The Cozzolani Project

Monteverdi's Unsuccessful 'Audition' in Rome

As early as the Fall of 1608 Monteverdi had discussed the possibility of leaving Mantua and his publication of a monumental Mass and Vespers in 1610, with a dedicate to Pope Paul V was clearly an attempt to promote his services. In that year, with his collection in tow, Monteverdi traveled to Rome, where he hoped to achieve two results: an audience with the Pope to enable him to offer his sacred collection in person, and a free place for his son Francesco. (Monteverdi was a widower of over two years at that point.) In a letter from that month he wrote to Cardinal Ferdinando Gonzaga:

“‘in the Roman seminary with a benefice from the church to pay his board and lodging, I being a poor man. But without this favor I could not hope for anything from Rome to help Franceschino, who has already become a seminarian in order to live and die in this calling.”

None of the composer’s plans came to fruition, and the letter, which gives a sense of the his dire financial situation, continues:

“For if Rome, even with Your Most Illustrious Lordship’s favor, were not to help him, he and another brother of his would remain poor, so that they wowukld hardly be able to start the New Year with bread and wine, which I lack. I shall look out for some simple benefice or other that can bring in a stipend sufficient to obtain the satisfaction of this need from His Holiness, if Your Most Illustrious Lordship will be so kind as to try and assist both him and me at the same time (as I hope from your infinite virtue), both with His Holiness and with Monsignor the Datary; otherwise, fearing that I troubled him too much when I was in Rome, I would not dare to ask him again any favor.”

[Translation by Time Carter from Paolo Fabbri's Monteverdi, Cambridge University Press, 1994, pp 109-110.]

Galileo's Music

On his remarkable Galileo 1610 website, Mark Thompson writes about the role of music Gilileo’s scientific work:

“Thus the effect of the fifth is to produce a tickling of the eardrum such that its softness is modified with sprightliness, giving at the same moment the impression of gentle kiss and of a bite.”

Music played not only a unique, but an essential role in leading Galileo to his new physics. Because it is an art demanding precise measurement and exact divisions, music reflected the spirit of Galileo’s science.

One of Galileo’s most important discoveries, the law of falling bodies, can actually be traced to his early musical experiments with his father, Vincenzo Galilei, a musicologist and lute virtuoso. Together, they discovered the motions of pendulums while measuring with weights, the tensions of lute strings.

Galileo was an outstanding lutenist himself, whose “charm of style and delicacy of touch” surpassed even that of his father. Playing the lute was a source of great pleasure and a special comfort to him in his final years, when blindness was added to the many other trials of his life.

”Everything Galileo ever did has been challenged,” said the late Stillman Drake, Canadian historian of science and preeminent biographer of Galileo. ”But ultimately it stands up.”

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