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Jacopo Tintoretto und die Musik

1984; Volume: 5; Issue: 10 Linguagem: Inglês

10.2307/1483196

0391-9064

Erasmus Weddigen,

Diverse Musicological Studies

Tintoretto's love of music mentioned since Vasari's time, has never actually been proven, even though auditive elements in his works are ever present. The reattribution of The Concert of the Muses (with the miniature scene of the metamorphosis of the Pierids) in the Munich State Collections and the evidence of a single example of a legible score - a canzonetta from 1573 by the composer Giovan Ferretti - in the Sextet of Nymphs in Dresden, permits us to analyze the musical horizon of Jacopo, the represented instruments (and even some which Tintoretto has been said to have invented himself), his hypothetical familiarity with melomanic Venice, his own musical ability and theoretical background. The new dating post quem of the programmatic Musica in Dresden (about twenty years later than commonly accepted) - the painting perhaps reflects the friendship and spiritual influence of the great music-theoretician Gioseffo Zarlino - may bring certain changes in the still imprecise dating of many of his major works.