Print Culture, Music, and Early Modern Catholicism in Rome

CHAPTER 6 Print Culture, Music, and Early Modern Catholicism in Rome

Jane A. Bernstein

In recent years, scholars have reconsidered the place of music in post-Triden- tine reforms. The traditional view of a monolithic response to the Council as exhibited in certain works by Ruffo, Palestrina, and others has given way to a broader, more nuanced outlook—one that acknowledges the multiplic- ity of musical practices that pervaded the Catholic world.1 Nowhere was this diversity more apparent than in Rome. The dizzying array of musical genres, ranging from liturgical polyphony and simple paraliturgical songs to vocal music in the new monodic style, required book designs different from those found in conventional motet and madrigal publications. Ironically, it is not in Venice, the capital of the music book trade, that we find printers meeting this post-Tridentine challenge, but in the Eternal City, where bookmen most clearly tailored their publications to fit the needs of these various musical idioms. Rome, unlike Venice, was not a major center of trade and commerce. Bookmen could not compete with their northern Italian counterparts, who, by standardizing printing methods and materials, dominated the international marketplace with their mass-produced products. The Venetians almost always issued music publications as sets of partbooks in quarto format. Thus, composers wishing to have their music printed in the Most Serene Republic had to accept this prevailing ‘one size fits all’ practice. By contrast, Roman printers customized their music publications. Using their ingenuity, they produced music books in a broad array of forms and designs that catered to the demands of their customers. Over the past few decades, a number of scholars have taken an interest in the field of music printing and print culture in Renaissance Italy. Not surprisingly,

1 Craig A. Monson was among the first to discuss the greater diversity in sacred music after Trent in “The Council of Trent Revisited”, Journal of the American Musicological Society 55, 1 (2002) 1–37, and “Renewal, Reform, and Reaction in Catholic Music”, in Haar J. (ed.), European Music 1520–1640 (Woodbridge – Rochester, NY: 2006) 401–421; Iain Fenlon reiterates this concept in “Varieties of Experience: Music and Reform in Renaissance Italy”, in Brundin A. – Treherne M. (eds.), Forms of Faith in Sixteenth-Century Italy (Aldershot: 2009) 199–213.

© koninklijke brill nv, leiden, ��7 | doi ��.��63/9789004349230_008 Print Culture, Music, And Early Modern Catholicism In Rome 113 the lion’s share of the studies has centered on Venice, where the music printing enterprise got its start. Ottaviano Petrucci, as the first to issue a book of poly- phonic music set from movable type, has taken a prominent place,2 but the field of inquiry has expanded to other sixteenth-century Venetian printers and publishers, including the two dynastic firms of Gardano and Scotto and the smaller presses of Francesco Rampazetto and Claudio Merulo.3 Music printing in such other Italian centers and regions as Florence, Milan, Ferrara, Umbria, Brescia, and Naples has also been explored.4

2 Schmid A., Ottaviano dei Petrucci da Fossombrone, der erster Erfinder des Musiknotendruckes mit beweglichen Metalltypen, und seine Nachfolger im sechzenten Jahrhunderte (Vienna: 1845); Sartori C., Bibliografia delle opere musicali stampate da Ottaviano Petrucci, Biblioteca di bibliografia italiana 18 (Florence: 1948); and Boorman S., Ottaviano Petrucci: A Catalogue Raisonné (New York: 2006). 3 Lewis M.S., Antonio Gardano, Venetian Music Printer, 1538–1569: A Descriptive Bibliography and Historical Study, 3 vols. (New York: 1988–2005); Bernstein J.A., Music Printing in Renaissance Venice: The Scotto Press (1539–1572) (New York: 1998); eadem, Print Culture and Music in Sixteenth-Century Venice (New York: 2001); Agee R.J., “The Privilege and Venetian Music Printing in the Sixteenth Century”, Ph.D. diss. (Princeton University: 1982); idem, The Gardano Music Printing Firms, 1569–1611 (Rochester, NY: 1998); Edwards R.A., “Claudio Merulo: Servant of the State and Musical Entrepreneur in Later Sixteenth-Century Venice”, Ph.D. diss. (Princeton University: 1990); Iannotta C., “Francesco Rampazetto, Venetian Printer and a Catalogue of his Music Editions”, M.A. thesis (Tufts University: 1987); and Pompilio A., “Strategie editoriali delle stamperie veneziane tra il 1570 e il 1630”, in idem et al. (eds.), Atti del XIV Congresso della Società Internazionale di Musicologia: Trasmissione e recezione delle forme di cultura musicale, 3 vols. (Turin: 1990) I, 254–271. See also Bridges T.W., “The Publishing of Arcadelt’s First Book of Madrigals”, Ph.D. diss. (Harvard University: 1982), and Fenlon I., Music, Print, and Culture in Early Sixteenth-Century Italy (London: 1995). 4 Carter T., “Music-Printing in Late Sixteenth- and Early Seventeenth-Century Florence: Giorgio Marescotti, Cristofano Marescotti and Zanobi Pignoni”, Early Music History 9 (1990) 27–72, and “Music-Selling in Late Sixteenth-Century Florence: The Bookshop of Piero di Giuliano Morosi”, Music & Letters 70, 4 (1989) 483–504; both reprinted in idem, Music, Patronage, and Printing in Late Renaissance Florence (Aldershot: 2000); Donà M., La stampa musicale a Milano fino all’anno 1700 (Florence: 1961); Fenlon I., “Music and Civic Piety in Counter-Reformation Milan”, in idem, Music and Culture in Late Renaissance Italy (Oxford: 2002) 67–92; Toffetti M., “The Tini Family: Sixteenth-Century Music Printers in Milan”, Fontes artis musicae 46 (1999) 244–267; Dennis F., “Music and Print: Book Production and Consumption in Ferrara, 1538– 1598”, Ph.D. diss. (Cambridge University: 2002), and Crist B.H., “The ‘Professional Amateur’: Noble Composers, Court Life, and Musical Innovation in Late Sixteenth-Century Italy”, Ph.D. diss. (Yale University: 2004); Guidobaldi N., “Music Publishing in Sixteenth- and Seventeenth- Century Umbria”, Early Music History 8 (1988) 1–36; Sirch L., “Aspetti dell’editoria musicale bresciana dopo il Concilio di Trento”, Fonti musicali italiane 8 (2003) 7–30; and Pompilio A., “Editoria musicale a Napoli e in Italia nel Cinque-Seicento”, in Bianconi L. – Bossa R. (eds.),