of S. Piero Martire, the ducal church of S. Barbara, and the court musicians. The court musicians consisted of about ten singers and several instrumentalists. Besides showing off his skills in the court's viola ensemble, by 1594 Monteverdi's talents as a singer and singing-master had also been recognized.
Despite his esteemed position in the Mantuan court, Monteverdi aspired to greater eminence. The young composer desired to direct the Duke's entire musical establishment. But the post, maestro di capella, went to a court rival, Benedetto Pallavicino. Monteverdi did not think highly of Pallavicino, who was, nonetheless, a competent composer and author of seven books of madrigals by 1593: "The contents of the fourth book for five voices, for example, are not unlike those of Monteverdi's second book." Pallavicino was older and more experienced than Monteverdi, but the younger composer did not have to wait long to realize his career ambitions. Pallavicino passed away in 1601 and Monteverdi did not mince words in his appeal to the Duke regarding the open position, "For did I not do so the envy of others might, through words rather than music, work against me to my cost by tarnishing the good opinion that Your Highness has of me." Monteverdi was successful in his appeal.
Monteverdi's talent flourished in the employ of the Duke of Mantua. The composer thought so highly of his employer that the 5th Madrigal Book was dedicated to his highness: "I hereby present to Your Grace this group of madrigals I have created . . . for under the protection of so great a prince they will live eternally, to the shame of those tongues which seek to destroy other men's works." The "tongue" that Monteverdi referred to was Giovanni Maria Artusi.
The controversy between Monteverdi and Artusi provides an important commentary on the music of the period. Monteverdi was considered the young upstart to Artusi, a generation older, who funct...