L‘ arpa di Partenope Harp Music from Early Baroque Naples Facciam che v’avvenga d’udire o in tempo di notte buia, o di lontano, Giovanni Maria Trabaci (1575-1647) Francesco Lambardo (1587-1642) tanto che nol veggiate, un valentissimo sonator d’arpa, che dopo una brieve ricercata, 1 Toccata Seconda, & Ligature per l´Arpa 3:23 11 Toccata 2:18 ch’è l’esame dell’accordatura, dia nelle più vaghe, e artificiose sonate, ch’egli sappia, Carlo Gesualdo (1566-1613) Giovanni Maria Trabaci d’ogni Tuono, e d’ogni Modo le proprie, e Dorico grave, e Lidio guerriero, e Frigio mesto; 2 Gagliarda del Principe di Venosa 1:47 12 Ancidetemi pur, per l´Arpa 5:43 hor semplici, hor intrecciati, con quel maraviglioso dialogizzare che sembrano far le corde, e interrogarsi, e rispondersi le acute, e le gravi, Ascanio Mayone (1565-1627) Ascanio Mayone hor con botte lente, e poche, hor velocissimamente sminuite, 3 Toccata Prima 4:10 13 Ricercar sopra il Canto fermo 3:44 quasi tutte insieme: come fosser due cori di musici di Constantio Festa Giovanni de Macque (1550-1614) che si corrono dietro, seguendosi su le medesime note, 4 Durezze, e ligature 5:09 Giovanni de Macque e pur sempre lontane alcuno spazio misuratissimo, 14 Seconde Stravaganze 2:16 sì come spazio di consonanza. Gian Leonardo dell´Arpa (c 1525-1602) 5 Io navigai un tempo 1:21 Ascanio Mayone (Opere del padre Daniello Bartoli, Tomo I, Venezia 1659) 15 Partite sopra Fidele 2:42 Giovanni Domenico da Nola (1510-1592) 6 Venga quel bel Narcisso 2:18 Lucas Ruiz de Ribayaz (1650-?) 16 Achas 1:48 Giovanni de Macque 17 Bacas 2:08 7 Seconda Gagliarda 1:59 18 Ruggiero 1:43 Antonio de Cabezón (1510-1566) 19 Xacaras 1:51 8 Romance «Para quien crie yo cabellos» 2:32 20 Espanoletas 3:18 9 Tiento del Primer Tono 2:31 10 Differencias sobre la Pavana Italiana 3:36 Total Time 56:27 Margret Köll arpa doppia Eric Kleinmann 2007, after the Barberini Harp, Rome, Museo degli Strumenti Musicali During the Spanish foreign dominance over the kingdom of Naples in the sixteenth and seventeenth centuries, lively musical and cultural relationships were forged between Naples and Spain and the city at the foot of Vesuvius could count itself as a European cultural centre on an equal footing to London and Paris. A Neapolitan delegation of virtuoso musicians and singers was invited to participate in the marriage celebrations of Philip II in Madrid (1543), among them the harpist Gian Leonardo, the “new Orpheus” of this era. These musicians were members of the “capella reale”, the orchestra of the royal court of Naples. The first “maestri di capella” were Spaniards followed by Jean de Macque who was later joined by his pupils Giovanni Maria Trabaci und Ascanio Mayone. In the “capella reale”, harpists also found regular employment. The musicians performed at the major musical focal points in Naples, primarily in the following locations: Palazzo Reale, the Gesualdo family home, Chiesa S. Annunziata, Oratorio di S. Filippo Neri and Tesoro di San Gennaro. The photographer and filmmaker Armin Linke documented these locations in photographs during a trip to Naples in December 2012. There are more than 1000 churches in Naples and the search for specific locations can frequently turn into an odyssey as the sites have undergone so many alterations in form and function over the centuries. Während der spanischen Fremdherrschaft über das Königreich Neapel im 16. und 17. Jahrhundert waren die musikalischen und kulturellen Beziehungen zwischen Neapel und Spanien sehr lebendig. Die Stadt am Vesuv gehörte neben London und Paris zu den kulturellen Zentren Europas. Für die Hochzeitsfeierlichkeiten von Philipp II. in Madrid (1543) wurde eine neapolitanische Delegation mit virtuosen Musikern und Sängern eingeladen, unter ihnen auch der Harfenist Gian Leonardo, der „neue Orpheus“ jener Zeit. Diese Musiker waren Teil der „capella reale“, des Orchesters am königlichen Hof zu Neapel. Die ersten „maestri di capella“ waren Spanier, gefolgt von Napoli, Palazzo Reale Jean de Macque und später von seinen Schülern Giovanni Maria Trabaci und Ascanio Mayone. In der „capella reale“ erhielten auch Harfenisten eine reguläre Anstellung. Die Musiker wirkten an den wichtigsten musikalischen Plätzen in Neapel, vor allem an folgenden Orten: Palazzo Reale, Haus der Familie Gesualdo, Chiesa S. Annunziata, Oratorio di S. Filippo Neri, Tesoro di San Gennaro. Der Fotograf und Filmemacher Armin Linke hat sie während einer Neapel-Reise im Dezember 2012 fotografiert. Es gibt in dieser Stadt mehr als 1000 Kirchen, und die Suche nach bestimmten Orten gleicht oft einer Odyssee, da die Plätze ihre Form und ihre Funktion im Laufe der Jahrzehnte und Jahrhunderte verändert haben. EnglisH EnglisH Harp music on a Spanish night in Naples melodies sparkling with vivacity and enchanting in have been able to hear her playing on a wonder- their melodiousness. His touch is of sublime perfec- ful golden harp on a barge, almost as a reincarna- tion, skilfully dampening the resonance of the strings tion of the celebrated Siren Parthenope. In 1611, an Facciam che v’avvenga d’udire o in tempo di notte buia, o di lontano, tanto che nol to avoid blurring the harmony. His fame extends far anonymous listener stopped to listen to her in Milan veggiate, un valentissimo sonator d’arpa, che dopo una brieve ricercata, ch’è l’esame beyond the confines of Naples as far as Spain. An or- and was so enchanted that he remained motionless dell’accordatura, dia nelle più vaghe, e artificiose sonate, ch’egli sappia, d’ogni Tuono, e ganist in Seville is for example praised for his imita- and feared that he was being turned into stone. Like d’ogni Modo le proprie, e Dorico grave, e Lidio guerriero, e Frigio mesto; hor semplici, hor tion of the tone of the excellent “Juan Leonardi de Gian Leonardo, Adriana Basile also sang to her own intrecciati, con quel maraviglioso dialogizzare che sembrano far le corde, e interrogarsi, la harpa”. Style and taste in music however change accompaniment on the harp, plucking the strings e rispondersi le acute, e le gravi, hor con botte lente, e poche, hor velocissimamente smi- swiftly and what appeared unique during a certain era to produce a harmonious sound merging with the nuite, quasi tutte insieme: come fosser due cori di musici che si corrono dietro, seguen- soon becomes dated and ceases to generate admira- vocal line which never overstepped the borders of dosi su le medesime note, e pur sempre lontane alcuno spazio misuratissimo, sì come tion. An ageing harpist cannot be expected to keep sonority. Adriana ultimately exchanged her harp spazio di consonanza. up with all the new developments of an age which for a Spanish guitar, an easier instrument on which (Opere del padre Daniello Bartoli, Tomo I, Venice 1659). produced composers such as Carlo Gesualdo and Jean she was able to perform Scherzi and Ariettas to the De Macque, both adventurous artists with more than pleasure of her audience. During this period in Italy, a touch of audacity. And it is Gesualdo himself who all other fashions were displaced by the manner of Imagine a scene on a misty night in which you can yet in spatial consonance. (Works of Padre Daniello sketches the final portrait we have of the great harp “clothing everything in a Spanish style” (V. Giustini- hear a wonderful harpist playing from afar, but can- Bartoli, Volume I, Venice 1659) virtuoso of the sixteenth century – in a slightly mock- ani, Discorso sopra la musica, 1628). The harp and not see the musician. After a few brief chords to ing tone, but accompanied with a pinch of warm- the five-course Spanish guitar jostled with each check the tuning of the instrument, the harpist per- Although the harpist’s face remains concealed in heartedness: I have heard Giovanni Leonardo dal’Arpa, other to become the supreme popular instrument. forms the most elegant and elaborate works of his or darkness, we can guess from the dexterity of his fin- a most amicable old man whom I repeatedly encoun- A price exceeding 300 scudi was not an excessive her repertoire, exploiting a myriad of tonal colours gers who could have played this wonderful concert. ter wherever I go and whom I saw today at the house amount to pay to a singer who was able to combine and keys: in the solemn Doric mode, the pugnacious It could have been a tall, young Neapolitan harpist of Sig. Ettore Gesualdo where there was a meeting of both idioms in her songs and capable of performing Lydian and the melancholic Phrygian, the melodies who enchanted the audience which had gathered to musicians and an infinite number of noble personages over 300 Italian and Spanish songs by heart. develop from initial simplicity to an ever-increas- listen to him in Giovanna d’Aragona’s house around assembled to listen. The said Giovanni Leonardo still ing complexity, artfully woven into a wonderful the middle of the sixteenth century. He began with a possesses a remarkable dexterity, in particular in the These distant tones of the harp remind us of the dif- dialogue seemingly conducted by the strings of the brief improvisation on his precious harp before con- dampening of the strings. But his musical imagination ferent ways people listened to music down through harp themselves. You can imagine that you are lis- tinuing to run his hands skilfully along the strings displays somewhat old-fashioned tendencies (Carlo the centuries and the breadth of the chasm dividing tening to a game of question and answer between of the instrument, ultimately breaking into song to Gesualdo, letter No.