Two-part didactic music in printed Italian collections of the ...

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Chapter 3.5 101 ‘cielo’, swinging vocalizations on the words ‘onde’ and ‘procella’ – or employing contrapuntal subtleties, such as the perfidia, i.e. triple-time patterns within a duple-time structure. 15 & b œ nœ œ ˙ œ. j œ œ œ. j œ œ œ. j œ œ œ. j œ œ ˙ # œ w V b te sua œ œ œ spe - me œ œ. fi J - - - - - - - - - - - - - da. œ œ bœ . J œ œ œ. J œ œ œ. J œ œ œ. j œ œ ˙ ˙ Ex. 1 – - me fi - - - - - - - - - - - - - - da. In conclusion, Bellanda’s collection is matched by only a few other works in being well balanced between educational purposes and artistic value. 15 Cf. Chap. 4.4.2 devoted to this contrapuntal feature, which was frequently employed in the duo literature.
3.6.1. VILLANCICOS 3.6. OTHER VOCAL DUOS The villancico was one of the most popular forms of Spanish vocal music between the fifteenth and the seventeenth century. Its origin was popular – at least as concerns the lyrics – and its name had the same etymology as other similar musical forms, such as the Italian ‘villanella’ or ‘villotta’, all of them deriving from ‘villano’, that is an inhabitant of the countryside. Already around 1480 the villancico had become an educated genre, used by both poets and composers, who were often the same person, such as the most famous of all villancico composers, Juan del Encina (1468-1530). The Renaissance version contains two musical sections, A and B, arranged according the scheme A BB A. ‘A’ sets the part of the lyric called ‘estribillo’, whereas ‘B’ sets the ‘coplas’ or ‘bueltas’: the second ‘B’ sets different lines to the same music. In conclusion, the exact repetition of A sets the last estribillo, which has the same conclusion as the first. There are two sources of villancicos published in Italy: Villancicos de diversos autores, a dos, y a tres y a quatro, y a cinco bozes (1556) and Cristoforo Caresana, Duo: Opera seconda (1693). Surprisingly, as far as I know, these Italian prints are the only sources of two-part villancicos ever published, even though the genre was Spanish. Undoubtedly, both of these collections were published under Spanish influence, though in different places and centuries. The earliest collection was published by Girolamo Scotto in Venice; we know that he was from Milan and had strong family ties to that town and to the Milanese court. 1 Milan was then under Spanish domination, and especially between 1538 and 1546, when Alfonso d’Avalos was governor-general, the court ‘became a haven for poets and musicians’. In all likelihood, these villancicos came from Milan, and, since the only surviving copy of Scotto’s volume is a reprint, its first edition may have been issued in that Milanese golden age of music. One of these villancicos, ‘Dezilde al cavallero’ for five voices, is attributed to N[icolas] Gombert while all the others are anonymous. Caresana’s collection (1693), on the other hand, contains only one villancico by Caresana himself. Caresana was born in Venice, though he lived and worked for most of his life in Naples, where he moved when was twenty years old and where died in 1709. Naples had been for centuries under Spanish domination and in the late seventeenth century the Iberian influence 1 Bernstein, Scotto, p. 165 and Bernstein, ‘Scotto’.
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TWO-PART DIDACTIC MUSIC IN PRINTED
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ABSTRACT Two-part compositions were
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3.5. Motets and Sacred Madrigals p.
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ABBREVIATIONS AND LIBRARY SIGLA Whe
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RISM-Addenda Répertoire Internatio
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I PLn Italy - Palermo, Biblioteca N
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Chapter 1 2 some music manuals of t
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Chapter 1 4 Einstein was confident
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Chapter 1 6 1.3. THE CONSISTENCY OF
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Chapter 1 8 music publishers, Ottav
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Chapter 1 10 It is easy to identify
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Chapter 1 12 Al Signor Gioseffo Gua
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Chapter 2 14 2.1. DUOS IN JOHANNES
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Chapter 2 16 conjectures fits in we
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Chapter 2 18 In the sources listed
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Chapter 2 20 do not want to analyse
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Chapter 2 22 Festa avoids cadences,
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Chapter 2 24 Perhaps the six recerc
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Chapter 2 26 2.5. MANUSCRIPT DUOS N
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Chapter 2 28 with Tinctoris’s duo
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Chapter 2 30 Ex. 4 & b b a V b b C
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3.1.1. INTRODUCTION 3. DIFFERENT KI
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Chapter 3.1 34 MADRIGALS Madrigals
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Chapter 3.1 36 short duos composed
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Chapter 3.1 38 ‘Scherzi, capricci
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Chapter 3.2 40 2. All the treatises
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Chapter 3.2 42 material by Flemish
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Chapter 3.2 44 of a texted-duo coll
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Chapter 3.2 46 tenore di buona voce
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Chapter 3.2 48 explicitly declares
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Page 105 and 106: Chapter 3.4 94 3.4.10. CONCLUSION A
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Page 119 and 120: Chapter 4.1 108 known composition;
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Page 123 and 124: Chapter 4.1 112 modal theory was fo
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Chapter 4.3 152 mutation - ‘la so
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Chapter 4.3 154 & # # n n B c B œ
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Chapter 4.3 156 have already seen h
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4.4.1. INTRODUCTION 4.4. OBBLIGHI,
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Chapter 4.4 160 beginners learning
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Chapter 4.4 162 Finally, we have du
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Chapter 4.4 164 obstinacy. In the L
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Chapter 4.4 166 In this example the
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Chapter 4.4 168 Ex. 8 & [bars 40-46
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Chapter 4.4 170 & ? Ex. 11 c c Ó
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Chapter 4.4 172 Lassus (1577) and G
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Chapter 4.4 174 ricercar (Music App
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Chapter 4.4 176 can only envy the h
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Chapter 4.4 178 when the natural an
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Chapter 4.4 180 in duos: inganni an
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Chapter 4.5 182 Elementorum musicae
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Chapter 4.5 184 of mutation using a
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Chapter 4.5 186 Finally, Scaletta g
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Chapter 4.5 188 Youngsters Youngste
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Chapter 4.5 190 1681) managed his o
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Chapter 4.5 192 soon as he memorize
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Chapter 4.5 194 Indeed, quite a few
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Chapter 4.5 196 Sono di già passat
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Chapter 4.5 198 Similarly, in the s
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Chapter 4.5 200 acquires a precise
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5. OTHER DIDACTIC MUSIC IN DUO COLL
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chapter 5 204 the madrigals that bo
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chapter 5 206 Piochi: 3 books Natal
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chapter 5 208 animi delle persone c
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chapter 5 210 2. ‘Canon. Me pente
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chapter 5 212 Ex. 4b The clue is in
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chapter 5 214 B a B a ? ? ? ? Ex. 7
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chapter 5 216 Corti, Ricercari a du
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chapter 6 218 sixteenth century by
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- II - Emil Vogel, Bibliothek der g
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- IV - 44 (1972), 181-213, which li
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- VI - A 25. Gabriello Puliti, Sche
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- VIII - C 8. Girolamo Diruta, Seco
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- X - E 25. Zaccaria Tevo, Il music
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- XII - 59. Banchieri (1623) 4, ‘
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APPENDIX A - COLLECTIONS OF DIDACTI
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- 3 - 31. Cantus cum tenore C S A A
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- 5 - 1564 TITLE-PAGE TENORE | DI A
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10. 19 11. 20 82 12. 21 83 13. 26 8
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CONTENTS Nos. 1-53. - 9 - cC 1543 T
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- 11 - 1584 TITLE-PAGE TENORE | DI
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BIBLIOGRAPHICAL LISTINGS RISM-A: G
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BIBLIOGRAPHICAL LISTING NewVogel: 1
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- 17 - 46. Quant je boy du vin clar
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LOCATION I Bc. - 19 - BIBLIOGRAPHIC
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- 21 - 37. Amor, quando fioria. Qui
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- 23 - BIBLIOGRAPHICAL LISTINGS RIS
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- 25 - 61. Iusquin. Agnus Dei [Miss
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MODERN EDITION Ed. by Andrea Bornst
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- 33 - 1615 TITLE-PAGE CANTO [TENOR
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Venice, 1550 ! $ ! & b ˙ Bologna,
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- 39 - 19. f. 34v ‘Fantasia 21’
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- 41 - 24. O bella man, che mi dest
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LOCATION I Bc. - 51 - BIBLIOGRAPHIC
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- 53 - TEXTS No. 1: Ecclesiasticus
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- 69 - NOTES Both title-pages are s
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- 79 - lL A 21. Paolo Fonghetti, Ca
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- 81 - A 22. Giovanni Giacomo Gasto
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- 83 - Pitoni (c. 1725), p. 191:
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LOCATION A Wn - 85 - compositore di
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LOCATION I Bc (C) - 87 - porgere di
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- 89 - 15. V A C G f 16. V A 3 G f
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- 91 - 10. Ricercar Decimo S A c G
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BORROWED MATERIAL No. 11: ‘Barrer
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- 97 - A 31. Floriano de Magri, Can
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LOCATION I Bc. - 99 - Di Vostra Sig
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BIBLIOGRAPHICAL LISTINGS RISM-A: B
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LOCATION I Nc. - 103 - Dopo gli obb
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LOCATION I Bc. / b / c - 105 - Ques
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LOCATION I Bc. - 107 - occupazioni
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- 109 - 16. Duo XVI. Canto e alto S
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- 111 - lL A 37. Cristofano Piochi,
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- 113 - 13. Ricercare decimo terzo.
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Gaspari, Catalogo, I, pp. 322-23. W
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No. 2: ‘Iste confessor’. See Ap
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- 119 - rerum omnium concentu hauri
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- 121 - 17. Facilis est vincere non
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PARS VESPERTINA - 123 - 39. Musicam
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MODERN EDITION Ed. by Andrea Bornst
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- 127 - che in questa congiuntura n
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Nos. 30 and 31: ‘Pastorale’. Se
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- 131 - più la venerazione che l
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Gaspari, Catalogo, IV, p. 206. MODE
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- 135 - 38. Canone a 2 in diapason
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- 137 - 23. Solfeggiamento Vigesimo
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Canone a quattro - 139 - CONCORDANC
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- 141 - 21. Ventesimo Primo S A c G
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APPENDIX B - OTHER PRINTS INCLUDING
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- 145 - 3. Duo. Dime, robadora S S
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- 147 - somiglianza de gl’Inni ch
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- 149 - sum: ut meliorem exitum opt
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BIBLIOGRAPHICAL LISTINGS RISM-C, II
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- 153 - B 8. Antonio Brunelli, Rego
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BIBLIOGRAPHICAL LISTING Mischiati,
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- 157 - 33. Primo contrapunto accor
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- 159 - MODERN EDITIONS Nos. 1, 6,
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- 161 - DEDICATION Al molto Illustr
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- 163 - 4. La mort’è il fin d’
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APPENDIX C - DUOS FROM TREATISES lL
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- 167 - • Libro secondo, Chap. 33
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- 169 - C 11. Camillo Angleria, Reg
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- 171 - • Libro Secondo, Chap. 67
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APPENDIX D - MISSING (LOST) COLLECT
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- 175 - lL D 7. Scipione Cerreto, I
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APPENDIX E - QUOTATIONS FROM ORIGIN
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- 179 - iI E 4. Gioseffo Zarlino, L
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- 181 - E 5. Vincenzo Ruffo, Capric
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- 183 - solamente si può usare nel
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- 185 - iI E 11. Girolamo Diruta, S
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- 187 - fF ‘Breve narrativo in ma
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- 189 - canoni, ovvero aggiunzioni
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- 191 - iI E 18. Orazio Scaletta, S
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- 193 - There follows a duo which i
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The passage is followed by a two-pa
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& & & c c c w ∑ ∑ Fa - ∑ ∑
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- 199 - 3. Deve rilevare il giovane
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- 202 - Rodio (1575): ricercare a 4
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2.7. Missa Salvum me fac Domine •
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LITERATURE Einstein, Madrigal, I, p
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OTHER SETTING Gintzler (1547): lute
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ORIGINAL SETTING - 210 - Madrigali
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- 212 - 3.32. Occhi miei lassi, men
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- 214 - 3.41. Ragione è ben ch’a
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- 216 - • Sangiorgio (1608), 30.
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4.5. Ces facheux sotz • Gardane (
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4.17. Jouissance vous donneray •
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4.28. Quant je boy du vin claret
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- 224 - F 5. OTHER VOCAL COMPOSITIO
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OTHER SETTINGS Vecchi (1590): madri
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& & Ruggiero Caresana (1993) œ ˙
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- 230 - with melodic variations, fo
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- 232 - MS Chigi MS 964 Caresana tw
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- 234 - che da Italiani si chiama F
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- 236 - Darbellay, Frescobaldi, pp.
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- 238 - • Strozzi (1683), 23: ‘
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- 240 - • Licino (1545), 13: ‘C
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• Zuccaro (1608), 18: ‘Canon in
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- 244 - description of this practic
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- 246 - • Giamberti (1657), 1:
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F 10. OTHER COMPOSITIONS - 248 - 10
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1 6 % & V b ? b 10 V b ? b 15 V b ?
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3 @ %$ 5 & V 9 & V 13 & V 17 & V 21
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4 Cerreto (1601) Vinci (1560) Ortiz
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27 V b V b V b V b ? b 31 V b V b V
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5 5 Gardane (1539) & V & V V ? Clau
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17 21 & V & V V ? & V & V V ? aceph
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6 Gardane (1539) V ? & V V ? b b b
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V ? & V V ? V ? & V V ? b b b b b b
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7 4 8 @ % & V & V 12 & V 16 & V & V
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8 5 # % & V 10 & V 15 & V 20 & V 25
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9 Scotto (1541) Verdelot (1533) 5 &
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25 & V & V V ? 30 & V & V V ? 35 &
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10 6 & V 11 & V 16 V & V 22 & V @ $
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11 6 @ $ & b V b 11 & b V b 17 & b
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13 #% 7 V V 12 V V 17 V V 22 V V V
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62 œ V V 67 V V 72 V V œ œ œ œ
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14 7 @ % & V 13 & V 19 & V 25 & V b
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65 & V 71 & V 77 & V 83 & V 89 & V
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27 & V 32 & V 37 & V 42 & V 47 & V
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16 5 & & V 10 & & V Duo No. 3 Trio
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17 6 & b V b V b 12 & b V b V b 16
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18 7 & & 12 & & 17 & & 22 & & 27 &
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19 @ Willaert’s duo $ Zarlino’s
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20 5 9 @ % & V & V 14 & V 19 & V 24
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21 4 7 11 % % V V V V V V 15 V V V
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39 V V 43 V V 47 V V 51 V V 55 V V
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22 4 & & 8 & & 12 & & 16 & & 20 & &
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23 Paien (1564) Du Pont (1545) 5 &
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24 & b V & V V b b b b ? b 29 & b V
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24 Paien (1564) Arcadelt (1542) 5 &
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30 & V & V V 34 & V & V V 38 & V &
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25 4 8 @ $ & V & V 12 & V 15 & V 19
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26 5 & & ! # & & œ œ œ œ œ œ
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28 5 & b V b 8 & b V b 11 & b V b 1
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29 5 & b V b 9 & b V b 12 & b V b 1
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30 % Lassus (1577) & % Phalèse (16
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31 5 & V 10 & V 14 & V 19 & V 24 &
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32 5 & b V b 9 & b V b 13 & b V b 1
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33 5 9 # & V & V 14 & V 19 & V 24 &
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34 5 $ V V 10 V V 15 V V 19 V V 23
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35 7 & V 14 & V 22 & V 30 & V 36 &
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36 6 & b V b 12 & b V b 18 & b V b
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37 6 V ? 12 V ? $ & V ? ˙ ˙ œ œ
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38 5 9 @ % & V & V 13 & V 17 & V b
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39 5 V V 9 V V 13 V V 17 V V 21 V V
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50 œ œ V œ œ V 54 V V 57 V V 59
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40 5 ^ ^ ? b ? b ? b 9 ? b ? b ? b
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33 ? b ? b ? b 37 ? b ? b ? b 41 ?
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42 ! # & b & b œ œ œ œ c c 4 .
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44 5 @ % & b V b 10 & b V b 15 & b
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48 4 7 @ $ & V & V 10 & V 13 & V b
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49 3 6 9 @ $ & V & V & V 12 & V b b
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50 5 V ? 10 V ? 15 V ? 20 V ? 25 V
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51 5 ! $ & b V b 9 & b V b 13 & b V
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52 5 & b V b 10 & b V b 14 & b V b
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53 $ & V b ? b œ œ œ œ 6 œ œ
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54 @ % 6 & b V b 12 & b V b 17 & b
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55 5 & & 9 & & 13 & & 17 & & 21 & &
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56 5 @ % & b V b 9 & b V b 13 & b V
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57 5 & V 10 & V 15 & V 21 & V 26 &
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58 ! Cantus Secundus. Duo. 7 & & b
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59 5 @ % & V 10 & V 15 & V w & V œ
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60 Banchieri (1625) Arcadelt (1539)
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46 & V & V V b b b b b ? b 54 & V &
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61 ! $ & b V b œ œ œ œ c c w La
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62 6 ? ? 12 ? ? 18 ? ? 24 ? ? 30 ?
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- 392 - 8. Facsimile of the three-p
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64 7 & & 14 & & 20 & & 26 & & 32 &
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66 5 & & 9 & & ! # & & œ œ œ œ
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67 4 % & V b ? b 8 V b ? b 12 V b ?
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68 6 ? ? & & ? ? œ œ œ œ c c œ
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69 5 @ $ & b V b 10 & b V b 14 & b
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70 3 & ? @ & & ? œ œ œ œ c c œ
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71 6 & & 10 & & 15 & & @ @ & & œ
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72 4 & ? 7 & ? 10 & ? 13 & ? 17 & ?
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73 @ @ Γ ✣ A. B. C. E. F. G. 6 &
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74 3 6 8 & & & & & & 11 & & 14 & &
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Page 658 and 659:
76 6 & V 12 & V 18 & V 24 & V 30 &
Page 660 and 661:
84 & V 88 & V 92 & V 96 & V 100 & V
Page 662 and 663:
77 4 7 ? ? ? ? 10 ? ? 14 ? ? 18 ? ?
Page 664 and 665:
53 ? ? 56 ? ? 59 ? ? 62 ? ? 65 ? ?
Page 666 and 667:
78 7 ! ! & b & b 14 & b & b 21 & b
Page 668 and 669:
86 & b & b 93 & b & b ˙ ˙ ˙ b˙
Page 670 and 671:
79 6 @ & # & ? # 11 # & ? # 16 # &
Page 672 and 673:
81 # & ? # 86 # & ? # 91 # & ? # 96
Page 674 and 675:
80 5 9 @ & & & & 13 & & 17 & & 21 &
Page 676 and 677:
- 434 - 9. Facsimile of Baroni’s
Page 678 and 679:
82 5 9 @ $ & V & V 13 & V 16 & V 19
Page 680 and 681:
83 4 & V 7 & V 10 & V 13 & V 16 & V
Page 682 and 683:
84 5 9 @ $ & & & & 13 & & 17 & & 21
Page 684 and 685:
86 & ? & ? 87 Discantus # Tenor &%
Page 686 and 687:
89 & V & V & V & V & V @ ^ & V d -
Page 688 and 689:
90 6 V ? b 11 V ? b 16 V ? b 21 V ?
Page 690 and 691:
92 4 8 & @ Tenor $ V b & V b 12 & V
Page 692 and 693:
94 Festa II 4 Festa I ? V V 7 V V V
Page 694 and 695:
95 5 10 15 @ $ % & & V V ? & V V ?
Page 696 and 697:
12 & & & V V ? 17 & & & V V ? 21 &
Page 698 and 699:
97 4 8 & V V & V V 12 & V V 16 & V
Page 700 and 701:
98 5 @$ & V 10 & V 15 & V 19 & V 23
Page 702 and 703:
99 & & & & & V & V & V & & 1 w w w
Page 704 and 705:
& V & V V ? & V 38 ˙ œ œ œ œ
Page 706 and 707:
101 5 9 & & V & & V 13 & & V 17 & &
Page 709 and 710:
INDEXES 1. INDEX OF THE COMPOSERS O
Page 711 and 712:
- 469 - Gentile, Carlo Gentile (164
Page 713:
- 471 - Willaert, Adrian Gero (1541
Page 716 and 717:
- 474 - D’Oria, Giacomo Gardane (
Page 718 and 719:
- 476 - Sanmartini, Pietro Corti (1
Page 720 and 721:
- 478 - Dorico, Valerio Rome 1531 C
Page 722 and 723:
- 480 - Silvani, Marino Bologna 170
Page 724 and 725:
- 482 - 1584 Galilei (1584) Florenc
Page 726 and 727:
- 484 - 1681 Caresana (1681) Naples
Page 728 and 729:
- 486 - Title or First Line Collect
Page 730 and 731:
Page 732 and 733:
Page 734 and 735:
Page 736 and 737:
Page 738 and 739:
Page 740 and 741:
Page 742 and 743:
Page 744 and 745:
Page 746 and 747:
Page 749 and 750:
I) PRIMARY SOURCES II) GENERAL BIBL
Page 751 and 752:
- 509 - Berardi (1693) Berardi, Ang
Page 753 and 754:
- 511 - De Magri (1611) Magri, Flor
Page 755 and 756:
- 513 - Gintzler (1547) Gintzler, S
Page 757 and 758:
- 515 - Lassus (1560) Lassus, Orlan
Page 759 and 760:
- 517 - Pitoni (c. 1725) Pitoni, Gi
Page 761 and 762:
- 519 - Tinctoris (c. 1475) Tinctor
Page 763 and 764:
Bellingham & Evans, Bicinia - 521 -
Page 765 and 766:
- 523 - Haar, ‘Early Madrigal’
Page 767:
Seay, ‘Ave Maris Stella’ - 525
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