Abstract

The thesis aims to change the perception of the composer via three different angles: A reconstruction of his life and career with a substantial amount of new biographical information builds one pillar of the book, whereas in the second part his vocal works are approached and contextualized as prototypes of radical „stile novo“ in Roman characteristic. The last third is dedicated to questions about basso continuo and Roman performance practice in Kapsperger’s lifetime, dealing also with the composers’ own material on continuo as fount of inspiration for continuo players of all instruments.