Having tuned the instrument, and assisted by her sister work has been done recently on Galeazzo's musical interests, e.g. Prizer, 1989;Welch;and Macey. Performing opportunities may have started very early for Bianca and Nannina. According to a suggestive letter from Piero de' Medici to his father in 1455 from the baths at Macereto: "Here unless we are bathing, all our time is taken up by dancing, singing and playing .…”