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Early Basso Continuo Practice: Implicit Evidence in the Music of Emilio De’ Cavalieri

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Early Basso Continuo Practice: Implicit Evidence in the Music of Emilio De’ Cavalieri Early Basso Continuo Practice: Implicit Evidence in the Music of Emilio de’ Cavalieri Inaugural-Dissertation zur Erlangung der Doktorwürde der Philosophischen Fakultät der Julius-Maximilians-Universität Würzburg Vorgelegt von Elam Rotem aus Basel 2015 Erstgutachter: Professor Dr. Andreas Haug Zweitgutachter: Professor Dr. Ulrich Konrad Drittgutachter: Professor Dr. Johannes Menke Tag des Kolloquiums: 14/11/2016 Acknowledgment This work came to light thanks to a common doctoral program of the University of Würzburg/Institut für Musikforschung and University of Applied Sciences and Arts Northwestern Switzerland (FHNW)/Musikhochschulen (Schola Cantorum Basiliensis and Hochschule für Musik). I would like to thank the Head of the Schola Cantorum Basilienis Prof. Dr. Thomas Drescher as well as my advisers Prof. Dr. Andreas Haug (Würzburg), Prof. Dr. Ulrich Konrad (Würzburg), and Prof. Dr. Johannes Menke (Basel) for their help and support throughout the work. 3 Contents Preface .......................................................................................................................................................... 5 Terminology, abbreviations, and comments ................................................................................................ 9 Chapter I – Introduction .............................................................................................................................. 11 1.1 Early basso continuo ......................................................................................................................... 11 1.1.1 State of research ........................................................................................................................ 11 1.1.2 The difficulties in reconstructing the practice of early basso continuo ..................................... 17 1.1.3 The insufficient knowledge regarding continuo in the first generation of the stile rappresentativo ................................................................................................................................... 21 1.2 Emilio de’ Cavalieri ............................................................................................................................ 24 1.2.1 General ....................................................................................................................................... 24 1.2.2 The music of Emilio de’ Cavalieri ............................................................................................... 27 1.2.3 Modern literature about Cavalieri’s continuo ........................................................................... 29 Chapter II – The main sources of the early continuo and the notation systems of the first monodies ..... 31 2.1 Continuo sources .............................................................................................................................. 31 2.1.1 Explicit textual sources concerning early continuo ................................................................... 31 2.1.1.1 Prefaces to the first pieces of monodic music .................................................................... 31 2.1.1.2 Prefaces to liturgical music collections ............................................................................... 34 2.1.1.3 Treatises on basso continuo ............................................................................................... 40 2.1.1.4 Il Corago—treatise of opera productions ........................................................................... 56 2.1.2 Practical implications of the sources and relevance to the accompaniment in the stile rappresentativo ................................................................................................................................... 58 2.2 Notation systems of the first monodies ........................................................................................... 62 2.2.1 First category ............................................................................................................................. 63 2.2.2 Second category ......................................................................................................................... 65 2.2.3 Third category ............................................................................................................................ 67 2.2.4 Fourth category .......................................................................................................................... 69 Chapter III – Emilio de’ Cavalieri’s musical sources and Basso continuo .................................................... 74 3.1 Musical sources ................................................................................................................................. 74 3.1.1 Godi turba mortal—a monody from the 1589 festivities .......................................................... 74 3.1.1.1 The Chitarrone .................................................................................................................... 80 3.1.2 Lamentations and Responsories for the holy week .................................................................... 81 3.1.2.1 The complete set of Lamentations and Responsories: part I and II of the manuscript ...... 82 3.1.2.2 The incomplete set of Lamentations – Part III of the manuscript ...................................... 87 4 3.1.2.3 Seconda prattica ................................................................................................................. 88 3.1.2.4 Special features of the continuo line .................................................................................. 93 3.1.2.6 Polyphony VS. Monody ....................................................................................................... 97 3.1.3 Rappresentatione di anima e di corpo ..................................................................................... 100 3.1.3.1 The continuo instruments ................................................................................................. 102 3.1.3.2 Temperament ................................................................................................................... 104 3.1.3.3 Seconda prattica ............................................................................................................... 104 3.1.4 Comparison between the Lamentations and the Rappresentatione ....................................... 107 3.2 Basso Continuo ............................................................................................................................... 117 3.2.1 Cadences .................................................................................................................................. 118 3.2.1.1 Basics ................................................................................................................................. 118 3.2.1.2 Variants ............................................................................................................................. 128 3.2.1.3 The seventh ....................................................................................................................... 132 3.2.1.4 Preparamento ................................................................................................................... 138 3.2.2 The Harmony ......................................................................................................................... 154 6 3.2.3 Additional4 issues ...................................................................................................................... 163 3.2.3.1 Finalis ................................................................................................................................ 163 3.2.3.2 Positions, texture, range etc. ............................................................................................ 164 3.3 Conclusions ..................................................................................................................................... 168 Chapter IV – Cavalieri’s continuo in context ............................................................................................. 171 4.1 Comparison with the common sources .......................................................................................... 171 4.2 Past and future: the suspension and the preparamento ............................................................. 176 6 4.2.1 The suspension4 in the late Renaissance madrigal ................................................................. 176 6 4.2.2 The 4development of the preparamento: case study of Monteverdi’s Lamento d’Arianna ..... 179 4.3 Implications for contemporaneous music ...................................................................................... 184 4.3.1 Cavalieri’s Lamentations .......................................................................................................... 184 4.3.2 Peri’s and Caccini’s Euridice ..................................................................................................... 186 Conclusions ............................................................................................................................................... 190 Bibliography .............................................................................................................................................. 192 Primary sources....................................................................................................................................
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