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Home , Intermedio, Jacques Arcadelt, Madrigal, Madrigal (Trecento), Orazio Vecchi

Fourth Annual Italian Symposium

Cipriano de Rore, c.1515–65

DePaul University School of Music Holtschneider Performance Center 2330 N. Halsted St. Chicago, IL 60614 12–13 October 2019

SATURDAY, 12 OCTOBER 2019 Holtschneider Performance Center, DePaul University, Room 319

9:00—9:30 COFFEE AND PASTRIES

SESSION I

9:30—10:40 COMPOSITION AND DESIGN

Jessie Ann Owens (UC Davis), Chair

Paul Schleuse, Binghamton University (SUNY) • The Doctor’s Serenade: Madrigal parodies in Banchieri’s

Peter Schubert, McGill University • Formal Designs in Willaert's Music

10:40–11:00 BREAK

11:00–12:10 TIBURZIO MASSAINO AND THE MADRIGAL

Peter Schubert (McGill University), Chair

Martin Morell, NY • Tiburzio Massaino’s Second Thoughts

Jessie Ann Owens, UC Davis • Mode and System in a Massaino Madrigal: Evidence from the Versions of I’ piango e grido sempre

12:15–2:00 LUNCH

SESSION II Holtschneider Performance Center, DePaul University, Room 319

2:00–3:45 IN CONTEXT

Giuseppe Gerbino (Columbia University), Chair

Timothy McKinney, Baylor University • Hermeneutic Evolution and Intertextuality in Five Settings of ’s I’ vo piangendo i miei passati tempi

Russell O’Rourke, Columbia University • “Imitating the Words” in Music: The View from the Poetics Commentary Tradition

Seth Coluzzi, Colgate University • Mode, Motives, and the Makings of a Multi-parte Madrigal: Monteverdi’s Ecco, Silvio, colei che ’n odio hai tanto

2 SESSION II CONTINUED

3:45–4:00 BREAK

4:00–5:10 AND PLACE I

Robert L. Kendrick (University of Chicago), Chair

Kenneth R. Kreitner, University of Memphis • Italian Madrigals in Spanish Churches

Dan Donnelly, University of Toronto / OISE • The Madrigal Print as Travelogue: Traversing the Venetian Stato da mar in Giandomenico Martoretta's Third Book

5:20–7:00 DINNER

Holtschneider Performance Center, DePaul University, Brennan Recital Hall

7:15 TALK: Ellen Hargis, "Prima le parole: Singing from the text”

7:30 CONCERT (DePaul alum: Madrigals discussed in the papers, and the Newberry Consort: Italian music) FOLLOWED BY A RECEPTION

SUNDAY 13 OCTOBER 2019 Holtschneider Performance Center, DePaul University, Room 319

9:30-10:00 COFFEE AND PASTRIES

SESSION III

10:00–11:20 MADRIGALS AND PLACE II

Massimo Ossi (Indiana University), Chair

Lucia Marchi, DePaul University • Madrigals in Piacenza Move to HPC C228 for the last paper and performance Cathy Ann Elias, DePaul University • Antonio Buonavita, Nobile Pisano Cavaliere and his Madrigals • Eric Esparza and DePaul singers: two pieces by Buonavita Return to HPC Room 319

11:30–12:45 LUNCH / BUSINESS MEETING (plans for next year)

END 1:00 PM

3 ABSTRACTS

SATURDAY SESSION I

Paul Schleuse, Binghamton University [SUNY] “The Doctor’s Serenade: Madrigal parodies in Banchieri’s canzonettas” Were madrigals popular? The question has two senses—the general question of a madrigal’s fame or notoriety can be traced through reprint histories, anthologies, and intabulations or other new arrangements. Yet these kinds of adaptations can also hint at another sense of “popularity”: the ways in which madrigals escaped the courts, academies, and ridotti for which they were composed and entered into the wider soundscapes of early-modern life. From these perspectives madrigals might be marked as emerging from an elite culture held up to ridicule. Three of ’s commedia dell’ arte-inspired three-voice books (1598- 1603) include parodies of well-known madrigals, namely Marenzio’s Liquide perle d’amor (1580), Palestrina’s Vestiva i colli (1566), and (following ’s 1597 five-voice parody) de Rore’s Ancor che col partire (1547). In every case the madrigal represents a serenade sung by the foolish Dottor Graziano, whose mangled verses transform refined love poetry into grotesque accounts of bodily functions. While Banchieri quotes the original , he evokes a solo performance through vocal imitations of . For readers who don’t know them, Banchieri provides the original words, labelled “madrigal antico,” before each piece, explicitly characterizing the serenades as failed attempts to invoke an already “classical” repertoire. He lampoons elitist madrigal culture not only by presenting his parodies in the voice of the supposedly learned doctor, but by setting them in the context of serenading. A broader survey of serenades and mattinate in early-modern depictions suggests that this inherently transgressive act was frequently portrayed parodically, sung by fools, old men, and lower-class lovers—and when more serious serenaders appear they opt for up-to-date strophic canzonettas. The humor of the doctor’s parodies lies not only in the distortion of the models, but in his choice to serenade his beloved with a madrigal at all.

Peter Schubert, McGill University “Formal Designs in Willaert's Music” Although Willaert’s madrigals are praised for their sensitivity to formal and expressive aspects of text (Feldman 1995), they raise, with “the exception of a handful of especially tuneful , madrigals and … perplexing questions about the aesthetic quality of his music…” (Fromson 2001). While it is true that many features of Willaert’s composition can be directly related to the text he is setting, many other features cannot. In this paper I will analyze an early madrigal, Amor mi fa morire (RISM 153416) to untangle which is which, and to give a better account of the music. For instance, the opening soggetto is based on the vowels in the first poetic line, mirroring a formal feature of the text (solmization syllables; Haar 1975). But it is in no way expressive of the text since the same subject is used to set three other poetic lines. Rather, it fulfils a formal function: it finds itself accompanied by other fragmentary lines to create modules (Owens, 1997) that are arranged into little arch forms. These arches cross text-phrase boundaries, and so must be considered purely musical structures. On a larger scale, even when musical repetition is to be expected because of the poetic form of this -madrigal (Newcomb 2010; Harran 1969), Willaert varies it in interesting ways. The music of the volta is shorter and more dissonant, and one module from the beginning of the madrigal reappears transposed up a fourth. The compression, dissonance, and transposition make the reprise “heightened” (Lester 2001) for a satisfying musical climax. Willaert’s careful deployment of musical repetition might be one explanation for his anecdotal reluctance to release his madrigals to the public until he had reworked them at length (Zarlino 1588). Looking at his music in this way enhances our appreciation of it.

Martin Morell, New York, NY “Tiburzio Massaino’s Second Thoughts” In the Italian madrigal repertoire, instances of arrangement – the reworking of an existing piece into something new – are not uncommon; consider, for example, the many versions of Ancor che col partire; “serious” madrigals refashioned into lighter-genre counterparts; or Coppini’s sacred contrafacta. However, what John Milsom has called “recomposition,” that is, a composer’s reworking of his/her own existing compositions, or even composing new music on a previously set text, is quite rare, and always of great interest. We are particularly fortunate that Tiburzio Massaino (ca.1550-post 1609) gives us insights into how his musical style and aesthetic values changed over the course of more than two decades.

4 In 1579, he played a central role in assembling and publishing the madrigal anthology Trionfo di musica di diversi a sei voci, celebrating the marriage of Bianca Capello to Francesco I de’ Medici. Massaino contributed nine madrigals to the collection, as well as settings of two stanzas of the purpose-written sestina Sperar non si potea da sì bell’Alba. A full quarter-century later, in 1604, Massaino included recomposed versions of six of his Trionfo di musica madrigals in his Secondo libro de’ madrigali a sei voci. The recomposed versions incorporate a variety of changes, ranging from minor tweaks to substantial revisions. Comparison and analysis of the original and recomposed versions is of interest for several reasons, particularly in light of the considerable time lapse between the appearance of the two publications. Additionally, the sequence in which the recomposed madrigals appear in the 1604 print sheds light on Massaino’s approach to ordering his prints. The paper examines the differences between the original and recomposed versions, and offers a general typology of these differences. The paper also considers various factors which may have influenced Massaino’s recompositional choices.

Jessie Ann Owens, UC Davis “Mode and System in a Massaino Madrigal: Evidence from the Versions of I’ piango e grido sempre” Martin Morell’s discovery of extensive revision and recomposition in madrigals by Tiburzio Massaino offers an unusual opportunity to see changes in his musical aesthetic. My paper is offered as a complement to Morell’s study, and I acknowledge with gratitude his invitation to collaborate with him. My analysis of a single madrigal shows two particularly interesting kinds of changes. First, Massaino makes the music of the second version conform much more closely to its epigrammatic and highly structured text, evident both in decisions about text repetition and in the placement of B fa. Second, he changes the tonal orientation of the piece: in place of the final on A in the first version, he brings the second version to a close on D. From these changes we see a composer rethinking his reading of the text and even the tonality of the piece as a whole. For a period in which the final tends to exert great force in our understanding of mode, what are we to make of this change?

SATURDAY SESSION II

Timothy McKinney, Baylor University “Hermeneutic Evolution and Intertextuality in Five Settings of Petrarch’s I’ vo piangendo i miei passati tempi” The paper examines potential intertextual connections among five settings of Petrarch’s I’ vo piangendo i miei passati tempi composed by (published 1546), (published 1554), Gioseffo Zarlino (published 1562), (published 1562), and Orlando di Lasso (published 1567). Particular attention will be given to the treatment of the opening line I go weeping for my past time and the depiction of the contrast that pervades the second quatrain of the sonnet between the strength and power of the King of Heaven and the protagonist’s unworthy wickedness and weakness. While portrayal of weeping is commonplace in the madrigal, as is the creation of musical antitheses to match poetic ones, the introduction of theological concepts here such as eternal omnipotence and salvation through grace renders this a spiritual madrigal and fosters hermeneutic intensity and seriousness. In the opening passage, the focus will be upon compositional techniques used to set the tone for the overall grave nature of the poetry and to evoke weeping. In the antitheses of the second quatrain, specific melodic, rhythmic, textural, and harmonic devices will be compared and an evolutionary hermeneutic thread traced from Parabosco’s setting through several of the later settings (while acknowledging the dangers inherent in using publication date to suggest order of composition). While some of these devices are standard madrigalian techniques, others clearly stem from Parabosco’s study with , such as emphasis on harmonic quality. These Willaertian techniques became staples of the Venetian madrigal repertoire through the and , and are manifested in the settings of our composers with ties to Venice. The settings of Arcadelt and Lasso lie outside of this orbit and serve as foils for tracing the distinctly Venetian elements in the other settings.

Russell O’Rourke, Columbia University “‘Imitating the Words in Music’: The View from the Poetics Commentary Tradition” This paper reconsiders the concept and practice of “imitating the words” (imitazione delle parole) in musical culture by turning to the commentary tradition on Aristotle’s Poetics that flourished in the later decades of the sixteenth century. While scholarship has tended to view techniques of musical imitation commonly associated with the madrigal—word-painting and the like—as manifestations of the general principle “art imitates nature” (ars imitatur naturam), a close read of Gioseffo Zarlino’s writings alongside treatises on Aristotle’s Poetics by authors including

5 Alessandro Piccolomini, Giorgio Bartoli, and Francesco Buonamici yields an alternative framework for musical imitation, one less beholden to the values of visual naturalism bound up with that motto. In the first place, “imitating nature” and “imitating the words” are distinct—and unrelated— principles for Zarlino. The former, guiding the composer’s choice of a tuning system (among other considerations), undergirds a polyphonic cantilena unnoticed, while the latter aims at expressing a poetic text such that the results may be appreciated by listeners. In the Sopplimenti musicali, moreover, the theorist explicitly associates "imitating the words" with the imitation (mimesis) treated in the Poetics. To explore the implications of this association I then turn to the aforenamed commentators. Elaborating Aristotle’s precepts creatively, these authors foreground the mediation that conditions the relationship between any work of imitation and its "object," and task the audience with completing a syllogistic inference to distinguish the one from the other. What emerges from the Poetics commentary tradition, all told, is a quasi-logical paradigm for imitation that fulfills the twin aims of pleasure (diletto) and benefit (utile) so prized in sixteenth-century discourses on the arts, music included. With the Aristotelian attitude toward imitation established, I examine a work from 's L'ottavo libro, demonstrating how a Poetics-inflected take on "imitating the words" can shed new light on both compositional practice and aesthetic experience in the madrigal.

Seth Coluzzi, Colgate University Mode, Motives, and the Makings of a Multi-parte Madrigal: Monteverdi’s Ecco, Silvio, colei che ’n odio hai tanto Monteverdi’s nine settings of texts tied to Guarini’s Il pastor fido (1589) are often viewed as a pinnacle of late-Renaissance vocal polyphony and the Italian madrigal, as well as a turning point toward the affective and dramatic techniques of the Era. Numerous studies have explored the innovative and controversial settings of the Fourth and Fifth Books that instigated the celebrated Artusi–Monteverdi debate over “modern music.” Scholars such as James Chater, Gary Tomlinson, Massimo Ossi, and others have also noted the changes these settings manifest in Monteverdi’s textual sources and musical language—in particular, the use of variant versions of the play’s texts and the influences of the compositional styles of contemporary composers Wert and Marenzio. This paper looks closely at one madrigal, Ecco, Silvio, colei che ’n odio hai tanto (1605), to demonstrate Monteverdi’s integration of the tested techniques of Wert’s and Marenzio’s Pastor fido settings into his own multifaceted and individualized approach. The text posed several new challenges to the composer. First, as a dialogue between two characters, the madrigal shows Monteverdi’s combined use of mode, motivic references, and texture to distinguish the speakers of the text within the conventional lyric, polyphonic framework of the madrigal. Also, the sheer length of the dialogue made this Monteverdi’s most expansive madrigal at the time with five separate parti, which demanded special attention to issues of unity, form, and text-setting. The solutions represent a culmination of Monteverdi’s adaptation of a Mantuan idiom for his own expressive and technical ends. These solutions, I propose, in their seeming allusions to a recent work of Wert, might have served as a response, if not challenge, to the composer’s late Mantuan colleague.

Kenneth R. Kreitner, University of Memphis “Italian Madrigals in Spanish Churches” In 1526 the cathedral of Seville, far from forbidding instruments besides the organ in their services, added a loud band of woodwinds and brass to their payroll; and in the decades after, many churches around Spain and its colonies followed suit to create a substantial and surprisingly unified tradition of church bands. We know something about their repertory from five surviving manuscripts. Among these, Segovia 6 (1610s) is an outlier: it consists of four-voice motets by Guerrero, Palestrina, and Lobo. The other four are reassuringly similar in combining hymn verses, sets of psalm verses, motets domestic and foreign, chansons mostly from the Clemens generation and Lasso, and most significant for the present conference, Italian madrigals. Granada 975 (c1575) contains 1 madrigal each by Arcadelt, Jacquet, and Lasso; Utrecht 3.L.16 (1590s) contains 10 by Striggio, 2 each by Lasso and Primavera, 1 each by Ferrabosco, Jacquet, Marenzio, Verdelot, and Monte; Lerma 1 (1590s) has 6 by Lasso, 3 by Nanino, 2 by Striggio, and 1 by Verdelot; and Puebla 19 (Mexico, 1670s) has 1 by Lasso. There are also pieces without incipit that may be madrigals awaiting identification. It is an impressive quantity and variety of music—and one wonders whether anyone hearing or playing, say, Marenzio’s Tirsi morir volea in the procession before mass had any suspicion of what it was actually about. This paper will explore the sources of the madrigals, the routes by which they may have arrived in the Spanish domains, and their place in the manuscripts, and will speculate on their usefulness for this purpose so remote from their origin. These four sources give yet another example of the power of this music back then far beyond its original intent.

6 Dan Donnelly, University of Toronto / OISE “The Madrigal Print as Travelogue: Traversing the Venetian Stato da mar in Giandomenico Martoretta's Third Book” The Calabrian composer Giandomenico Martoretta’s third book of madrigals (Venice: Gardano, 1554) is best known for its connections to Cyprus, which have recently been explored in work by Balsano, Pecoraro, and Kitsos. The book is dedicated to the Cypriot nobleman Piero Singlitico, with whom Martoretta reportedly stayed while returning from a trip to the Holy Land, and ten of its twenty-eight compositions are dedicated to important members of the Cypriot nobility. It also contains a musical setting of a Petrarchan poem in Cypriot Greek dialect, with a concordance in an important MS collection of Cypriot Petrarchan poetry. Although Martoretta’s time in Cyprus clearly dominates the volume, comparatively less attention has so far been paid to the book’s other contents. The dedicatees of the non-Cypriot madrigals—aside from several reprints from Martoretta's first book (1548)—clearly lay out the rest of Martoretta’s travel itinerary from Cyprus back through Venetian holdings in Crete, Dalmatia, and Istria to the city of Venice itself, where the composer was reportedly present at the time of its 1554 publication. The importance of the geographic and dedicatory elements as organising principles for the collection is further underlined by the publication history of Martoretta’s only long madrigal cycle—a setting of Luigi Tansillo’s canzone Amor, se vôi ch’io torni al giogo antico. The cycle was split up for publication between the composer’s second (1552) and third books, with the individual parts ordered according to the locations of their dedicatees rather than their place in the cycle.

SUNDAY SESSION III

Lucia Marchi, DePaul University “Madrigals in Renaissance Piacenza” In the 16th century, the city of Piacenza in Northern was divided between French and Papal domination until the establishment of a duchy under Farnese rule in 1545. This paper is the first attempt to define the city’s musical role in the history of Renaissance madrigals by mapping its repertory, patronage, spaces, and occasions for compositions. A wealth of information is offered by Antonfrancesco Doni’s Dialogo della musica, whose first part is supposedly set in Piacenza in 1543 during the meetings of the Accademia degli Ortolani and provides names of local musicians, poets and patrons. The Madrigali a Quattro voci di Claudio Veggio (1540), dedicated to the Piacentine aristocrat Federico Anguissola, is a case-study for musical and literary tastes in the city in the first part of the 16th century. Later in the 1540s/50s, the musical patronage of Duchess Margherita of Austria (Parma and Piacenza; 1522-86), provides further hints at urban musical life and the importance of the Farnese.

Cathy Ann Elias, DePaul University “Antonio Buonavita, Nobile Pisano Cavaliere and his Madrigals Antonio Buonavita (1548-1618), a priest and member of the nobility, was an important composer, organist and a member of the Order of the Cavalieri di Santo Stefano (Pisa). He became the assistant to the maestro di cappella, Bocchini and an organist at the cathedral in Pisa. One of his duties was to organize concerts, often traveling to Lucca and to search for excellent musicians. He composed music for some of the greatest events of the time: the entry into Pisa of the Grand Duke of Tuscany, Ferdinando I de’ Medici (1588), and the visit of Ferdinando and his new wife, Christine de Lorraine (1589). Descriptions of these events indicate that they included pieces for as many as 64 voices with string and wind instruments. Unfortunately, most of his music is lost, possibly from the cathedral fire of 1595 that also destroyed the organ. We know that Emilio de’ Cavalieri worked with him on the construction of a new one. Buonavita was noted for the practice of using 4 scattered around the cathedral. For the purpose of this paper, I will discuss two surviving madrigal collections, Il primo libro de madrigali … for 4 voices with a dialogue for 8 voices (Venice 1587), and Il primo libro de madrigali … for 6 voices including an with a 12-voice chorus (Venice 1591). DePaul students under the direction of Eric Esparza will perform my transcriptions of the Primo choro for 12 voices (1591) from the Intermedio, and Da questa non ancor luce da Brace dedicated to the Illustri Accademici della Brace della Nobilissima Città di Lucca (1591).

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Italian Madrigal Conference and Concert Sponsored by: The DePaul School of Music University Research Council Organized by: Cathy Ann Elias, Associate Professor of Music

Special thanks to:

Ronald Caltabiano, Dean of the School of Music

Eric Esparza, Director of Choral Studies and Vocal Area Coordinator Ensemble Conductors, Performance; Voice and

Mary Arendt, Coordinator of Career Services & Alumni Engagement

Janice Hay, Director of Marketing & Communications

Mara Yurasek, Executive Assistant to the Dean

Heidi Hewitt, Concert Manager

Madrigal Seminar Students: Kelly Austin Bartek, David Beytas, Patrick Hartson, Zachary Kessler, Martin Wells, and Tim Paul Sutton

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