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Note D'archivio NOTE D'ARCHIVIO PER LA STORIA MUSICALE nuovasene ANNO II,1984, SUPPLEMENTO EDIZIONI FONDAZIONE LEVI VENEZIA 1984 EFL.V.B.2 John Burke MUSICIANS OF S. MARIA MAGGIORE ROME, 1600-1700 A SOCIAL AND ECONOMIC STUDY EDIZIONI FONDAZIONE LEVI VENEZIA 1984 COMITATO DIRETTIVO ALBERTO BASSO, FRANCESCO LUISI OSCAR MISCHIATI, GIANCARLO ROSTIROLLA Direttore responsabile Francesco Luisi Rivista annuale con supplemento semestrale per l'Italia (escluso supplemento) L. 18.000 per l'estero (escluso supplemento) L. 26.000 Supplemento Anno I per l'Italia L. 20.000 Supplemento Anno I per l'estero L. 28.000 Supplemento Anno II per l'Italia L. 10.000 Supplemento Anno II per l'estero L. 15.000 Direzione, redazione e amministrazione: FONDAZIONE UGO E OLGA LEVI, Palazzo Giustinian-Lolin, S. Vidal 2893, Venezia (c.a.p. 30124). Tel. (041) 24264 I 703161 clc postale n. 11084308 In redazione: Marcella Ilari Autorizzazione del Tribunale di Venezia n. 736/1983 © 1984 by FONDAZIONE LEVI, Venezia Tutti i diritti riservati per tutti i Paesi Acknowledgements I wish to express my gratitude to the following individuals: Fr. Jean Coste, archivist; Professor Denis Arnold, who offered criticism of an earlier stage of the Introduction; Jean Lionnet, who made available to me material for his forthcoming article on the cappella musicale of S. Luigi de' Francesi (1981) and his current work on the Sistine Chapel. Thanks are also due to the Canons of S. Maria Maggiore for allowing me to consult their archives, and to the staff of Archivio di Stato, Rome. Ci scusiamo con i lettori per il ritardo con cui il lavoro vede la luce: si è reso neces­ sario un minuzioso lavoro di controllo redazionale che ha imposto il ricorso alla do­ cumentazione originale. La Direzione esprime pertanto un particolare ringrazia­ mento alla Dott.ssa Marcella Ilari. Bibliographic abbreviations ACSLD: Archivio Capitolare di S. Lorenzo in _Damaso (at A li) ACSMM: Archivio Capitolare di S. Maria Maggiore (Piazza S. Maria Maggiore, 6, Roma) ACSMT: Archivio Capitolare di S. Maria in Trastevere (at A V) ACSMV: Archivio della Congregazione (Padri dell'Oratorio) di S. Maria in Vallicella (Piazza della Chiesa Nuova, 18, Roma) ACSPV: Archivio Capitolare di S. Pietro in Vaticano (at BAV) ARSI: Archivum Romanum Societatis Iesu (Borgo S. Spirito, 5, Roma) ASR: Archivio di Stato di Roma (corso Rinascimento, 40, Roma) ASRSP: Archivio della Società Romana di Storia Patria ASV: Archivio Segreto Vaticano AV: Archivio storico del Vicariato di Roma (Tabularium Vica­ riatus Urbis) (via Amba Aradam, 3, Roma) BAV: Biblioteca Apostolica Vaticana CNRS: Centre Nationale de la Recherche Scientifique GROVE 6: The New Grave Dictionary of Music and Musicians, 6th edn., ed. Stanley Sadie, 20 vols., London, 1980. LM: Liber Mortuorum. LStA: Liber Status Animarum MEFR: Mélanges de l'Ecole française de Roma MGG: Die Musik in Geschichte und Gegenwart NdA: Note d'Archivio per la Storia Musica/e RISM: Répertoire Internationa/ des Sources Musica/es RMI: Rivista Musicale Italiana RSI: Rivista Storica Italiana Library sigla follow those of RISM. 7 Manuscript Sources Archivio di Stato di Roma (ASR) Collegio dei 30 notai capitolini: Ufficio 30 Acts of Franciscus De Romanlis 1591-1610 Petrus Antonius Cathalonus 1595-1603 id. et Arsenius Musea 1604-1611 Antonius Lucatellus 1612-1648 Bernardinus De Sanctis 1648-1664 Carolus Caesar Gerardinus 1665-1672 Vincentinus Octavianus 1673-1686 Thomas Octavianus 1686-1695 Dominicus Pascasio Magno 1695-1699 (also conserved at): Archivio Capitolare di S. Maria Maggiore in Roma (ACSMM) Instromenti, t. XX-XXXI Decreti (Libri decretorum) a. 1595-1606; 1609-10 b. 1611-1639 c. 1641-1651 d. 1683-1721 Cappella Musicale Entrata et Uscita i. t. IV 1589-1600 ii. t. V 1601-1603 iii. t. VI 1603-1619 (lacking 1615-1618) iv. t. VII 1620-1631 (lacking 1624) v. t. VIII 1631-1644 Giustificazioni dei mandati I. 1650-1696 II. 1647-1694 Miscellanea della Cappella Musicale I, II, III. Bianchini, Giuseppe: Historiae Basilicae Liberianae S.M. Maioris, MS, 10 vols., Roma, 1759. Archivio storico del Vicariato di Roma (Tabularium Vicariatus Urbis) (t. IV) (AV): Liber Status Animarum; Liber Mortuorum (various parishes, 1600-1700) 8 INTRODUCTION a. The basilica, Iiturgy and personnel. A pilgrim visiting Rome at the end of the sixteenth century would have been impressed by the centraI position occupied by the basilica of S. Maria Maggiore in the town pIan of Pope Sixtus V. About the basilica a concentric road system had been created which provided access to places of pilgrimage, the city gates and densely-populated areas of Rome. Building operations, suspended on the Esquiline Hill since the pontificate of Nicholas V (1447-1455), were renewed under Sixtus V, who built a chapel at S. Maria Maggiore in which to be buried. The basilica was further dignified by Paul V Borghese, who constructed a chapel there in the early seventeenth century. The various stages through which the fabric of the basilica passed have been well documented, and an authoritative account, by Richard Krautheimer, now exists 1• For a history of the institution one can turn in the first pIace to a long and diffuse ten-volume MS work by Giuseppe Bianchini2 or to even more diffuse notes by the same author in the fondo Bianchini at ACSMM, search through scattered studies on important people or families associated with the basilica, or consult obscure ecclesiastical dictionaries, and there exists no recommendabIe study of the institution as such. Where the basilica's possessions are concerned, on which its wealth depended, the situation is a little better, and will be considerabIy illuminated when the researches of Jean Coste, on the topography of the Roman campagna outside Porta Maggiore, are completed and published. Inside the basilica, on the site of the present baptistery built by Pope Paul V (as early as 1604) stood a «choretto» used for the Divine Office. Before this was constructed, the Divine Office took pIace in the apse, and l R. KRAUTHEIMER (et al.), Corpus Basilicarum Christianarum Romae, iii, Città del Vaticano, 1967, which includes a full bibliography. 2 See supra, Manuscript Sources, 1759. 9 traditions of greatest antiquity supported this practice. During the four light and warm summer months between May and August, the Divine Office took pIace in the apse during the seventeenth century, but the south­ facing chapel of S. Caterina, off the left aisle, was the preferred pIace for psalmody in the winter3• Organs, which apparently stood originally by two altars at the entrance to the choir by the triumphal arch, in the testament of had been provided Guillaume d'Estouteville, Cardinal archpriest of the basilica from 1445-14844• A tribune and organ stood on the left wall of the west end of the basilica until 1573, when the remains of Pope Nicholas IV were translated there from the south of the church and the organ dismantled5• De Angelis' illustration of the interior in 1621 (Fig. 2) shows several musicians in a tribune on the right wall, with organ above. According to Ciaconius, this instrument dated from the time of Sixtus IV (reg. 1471-1484)6, and it was decorated in the time of Clement VIII (reg. 1592-1605)7. At about the same time the area under the organ was enlarged, to accommodate important ecclesiastics who wished to attend on festal occasions. Musicians, who only moved to the tribune on festal days, and otherwise sat in the choir, found a new pIace under the tomb of Nicholas IV, in a new tribune, and it was felt that a sense of architectural and musical proportion, as well as an increase in popular devotion, would be created thereby8. Feasts of the Virgin had been celebrated at S. Maria Maggiore since the late seventh century9. At the Christmas Vigil, a relic of the crib was taken in procession, a companied by special concerted music, from the Sistine Chapel to the papal altar lO• On 23rd January, the feast of S. Idelfonso was celebrated in «ritu solemnissimo», according to the formula employed by Pope Innocent I in the bull Sacri Aposto/atus (1647), by which he instituted the «Opera Pia di Spagna», the origins of which lay in king Philip II's 3 Archivio Segreto Vaticano, Arm. VII. no. 32. 4 G. BIASIOTTI, Le basiliche romane di S. Maria Maggiore e S. Martino ai Monti nei disegni degli Uffizi di Firenze, Roma, 1917, p. 6 n . 1. 5 KRAUTHEIMER, op.cit., 1967, p. 29. 6 A. CHACÒN, Vitae et res gestae pontificum S.R.E. Cardinalium , a cura di A. Oldoini, III , Romae, 1677, p. 30: «a laeva arae maximae in basilica liberiana organum concinnavit» . 7 A .M . CORBa, Artisti e artigiani in Roma al tempo di Martino V e di Eugenio IV, Roma, 1969. 8 This and the following from A.M. SANTARELLI, Memorie notabili della Basilica di Santa Maria Maggiore, Roma, 1647, pp. 70-71. 9 KRAUTHEIMER, op.cit., 1967, p. 6. Cfr. P . DE ANGELIS, Basilicae S. Mariae Maioris de Urbe descriptio et delineatio, Roma, 1621, passim. IO SANTARELLI, op.cit., 1647, p. 102. lO anxiety over the birth of his first child. The chapter sent Philip a part of its relic of the crib, and he responded with the Tract of Naples, two hundred bottles of wine supplied annually, which the chapter sold at a fixed rate, and a payrnent of 4,000 ducats for the «Pious Works». Innocent's bull provided 200 scudi annually for musicians at the feast, to which the chapter invited the Spanish ambassador, hoping thus to secure the dispatch of its winell. Precise rules concerning psalmody, at the Hours of Matins, Lauds and other canonical hours, were laid down in Directorium Chori (1582 and many subsequent editions).
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