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Studies on the Reception of Italian Music in Central-Eastern Europe in the 16Th and 17Th Century

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Studies on the Reception of Italian Music in Central-Eastern Europe in the 16Th and 17Th Century Studies on the reception of Italian music in central-eastern Europe in the 16th and 17th century Studies on the reception of Italian music in central-eastern Europe in the 16th and 17th century edited by Marina Toffetti Musica Iagellonica Kraków 2018 On the cover Front page: First page of the facsimile of the inventory from Gumpoldskirchen Back page: Luca Marenzio, Jubilate Deo for eight voices. Milano, Biblioteca del Conservatorio «G. Verdi», Ris. Mus. C 135-41, Cantus I, fol. 3. Lay-out Andrzej Sitarz Revision of the English texts Michael Webb This volume was made possible with the support of the Department of Cultural Heritage of Padua University © 2018 Copyright by the Authors and Musica Iagellonica Sp. z o.o. ISBN 978-83-7099-221-7 Musica Iagellonica ul. Westerplatte 10 31-033 Kraków, Poland www.mi.pl Contents List of abbreviations 6 Introductory essay Marina Toffetti Tracking the dissemination of Italian music in central-eastern Europe 9 Part one: Music dissemination Herbert Seifert An inventory from Gumpoldskirchen near Vienna from 1640 35 Jiří Sehnal A music inventory of a church in Moravská Třebová from the end of the Thirty Years’ War 49 Maja Milošević The inventory of musical material from the Hvar Chapter in 1646 and 1647 85 Part two: Music migration, adaptation and assimilation Barbara Przybyszewska-Jarmińska Sources on the history of music at the courts of the Polish Vasas preserved in the Skokloster castle (Sweden) 121 Barbara Przybyszewska-Jarmińska On the trail of Luca Marenzio’s works composed in Poland: Missa super Iniquos odio habui 137 Marina Toffetti Structural variants and contrapuntal re-elaboration in the versions for two and three choirs of Luca Marenzio’s motet Jubilate Deo…cantate 173 Aleksandra Patalas The polychoral Masses of Giovanni Francesco Anerio: parody technique 211 Part three: Poetic dissemination and music reception Ennio Stipčević The poet Ludovico Paschale, Martia Grisogono, and some Italian Renaissance composers 241 Richard Rybarič Judicium Salomonis: Samuel Capricornus and Giacomo Carissimi 265 Original titles of the articles 287 List of illustrations 288 Index of names 289 Index of places 299 5 List of abbreviations MMG1 –` Die Musik in Geschichte und Gegenwart, ed. Friedrich Blume, 14 vols., Kassel – Basel: Bärenreiter, 1949–1968 (+ Supplement 2 vols. 1973–1979) MGG2 – Die Musik in Geschichte und Gegenwart, ed. Ludwig Finscher, 29 vols. (Personenteil, 17 vols.; Sachteil, 9 vols. + Register, 2 vols. + Supplement), Kassel – Basel – London – New York – Prag: Bärenreiter; Stuttgart – Weimar: Metzler, 1994–2008 NG2 – The New Grove Dictionary of Music and Musician, ed. Stanley Sadie, 29 vols., London – New York: Macmillan, 2001 RISM A/I – Répertoire International des Sources Musicales. A/I: Einzeldrucke vor 1800 (Individual Prints before 1800), 9 vols., 4 supplements, index, CD-ROM, Kassel: Bärenreiter, 1971–2012 RISM B/I – Répertoire International des Sources Musicales. B/I: Recueils imprimés XVIe-XVIIe siècles, ed. François Lesure, München – Duisburg: Henle, 1960 6 Introductory essay Marina Toffetti Tracking the dissemination of Italian music in central-eastern Europe 1. Why a book of this kind? This work is intended as a contribution to the history of music reception in Europe and stems from the observation that, in some sectors of historical mu- sicology, there exists a lack of communication between scholars of different areas that tends to slow down (and at times prevent) its harmonious realiza- tion. While on the one hand the results of numerous musicological studies have highlighted the significance of the phenomenon of the dissemination in Europe of forms, genres, styles and techniques of Italian origin – a phenomenon that began in the 16th century with the diffusion of the madrigal, and continued in the 17th century with that of polychoral music and the small-scale motet with basso continuo, then becoming macroscopic in the 18th–19th century with the widespread diffusion of the melodrama and other various forms of opera 1 – on the other, many of these studies (and especially those concerning the reception 1 To gain an idea of the extent of the, albeit well known, phenomenon of the circulation of Italian music and musicians in Europe, it is sufficient to look at the entries about Italy (and the relative bibliography) in the main music dictionaries and encyclopedias. See Nino Pirrotta – Pierluigi Petrobelli – Antonio Rostagno – Giorgio Pestelli – John C. G. Waterhouse – Raffaele Pozzi, “Italy. Art Music”, in: NG2, vol. 12, pp. 637–664; Dietrich Kämper, “Italien”, B. “Kunst musik”, in: MGG2, Sachteil, vol. 4 (1996), coll. 1243–1282. See also what is written at the start of the latter entry (A. “Zum Problem der Abgrenzung”, col. 1243): “die italienische Musik – und zwar nicht nur die Werke selbst, sondern auch der entsprechende Kompositions- stil – zeitweise auch außerhalb Italiens eine solche Verbreitung gefunden hat, daß der Begriff der Kultur- oder Musiknation für die Musikgeschichte Italiens und der davon beeinflußten anderen Länder nur von relativer Bedeutung sein kann.” 9 Marina Toffetti of Italian music in central-eastern Europe) have been carried out by specialists working in delimited areas, whose results have been published, at least until some decades ago, for the most part in non-vehicular languages, or in publica- tions difficult to access. 2 It will be evident to anyone undertaking the study of single segments of the history of the reception and dissemination of music or of the migration of musicians, that this represents a waste of resources, since the overall picture of the dissemination in Europe of musical genres, techniques and styles emerging from the studies on the reception of music (above all in the Baroque era) would not only be enriched, but probably modified and reshaped, if the results of research until now carried out within delimited linguistic areas could be more widely shared by international musicology. 3 The primary aim of this volume is therefore to give a contribution to sci- entific communication (or, more specifically, to the exchange of knowledge 2 The topic of the assimilation of Italian music has been a main focus of central-eastern European – especially Polish – scholarship since the beginning of the twentieth century. In the history of Polish musicology and historiography, an important place is held by the monography by Zdzisław Jachimecki, Wpływy włoskie w muzyce polskiej. Część I. 1540–1640 [Italian influ- ences in Polish music. Part I. 1540–1640] (Studya do Historyi Muzyki w Polsce), Kraków: Akademia Umiejętności, 1911, while Mateusz Gliński published a monograph in Italian on Asprilio Pacelli (Città del Vaticano: s.e., 1941). Successively, many scholars followed in the wake of Jachimecki, producing a considerable amount of studies mostly written in Polish: these include, among others, Adolf Chybiński, Hieronim Feicht, Jerzy Gołos, Stanisław Chodyński, Tomasz Jasiński, Tadeusz Maciejewski, Władysław Malinowski (who has also published in German), Mirosław Perz (who has also published articles in Italian and French), Adam Sut- kowski (who has also published in Italian), Elżbieta Zwolińska (who has written some articles in Italian and German), Anna Szweykowska and Zygmunt M. Szweykowski (who have also published in Italian and English), Piotr Poźniak (who has also published in Italian), Stanisław Czajkowski, Alina Żórawska-Witkowska (who has also published in German and English) and Karolina Targosz. In other areas mention should be made of the work of the Croatian Dragan Plamenac (who has also published widely in English, especially during his period in the USA), of the Czechs Jiří Sehnal (some of whose articles have been published in German) and Theodora Straková, of the Slovaks Richard Rybarič and Marta Hulková (who has published several articles in German), of the Slovenians Ivan Klemenčič, Edo Škulj, Katarina Bedina and Dragotin Cvetko (who have also published in German), and Aleš Nagode, and of the Lithu- anian Jūratė Trilupaitienė. 3 The translation into English of two articles already published in German (that of Her- bert Seifert) and in Italian (that of the present author, here extensively revised and updated) stems from the observation that these two languages, which in principle should be mastered by all musicologists, especially if undertaking a study of the reception of Italian music, is de facto no longer (or at least: not necessarily) part of the linguistic competence of the younger generations of researchers, who will have the task of continuing along the lines of research proposed in these pages, and who resort more and more to English as a privileged vehicle language. 10 Tracking the dissemination of Italian music within the international musicological community), but it is also intended as a research tool (see the indexes of names and the tables, in which scholars may be surprised to find – or not find – the composer or music they are interested in) that one hopes will offer further impetus to the study (which needs to be as interdisciplinary as possible) of the dissemination and reception of Italian music culture in a broader European context, which is nevertheless rooted in a cultural and musical identity common to much of Europe. We know that in past eras the strong creative drive that enriched many geo-political areas of Europe of the time derived from the musical output of great figures linked to the present Veneto region and to Venice itself, from Andrea and Giovanni Gabrieli, to Claudio Monteverdi, and then a long list of illustrious musicians and chapel masters of St Mark’s Basilica, not to mention the opera writers connected to local theatres, as well as the composers linked to Padua Cathedral, the chapel of St Anthony’s Basilica, and countless other musical institutions mostly held to be ‘minor’, but sometimes no less lively and productive than those of the main centres. It comes as no surprise, then, that this project has been made possible thanks to the support of the Department of Cultural Heritage of the University of Padua, which is one of the oldest universities not only in the Veneto region, but also in the whole of Europe.
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