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The Cantastorie and His Music in 15Th and 16Th-Century Italy Camilla Cavicchi

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The Cantastorie and His Music in 15Th and 16Th-Century Italy Camilla Cavicchi The cantastorie and his music in 15th and 16th-century Italy Camilla Cavicchi To cite this version: Camilla Cavicchi. The cantastorie and his music in 15th and 16th-century Italy. Troja - Jahrbuch für Renaissancemusik, 2017, 13 (2014), pp.105-133. 10.17879/02259746443. hal-01682390 HAL Id: hal-01682390 https://hal.archives-ouvertes.fr/hal-01682390 Submitted on 25 Jan 2021 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. Distributed under a Creative Commons Attribution - ShareAlike| 4.0 International License Jahrbuch für Renaissancemusik Creatio ex unisono Einstimmige Musik im 15. und 16. Jahrhundert 2014 Jahrbuch für Renaissancemusik Band 13 2014 Herausgegeben von Jürgen Heidrich, Klaus Pietschmann und Nicole Schwindt Creatio ex unisono Einstimmige Musik im 15. und 16. Jahrhundert Herausgegeben von Nicole Schwindt © 2017 Autoren Dieses Werk wird unter der Creative Commons-Lizenz CC-BY-SA 3.0 zur Verfügung gestellt. Satz: Nicole Schwindt Cover: Robert Memering, Prinzipalsatz Typographie Münster ISSN (Online): 2513-1028 URN: urn:nbn:de:hbz:6-02259747035 DOI: 10.17879/02259746443 Inhalt Nicole Schwindt Einführung: Einstimmige Musik – »geformt« oder »komponiert«? . 7 Astrid Opitz Modale Melodiebildungen im 15. Jahrhundert – Melodieformeln in Tinctoris’ Beispielen zum Modus . 17 Luca Ricossa Die Messe zur Unbefleckten Empfängnis von Leonardo Nogarola (1477) . 43 Marianne C. E. Gillion “Shall the dead arise and praise you?” – Revisions to the Missa pro defunctis in Italian printed graduals, 1591–1621 . 59 Carlo Bosi Zu Stil und Form einstimmiger Melodien um 1500 – Einige Fälle in den Pariser monophonen Chansonniers . 81 Camilla Cavicchi The cantastorie and his music in fifteenth- and sixteenth-century Italy . 105 Ivana Rentsch Literarische Ambition und musikalische Tradition – Die tänzerische Qualität der einstimmigen Chanson im 16. Jahrhundert . 135 Diana Matut »Lid, ton, vayz – shir, nign, zemer« – Der einstimmige jiddische Gesang im 15. und 16. Jahrhundert . 149 Henry Hope Collecting Songs in Sixteenth-Century Magdeburg – the Case of Valentin Voigt . 175 &DPLOOD&DYLFFKL 7KHFDQWDVWRULHDQGKLVPXVLF ∗ LQILIWHHQWKDQGVL[WHHQWKFHQWXU\,WDO\ 7KHFDQWDVWRULHVLQJHUVRIWDOHVZHUHZLGHVSUHDGDFURVVWKH,WDOLDQSHQLQVXODDQG LWV RXWO\LQJ LVODQGV IURP WKH WKLUWHHQWK FHQWXU\ RQZDUGV :LWK WKHLU YDULHG UHSHUWRLUHV WKH\ ZHUH DFWLYH XQWLO WKH V LQ SDUDOOHO ZLWKWKHFRQWDVWRULH² VWRU\WHOOHUV²ZKRFDQKRZHYHUVWLOOEHKHDUGWRGD\LQ6LFLO\7KHODWWHUXVHD VSHFLILF GHFODPDWRU\ WHFKQLTXH WKDW KDV FRQQHFWLRQV ZLWK WKDW RI WKH FDQWD VWRULH DQG WKH WZR FDWHJRULHV RI PXVLFLDQV KDYH EHHQ UHFRUGHG LQ KLVWRU\ WKURXJKRXWWKHZRUOG+RZHYHU,ZRXOGOLNHWRIRFXVRQWKH,WDOLDQFDQWDVWRULH RIWKHILIWHHQWKFHQWXU\DQGWKHILUVWKDOIRIWKHVL[WHHQWKFHQWXU\DQDO\VLQJWKHLU SHUIRUPDQFHWKHVRFLDOPRELOLW\RIWKHLUDUWDQGWKHPXVLFIRUWKHRWWDYDULPD ∗ 7KLVDUWLFOHZDVZULWWHQZLWKWKHJHQHURXVVXSSRUWRIP\FROOHDJXHV$JRVWLQR0DJUR&ULVWLQD *KLUDUGLQL0LFKDHO6FRWW&XWKEHUW-HVVLH$QQ2ZHQV3DROD'HVVL 9DOHQWLQD /DSLHUUH /XFD 'HJO·,QQRFHQWL 5RVDQQD 'H %HQHGLFWLV DQG 5RVD 'HOSLHUR OLEUDULDQV DW WKH %LEOLRWHFD FR PXQDOHGHJOL,QWURQDWLGL6LHQD DQG/XFD3LQL RIWKH%LEOLRWHFDFRPXQDOH*XDUQDFFLGL9ROWHU UD DOORIZKRPSURYLGHGYDOXDEOHDVVLVWDQFHLQWKHUHVHDUFKSKDVH6SHFLDOWKDQNVDOVRJRWR 1LFROH6FKZLQGWZKRNLQGO\SURPSWHGPHWRUHWXUQWRWKLVWRSLF 5REHUWR/H\GL/·DOWUDPXVLFD 0LODQ SS²S0DXUR*HUDFL/HUDJLRQLGHL FDQWDVWRULHSRHVLDHUHDOWjQHOODFXOWXUDSRSRODUHGHO6XG 5RPH 6HUJLR%RQDQ]LQJD´/H IRUPHGHOUDFFRQWR,JHQHULQDUUDWLYLGLWUDGL]LRQHRUDOHLQ6LFLOLDµ,VHQWLHULGHLQDUUDWRULHG &DUPHOR$OEHUWLDQG5REHUWR*LDPEURQH 3DOHUPR SS²LG´1DUUD]LRQLHQDUUD WRULµ/LQJXHHFXOWXUHLQ6LFLOLDHG*LRYDQQL5XIILQR 3DOHUPR SS²7KHVLQJLQJ RQWKHRWWDYDULPDLVVWLOOSUDFWLFHGLQ,WDO\VHH*LRYDQQL.H]LFK,SRHWLFRQWDGLQL,QWURGX]LRQH DOO·RWWDYD ULPDSRSRODUH LPPDJLQDULR SRHWLFRH SDHVDJJLR VRFLDOH (WQRPXVLFRORJLFD 5RPH &ULVWLQD*KLUDUGLQL´/·LPSURYYLVDWRUHLQJHQUHVFHQHVE\IRUHLJQDQG,WDOLDQDUWLVWVLQWKH WKFHQWXU\µ/·,GRPHQHR SS² KWWSVLEDHVHXQLVDOHQWRLWLQGH[SKSLGRPHQHRDUWLFOHYLHZDQGHDG´/D¶QDWX UDOHDFXWDVHQVLELOLWjDOO·DUPRQLDDOQXPHURHGDOPHWUR·/·LPSURYYLVD]LRQHSRHWLFDLQRWWDYDUL PDLQ,WDOLDFHQWUDOHGDO6HWWHFHQWRDOODSULPDPHWjGHO1RYHFHQWRµ)RQWL0XVLFDOL,WDOLDQH IRUWKFRPLQJ%ULDQ5LFKDUGVRQSURIHVVRUDWWKH8QLYHUVLW\RI/HHGVGLUHFWVWKH(5& SURMHFW,WDOLDQ9RLFHVZKLFKGHDOVZLWKWKHXVHRIVSHHFKDQGVRQJVLQWKHWH[WXDOFXOWXUHRI HDUO\PRGHUQ,WDO\6HHWKHLUZHEVLWHIRUDULFKELEOLRJUDSK\RQWKHWRSLF KWWSDUWVOHHGVDFXNLWDOLDQYRLFHV Camilla Cavicchi The cantastorie’s public performances: origins, repertoires, and techniques In Italy, the thirteenth century provides us with a rich body of documentation regarding the cantastorie (also called canterini or cantimpanca2) thanks to public acclaim at that time for the cantari – poetic compositions in ottava rima recounting epic tales of knights, and historical, religious and mythological themes. Much of this documentation was published in 1914 by Ezio Levi, but as yet no analysis of its descriptions of the music and performance has been attempted.3 According to the available sources, the cantastorie were first heard in the northern regions of Italy (Piedmont, Lombardy, and Emilia-Romagna), which were already familiar with the art of the troubadours.4 From there, the singing of tales began to spread southwards towards the end of the fifteenth century. The Neapolitan humanist Giovanni Giovano Pontano bore witness to the presence of cantastorie in southern Italy in the dialogue Antonius, which he wrote in 1483 and published in 1491. Encountering a performance being given by a singer of tales in the streets of Naples, he declared: Et hoc quoque recens Cis- And this also has recently been alpina e Gallia allatum est! De- imported from Cisalpine Gaul! erat unum hoc civitatis nostrae This one lacked the refinement of moribus tam concinnis.5 the customs of our country.6 The fashion of the cantari was therefore considered, up to that point at least, as having originated far from the south of Italy, in Cisalpine Gaul, i.e. the regions we now know as Piedmont, Lombardy, Veneto, and Emilia-Romagna. A nar- rative repertoire inspired by the chansons de gestes and the Matter of Britain was spread throughout Italy by so-called canterini. An earlier document from 2 For other terms see James Haar, “‘Improvvisatori’ and their Relationship to Sixteenth-Century Music”, id., Essays on Italian Poetry and Music in the Renaissance, 1350–1600 (Berkeley, 1986), pp. 76–99, and Blake Wilson, “The ‘Cantastorie/Canterino/Cantimbanco’ as Musician”, Italian Studies 71 (2016), pp. 154–170. 3 Ezio Levi, I cantari leggendari del popolo italiano nei secoli XIV e XV. Giornale storico della letteratu- ra italiana, Supplemento 16 (Turin, 1914). 4 F. Alberto Gallo, Musica nel castello. Trovatori, libri, oratori nelle corti italiane del XII al XV secolo (Bologna, 1992), pp. 17–58; Music in the Castle: Troubadours, Books, and Orators in Italian Courts of the Thirteenth, Fourteenth, and Fifteenth Centuries (Chicago, 1995), pp. 11–46. 5 Giovanni Giovano Pontano, Dialogues, ed. Julia Haig Gaisser (Cambridge, MA, 2012), vol. 1: Charon and Antonius, p. 272, paragraph 106; Benendetto Soldati, “Improvvisatori, canterini e buffoni in un dialogo del Pontano”, Miscellanea di studi critici pubblicati in onore di Guido Mazzo- ni, ed. A. Della Torre and P. L. Rambaldi (Florence, 1907), vol. 1, pp. 321–342. 6 This and all subsequent translations, unless otherwise specified, are my own. 106 The cantastorie and his music Bologna, dated 1289, calls such performers cantatores françiginorum, i.e., singers of French stories.7 Their inspirational origins are also emphasized in another document published by Levi, which states explicitly that in the thirteenth cen- tury the stories were sung in French. Furthermore, an epistle by Lovato de’ Lovati (1241–1309) tells us about a performance in Treviso of a cantastorie who sang in Franco-Italian, a mixture of French and Italian dialects, distorting the pro- nunciation of French poems on Charlemagne: Fontibus irriguam spatiatur forte per urbem, que tribus a vicis nomen tenet, ocia passu castigans modico, cum celsa in sede theatri karoleas acieis et gallica gesta boantem cantorem aspitio: pendet plebecula circum auribus arrectis: illam suus allicit Orpheus. Ausculto tacitus: Francorum dedita lingue carmina barbarico passim deformat hiatu, tramite nulla suo, nulli innitentia penso ad libitum volvens; vulgo tamen illa placebant.8 I was walking at random through a city watered by fountains and named for three alleys [Treviso], criticizing leisure time at a moderate pace, when high on a stage roaring about Carolingian battle order and Gallic deeds I spy a singer. The little people hang on all sides ears alert as their Orpheus entrances everywhere; I listen in silence: songs consigned to the Franks’ tongue he ruins with barbaric interruptions everywhere; song with no plot, dependent on no thread, he spins spontaneously, and yet the crowd liked them.9 The canterini enriched their stories with elements from fairy-tales and proverbs, as well as moral messages and observations. They also gave their individual contributions to the technical approaches to mnemonic
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