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SPEAKING in TONES: PLAINCHANT, MONODY, and the EVOCATION of ANTIQUITY in EARLY MODERN ITALY by BARBARA DIANNE SWANSON Submit SPEAKING IN TONES: PLAINCHANT, MONODY, AND THE EVOCATION OF ANTIQUITY IN EARLY MODERN ITALY by BARBARA DIANNE SWANSON Submitted in partial fulfillment of the requirements For the degree of Doctor of Philosophy Dissertation Adviser: Dr. David Rothenberg Department of Music CASE WESTERN RESERVE UNIVERSITY May, 2013 CASE WESTERN RESERVE UNIVERSITY SCHOOL OF GRADUATE STUDIES We hereby approve the thesis/dissertation of Barbara Swanson ________________________________________ candidate for the _Doctor of Philosophy________________degree *. (signed)_________Dr. David Rothenberg_____________ (chair of the committee) __________Dr. Peter Bennett________________ __________Dr. Ross Duffin__________________ __________Dr. Charles Burroughs____________ __________________________________________ __________________________________________ (date) March 19, 2013__________ *We also certify that written approval has been obtained for any proprietary material contained therein. CONTENTS LIST of EXAMPLES …………………………………………………………………. i LIST of FIGURES ……………………………………………………………………. iii ACKNOWLEDGEMENTS ………………………………………………………….. iv ABSTRACT ………………………………………………………………………….. vi INTRODUCTION: Seeking the Vestiges of Ancient Song in Ecclesiastical Chant….. 1 Chapters 1. Parallel Practices: Speech-like Music at Court and Church ………………….. 24 Monody, the Ancients, and the Florentine Court …………………………... 24 Ancient-Modern Polemics: Neapolitan Influences, Stylistic Precedents……. 33 Theatre, Emotion, Gesture, and Character in Speech-like Songs …………… 37 Humanism and Rhetoric in Plainchant ……………………………………… 41 Chant Rhythm, Human and Divine ……………………………………......... 46 Recitational or Melismatic? …………………………………………………. 50 Humanism and the Fashion for Antiquity in Rome ......................................... 53 Giovanni Guidetti and the Tradition of Italian Speech-Like Chants ………... 56 De Grassis, Guidetti, and Oratory……….. …………………………………. 59 2. Musicians and their Patrons: Between Sacred and Secular in Rome and Florence ……...……………………. 64 Florence ………………………….………………………………………….. 64 Rome ………………………………………………………………………… 74 Ferdinando de’ Medici: From Cardinal to Grand Duke …………………….. 83 3. “Truly a Plainchant”: From Ancient Greek Song to Opera ...…………………. 90 Girolamo Mei and his Florentine Correspondents …………………………... 91 Mei vs. Counterpoint: Plainchant, Nature, and the Affections ……………… 96 Galilei vs. Counterpoint: Plainchant, Ancient Song and Noble Virtue ……... 99 Plainchant as the Bridge to Antiquity……………………………………...... 105 The Plainchant–Antiquity Continuum in Vatican Rome………..…………… 107 Mei, Galilei, and the Myth of Secularized Early Modernity……...………..... 110 Hearing Recitative as Plainchant ……………………………………………. 116 4. “Psalmody … Celebrated Solemnly”: Plainchant as Model for Operatic Recitation …………………………………... 121 Embellished Psalmody, the Tonus peregrinus, and the New Music …............126 Early Operas in Context: Dafne, the Euridices, and Orfeo …………………. 130 The Messengers and Narrative Recitative …………………………………... 133 Allegorical and Mythological Voices in Early Opera Prologues ……............ 141 5. Vocal and Spiritual Grazia: Guidetti’s Chants and Caccini’s Songs ………………………………………….. 149 Establishing a Context: The Career of Guidetti………………………............ 149 Caccini, the Ancients, and the Noble Manner of Singing ……………............160 Gratia/Grazia and Noble Nonchalance ……………………………………... 162 Ornamentation, Melisma, and Virtue ……………………………………….. 170 Grace in Suffering: Evoking Affections with Authentic affetti ……………... 174 6. Lamentation Strategies: Ancient Affects and Early Modern Devotion …………………………………… 185 Ancient Lamentation and the Physiology of the Affections …………............ 186 Lamentation and Affect in Counter-Reformation Rome ……………………. 190 Galilei’s Lamentations: Between Academy and Confraternity ……………... 192 Guidetti and Cavalieri: Roman Devotion ………………………………….... 194 Tears, Lamentation, and Signs of Reform …………………………………... 197 Lamentation Strategies: Guidetti and Cavalieri …………………………….. 202 Rhythm, Declamation, and Affect …………………………………………... 203 Re-modeling the Lamentation Tone …………………………………............ 208 Guidetti’s and Cavalieri’s Merging Idioms …………………………………. 211 Moving the Affections with Chant? ………………………………………….212 Lament, the Lamentations Tone, and Early Opera Reprised ……………….. 214 Arianna’s Lament and the Wandering Tone …………………………........... 215 7. David with his Lyre, Orpheus with his Lute: Imitation of Divine and Human Speech, in Chant and Opera…………………. 221 Language, Humanism, and the Imitation of Antiquity ………………............ 222 Christian Humanism …………………………………………………............ 224 Imitating Ancient Song in Florence ………………………………………… 226 Guidetti and the Power of Ancient Notation …………………………………229 Magical Song in the late Renaissance ………………………………….…… 233 Catholic Magic? …………………………………………………………….. 236 Opera and Theatrical Song ………………………………………………….. 249 Guidetti and Theatrical Speech ……………………………………….......... 249 Conclusion………………………………………………………………………..…… 259 APPENDIX Giovanni Guidetti: Prefaces, Dedications, and Archival Documents ..……………….. 262 WORKS CITED ……………………………………………………………………… 293 LIST of EXAMPLES Example Page 1.1 “Dura legge d’Amor” in Aeri racolti (1577) ……………………………………... 36 1.2 Correction of poor prosody in Libellus de rudimentis musice (Verona, 1529) ....... 52 1.3 Giovanni Guidetti’s Note Forms, 1582-1591 …………………………………...... 58 1.4 Ligatures in Guidetti’s Edited Chants …………………………………………….. 59 1.5 16th century Roman Chant Recitation: “Domine labia mea aperies” …………….. 60 4.1. Tonus peregrinus, Giovanni Rossi Organo dei cantori (1618), p. 7…………...… 127 4.2 Galilei, “In exitu Israel,” Fronimo (1584), p. 17-18, mm. 1-10 ………………….. 128 4.3 Galilei, “In exitu Israel,” Fronimo (1584), p. 18-19, mm. 11-32 ………………… 129 4.4 Galilei, “In exitu Israel,” Fronimo (1584), p. 19-20, mm. 33-42…………………. 130 4.5 Peri, Dialogue Preceding the Messenger Scene, Euridice (1600)……………….... 134 4.6 Peri, “Per quel vago boschetto,” Euridice (1600) mm. 1-13 ………………………135 4.7 Peri, “Per quel vago boschetto,” Euridice (1600) mm. 14-27 ……………………. 137 4.8 Peri, “Per quel vago boschetto,” Euridice (1600) mm. 32-42 ……………………. 138 4.9 Peri, “Per quel vago boschetto,” Euridice (1600) mm. 57-63, 87-91…………….. 139 4.10 Peri, Dafne Prologue Phrase 2: “Godens’ a l’ombra” …………………………... 143 4.11 Peri, Dafne Prologue Phrase 3, “I graditi del ciel ……………………………….. 144 4.12. Caccini, Euridice Prologue Phrase 2, “Spars’or di doglia” …………………….. 145 4.13. Caccini, Euridice Prologue Phrase 4, “Scolorir di pietà” ………………………. 146 4.14 Monteverdi, Orfeo Prologue Phrase 2, “Incliti eroi” ……………………………. 147 4.15 Monteverdi, Orfeo Prologue Phrase 3, “Di cui narra la fama” …………………. 148 5.1 Roman Mass Prefaces: “Per omnia secula”.............................................................. 160 i 5.2 Guidetti notational markings: “Soft impulse of the breath” ……………………… 173 5.3 Caccini, Sfogave con le stelle, “m’io ch’adoro”…………………………………... 176 5.4 Caccini, Sfogave con le stelle, “Sotto notturno”…………………………………... 177 5.5 Holy Thursday Tenebrae, Third Lesson: “O vos omnes”……………………........ 179 5.6 “Dolor” as Chant Melisma and affetto……………………………………………... 181 6.1. Holy Thursday Tenebrae, First Lesson, “Plorans ploravit” ……………………… 205 6.2 Holy Thursday Tenebrae, First Lesson, “Incipit lamentatio” …………………….. 206 6.3 Holy Thursday Tenebrae, Second Lesson, “Omnis populus” ……………………. 207 6.4 Good Friday Tenebrae, Third Lesson, “In tenebrosis” …………………………… 209 6.5 Holy Thursday Tenebrae, Third Lesson, “Manum suam” ………………………... 210 6.6 Holy Thursday Tenebrae, Second Lesson, “Recordata est” ……………………… 212 6.7 Arianna’s lament and the tonus peregrinus ………………………………………. 217 6.8 Monteverdi, Arianna, “Son queste le corone” ……………………………………. 219 7.1 Guidetti’s Barlines as Breath Marks ....................................................................... 254 7.2 The Exultet in Early Modern Chant Books.............................................................. 257 ii FIGURES Figure Page 1. Ancient Greek song from Galilei, Dialogo, p. 96, Palisca, Dialogue, p. 237 ……… 228 2. Comparison of Notations in Reuchlin, De accentibus et orthographia (1518) and Guidetti Directorium chori (1582) ……………………………………………. 229 3. Two of three Prints by Cornelis Cort in Guidetti, Cantus ecclesiasticus (1587).….. 250 4. Crucifixion Images in Italian Chant Books ………………………………………... 255 iii ACKNOWLEDGEMENTS This project took shape with the assistance of many insightful, knowledgeable, and supportive people. Thank you to my committee, beginning with my advisor David Rothenberg for his frank advice, unfailing support, careful editing, and pragmatic guidance. Sincere thanks also to Peter Bennett for helping me to reframe my analyses and for providing guidance at two crucial stages of the project’s development; to Ross Duffin for helping to refine the work by sharing his breadth of knowledge from 17th century English patrons to celebrated Italian singers; and to Charles Burroughs for his generous comments regarding the intersection of my work with classical philosophy and the history of Italian art, architecture, and cultural patronage. Many others read portions, and in some cases, all of the dissertation in the last days before its completion. Their feedback was invaluable. Thank you to Bruce Russell for sharing his extensive knowledge of early modern Rome, Richard Kolb for identifying Bonini’s connection of recitative with plainchant, Alan Hall for his advice on early modern science, Devin Burke for sharing his research-in-progress on Cavalli, Greg Chase and Matthew
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