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– 207 – MARINA TOFFETTI University of Padua GABUSSI's LEGACY Marina TOFFETTI University of Padua GABUSSI’S LEGACY Intertextual PHENOMENA Involving THE Motectorum LIBER PRIMUS (VENICE, 1586) The complex phenomenon of intertextuality has long been the center of atten- tion of extensive interdisciplinary studies.1 As far as music history is concerned, the musical culture of the fifteenth and sixteenth centuries is particularly rich in inter textual phenomena.2 A considerable quantity of the extensive literature on this aspect of composition deals principally with techniques of paraphrase and parody in mu sical genres, such as the polyphonic chanson, madrigal, motet and the mass.3 Yet the assumption that most motets of the period used no borrowed material4 still needs to be verified by means of a more systematic investigation, and in any case would not imply that the motet could not also be influenced by various intertextual phenomena.5 Recently, a growing number of musicologists seem to have acknowledged the fact that the study of intertextual issues in fifteenth-century music can raise new ques- tions and give new answers to important questions, such as compositional process, stylistic genealogy and reception history, that are also relevant to the genre of the 1 For a comprehensive and up-to-date summary of the phenomenon of intertextuality and its various cases see maria caraci vela, La filologia musicale. Istituzioni, storia, strumenti critici, Lucca, LIM, 3 vols., 2005-2013, II (2009), chapter IV, Intertestualità e arte allusiva, pp. 116-173. 2 Two important essays by Lewis Lockwood and Howard Mayer Brown have given fundamental impetus to investigation in this area, providing original and relevant insights on the subject. See lewis lockwood, On ‘Parody’ as Term and Concept in 16th-Century Music. Aspects of Medieval and Renaissance Music, in A Birthday Offering to Gustave Reese, ed. Jean Le Rue, New York, Norton, 1966, pp. 560-575; and Howard mayer Brown, Emulation, Competition and Hommage: Imitation and Theories of Imitation in the Renaissance, «Journal of the American Musicological Society», XXV/1, 1982, pp. 1-48. Concerning early seventeenth century repertoire, both in Jeffrey kurTzman, Essays on the Monteverdi Mass and Vespers of 1610, Houston, Rice University Studies, 1978, and in id., The Monteverdi Vespers of 1610. Music, context, performance, Oxford, Oxford University Press, 1999 there is considerable discussion of intertextual issues between the Monteverdi Vespers and contemporaneous compositions. 3 To comprehend the wealth of works devoted to the techniques of paraphrase and parody in the fifteenth- and sixteenth-century mass it is sufficient to look at the bibliography which concludes the entries Borrowing in NG2, IV, pp. 5-41 (by J. PeTer BurkHolder) and Bearbeitung in MGG2, Sachteil I (1994), coll. 1321-1327 (by gesine scHröder and THomas BöscHe). 4 See BurkHolder Borrowing, p. 18: «many motets used no borrowed material, and this became standard by the late 16th century». 5 See, for instance, the stimulating essay by micHèle fromson, A Conjunction of Rhetoric and Music: Structural Modelling in the Italian Counter-Reformation Motet, «Journal of the Royal Musical Association», CXVII, 1992, pp. 208-246. – 207 – MARINA TOFFETTI motet.6 Although the principal issues involved with compositional reception have as yet not been investigated in a methodical manner and do not seem to have led to any significant systematic explorations, intertextual phenomena have been at the center of attention of a number of new works dedicated to the musical production of this period.7 The study of intertextuality becomes even more interesting when one can explore the intersections with reception history and the human and professional experiences of the protagonists of the contemporary musical scene. Following the composers’ frequent relocations, one can try to reconstruct the contours of a complex cultural geography that remains largely uninvestigated. In the light of these circumstances, it would appear useful to reconsider the life and works of Giulio Cesare Gabussi, who was invited to conduct the chapel of Sigismund III Vasa of Poland in 1601, at the time when he was active as the choirmaster at the cathedral in Milan.8 When he arrived in Poland, Gabussi had published two collections of madrigals and two of sacred music.9 A closer examination of his book of motets for five and six voices has highlighted some aspects of his language, allowing us to focus on the nature of the technical and stylistic heritage that he had brought with him. His com- positional experience would be felt throughout Poland, influencing some composers active alongside him at the royal court. Among these was Giulio Osculati from Lodi who, in his motet for six voices, Nativitas tua, published in Cracow in 1604, clearly shows not only that he knew Palestrina’s motet for four voices on the same text, but that he had also assimilated the lessons of the five-voice motet on this text by Giulio Cesare Gabussi. 1. Historical context The reasons that led Sigismund III to invite Giulio Cesare Gabussi to Poland have already been investigated elsewhere, on the basis that such an invitation could be related to the travels in Italy of two eminent Polish prelates, András Báthory (1583-1584) and Wojciech 6 See daniele v. filiPPi, ‘Lo studio dell’intertestualità nella musica del Cinquecento: esperienze e pro- spettive’, paper read during the international conference “Music philology today: historical heritage and new perspectives” (Cremona, 25-27 November 2009). 7 See marina Toffetti, Intertestualità e paratestualità nel repertorio della canzone strumentale milanese, «Philomusica on-line», IX/2, 2010, pp. 482-508; PeTer Poulos, ‘Victoria a Genova. Modelli e influenza’, paper read during the “XVIII Convegno Annuale della Società Italiana di Musicologia” (Genoa, 21-23 October 2011). 8 See marina ToffeTTi, Da Milano a Varsavia: di nuovo su Giulio Cesare Gabussi e altre presenze italiane nella Polonia del primo Seicento, in La musica policorale in Italia e nell’Europa centro-orientale fra Cinque e Seicento / Polychoral Music in Italy and in Central-Eastern Europe at the Turn of the Seventeenth Century, eds. Aleksandra Patalas - Marina Toffetti, con esemplificazioni musicali in CD / with music examples in CD, Venezia, Fondazione Levi, 2012 (TRA.D.I.MUS., Studi e Monografie, 1), pp. 161-196. 9 Il primo libro de madrigali a cinque voci, Venezia, Angelo Gardano, 1580 (RISM A/I G 95); Motectorum liber primus, Venetiis, Angelo Gardano, 1586 (RISM A/I G 96); Magnificat X, quorum novem quinis, et unum senis vocibus concinuntur, Mediolani, Francesco ed eredi di Simon Tini, 1589 (RISM A/I G 97) and Il secondo libro de madrigali a cinque voci, Venezia, Giacomo Vincenti, 1598 (RISM A/I G 98). – 208 – Gabussi’s LeGACY Baranowski (1595-1596).10 From the detailed travel diaries by Stanisław Reszka,11 who accompanied Báthory in Italy, we learn that the prelate visited cardinal Carlo Borromeo in Milan on two occasions, during his trip to Rome12 and during his return journey, and that at that time he was in correspondence with the cardinal, who sent him a few letters «elegantissimae, plenae consiliorum sanctorum de vitae ratione ab Illustrissimo Principe instituenda».13 From the rich account of the return journey we learn that on August 27, 1584 Báthory stayed in Lodi, where he was welcomed by the local clergy and attended prayers accompanied by an organ concert,14 and arrived in Milan on the following day, where he was solemnly welcomed by Carlo Borromeo and by a delegation of the governor. He would stay in Milan until August 30, visiting the most famous sites of the city (including the cathedral, the governor’s palace and the churches of Santa Maria presso San Celso and San Nazaro) and participating in various functions and sung prayers.15 Later he would return to Lodi, where he visited some holy relics and attended a mass in the cathedral.16 From Reszka’s diaries we also learn that Báthory knew Federico Borromeo personally, whom he met in Rome May 22, 1588.17 Federico Borromeo was also in contact with Wojciech Baranowski, who spent almost a year (beginning in November of 1595) in Italy: in fact it is known that Baranowski visited Cardinal Federico,18 with whom he had been exchanging letters at least from April 10, 1597 until September 9, 1602.19 It is likely that Baranowski and Báthory brought back with them to Poland extremely positive impressions of the musicians they had had the opportunity to meet in Italy, among whom were certainly Giulio Cesare Gabussi and, in the case of Báthory, perhaps also Giulio Osculati of Lodi.20 Both Gabussi and Osculati were invited to serve at the royal court and moved to Poland in 1601. Therefore, it is worthwhile to reflect on the nature of musical experiences they had accumulated prior to their journey to Cracow. 10 See ToffeTTi, Da Milano a Varsavia, pp. 170-171, and BarBara PrzyByszewska-Jarmińska, Music in Poland under the Patronage of Bishops at the Turn of the Seventeenth Century, in this volume, pp. 13-30. 11 Stanislai Rescii diarium 1583-1589, ed. Ioannes Czubek, Kraków, Akademia Umiejętności, 1915. 12 Of Báthory’s short stay in Milan during the outward journey we only know that the prelate reached Milan on November 2 and stayed there at the behest of Cardinal Borromeo until 7 November, when he left for Lodi. See Stanislai Rescii diarium, p. 4. 13 On January 26, 1584 Reszka reported that Báthory had come to Rome (where he attended the church and the hospital of St. Stanislaus of Poland), and had received letters from Cardinal Borromeo. See Stanislai Rescii diarium, pp. 18-38. 14 See ibidem, p. 54. 15 See ibidem, p. 55. 16 Ibidem, p. 56. Báthory continued to be interested in the fate of Carlo Borromeo and was informed of his death on December 9, 1584.
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