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Giulio Cesare Monteverdi

Younger brother from the more famous musician Claudio, Giulio Cesare Monteverdi even so forged a good musical career for himself aswell. Both brothers (with four various other children) were delivered in Cremona, a significant Milanese town with close ties towards the Gonzagas’ Mantua, Parma from the Farnese, and Venice. Giulio Cesare evidently was an excellent organist, playing for the cathedral of Mantua from age 17 to 19, and he sang and constructed for the Duke of Mantua himself. In 1608 he constructed music to get a festal performance of the Guarini drama throughout a Mantuan courtroom wedding; his advertising to maestro for the choir of Francesco Gonzaga implemented. Giulio Cesare’s full opera Il rapimento di Proserpina arrived in 1611, area of the birthday festivities for Gonzaga’s wife (its libretto was compiled by the Mantuan ducal chancellor and ambassador Ercole Marigliani, who also constructed text messages for Claudio Monteverdi, like the libretto to Andromdea). For factors unknown, both Claudio and Giulio Cesare had been summarily dismissed from Gonzaga program in 1612. Younger brother quickly discovered a new placement as organist at Castelleone. His last profession move transpired in 1620, when he was appointed maestro di cappella for Saló Cathedral. He passed away there, perhaps from the plague, in 1630 or 1631. Both in the idea as well as the practice of music, Giulio Cesare appears to have been quite near his elder sibling. He is most widely known today for his involvement in the Monteverdi/Artusi controversy of the first seventeenth century. Conventional music theorist Giovanni Maria Artusi got released in 1600 and 1603 sharpened critiques of specific brand-new harmonic licenses used by turn-of-the-century composers; among his tragets was an private L’Ottuso Accademico and Claudio Monteverdi. Claudio briefly responded in the released preface to his 5th reserve of madrigals, nonetheless it was Giulio Cesare who penned one of the most energetic and most essential defense from the so-called secunda prattica. He himself edited his brother’s 1607 Scherzi musicali for publication, and got the opportunity to incorporate a lengthy description of Claudio’s music. He cited Cipriano de Rore’s madrigals as the building blocks of a fresh musical design and anchored it in the musical viewpoint of Plato. In Giulio Cesare’s reading from the ancient greek language philosopher, text message (logos) comes before firmness (harmonia) and tempo. His personal music, some 25 motets (released 1620), a canzonetta with basso continuo, and two improvements towards the Scherzi musicali, generally falls inside the orbit of Claudio’s design.

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