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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. -
EM French Renaissance.Indd
French Renaissance Music and Beyond Studies in Memory of Frank Dobbins edited by Marie-Alexis Colin Centre d’études supérieures de la Renaissance Université de Tours French Renaissance Music and Beyond Collection « Épitome musical » Studies in Memory of Frank Dobbins Editor: Philippe Vendrix Editorial Committee: Hyacinthe Belliot, Vincent Besson, Camilla Cavicchi, David Fiala, Christian Meyer, edited by Marie-Alexis Colin Daniel Saulnier, Solveig Serre, Vasco Zara Advisory board: Vincenzo Borghetti (Università di Verona), Philippe Canguilhem (Université de Toulouse Jean Jaurès), Marie-Alexis Colin (Université libre de Bruxelles), Richard Freedman (Haverford College), Giuseppe Gerbino (Columbia University), Andrew Kirkman (University of Birmingham), Laurenz Lüt- teken (Universität Zürich), Pedro Memelsdorff (Schola Cantorum Basiliensis), Kate van Orden (Harvard University), Yolanda Plumley (University of Exeter), Massimo Privitera (Università di Palermo), Jesse Rodin (Stanford University), Emilio Ros-Fabregas (CSIC-Barcelona), Katelijn Schiltz (Universität Regens- burg), Thomas Schmidt (University of Manchester) Editing: Vincent Besson Graphic design: NH•Konzept Cover: Niccolo dell’Abate, Game of Tarots & Concert (Bologna, Palazzo Poggi) © Photo SCALA, Florence, 2017 © 2018, Brepols Publishers n. v., Turnhout, Belgium. ISBN: 978-2-503-57960-3 Dépôt légal: D/2018/0095/39 All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without the prior permission of the publisher. Centre d’études supérieures de la Renaissance, Collection « Épitome musical » Printed inin thethe E.U. EU on acid-free paper. paper. BREPOLS John Griffiths (Monash University & The University of Melbourne) Heteroclito Giancarli and his Compositioni musicali of 0 One of the things that I shared with Frank Dobbins during more than twenty years of friendship was the lute song. -
Foreign Musicians at the Transylvanian Court of Sigismund Báthory
Prejeto / received: 9. 3. 2017. Odobreno / accepted: 23. 4. 2017 DOI: 10.3986/dmd13.1-2.13 FOREIGN MUSICIANS AT THE TRANSYLVANIAN COURT OF SIGISMUND BÁTHORY PETER KIRÁLY Kaiserslautern Izvleček: Transilvanski princ Sigismund Báthory Abstract: Sigismund Báthory (1572–1613), Prince (1572–1613), ki mu je bilo med 1590 in 1599 po- of Transylvania, to whom five Venetian music svečenih pet beneških glasbenih tiskov, je imel editions were dedicated between 1590 and 1599, v svoji službi številne tuje glasbenike. Veliko je had several foreign musicians in his service: bilo Italijanov, a tudi nekaj Nemcev in Polja- mainly Italians, but also some Germans and kov. Trenutno je znanih ducat imen italijanskih Poles. The names of more than a dozen Ital- glasbenikov, med katerimi je tudi skladatelj in ians are currently known, among them those of urednik Giovanni Battista Mosto iz italijan- the composer and publisher Giovanni Battista skega Vidma ter organist in skladatelj Antonio Mosto of Udine, and the Venetian organist and Romanini iz Benetk. Zaposlitve njegovih tujih composer Antonio Romanini. The employment of glasbenikov kažejo značilnosti, ki so vidne v foreign musicians shares several features of the poznejšem glasbenem življenju na transilvan- musical life of seventeenth-century Transylva- skih dvorih v 17. stoletju in na nekaterih dvorih nian courts, and that of Hungarian aristocratic madžarskih aristokratskih družin. families. Ključne besede: Sigismund Báthory, Transilvani- Keywords: Sigismund Báthory, Transylvania, ja, Marija Christierna von Habsburg, posvetila, Maria Christierna von Habsburg, dedications, italijanski glasbeniki, Giovanni Battista Mosto, Italian musicians, Giovanni Battista Mosto, Antonio Romanini. Antonio Romanini. Historical data from the sixteenth and the seventeenth centuries show that from the time of John Sigismund Zapolya (1559–1571) until the mid-1640s1 musicians from abroad were employed more or less continuously by the Princes of Transylvania. -
Performance Practice in the Seconda Prattica Madrigal Author(S): Rinaldo Alessandrini Source: Early Music, Vol
Performance Practice in the seconda prattica Madrigal Author(s): Rinaldo Alessandrini Source: Early Music, Vol. 27, No. 4, Luca Marenzio (1553/4-99) (Nov., 1999), pp. 632-639 Published by: Oxford University Press Stable URL: http://www.jstor.org/stable/3128763 . Accessed: 04/04/2011 12:41 Your use of the JSTOR archive indicates your acceptance of JSTOR's Terms and Conditions of Use, available at . http://www.jstor.org/page/info/about/policies/terms.jsp. JSTOR's Terms and Conditions of Use provides, in part, that unless you have obtained prior permission, you may not download an entire issue of a journal or multiple copies of articles, and you may use content in the JSTOR archive only for your personal, non-commercial use. Please contact the publisher regarding any further use of this work. Publisher contact information may be obtained at . http://www.jstor.org/action/showPublisher?publisherCode=oup. Each copy of any part of a JSTOR transmission must contain the same copyright notice that appears on the screen or printed page of such transmission. JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. Oxford University Press is collaborating with JSTOR to digitize, preserve and extend access to Early Music. http://www.jstor.org Performingmatters RinaldoAlessandrini Performancepractice in the secondaprattica madrigal Seconda prattica, de la quale e statto il primo rinovatore ne nance (Monteverdi, Marenzio), chromaticism and nostri caratteri il Divino Cipriano Rore .. -
Francesco Maria Stiava Vespri Di Santa Cecilia -...:: Ensemble San Felice
Vespri di Santa Cecilia FRANCESCO MARIA STIAVA Francesco Maria Stiava VESPRI DI SANTA CECILIA (Lucca 16401702) ENSEMBLE SAN FELICE direttore Federico Bardazzi SALMI CONCERTATI A 5 VOCI OP. 1 CON VIOLINI OBBLIGATI E RIPIENI A BENEPLACITO (Bologna, Pier Maria Monti, 1694) con proprio dei Vespri di Santa Cecilia e intermezzi strumentali di Giovanni Pietro Franchi e di Gioseffo Guami ENSEMBLE SAN FELICE, direttore Federico Bardazzi Soprani I: Giulia Peri (Dixit Dominus, Laetatus sum, Magnificat, gregoriano*), Cecilia Cazzato (Hymnus), Amalia Scardellato; soprani II: Anna Pia Capurso, Veronika Kralova (Laetatus sum), Pa mela Lucciarini (Dixit Dominus), Eva Mabellini (Magnificat); alti: Giovanni Duci (Laetatus sum), Francesco Ghelardini (Dixit), Antonio Giovannini (Magnificat); tenori: Massimo Crispi (Dixit Dominus), Leonardo De Lisi (Laetatus sum, Magnificat); bassi: Gianluca Margheri (Dixit Dominus), Leonardo Sagliocca (Laetatus sum), Giovanni Guerini (Magnificat). Violini: Fabrizio Cipriani, Gabriele Bellu; violoncello: Michele Tazzari; cornetti: Josuè Melendez, Andrea Inghisciano; tromboni: Mauro Morini, Ermes Giussani, Fabio Costa; timpani barocchi: Leonardo Ramadori; tiorba: Andrea Damiani; clavicembalo: Virginia Rolfo; organo positivo: Cristina Terreni. La sonata di Franchi è eseguita da Fabrizio Cipriani e Roberto Anedda, violini; Federico Bardazzi, violoncello; Giangiacomo Pinardi, tiorba; Rossella Giannetti, clavicembalo. Registrazione effettuata da Nicola Cavina presso la Pieve di Sant’Alessandro a Giogoli (Scandicci, Firenze). * Tra parentesi i soli. 1 I Antiphona Cantantibus organis Caecilia Domino (I f) 0,25 Francesco Maria Stiava, Psalmus 109 Dixit Dominus 2 Dixit 1,38 3 Virgam virtutis 2,02 4 Tecum principium 1,19 5 Iuravit Dominus 1,16 6 Dominus a dextris tuis 1,41 ©&Ⓟ 2010 Clavis, Roma 7 Iudicabit in nationibus 0,57 8 De torrente 1,16 9 Gloria 1,51 bk I Ant. -
©2017 Lynette Bowring ALL RIGHTS RESERVED
©2017 Lynette Bowring ALL RIGHTS RESERVED ORALITY, LITERACY, AND THE LEARNING OF INSTRUMENTS: PROFESSIONAL INSTRUMENTALISTS AND THEIR MUSIC IN EARLY MODERN ITALY By LYNETTE BOWRING A dissertation submitted to the Graduate School-New Brunswick Rutgers, The State University of New Jersey In partial fulfillment of the requirements For the degree of Doctor of Philosophy Graduate Program in Music Written under the direction of Rebecca Cypess And approved by ____________________________________ ____________________________________ ____________________________________ ____________________________________ New Brunswick, New Jersey May 2017 ABSTRACT OF THE DISSERTATION Orality, Literacy, and the Learning of Instruments: Professional Instrumentalists and Their Music in Early Modern Italy by LYNETTE BOWRING Dissertation Director: Rebecca Cypess The literacy of instrumentalists underwent a revolution in the sixteenth century. Previously, musicians who specialized in instrumental performance were often excluded from literate musical cultures: they were artisans operating within oral traditions of improvisation and formulaic playing. As a result, relatively few written compositions survive from instrumentalists prior to 1500. By the end of the sixteenth century, instrumentalists were benefitting in many regions from a vast growth in general literacy, and were frequently intersecting with the educated cultures of churches and courts—as a result, they could notate with precision the music that they played and created. This trend contributed to the pedagogical -
Album Booklet
CON ARTE E MAESTRIA Virtuoso violin ornamentation from the dawn of the Italian Baroque Monteverdi String Band In Focus Oliver Webber violin Steven Devine organ & harpsichord Con arte e maestria Giovanni Bassano (c.1561–1617) Gärtner (dates unknown) 1. Ricercata prima [2:29] 9. Toccata [2:34] Virtuoso violin ornamentaon from Cipriano de Rore (c.1515–1565) Biagio Marini the dawn of the Italian Baroque (ornaments by Riccardo 10. Sinfonia ‘L’Orlandina’ [2:09] Rognoni, c.1550–c.1620) 2. Anchor che col parre [3:35] Giovanni Gabrieli (c.1555–1612) Monteverdi String Band In Focus 11. Toccata del secondo tuono [2:16] Giovanni Pierluigi da Oliver Webber violin Palestrina (c.1525–1594) Tomas Luis de Victoria (c.1548–1611) Steven Devine organ & harpsichord (ornaments by Oliver Webber b.1969) (ornaments by Giovanni Basta 3. Deh hor foss’io col vago della luna [4:07] Bovicellim, fl. late 16th century) 12. Dilectus tuus candidus [6:40] Ascanio Mayone (c.1565–1627) 4. Canzon francese prima [2:39] Cipriano de Rore (ornaments by Oliver Webber) Biagio Marini (1594–1663) 13. Signor mio caro [3:50] 5. Sinfonia ‘La Gardana’ [2:06] Oliver Webber Oliver Webber (aer Claudio Monteverdi et al.) (aer Giovanni Bassano) 14. Ciaccona [4:23] 6. Ricercata [1:59] Michelangelo Rossi (c.1601–1656) Thomas Crecquillon (c.1505–c.1557) 15. Toccata nona [3:48] About Oliver Webber: (ornaments by Oliver Webber) 7. Par trop souffrir de fortune Dario Castello (1602–1631) ‘Oliver Webber [bows] with rapier-like eloquence’ ennemie [4:29] 16. Sonata prima [4:05] Gramophone Orlando di Lasso (c.1532–1594) Carlo G (fl. -
“New” Toccatas by Giovanni Gabrieli in the Turin Organ Tablatures: Issues of Attribution
Musica Iagellonica 2017 ISSN 1233–9679 Candida Felici (Istituto Superiore di Studi Musicali, Pavia) “New” toccatas by Giovanni Gabrieli in the Turin organ tablatures: issues of attribution Although Giovanni Gabrieli served as organist at the Basilica of San Marco and the Scuola Grande of San Rocco in Venice for many years (1585–1612), only a small number of keyboard compositions by him have come down to us. There are several reasons for this: first, with few exceptions, composers in the period that straddles the late Renaissance and the early Baroque rarely published keyboard music; most of the printed repertoire consisted of sacred or secular vocal music and ensemble instrumental music. Toccatas, ricercars, canzonas 1 or dances, when intended for performance on a keyboard instru- ment, were usually not printed, but transmitted in manuscripts; we also have to consider the role of improvisation in this particular kind of repertoire. In any case it seems difficult to deny that in the period between the late sixteenth and the early seventeenth centuries, keyboard music played a minor role among musical genres and repertoires, with some significant exceptions such as that of Claudio Merulo, renowned in Italy and abroad as a composer and virtuoso at the keyboard, who published editions of toccatas, expensively produced in 1 The canzona and especially the ricercar knew a wide dissemination in printed part- books to be played by ensembles of string and/or wind instruments, or to be intabulated for keyboard. 35 Candida Felici copperplate engraving. 2 Although Giovanni Gabrieli played a significant role in editing and publishing his uncle Andrea’s keyboard music (together with some of his own compositions) 3 after the latter’s death, as far as publishing his own music was concerned, like his contemporaries he gave precedence to vocal and instrumental ensemble music. -
Improvisation in Sixteenth-Century Italy: Lessons from Rhetoric and Jazz John Bass
Performance Practice Review Volume 14 | Number 1 Article 1 Improvisation in Sixteenth-Century Italy: Lessons from Rhetoric and Jazz John Bass Follow this and additional works at: http://scholarship.claremont.edu/ppr Part of the Music Practice Commons Bass, John (2009) "Improvisation in Sixteenth-Century Italy: Lessons from Rhetoric and Jazz," Performance Practice Review: Vol. 14: No. 1, Article 1. DOI: 10.5642/perfpr.200914.01.01 Available at: http://scholarship.claremont.edu/ppr/vol14/iss1/1 This Article is brought to you for free and open access by the Journals at Claremont at Scholarship @ Claremont. It has been accepted for inclusion in Performance Practice Review by an authorized administrator of Scholarship @ Claremont. For more information, please contact [email protected]. Improvisation in Sixteenth-Century Italy: Lessons from Rhetoric and Jazz John Bass Copyright © 2009 Claremont Graduate University Saying that embellishment was a big deal for sixteenth-century musicians is hardly a bold move; evidence abounds in treatises, music collections, and written accounts from the time.1 It has also been the subject of a fair amount of keen musicological scholarship over the years.2 But making sense out of what musicians of the time actually did in performance²and trying to reproduce it today²has proven to be more difficult, mainly because improvisers, by nature, do not tend to record what they do. The modern prevailing view seems to be that ornamentation was important, mainly because evidence suggests it was so widespread, but ultimately that it was a sort of varnish: something that could add color or texture to the surface of the music but that always left the original clearly discernable underneath. -
Greenwood Organ Company Passau IW
THE DIAPASO N AN INTEEINATIONAL MONTHLY DEVOTED TO THE ORGAN AND THE INTERESTS OF ORGANISTS SIXI, .tllird Y~dr, No. 5 - Wllole No. 74i FEBRUARY, 19i2 Subscriptions $4.00 II 'Year - 40 cents a copy 80STON AGO CHAPTER, DREW CONFERENCE TO HARVARD UNIVERSITY PREMJERE DUTCH WORK SPONSOR COMPETITION Drew University's nineteenth annual The Boston Chapler AGO and Har· Church Music Conference 10 be held in vard Unh'c::uity are jointly sponsoring Madison, N.J., on May 6, will present a Young Artists Competition (or organ· the American premiere of Mariw Mon· ists under 30. Contestants must not have nikcndam's Vi II Sacre. This new multi· n:3chm their 30th birlhdar. by May 7. media work has already had several im J972. The winner, who will receive a portant European perronnances includ· cash rrize of $500, will he presented in mg one at the cathedral in Rrugge. Bel reclta as pout of the 1972·75 season 3t gium. Scored for two choiTS, an adult Harvard University. This series has in SATB choir and a un lson boy's choir the past included recitals by such noted located at opposite ends of the church. organiats a.J Anton HeilleT. E. Power the work is divided into a series of Biggs, Gustav Leonhardt, Marie·Claire fourteen meditation!! on Christ's Pill Alain, and David Cr.lighead. sion. Each section begins with the boy's AU contelllan15 1111151 submit a tape choir singing \'erses from Vexitla Regis reoording of their playing, to be re· and Stabat Mater. rollowed by :I. two ceived not later than MomJay. -
Il Transilvano Gli Espone Il Motivo Della Sua Visita
«IL TRAN SILVANO» DI GIROLAMO DIRUTA (Contributo alla storia delle relazioni spirituali italo-ungheresi) Una mattina della primavera del cinquecento, un giovane transilvano arrivava stanco, dopo lungo viaggio, da Firenze a Venezia. Era la mattina dell’Ascensione, la festa più solenne della Serenissima, la Festa della Sensa, quando con mistiche cerimonie, in nome di Venezia il Doge inanellava il mare.1 Il giovane veniva dalla corte dei Medici, dove era stato mandato dal principe di Transilvania Sigismondo Bàthory, suo signore, per trattare col granduca di importanti affari, ed anche per scritturare musici e cantanti per la corte principesca di Gyula- fehérvàr. Assisteva anche lui alle solennità della giornata, ma non soltanto per curiosità. Infatti, più di una volta aveva preso parte agli splendidi ricevimenti organizzati in suo onore, in patria ed all’estero, e sapeva per esperienza cosa fossero la pompa e lo splendore delle feste e solennità pubbliche. Ma non aveva avuto ancora occasione di ammirare un quadro così bello come quello offerto quel giorno da Venezia. Tuttavia non era stata soltanto la curiosità a condurlo nel Campo di San Marcora. Sperava, cioè, di incontrarsi, nella folla, col cavaliere Michele, il quale doveva essergli di aiuto nel disbrigo delle faccende che lo attende vano a Venezia. II giovane transilvano ebbe fortuna, perché non tardò molto ad incontrare la persona cercata a cui espose subito lo scopo della sua venuta. Il principe di Transilvania, «cordialissimo amatore di musica e di concerti», lo aveva in caricato di procurargli, a Venezia, dei libri dai quali apprendere l’arte di suonare qualunque strumento : «regoli et modi di sonare ogni sorte d’istrumenti». -
Birds, Bells, Drums, and More in Historical Italian Organs, Part 1 Fabrizio Scolaro, English Translation by Francesco Ruffatti
Birds,Bells,Drums,andMorein HistoricalItalianOrgans,Part1 FabrizioScolaro,EnglishtranslationbyFrancescoRuffatti t is a general belief that the stop naissance—one of the most extraordi- I composition of historical Italian or- nary and rich periods in the history of gans is rather standardized, based on a humankind—was flourishing in Italy. series of principal-scaled stops forming The splitting of the territory into many the Ripieno, and enriched by one or different states ruled by marquises, two flutes. In many cases and especial- dukes, princes, and kings—all very rich ly for certain historical periods, this is and prosperous, all competing with each a correct assumption; however, excep- other to obtain the work of the most fa- tions abound. mous artisans and artists—produced an Organbuilding has been greatly influ- artistic level that is among the highest enced by the peculiar Italian geographi- in all of art history. The names of the cal configuration, by its very interesting painters, sculptors, and artists in general history, and its political fragmentation that one would have then encountered into a number of states, to the point that in the squares, churches, and palaces even a small distance between two cit- throughout Italy are the same names ies or two areas often exhibited marked that we encounter today in the most fa- differences in organbuilding practices. mous museums. It is obvious that such A notable example of this is the coex- intense artistic and economic activity istence, around the middle of the 18th would attract artists and artisans from century, of two organbuilding schools, other European countries.