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Instrument Building and Musical Culture in Seventeenth-Century Malta

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Instrument Building and Musical Culture in Seventeenth-Century Malta University of Southampton Research Repository Copyright © and Moral Rights for this thesis and, where applicable, any accompanying data are retained by the author and/or other copyright owners. A copy can be downloaded for personal non-commercial research or study, without prior permission or charge. This thesis and the accompanying data cannot be reproduced or quoted extensively from without first obtaining permission in writing from the copyright holder/s. The content of the thesis and accompanying research data (where applicable) must not be changed in any way or sold commercially in any format or medium without the formal permission of the copyright holder/s. When referring to this thesis and any accompanying data, full bibliographic details must be given, e.g. Thesis: Author (Year of Submission) "Full thesis title", University of Southampton, name of the University Faculty or School or Department, PhD Thesis, pagination. Data: Author (Year) Title. URI [dataset] UNIVERSITY OF SOUTHAMPTON FACULTY OF HUMANITIES Music Instrument Building and Musical Culture in Seventeenth-Century Malta: the luthier Mattheo Morales by Anna Borg Cardona Thesis for the degree of PhD Music Submitted November 2017 The research work disclosed in this thesis is partly funded by the Malta Government Scholarship Scheme UNIVERSITY OF SOUTHAMPTON ABSTRACT FACULTY OF HUMANITIES Music Thesis for the degree of Doctor of Philosophy INSTRUMENT BUILDING AND MUSICAL CULTURE IN SEVENTEENTH-CENTURY MALTA: THE LUTHIER MATTHEO MORALES Anna Borg Cardona By the seventeenth century, Malta had become a nucleus of cultural activity. It provides us with totally new perspectives on the production and consumption of music within a Mediterranean context. Though in some ways comparable to other European centres, its society differed in that there was a large presence of multi-national Knights of the Order of St John coming from the aristocracy of Italy, France, Auvergne, Provençe, Aragon, Castille, Léon, Portugal and Germany. Numerous Arab and Turkish slaves added to the cultural mix living in a concentrated area. This thesis uses the example of the Maltese instrument builder Mattheo Morales (1637-1698) as a lens through which to investigate musical culture in seventeenth-century Malta, addressing its connections to wider Mediterranean and European trends and its unique social and cultural circumstances. An affluent society and flourishing cultural atmosphere served as catalyst to foreign singers, instrumentalists, teachers of music and dance, and also to theatrical troupes. Morales was perfectly located in the city of Valletta, managing to carve for himself a very comfortable living, not only through his instrument building, but also by supplementing his earnings with regular investments in traders. Malta’s position in the central Mediterranean placed it at the crossroads of global trade and Morales’ transactions expose the vast web of trade routes with which he was personally connected. A meticulously detailed inventory of his goods drawn up after his death provides us with a very rare description of this craftsman’s home, with details of his furniture, furnishings, paintings, clothing, jewellery and silver items. In his workshop we find a number of different sizes of guitars, violins, sordini violins, bassi di viola, an arch guitar, a lute, a tromba marina, a spinet and also an instrument in the style of a Turkish tambura. Through his inventory and its ramifications, a broader picture of the musical life in Malta and the connectivity of the Island are made apparent. This thesis shapes our understanding of the significant cultural and musical activity taking place within a Mediterranean context. Table of Contents Table of Contents .......................................................................................................... i List of Tables ................................................................................................................ iii List of Figures ............................................................................................................... v DECLARATION OF AUTHORSHIP .................................................................................. vii Acknowledgements ..................................................................................................... ix Definitions and Abbreviations ...................................................................................... xi General Abbreviations ......................................................................................................... xi Libraries, Archives, Fonds .................................................................................................... xi Journals and Publishers ..................................................................................................... xiii Weights and Measures ...................................................................................................... xiii Monetary units, Malta ....................................................................................................... xiii Comparative currency .............................................................................................................. xiii Introduction ................................................................................................................. 1 Chapter 1: The Soundscape of an Island: Music and musical instruments in seventeenth-century Malta .......................................................................................... 5 1.1 Music and Worship: two cities and their sacred music ................................................ 7 1.1.1 Mdina, the old capital ................................................................................................. 7 1.1.2 The Order of St John and the new city, Valletta ....................................................... 21 1.2 Music and outdoor spectacle: processions and celebrations ..................................... 31 1.2.1 Processions and devotions ........................................................................................ 32 1.2.2 Consecrations, investitures and possessi .................................................................. 39 1.2.3 Public celebrations: Carnival ..................................................................................... 47 1.2.4 Folk singing and stringed instruments ...................................................................... 49 1.3 Music and elite entertainment: chamber music, dance and theatre .......................... 51 1.4 Conclusion .............................................................................................................. 63 Chapter 2: The chitarraro Mattheo Morales: his Inventory ................................ 65 2.1 The man and his home ............................................................................................ 65 2.2 His family and household ......................................................................................... 79 2.3 His commercial circle ............................................................................................... 91 2.4 His social status ..................................................................................................... 105 i 2.5 Conclusion ............................................................................................................ 109 Chapter 3: Mattheo Morales’ Bottega di chitarraro ............................................... 111 3.1 Description of the Bottega .................................................................................... 117 3.2 Instruments in the Bottega.................................................................................... 121 3.2.1 Plucked Instruments: citterns, lutes, guitars .......................................................... 126 3.2.2 Turkish-style instrument - Tambura ....................................................................... 136 3.2.3 Bowed Instruments: Violins, Sordini, Basso di Viola, Tromba Marina ................... 139 3.2.4 Spinetta ................................................................................................................... 146 3.3 Goods and services: Repairs, Strings, Timber.......................................................... 148 3.4 Running the family business .................................................................................. 155 3.5 Conclusion ............................................................................................................ 156 Chapter 4: Learning and teaching music and luthiering .......................................... 159 4.1 Music education and instrumental playing ............................................................. 160 4.2 Learning instrument building ................................................................................. 169 4.3 After Morales: his musical goods ........................................................................... 172 4.3.1 Gio Antonio Cascon (1673? – 1732) ....................................................................... 173 4.3.2 Gaspar(o) and Mattheo ‘Mola et Attard’................................................................ 178 4.3.3 Gio Batta Morales ................................................................................................... 183 4.3.4 Michele Grech ......................................................................................................... 185 4.4 Conclusion ...........................................................................................................
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