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Fourth Annual Italian Madrigal Symposium Fourth Annual Italian Madrigal 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 canzonettas 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 POETRY IN CONTEXT Giuseppe Gerbino (Columbia University), Chair Timothy McKinney, Baylor University • Hermeneutic Evolution and Intertextuality in Five Settings of Petrarch’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 MADRIGALS 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 Renaissance 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 Adriano Banchieri’s commedia dell’ arte-inspired three-voice canzonetta 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 Orazio Vecchi’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 polyphony, he evokes a solo performance through vocal imitations of lute ritornellos. 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 chansons, madrigals and motets… 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 ballata-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 sonnet I’ vo piangendo i miei passati tempi composed by Girolamo Parabosco (published 1546), Jacques Arcadelt (published 1554), Gioseffo Zarlino (published 1562), Andrea Gabrieli (published 1562), and Orlando di Lasso (published 1567).
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