This dissertation analyzes musical patronage at the courts of Charles II (r. 1660–1685) and James II (r. 1685–1688) and argues that the 1688 exile of the Stuart court to Saint-Germain-en-Laye, near Paris, was a key catalyst for the introduction of foreign musical styles in France in the post-Lully era. It focuses on the music of Stuart court composer Innocenzo Fede (ca.1660–ca.1732) who presided over the substantially Italian musical culture at the exiled court. In the wake of the pioneering work of Edward Corp in the early 1990s scholars have recognized the exiled Stuart court as an important center for the cultivation Italian music in France. This study, however, is the first to engage Fede’s secular chamber music analytically, and includes an examination of his cantatas, independent arias, and sonatas. It also identifies Queen Mary of Modena (1658–1718), the Italian wife of James II, as the primary patron of music and art at the exiled Stuart court. This analysis of Fede’s music not only illuminates his obscure oeuvre, but also provides a new perspective on the activities of Mary of Modena as a musical patron, highlighting her potentially surprising support of secular music. This dissertation argues that a politically and religiously motivated English receptivity to foreign styles stimulated the French adoption of Italian forms, and suggests that Fede’s contribution to the transmission of Italian cantata in France was more significant than previously recognized.
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Outlandish Authors:Innocenzo Fede and Musical Patronage at the Stuart Court in London and in Exile.
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