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Theory and Practice in the Works of Pietro Pontio

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Theory and Practice in the Works of Pietro Pontio 219 MO. 3/^1 THE VOICE OF THE COMPOSER: THEORY AND PRACTICE IN THE WORKS OF PIETRO PONTIO VOLUME I DISSERTATION Presented to the Graduate Council of the University of North Texas in Partial Fulfillment of the Requirements For the Degree of DOCTOR OF PHILOSOPHY By Russell Eugene Murray, Jr., B.A., B.M.E., M.M.E, Denton, Texas December, 1989 Murray, Russell Eugene, Jr., The Voice of the Composer: Theory and. Practice in the Works of. Pietro Pontio. Doctor of Philosophy (Musicology), December, 1989, 2 vol- umes, 427 + 211 pp., 22 tables, 4 figures, 3 plates, 46 musical examples, bibliography, 213 titles, works list, documents, music. The life, music, and theoretical writings of Pietro Pontio (1532-1596) yield considerable insight into questions of theory and practice in the late sixteenth century. The dissertation places Pontio within his musical and cultural milieu, and assesses his role as both theorist and composer. The first two chapters present an expanded biography based on new archival evidence. The course of Pontio's career is detailed, and corrections such as his exact date of death and his location and employment for the years 1569- 1574 are presented. The documents also uniquely detail the working conditions and pedagogical methods and concerns of the sixteenth-century maestro di cappella. Chapter Three surveys Pontio's two treatises, the Ragionamento (1588) and the Dialogo (1595), outlining impor- tant issues addressed by Pontio. Chapter Four presents a brief survey of Pontio's music, hitherto unstudied, showing his work to be of consistent quality and inventiveness. Chapter Five discusses issues from the Ragionamento. Pontio's important discussion of the use of mode and psalm tone in polyphony suggests a hierarchical approach to cadential structure based on pitch, text relationship, and cadential type, and the author presents a system of caden- tial classification based on these constructs. The result is a clearer understanding of modal structure and distinc- tions of genre. Chapter Six examines the second section of Pontio's Dialogo as an early attempt at critical writing, similar in scope to that presented by Lodovico Zacconi in the second part of his Prattica di musica (1622). In both chapters, Pontio's theoretical writings are amplified by reference to his own musical works and those of his contem- poraries. Chapter Seven assesses Pontio's influences on contempo- rary and later writers, and details the degree of influence Pontio's treatise had on Valerio Bona's Regole del contra- ponto (1595) and Pietro Cerone's El Melopeo y maestro (1613). Both are shown to be heavily dependent on many of the most original aspects of Pontio's work. A summary assesses the important role of Pontio in sharpening our understanding of critical aspects of theory and practice in the period. Volume Two presents an annotated works list for Pontio's compositions, transcriptions of archival documents used in the study, and transcriptions of representative musical compositions. Copyright by Russell Eugene Murray, Jr 1989 xii ACKNOWLEDGEMENTS I wish to thank a number of persons and institutions whose help has been instrumental in the completion of the present work. The archival research vital for the first portion of this study would have been impossible without the support of a Fulbright Grant for the academic year 1986- 1987, and I thank the United States Information Agency and the Commissione per gli scambi culturali fra 1'Italia e gli Stati Uniti. I must also express my gratitude to Luigi Filadoro and Cipriana Scelba of the latter agency for their continuous help during my stay in Italy. My work in various libraries and archives was made incalculably easier by the kind and generous help of many individuals. In Parma, I benefited from the gracious assistance of Marcello Turchi of the Archivio dell'Ordine Costantiniano di San Giorgio, Maria Parente and Marzio Dall'Acqua of the Archivio di Stato, as well as the staffs of these institutions. Don Alfredo Bianchi and Monsignor Carlo Ferri are to be thanked for their help in the archives of the Cathedral and the Battistero. In Bergamo, the assistance of Gianni Barachetti and Giulio Orazio Bravi of the Biblioteca Civica Angelo Mai, Don Antonio Pesenti of the Archivio Vescovile, and Monsignor Mario Lumina of the Archi- vio del Parrocchia di Sant'Alessandro in Colonna made my short stay in that city all the more profitable. In Milan, Monsignor Enrico Galbiati of the Biblioteca Ambrosiana and the kind staffs of the Archivio della Fabbrica del Duomo and the Archivio di Stato were of constant and significant help. All of these institutions were most generous in allowing me access to materials, providing photocopies in great quanti- ties, and granting me extensive freedom to make microfilms. Additionally, I must thank the Biblioteca Palatina and the Sezione Musicale of the Conservatorio «Arrigo Boito» of Parma, and the Biblioteca Estense of Modena for allowing me to microfilm items in their collections. Finally, many libraries in Italy and elsewhere were helpful in supplying information and microfilms, and space permits me only to mention the Civico Museo Bibliografico Musicale of Bologna, whose prompt answer to numerous requests for microfilms was enormously helpful at the outset of this project. A number of scholars and colleagues, both in Italy and in this country are also owed a debt of gratitude. In Parma, Claudio Gallico of the University degli Studi di Parma and Pierluigi Petrobelli of the Universita degli Studi di Roma and the Istituto di Studi Verdiana of Parma were of great help at the initiation of my work, as was Gian Paolo IV Minardi—also of the University degli Studi di Parma—as the project continued. I am also indebted to Enrico Paganuzzi of the Accademia Filarmonica of Verona for suggestions and information. Finally special thanks are due Anna Maria Schianchi who, as she has done in the past and undoubtedly will in the future, helped a young scholar through the problems associated with a new culture and language. In this country, support and advice were no less plen- tiful and helpful, and I wish to acknowledge Jessie Ann Owens of Brandeis University for her enthusiastic encourage- ment from the initial stages of this project. And among many others, I must single out Gary Towne of the University of North Dakota for his uncommon generosity in sharing his research and assisting my forays into areas of investigation rightfully his own, as well as for his reading of various drafts of the first two chapters. My only repayment can be the hope that my work can in turn contribute to his. As always, I am indebted to the support of friends and family. Thanks to the technological innovations of the day, my wife has been spared the usual tasks associated with such an endeavor, but certainly not the traditional place as the final recipient of gratitude. To her I owe the greatest debt for her never-failing support and for her patient endurance of the inevitable questions of just what it was her husband did for a living. Sempre nel mio cuore. TABLE OF CONTENTS VOLUME I ACKNOWLEDGMENTS . iv LIST OF TABLES ix LIST OF FIGURES xi LIST OF PLATES xii LIST OF MUSICAL EXAMPLES . xiii LIST OF ABBREVIATIONS . xvi INTRODUCTION xvii Chapter I. PONTICS EARLY LIFE AND CAREER 1 Music in Parma in the Sixteenth Century Pontio's Early Life: Questions of Influence and Patronage Bergamo: 1565-1567 Santa Maria della Steccata in Parma: 1567-1569 II. COMPOSER AND THEORIST: PONTIO'S MATURE CAREER 81 Sant'Alessandro in Colonna: 1569-1574 Milan: 1577-1582 Pontio's Return to Parma III. THE TREATISES OF PIETRO PONTIO: AN OVERVIEW 154 The Scope of the Treatises The Ragionamento (1588) The Dialogo (1595) VI IV. THE COMPOSITIONS OF PIETRO PONTIO: AN INTRODUCTION . 205 The Scope of Pontio's Compositions Masses Motets Hymns Psalms and Magnificats V. THE RAGIONAMENTO AND QUESTIONS OF MODE AND GENRE 254 Cadence Hierarchy and Modal Structure Cadential Structure and Genre Distinction VI. THE DIALOGO AND NASCENT MUSICAL CRITICISM 304 Pontio's Nine Qualities of Style Aspects of Criticism VII. ASSESSING THE COMPOSER'S VOICE: CONTEMPORARY AND MODERN PERSPECTIVES 366 Later Use and Assessment Borrowing in Pietro Cerone's El Melopeo The Regole del contraponto (1595): Valerio Bona's Condensation of the Ragionamento Conclusion: Judging the Composer's Voice BIBLIOGRAPHY 409 VOLUME II INTRODUCTION TO THE APPENDICES vii APPENDIX 1: AN ANNOTATED LIST OF THE WORKS OF PIETRO PONTIO 1 APPENDIX 2: DOCUMENTS 17 Early Life; Bergamo, 1565-1567 17 Parma, 1567-1569 54 Bergamo, 1569-1574 55 vii Milan, 1577-1582 58 Parma, 1582-1596 76 APPENDIX 3: SELECTED MUSICAL WORKS 87 Missa Vestiva i colli: Kyrie 89 Missa Mortuorum (1585): Kyrie 98 Missa De Beata Virgine: Benedictus 103 Emendemus in melius 105 Praeparate corda 123 Vidi turbam magnam 139 Magnificat secundi toni ([1578]/1589) .... 155 Magnificat octavi toni cum quinque vocibus . 169 Credidi propter (primi toni) 182 Dixit Dominus (secundi toni) 189 Aurea luces 199 Christe redemptor 204 Vlll LIST OF TABLES 1. Proposed Breakdown of Spending for the Musical Chapel: Santa Maria della Steccata, 1528-1533 ... 17 2. Printed Music Acquired by Santa Maria Maggiore in Bergamo (1557-1567) .... 46 3. Feasts with Polyphony at Santa Maria Delia Steccata 74 4. Published Collections By Pontio, 1577-1582 .... 104 5. Purchase of Music for the Steccata: 1585-1588 . 129 6. Theorists Cited by Pontio in the Ragionamento . 166 7. Composers Cited by Pontio in the Ragionamento . 167 8. Summary of Pontio's Rules on the Modes 189 9. Census of the Musical Works of Pietro Pontio . 207 10. Listing of Collections by Pontio from the Firm of Girolamo Scotto, 1596 210 11.
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