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La Produzione Musicale a Stampa Nell'italia Cinquecentesca

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La Produzione Musicale a Stampa Nell'italia Cinquecentesca Corso di Laurea magistrale in Storia e gestione del patrimonio archivistico e bibliografico (interateneo) Tesi di Laurea La produzione musicale a stampa nell’Italia cinquecentesca: un repertorio analitico delle raccolte collettive profane, 1570-1599 Relatrice Ch.ma Prof.ssa Dorit Raines Laureanda Roberta Schiavone Matricola 851969 Anno Accademico 2018 / 2019 INDICE 1. Introduzione ...................................................................................................................... 3 2. Diffusione e fortuna delle raccolte collettive ................................................................ 6 A) Ottaviano Petrucci e Andrea Antico (1501-1538 circa) ......................................... 6 B) Antonio Gardano e Girolamo Scotto (1538-1569 circa) ..................................... 12 3. Raccolte collettive 1570-1599: introduzione ............................................................... 17 A) Generi musicali profani ............................................................................................ 29 B) Ristampe ..................................................................................................................... 34 4. Raccolte collettive 1570-1599: definizione e tipologie ............................................... 38 A) Tipologie principali ................................................................................................... 40 Edizioni collettive con intenti unitari ...................................................................... 40 Edizioni collettive senza finalità dichiarate (o miscellanee) ................................. 41 Antologie retrospettive .............................................................................................. 42 Pseudo-antologie ........................................................................................................ 46 B) Tipologie secondarie ................................................................................................. 49 Raccolte cittadine e territoriali / d’ambiente .......................................................... 49 Roma ....................................................................................................................... 50 Padova..................................................................................................................... 62 Verona..................................................................................................................... 68 Mantova .................................................................................................................. 70 Ferrara ..................................................................................................................... 76 Bologna ................................................................................................................... 85 Regno di Napoli .................................................................................................... 87 Sicilia/Roma ........................................................................................................... 94 Floridi virtuosi d’Italia .......................................................................................... 97 Musici di Baviera ................................................................................................. 102 Raccolte celebrative, o ‘d’occasione’ ..................................................................... 108 Raccolte con ‘giochi di testi’ ................................................................................... 114 5. Raccolte collettive di generi minori ............................................................................ 121 6. I protagonisti delle raccolte collettive ......................................................................... 130 7. Conclusioni .................................................................................................................... 134 1 Appendice I. Lista cronologica delle raccolte collettive, 1570-1599 .......................... 135 Appendice II. Compositori e loro presenza in raccolte collettive .............................. 149 Appendice III. Compositori che aprono e chiudono le raccolte collettive ............... 157 Bibliografia ......................................................................................................................... 161 2 1. INTRODUZIONE Oggetto di questo studio sono le raccolte musicali profane di autori diversi stampate in Italia tra il 1570 e 1599 attualmente rintracciabili: gli obiettivi che ci si propone sono quelli di inquadrarle per tipologie per poterne tratteggiare meglio le caratteristiche comuni, di delineare il contesto nel quale si manifestarono e di rimarcare la loro importanza dal punto di vista della nostra ‘conoscenza’ di autori che altrimenti sarebbero finiti nell’oblio. Il periodo preso in esame, il trentennio che intercorre tra il 1570 e la fine del sedicesimo secolo, è stato scelto in quanto delimitato da un lato dalla scomparsa di due dei maggiori protagonisti della stampa musicale di tutto il Cinquecento – Antonio Gardano e Girolamo Scotto – e dall’altro dal declino delle raccolte madrigalistiche (il genere più in voga nel periodo esaminato) – intese sia come raccolte individuali che collettive – a favore di forme nuove, come le raccolte di laude o di brani monodici, a partire dagli inizi del nuovo secolo.1 Si tratta quindi di un periodo di cambiamento per l’editoria musicale contrassegnato, tra le altre cose, da un nuovo approccio verso le raccolte di musica profana, da nuove strategie di mercato e da un rinnovato interesse verso pubblicazioni non dominate dalla presenza di un unico compositore. Per questa indagine fondamentale è stato l’esame delle fonti primarie; ci si è inoltre avvalsi del riscontro incrociato dei dati riportati principalmente nel Répertoire international des sources musicales [d’ora in avanti RISM] – in particolare del volume B/I intitolato Recueils imprimés. XVIe-XVIIe siècles)2 – la nuova edizione della Bibliothek di Emil Vogel con l’aggiunta di Alfred Einstein dedicata alle raccolte [d’ora in avanti VOGEL]3 e la Bibliografia della musica italiana vocale profana pubblicata dal 1500 al 1700 nell’edizione rivista da Einstein, Lesure e Sartori, che però dà conto principalmente 1 All’inizio del XVII secolo nacque infatti il recitar cantando, un nuovo stile melodrammatico nato in ambienti aristocratici fiorentini che, sfruttando le possibilità espressive offerte dalla monodia accompagnata, si contrapponeva allo stile polifonico. 2 Recueils imprimés des XVIe et XVIIe siècles, I: Liste chronologiques a cura di François Lesure, München- Duisburg, Henle Verlag, 1960 [RISM B/I]. La versione elettronica (non completa) del database è consultabile all’indirizzo <https://opac.rism.info/index.php?id=4&L=0> (ultimo accesso 01/02/2020). Tutte le edizioni citate nel corso di questo lavoro sono state identificate dalla loro numerazione presente nel RISM per favorirne una rapida identificazione. 3 E. VOGEL, Bibliothek des gedruckten weltlichen Vocal Musik Italiens aus den Jahren 1500-1700, (1892), revised and enlarged by Alfred Einstein, Printed Collections in Chronological Order, Hildesheim, Olms, 1962, 2 voll. (2a parte, pp. 601-833). 3 di edizioni individuali.4 Si tratta di repertori di fondamentale importanza ma datati e incompleti, che elencano solamente le edizioni esistenti e non fanno cenno a quelle andate perse ma in qualche modo documentabili. È infatti importante sottolineare che i dati numerici riguardanti le edizioni cinquecentesche sono suscettibili di cambiamenti sia in negativo che in positivo; ad esempio, rispetto a quanto indicato in alcuni repertori di fine Ottocento, bisogna registrare la dispersione di alcune edizioni; allo stesso modo, però, nel corso del Novecento sono state rintracciate altre edizioni non menzionate in questi primi repertori.5 Data la lacunosità dei precedenti sussidi, è stata altresì utile la consultazione, ove esistenti, dei cataloghi di edizione di vendita degli stampatori,6 dei repertori dedicati alla produzione di Gardano e Scotto,7 e altri.8 Vista l’eterogeneità delle edizioni presenti nel RISM B/I9 e partendo dal presupposto di voler individuare solamente le raccolte collettive di musica vocale profana stampate in Italia, per questo studio si è scelto di adottare ulteriori criteri di selezione. Sono state perciò omesse le edizioni contenenti brani di due soli compositori (come abbiamo visto anch’esse inserite nel RISM B/I per motivi 4 IDEM, Bibliografia della musica italiana vocale profana pubblicata dal 1500 al 1700. Nuova ed. interamente rifatta e aumentata con gli indici dei musicisti, poeti, cantanti, dedicatari e dei capoversi dei testi letterari [da] Alfred Einstein, François Lesure, Claudio Sartori, Pomezia, Staderini, 1977. 5 A questo bisogna anche aggiungere il fatto che la prima fase della pubblicazione di musica polifonica è infestata dalle cosiddette ‘edizioni fantasma’ dovute a una erronea catalogazione e da frammenti di volumi, edizioni non datate ecc. che non ne facilitano l’identificazione. 6 In particolare O. MISCHIATI, Indici, cataloghi e avvisi degli editori e librai musicali italiani dal 1591 al 1798, Firenze, Olschki, 1984 (Studi e testi per la storia della musica, 2), per Gardano e Vincenti; I. FENLON, Il foglio volante editoriale dei Tini, circa il 1596, “Rivista italiana di musicologia”, 12 (1977), pp. 231-251; G. THIBAULT, Deux catalogues de libraires musicaux: Vincenti et Gardane (Venise 1591), “Revue de Musicologie”,
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