DOCSLIB.ORG

Alessandro Rauerij's Collection of Canzoni Per Sonare (Venice, 1608) Volume I Historical and Analytical Study Leland Earl Bartholomew Fort Hays State University

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Alessandro Rauerij's Collection of Canzoni Per Sonare (Venice, 1608) Volume I Historical and Analytical Study Leland Earl Bartholomew Fort Hays State University Fort Hays State University FHSU Scholars Repository Fort Hays Studies Series 1965 Alessandro Rauerij's Collection of Canzoni per Sonare (Venice, 1608) Volume I Historical and Analytical Study Leland Earl Bartholomew Fort Hays State University Follow this and additional works at: https://scholars.fhsu.edu/fort_hays_studies_series Part of the Music Education Commons Recommended Citation Bartholomew, Leland Earl, "Alessandro Rauerij's Collection of Canzoni per Sonare (Venice, 1608) Volume I Historical and Analytical Study" (1965). Fort Hays Studies Series. 43. https://scholars.fhsu.edu/fort_hays_studies_series/43 This Book is brought to you for free and open access by FHSU Scholars Repository. It has been accepted for inclusion in Fort Hays Studies Series by an authorized administrator of FHSU Scholars Repository. \ \ I Leland Earl Bartholomew Alessandro Rauerij' s Collection of Canzoni per Sonare ( Venice, 1608 ) Volume I Historical and Analytical Study fort hays studies-new series music series no. 1 december 1965 Fort Hays Kansas State College Hays, Kansas Fort Hays Studies Committee THORNS, JOHN C., JR. MARC T. CAMPBELL, chairman STOUT, ROBERTA C. WALKER, M. V. TOW, TED C. Copyright 1965 by Fort Hays Kansas State College Library of Congress Card Catalog No. 65-64774 ii Dr. Leland Earl Bartholomew Biographical Sketch of the Author Dr. Leland Earl Bartholomew has specialized for several years in the study of Italian instrumental ensemble music in the late sixteenth and early seventeenth centuries. He received his advanced training in musicology at the University of Michigan, where he was granted a Ph. D. in music in 1963. He has been associated with Fort Hays Kansas State College since 1954 and now is Professor of Music, with teaching responsibilities that include music history, French horn, trumpet, and Brass Choir. Dr. Bartholomew has made numerous editions of old music and has been active in organizing performances of early music at this College and elsewhere. iii Alessandro Rauerij's Collection of Canzoni per Sonare ( Venice, 1608 ) Volume I Historical and Analytical Study iv TABLE OF CONTENTS Page LIST OF TABLES viii LIST OF PLATES ix INTRODUCTION 1 CHAPTER I. INSTRUMENTAL MUSIC IN VENICE AND FERRARA 15 Italy in the Sixteenth Century . 15 Venice . 18 Historical Background . 18 Political and Social Structure . 19 Venetian Splendor around 1600 . 21 Church and State . 24 San Marco and Its Music . 25 Instrumental Music at Other Churches . 33 The Scuole . 35 Public Celebrations and Ceremonies . 37 Private Music-making ............ , . 50 Ferrara. 54 The Este . 54 Humanism and Literature in Ferrara . 56 Musicians at the Este Court . 57 Instrumental Music at the Court of the Este . 62 The Academies and Convents . 70 Public Festivals . 72 V CHAPTER Page II. ITALIAN INSTRUMENTAL ENSEMBLE MUSIC IN THE SIXTEENTH AND EARLY SEVENTEENTH CENTURIES 75 The Performing Media . 75 Vocal versus Instrumental Music . • . • . 75 Instrumental Solo versus Ensemble . 78 Forms of Instrumental Ensemble Music 85 Ricercar . .. 89 Fantasia . • . • . • . • . • . 106 Capriccio . • . • . • • . • . • • . 112 Sonata . • • • . • . • . • . • . 119 Concerto • . • . • • • • . • . • .. • .. 152 Sinfonia . • . • • . • . • • . 157 Dance Music . • • . • • • • • • • . • . • • . • . 169 The Canzona before Rauerij's Collection . • • . • • • • • . • . 178 The French chanson • . • • . • . 179 Vocal forms as instrumental music . 189 The transition to the canzona . • . 193 Early canzonas for ensembles . • . .. 200 Maschera's Libro primo de canzoni . .. 202 The canzona from Maschera to Giovanni Gabriell . 212 The canzonas in Giovanni Gabrieli' s Sacrae symphoniae • • . 218 The instrumental canzona in Italian culture during the sixteenth and seventeenth centuries . • . 235 ill. THE CANZONI PER SONARE OF 1608 . 242 The Publisher . • . • • . • • . 242 The Publication . .. .. • . • . 245 vi CHAPTER Page The Original Edition . .. • • . 246 Editorial Problems • . .. • . • . .. 263 IV. MUSICAL FORM AND STYLE . • . • • 271 Structures .. • . • • . • . • . • . • . • . 271 Melody . • • • • • . • . • . • . • . 274 Meter and Rhythm . • • . • . • • 277 Modality and Harmony . • . • . • . • .. • . 286 Tone Color .. • . • . • . • . • . 294 Contrapuntal Style . • . • . • . • • • • . 302 V. THE COMPOSERS AND THEIR CANZONAS • • . • 311 Florentio Maschera . • . • . • . • . • . 312 Claudio Merulo ... • . • . • • • • • . • . • • • . • • . 317 Luzzasco Luzzaschi • . • • • • • . • • • • • • . • . 338 Gioseffo Guami . • • • • • . • • • • . • • • • • . • .. 344 Tiburtio Massaino . • .. • . • • • • • . • • • . .. 357 Giovanni Gabriell . • • • . • • • • • • . • • • • • . • . 367 Costanzo Antegnati .. • • • • . • . • . • • . • •. 401 Giovanni Battista Grillo . • . • • . .. • • • . • • . • . .. 409 Bastiano Chilese . • . • . • . • . • 419 Pietro Lappi . • . • . • 428 Orindio Bartolini .. • . • . 437 Girolamo Frescobaldi . • • . • • • . • . • .. 442 VI. CONCLUSION • . • . • . .. 461 The Canzona after Rauerij's Collection . 461 Summary . • • . • • . • . .. • . .. 468 BIBLIOGRAPHY ................. ., . • . • . • . 470 vii LIST OF TABLES TABLE Page 1. Contents of Rauerij's Canzoni per sonare . • . • • • • . • . 251 2. Contents of Rauerij's Canzoni per sonare listed according to composer .. • . •. • . • .. • • • • . • . • . • • . .. 252 viii LIST OF PLATES PLATE Page I. Title-page of Rauerij's Canzoni per sonare ..... 247 IL Dedication of Rauerij's Canzoni per sonare ...••. 248 Ill Page of notation from Rauerij's Canzoni per sonare .. • • . • • . • • • • . • • • • • • . • • . .. 249 IV. Tavola of Rauerij's Canzoni per sonare .•• ., .... 250 ix INTRODUCTION The crowning musical achievements of the Renaissance lay chiefly within the realm of vocal music. The masters of the six- teenth century brought to supreme climax the development of Mass and motet, chanson and madrigal; yet the Renaissance also wit- nessed a flowering of instrumental music, destined ultimately to supplant in importance the older, vocal art. Most of the instrumental music of the Renaissance was pub- lished in the second half of the sixteenth century, a period during which France and the Low Countries surrendered to Italy their dominant position on the musical scene. The Italian masters no longer were overshadowed by immigrant musicians from the North, and to them fell the role of leadership in the first important era of instrumental music. Throughout the Renaissance, instruments were used wherever there was music-ma.king, but up to the last half of the sixteenth cen- tury, the forms and style of instrumental repertory were chiefly those of vocal music. The rise of instrumental music was accom- panied by the progressive appearance of a body of music composed 1 2 specifically to be played rather than sung. The Italians found the models for their instrumental compositions in vocal forms, where the craftsmanship and refinement were commensurate with the de- mands of the new instrumental medium. Among the sixteenty-century vocal forms, some proved more valuable than others as models for instrumental composition. Madrigals, the musical arch-manifestation of the Renaissance, generally depended too heavily on expression and depiction of their texts to serve well as instrumental music. The French polyphonic chanson, popular in Italy throughout the six- teenth century, and the motet offered the best prototypes since they were deeply indebted to the abstract qualities of imitative counter- point. Near midcentury the motet-like ricercar made its appearance. The canzona, modeled on the French chanson, came later. Among the publications cited by Claudio Sartori in his Bibliografia della musica strumentale italiana stampata in Italia fino al 1700 (Florence: Leo S. Olschki, 1952), the Italian term for French chanson most 1 often found is canzon francese (pl. canzoni francesi) . The in- strumental canzonas are called canzoni alla francese ("canzonas 1 Subsequent citations of Sartori in this study refer to the Bibliografia except where specified otherwise. 3 in the French style"), canzoni da sonare, or canzoni per sonare 1 ("canzonas to be played"). Canzonas for ensembles of instruments were first published in the 1570's (Sartori, 1572 and 1579). They increased steadily in popularity, and by the end of the sixteenth century they were more numerous than compositions in any other form in Italian instrumental music. The canzonas became ever more independent of their vocal prototype although the chanson continued to exert significant stylistic influence. After the first two decades of the seventeenth century, the importance of the canzona waned and was replaced by that of the baroque sonata, which relied upon the canzona for its stylistic point of departure. In 1608, the Venetian music printer Alessandro Rauerij published a collection of Canzoni per sonare con ogni sorte di 2 stromenti ("canzonas to be played on any kind of instruments"). Rauerij 's collection presents a comprehensive picture of the can- zona for instrumental ensembles in what might be considered the classical stage of the form. It contains thirty-six compositions by twelve composers, including some of the most celebrated musicians 1 Several variants of the term canzon (canzoni) are found, including canzone (pl . canzoni) and canzona (pl. canzone). 2 The title-page of the original publication is reproduced here as Plate I, page 247. 4 of the age. Among the masters represented were Giovanni Gabriel!, Claudio Merulo, Gioseffo Guami, and Luzzasco Luzzaschi, who in- spired torrents of praise
Load more

Recommended publications
  • The Motets of Andrea and Giovanni Gabrieli in the Rokycany Music Collection
    Musica Iagellonica 2017 ISSN 1233–9679 Kateřina Maýrová (Czech Museum of Music, Prague) The motets of Andrea and Giovanni Gabrieli in the Rokycany Music Collection This work provides a global survey on the Italian music repertoire contained in the music collection that is preserved in the Roman-Catholic parish of Roky- cany, a town located near Pilsen in West-Bohemia, with a special regard to the polychoral repertoire of the composers Andrea and Giovanni Gabrieli and their influence on Bohemian cori-spezzati compositions. The mutual comparison of the Italian and Bohemian polychoral repertoire comprises also a basic compara- tion with the most important music collections preserved in the area of the so- called historical Hungarian Lands (today’s Slovakia), e.g. the Bardejov [Bart- feld / Bártfa] (BMC) and the Levoča [Leutschau / Löcse] Music Collections. From a music-historical point of view, the Rokycany Music Collection (RMC) of musical prints and manuscripts stemming from the second half of the 16th to the first third of the 17th centuries represents a very interesting complex of music sources. They were originally the property of the Rokycany litterati brotherhood. The history of the origin and activities of the Rokycany litterati brother- hood can be followed only in a very fragmentary way. 1 1 Cf. Jiří Sehnal, “Cantionál. 1. The Czech kancionál”, in The New Grove Dictionary of Music and Musicians, ed. Stanley Sadie, 29 vols. (London–New York: Macmillan, 20012), vol. 5: 59–62. To the problems of the litterati brotherhoods was devoted the conference, held in 2004 65 Kateřina Maýrová The devastation of many historical sites during the Thirty Years War, fol- lowed by fires in 1728 and 1784 that destroyed much of Rokycany and the church, resulted in the loss of a significant part of the archives.
    [Show full text]
  • Art, Philosophy, and the Philosophy Of
    NATIONAL E N D O W M E N T FOR THE HUMANITIES VOLUME 4 NUMBER 1 FEBRUARY 1983 Humanities Art, Philosophy, and the Philosophy of Art period of Abstract Expressionism, ward behavior might be indistin­ when decisions for or against The guishable between the two. In all these Image were fraught with an almost cases one must seek the differences religious agony, the crass and casual outside the juxtaposed and puzzling use of tacky images by the new examples, and this is no less the case artists seemed irreverent and juve­ when seeking to account for the dif­ nile. But the Warhol show raised a ferences between works of art and question which was intoxicating and mere real things which happen immediately philosophical, namely exactly to resemble them. why were his boxes works of art This problem could have been while the almost indistinguishable raised at any time, and not just with utilitarian cartons were merely con­ the somewhat minimal sorts of tainers for soap pads? Certainly the works one might suspect the Brillo minor observable differences could Boxes to be. It was always conceiva­ not ground as grand a distinction as ble that exact counterparts to the that between Art and Reality! most prized and revered works of BY ARTHUR C. DANTO A philosophical question arises art could have come about in ways Not very many years ago, whenever we have two objects inconsistent with their being works aesthetics—understood as the phi­ which seem in every relevant par­ at all, though no observable differ­ losophy of art—was regarded as the ticular to be alike, but which belong ences could be found.
    [Show full text]
  • The Organ Ricercars of Hans Leo Hassler and Christian Erbach
    INFORMATION TO USERS This was produced from a copy of a document sent to us for microfilming. While the most advanced technological means to photograph and reproduce this document have been used, the quality is heavily dependent upon the quality of the material subm itted. The following explanation of techniques is provided to help you understand markings or notations which may appear on this reproduction. 1. The sign or “target” for pages apparently lacking from the document photographed is “Missing Page(s)”. If it was possible to obtain the missing page(s) or section, they are spliced into the film along with adjacent pages. This may have necessitated cutting through an image and duplicating adjacent pages to assure you of complete continuity. 2. When an image on the film is obliterated with a round black mark it is an indication that the film inspector noticed either blurred copy because of movement during exposure, or duplicate copy. Unless we meant to delete copyrighted materials that should not have been filmed, you will find a good image of the page in the adjacent frame 3. When a map, dravdng or chart, etc., is part of the material being photo­ graphed the photographer has followed a definite method in “sectioning” the material. It is customary to begin filming at the upper left hand corner of a large sheet and to continue from left to right in equal sections with small overlaps. If necessary, sectioning is continued again-beginning below the first row and continuing on until complete. 4. For any illustrations that cannot be reproduced satisfactorily by xerography, photographic prints can be purchased at additional cost and tipped into your xerographic copy.
    [Show full text]
  • Temple University Wind Symphony Patricia Cornett, Conductor
    Temple University Wind Symphony Patricia Cornett, conductor November 13, 2020 Friday Presented Virtually 7:30 pm Program Mood Swings Interludes composed by members of Dr. Cynthia Folio’s Post-Tonal Theory Class. Performed by Allyson Starr, flute and Joshua Schairer, bassoon. Aria della battaglia (1590) Andrea Gabrieli (1532–1585) ed. Mark Davis Scatterday Love Letter in Miniature Marcos Acevedo-Arús Fratres (1977) Arvo Pärt (b. 1935) arr. Beat Briner Schyler Adkins, graduate student conductor Echoes Allyson Starr Motown Metal (1994) Michael Daugherty (b. 1954) Unmoved Joshua Schairer Petite Symphonie (1885) Charles Gounod (1818–1893) I. Adagio, Allegro II. Andante cantabile III. Scherzo: Allegro moderato IV. Finale: Allegretto Ninety-fourth performance of the 2020-2021 season. Bulls-Eye (2019) Viet Cuong (b. 1990) Musings Spicer W. Carr Drei Lustige Märsche, Op. 44 (1926) Ernst Krenek (1900–1991) Temple University Wind Symphony Patricia Cornett, conductor FLUTE TRUMPET Ruby Ecker-Wylie Maria Carvell Hyerin Kim Anthony Casella Jill Krikorian Daniel Hein Allyson Starr Jacob Springer Malinda Voell Justin Vargas OBOE TROMBONE Geoffrey Deemer Rachel Core Lexi Kroll Jeffrey Dever Brandon Lauffer Samuel Johnson Amanda Rearden Omeed Nyman Sarah Walsh Andrew Sedlacsick CLARINET EUPHONIUM Abbegail Atwater Jason Costello Wendy Bickford Veronica Laguna Samuel Brooks Cameron Harper TUBA Alyssa Kenney Mary Connor Will Klotsas Chris Liounis Alexander Phipps PERCUSSION BASSOON Emilyrose Ristine Rick Barrantes Joel Cammarota Noah Hall Jake Strovel Tracy Nguyen Milo Paperman Collin Odom Andrew Stern Joshua Schairer PIANO SAXOPHONE Madalina Danila Jocelyn Abrahamzon Ian McDaniel GRADUATE ASSISTANTS Sam Scarlett Schyler Adkins Kevin Vu Amanda Dumm HORN Isaac Duquette Kasey Friend MacAdams Danielle O’Hare Jordan Spivack Lucy Smith Program Notes Aria della battaglia Andrea Gabrieli A prominent figure in Renaissance Italy, Andrea Gabrieli acted as principal organist and composer at the St.
    [Show full text]
  • Venice's Marriage to the Sea Blog Post by Jeanne Willoz-Egnor
    Venice’s Marriage to the Sea Blog post by Jeanne Willoz-Egnor published May 31, 2019 This weekend marks the annual Festa della Sensa in Venice. Although the festival didn’t start until 1965 it commemorates and recreates the ancient traditional ceremony of Sposalizio del Mar, the event in which Venice is symbolically married to the sea. Hand-colored copperplate engraving titled The Doge in the Bucintoro Departing for the Porto di Lido on Ascension Day. The original artwork was created by Canaletto and engraved by Giovanni Battista Brustolo. This third state engraving was printed by Teodoro Viera in Venice sometime around 1787. [Accession# LE 831] The origins of the ceremony date to the period when Venice was a sovereign state (from 697 AD to 1797 AD). It commemorates two important events in the state’s history: the May 9, 1000 departure of Doge Pietro II Orseolo with a fleet on the successful mission to subdue Narentine pirates threatening Venetian power, trade and travel on the Adriatic and Doge Sebastiano Ziani’s successful negotiation of the Treaty of Venice in 1177. The treaty ended a long standing conflict between the Holy Roman Empire headed by Frederick Barbarossa and the Papacy. Following Orseolo’s victory, each year on Ascension Day Venice celebrated the Doge’s conquest of Dalmatia with a solemn procession of boats led by the doge’s maestà nave to the San Pietro di Castello where the Bishop blessed the doge. The procession then proceeded to the lido at San Nicolò, Venice’s entrée to the Adriatic Sea, where the prayer "for us and all who sail thereon, may the sea be calm and quiet" was offered.
    [Show full text]
  • Caterina Corner in Venetian History and Iconography Holly Hurlburt
    Early Modern Women: An Interdisciplinary Journal 2009, vol. 4 Body of Empire: Caterina Corner in Venetian History and Iconography Holly Hurlburt n 1578, a committee of government officials and monk and historian IGirolamo Bardi planned a program of redecoration for the Sala del Maggior Consiglio (Great Council Hall) and the adjoining Scrutinio, among the largest and most important rooms in the Venetian Doge’s Palace. Completed, the schema would recount Venetian history in terms of its international stature, its victories, and particularly its conquests; by the sixteenth century Venice had created a sizable maritime empire that stretched across the eastern Mediterranean, to which it added considerable holdings on the Italian mainland.1 Yet what many Venetians regarded as the jewel of its empire, the island of Cyprus, was calamitously lost to the Ottoman Turks in 1571, three years before the first of two fires that would necessitate the redecoration of these civic spaces.2 Anxiety about such a loss, fear of future threats, concern for Venice’s place in evolving geopolitics, and nostalgia for the past prompted the creation of this triumphant pro- gram, which featured thirty-five historical scenes on the walls surmounted by a chronological series of ducal portraits. Complementing these were twenty-one large narratives on the ceiling, flanked by smaller depictions of the city’s feats spanning the previous seven hundred years. The program culminated in the Maggior Consiglio, with Tintoretto’s massive Paradise on one wall and, on the ceiling, three depictions of allegorical Venice in triumph by Tintoretto, Veronese, and Palma il Giovane. These rooms, a center of republican authority, became a showcase for the skills of these and other artists, whose history paintings in particular underscore the deeds of men: clothed, in armor, partially nude, frontal and foreshortened, 61 62 EMWJ 2009, vol.
    [Show full text]
  • Exploring Implications of the Double Attribution of the Madrigal “Canzon Se L’Esser Meco” to Andrea Gabrieli and Orlande De Lassus
    A 16th Century Publication Who-Dun-it: Exploring implications of the double attribution of the madrigal “Canzon se l’esser meco” to Andrea Gabrieli and Orlande de Lassus. Karen Linnstaedter Strange, MM A Double Attribution Why was a single setting of “Canzon se l’esser meco” published in 1584 and 1589 under different composers’ names? For centuries, music history has ascribed this setting of a text from a Petrarchan madrigale to either Orlande de Lassus or Andrea Gabrieli, depending on the publication. It has been assumed the two original publications contain distinct creations of “Canzon se l’esser meco,” and to support this confusion, slight differences in notation between the two modern editions induce an initial perception that the two pieces differ. (See Figures 1A & 1B.). With a few moments of comparison, one can see that the madrigal published under Orlande de Lassus’ name in 1584 is the same piece attributed to Andrea Gabrieli by a different publisher five years later. In fact, no difference exists in the original publications beyond incidental choices by the two publishers, such as the number of notes printed per line and the notation for repeated accidentals. 1 (See Figures 2-5 A & B.) Suppositions and Presumptions The exactness of the two publications provokes interesting questions about issues of personal composer relations and influence, study by copying, and misattribution. In exploring all the possibilities, some quite viable, others farfetched, we can perhaps gain a clearer overview of the issues involved. On the less viable side, perhaps the piece was written simultaneously by each composer and, through some miracle, the two pieces turned out to be exactly the same.
    [Show full text]
  • Keyboard Playing and the Mechanization of Polyphony in Italian Music, Circa 1600
    Keyboard Playing and the Mechanization of Polyphony in Italian Music, Circa 1600 By Leon Chisholm A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Music in the Graduate Division of the University of California, Berkeley Committee in charge: Professor Kate van Orden, Co-Chair Professor James Q. Davies, Co-Chair Professor Mary Ann Smart Professor Massimo Mazzotti Summer 2015 Keyboard Playing and the Mechanization of Polyphony in Italian Music, Circa 1600 Copyright 2015 by Leon Chisholm Abstract Keyboard Playing and the Mechanization of Polyphony in Italian Music, Circa 1600 by Leon Chisholm Doctor of Philosophy in Music University of California, Berkeley Professor Kate van Orden, Co-Chair Professor James Q. Davies, Co-Chair Keyboard instruments are ubiquitous in the history of European music. Despite the centrality of keyboards to everyday music making, their influence over the ways in which musicians have conceptualized music and, consequently, the music that they have created has received little attention. This dissertation explores how keyboard playing fits into revolutionary developments in music around 1600 – a period which roughly coincided with the emergence of the keyboard as the multipurpose instrument that has served musicians ever since. During the sixteenth century, keyboard playing became an increasingly common mode of experiencing polyphonic music, challenging the longstanding status of ensemble singing as the paradigmatic vehicle for the art of counterpoint – and ultimately replacing it in the eighteenth century. The competing paradigms differed radically: whereas ensemble singing comprised a group of musicians using their bodies as instruments, keyboard playing involved a lone musician operating a machine with her hands.
    [Show full text]
  • The Angel of Ferrara
    CORE Metadata, citation and similar papers at core.ac.uk Provided by Goldsmiths Research Online The Angel of Ferrara Benjamin Woolley Goldsmith’s College, University of London Submitted for the degree of PhD I declare that the work presented in this thesis is my own Benjamin Woolley Date: 1st October, 2014 Abstract This thesis comprises two parts: an extract of The Angel of Ferrara, a historical novel, and a critical component entitled What is history doing in Fiction? The novel is set in Ferrara in February, 1579, an Italian city at the height of its powers but deep in debt. Amid the aristocratic pomp and popular festivities surrounding the duke’s wedding to his third wife, the secret child of the city’s most celebrated singer goes missing. A street-smart debt collector and lovelorn bureaucrat are drawn into her increasingly desperate attempts to find her son, their efforts uncovering the brutal instruments of ostentation and domination that gave rise to what we now know as the Renaissance. In the critical component, I draw on the experience of writing The Angel of Ferrara and nonfiction works to explore the relationship between history and fiction. Beginning with a survey of the development of historical fiction since the inception of the genre’s modern form with the Walter Scott’s Waverley, I analyse the various paratextual interventions—prefaces, authors’ notes, acknowledgements—authors have used to explore and explain the use of factual research in their works. I draw on this to reflect in more detail at how research shaped the writing of the Angel of Ferrara and other recent historical novels, in particular Hilary Mantel’s Wolf Hall.
    [Show full text]
  • Italian Renaissance Music and Sound in the Newberry Collection
    QUICK GUIDE Italian Renaissance Music and Sound in the Newberry Collection How to Use Our Collection The Newberry is an independent research library; readers do not check books out to take home, but consult materials—mostly rare books, manuscripts, maps, and other materials with a focus on the humanities—here. We welcome into our reading rooms researchers who are at least 14 years old or in the ninth grade. Creating a free reader account and requesting collection items takes just a few minutes. Visit https://requests.newberry.org to begin the registration process and to start exploring our collection; when you arrive at the Newberry for research, a free reader card will be issued to you in our third-floor reference center. Sampling of the Works of Bartolomeo Tromboncino and Franciscus Bossinensis Antico, Andrea. Canzoni, sonetti, strambotti et and in modern notation. Call number: VM 2 .I87 frottole: libro tertio. Northampton, MA: Smith n.s. v. 3 College, c1941. Composers named in this collection of music include Bartolomeo Tromboncino and Bossinensis, Franciscus. Tenori e contrabassi Marchetto Cara, two of the best known composers intabulati col soprani in canto figurato per of frottole. Frottole (singular: frottola) – like those cantar e sonar col lauto. [Venice: Per in today’s performance – are simple, secular, vocal Octauaianu[ue] Petrutium, 1509]. Very rare work compositions that were popular in late 15th- and by Bossinensis and the last known book to be early 16th-century courts. Call number: VM 2 .S64 printed by Ottaviano Petrucci in Venice. The v. 4 volume includes pieces by the best-known composers of frottole, including Bartolomeo Bossinensis, Franciscus.
    [Show full text]
  • Ordinance No. 04-61
    .. 200500022607 BEST POSSIBLE IMAGE Filed for Record in HAMILTON COUNTY, INDIANA ALL PAGES JENNIFER J HAYDEN 0~-18-2OQ5 At 12'~7 >•• ORDINANCE 101.00 I ORDINANCE NO. 04-61 , AN ORDINANCE OF THE TOWN OF WESTFIELD CONCERNING AMENDMENT TO TITLE 16- LAND USE CONTROLS WHEREAS, The Town ofWeslfield, Indiana and the Township of Washington, both of Hamilton County, Indiana are subject to the Westfield Washington Township Zoning Ordinance; and WHEREAS, the Westfield-Washington Township Plan Commission ("Commission") considered a petition (docket 0310-PUD-06) filed with the Commission to rezone certain lands; and WHEREAS, the Westfield Washington Township Plan Commission did take action to forward the request to the Westfield town Council with a negative recommendation under the provision onc 36-7-4-605; and WHEREAS, the Secretary of the Commission certified the action of the commission to the Town Council on January 27, 2004; and WHEREAS, the Weslfield Town Council is subject to the provisions onc 36-7-4-608(t) or IC36-7-4-608(g) concerning any action on requests forwarded by the Advisory Plan Commission. NOW THEREFORE BE IT ORDAINED BY THE WESTFIELD TOWN COUNCIL THAT TITLE 16 OF THE WESTFIELD CODE OF ORDINANCE BE AMENDED AS FOLLOWS: SECTION 1. WC-16-04.Zoningmaps amended as follows: The Zoning Map accompanying and made a part of the Zoning Ordinance is amended to reclassifY the real estate described in the attachment "West Oak Planned Unit Development" hereto (Real Estate) wm EI to EI-PUD This real estate being subject to commitments and standards as detailed in the attachment "Westoak Industrial Park Planned unit Development District" 4/612004 Ordinance 04-01 SECTION 2.
    [Show full text]
  • PETRUCCI E-02 TIBALDI 15-04-2005 09:20 Pagina 491
    PETRUCCI E-02 TIBALDI 15-04-2005 09:20 Pagina 491 RODOBALDO TIBALDI REPERTORIO TRÀDITO E COEVO NELLE INTAVOLATURE PER CANTO E LIUTO RACCOLTE DA FRANCESCO BOSSINENSIS CON UNO SGUARDO ALLE RACCOLTE ANALOGHE I due libri di intavolature per canto e liuto raccolti da Franciscus Bossinensis e pubblicati da Ottaviano Petrucci nel 1509 e nel 1511 sono stati variamente conside- rati dagli studi musicologici, talvolta in riferimento alla prassi esecutiva, talvolta con una certa attenzione a singoli e ben determinati fenomeni analizzati in alcuni brani, ma più spesso come riduzioni a tre parti di componimenti ‘vocali’ a quattro voci (o comunque concepiti a quattro voci); il più delle volte, comunque, vengono esamina- ti come un qualcosa esistente in quanto dipendente dai libri di frottole editi tra il 1504 e il 1514, e non nella loro autonomia. Eppure, uno sguardo complessivo alle due sil- logi, alla mappa delle relazioni con i testimoni a penna e a stampa afferenti al mede- simo repertorio (tra i quali un posto non secondario ricopre l’importante manoscrit- to Parigi, Bibliothèque Nationale de France, Rés. Vmd. ms 27), il confronto tra le diverse versioni, che talvolta rivela alcuni aspetti interessanti riguardanti non solo la sfera dell’esecuzione, ma soprattutto quella della composizione (o, per lo meno, sembra talvolta che la diversa destinazione delle raccolte del Bossinensis sia consi- derata proprio nella sua ‘alterità’), ed infine il numero degli unica conservati nei due libri, e nel secondo in modo particolare, ci permettono di osservarli in una prospetti- va un poco diversa, forse anche a causa della perdita del decimo libro di frottole.
    [Show full text]