In Artistic Disobedience Claudio Bacciagaluppi shows how music practice was an occasion for cross-confessional contacts in 17th- and 18th-century Switzerland, implying religious toleration. The difference between public and private performing contexts, each with a distinct repertoire, appears to be of paramount importance. Confessional barriers were overcome in an individual, private perspective. Converted musicians provide striking examples. Also, book trade was often cross-confessional. Music by Catholic (but also Lutheran) composers was diffused in Reformed territories mainly in the private music societies of Swiss German towns (collegia musica). The political and pietist influences in the Zurich and Winterthur music societies encouraged forms of communication that are among the acknowledged common roots of European Enlightenment.
Claudio Bacciagaluppi, Ph.D. (2008), works for the Swiss RISM branch and the Hochschule der Künste Bern. His research concerns sacred music in 17th-c. Switzerland and in 18th-c. Naples. He recently edited Giovanni Battista Pergolesi’s Mass in D (Ricordi, 2015).
“Bacciagaluppi’s work is a testament to the type of musicological work that can be done on archival records, and it will become a valuable reference for those interested in the ramifications of societal polarisation.”
Timothy Duguid, University of Glasgow. In: The Journal of Ecclesiastical History, Vol. 69, No. 3 (July 2018), pp. 664-666.
List of Figures
List of Tables
List of Music Examples
List of Archival Sources
1 Music in the Confessional Age
2 Approaching the Other
3 The Book Market
4 The ‘Collegia Musica’
5 Conclusions: Music as an Agent of Toleration?
Academic libraries, scholars and post-graduate students interested in issues of religious toleration and in 17th-century music practice.