oa The Function and Use of Musical Sources at the Paduan ‘Court’ of Alvise Cornaro in the First Half of the Cinquecento

In the first half of the Cinquecento, the illustrious patron of the arts Alvise Cornaro (c. 1482-1566) gathered together in his house in Padua an impressive circle of artists and literary figures who were among the leading lights of the city’s cultural life. Among these were the architect Giovanni Maria Falconetto and probably the young Palladio; the playwright Angelo Beolco known as Ruzante, with his company of actors; painters and sculptors such as Tiziano Minio; and men of letters including Pierio Valeriano, Bernardino Scardeone, Pietro Bembo, Sperone Speroni, and Giangiorgio Trissino. Not only did Cornaro establish a true open-air theatre in the courtyard of his house, against the backdrop of the famous loggia of Falconetto (1524), but in the mid-1530s he also erected an octagonal room, called the Odeo, as a setting for musical performances. Cornaro probably acquired his passion for music through Ruzante, the famous playwright and actor, and himself a musician, who lodged in Cornaro’s house. Ruzante’s comedies were highly regarded, particularly because his texts lent themselves to musical setting. Unfortunately no documents have as yet been discovered that can yield information as to what music was performed, but hypotheses can be formulated regarding the possible musical repertoire and its manner of execution.