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Keyboard Playing and the Mechanization of Polyphony in Italian Music, Circa 1600

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Keyboard Playing and the Mechanization of Polyphony in Italian Music, Circa 1600 Keyboard Playing and the Mechanization of Polyphony in Italian Music, Circa 1600 By Leon Chisholm A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Music in the Graduate Division of the University of California, Berkeley Committee in charge: Professor Kate van Orden, Co-Chair Professor James Q. Davies, Co-Chair Professor Mary Ann Smart Professor Massimo Mazzotti Summer 2015 Keyboard Playing and the Mechanization of Polyphony in Italian Music, Circa 1600 Copyright 2015 by Leon Chisholm Abstract Keyboard Playing and the Mechanization of Polyphony in Italian Music, Circa 1600 by Leon Chisholm Doctor of Philosophy in Music University of California, Berkeley Professor Kate van Orden, Co-Chair Professor James Q. Davies, Co-Chair Keyboard instruments are ubiquitous in the history of European music. Despite the centrality of keyboards to everyday music making, their influence over the ways in which musicians have conceptualized music and, consequently, the music that they have created has received little attention. This dissertation explores how keyboard playing fits into revolutionary developments in music around 1600 – a period which roughly coincided with the emergence of the keyboard as the multipurpose instrument that has served musicians ever since. During the sixteenth century, keyboard playing became an increasingly common mode of experiencing polyphonic music, challenging the longstanding status of ensemble singing as the paradigmatic vehicle for the art of counterpoint – and ultimately replacing it in the eighteenth century. The competing paradigms differed radically: whereas ensemble singing comprised a group of musicians using their bodies as instruments, keyboard playing involved a lone musician operating a machine with her hands. By replacing musicians with a machine, keyboard playing amounted to a mechanization of polyphony. Chapter 1 outlines the mechanization of ars perfecta polyphony through keyboard playing. To illustrate its effects, I analyze several keyboard intabulations in relation to their vocal models, including Marcantonio Cavazzoni's adaptation of the chanson Plusieurs regretz by Josquin, and the intabulation preserved in the Turin Tablature of Rore's Calami sonum ferentes. I show how formal differences relate to changes in agency, script, and sensorimotor experience. Drawing on research in cognition and motor control, I discuss how experiencing polyphonic vocal music through keyboard playing affected how musicians parsed the art form. The remainder of the dissertation examines the relationship between keyboard playing and the ecclesiastical concerto, as exemplified in Lodovico Viadana's Cento concerti ecclesiastici 1 (1602). Chapter 2 investigates the complex material relationship between the vocal partbooks and organ continuo part in printed books of sacred music from the 1590s and early decades of the seventeenth century. I argue that the concerto print served as a virtual site for the convergence of the art of counterpoint and keyboard playing. Chapter 3 proposes that the redesign of the Italian organ in the fifteenth and sixteenth centuries was a crucial precedent for the "concertato style." The concertato style itself represents a stylization of the model of distributed cognition inherent in the sacred concerto. 2 To my parents, Jim and Judy, with gratitude i TABLE OF CONTENTS List of Figures iii List of Musical Examples v List of Tables vii Acknowledgements viii Library Sigla x Pitch Nomenclature xi Introduction: Cyborgs at Work 1 1 Intabulation and the Mechanization of Polyphony 20 2 Basso Continuo and the Transformation of the Printed Book of Sacred Music 71 3 Material Origins of the Concertato Style 109 Bibliography 146 Appendix A Transcriptions of Plusieurs regretz and Plus ne regres 167 Appendix B Transcriptions of Calami sonum ferentes 172 Appendix C Printed Collections of Sacred Music with Organ Parts, 1594-1605 178 Appendix D Reeditions of Single-Author Prints of Sacred Music Newly Issued with a Continuo Part, 1601-1693 192 Appendix E Anthologies Including Older Sacred Music Newly Issued with a Continuo Part, 1599-1639 195 ii LIST OF FIGURES 0.1. G.F. Cavalliere, Juxtaposition of mano figurata and keyboard. 12 1.1. Josquin, Plusieurs regretz, from Livre contenant XXX. chansons tres musicales a quatre, cinque & six parties (Paris: Pierre Attaingnant, 1549). 34 1.2. M. Cavazzoni, Plus ne regres, from Recerchari, motetti, canzoni (Venice: Vercelensis, 1523). 35 1.3. Rore, Calami sonum ferentes, Tutti i madrigali di Cipriano di Rore (Venice: Gardano, 1577), opening. 42 1.4. Rore, Calami sonum ferentes, excerpt (I-Tn, Ms. Foà 4, f. 62r). 43 1.5. Distribution of pitches among the four parts of Calami sonum ferentes as a) Rore's vocal setting, and b) the intabulation in the Turin Tablature. 45 1.6. Distribution of rests among the voices in a) the original version of Calami sonum ferentes by Rore, and b) the intabulation of the work in the Turin Tablature. 47 1.7. Berchem, Lasso che desiando vo as appearing in a) Il secondo libro de madrigali di Cipriano de Rore a cinque voci insieme alcuni di M. Adriano & altri autori (Venice: Gardano, 1544/1551R), and b) Bardini Manuscript 967. 50 1.8. Correa, Facultad organica, example of cifra notation and pointers. 51 2.1. Notational formats of basso continuo parts in partbook sets. 83 2.2. Luigi Balbi, Ecclesiastici concentus (Venice: Raverius, 1606), title pages of the Altus partbook and Partidura. 95 2.3. Signorucci, Salmi, falsobordoni (Venice: Vincenti, 1603), title pages of Canto II and Basso per sonar. 98 3.1. G.B. Martini’s sketch of a medieval organ with other instruments. 132 3.2. Zarlino, Sopplimenti musicali, woodcut of a medieval organ windchest. 133 iii 3.3. Praetorius, De organographia, woodcut of the manual and pedal keyboards of the Halberstadt organ. 134 3.4. Praetorius, De organographia, woodcut of a key of the Magdeburg organ. 135 3.5. Matteo d’Allemagna, sketch of the proposed organ for S. Antonio, Cremona. 136 3.6. Alternating forces in Lappi, Te Deum, mm. 45-103. 141 3.7. Basso generale from G. Gabrieli, Canzon vigesimasettima of Canzoni per sonare. 143 iv LIST OF MUSIC EXAMPLES 1.1. Comparison of Plus ne regres and Plusieurs regretz, opening. 28 1.2. Comparison of Plus ne regres and Plusieurs regretz, mi-fa-mi motif. 29 1.3. Josquin, Plusieurs regretz, mm. 24-30. 30 1.4. Josquin, Plusieurs regretz, mm. 8-9. 31 1.5. a) Josquin, Plusieurs regretz, mm. 16-17, b) Cavazzoni, Plus ne regres, mm. 15-16. 31 1.6. Josquin, Plusieurs regretz, canon a) mm. 3-7, b) mm. 24-28. 32 1.7. Josquin, Plusieurs regretz, mm. 7-9. 36 1.8. M. Cavazzoni, Plus ne regres, a) mm. 11-12, b) mm. 20-22. 36 1.9. M. Cavazzoni, Plus ne regres, mm. 30-31. 36 1.10. Willaert, Qui la dira la peine de mon cœur a 5, canon, mm. 4-8. 38 1.11. Qui la dira la peine de mon cœur, mm. 3-5, a) Willaert, b) A. Gabrieli. 39 1.12. a) Josquin, Faulte d'argent a 5, opening, b) hypothetical literal transcription for keyboard, c) G. Cavazzoni, Canzon sopra Falt d'argens, opening. 41 1.13. Rore, Calami sonum ferentes (mm. 7-10) as it appears in a) Le quatoirsiesme livre a quatre parties (Antwerp: Susato, 1555), b) I-Tn Ms. Foà 4. 44 1.14. Luzzaschi, Quivi sospiri, Tenor, mm. 10-13. 56 1.15. Diruta, Il Transilvano, fingering. 64 1.16. Correa, Tiento de medio registro de dos tiples de septimo tono, Facultad organica (1626), mm. 25-30. 66 1.17. Bimanual coordination exercises. 67 v 2.1. Modern categories of basso continuo. a) "Basso continuo" in Gian Paolo Cima, Haec dies, Concerti ecclesiastici (Milan: Tini & Lomazzo, 1610), excerpt; b) "Basso seguente" in Gabriello Puliti, Credo, Missa concertata, from Il secondo libro delle messe (Venice: Vincenti, 1624). 78 2.2. Banchieri, Quinta Sinfonia ("Sacerdotes, & Levitę"), Ecclesiastiche sinfonie (Venice: Amadino, 1607), mm. 18-20. 79 3.1. Lappi, Te Deum a 8, excerpt (as performed a cappella). 112 3.2. Lappi, Te Deum a 8, excerpt (as performed according to rubrics). 114 vi LIST OF TABLES 1.1. Comparison of the unmechanized (vocal) and mechanized (keyboardal) performance of polyphonic music. 57 2.1. "Bilingual" early sacred concerto prints. 93 vii ACKNOWLEDGEMENTS For financial support of this dissertation, I thank the University of California, Berkeley, particularly the Department of Music, Graduate Division, Townsend Center for the Humanities, and Berkeley Connect. The Alfred Hertz Traveling Fellowship allowed me to study the cembalo cromatico and its more ordinary relatives with Christopher Stembridge. A fellowship from Fondazione Cini permitted me to do research in Venice for six months while living on the island of San Giorgio Maggiore. Through a visiting fellowship from Harvard University, I had the pleasure of becoming part of another illustrious music department for a year. The Oshawa Centre of the Royal Canadian College of Organists generously awarded me a scholarship toward my organ studies. The staff at the library of Hargrove Music Library at UC Berkeley provided vital bibliographic support. I'm indebted also to the staff of the Manica Lunga at Fondazione Cini for their help. I thank the Loeb Music Library staff for making me feel so welcome during my year at Harvard. Thanks also to Kathryn Bosi at Villa i Tatti for making my visits there so pleasant. I offer heartfelt thanks to the four remarkable professors who have comprised my committee. Kate van Orden has been a model advisor and scholar. She knows exactly when to challenge me and when to cheer me on. She has read my drafts with incredible dedication and has always been available to chat, even while working on two books of her own. I'm thankful for the magical blend of imagination, rigor, passion, and humor that is the intellect of James Davies.
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