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Printed collections including contrafacta (1646–1649)
No full textThe article provides a description of some collections including contrafacta printed between 1646 and 164
O sacrum convivium
No full textChoral score of the composition "O sacrum convivium" by Gabriele Taschetti, awarded 2nd prize in the ICCC Japan 201
Valorizzare un’opera incompleta: il caso dei “Motetti concertati a due voci” di Tomaso Cecchini (Venezia, 1613)
No full textMany printed music editions from the 16th and 17th centuries have come down to us incomplete. Starting from the case study of the collection Motetti concertati a due voci by Tomaso Cecchini (Venice, 1613), this article intends to offer some theoretical and methodological reflections and outline a possible course of valorisation of the incomplete repertoire, also touching on the problem of the reconstruction of the missing parts
Giuseppe Martucci, Cesare Pollini, Oreste Ravanello and the Destiny of Tartini’s Paduan Manuscripts
No full textIn 1895 an essay by Giovanni Tebaldini brought to universal attention the presence of a considerable quantity of music by Giuseppe Tartini, primarily autographs, in the Musical Archive of the Veneranda Arca del Santo in Padua. The presidency board of the Arca soon had to deal with numerous requests for consultation and copies for study or performance purposes without having any specific rules to follow. The publica-tion of the music was among the possible solutions to this problem. The Arca appointed a commission consisting of Giuseppe Martucci, Cesare Pollini and Oreste Ravanello to assess whether and how to publish the music of Tartini preserved in the archive. How-ever, this initiative was abandoned within a few years.
This contribution provides an initial account of this history based on documentary sources
The critical edition of an incomplete music collection: a project for the valorisation of forgotten repertoires / L'edizione critica di una raccolta musicale incompleta: un progetto per la valorizzazione di repertori dimenticati
No full textBrief introduction on the relevance of any project of reconstruction of the missing part(s) within incomplete plìolyphon
Contrafacta of Palestrina’s works printed in Milan (1597-1605)
No full textFrom 1587 several of Palestrina’s collections were reprinted in Milan thanks to the initiative of the publishers Tini, later in association with Filippo Lomazzo. In line with the tendencies of the local press, influenced by the counter-reformist climate of the Ambrosian archdiocese, preference was given, when choosing which of Palestrina’s collections to reprint, firstly to those of motets and secondly to his masses, as well as one book of litanies and one of madrigals, now lost. A key role in the dissemination of Palestrina’s works in Milan was also played by the collective editions, to the extent that almost all of Palestrina’s works included would reappear, in variously re-elaborated versions (with passaggi or alternative texts), in subsequent Milanese editions. The reworkings with passaggi and the contrafacta made by some well-known composers and local clerics highlight the vital and receptive approach to Palestrina’s music in Milan, at the same time giving a clear indication of the fame that the selected works of the composer must have reached. In the decade following Palestrina’s death, five compositions by Palestrina would be published in Milan with substitute texts, either by Orfeo Vecchi or by Geronimo Cavaglieri: the motet Pulchra es amica mea, taken from the famous fourth book of five-voice motets on the Song of Songs, and the madrigals Io sono ferito ahi lasso, Vestiva i colli (of which two contrafacta have survived, with two different texts adapted respectively by Vecchi and by Cavaglieri), Saggio e Santo pastor and Io felice sarei. Not by chance, four of these five compositions by Palestrina had been reprinted shortly before in Milan, while the madrigal Vestiva i colli, with its second part Così le chiome mie, had circulated thanks to various successful collective editions printed elsewhere. Unlike Aquilino Coppini, who in his contrafacta created new lyrics each time, allowing himself to be guided by the emotions provoked by listening to the madrigals with their original text, and giving rise to organisms in which the relation between text and music was no less meaningful than it had been in the original composition, the procedure adopted by Vecchi and Cavaglieri, who moreover most likely came into mutual contact, competing with each other in the retexting of the same madrigals, was quite different. Both, in fact, adapted pericopes or centonizations from the Bible to the music. The article undertakes a detailed examination of the modus operandi of Orfeo Vecchi as an adapter, focusing in particular on his approach to the madrigal Io sono ferito, reproposed with the text of the parable of the prodigal son taken from the Gospel of St Luke (Quanti mercenarii). Although the result of this operation lacks the precise adhesion to the music found in Coppini’s contrafacta, it nevertheless reveals the musical sensitivity and cultural depth of their author, placing the stress on the relation established between the substitute text and the original one. Finally, Vecchi’s approach is compared with that of Cavaglieri, whose contrafacta are less interesting in terms of the relation between the original and the substitute text, and between the new text and the musical texture of the model, while not lacking, however, in aspects of the adaptation of the text and of its single words beneath the notes that reveal a certain care and mastery of the craft
Giovanni Battista Riccio and Il secondo libro delle divine lodi (Venice 1614): state of the art and research perspectives
No full textState of the sart of the research on Giovanni Battista Riccio's figure (he was an organist and composer active in Venice in the first decades of the 17th century) and oeuvre / Stato dell'arte della ricerca sulla figura e sull'opera di Giovanni Battista Riccio, organista e compositore attivo a Venezia nei primi decenni del diciassettesimo secolo
The Court of James VI of Scotland (1566-1625) and its Reception of Italian Musical Modes
No full textAscending on the throne of Scotland at a very early age, James VI invested much of his time and energy in the first years of his reign creating a circle of poets, musicians and translators with whom he worked at renovating Scottish culture, drawing from contemporary French and Italian examples; some of the writers of this group translated from Du Bartas, Petrarch, Ariosto, Machiavelli. James himself was a poet and translator, and at the age of eighteen wrote a literary treatise, Reulis and Cautelis (1584), fundamental for modern scholarship to understand his cultural agenda.
While much effort has been devoted to exploring the literary output of this coterie, less attention has been paid to music: yet some of its members, such as the brothers Robert and Thomas Hudson, were musicians, and some of the poets, such as Robert Ayton, used translation as a way of exploring different literary and musical modes, as can be seen in his translation of Giovanbattista Guarino’s Concorso di occhi amorosi, possibly influenced by Luca Marenzio’s setting of this piece, which appeared in Nicholas Yonge’s collection Musica Transalpina. Another member, William Fowler, also signals his preference for poetry to be set to music: he follows the suggestions of contemporary Italian music in a manuscript fragment, the Lamentatioun of the desolate Olimpia, based on the characters in Ariosto’s Orlando Furioso. Ariosto had been frequently set to music, and five of the pieces in Musica Transalpina are English versions of Ariosto’s stanzas. If Ayton chose a madrigal, Fowler here seems to work on another beloved Italian musical form, the lamento, popular among Italian musicians (like the above-mentioned Luca Marenzio), from Claudio Monteverdi to Adriano Banchieri, who had also chosen Olimpia as the protagonist of one of their compositions; in Fowler’s fragment Olimpia’s lament is treated as a separate lyric piece, rather than as part of a more complex epic as it was in Ariosto.
Starting from these instances I explore the hitherto unknown musical efforts of the Renaissance Scottish court, and its relationship with Italian models imported in northern Europe
Foreword
No full textThe volume offers a reflection on the phenomenon of the re-textualization of vocal music in the 16th and 17th century. Its main object of investigation is the contrafactum, an intertextual artifact par excellence that is studied here from multiple points of view.
The first part of the book examines some procedures of textual substitution carried out in various parts of Europe by poets, literati, men of culture, or culturally updated members of the clergy, who produced highly refined contrafacta.
The second part deals with the adaptation of texts dictated by necessities of various kinds (celebratory, political, confessional), often made in a hasty manner and re-using pre-existing vocal compositions, but still able to reveal significant aspects of the history of religious culture in Europe at the time of the Reformations.
Furthermore, it represents a useful work tool for anyone wishing to carry on the research into the European assimilation of the secular vocal forms in the Italian language, by making available to the reader a description of the contents of most printed collections including contrafacta published in Europe between 1576 and 1649
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