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La Caccia Nell'ars Nova Italiana

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La Caccia Nell'ars Nova Italiana 8. Iohannes Tinctoris, Diffinitorium musice. Un dizionario Il corpus delle cacce trecentesche rappresenta con «La Tradizione Musicale» è una collana promossa di musica per Beatrice d’Aragona. A c. di C. Panti, 2004, ogni probabilità uno dei momenti di più intenso dal Dipartimento di Musicologia e Beni Culturali pp. LXXIX-80 e immediato contatto tra poesia e musica. La viva- dell’Università di Pavia, dalla Fondazione Walter 9. Tracce di una tradizione sommersa. I primi testi lirici italiani cità rappresentativa dei testi poetici, che mirano Stauffer e dalla Sezione Musica Clemente Terni e 19 tra poesia e musica. Atti del Seminario di studi (Cre mona, alla descrizione realistica di scene e situazioni im- Matilde Fiorini Aragone, che opera in seno alla e 20 febbraio 2004). A c. di M. S. Lannut ti e M. Locanto, LA CACCIA Fonda zione Ezio Franceschini, con l’intento di pro- 2005, pp. VIII-280 con 55 ill. e cd-rom mancabilmente caratterizzate dal movimento e dalla concitazione, trova nelle intonazioni polifo- muovere la ricerca sulla musica vista anche come 13. Giovanni Alpigiano - Pierluigi Licciardello, Offi - niche una cassa di risonanza che ne amplifica la speciale osservatorio delle altre manifestazioni della cium sancti Donati I. L’ufficio liturgico di san Do nato di cultura. «La Tradizione Musicale» si propone di of- portata. L’uso normativo della tecnica canonica, de- Arezzo nei manoscritti toscani medievali, 2008, pp. VIII-424 NELL’ARS NOVA ITALIANA frire edizioni di opere e di trattati musicali, studi 8 finita anch’essa ‘caccia’ o ‘fuga’, per l’evidente me- con ill. a colori monografici e volumi miscellanei di alto valore tafora delle voci che si inseguono, si dimostra 16. Musica e poesia nel Trecento italiano. Verso una nuova edi- scientifico in tutte le lingue europee, rivolgendo zione critica dell’Ars nova. A c. di A. Calvia e M. S. Lannut ti, essere funzionale all’incremento dell’efficacia de- particolare attenzione al Medioevo e al Rinasci- 2015, pp. XII-360 Edizione critica commentata scrittiva dei testi poetici. La convergenza termino- mento, ma guardando an che alle epoche successive 17. Nausica Morandi, Officium Stellae. Studio compara- logica tra tecnica compositiva e genere poetico- fino alla musica contemporanea. tivo e trascrizione dei testimoni liturgico-musicali, 2016, musicale ha in passato suscitato più di un frain- dei testi e delle intonazioni pp. XXXI-468 tendimento che si è cercato di dipanare nell’ampio 18. Nicolò del Preposto, Opera completa. A c. di A. Calvia, studio introduttivo, dedicato alle principali que- Dal 2005 la collana ospita al suo interno la serie de- 2017, pp. XCVI-356 stioni sollevate da un genere sì minoritario, ma che dicata alla trattatistica medievale «Le regole della nelle prime fasi dell’Ars Nova italiana, grosso La caccia nell’Ars Nova italiana A cura di musica», promossa dal Dipartimento di Musica e modo tra gli anni Quaranta e Settanta, ha rappre- Spettacolo dell’Università di Bo logna. Vi compa- Sottocollana MICHELE EPIFANI sentato per i compositori un’alternativa rispetto al iono edizioni delle opere di Guido d’A rezzo, Fran- LE REGOLE DELLA MUSICA madrigale e alla ballata. L’edizione raccoglie tutte chino Gaffurio, Marchet to da Padova, Giovanni le cacce ad oggi note, che ammontano a ventidue Tinctoris. 1. Guido d’Arezzo, Le opere. Micrologus, Regulae rhythmicae, Prologus in Antiphonarium, Epistola ad testi, diciannove dei quali intonati, oltre a un Michaelem, Epistola ad archiepiscopum Mediolanensem. frammento, costituito dal solo tenor, edito in ap- Testo latino e italiano. A c. di A. Ru sconi, 2005, pp. pendice. Gli autori dei testi poetici sono in larga LXXXVI-187 («TM» 10) parte ignoti, con le rilevanti eccezioni di Franco LA TRADIZIONE MUSICALE 2. Franchino Gaffurio, Theorica musice. Testo latino e ita- Sacchetti e Niccolò Soldanieri, dei quali ci restano liano. Introduzione di I. Illuminati e C. Ruini, a c. di nei rispettivi canzonieri sei componimenti; per la Volumi pubblicati: I. Illuminati, con un saggio di F. Bellissima, 2005, pp. musica, oltre a un discreto numero di intonazioni XLVIII-312 («TM» 11) adespote, la tradizione ci restituisce i nomi dei 1. Clemente Terni, Armonia dell’amore. Ragione della vita 3. Marchetto da Padova, Lucidarium · Pomerium. Testo principali compositori italiani dell’epoca: magister nell’esperienza francescana, 1998, pp. XX-80 latino e italiano. A c. di M. Della Sciucca, T. Sucato e Piero, Jacopo da Bologna, Giovanni da Firenze (da 2. Un inedito trattato musicale del Medioevo (Vercelli, Biblio- C. Vivarelli, 2007, pp. XXVI-486 («TM» 12) Cascia), Gherardello e Lorenzo da Firenze, Vin- teca Agnesiana, cod. 11). A c. di A. Cornagliotti e M. Ca- 4. Johannes Tinctoris, Proportionale musices · Liber de arte raci Vela, 1998, pp. 116 con 7 tavv. f. t. contrapuncti, Testo latino e italiano. A c. di G. D’Ago- cenzo da Rimini, Nicolò del Preposto e Francesco stino, 2008, pp. XCVIII-414 («TM» 14) Landini, a cui si aggiunge, sullo scorcio del secolo, 3. Guiot de Dijon, Canzoni. Ed. critica a c. di M. S. Lan- 1999 LXXX-234 5. Ubaldo di Saint-Amand, Musica · Reginone di la prova più tarda e apparentemente isolata di Za- nutti, , pp. Prüm, Epistola de harmonica institutione, Testo latino e cara da Teramo. L’edizione critica commentata è 4. Col dolce suon che da te piove. Studi su Francesco Landini e italiano. Introduzione, traduzione e commento a c. di rivolta agli studiosi e agli esecutori ed è corredata la musica del suo tempo in memoria di Nino Pirrotta. A c. di A. Fiori, 2010, pp. XXX-255 («TM» 15) di indici e glossario. A. Delfino e M. T. Rosa-Barezzani, 1999, pp. XII-664 6. Franchino Gaffurio, Practica musice. Testo latino e ita- con 17 tavv. f. t. liano. Introduzione, traduzione e commento di P. Vit- 5. Psallitur per voces istas. Scritti in onore di Clemente Terni in torelli, 2017, pp. XCVIII-494 («TM» 19) occasione del suo ottantesimo compleanno. A c. di D. Righini, 1999, pp. XVI-406 con 29 tavv. 6. Francesco Giomi - Marco Ligabue, L’istante zero. Con - versazioni e riflessioni con Pietro Grossi, 1999, pp. XII-104 7. Giovan Battista Bartoli, Il primo libro de’ madrigali a musicale cinque voci (1617). Edizione critica a c. di D. Ri ghini, 2001, pp. XLII-152 La Tradizione EDIZIONI DEL GALLUZZO ISBN 978-88-8450-892-8 20 PER LA FONDAZIONE EZIO FRANCESCHINI LA TRADIZIONE MUSICALE 20 LA TRADIZIONE MUSICALE Collana della Fondazione Ezio Franceschini Sezione Musica Clemente Terni e Matilde Fiorini Aragone diretta da Maria Sofia Lannutti Commissione scientifica Maria Caraci Vela (Università di Pavia), Stefano Carrai (Scuola Normale Superiore di Pisa), Claudio Ciociola (Scuola Normale Superiore di Pisa), Lino Leonardi (Scuola Normale Superiore di Pisa), Pedro Memelsdorff (CESR / Université de Tours, ESMUC, Universiteit Utrecht), Yolanda Plumley (University of Exeter), Daniele Sabaino (Università di Pavia), Luisa M. Zanoncelli (Fondazione Ugo e Olga Levi, Venezia), Fabio Zinelli (EPHE, Paris) Studi e testi 11 Dipartimento di Musicologia e Beni Culturali dell’Università di Pavia Fondazione “Ezio Franceschini” Fondazione “Walter Stauffer” LA CACCIA NELL’ARS NOVA ITALIANA Edizione critica commentata dei testi e delle intonazioni A cura di MICHELE EPIFANI EDIZIONI DEL GALLUZZO PER LA FONDAZIONE EZIO FRANCESCHINI 2019 La ricerca di cui si offrono i risultati nella presente pubblicazione è parte integrante del progetto «Polifonia italiana trecentesca» (PIT) della Fondazione Ezio Franceschini, e del progetto Advanced Grant «European Ars Nova: Multilingual Poetry and Polyphonic Song in the Late Middle Ages» (ArsNova), finanziato dallo European Research Council nell’ambito del programma «Horizon 2020 research and innovation» dell’Unione Europea (Grant Agreement n° 786379) Il volume è disponibile in Open Access con licenza internazionale Creative Commons Attribuzione – Non commerciale – Non opere derivate 4.0 (CC By – NC – ND 4.0) Fondazione Ezio Franceschini ONLUS via Montebello 7 I-50123 Firenze tel. +39.055.204.97.49 fax +39.055.230.28.32 [email protected] www.fefonlus.it SISMEL · EDIZIONI DEL GALLUZZO via Montebello 7 I-50123 Firenze tel. +39.055.237.45.37 fax +39.055.239.92.93 [email protected] · [email protected] www.sismel.it · www.mirabileweb.it ISBN 978-88-8450-892-8 © 2019 – SISMEL · Edizioni del Galluzzo e Fondazione Ezio Franceschini ONLUS SOMMARIO 00 VII Prefazione, di Maria Sofia Lannutti 00 IX PREMESSA INTRODUZIONE 00 XVII 1. La caccia nel sistema dei generi poetico-musicali del Trecento 00 XVII 1.1. Stilemi e moduli espressivi dei testi poetici 00 XXII 1.2. La funzione della tecnica canonica nella caccia 00 XXVII 1.3. Le funzioni della tecnica canonica nel madrigale 00 XXXIII 1.4. Casi problematici 00XXXVIII 2. La questione delle origini: punti di riferimento letterari e musicali 00XXXVIII 2.1. I testi poetici 00 LI 2.2. Le intonazioni 00 LI 2.2.1. Una ‘caccia arcaica’? 00 LVII 2.2.2. Caccia e mottetto 00 LXI 2.2.3. Caccia e chace 00 LXXIII Excursus. Pratica venatoria, poesia e musica 00 LXXX 3. Metricologia e teoria musicale 00LXXXIX Excursus. Il cacetum nella teoria musicale centro-europea 00 XCVI 4. La tradizione manoscritta 00 XCVI 4.1. I testimoni 00 CXI 4.2. Paratesti e qualifiche di genere 00 CXVII 4.3. Modelli di trasmissione 00 CXXVII 5. Annotazioni filologiche 00CXXVIII 5.1. Segugi a corta 00CXXXIII 5.2. Con bracchi assai 0 CXXXVII 5.3. Per sparverare 00 CXLI 5.4. Tosto che l’alba 00 CXLIX 5.5. Nell’aqua chiara 00 CLIX 5.6. Caciando per gustar VI SOMMARIO 00 CLXIX ABBREVIAZIONI E BIBLIOGRAFIA EDIZIONE DEI TESTI POETICI 00 3
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