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This article investigates three voci pari settings by Gioseffo Zarlino, the lectiones pro mortuis that appeared in the Motetta D. Cipriani de Rore et aliorum auctorum (Venice: Girolamo Scotto, 1563). Although this collection contains motets, we argue that Zarlino's lectiones were intended as liturgical items for an Office for the Dead, celebrated as part of exequial rites. As such, they represent the first printed liturgical settings for the Office for the Dead in the Italian-speaking area. By analyzing liturgical sources as well as chronicles, we show that there was no tradition of setting the lessons pro mortuis in Italy, and that Zarlino's lectiones must have been a somewhat isolated musical experiment. We contextualize the settings within Zarlino's oeuvre, while also highlighting their relation to the contemporary repertoire of polyphonic lessons for penitential liturgies, most importantly lamentations—a genre that was published widely in the 1560s. In an attempt to reconstruct the social and institutional networks that might constitute the background to Zarlino's lectiones, we urge considering their author not only as a theorist and composer, but also as a polymath, a priest, and, ultimately, a devout Christian.
This article investigates three voci pari settings by Gioseffo Zarlino, the lectiones pro mortuis that appeared in the Motetta D. Cipriani de Rore et aliorum auctorum (Venice: Girolamo Scotto, 1563). Although this collection contains motets, we argue that Zarlino's lectiones were intended as liturgical items for an Office for the Dead, celebrated as part of exequial rites. As such, they represent the first printed liturgical settings for the Office for the Dead in the Italian-speaking area. By analyzing liturgical sources as well as chronicles, we show that there was no tradition of setting the lessons pro mortuis in Italy, and that Zarlino's lectiones must have been a somewhat isolated musical experiment. We contextualize the settings within Zarlino's oeuvre, while also highlighting their relation to the contemporary repertoire of polyphonic lessons for penitential liturgies, most importantly lamentations—a genre that was published widely in the 1560s. In an attempt to reconstruct the social and institutional networks that might constitute the background to Zarlino's lectiones, we urge considering their author not only as a theorist and composer, but also as a polymath, a priest, and, ultimately, a devout Christian.
Historians of early modern statecraft and confessional politics have traditionally treated the arts as peripheral to the more official bureaucratic concerns of government agents. Meanwhile, musicological scholarship rarely centers the experiences and exploits of politicians who participated in early modern musical events. This case study on British envoys to Venice in the early Stuart period illustrates how musical activity and political work were, in fact, thoroughly imbricated within the daily mechanics of cross-confessional ambassadorship. Drawing on seventeenth-century diplomatic sources, I detail how both English and Northern Italian politicians made strategic use of sacred music-making—particularly vocal performance in local nunneries—to influence their dealings with foreign states, as well as how English diplomats in the Italian peninsula surveilled Catholic musical devotions in their covert correspondences to communicate information about international affairs. In revealing these moments of interconnection between music, religion, and geopolitics, I seek to further recent efforts in the New Diplomatic History to highlight the contributions of women and artistic practice within histories of international relations.
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