La Serenissima

A stunningly illustrated history of Venice, from its beginnings as 'La Serenissima' – 'the Most Serene Republic' – to the Italian city that continues to enchant visitors today. 'Everything about Venice,' observed Lord Byron, 'is, or was, extraordinary – her aspect is like a dream, and her history is like a romance.' Dream and romance have conditioned myriad encounters with Venice across the centuries, but the city's story embodies another kind of experience altogether – the hard reality of an independent state built on conquest, profit and entitlement and on the toughness and resilience of a free people. Masters of the sea, the Venetians raised an empire through an ethos of service and loyalty to a republic that lasted a thousand years. In this new study of key moments in Venice's history, from its half-legendary founding amid the collapse of the Roman empire to its modern survival as a fragile city of the arts menaced by saturation tourism and rising sea levels, Jonathan Keates shows us just how much this remarkable place has contributed to world culture and explains how it endures as an object of desire and inspiration for so many.

"La Serenissima is an exploration of [a] paradox; of a civilization living its last with feverish intensity. Before a vivid backcloth of monumental architecture, beneath the exquisite frescoes adorning church interiors, through the calli and canals of Venice herself, Alfonso Lowe recreates the vibrant life and the sumptuous ritual of this unique republic in its final, brilliant flourish of artistic creativity." -- Book jacket.

Das Schütz-Jahrbuch 2017 enthält in seinem Hauptteil die Texte der Referate des Internationalen Heinrich-Schütz-Festes Den Haag 2016, die sich in das Themenfeld "Explicatio Textus - Heinrich Schütz, Max Reger, Siegfried Reda" einordnen. Helmut Lauterwasser und Stefan Steinemann stellen ein musikalisches Stammbuch im Umfeld des Geistlichen Ministeriums zu Braunschweig aus dem 17. Jahrhundert vor, Matteo Messori und Anna Katarzyna Zareba berichten über neue biographische und musikalische Funde zu Vincenzo Albrici (1631-1687), und Bernd Koska diskutiert ein Schmalkalder Noteninventar im Blick auf das geistliche Vokalwerk Georg Ludwig Agricolas. Weitere Beiträge von Aagje Pabbruwe, Roman Summereder und Pieter Dirksen bereichern den Band.

For over a millennium, the Italian coastal state of the Most Serene Republic of Venice, or La Serenissima, flourished as a center for sea trade and the arts. Here an important final phase of late Baroque mythological and Biblical painting took place. Venice also became an important destination on the Grand Tour, where its aquatic setting and unique network of canals, palaces, and churches inspired a talented group of view painters, especially during the eighteenth century. Today, collections throughout North America hold many works from this prolific period. La Serenissima presents new scholarship on works that have not received due public attention in recent years and brings together approximately 65 works of art from more than 25 collections. Together, they represent important regional developments in religious and topographical painting as well as genre and portraiture. These artworks display the inimitable aspects of Venetian taste and culture in the age of the Grand Tour and through the decline of the Republic. La Serenissima also casts new light on the achievements of Venetian view painters, including master painter Antonio Canaletto, Bernardo Bellotto, Luca Carlevarijs, and Francesco Guardi.

This is the first dedicated study of the musical patronage of Roman baronial families in the sixteenth and early seventeenth centuries. Patronage – the support of a person or institution and their work by a patron – in Renaissance society was the basis of a complex network of familial and political relationships between clients and patrons, whose ideas, values, and norms of behavior were shared with the collective. Bringing to light new archival documentation, this book examines the intricate network of patronage interrelationships in Rome. Unlike other Italian cities where political control was monocentric and exercised by single rulers, sources of patronage in Rome comprised a multiplicity of courts and potential patrons, which included the pope, high prelates, nobles and foreign diplomats. Morucci uses archival records, and the correspondence of the Orsini and Colonna families in particular, to investigate the local activity and circulation of musicians and the cultivation of music within the broader civic network of Roman aristocratic families over the period. The author also shows that the familial union of the Medici and Orsini families established a bidirectional network for artistic exchange outside of the Eternal City, and that the Orsini-Colonna circle represented a musical bridge between Naples, Rome, and Florence.

Volume 10 examines how the innovative impulses that came from Italy were creatively merged with indigenous traditions and how many national variants of Futurism emerged from this fusion. Ten essays investigate various aspects of Italian Futurism and its links to Austria, Georgia, France, Hungary and Portugual and in fields such as Typography, Olfaction, Photography. Section 2 examines seven examples of caricatures and satires of Futurism in the contemporary press, followed by Section 3, reporting on the Archiv der Avantgarden (AdA) in Dresden. Section 4 communicates bibliographic details of 120 book publications on Futurism in the period 2017-2020, including exhibition catalogues, conference proceedings and editions.