Guarini's 'Il pastor fido' and the Madrigal: Voicing the Pastoral in Late Renaissance Italy

Cover
Half Title
Title Page
Copyright Page
Table of Contents
Acknowledgements
Editorial Principles
Introduction: Voice, Genre, and Interpretation in the Italian Madrigal
	Pastoral Personas in a Tragicomic Plot
1 Reading the Madrigal: Mode, Structure, and the Analysis of Late-Renaissance Music
	On Mode
	Modal Unity within Diversity: Commixtio Tonorum
	Analytical Approaches to Late-Renaissance Polyphony
2 The Play and Its Early Audiences
	Guarini’s Readings of the Early 1580s
	Signs of Stagings in the Mid-1580s
	Mantuan Efforts of the Early 1590s
	The First (Confirmed) Productions
	The Mantuan Productions of 1598 and the Madrigals of Gastoldi
	Stagings in the Early Seventeenth Century
3 From Poetic Monster to Raccolta di madrigali: The Pastor fido Debate, 1586–1602
	The First Wave of Debate: Denores and the Two “Verrati,” 1586–93
	The Second Wave of Debate, 1600–01
4 Marenzio, Guarini, and the Origins of the Pastor fido Madrigal
	Marenzio’s “O fido, o caro Aminta” (1595): An Introduction to
Some Textual Conflicts
	Marenzio and His Patrons in Rome
	Guarini and the Lyric Madrigal
	Marenzio’s Guarini Settings, 1580–99
	Guarini’s Drafts and Salviati’s Lost Manuscript
	Salviati’s Annotazioni and the Texts of Marenzio’s Madrigals
	Scipione Gonzaga and Marenzio’s Pastor fido Settings
5 Beyond the Theater in Rome and Mantua: The Settings of Marenzio and Wert
	Marenzio’s O fido, o caro Aminta: The Integration of Text
and Music
	Marenzio’s and Wert’s Readings of Cruda Amarilli (1595)
	Three Settings from Act 3
6 “Ahi, lasso!”: Monteverdi, Il pastor fido, and a New, Mantuan
Controversy
	Monteverdi’s Early and Variant Readings, 1592–1603
	The Monteverdi–Artusi Debate: Musical and Extramusical Provocations
7 Madrigalian Discourses in (and Beyond) Monteverdi’s Fifth Book
	Modal Structure and the Temporal Worlds of Mirtillo and Amarilli
	Interpersonal and Intertextual Dialogue in Ecco, Silvio, colei che ’n odio hai tanto
	Inter-Madrigal Motives (and Their Interpretative Consequences)
	Monteverdi and the Madrigal as Discourse
8 The Settings of Pallavicino, Gastoldi, and Rossi, and the Afterglow of a Mantuan Pastoral Passion
	Dilating Dissonances, Dynamic Structures, and Marenzian Ties in Pallavicino’s Sixth Book (1600)
	Beyond Balli: Concision, Contrast, and Characterization in Gastoldi’s Pastor fido Settings
	Salamone Rossi: Marenzian Cues on a New, Mantuan Stage
	The Expectations of a “Pastor fido” Madrigal Reading and the Example of Artusi’s Failure
Index