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Home , Francesca Caccini, Giulio Caccini, Keyboard tablature, Unfigured bass, Vittoria Archilei

Realized Continuo Accompaniments from c1600

John Walter Hill

Early Music, Vol. 11, No. 2. (Apr., 1983), pp. 194-208.

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http://www.jstor.org Fri Nov 9 18:48:54 2007 John Walter Hill Realized continuo accompaniments from Florence c1600

Historical instruction books for continuo realization of the song by Francesco Rasi, published in 1608, are plentiful, but in general they leave modern per- which is in the manuscript; the manuscript contains formers with three major problems. Beyond the inter- nothing from or I1 rapimento di Cefalo, the pretation of the figures and rules of part-writing given performed at celebrations in Florence in 1600, in nearly every one, they leave much in doubt excerpts from which would presumably have been concerning the texture, and melodic features included if it had been copied after that date; and the appropriate to accompaniments. As a body, they leave early versions of Caccini's songs that it contains would many geographical and chronological lacunae, con- have been rendered obsolete by the more fully orn- centrated as they are in Germany and France and in the amented and rhythmically detailed versions published late 17th and 18th centuries. And they are over- in Le nuove musiche of 1602. In B704, 45 songs have whelmingly written from the standpoint of keyboard fully realized accompaniments in Italian , practice, providing little guidance for the use of other in addition to the and vocal lines in instruments. It is a stroke of fortune (though no staff notation. The other pieces have six-line staves on accident), therefore, that nearly 60 of the earliest which the intabulated realizations were never written. Florentine survive with both basso continuo Another indication that work on this manuscript was lines and fully written-out realizations, some in lute not completed is the number of errors in the tablature: tablature, others for keyboard, done at a time and although many were corrected, some remain for the place very close to those of their composition. These modern editor to rectify. realizations give us valuable guidance for the per- 2 Florence, Biblioteca Nazionale Centrale, Magl. formance of solo songs by and Jacopo XIX.30 [FXIX.30], a 43-folio manuscript bearing the Peri, and by extension, of songs by Monteverdi and date 12 May 1595 and containing 36 dances and vocal other monodists and, perhaps, of portions at least of compositions entirely in lute tablature without staff the earliest operas. notation. The named in it are Santino Garsi The principal Florentine manuscripts that contain (1542-1604) and one Giovanni Galletti. Concordances these realized continuo accompaniments are: show that at least three of its songs are by Caccini, and 1 Brussels, Bibliotheque du Conservatoire Royal de another three are found anonymously in the earliest Musique, Codex 704 [B704], a 127-folio manuscript Florentine manuscripts, where they also have with 140 songs, all but one for solo voice and basso basso continuo accompaniment^.^ The date written in continuo. All the identified pieces are by Florentine the manuscript is corroborated by the fact that one composers. They range chronologically from Piero Caccini song in it, which appears in the 1602 Nuove Strozzi's Fuor' dell'humido nido, sung by Caccini in a musiche, seems to be a pre-publication version. The celebration of 1579, through excerpts from the famous manuscript lacks a vocal line to go with the words that Florentine intermedi of 1589, fragments of the first are written in, and even the are not notated for , La Dafne (Florence, ~1594-7),by Jacopo Corsi some of the intabulations. These songs could have and Peri, to songs later published in Caccini's two been played and sung only by a musician already monody collections (1602 and 16 14). The repertoire familiar with the pieces, presumably a Florentine places the collection's origin in Florence. Three factors musician. suggest that its main body, the work of Porter's copyist 3 Florence, Biblioteca Nazionale Centrale, Magl. a, was created ~1594-1600: the latest datable com- XIX. 115 [FXIX. 1151, a keyboard manuscript of 15 folios positions are the fragments from Dafne, since we know containing 24 songs and dances. 15 items seem to be that many of Caccini's songs were published well after vocal compositions, including five arias for singing they were composed, and since the same might be true terze rime, sonnets and other standard textual forms.

194 EARLY MUSIC APRIL 1983 Another five pieces are found also in the earliest ms.CS11, a 55-folio manuscript containing 132 items, Florentine monody manuscripts where they have only mostly solo songs, with voice lines in staff notation a basso continuo line as accompaniment. The only and accompaniments in lute tablature. This collection named in the manuscript is Santino Garsi, was begun on 4 November 1574, in Munich by the although concordances establish Caccini and Peri as Florentine Cosimo Bottegari (1554-1 620), whose own composers of other items.3 Again, a pre- 1602 version compositions dominate the manuscript. After he of a Caccini song helps to date this manuscript; returned to Florence in the early 1580s, Bottegari additional evidence is supplied by the watermarks on continued to add to the manuscript. It contains one the paper, which seem to have been made by the same song by Caccini and two others found in B704, also forms as those that made the paper for a household with realized accompaniment^.^ account book belonging to Jacopo Corsi in Florence 8 London, British Library, Egerton 2971, a 37-folio and begun in 1593.4 manuscript of English origin, whose earliest owner 4 Florence, Biblioteca Nazionale Centrale, Magl. was one Robius (?Robert)Downes. Along with some 20 XIX. 138 [FXIX.1381, a 48-folio keyboard manuscript English continuo songs by Nathaniel Giles (~1558- with 23 songs and dances. Seven of these pieces have 1634).Robert Jones w1597-16 15) and others, and four text underlaid, while another two seem, either because instrumental pieces, it contains five Italian monodies of the rubric 'Terza rima' or because of the title given, withvocal line and accompaniment in French-English to be vocal compositions. One of the texted pieces is lute tablature. Two of these monodies (Dolcissimo found in B704 and in two other early Florentine sospiro and Amarilli mia bella) are by Caccini. All five are monody manuscripts, where a basso continuo line written with considerably more ornamentation than only is added to the vocal part5 Again the only Caccini used in his printed collections. The lute composer named is Santino Garsi. The manuscript was accompaniments are thinner and more contrapuntal once part of the library of the Tuscan grand dukes, than those in the Florentine manuscripts. which tends to support the hypothesis of Florentine 9 Tenbury Wells, St Michael's College, 1018 [T1018],a origin. mixed manuscript of 48 folios containing some ten In addition, there are two manuscripts that seem to motets arranged for solo voice and instrumental be Florentine and have important similarities to one or consort, another ten untexted motets for consort more of those already mentioned, but have no known performance, 21 English continuo songs by Robert concordances in basso continuo manuscripts. Johnson (~1583-1633),Alfonso Ferrabosco (1578- 5 Florence, Biblioteca Nazionale Centrale, Magl. 1628) and others, 30 Italian monodies by Ferrabosco, XIX. 168 [FXIX.1681, a 58-folio manuscript containing Caccini and others, with continuo accompaniment, 26 songs and dances entirely in lute tablature without one English partsong, and one Italian monody (Se di staff notation. Three pieces have text underlaid, while farmi morire), the vocal line of which is accompanied by another three have titles suggesting vocal models, a French-English lute intabulation somewhat more in including Ancor che col partire by Cipriano de Rore. One the Florentine style than those in the preceding page carries the date 10 May 1582.6The paper bears manu~cript.~ the same watermark as FXIX. 115 (no.3 above) and the 10 Tenbury Wells, St Michael's College, 1019, six Corsi account book (see fn.4). folios that may once have been part of the preceding 6 Florence, Biblioteca Nazionale Centrale, Magl. item. Along with 13 English lute songs, one ascribed to XIX. 109 [FXIX. 1091, a 58-folio manuscript containing John Coprario (c1570/8&1626), and three English 29 titled songs and dances entirely in lute tablature. 17 continuo songs, it contains one Italian monody, Occhi of these pieces have text underlaid and another two stelle mortale by Caccini, with an intabulated lute seem, because of rubric or title, to be song accom- accompaniment similar to the one in T1018. paniments. The manuscript was once part of the 11 Brussels, Bibliotheque Royale de Belgique, Codex Tuscan grand dukes' library.' I1 275D, a 98-folio book of lute begun by There are three further manuscripts that, while not one Raffaello Cavalcante during the 1590s. It contains Florentine in origin, contain realizations of continuo a lute intabulation accompaniment to Piero Strozzi's accompaniments to the earliest monodies. They can Fuor' dell'humido nido, which Caccini sang in 1579, as be used for comparison. mentioned earlier, a song that also survives with basso 7 Modena, Biblioteca Estense e Universitaria, Mus. continuo accompaniment. lo

EARLY MUSIC APRIL 1983 195 These manuscripts containing realized continuo descriptive evidence without mention of musical accompaniments have been known to researchers in manuscripts; the same is true of Neemann's article some cases since the early years of this century, but (1934) on the same subject. l3 Only B704 among these their significance has been recognized only recently; sources was used in Fortune's very important survey of no transcription from any of the Florentine sources Italian monody in 1954, though he did offer the first has been published or described until now. The recognition of the significance of the continuo Brussels manuscript (B704)was first reported by Alfred realizations in that manuscript: 'A few songs have Wotquenne in 1900 (see fn. I), and Johannes Wolf, in survived in manuscripts with realized accompaniments: 1919, gave its contents as 'songs with basso continuo the texture of these accompaniments is always chordal. and lute'. Wolf also listed FXIX. 109 as 'Italian songs I have come across a few [printed] song-books which with lute', FXIX. 168 as a lute manuscript containing provide a tablature for the chitarrone, and they tell the songs, and FXIX.115 without comment under the same story.'14 heading 'Italian organ and keyboard tablature'. l1 Sig- The first study to present all these manuscripts as nificantly, Wolf did not mention these sources in his sources of monody accompaniment was William chapter on scores and Generalbass. Instead, he and Porter's excellent dissertation of 1962. Less summary other writers on continuo sources and practice, from and more cautious than Fortune, he left only this the pioneers Riemann (1907-1 3), Kinkeldey (19 10) and evaluation: 'Undoubtedly, much can be learned con- Schneider (1918) to the authors of the major surveys cerning lute accompanimentfrom the many tablatures between Arnold (1931) and Williams (1970).uniformly found in Brus., Bottegari, and Cavalcante. An adequate conceived of basso continuo as a part appraisal of these accompaniments, however, must implicitly to be realized on a keyboard instrument.l2 wait for a complete transcription of all these tab- Even Quittard's early description (1910)of members of lature~."~The complete transcription has not appeared, the lute family as continuo instruments relied on so that in 1970, when Joan Myers wrote about Robert

1 Ciulio CaccM, Udite. udite amanti (Le nuove musiche. 1602), from FXIX.30. E25r --

196 EARLY MUSIC APRIL 1983 13.1 Giulio Caccir. Udite, udite amanti, from Le nuove musiche (Florence. 16021, with intabulations from FXIX30 and B704

U-di- te, u-di- te a-man-ii u- di - te. 6 fe - re e-ran-ti 0 cie-lo, bstel- le A lu-na 6 so - le Don.na e don-zel- le I- - V U V - - -

Transcription of tablature, FXIX.30, rhythms added

I

Tablature, FXIX.30, f.25~

MS:l I *

Transcription of tablature, 8704

I I I PI r I I' I I\ I I'

Tablature 8704.p.81

. . ... , . I " le mie pa-ro - ie E s'i ra-gion mi do-glio Pian-ge - t~almio cor-do-glio pian- ge - te al p- cor - do - glio

i ine in B704, p.81 and bass in 8704,p.81 I

- " -"- " - - - *MS: 2 lines EARLY MUSIC APRIL 1983 197 Dowland's realization of the accompaniment to two of Bernhard, and Viadana's instructions for accompanying Caccini's monodies, she incorrectly stated, 'unfort- motets-though Williams offers all three as guides.lg unately, no written-out Italian models of the period exist for us to emulate'.16 And when Hitchcock pro- The examples chosen duced the first critical editions of Caccini's two printed To illustrate the typical features of these early Florentine collections, in 1970 and 1978, he did not list FXIX.30 continuo realizations, I have chosen three examples. or FXIX. 1 15 under 'manuscript versions' of the songs Caccini's Udite, udite amante (ex.1) shows the extent of and used only Dowland's intabulations as models for agreement between two different intabulated realiz- his own continuo realizations. l7 ations from Florentine manuscripts (B704, and FXIX.30 As we shall see, Dowland's intabulations are sig- (illus.1)). These realizations represent what is usual in nificantly different from the early Florentine realiz- accompaniments of simple, metrical, dance-like strophic ations. Likewise unreliable as models for continuo arias within this manuscript repertoire. The harmoniz- realizations for Florentine monody are Luzzasco ations in them call be compared with Caccini's figured Luzzaschi's keyboard accompaniments to his solo bass as printed in 1602. (1601), as Newcomb pointed out in 1969,18 The second example, T'amo mia mita, is from B704 Schiitz's organ realizations transmitted by his pupil (illus.2). Slightly different versions of this song are

Ex.2 Giulio Caccini Tamo mia vita, 8704, pp.9-10

I 1 ' I , . , , IF' T'a - mo mia vi - ta, la mia ca-ra vi - ta. Mi di - ce e'in que-sta so - la Si so-

of tablature I

I I F r 0 I

Tablature

* MS:I *MS: 3 lines

- - ly - a - ve ~a-ro- la Par che tras-for - me lie-ta - ;en-t'il co - - - re per far - me-ne si - gno - re

198 EARLY MUSIC APRIL 1983 2 Giulio Caccini, Tamo mia vita. 8704. p.9 1 NFS:

EARLY MUSIC APRIL 1983 199 Ex.3 0 miei giomi fugaci, from Le vane musiche (Florence. 1609), with keyboard harmonization from FxIx.115

FXIX. 115. ff 9v-1Ov

" Oi - - me gia sei spa-ri - la Cia sen - to 0 I vi - - la

/ sen - tir'- par - mi La ri-go- ro - sa trom - ba d'a-van - ti a te Giu - sto Si- gnor chia - - mar -

Gia nel cor mi ri - bom - ba il for-mi-da - - bil suo - no. Mi - se - re - re di

200 EARLY MUSIC APRIL 1983 mi - se - re - re di me. Si - gnor, Si- gnor - per - do - no.

3 Jacopo Ped 0 mta gromt fugaci (Le varie mustche. 1609). from FXKI 15. L9v --T---- -

-li - r I I - 1 t I ' -+ I 11 0 IC A1 - 8--"7+4-;4 % t- - t 7- -+3~~ A . ' .;. - .K rLC Q pttn br;~"' k A C- I - Y L I \ I I C ' I

.(.&(___-----

I

found in Florence, Biblioteca Nazionale Centrale, presumably early version that differs in rhythm and Magl. XIX.66, and T1018 with only unfigured bass ornamentation from the one printed in his Varie accompaniments. In the latter manuscript the musiche (Florence, 1609). This example comes from is ascribed to 'Giulio Romano', that is, Giulio Caccini. FXIX.115 (illus.3) and, like the other pieces in this This piece, never before published, is chosen to manuscript, it includes both the vocal melody and the illustrate the realization of an unfigured bass and the accompaniment on two staves. Since only the incipit style of accompaniments used for madrigalian songs. of the text is provided, it may have been intended for The third example is a keyboard harmonization of performance on a harpsichord alone. However, other Jacopo Peri's spiritual madrigal, 0 mieigiomifugaci, in a pieces in this manuscript that are entirely untexted

EARLY MUSIC APRIL 1983 201 seem to have been intended as accompaniments for Large instruments of the lute family, whether called singing, as is suggested by the rubic 'Terza rima'. The 'chitarrone', 'tiorba', 'arciliuto', or 'liuto attiorbato', absence of full texting would therefore seem no continued to be favoured by Florentine monodists: certain indication of purely instrumental performance. Jacopo Peri, , , Marco Furthermore, FXIX. 138 contains similar keyboard da Gagliano, Giovanni Battista da Gagliano and others harmonizations with melody included, but here the accompanied themselves on them. And they continued full texts of the songs have been written in under the to be the instruments of accompaniment most frequently music, as if to be sung. The main purpose of this third named on the title-pages of printed monody collections example is to show that some features of the intabulated through the 1630~~' accompaniments for instruments of the lute family are not necessarily the result only of the idiom, technique Texture of the accompaniments and limitations of these instruments, since they are Fortune was correct in describing these realizations as shared by all the keyboard harmonizations in these chordal. In general, all the voices in them move to the manuscripts as well. rhythm of the bass, as is most easily seen in Udite, udite amanti. The most common exceptions are places The instruments where the upper line takes instead the rhythm of the The choice of instruments in this group of continuo vocal line, where the bass line contains passing notes realizations seems significant. Most by far are in lute and where cadences are elaborated by suspensions, tablature. The two most important of the manuscripts, anticipations, and added sevenths over the dominant B704 and FXIX.30, call for an instrument with up to chord (e.g. Tamo mia vita, bar 7; Udite, bar 12). Other four unfretted, diatonically tuned contrabass strings cases are rare, and ex.4 represents the extreme limit of in addition to the classical six courses of the Renais- contrapuntal texture in these accompaniments. Ex.5 sance lute (A-d-g-b-el-a' or G-ef-a-dl-g'). Most of shows a passage from Robert Dowland's realization of the intabulations require either G or A tuning (both are the accompaniment to Caccini's Amadlli mia bella and used in each manuscript) in order to match the voice ex.6 the simpler one from B704, which is typical of that and bass parts written in staff notation; in B704, one manuscript. accompaniment would require tuning based on B, and The keyboard harmonizations are really no more another D tuning in order to match. But the actual, elaborate than those for , except that the vocal absolute pitch used in performance would have been a melody included in them contains some ornamentation, matter of simple agreement between singer and accom- as in 0 miei giomi fugaci. It is primarily only the panist, if they were indeed two individuals. The bass inclusion of the bass part and some variety of chord line is included in all these intabulations, and there is voicing that distinguishes the archlute accompaniments no reason to suggest that any melodic bass instrument from the strummed, rasgueado guitar accompaniments should be added in performing these accompaniments. to monodies, which have recently been studied by Judging from the disposition of the chords and the Robert Strizi~h.~~As with the guitar accompaniments, distribution of notes in runs, these intabulations were these archlute realizations show very little concern probably made with an instrument in mind that had its about giving the upper line a distinct melodic shape. first two courses tuned as on a lute, not an octave Indeed many of them are as disjunct as the two lower as some sources give for the chitarrone or versions of Udite, udite amanti given here. In general, . Although Banchieri in 1609 reported that the ease of fingering and fullness of sonority seem to have first two courses of a chitarrone could be tuned to the weighed more than smoothness of line in the judge- upper octave,20both Spencer and Smith have recently ment of these Florentine musicians. A simple, chordal argued that an instrument with this lute tuning and texture, free of the counterpoint that Vincenzo Galilei added contrabass strings ought to be called an arch- maligned for obscuring the text and free of rhythmic lute.2' Still, early 17th-century usage was not con- complication that might inhibit the singer's sprezzatura sistent, and the instrument that the Florentine in- (rhythmic freedom), was their ideal. tabulators had in mind may be no different from the one that Caccini called a chitarrone, the instrument Parallelisms 'more suitable for accompanying the voice, especially No modern editor would dare to write the parallel 5ths the tenor voice, than any other'.22 and octaves that confront us in the first two bars of

202 EARLY MUSIC APRIL 1983 Ex.4 Anon, Poi che'l mi0 largo pianto, B704,p.35, bars 10-15

I0

I - a - sciut-ti mai que- sVoc - chl non ve - dra - i - fin-che non man-di fuo - re -

Continuo

Tran - scription of tablature

F r

Tablature

Ex.5 Robert Dowland's accompaniment to Ciulio Caccini's Amarilli mia beNa (Le nuove musiche. 1602) from A MusicalBanquet (London, 1610). no.19, bars 14

A - ma- ril - li mla be1 - la, Non cre - di, o del mlo cor do1 - cede-SI - I V

Tran- script~on of tablature

I I ' I I I I I r ~ F r r F F FF

Tablature

1' -6, D'es - ser tu pa-mor mi - o?

EARLY MUSIC APRIL 1983 203 Ex.6 Giulio Caccini Amarilli mia bella. B704, p.46,ban 1-5

1 - A-ma- ril - li m1a be1 - la Non credi,- o del mio cor do1 - ce ae-si - o D'es - ser tu Pa-mor mi - a?

Tran- scrlption of tablature

I ~ r t F ~ r r F P F I r

Tablature

Tamo mia vita or in 0 mieigiornifugaci, bar 6. Yet these range of the accompaniment be varied according to parallelisms are found frequently in nearly every one the range and expression of the voice part.29 of these Florentine realizations, whether for archlute or keyboard. It is often overlooked that even Viadana, Dissonances the church musician, wrote, in 1602, 'The organ part is Generally these realizations confine dissonances to never under any obligation to avoid two 5ths or two the elaboration of cadences, mentioned earlier. Un- octave^'.'^ Guidotti, in his preface to Cavalieri's Rap- prepared suspensions, such as that in Tamo mia vita, presentazione di anima et di corpo (, 1600).says 'two bar 7, are not uncommon. Even more common is the 5ths are taken as occasion demands'. Caccini in his leap to the seventh. The fourth always appears with the preface to Euridice (Florence, 1600). writes 'I have not fifth above the bass in suspensions, never with the avoided the succession of two octaves or two 5th~'. sixth. Vincenzo Galilei, in his Dialogo of 158 1,26 had advised them all that two or more perfect consonances con- Choice of chord secutively are to be allowed when three or more parts One of the striking features of these realizations is that are sounding, advice upon which he elaborates in a often a third and fifth are put above the bass note treatise of c1590 in this way: 'The law of modern where modern editors would have written a third and contrapuntists that prohibits the use of two octaves or two 5ths is a law truly contrary to every natural law of Ex.7 Giulio Caccini Dovro dunque rnorire (Le nuove rnusiche, 1602). B704. p.45,bars 1-2 singing [solo song^].'^'

Melodic relationship of accompaniment to vocal line Do-vi6 dun - que mo - ri - re While the vocal line is included in the Florentine I keyboard harmonizations, it is generally avoided in Continuo the archlute realizations, which for the most part remain below the vocal line if it is in the soprano range. In this respect, these Florentine archlute manu- Tran- scription I scripts record a practice that corresponds to the ot earliest continuo instructions given by Viadana and tablature Agazzari (1607).28However, Viadana's rule that the I leading note must be played in the accompaniment in I F F r I r the same octave in which it is sung is often ignored in " I - these realizations. Likewise ignored is Francesco Tablature Bianciardi's (1607) suggestion that the fullness and

204 EARLY MUSIC APRIL 1983 sixth. Examples of this can be found in the cadential Stock chords formulas of Udite, udite amanti, bars 4 and 5, and in the Most printed monody collections with Montesardo's first two chords in bar 11. The same is often found at , indicating chords to be strummed what would have seemed to be Phrygian half-cadences, rasgueado fashion on a five-course Spanish guitar, also as is illustrated at the end of the first phrase in ex.6, include a table showing each of the chords in tablature, above. In other cases a new root-position triad is used with its letter, above bass notes arranged as an where a simple change of inversion of one triad might ascending scale. Such a table for the archlute is found seem to have been implied (ex.7). On the other hand, as a later addition to B704, and FXIX.30 has three of sixths are normally used over the third and seventh them. Oddly, however, these tables are neither com- degrees of major scales and when the bass descends plete nor accurate. The form of chords most commonly by a whole step at cadences. In this respect these found in the early realizations is often replaced in the manuscripts support the instructions given by Bian- tables by a thinner or less easily fingered version of the ciardi and Banchieri (16 1 same harmony. And when a presumably later scribe tried to apply these stock chords to realizations of Preference for major chords songs added at the end of B704 by Porter's scribes b In all these manuscripts there is a surprising preference and c, the results were silly. Still, such a table can quite for major triads. Not only are the thirds raised in all easily be assembled from the older realizations in cadential dominant chords, but usually in all chords B704 and FXIX.30. I here include one each for G and A followed by a bass note (root) a 4th above or 5th below tuning (Tables 1 and 2); they include virtually every except when cross-relations in the voice line would chord used in the manuscripts. Since the early Floren- result. Examples of such non-cadential raised thirds tine accompaniments are largely a series of chords are found in T'amo mia vita, bars 2, 5 and 6. Again, this adhering to the norms I have described, it is relatively corresponds to rules given by Bianciardi and Banchieri. easy to imitate them using these tables and making But further, these realizations have a raised third in the adjustments for bass motion, other inversions, and final chord of every cadence and of nearly every upper voice motion, especially at cadences. I have phrase-ending where possible. This is shown in Tamo done this and heard my accompaniments professionally mia vita, bars 1 and 3; and in Udite, udite amanti, bars 6.7 performed with complete success. And why not? This and 10. Occasionally internal tonic cadences in minor- was evidently the way monodies were accompanied in mode songs end without any third, perhaps because Caccini's Florence. the minor third was insufficiently consonant, while the major third would have seemed too final. In other A postscript on Kapsbergei's chitarrone realizations songs open 5ths occasionally replace triads when the Johannes Hieronymous (Giovanni Girolamo) Kaps- major third is in the voice, when a major third might berger's chitarrone realizations of the continuo accom- have seemed too jarring (e.g. Udite,bar 2), or in place of paniments in his Libro primo di arie passeggiate (Rome, the dominant chord in a few slow, G-Dorian songs with 16 12) represent the next chronological step after the melancholv affect. early Florentine realizations, and they are remarkably similar to their predecessor^.^^ The instrument intended Treatment of passing notes in the bass is evidentally a chitarrone with at least seven, perhaps Generally, notes written as crotchets and shorter 12 contrabass strings.33A transcription of his accom- durations that are dissonant with the vocal line are left paniments shows that the first course of this instru: to move under sustained chords in these realizations. ment seems to have been tuned down an octave from This corresponds with Agazzari's instructions. Only a' to a, while the second course remained at the lute very rarely are rapidly descending basses accompanied pitch e'. As in the Florentine realizations, the texture is by parallel lOths in the way Bianciardi suggests. In a overwhelmingly homophonic; independent voice few rapid passages, bass notes that might have been movement is practically confined to cadential elab- accompanied by chords are left to sound alone. In no oration. The upper voices of the accompaniments are case does this choice seem to be related to text less disjunct than in the Florentine realizations, partly expression or the range and power of the voice. Other because of the tuning of the first course, but it is no cases of unaccompanied bass notes are octave leaps more melodious or contoured. In general the part- and changes of root under sustained upper voices. writing is somewhat smoother and the parallelisms

EARLY MUSIC APRIL 1983 205 Table 1 Chord forms found in the intabulated continuo realizations in B704 and FXIX30 with G tuning

1 0 1 % I. I A A I r I . I I I I I I 1 : 2 2 13 14 I:, : 1 ; 1 - 1 1 : 1 : 1 : 'Chords on D wlth the 3rd In the lower octa\e are very common In these manuscrlpts. and when the D major chord is used as the dominant in a cadence on G, the resolut~onof the leadln~note 1s often found in the upper octav~ In thls connection it should be remarked that many 16th-century have an octave split on the fourth ds wpil as ~n the i~fthand s~xlhcourses less flagrant. The sound of the accompaniment is Kapsberger varies his textures to match the intended fuller because of the more liberal use of contrabass expression of the text. strings, the lower-octave first course, the greater In general Kapsberger's realizations make somewhat demands on left-hand technique, and the design of greater demands on the accompanist's technique, a chords using mostly adjacent courses to be strummed little more exploitation of expanded range, and al- with the thumb (as shown by the sign ' / .). Although the together a bit more polish and sophistication. To a fullness of chords seems partly governed by the speed certain extent they may be a sign of the drift away from of the bass line, there may be instances in which extreme concentration on expressive vocal declamation

206 EARLY MUSIC APRIL 1983 Table 2 Chord forms found in the intabulated continuo realizations in 8704 and FXIX30 with A tuning

- . I.. .. :: .. rr. .. .. 1,s i- ! - a

*Again, as in G tuning, the possibility of an octave split on the fourth course should be considered when interpreting these chords of the text towards greater interest in features of purely a solid, sonorous, sustained harmony' and that 'the musical design and expression, a drift that is detectable consonances and the harmony as a whole are subject generally in monody beginning in the second decade and subordinate to the words, not vice versa'.34 of the 17th century. But Kapsberger's accompaniments are nevertheless simpler and more discreet than those 'A. Wotquenne. 'Notice sur le manuscrit 704 (ancien 8750) de la to be found in most modern performing editions. H~ Bibliotheque du Conservatoire', Annuaire du Conservatoire Royale de Musique de BmxeNes, 24 (1900), pp.178-207: W. V. Porter jr, 'The Agazzari's that a in- Orinins of the Barooue Solo Sonn: a Studvof Italian ManuS~ri~tSand strumentlike the archlute or chitarrone'must maintain prints from 1590-i610' (P~Ddiss.. ale u.,1962), pp.2s4-jo

EARLY MUSIC APRIL 1983 207 2Porter, op cit, pp.306-7, omits reference to one of the Caccini Smith have been reopened on a broader basis in F. Hellwig. 'The concordances. Udite, udite amanti. The date in the manuscript was morphology of lutes with extended bass strings', EM 914 (October missed by both Porter and Bianca Becherini (Catalogo dei manosm'fti 198 l), pp.447-54. musicali deNa Biblioteca Nazionale di Firenze (Kassel, 1959),pp. 12-1 3). 22Caccini,Le nuove musiche, ed. Hitchcock, p.56 ]Porter, op cit, pp.320-21: Becherini, op cit, p.50 231n addition to Quinard, Neemann. Spencer and Smith, cited 4Florence. Archivio di Stato, Guicciardini-Corsi-Salviati, libro above, see T. Borgir. 'The Performance of the Basso Continuo in 409, second fascicle Seventeenth Century Italian Music' (PhD diss.. U. of California at 'Porter, op cit, pp.322-3; Becherini, op cit, pp.59-60 Berkeley, 197 I), pp. 190-220; N. Fortune, 'Continuo Instruments in 6Porter,op cit, pp.310-11; Becherini, op cit, p.72: C. MacClintock, Italian Monodies', GSJ6 (1953),pp.10-13; and M. Materassi, 'Teoria 'Notes on Four Sixteenth-Century Tuscan Lutebooks'. Journal of the e pratica del' suonare sopra 'I basso 'nel primo Seicento', I1 'Fronimo: Lute Society of America, 4 (1971), pp.l-8 Rivista m'mestmle di chitana e liuto (October 1979), pp.24-32. 'Porter, op cit, pp.308-9; Becherini, op cit, pp.44-5; MacClintock, 24RStrizich, 'L'accompanimento di basso continuo sulla chitarra op cit barocca'. I1 'Fronimo'(January 1981), pp.15-26; (April 1981), pp.8-24 'C. MacClintock, 'A Court Musician's Songbook: Modena MS C31'. 2TL.Viadana, 'A benigni lenori', Centi concerti ecclesiastici (, JAMS 9 (1956), pp.177-92: C. MacClintock, ed., The Bottegari 1602). For a translation and commentary, see Arnold, op cit, pp. 1-5, Lutebooh, Wellesley Edition, 8 (Wellesley. Mass.. 1956): Porter, op cit, 9-33, esp.18-19. pp.3 12-1 9 26V. Galilei, Dialogo . . . deNa musica antica et della modema 9N. Maze, 'Tenbury Ms 1018: a Key to Caccini's Art of Embellish- (Florence. 1581); Eng. trans. in 0. Strunk, Source Readings in Music ment', JAMS 9 (1956),pp.61-3; H. W. Hitchcock 'Vocal Ornament- History (New York. 1950), p.310 ation in Caccini's Nuove Musiche'. MQ 56 (1970), pp.389-404; N. 2'C. V. Palisca, 'Vincenzo Galilei and some Links Between Fortune, 'Italian Secular Song from 1600 to 1635: The Origins and "Pseudo-Monody" and Monody'. MQ 46 (1960), p.357 Development of &companied Monody' (PhD diss., U. of Cambridge. 28A.Agazzari, Del sonare sopra 'I basso con tutti li srromenti e dell'uso 1954), appendix. pp.55-6. Both Tenbury 1018 and 1019 can be seen lorn nel consorto (Siena, 1607); the 1609 version is transcribed in at the Bodleian Library. Oxford, where they are on indefinite loan. Kinkeldey, op cit, pp.216-2 1; Eng. trans. in Strunk op cit, pp.424-31; loporter, op cit, pp.301-5 commentary in Arnold, op cit, pp.67-74. llJ. Wolf, Handbuch der Notationshunde. 2 (Leipzig, 19 19). pp.70, 29F.Bianciardi. Breve regola per imparar' a sonar sopra il basso con 275 ognisorted'istrumento (Siena. 1607): extensive trans. and commentary 12H.Riemann. Handbuch derMusihgeschichte, 211-3 (Leipzig. 1907- in Arnold, op cit, pp.74-80. 13);0. Kinkeldey. Orgel und Klavier in der Musih des 16. Jahrhunderts 'OA. Banchieri. 'Dialogo musicale del R. P. D. Adriano Banchieri (Leipzig, 1910). pp.187-221; M. Schneider, Die Anfange des Basso Bolognese con un amico suo, che desidera suonare sicuramente Continuo undseinerBezifferung (Leipzig, 1918);F. T. Amold, The Art of sopra un basso continuo in tune le maniere'. L'organo suonan'no Accompaniment from a Thorough-bassas Practised in theXVIIth & XVIIIth (Venice, 21161 1);trans. and commentary in Arnold, op cit, pp.82-90 Centuries (London, 193 1); P. Williams. Figured Bass Accompaniment 31P~rter,op cit, pp.259-70. The later intabulations are in 8704, (Edinburgh. 1970) pp.201-35; the chord table is on p.209. The tables in FXIX.30 are on 13H. Quittard, 'Le theorbe comme instrument d'accompaniment', ff.2-3. Societe Internationale de Musique revue musicale mensuelle, 6 (1910), I2James Forbes ('The Nonliturgical Vocal Music of Johannes pp.221-37. 362-84: H. Neemann, 'Laute und Theorbe als General- Hieronymous Kapsberger (1580-165 1)' (PhD diss., University of bassinstrumente im 17. und 18. Jahrhunderf, ZeiBchTiftfiir Musih- North Carolina at Chapel Hill, 1977), pp.85-91) discusses these wissenschaft, 16 (1934), pp.527-34 chitarrone intabulations as evidence of the composer's harmonic "Fortune, op cit, p.16 style and of the harmonic structure of the arias, but not as evidence lSPorter,op cit, p.202 of continuo realization practice. 16J. Meyers. 'Caccini-Dowland: Monody Realized'. Journal of the 33Tablaturesymbols for contrabass strings in this collection are Lute Society of America, 3 (1970), pp.22-34 thefollowing:e= G,8= F,X(IO)=D, 11 = C', 14= Gsharp, and 18= F 17G. Caccini, Le nuove musiche, ed. H. W. Hitchcock, Recent sharp. Researches in the Music of the Baroque Era. 9 (Madison. 1970); G. 34Seefn.29. I believe that the instruments of melodic ornamen- Caccini, Nuove musiche e nuova maniera di smiverle (1614). ed. H. W. tation, as opposed to instruments of chordal foundation, which Hitchcock Recent Researches in the Music of the Baroque Era. 28 Agazzari describes, are appropriate mostly to the realization of the (Madison, 1978) continuo in ritornellos, sinfonie, dances and perhaps in choruses, IsAnthony Newcomb ('The Musica Secreta of Ferrara in the 1580s' ensembles and some metrical arias in operas, concerted madrigals (PhD diss., Princeton U., 1969), p.122) finds Luzzaschi's keyboard and cantatas, oratorios and liturgical music of the early Baroque, parts busier, with more imitation than Caccini's basso continuo but not in simple monodies or passages in stile ren'tativo, which accompaniments. evidentially require the very discreet accompaniments of a single 19Williams,op cit, 1, pp.66-7. That Viadana's organ continuo parts instrument as shown in the tablatures discussed here. I wish this are different from Caccini's monody accompaniments in historical point had been made in G. Rose, 'Agazzari and the Improvising background, style, function and intent is the burden of H. H. Orchestra', JAMS 18 (1965), pp.382-93. Eggebrecht. 'Arten des Generalbasses im friihen und minleren 17. Jahrhundert', Archive fir Musihwissenschaft, 14 (1957), pp.61-82. Bemhard's realizations have a third-hand relationship with Monte- verdi's practices, removed by time, nation and Schiitz's mediation; see J. M. Miiller-Blanau. Die Kompositionslehre Heinrich Schutzens in der Fassung seines Schulers Christoph Bernhard (Leipzig, 1926). 20A. Banchieri. Conclusioni del suono dell'organo (Bologna, 1609), p.53 2LR.Spencer, 'Chitarrone, theorbo and archlute'. EM 414 (October 1976). pp.41&17; D. A. Smith, 'On the Origin of the Chitarrone', JAMS 32 (1979), p.458. Some of the issues treated by Spencer and

208 EARLY MUSIC APRIL 1983