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Field Dissertation 4 OUTLANDISH AUTHORS: INNOCENZO FEDE AND MUSICAL PATRONAGE AT THE STUART COURT IN LONDON AND IN EXILE by Nicholas Ezra Field A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy (Music: Musicology) in the University of Michigan 2013 Doctoral Committee: Associate Professor Stefano Mengozzi, Co-Chair Associate Professor Mark Clague, Co-Chair Professor Linda K. Gregerson Associate Professor George Hoffmann ACKNOWLEDGEMENTS In writing this dissertation I have benefited from the assistance, encouragement, and guidance of many people. I am deeply grateful to my thesis advisors and committee co-chairs, Professor Stefano Mengozzi and Professor Mark Clague for their unwavering support as this project unfolded. I would also like to extend my heartfelt gratitude to my dissertation committee members, Professor Linda Gregerson and Professor George Hoffmann—thank you both for your interest, insights, and support. Additional and special thanks are due to my family: my parents Larry and Tamara, my wife Yunju and her parents, my brother Sean, and especially my beloved children Lydian and Evan. ii TABLE OF CONTENTS ACKNOWLEDGEMENTS................................................................................................ ii LIST OF FIGURES ............................................................................................................ v ABSTRACT....................................................................................................................... vi CHAPTER ONE: Introduction ........................................................................................... 1 Extant Sources for the Stuart Court Culture ................................................................... 5 Stuart Musical Artifacts .................................................................................................. 9 Historical Context ......................................................................................................... 20 The Restoration............................................................................................................. 29 Stuart Catholicism and the Catholic Chapel ................................................................. 41 The Exile of James II .................................................................................................... 43 CHAPTER TWO: Stuart Musical Patronage.................................................................... 48 The Restoration............................................................................................................. 53 The Organization of Music at the Stuart Court in London ........................................... 60 The Chapel Royal ......................................................................................................... 63 Music of The Catholic Chapel ...................................................................................... 69 French Musical Culture Under Louis XIV ................................................................... 76 The French Adoption of Cantata................................................................................... 89 Stuart Musical Patronage in Exile................................................................................. 94 Mary of Modena as Musical Patron.............................................................................. 95 Innocenzo Fede and the Musicians of the Exiled Court ............................................. 104 Interaction between the French and Stuart Courts...................................................... 108 Mary’s Patronage of Cantata ...................................................................................... 115 Conclusions................................................................................................................. 120 CHAPTER THREE: The Arias and Cantatas of Innocenzo Fede .................................. 123 Surviving Fede Cantata Repertoire............................................................................. 133 Poetic Texts set by Fede ............................................................................................. 141 Texts from Ariberto e Flavio ...................................................................................... 149 Music of the Recitative ............................................................................................... 155 Music of the Aria ........................................................................................................ 165 The Arias of Numeri amorosi ..................................................................................... 172 General observations................................................................................................... 181 Conclusions................................................................................................................. 185 iii APPENDIX TO CHAPTER THREE ............................................................................. 186 CHAPTER FOUR: The Sonatas of Innocenzo Fede ...................................................... 197 Sonata #1—G minor “Sonata per Il Flauto solo” ....................................................... 210 Sonata #4—D minor “Sonata di Camera” .................................................................. 222 Sonata #5—C major “Seguita a 3 flauti”.................................................................... 230 General Observations.................................................................................................. 237 Conclusions................................................................................................................. 238 CHAPTER FIVE: Conclusions ...................................................................................... 240 BIBLIOGRAPHY........................................................................................................... 246 iv LIST OF FIGURES 2.1 Purcell, Sonata no. 1 in G minor 67 3.1 Titles and Lengths of Fede’s cantatas and arias 124 3.2 Scarlatti, “Lascia piu di tormentarmi” 128 3.3 Campra, “Sévère Sagasse” 130 3.4 Fede, Cantatas with Movements 137 3.5 Fede, Independent Arias 140 3.6 Texts by Rinaldo Cialli set by Fede 151 3.7 Text of “Ha torto, bella bocca” 154 3.8 Text of “Ardo, sospiro e peno” 157 3.9 Fede, “Ardo, sospiro e peno,” mm. 1–19 158 3.10 Text of “Ma poscia che con lei” 159 3.11 Fede, “Ma poscia che,” mm. 1–7 160 3.12 Fede, “Presso un fiume tranquillo,” mm. 1–3 161 3.13 Fede, “Rispose d’amor piena,” mm. 1–3 162 3.14 Fede, “Dunque con lieto core,” mm. 1–3 162 3.15 Fede, “Sì sì con voglie accese,” mm. 1–3 163 3.16 Fede, “Onde in sì dolci tempre,” mm. 1–3 164 3.17 Fede, “Per vooi lumi adorati,” mm. 1–29 167 3.18 Fede, “Seci potesse l’oro,” mm. 1–16 169 3.19 Fede, “Su dunuque voglio bere,” mm. 1–21 171 3.20 Fede, “Quante son queste arene,” mm. 1–40 174 3.21 Fede, “Quante la terra ha foglie,” mm. 1–10 175 3.22 Fede, “Quante l’aria augelletti,” mm. 1–32 177 3.23 Fede, “Facciam concordi amanti,” mm. 1–36 179 4.1 Couperin, La Steinquerque, mvmt. 1, mm. 1–34 204 4.2 Couperin, La Steinquerque, mvmt. 3, mm. 1–14 206 4.3 List of Fede Sonatas 209 4.4 Fede, Sonata no. 1 in G minor, mvt. 1 212 4.5 Fede, Sonata no. 1 in G minor, mvt. 2 214 4.6 Fede, Sonata no. 1 in G minor, mvt. 3 216 4.7 Fede, Sonata no. 1 in G minor, mvt. 4 220 4.8 Fede, Sonata no. 4 in D minor, mvt. 1 224 4.9 Fede, Sonata no. 4 in D minor, mvt. 2 227 4.10 Fede, Sonata no. 4 in D minor, mvt. 3 228 4.11 Fede, Sonata no. 4 in D minor, mvt. 4 229 4.12 Fede, Sonata no. 5 in C major, mvt. 1 232 4.13 Fede, Sonata no. 4 in D minor, mvt. 2 234 4.14 Fede, Sonata no. 4 in D minor, mvt. 3 236 v ABSTRACT This dissertation analyzes musical patronage at the courts of Charles II (r. 1660–1685) and James II (r. 1685–1688) and argues that the 1688 exile of the Stuart court to Saint- Germain-en-Laye, near Paris, was a key catalyst for the introduction of foreign musical styles in France in the post-Lully era. It focuses on the music of Stuart court composer Innocenzo Fede (ca.1660–ca.1732) who presided over the substantially Italian musical culture at the exiled court. In the wake of the pioneering work of Edward Corp in the early 1990s scholars have recognized the exiled Stuart court as an important center for the cultivation Italian music in France. This study, however, is the first to engage Fede’s secular chamber music analytically, and includes an examination of his cantatas, independent arias, and sonatas. It also identifies Queen Mary of Modena (1658–1718), the Italian wife of James II, as the primary patron of music and art at the exiled Stuart court. This analysis of Fede’s music not only illuminates his obscure oeuvre, but also provides a new perspective on the activities of Mary of Modena as a musical patron, highlighting her potentially surprising support of secular music. This dissertation argues that a politically and religiously motivated English receptivity to foreign styles stimulated the French adoption of Italian forms, and suggests that Fede’s contribution to the transmission of Italian cantata in France was more significant than previously recognized. vi CHAPTER ONE INTRODUCTION In 1688 the birth of a male heir to the Catholic king and queen of England, James II and Mary of Modena, stimulated among their Protestant subjects a storm of anti- Catholic hysteria. Fearing that a new order of papist oppression was imminent, seven members of the English parliament invited William of Orange,
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