An exploration of Monteverdi and his contemporaries. It discusses the rise of the "new music" for solo voice and basso continuo in late 16th- and early 17th-century Florence, then moves on to broader aesthetic issues crystallized in contemporary theoretical debate and musical practice.
This collection of reprinted essays takes the trends of the author''s Music, Patronage and Printing in Late Renaissance Florence (also in the ''Variorum'' series) in a somewhat different direction. If the focus there was primarily on archival documents, here it is on the actual music. The starting-point is similar - the rise of the ''new music'' for solo voice and basso continuo in late sixteenth- and early seventeenth-century Florence, in particular the songs of Giulio Caccini. But it moves on to broader aesthetic issues crystallized in contemporary theoretical debate and musical practice - not least the rise of aria-based styles - and concludes with a series of studies of Claudio Monteverdi''s works for the theatre, including the operas Il ritorno d''Ulisse in patria (1640) and the ever-problematic L''incoronazione di Poppea (1643).
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