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The Music Room in Early Modern France and ItalySound, Space and Object$
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Deborah Howard and Laura Moretti

Print publication date: 2012

Print ISBN-13: 9780197265055

Published to British Academy Scholarship Online: January 2013

DOI: 10.5871/bacad/9780197265055.001.0001

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Queen Christina of Sweden as a Patron of Music in Rome in the Mid-Seventeenth Century

Queen Christina of Sweden as a Patron of Music in Rome in the Mid-Seventeenth Century

Chapter:
(p.259) 15 Queen Christina of Sweden as a Patron of Music in Rome in the Mid-Seventeenth Century
Source:
The Music Room in Early Modern France and Italy
Author(s):

TESSA MURDOCH

Publisher:
British Academy
DOI:10.5871/bacad/9780197265055.003.0016

Following her abdication, Queen Christina of Sweden took up residence in the Palazzo Farnese, Rome from 1655. She had already developed a keen interest in music, gained from tuition from a French dancing master, and playing the star role in the ballet The Captured Cupid in honour of her mother's birthday in 1649. Christina's arrival in Rome was marked by performances in her honour in the Palazzo Barberini and Palazzo Pamphili of specially commissioned works by contemporary composers Marco Marazzoli and A.F. Tenaglia, and by her favourite Giacomo Carissimi. Inspired by the chamber music proportions of the cappella of the Collegio Germanico, many of Carissimi's secular arias were composed for his royal Swedish patron. After two years in France, Christina returned to Rome, where she took up residence in the Palazzo Riario on the Janiculum. Inventories record her musical instruments and describe the contents of the Great Hall in which concerts were held.

Keywords:   Rome, seventeenth century, Queen Christina, palaces, theatre, festivities, performance, music, ballet

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