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Contents

Music In The Seventeenth And Eighteenth Centuries

METASTASIO

Chapter:
CHAPTER 4 Class and Classicism
Source:
MUSIC IN THE SEVENTEENTH AND EIGHTEENTH CENTURIES
Author(s):
Richard Taruskin

Ultimate “classical” perfection was reached by the Roman poet Pietro Antonio Trapassi (1698–1782), a godson of Cardinal Ottoboni himself, who was virtually raised in the bosom of the Arcadian Academy and who eventually replaced Zeno as Austrian court poet in 1730. His pen name, Metastasio, has become the very emblem of the genre he perfected. It was a sort of pseudo-Greek translation of his family name: trapasso means transit or conveyance from one place to another (and by extension, death, or “passing on”); Metastasio substitutes Greek roots for Latinate ones (compare the medical term metastasis, meaning the spread or transference of a disease or a fluid from one part of the body to another). The “translation” signaled the poet’s neoclassical leanings and his avowed aim, as usual, of re-resurrecting the ancient Greek drama, and all its effects, through opera.

Citation (MLA):
Richard Taruskin. "Chapter 4 Class and Classicism." The Oxford History of Western Music. Oxford University Press. New York, USA. n.d. Web. 13 Dec. 2018. <http://www.oxfordwesternmusic.com/view/Volume2/actrade-9780195384826-div1-04004.xml>.
Citation (APA):
Taruskin, R. (n.d.). Chapter 4 Class and Classicism. In Oxford University Press, Music In The Seventeenth And Eighteenth Centuries. New York, USA. Retrieved 13 Dec. 2018, from http://www.oxfordwesternmusic.com/view/Volume2/actrade-9780195384826-div1-04004.xml
Citation (Chicago):
Richard Taruskin. "Chapter 4 Class and Classicism." In Music In The Seventeenth And Eighteenth Centuries, Oxford University Press. (New York, USA, n.d.). Retrieved 13 Dec. 2018, from http://www.oxfordwesternmusic.com/view/Volume2/actrade-9780195384826-div1-04004.xml
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