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Bologna and Venice in the Seventeenth Century

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Bologna and Venice in the Seventeenth Century THE CHANGING SYMBOLIC IMAGES OF THE TRUMPET: BOLOGNA AND VENICE IN THE SEVENTEENTH CENTURY Jamie Marie Karp, B.M.E., M.M. Dissertation Prepared for the Degree of DOCTOR OF MUSICAL ARTS UNIVERSITY OF NORTH TEXAS May 2014 APPROVED: Keith Johnson, Major Professor Bernardo Illari, Committee Member John Holt, Committee Member and Chair of the Division of Instrumental Studies Benjamin Brand, Director of Graduate Studies of the College of Music James C. Scott, Dean of the College of Music Mark Wardell, Dean of the Toulouse Graduate School Karp, Jamie Marie. The Changing Symbolic Images of the Trumpet: Bologna and Venice in the Seventeenth Century. Doctor of Musical Arts (Performance), May 2014, 106 pp., bibliography, 114 titles. The trumpet is among the most ancient of all musical instruments, and an examination of its history reveals that it has consistently maintained important and specific symbolic roles in society. Although from its origins this symbolic identity was linked to the instrument’s limited ceremonial and signaling function, the seventeenth century represents a period in which a variety of new roles and identities emerged. Bologna and Venice represent the two most important centers for trumpet writing in Italy during the seventeenth century. Because of the differing ideologies at work in these cities, two distinctive symbolic images of the instrument and two different ways of writing for it emerged. The trumpet’s ecclesiastic role in Bologna and its participation in Venetian opera put the instrument at the service of two societies, one centered around the Church, and another around a more permissive state. Against the backdrop of the social and political structures in Venice and Bologna, and through an examination of its newly-emerging musical roles in each city, the trumpet’s changing identities during a most important point in the history of the instrument will be examined. Copyright 2014 by Jamie Marie Karp ii TABLE OF CONTENTS Page LIST OF MUSICAL EXAMPLES .................................................................................... iv I. INTRODUCTION……………………………………………………………………………..1 II. THE TRUMPET AS A SYMBOLIC IMAGE ................................................................. 6 III. LIFE AND MUSIC IN BOLOGNA ............................................................................ 13 IV. LIFE AND MUSIC IN VENICE ................................................................................ 23 V. OTHER CONSIDERATIONS FOR THE TRUMPET ................................................ 32 VI. REPERTOIRE OF THE BOLOGNESE SCHOOL ................................................... 38 VII. THE TRUMPET IN VENETIAN MUSIC ................................................................. 53 VIII. CONCLUSIONS .................................................................................................... 63 APPENDICES ............................................................................................................... 65 BIBLIOGRAPHY ........................................................................................................... 99 iii LIST OF MUSICAL EXAMPLES Ex 1 – Notes of the harmonic series through the fourth octave ................................. 32 Ex 2 – Giroliamo Fantini, Sonata No. 5, detta dell’ Adimari, m. 11 ........................... 36 Ex 3 – Giroliamo Fantini, Seconda Riccercata detta i’Acciaioli, opening ................... 36 Ex 4 – Mauritio Cazzati, Sonata La Bianchina, op. 35, no. 11 – opening fanfare ...... 45 Ex 5 – Mauritio Cazzati, Sonata La Caprara, op. 35, no. 10 – opening fanfare ......... 46 Ex 6 – Mauritio Cazzati, Sonata La Zabeccari, op. 35, no. 12 – opening fanfare ...... 46 Ex 7 – Mauritio Cazzati, Sonata La Cappara Op. 35, No. 10 – mvt. 2, mm. 6-12 ...... 47 Ex 8 –Giuseppe Torelli, Sinfonia à 4 con Tromba, mvt. 1, mm. 1-12 ....................... 50 Ex 9 – Giovanni Legrenzi, Laudate Pueri – mm. 1-6 ................................................. 56 Ex 10 – Antonio Sartorio, L’Adelaide – opening from Sinfonia .................................. 58 Ex 11 – Antonio Sartorio, L’Adelaide – aria “Vitrici schieri” ........................................ 59 Ex 12 – Antonio Sartorio, Giulio Cesare in Egitto – “Su trombe guerriere” ................ 60 Ex 13 – Antonio Sartorio, Giulio Cesare in Egitto – “Seguaci campioni” .................... 61 iv CHAPTER I INTRODUCTION The trumpet is more than a musical instrument: it is an idea, a concept, with deeper allegorical associations. – Don Smithers, The History of the Trumpet before 1721 The trumpet is among the most ancient of all musical instruments, and an examination of its history reveals that it has consistently maintained important and specific symbolic roles in society. Although from its origins these identities were connected to the instrument’s limited ceremonial and signaling usage, the late sixteenth and early seventeenth centuries allowed for a variety of new functions and symbolic identities to develop. In addition to these newly emerging roles for the trumpet, this period also marks one of the most abrupt and definitive shifts in musical aesthetics and compositional approaches in the history of Western music. Many of the novelties associated with this period were taking place in Italy, including the trumpet’s momentous transformation from a limited usage to its acceptance into church and theater music. However, an image of a new aesthetic emerging from a unified and hegemonic Italy, which at this time was comprised of a diverse collection of city-states and courts, was far from reality.1 Cultural unity was continually destabilized by economic, religious, and political tensions.2 It is through an examination of this period that both the possible implications of these new roles for the trumpet and the complexities of late the sixteenth and early seventeenth centuries in Italy can be 1 Sister Mary Nicole Schnoebelen, “The Concerted Mass at San Petronio in Bologna: ca.1600-1730. A Documentary and Analytical Study” (Ph.D. diss., University of Illinois, 1966), 3. 2 Wendy Heller, Music in the Baroque (New York: W. W. Norton, 2014), 10. 1 discovered. Ultimately, a better understanding of both the instrument itself and the cultures in which it was utilized can be achieved. This project begins with a brief exploration of the trumpet’s history prior to the late sixteenth century and will illustrate two main ideas; first, that the instrument has always held important and symbolic roles in society. Second, it serves to determine how these societal roles and their symbolic images would ultimately influence the emergence of new repertoires in Bologna and Venice. By interpreting these long- standing roles as reflections of the societies in which they developed, the symbolic value assumed by the trumpet can be understood. Mark J. Smith’s example of a cultural symbol from his text Culture: Reinventing the Social Sciences, serves as a useful model: Foods do not intrinsically symbolize. They are used to symbolize. For example, when we are told that the cooked dinner of meat and two vegetables symbolizes the woman’s obligation as homemaker and her husband’s as breadwinner…the food does not itself stand for homemaking and caring. The values are respective gender roles, whilst the food is the medium through which that is communicated…Meat is symbolic…since its economic and social importance is frequently greater than might be anticipated from its purely nutritional value.3 Like foods, the trumpet can be used as a transmitter of various symbolic images associated with its clearly-defined societal roles. For example, the material out of which the medieval trumpet was constructed was not exceptionally valuable to the societies in which it was utilized. Even the trumpeters themselves were relegated to the social status of the serving class. However, because the instrument had ascended to hold the status of a symbolic image that universally reflected courtly wealth and power, the trumpet itself had come to represent and communicate those ideals. 3 Mark J. Smith, Culture: Reinventing the Social Sciences (Buckingham: Open University Press , 2000), 11. 2 Accepting that the trumpet has consistently maintained the status of a cultural image, however, is not enough to identify a connection to the instrument’s newly emerging musical roles during the seventeenth century. By adopting one of Mike Parker’s core tenants regarding what he refers to as “primary cultural icons”, the possibility for making this connection can be made clear: The strong narrative meaning contained in primary iconic images is sufficient, not only to prove perceptually to the originating receptive communities, but also proving significant to future generations.4 The symbolic images conveyed by trumpet are therefore contingent on permanency. According to Parker’s model, if the images of the trumpet are durable, then they can serve as “vessels for cultural meaning.”5 In their text, The Trumpet, John Wallace and Alexander McGrattan confirm the durability of the trumpet’s symbolic image: “the instrument is an example of an early man-made object that acts as a cultural transmitter, communicating more than a simple message between living people.”6 Eliot Bates makes a similar argument in his article “The Social Life of Musical Instruments.” He suggests that musical instruments are not just objects or artifacts, but are entangled in complex webs of relationships.7 The final task is to determine which of these relationships influence the development of the trumpet’s
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