The publication contains the Russian translation of Giulio Cesare Monteverdi’s Dichiarazione (1607) to the Letter of his brother, Claudio, Studiosi Lettori (1605) and an article where the final stage of the dispute about seconda pratica is analyzed in detail. Having defended his madrigals from Giovanni Maria Artusi’s unfair criticism, C. Monteverdi faced a dilemma that would force him either to revise Gioseffo Zarlino’s doctrine or to attach himself to radical humanists on the other side of the fence who would call for renaissance of the musical art of the antiquity. Though far from the utopian project that had been initiated by the “Florentine Camerata” and continued by Giovanni Battista Doni in Rome, Monteverdi made a semi-quietly attempt to apply some ideas of the music reformers of the time, which made the seconda pratica doctrine he had set out in the Dichiarazione in a sketchy manner predeterminedly vulnerable. Braccino di Todi’s (generally thought to be a pseudonym for G. M. Artusi) criticism in Secondo discorso musicale (1608) concerned a number of items of the doctrine, which indeed were insufficiently thought over and poorly argued; the correspondence between C. Monteverdi and G. B. Doni (1633–34) has revealed that the composer had partly accepted some of his opponent’s arguments. Nevertheless, the researchers
of the controversy, who tended to assume that the Monteverdi brothers had conquered the field and to consider that the Dichiarazione is the key to understanding C. Monteverdi’s creative method, have made their contribution towards having the concepts of the seconda pratica further mythologized.
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