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Alfonso Fontanelli (1557-1622), Noble Y Compositor Un Estudio Socio-Cultural Sobre La Nobleza Y La Práctica Musical En El Tardo-Renacimiento Italiano

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Alfonso Fontanelli (1557-1622), Noble Y Compositor Un Estudio Socio-Cultural Sobre La Nobleza Y La Práctica Musical En El Tardo-Renacimiento Italiano Alfonso Fontanelli (1557-1622), noble y compositor Un estudio socio-cultural sobre la nobleza y la práctica musical en el Tardo-Renacimiento italiano Miguel Palou Espinosa Tesis presentada a los miembros del Tribunal para su aprobación con vistas a la obtención del grado de Doctor en Historia y Civilización del European University Institute Florencia, 18 de abril de 2016 European University Institute Departamento de Historia y Civilización Alfonso Fontanelli (1557-1622), noble y compositor Un estudio socio-cultural sobre la nobleza y la práctica musical en el Tardo-Renacimiento italiano Miguel Palou Espinosa Tesis presentada a los miembros del Tribunal para su aprobación con vistas a la obtención del grado de Doctor en Historia y Civilización del European University Institute Miembros del Tribunal Profesor Luca Molà, European University Institute, Florence. Profesor Stéphane Van Damme, European University Institute, Florence. Profesor Tim Carter, University of North Carolina at Chapel Hill Profesor Carmen Sanz Ayán, Universidad Complutense de Madrid © Miguel Palou Espinosa, 2016 Ninguna parte de esta tesis puede ser copiada, reproducida o distribuida sin el permiso previo del autor Researcher declaration to accompany the submission of written work Department of History and Civilization - Doctoral Programme I , Miguel Palou Espinosa certify that I am the author of the work Alfonso Fontanelli (1557-1622), noble y compositor: Un estudio socio-cultural sobre la nobleza y la práctica musical en el Tardo-Renacimiento italiano I have presented for examination for the Ph.D. at the European University Institute. I also certify that this is solely my own original work, other than where I have clearly indicated, in this declaration and in the thesis, that it is the work of others. I warrant that I have obtained all the permissions required for using any material from other copyrighted publications. I certify that this work complies with the Code of Ethics in Academic Research issued by the European University Institute (IUE 332/2/10 (CA 297). The copyright of this work rests with its author. Quotation from it is permitted, provided that full acknowledgement is made. This work may not be reproduced without my prior written consent. This authorisation does not, to the best of my knowledge, infringe the rights of any third party. I declare that this work consists of 182,831 words. Signature and date: 18-3-2016 Abstract Many scholars have shown the importance of musical education for noblemen in late Renaissance Italy. For both individuals and groups, music could be used as a tool for process of self-identity, helping them to construct their aesthetical forma del vivere. In fact, along with a sum of literate and aesthetical knowledge, music was an integral element of the culture of la conversazione. Noblemen and noblewomen displayed a large variety of artistic and literary virtues in courtly, academic and private-exclusive gatherings, in order to create distinctive spaces of sociability and self-fashioning. However, could the printing of music, composed by noblemen, affect or contradict their socio-cultural rules of distinction, exclusiveness and discretion? To address this issue, my dissertation will focus on the period between 1570 and 1620, in the Italian peninsula; where there was a major accumulation of composers who identified themselves as nobili or gentiluomini on the covers of their books. Through the case of count Alfonso Fontanelli, from Reggio Emilia, the aim of this thesis is to explore the role of musical composition in nobles’ cultural sociability (incorporated in friendly and patronage networks) and the processes of construction of Fontanelli’s cultural self- prestige. Fontanelli’s biography provides a variety of socio-cultural experiences and interactions in the three different cities where he displayed his musical virtues: Ferrara, Rome and Florence. Hence, this case study allows us to compare the diverse functions of music for the nobility of these three cities (considering their respective socio-political and cultural particularities) as well as to contrast Fontanelli with other noble composers of the time. Finally, the results of this thesis will offer interesting reflections about the plasticity of noble culture and its relation with music, the diversity of socio-cultural strategies through musical practices, and the complex social dynamics involved in the concept of “authorship” in printed music. Índice Abreviaturas ...................................................................................................................... i Agradecimientos ............................................................................................................. iii Introducción ..................................................................................................................... 1 Capítulo 1. Alfonso Fontanelli como propuesta: problemática conceptual y metodológica .................................................................................................................. 15 1.a. ¿Qué es (culturalmente) un noble? ........................................................................... 17 Las armas, las letras y el noble en el Tardo-Renacimiento italiano ......................... 21 La corte ..................................................................................................................... 28 Problemática de la identidad cultural noble: del cortigiano al gentiluomo .............. 33 1.b. La música, la cultura nobiliaria y cortesana ............................................................. 38 Una tradición previa: Orígenes de la práctica musical en la nobleza desde la Edad Media ........................................................................................................................ 41 Antigüedad, poesía y música .................................................................................... 44 Cortesano y músico .................................................................................................. 51 1.c. La perspectiva biográfica ......................................................................................... 57 Individuo vs. Sociedad: la necesidad de definir un caso individual y su conjunto social ......................................................................................................................... 61 Sociabilidad y amistad .............................................................................................. 69 Las fuentes ................................................................................................................ 74 Capítulo 2. De Reggio-Emilia a Ferrara. La formación de Fontanelli y su actividad en la corte de Alfonso ii d’Este (1585-1597) ............................................... 81 2.a. Los primeros pasos ................................................................................................... 81 2.b. De Reggio Emilia a Ferrara. El ingreso en la corte Estense .................................... 85 La corte “ritualizada” de Alfonso II ......................................................................... 90 Ritual, caballería y artes: la cultura nobiliaria a debate ............................................ 94 Esplendor y decadencia: el mantenimiento de una cultura musical ......................... 98 2.c. Fontanelli entra en escena: las primeras muestras de interacción cultural en la corte de Ferrara ...................................................................................................................... 107 Al servicio del duque Alfonso: la música en la sociabilidad cortesana, las relaciones de amistad y de patronazgo .................................................................................... 111 Entre la “profesión” y el ocio de la música y la poesía: las tensiones de Fontanelli y los cortesanos de Ferrara ........................................................................................ 121 Dentro y fuera de la corte del Duque. Formación de un status y de redes. ............ 132 Los otros: la música en las relaciones exteriores del ducado ................................. 140 2.d. Il Primo Libro di Madrigali (1595) ....................................................................... 151 Capítulo 3. Reconstrucción socio-cultural del individuo: Fontanelli, Roma y las cortes cardenalicias (1602-1608) ................................................................................ 159 3.a. De la corte de Módena a Roma. Historia de un homicidio y una huida. ................ 159 3.b. Roma, Teatro di tutto il mondo: pluricentralidad cortesana y cultural .................. 172 La famiglia cardenalicia: definición y ente socio-cultural. .................................... 176 Música y músicos en los palacios de Roma: multiplicidad y comunicación .......... 183 Nobili, gentiluomini y músicos .............................................................................. 188 3.c. El Cardenal Alessandro d’Este ............................................................................... 197 Fontanelli en Roma: la reconstrucción de una imagen a partir de encuentros literarios-musicales. ................................................................................................ 205 La importancia de llamarse Fontanelli: La utilidad de una red y una imagen reconfigurada .......................................................................................................... 214 3.d. Los libros de madrigales en Venecia (1603 y
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