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Home , Cipriano de Rore, Giaches de Wert, Girolamo Diruta, Giulio Caccini, Jacopo Peri, Lodovico Zacconi

Performance Practice in the seconda prattica Author(s): Rinaldo Alessandrini Source: , Vol. 27, No. 4, (1553/4-99) (Nov., 1999), pp. 632-639 Published by: Oxford University Press Stable URL: http://www.jstor.org/stable/3128763 . Accessed: 04/04/2011 12:41

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http://www.jstor.org Performingmatters RinaldoAlessandrini

Performancepractice in the secondaprattica madrigal

Seconda prattica, de la quale e statto il primo rinovatore ne nance (Monteverdi, Marenzio), chromaticism and nostri caratteri il Divino Cipriano Rore ... seguitata, & ampli- contrapuntaldaring (Gesualdo), and the use of basso ata ... dal Ingegneri, dal Marenzio, da Giaches Wert, dal Luz- continuo and obbligato instruments (Monteverdi zasco, & parimente da Giacoppo Peri, da , & But these were not achieved. da li elevati & intendenti de la vera arte, again). changes easily finalmente spiriti piui The theorist GiovanniMaria Artusi casti- intende che sia quella che versa intorno alla perfetione de la Bolognese melodia, cioe che considera l'armonia comandata, & non gated these novelties as offences against nature and comandante, & per signora del armonia pone l'oratione.1 reason.2 And although Artusi ended up as an admirerof Monteverdi we are to believe the claim Second Practice, which was first renewed in our notation (if By Monteverdi made in his letter 22 by ... was followed and amplified ... by of October 1633 Ingegneri, Marenzio, , Luzzasco, likewise by to Giovanni BattistaDoni),3 the Artusi-Monteverdi , Giulio Caccini, and finally by loftier spirits with controversy epitomized the same conflict between a better of he understanding true art, understands the one authority and empiricism as the period's most that turns on the perfection of the melody, that is, the one famous the that considers not but commanded, literary quarrel, controversy regarding harmony commanding, the of Guarini's and makes the words the mistress of the harmony. stylisticpropriety pastoraltragicom- edy IIpastor fido.4 ONTEVERDI'S inclusion of Marenzio in his This was the period when and per- M list of composers of the secondaprattica is formers took upon themselves the responsibilityof recognition of his place among those who initiated a continuallyrenewing the rules and of creatinga new radicalreform of musical languageat the end of the and comprehensive artistic expression encompass- and the beginning of the 17th.The sec- ing meaning, word and music. One of the most ondaprattica expounded by Monteverdi(or, at least, important changeswas in fact the emergenceof two his brother) favoured the primacy of orazioneover distinct (though not necessarilyopposed) spheresof armonia, reversing what he perceived as being the competence, those of the and the per- priorities of the prima prattica. The new claims of former, the first requiredto translateinto music the rhetoric and the importance granted to the poetic contents of the poetic text, the second to translate text not only transformedthe madrigalbut also had that synthesisof text and music into sound and emo- an impact on the younger generation of poets-- tion. Nicola Vicentino emphasizes that the music Guarini, Chiabrera, Marino-who, resolving to should correspond to the mood and affects of the meet the aspirations of these new aesthetic trends, words: thus rapid note-values are equated with set out to enchant and astonish the public with their cheerfulness, while a slow pace, soft progressions virtuoso technique and use of surprise (meraviglia), (gradimolli) and minor 3rdsand 6ths are associated- audacioussimiles and paradox. with melancholy, and he complains that composers The changes in musical direction were accompa- often introduce devices contrary to the meaning nied by explorationof the emotional power of disso- of the words.5 Luzzaschi (or rather Alessandro

RinaldoAlessandrini is the directorof the ensembleConcerto Italiano, which has a particularlyhigh reputationfor its interpretationsof Monteverdi.He alsofollows an internationalcareer as a conduc- tor of .

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632 EARLY MUSIC NOVEMBER 1999 Guarini,ghost-writing for the composer) spells out should sing the words in keeping with the composer's inten- in considerable detail the primacy of words over tion, so as to leave the audience satisfied. He should express music in the dedication to his Sesto librode' madri- the melodic lines, matching the words to their passions- now joyful, now sad, now gentle, and now cruel-and adhere a gali cinque voci (, 1596): to the accents and pronunciation of the words and notes. ... se il Poetainalza lo stile,solleva eziandio il Musicoil tuono. Sometimes a composition is performed according to a cer- tain method that cannot be written such as Piagne,se il versopiagne, ride, se ride, se corre,se resta,se down, uttering and or fast and or the measure priega,se niega,se grida,se tace,se vive,se muore,tutti questi softly loudly slow, changing in with the so as to show the effects of affetti,& effetti cosi vivamente da lui vengonespressi, che quella keeping words, the and the The of the orator can par quasiemulazione, che propriamente rasomiglianza de dirsi. passions harmony. experience be if observe the he follows in his Quinciveggiamo la Musicade nostritempi alquanto diversa da instructive, you technique oration. For he now loud and now now slow and quella,che gia fu ne' passati,percioche dalle passate, le Poesie speaks soft, modernisono altresi diverse. now fast, thus greatly moving his listeners. This technique of changing the measure has a powerful effect on the soul. For ... if the poet raises his style, the musicianalso raises his this reason music is sung from memory, so as to imitate the tone. He criesif the versecries, laughs if it laughs;if it runs, accents and effects of the parts of an oration.8 stops, implores,denies, screams,falls silent, lives, dies, all theseaffects and effectsare so vividlyexpressed by musicthat The early madrigal presented very few technical what should properlybe called resemblanceseems almost difficulties from the standpoint of performance. Thereforewe see in our times a music some- competition. Rather,the focus was on the composer'ssubtle han- whatdifferent from thatof the past,for modernpoetic forms of and texture,and are similarlydifferent from those of the past.6 dling performance seems to have had little or no bearing on how the As for the performer, it was no longer enough work as such was assessed. Thus in 1592 Lodovico simply to convey, as pure sound, the melodic lines of Zacconi contraststhe 'antichi' (Josquin, Gombert), a madrigal;there was also an obligation to demon- who obtained their effects from 'points of imitation strate,if not display,technical and artisticexpertise. and other observations[of the rules]' ('fughe,& altre Thus for Giovanni Maria Trabacia performanceof osservationi') with the 'new and graceful effects' either vocal or instrumentalmusic cannot succeed ('nuovi, & vaghi effetti') of Willaertand Rore;like- 'unless there is a very gracefulhand, a mature and wise he observes that the singers of old 'sang their detailed study, and those touches of elegance and parts as they were written in the books, without those accenti which this music requires'.7And a adding a single accentoor giving them any touch of much earlier source for the new style of singing, a grace,since they were intent only on pure and simple passage from Nicola Vicentino's L'antica musica modulatione'.9 ridotta alla moderna prattica (, 1555), is worth However, things were changingaround 1600. The quoting at length: madrigalwas the polyphonic vocal genre par excel- ... & s'avvertirache nel concertarele cosevolgari a volerfare lence in this period. The market conditions for the chegl'oditori restino satisfatti, si de cantarele paroleconformi genre were favourable,given that it could cater for all'oppinionedel Compositore;& con la voceesprimere, quelle all tastes and situations. Another important factor intonationi dalle con accompagnate parole, quelle passioni. was the influence of on composers. With Hora horameste, & soavi,& crudeli& singers allegre, quando quando their of technical congli accentiadherire alla pronuntia delle parole & dellenote, expanded range possibilities, & qualchevolta si usa un certoordine di procedere,nelle com- singerswere able to offer a wider range of vocal and posizioni,che non si pub scrivere.[sic] comesono il dirpiano, expressiveeffects. At the beginning of the 17thcen- & forte, & il dirpresto, & tardo,& secondole parole,muovere tury the level of expertise was continually rising: la Misura,per dimostraregli effettidelle passioni delle parole, vocal widened, those of & & la dell'Oratore che si ranges especially sopranos, dell'armonia, esperienza, l'insegna, who at least a in their In vedeil modoche tiene nell'Oratione, che hora dice forte, & hora gained 4th upper register. piano, & piiatardo, & piii presto,& con questomuove assai addition virtuoso techniques such as rapid and gl'oditori,& questomodo di muoverela misura,fd effetto assai extended coloratura were developed, requiring a nell'animo,& per tal ragionesi canterbla Musicaalla mente more economic use of breathing. These and other & per imitargli accenti, effettidelle parti dell'oratione ... issues have a significantbearing on performancein He is also advisedthat in coordinatingvernacular works, he the secondaprattica.

634 EARLY MUSIC NOVEMBER 1999 underminedif vibratois used by four or more voices Vibrato at the same time. This is an important consideration Christoph Bernhardwas given the task of bringing bearing in mind the tuning systems current in from Italyto Germanysingers for the cappellaof the during this period (and still used for organsuntil the Elector of Dresden. Describing the various types of beginning of the 19th century). The mean-tone sys- ornamentationin fashion in Rome at the beginning tem, commonly used in this period as a standard of the 17thcentury he says: tuning system for polyphonic instrumentsand deci- to the or the maintenanceof a is sively preferred equal-tempered system ... fermo, steadysound, required was neverthelessknown in was char- on all the notes where a trilloor ardireis (which theory), except performed. acterized the use of This is to be considereda decoration[Zierde] of the fermo, by absolutely pure major 3rds. becausethe tremulois a vice (excepton the organ,where all This greatly restricted the tonal space that it was the voices can vibrate [tremuliren] at the same time and possible to use, but it was a price composers were sound well because of the in together [uniformity the] willing to pay, given that they were rewardedby the [of It is used older but not as an change pitch]). by singers, and sweetnessof chordswith 3rds artisticdevice; rather, use it inadvertently,because beauty pure major they they in the case of a vocal can no longer hold the note. If one were to seek further and, cappella performances, confirmation about the undesirability of tremulo, one should with absolutely pure 5ths. So, as with the vox listen to an old person singing alone. Then he would under- humana on the purest Principalof an Italian organ, most do not stand why the elegant singers use tremulum with vocal ensembles it is better to keep the vibrato except when performing an ardire ... However, basses may to a minimum in ordernot to the intonation. use it fromtime to time, as as it is not too and impair long frequent, And it would be for only on shortnotes.10 interesting singers and teachers, once they had refined their ability to produce a Italianorgans were in fact equippedwith a registerat sound without vibrato,to explore ways of using the first known as a fiffaro, then, starting at the begin- device to expressive ends. This could lead them to ning of the 17th century, as a voce humana. It was a reflecton the occasionalneed for a particularkind of series of Principal-scaledreed pipes tuned slightly vibrato (which seems in any case to have been some- higher than the Principal8'. Coupled with the Prin- what differentto the modern variety,to judge from cipal itself, the tuning discrepancyproduces a regu- the examples given in contemporarytreatises), on lar beat the speed of which is proportional to the the specificoccasions where it might be used, and on degreeof discrepancy.The effect resemblesan unob- how to control it, avoiding its indiscriminate or trusive vibrato, and is especiallyatmospheric when unconscious use.12 the pulsation is slow and gentle. The fact that this vocal registeris called vox humanais obviously a reference Pitch, range, technique to the vibrato characteristicof the human voice. In Italian organs from the end of the 16th century and registrationtables it is designated for use only with during the next two centuriesgive fairlyclear indica- the Principal rather than, for example, the louder tions of the pitches used. It is a safe generalizationto Ripieno registers,"being reservedfor slow, particu- say that in northern Italy a high pitch was used larly expressivepieces, mainly the toccateper l'Eleva- (about a semitone above modern pitch), and in tioneor, by extension, the slow, sustainedpieces des- southern Italy a low one (a semitone or a tone below ignated Durezzee ligature.These indications tend to modern pitch)."3 Obviously, when the organ was limit the use of vibrato to special expressive situ- used, these pitches were compulsory (unless the ations and demonstrate that it had an expressive organist transposed), but with a cappella singing, function. whether in sacred or secularmusic, there was com- Acousticallyspeaking, vibrato may be defined as plete freedom of choice to choose a pitch which an oscillation in pitch (of which a violinist's oscillat- allowed the greatest convenience during perfor- ing finger on the string of his instrument is the visi- mance. But the tessiturasfound in pieces requiring ble counterpart).It is thereforeeasy to imagine that instrumentalaccompaniment suggest that it was the the overall purity of an ensemble's intonation is middle of the vocal range that was considered the

EARLY MUSIC NOVEMBER 1999 635 most convenient and suitablefor sound production. These alto parts normallyextend down to g or f and Moreover,common sense would suggestthat pieces upwardsas far as (but never beyond) bb'.In Monte- notated in normal clefs and those written in chiavette verdi it is not rareto find d as the lowest note, which would not have been placed side by side in the same suggests a need to use a tenor rather than a female prints if their rangeswere so divergent.The written contraltoor a falsettistwho would too frequentlybe pitch of pieces in chiavetteis very high (a 4th or 5th obliged to use the chest voice. above the norm) and is totally ill-suited to the fluid A relativelylow register(or the use of low pitch in expressivemeans of the madrigal.Confirmation of general) makes it easier for the voices to produce this practicecomes indirectlyfrom the rubricwhich sounds in a range close to that used in speech.16A Monteverdiplaces at the beginning of his madrigale vocal technique which allows for a deliverymidway Dolcissimouscignolo (in his eighth book of between speaking and singing (Peri's cosa mezzana of 1638):14 the first soprano is notated in the G2 or 'intermediatestyle')17 or at any rate an articulation (not Ci) clef, whereasthe other parts are all in chiavi of the text and a way of enunciatingthe consonants naturali.Monteverdi therefore adds the instruction that is close to spoken language-so long as it is sus- 'Canto in tuono' ('at pitch') in order to prevent the tained by a correctuse of breathto guaranteestabil- downwardtransposition by a 4th or 5th that the high ity of intonation-could contribute to the cultiva- clef would normallyprescribe. Further, more incon- tion of a vocal sound more in keeping with the trovertibleconfirmation comes from the organ bass madrigal.The case for an excessivelywide dynamic part of the 16o8 edition of Palestrina'sMotettorum range is not supported by documentary evidence. quinquevocibus liber quartus (first printed in 1583)- Quite the contrary;as Zarlino observes, 'one way of publishedin by AlessandroRaverii as Motec- singing is used in churches and public chapels, and torum ... addita parte infima pro pulsatorisorganis anotherway in privatechambers: because in the first comoditate-where the organ part of the pieces one sings with a full voice ... and in chambersone notated in chiavette is transposed by a 4th when sings with a more subdued and soft voice, without there is a signatureof one flat or a 5th when there is making any loud sound'.'8In other words, secular no signature. music is sung in a fairly moderate dynamic range, Nowadays, female voices seem the best possible wherethe sound can grow or diminish in accordance choice for the soprano parts. To a greater degree with the musical effect and the accentuationof the than a falsettist, the female voice brings variety of words. timbre to the ensemble and provides a naturalbal- The extreme flexibility and malleability of the ance to the sound of the male voices. This voice can resultingsound seems the perfectvehicle for the aes- be soprano, or mezzo-soprano in cases where the thetic ideas of the late Cinquecento. According to range does not exceed e". Often one finds genuine Vincenzo Giustiniani (c.1628), the famous female mezzo-soprano ranges in a second soprano part in singers of and Ferrara which the ambitus is a 3rd below that of the exactly a non solo al metallo et alla first in Monteverdi's fourth and sixth ... facevano gara quanto dispo- soprano (as sizione delle voci, ma nell'ornamentodi esquisitipassaggi tirati books of The use of a falsetto for the madrigals). in opportuna congiuntura e non soverchi ... e di piih col moder- parts in the medium range is alwayspossible, if only are e crescerela voceforte o piano, assottigliandola o ingrossan- for practicalreasons, but it is interestingto note that dola, che secondo che veniva a' tagli, ora con strascinarla, ora AdrianoBanchieri, in his Festinonella sera del smezzarla, con l'accompagnamento d'un soave interrotto giovedi ora tirando bene, ora includes a Vinatadi brindesi,e sospiro, passaggi lunghi, seguiti spiccati, grasso(1608), ragioni gruppi, ora a salti, ora con trilli lunghi, ora con brevi, et or con which prescribesthe use of a 'falsetto'to sing the part passaggi soavi e cantati piano ...'9 of the second soprano (both soprano parts are notated in the Ci clef) and not that of the alto.15Usu- ... vied with each other not only in regard to the timbre and of their voices but also in the ornamentation of the alto is better suited to a male disposition ally part singer exquisite passaggi delivered at opportune moments, but not capable of reviving the old technique of the head- in excess ... Furthermore, they moderated or increased their voice or the falsetto for notes above the 'break'. voices,loud or soft,heavy or light, according to thedemands

636 EARLY MUSIC NOVEMBER 1999 of the piece;now dragging,now breakingoff with a gentle, many, havingneither breath or diaphragmsupport, have to interrupted sigh, now singing long passaggi legato or interrupttheir phrases after four or six notes ... while others detached,now gruppi,now leaps, now with long trilli, now with a deficientthroat do not soundthe notes distinctly,that with short,and againwith sweetpassaggi sung softly ... is, do not articulatethem to the point where they can be distinguishedas gorgie. Likewise,Francesco Patrizi, in his descriptionof the voice of TarquiniaMolza, gives a clear idea of the Tactus level of agility, elasticityand subtle flexibilitywhich was consideredthe ideal: Leavingaside the issue of the metricalor propor- tional betweenthe notes and the time La voce sua e un non non relationship adunque soprano fosco, soppresso, the most evidence non sforzato,ma chiarissimo,aperto, delicatissimo,piano, signature, important concerning eguale,soavissimo; in sommase ei si potessedire senza peccato, tempo seemsto indicatean extremeliberty in the piit che angelico;et quello che i musici soglionoappellare treatmentof rhythm, relatingto the expressive rotondo,che tantovale di sotto,quanto di mezzo,e di sopra. essenceof the text. Rhythmicflexibility became an So her voice is a soprano not dark, not suppressed,not elementof virtuosoensemble performance to the forced, but very clear, open, very delicate,soft, even, very pointwhere increased refinement made it necessary sweet;in sum, if one may say it without sinning,more than for someoneto keeptime in 'modernmadrigals' by angelic;and what musiciansusually call round, of the same a as Frescobaldiobserves."2 The role of in giving beat, worthin the lowerregisters, as in the middle,and the top, directorneed not to be externalto the of which is somethingvery rarelyfound.2o group singersbut can be assumedby one of the singers Powerfuldynamic and extremesof pitch were not themselves.However, the need for such a director sought after. A modern technique, based on a kind seemsto increasein proportionto the degreeof sub- of sound production needed to fill a modern 2,ooo- tletyaimed at in the performance. seat hall or theatrecannot be consideredsuitable for the delicacy and sense of detail required in the Pronunciation madrigal. The different relationship that existed Thevast majority of originalmadrigal prints reveals between wind pressure and the passive contraction a notationalprocedure which suggeststhat the of the vocal chordsis highlightedby the techniqueof singer should make an obvious elision between throat articulationfor rapidand light notes generally words ending and beginningwith a vowel-thus known as gorgia,which accordingto Camillo Maffei 'dolc'aure',not 'dolci aure';a modern tendency required a 'soft, flexible throat'.21As Zacconi points towardspresumed consistencies of pronunciation out in his Prattica di musica (1592, f.58v), petto has misled singersinto opting for the latter.The ('chest', i.e. powerfulbreath) and gola (i.e. a flexible, sametendency has also led themto neglectthe prac- agile and relaxed 'throat') and fianco (i.e. strong tice-present in many dialects,including Tuscan, 'hips', or diaphragmsupport) are the basis of good and usefulfor preventingsemantic misunderstand- singing, without which gorgia would not be recog- ing-of doublingthe consonantsat the beginnings nizable as such: of words.For example, the correctpronunciation of 'e se voi non havete'is 'e ssevvoi non havete'.How- Due cosesi ricercanoa chi vuolfar questaprofessione: petto, & gola;petto per poter una simil quantitti,& un tantonumero di ever,this is not nearlyso bad as the barbarismsof figurea giusto terminecondurre; gola poi per poterleagevol- singerswhose mother tongue is not Italian,who are mente sumministrare:perche molti non avendo ne petto ne often deludedinto thinkingthat an indiscriminate in over sei i suoi fiancho, quattro figure convengano disegni doublingof consonants(especially the 'r'and the '1') interrompere... & altriper difettodi gola non spiccanosi forte can re-createthe sound of the Italian To le figure,cioW non le pronuntianosi beneche per gorgiacono- language. sciutasia. my astonishment,I have often heard the word 'dolore'changed to 'dol-lore',also with both 'o' Two are required whoever wishes to follow this things by sounds to the of ridiculous. profession:breath, and the throat:a breathpowerful enough open point sounding to sing such a quantityof notes rightthrough to the end;and (Both the 'o's in 'dolore'are dark,the second a shade the throatto accomplishthis in a comfortableway: because more than the first.)

EARLY MUSIC NOVEMBER 1999 637 Ornamentation La sprezzatura e quella leggiadria la quale si di al canto co'l trascorso di e simicrome ornamentation,which takesinto considera- piii crome, sopra diverse corde co'l Light quale fatto a tempo, togliendosi al canto una certa terminata tion the use of a ribattuta(trillo) at cadences,or angustia, e secchezza, si rende piacevole, licenzioso, e arioso, si greateruse of the rhetoricalflourish usually known come nel parlar comune la eloquenza, e la fecondia rende as accento,23changes significantly the conception and agevoli, e dolci le cose di cui si favella. colour of a A less form of madrigal. appropriate Sprezzatura is that charm lent to a song by a few 'faulty' ornamentationwould seem to be the useof diminu- eighths and sixteenths [quavers and semiquavers] on various tionsand long, rapid ornaments which detract from tones, together with those [similar 'faults'] made in the the clarityand transparency of the polyphonicweb, tempo. These relieve the song of a certain restricted narrow- ness and and make it and as occurfor instancein Luzzaschi'sMadrigali ... a dryness pleasant, free, airy, just as in common speech eloquence and variety make uno, e doi, e tre the Roman pleasant soprani(1601). Describing and sweet the matters being spoken of.25 style,Bernhard refers to a repertoryof small,rapid ornaments,often light portamenti,anticipations The art of madrigalperformance is a difficult com- and delaysof notes which, used in phraseswhere bination of technical precision (intonation, minute the melody unfolds in a narrowrange, give the dynamic shadings,timbre) and expressivemobility. expressiona sense of lively mobilityand delicate The difficulty derives from this combination of casualness.24 technical and expressiveelements, often in opposi- Unfortunately, except in rare cases such as tion to one another. The fact that madrigalswere Caccini's Le nuove musiche (1601/2), we have few in essence destined to be sung in small chambers precise details of the smaller ornaments, and it is is a good indication of how subtle, and also how generally supposed that it is the large diminutions indispensable,was the expressivedimension of the that provide the basis for ornamentation.In reality, madrigal.A complete understandingof the text and especiallyin vocal music, ornamentationis inextri- a flawlessintonation are not in themselvessufficient cably bound up with minute alterations in sound, to give justice to these compositions: only a total, ranging from tiny, rapid accenti through brief artistic immersion in the emotional content of the passaggito trilli and groppi of a certain length. We poetry and words, combined with an extreme vocal can also think of ornamentation as the sprezzatura fluidity, are capable of restoring that atmosphere describedby Caccini in his Nuove musichee nuova of timelessness characteristic of a cappella vocal manieradi scriverle(1614): performance.

1 FromGiulio Cesare Monteverdi's Delleimperfettioni della moderna 6 For Alessandro Guarini's authorship 'Dichiarazione'glossing his brother musica(Venice, 1603). For the former, of this dedication, see LuzzascoLuzza- Claudio'spostface to his Quintolibro see also the partialtranslation in Source schi: Madrigali per cantare e sonare a de' madrigalia cinquevoci (1605)- readings,ed. Strunk,pp.393-404. uno, due e tre soprani (16ol), ed. A. and to criticismsof Monte- responding ClaudioMonteverdi: ed. Cavicchi (Brescia and Kassel, 1965), verdi's GiovanniMaria 3 Lettere, which also includes a styleby E. Lax 1994), at pp.12-13, partial in ClaudioMonte- (, pp.200-202, some The Artusi-published Theletters ClaudioMonteverdi, transcription (with errors). verdi'sScherzi musicali (Venice, 1607); p.201; of text here is taken from the trans.D. Stevens(Oxford, 2/1995), given origi- see ClaudioMonteverdi: Tutte le opere, nal, and the translation from T. Carter, PP.416-22,at p.421. ed. G. F. Malipiero(2/Vienna, 1954- Music in late Renaissanceand early 68), x, pp.69-72,at p.70o.The trans- 4 See G. Tomlinson,Monteverdi and Italy (London, 1992), P.17. lationis takenfrom Source readings in theend of theRenaissance (Oxford, music Classical 1987), history:from Antiquity PP.3-30,esp. pp.17-21. 7 G. M. Trabaci, Il secondo libro de theRomantic era, ed. Strunk through O. 5 NicolaVicentino, L'antica musica ricercate& altri varii capricci(Naples, (NewYork, 1950), pp.4o8-9. ridottaalla modernaprattica (Rome, 1615;R/ Florence, 1984), preface: 'se 1555;R/ Kassel,1959), ff.81r-81v; trans. non vi ? una leggiadrissima mano, & 2 In L'Artusi,overo Delle imperfettioni as Ancientmusic adapted to modern un studio maturo, & particolare, & che dellamoderna musica (Venice, 1600) practice,trans. M. R. Maniates(New si diano quei garbi, & quelli accenti che and Secondaparte dell'Artusi overo Haven,CT, 1996),p.254. detta Musica ricerca'.

638 EARLY MUSIC NOVEMBER 1999 8 Vicentino, L'antica musica ridotta Researches in the Music of the Baroque fix the tempo. In them there is a truly alla modernaprattica, ff.94r-94v; Era, xxxvi-xxxvii (Madison, 1981), wondrous capacity for moving the Ancient music adapted to modern pp.xli-xlii. affections.' trans. Maniates, p.301. practice, 18 , Le istitutioni 23 For descriptions and musical 9 Lodovico Zacconi, Prattica di musica armoniche (Venice, 2/1573),p.24o: 'ad examples see , (Venice, 1592;R/ Bologna, 1967), f-7v: altro modo si canta nelle Chiese & nelle Syntagma musicum, iii (Wolfenbuttel, 'cantavano le cantilene come le stavano Capelle publiche, & ad altro modo 2/1619; R/Kassel, 1958), p.233. See also scritte sopra de libri, senza porgerli poi nelle private Camere: imperoche ivi si the details of ornaments in the preface un minimo accento, 6 darli qualche canta a piena voce ... e nelle camere si to Giulio Caccini, Le nuove musiche poco di vaghezza: perche non erano canta con voce piui sommessa & soave, (Florence, 1601 [= 1602]; R/ Florence intenti ad altro...che alla pura, & senza far alcun strepito'. 1983). semplice modulatione'. Von der 19 Vincenzo Giustiniani, Discorso 24 Bernhard, Singe-Kunst oder Manier; see Die to Translated from Christoph Bern- sopra la musica (c.1628), in A. Solerti, Kompositionslehre Heinrich ed. hard, Von der Singe-Kunst oder Manier L'origini del melodramma (Turin, 1903; Schiitzens, Miiller-Blattau, (1649), transcribed in Die Komposi- R/Hildesheim, 1969), p.1o8. PP.31-9. tionslehreHeinrich Schiitzensin der 25 For the original and translation, see 20 F. Patrizi, Amorosafilosofia (1577), Fassung seines SchiilersChristoph Bern- Giulio Caccini:Nuove musiche e nuova ed. J. C. Nelson (Florence, 1963), P-39; hard, ed. J. M. Miiller-Blattau (Kassel, maniera di scriverle(1614), ed. H. W. trans. in L. Stras, 'Recording Tarquinia: 1926, 2/1963), PP-31-9, at pp.31-2. Hitchcock, Recent Researches in the imitation, parody and reportage in Music of the Baroque Era, xxviii 11 See, for example, the registration Ingegneri's "Hor che '1ciel e la terra (Madison, 1978), pp.xxxii-xxxiii. tables in CostanzoAntegnati: L'arte e '1vento tace"', Early music, xxvii organica (16o8), ed. R. Lunelli (1999), PP-358-77, at p.362. (Mainz, 1938), p.72; , 21 SeeDelle lettere del Gio. 'Discorso sopra il concertar li registri Signor Camillo in dell'organo', Secondaparte del Tran- Maffei (1562), given Bridg- man, 'Giovanni Camillo Maffei et sa silvano: dialogo diviso in quattro libri lettre sur le chant', to (Venice, 1622; R/Bologna, 1978), p.18:According Maffei, the 'voce 'non & pp.22-3. passeggiata' altro ch'un suono caggionato dalla 12 Compare Mozart's complaints minuta, et ordinata ripercossione about Joseph Nikolaus Meissner's dell'aere nella gola' ('is none other than HUW SAUNDERS excessive vibrato in a letter to his father a sound produced by the minute and MAKER dated 12 June 1778;The lettersof Mozart ordered repercussion of the air in the and his family, trans. E. Anderson throat') and cannot be produced (3/London, 1985), PP-551-3. without 'l'istromento pieghevole e molle' (i.e. a soft, flexible throat). 13 See Giovan Battista Doni's findings in K. Rhodes and W. R. reported J. J. 22 In the preface to his II primo libro di Thomas, 'Pitch', New Grove,xiv, p.783. toccated'intavolatura di cembaloe ed. E. 14 Monteverdi:Tutte le opere,ed. organo (Rome, 1616), Darbellay, Monumenti Musicali Italiani, iv Malipiero, viii, pp.271-9. (, 1977), p.xxvii (rule 1). Compare 15 AdrianoBanchieri: Festino nella sera the prefaceto PaoloQuagliati: II primo del giovedi grasso avanti cena a 5 voci librode' madrigalia quattrovoci (1608), miste (16o8), ed. B. Somma, Capolavori ed. J. Cohen, Recent Researches in Polifonici del Secolo XVI, i (Rome, the Music of the Baroque Era, lxxix 1948), pp.68-70 (Madison, WI, 1996), pp.lxxviii-lxxix, 16 SeeDelle lettere del Gio. and Aquilino Coppini's letter to Hen- Signor drik van der Putten madri- CamilloMaffei da Solofra(Naples, concerning gals from Monteverdi's third, fourth 1562): 'La settima ? che & [regola] tenga and fifth in P. , spinets, la bocca e non di books, given Fabbri, based on or copied from historical aperta, giusta, piit trans. T. Carter che si tiene si Monteverdi, (Cam- originals & largelymade & decorated quello quando ragiona 'Those hand traditionalmethods. con amici'. in N. bridge, 1994), p.10o5: [madrigals] by using gli Quoted Bridgman, Monteverdi their 'Giovanni Camillo Maffei et sa lettre by require, during Formore details write to: performance, more flexible rests sur le chant', Revue de musicologie, Huw Saunders,ino Milton Grove, [respiri] and bars that are not strictly London m6 xxxviii (1956), PP.3-34, at p.20. 8QY regular, now pressing forward or aban- or 'phone0171 503 5824 17 In his preface to (Florence, doning themselves to slowings down, [email protected] 1600), ed. H. M. Brown, Recent now also hurrying. You yourself will

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