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The Canzoni D Intravolatura of Claudio Merulo - A Guide To The Art of Improvised Ornamentation
The Canzoni D Intravolatura of Claudio Merulo - A Guide To The Art of Improvised Ornamentation
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30 0 N. ZE E B R O A D . A N N A R B O R , M l 4 8 1 0 6
18 B E D F O R D ROW, L O N D O N W C1R 4E J, E N G L A N D
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The Canzoni d 'Intavolatura of Claudio Merulo:
A Guide to the Art of Improvised Ornamentation
By
DOCTOR OF PHILOSOPHY
in
Music
in the
GRADUATE DIVISION
OF THE
Approved: J/ X- '
B tS /3 COIiFESilES C E E 3E ! 3,1579
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Copyright (c) 1979
by
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DINT A VO LATV&A f ~~ ”
DI C L A V D I O MERYL O DA CORREGGIO.
A QVATTKO V O Cl, FaTIE aLLA FRaNCESE.
OilASrtniftcilatw«podifiiavi». Sc cfetcinloce daC-jJScintqncfulo
jv « S 'troiE .
to Vct t d . ApprcfloAjgfls C t e t a . * f a r iU .
M. D c V.l
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ACKNOWLEDGMENTS
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TABLE OF CONTENTS
Volume I
Page
ACKNOWLEDGMENTS ........................ .
CHAPTER
APPENDICES
Volume II
LIBRO S E C ON D O ...................................... 63
LIBRO T E R Z O ......................................112
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FRONTISPIECE. Title page from the Libro
secondo di canzoni d 1Intavolatura d'organo
(Venice: A. Gardano, 1606). By courtesy
of the Bibliotheque du. conservatoire, Paris.
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CHAPTER I
or after.
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2
specific art, like music. Nor were they confined to any level
the entire field of the fine arts in the late sixteenth century.
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3
felt that the greatness of musicians in his time was due to the
4
practice of improvisation. There were several reasons for this
a given piece. The roles of composer and performer had not yet
was in its infancy, and the call for new repertoire surpassed
net only the little music which was published but even, pre
3
Andr£ Chastel, L'art italien, 2 vol., (Paris: Librairie
Larousse, 1956), 1:310.
4
Lodovico Zacconi, Prattica di musica, 2 vols., (Venice:
G. Polo, 1592), 2:8. Facsimile reprints of this and succeeding
primary sources are cited in the Bibliography.
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4
5
Adriano Banchieri, Conclusioni nel suono dell'organo (Bologna:
G. Rossi, 1609), p. 28; English translation by Lee R. Garrett
(D.M.A. thesis, University of Oregon, 1S72), p. 41.
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5
g
Giovanni Tebaldini, L'Archivo musicale della Capella Antoni-
ana in Padova (Padua: Libreria Antoniana, 1895), p. 14: "1. Che
ciascuno soni di fantasia con brevita quello che gli pare. 2.
Che si faccia risponsorio alii Kirie. 3. Che si soni in rispon-
sorio al Magnificat in diversi tuoni. 4. Che sij in liberta de
cadaun di Rev. et Mag. Presidenti de dar un canto fermo cavato
all'improviso del libro a ciascum di detti concorrenti sopra il
quale habbi a sonare." See also Tobias Norlind, "Was ein Organist
im 17. Jahrhundert wissen musste," Sammelbande der internationalen
Musikgesellschaft VII (1905-6), 640-42.
7
Francesco Caffi, Storia della musica sacra nella gia Capella
Ducale di San Marco in Venezia dal 1318 al 1797, 2 vols., (Venice:
G. Antonelli, 1854-5) 1:28. The examination of candidates
appears to have been in force from at least 1541.
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6
g
Biagio Rossetti, Libellus de rudimentis musicis (Verona,
1529), fol. III9.
9
Ernst T. Ferand, Die Improvisation m der Musik (Zurich:
Rhein-Verlag, 1939), pp. 295-345. See also his Die Improvisa
tion in Beispielen aus neun Jahrhunderten abendlandischer Musik
(Cologne: Arno Volk-Verlag, 1961), p. 9
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7
did not always reach such artistic heights. Nor did it steer
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strict polyphonic writing on one or more germinal themes.
12
Gregory G. Butler, "The Fantasia as Musical Image,"
Musical Quarterly LV (1974), 612-3.
13
Tomds de Sancta Maria, Libro Llamado Arte de taner
fantasia (Valladolid: F. de Cordova, 1565), chap. 51.
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9
14
Banchieri, Conclusioni, pp. 24-25; and, in English, m
Garrett, p. 61. See also Ernst T. Ferand, "Improvised Vocal
Counterpoint in the Late Renaissance and Early Baroque,"
Annales musicoloqiques IV (1956), 129-74.
15
Aspects of "motoric" improvisation are discussed in Bruce
Lamott, "Spiridion A Monte Carmelo and the Dissemination of
the Italian Style of Keyboard Improvisation in Germany during
the Seventeenth Century," (Ph.D. dissertation, Stanford
University, in progress).
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10
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11
writes in 1555:
16
Juan Bermudo, Declaracion de instrumentos musicales (Ossuna:
Juan de Leon, 1555), fol. 60: "El tanedor, sobre todas las cosas,
tenga un auiso, y es, que al poner la musica no heche glosas,
sino de la manera que esta puntado: se ha de poner. No se yo
como puede escapar un tanedor (poniendo obras de excelentes
hombres) de mal criado, ignorante, y atreuido: si las glosa."
17
Hercole Bottrigari, II Desideno overo de'concerti di y a r n
strumenti musicali (Venice: R. Amadino, 1594) , p. 50; English
translation by Carol MacClintock in Musicological Studies and
Documents IX ([Rome]: American Institute of Musicology, 1962) ,
p. 32.
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12
18
Alfred Einstein, The Italian Madrigal, 2 vols., (Prince
ton: Princeton University Press, 1949), 1:227; 2:842-3.
19
Howard Mayer Brown, Embellishing Sixteenth-Century Music
(London: Oxford University Press, 1976), p. xiii. The
compositions are listed in Ernst T. Ferand, "Didactic Em
bellishment Literature in the Late Renaissance: A Survey of
Sources," in Jan La Rue, ed., Aspects of Medieval and
Renaissance Music (New York: W.W. Norton, 1966) , pp. 154-72.
20
Johann Woltz, Nova musices organicae tabulatura (Basel:
J.J. Genath, 1617), fol. 3V. Woltz further claims that by
omitting ornamentation he has made clearer the original out
lines of the compositions.
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13
course.
21
The term "essential" is due to Frederick Newmann, "Ornament
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The first claiss of ornamentation must be viewed as pure
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15
Example 1
a. Dalla Casa I:
P i - ;-------- ---- 1
^ —
t a----- P--------
fffri
Si 9-
c. Bassano:
m
I m u m
.d. Crecquillon:
Ore- a. -
1 = 1 m
£
e. Meruloj,
£. Paix:
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16
5.
r . r.
**\
£ ig | t - t '[ £==il S3 1
-J---------------------------f.
-&=fe±3=r: T r>f_~ rL f_ * ^ 3J 5 = 3
j — H— M - = ^ j - j J- 11 " t i i j ' . -t—F —
T f--- J i • i9 *
^ L U j j I
$ = _,---,---
i - r t Ii---
- i -r Z ----
n !-*— f t - — ---- — ,i
<=i = --------------- *■
VVJ
„-— -0---------------------------- = 4 =
------------------ o■ - - —. i--------
------------q------------
7 ._ " _ n :--r -^ r
■a '-" f ^ Jl 1 U -J 4 ^ — -v
Ts—W 3 3 tb=*4 -
® I r = r
f .■ J f M
s :=tf3=zh-.-i£
*
FT
■f i - l |=3 = :^- s= 5 f t» ^
^ = 1
^ --
--- ------- k-M----------
-v-f--------— f-----------
fi m i i
J---
-. 1 -- -----
Pf^=1
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17
>T~fT
|Bi
m
f£': =■ = - = . : ■ ■ = = = ] -3- - - - - - a- - - - - - -
(f-*-:— —- -------
(flour, cnc- cy&b CL
Q r - = - ~ = ~ : "
•. - 1 -V :■— - - — ■—
------ j-
- - 'J — - *■"" o. . . . . . . . . mi .. _
:fo ■=■■=!== ^ =
fol J - .g - - - - ■j N-I_ ■ 1- - -
-gr
|_ _a ^ Hp-- “ - - - - - - /"
S 1 j- - '- - - -
rf= ■ E = H
-J~L - - - - - - - - - - - - - -Q_ _ _ _ _^ _ _ -_ _ j_ _= _H ■[—- -.=- - »- :- ■- --.T
a
-----
-f
:-j
>*— V
[Merulo deletes these measures
from his intabulation.]
© I
i » ^ » r ''iT" T £
m
v t
n
.* r
j
** WTTT fi ej ur.
- *
r P F f
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18
0
0 . 0 0 7 -s— p r
I F - ■ 1 1 « . B 1 1 i r ■ « >•- ~ = i
IW —a----------------------------------------------- el--------- -»rlr
- ------- ------ --------------------------- F r 1 1 1 ] [ F w
i- ri
—h U L jl— ^
• * ft ----------
ftjHJ----------------------------------------- ----------
F f r -
rywur, n& fvbfjQjf& (yiwvL__ ItfUf)
f t - •- - , -----J
/ V------- -------- V
<■»». . -■■ J =j f I— J - = f
-*-------------------- 0--------------
1 ■-
-------------------- 1
i--------- d_
b e : ....... : :■ ;
I
SB 3 b = t e
r M i i SI — ~ ~
t-
(m
& * M J a
J L - ll I i i A
Id -o--------------------
ip F
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o-
r-tr-f• . w= at*
W - — ...... 1 i 4 - £ = = *= ■
£
4 j LLu'
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20
tones which give time for more extensive passaggi. The overall
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21
at least once, continue through the final note (m. 25). The
on his title page that his examples are intended for "ogni
23
Giovanni Bovicelli, Regole passaggi di musica (Venice:
G. Vincenti, 1594), pp. 59-63.
24
The only authors not to mention instrumental ornamentation
are Bovicelli and Giovanni Camillo Maffei, Delle lettere, 2
vols., (Naples, 1562), 1:3-81; the letter on singing is edited
in Nanie Bridgman, "Giovanni Camillo Maffei et sa lettre sur
le chant," Revue de musicologie XXXVIII (1956), 3-34. Aurelio
Virgiliano's manuscript treatise II Dolcimelo of ca. 1600
(Bologna, Civico museo bibliografico musicale) alone does not
mention vocal ornamentation.
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22
Example 2
10.
Di-
15.
fp— r. , . , = f -f-----,»• » f |i;L r I .. ____ "I
-p---- q-----»- r------- h' r- n
* * ....
e . f yjj • n
dub
w can- d»* luft et w — bi - cun -
V t ---------- * -------- f — .. ^ ”1
ob ■« - )— p 1 "
k * f ° =i
fP-T-- -■■■■■.=?i y . ; - T + f i i f - i l . l j JjJ.li !T)f 'w°3 . l | i i+ T* *P’ if ji wn’ °
■ ■■ f U 1J: ^
£- le - d tV b e * ~ m«l - ii- bus;
1
-x*■v ■——1 .-- ------- -fl--------------------*-----------
-f\------------- 1
— ~ sz —t —
1 .
,—.0 ..
J — t-7 ".: ::f::- k = = l . r --------------- 9 - --------------------
1 M --
25 ..
— |----------- p T r r - T , r r p . ^ i -------- a-------
U _ y j . [: "P H — .. - - M 3
F ^ =
ld- |,5 d\ - lft
To.- I'S
____________________ ^-------------------------- --
---------- a------------------------------- a--------- -a--------------- -------- e------- ha----------------------p------- 5------- 5— — -
--------- j--------------------------------- ------------ = y ir ■ r f - i 1
, h-- j- n — n- Jl-
i-------
. p *—!
j l "jr----
«_ij .
i £ 1=4=^==^==^
A, ef
!
... " " '4 -
M J f I I - — ------
cbe me - o. -
-V,
p - f " r- ■ = M = 1
a------a------- 1■-j—r - j ------- o 4- --
w i
— 6
* ■ ~r \ t » - - 4
30.
it— f — 8~
giM
■« —
R eproduced w ith perm ission o f the copyright owner. Further reproduction prohibited w itho ut perm ission.
The difference in styles is important, for the concept
25
Aspects of this transition are discussed m Imogene
Horsley, "The Diminutions in Composition and Theory of Com
position," Acta musicologica XXXV (1963), 124-53.
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same: the addition of appropriate and impromptu formulae to
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25
similar technique.^
26
Especially Brown, Embellishing Sixteenth-Century Music,
pp. 31-9. See also imogene Horsley, "Improvised Embellishment
in the Performance of Renaissance Polyphonic Music," Journal
of the American Musicological Society IV (1951), 3-19.
27
Johann Quantz, Versuch einer Anweisung die Flote traversiere
zu spielen (Berlin: J.F. Voss, 1752), chaps. 8 and 9; English
translation by Edward Reilley as On Playing the Flute (New York:
The Free Press, 1966), pp. 91-108.
28
Martin Agricola, Musica instrumentalis deudsch (Wittenberg:
G. Rhaw, 1529), p. 222.
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26
29 .
Girolamo Diruta, Seconda parte del Transilvano dialogo
(Venice: G. Vicnenti, 1609), p. 20; English translation by
Edward Soehnlein (Ph.D. dissertation, University of Michigan,
1975), pp. 249-50.
30 .
Michael Praetorius, Syntagma musicum, 3 vols., (Wolfenbuttel,
1619), 3:234: "Tremolo: 1st nichts anders, alss ein Zittern der
Stimme tiber einer Noten." Sylvestro di Ganassi, Opera intitulata
Fontegara (Venice, 1535), fols. Slv-S3, is the only author to
discuss alternations in thirds.
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27
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28
and thus imply that the grace was the easiest and most basic
i* 1
W — *-t—
imf
r ft* t *i\—
b b l
\
pf fl .i i
3. Groppo Praetorius explains that "the groppo is
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29
I.
m
In its cadential position, the groppo is often introduced by
E'!
battuto.
36
Zacconi, Prattica di musica, l:62v . Girolamo Dalla Casa,
II vero modo di diminuir, con tutte le sorti di stromenti, 2
vols., (Venice: A. Gardano, 1584), 1:6-7, is the earliest
writer to actually use the term groppo.
37
Praetorius, Syntagma musicum, 3:236: "Tirate: Sind
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30
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31
l = M ----
■k) * "1 i-4
W - J ■ -
^
-4<d—
i
f anz±J z z j :
- = M ------* —
? - :- H
4:
1
i - l -
the period, however, was not the grace- but the division or
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32
'
r H - i
tH = = = * =
— :
— --- —
’ A--- , u--------------- =--- :---- i----- 0 -.
.i - ■ -■ J £T
40
See Howard Mayer Brown, "Embellishment in Early Sixteenth-
Century Italian Intabulations," Proceedings of the Royal
Musical Association 100 (1973-4)7 49-33; idem, "Accidentals
and Ornamentation in Sixteenth-Century Intabulations of Josquin's
Motets," in Edward E. Lowinsky, ed., Josquin des Prez (London:
Oxford University Press, 1976).
41
Praetorius, Syntagma musicum, 3:240: "Passaggi. Sind
geschwinde Lauffe, welche beydes Gradatim und auch Saltuatim
durch alle Intervalla, so wol ascendendo alss descendendo,
uber den Noten so etwas gelten gesetzet und gemacht werden."
42 .
Giovanni Bassano, Ricercate, passaggi et cadentie per
potersi essercitar nel diminuir (Venice: G. Vincenti, 1585),
pp. 9-15.
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33
mm &
h
In their strictest application, passaggi depart from and
43
Virgiliano, Dolcimelo, p. 2. The author permits an
exception in the case of two sols in the middle range, where
the diminution may depart from the subject by a seventh,
above or below. But this, he points out, must be done only
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34
the case with Diruta's minute which decorate the cantus and
44
bassus of a four-part subject (Example 3).
The reverse, *when the thirds are below each other in succession,
makes it possible to do the same: _______________
r -e----
44 . '
Diruta, Seconda parte del Transilvano, p. 11; and, in
English, in Soehnlein, p. 251.
45
Dalla Casa, II vero modo, 2:10-1.
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35
Example 3
Diruta, Minute
Sog^etto:
ae-
•
J— I— &
T “ST
Alio modo:
=S= f— r
ij
tn r
Alio modo:
t4 -------- 4
------- S=5=^_.-_--------------------
.......
=ff=
-a-
— .iSs^---
t5*3S’"‘
^ e:td'
R eproduced with perm ission o f the copyright owner. F urther reproduction prohibited w ith o u t perm ission.
36
more and more frequent toward the end of the century, contra
minuta sopra la parte del soprano, for example, the four note
Ganassi observed:
46
Ganassi, Fontegara, fol. *11: "che uno sufficiente &
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37
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38
yet only when done in alternations, i.e., when only one part
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39
48 .
Finck, Practica musica, p. 271: "Die Art, Koloraturen
anzuwenden, hangt ganz von der Geschicklichkeit der nattlrlichen
Anlage und der Eigentumlichkeit des Einzelnen ab Jeder hat
seine eigene Weise. Viele sind.der Ansicht, dass der Bass,
andere, dass der Diskant koloriert werden miisse. Meine Ansicht
aber geht dahin dass all;, Stimmen mit.Koloraturen versehen werden
konnen und mussen; aber nicht immer, auch nicht in alien
Stimmen zugleich, sondern an den geeignenten Stellen, sodass
eine Koloratur ausdriicklich und bestimmt von der andern geh&rt
und unterscheiden werden kann und dabei die Kompositionen
intakt und ungestort bleibe."
49
Pedro Cerone, El melopeo y maestro (Naples: Gargano and
Nucci, 1613), p. 1065.
50 •
Diruta, Seconda parte del Transilvano, p. 14; and, m
English, in Soehnlein, p. 257.
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40
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41
them with the basic forms described by the tutors, does one
53
While idiomatic forms were not developed for instruments,
special styles of ornamentation developed for specific
instruments, most noticeably the viola bastarda, whose size
facilitated fast passage work and wide leaps. For examples
of the small written repertoire by Dalla Casa and Rognoni
see Ferand, Die Improvisation in Beispielen, pp. 38-51; 63-74.
R eproduced with perm ission o f the copyright owner. F urther reproduction prohibited w ith o u t perm ission.
copious embellishments for students to imitate. Yet, as
Merulo, who, more than any other man, has outdone himself
54
m this fine art of figured mtabulation." And it is
is concerned.
54
Diruta, Seconda parte del Transilvano, p. 10; and, in
English, in Soehnlem, p. 248.
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43
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44
55
Brown, Embellishing Sixteenth-Century Music, pp. 54-8.
C C.
Girolamo Dalla Casa, II secondo libro de madrigali a
cinque voci, con passaggi (Venice: A. Gardano, 1590); discussed
in Brown, Embellishing Sixteenth-Century Music, p. 55.
57
Diruta, Seconda parte del Transilvano, pp. 18-21; and, m
a modern edition, in Soehnlein, pp. 264-7. The original can
zona is from Antonio Mortaro, Primo libro de Canzoni da Sonare
a quattro voci (Venice: G. Vincenti, 1600) , p. 2~. A modern
edition of both the partitura and intabulation is found in
Carl Krebs, "Girolamo Diruta's Transilvano," Vierteljahrs-
schrift fflr Musikwissenschaft VIII (1892), 379-82.
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45
Example 4
Mortaro, L 1Albergona
"c------
te3
Eftfc!
-it
M.
- '
■ , .1^1
T ■' i
— r ■»
---- 3---- O - -rj----- ---------
feft'i- :
— ■ 1 i-- ^ - ■ ■■ I
------- 1--
L- ,■ p ■ — TJr~~ - :
E d f..*T! -7 =* = a
-==:-- zm,~ ------- --- r
miflXL
H M 1 * f C& tsa
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5.
' K.■!
fpferp f— r
M.
10.
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47
the flow of the music and enhance the formal aspects of the
58
Jakob Paix, Ein schon nutz und gebreuchlich orgel tabula-
turbuch (Laugingen: L. Reinmichel, 1583), fols. 108V-11Q.
On the German colorists see August G. Ritter, Zur Geschichte
des Qrgelspiels (Leipzig: M. Hesse, 1884), p. lllf.
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48
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49
display more effective and ensure that the music falls easily
under the fingers (m. 14, for example). While the richness
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50
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51
period.
observes:
61
See, for example, Diruta, Transilvano, fol. 6; and, in
English, in Soehnlein, p. 134; Venegas de Henestrosa, Libro
de Cifra Nueva para tecla, harpa y vihuela (Alcaic de Henares,
1557), fol. T7! and Girolamo Frescobaldi,Toccate e partite
d 1intavolatura di cimbalo...libro primo (Rome: N. Borboni,
1615), p. 2.
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52
more explicit:
62 ^ ^
Francesco Correa de Araujo, Facultad Organica (Alcala,
1626) , fol. 15v ; modern edition by Santiago Kastner in
Monumentos de la Musica espanola 12 (Barcelona: Instituto
Espanol de Musicologia, 1948-52), p. 280: "Y aduiertase
que siempre que entrare la derecha con sola una voz, a de
ser ... con el dedo tercero, y con quiebro en el organo, y
redoble en el monacordio."
/T O TT
Sancta Maria, Arte de tafier fantasia, fols. 46 -47,
provides the best examples of these ornaments:
quiebro: redoble:
ifS
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53
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CHAPTER II
more than any other vocal form, it was the French chanson
54
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55
compositions.^
formal coherence, and not just the fondness for French music,
2
The importance of French repertoire in sixteenth-century
culture is considered in Edward Lowinsky, "Music in the Culture
of the Renaissance," Journal of the History of Ideas XV (1954),
509-53; and in the essays edited by James Haar as Chanson and
Madrigal 1480-1530: Studies in Comparison and Contrast (Cam-
bridge: Harvard University Press, 1964) .
3
See, for example, the Indice di tutte le opere de musica
che si trovano nella stampa della pagina di Allesandro Vincenti
(Venice: [A. Vincenti], 1619); reprinted in a supplement to
Monatschefte fur Musikgeschichte XIV (1883).
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56
mental use: the form of the madrigal was too flexible and
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57
instruments, the most common being with the cantus sung and
harpsichord or lute.
4
See Eunice C. Crocker, "An Introductory Study of the
Italian Canzona for Instrumental Ensembles and Its Influence
Upon the Baroque Sonata" (Ph.D. dissertation, Radcliff College
1943), pp. 130-8.
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58
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59
5 • .
Vincenzo Galilei, Fronimo, dialogo sopra l 1arte del bene
intavolare et rettemente sonare la musica (Venice: G. Scotto,
1584), p. 51: "sal presente alcune altredirvene voglio io con
sopportatione di Claudio da Coreggio, del maestro nostro di
Capelle, & del caro nostro Giosepho Guami, i quali tutti non
per diffetto del Arte & saper loro ma della natura dello stru-
mento, non hanno possuto, non possano, ne potranno mai, esprimere
gli affetti delle Armonie come la durezza, mollezza, asprezza &
dolcezza; & consequentemente i gridi, i lamenti, gli strida, i
pianti, & ultimamente le quiete e 1 'furore, con tanta gratia
& maraviglia, come gli Eccellenti Sonatori nel liuto fanno."
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60
larity of lute intabulation per se. The lute was the amateur
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61
amateur, appear to have had only one end in sight: the pro
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62
France
and doubtless what music was set down on paper was considered
the loss of the few known printed volumes that the seven key
g
Felix Raugel, "The Ancient French Organ School," Musical
Quarterly XI (1925), 560-71, cites the only manuscript evidence
of French keyboard writing in the sixteenth century: a "Fan-
tazie sur orgue ou espinette" by Costeley, organist to Charles
IX, and a tablature by D. Megnier. Volumes known to have been
printed include the Premier livre de tablature d 1espinette (Lyon
S. Gorlier, 1560), Tablature d 1espinette by Guilliaume Bray-
singar (Lyon: J. Moderne, n.d.) and the collections presumably
printed by LeRoy and Ballard with a special keyboard type
created for their use.
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63
7
Modern edition by Albert Seay, Corpus mensurabilis
musicae 20 ([Rome]: American Institute of Musicology, 1961).
Charles Canfield Brown provides a perceptive review in Musical
Quarterly LXIX (1963), 533-42.
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64
in the century.
g
A sole exception is provided by Pipelare's "Fors seulement,"
the only chanson for which Seay can find no concordance. The
original chanson, constructed along imitative lines, with slow
melodies and overlapping cadences, is evidently of an early
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65
this regard, three pieces from volume two come to mind: no. 3
"Cest une dure departie," no. 7" "Du bien que loeil," and
Germany
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66
for instance— the notes of the original tenor are kept nearly
9
Munich, Bayerische Staatsbibliothek: Cim. 352b (olim
Mus. 3725); modern edition in Das Erbe deutscher Musik
37-9 (Kassel: Barenreiter, 1958-9); discussed in Robert S.
Lord, "The Buxheim Organ Book: A Study in the History of
Organ Music in Southern Germany during the Fifteenth Century"
(Ph.D. dissertation, Yale University, 1960).
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67
for keyboard.
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era merits attention however. The influence of the Paulomines
these links are never more evident than in this small manu
11
John R. White, "The Tablature of Johannes Lublin,"
Musica Disciplina XVII (1963) , 137-62.
12
On these manuscripts see Emil Bohn, Die musikalischen
Handschriften des XVI. und XVII. jahrhunderts in der stadtbibliothek
zu Breslau (Breslau: Hainauer, 1890); and Julius Maier, Die
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69
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70
publication used for the first time what has since been
ease of typesetting.
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71
14
Elizabeth L. Boos, "The Tablatures of Elias Nicolaus
Ammerbach" (Ph.D. dissertation, Indiana University, in progress).
I am grateful to Ms. Boos for having supplied me a list of
concordances for these volumes.
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72
bach's third publication was Jacob Paix's Ein Schon Nutz unnd
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73
scores.
Although these two volumes were written down in 1639 and 1640
16
On Basel see Wilhelm Merian, Der tanz in den deutschen
tabulaturbuchern (Leipzig: Breitkopf and Hhrtel, 1927).
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74
Italy
chansons: "Perdone moi sie folie," "Madame vous aves mon cuor,"
17
"Plus de regres," and "Lautre yor per un matin." The vocal
17 . . .
Modern editions by Giacomo Benvenuti m I Classici
musicali italiana 1 (Milan: n.p., 1941); and Knud Jeppesen,
Die italienische Orgelmusik am Anfang des Cinquecento (Copen
hagen: W. Hansen, 1960).
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75
18
Martin Picker, "A Josquin Parody by Marco Antonio Cavazzoni,"
Tijdschrift van de Vereniging voor Nederlandse Muziekgeschiedenis
XIII (1972), 157-9.
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76
new subject together with the subject from the middle section.
This new subject supplies the only other link between the two
19
John Ward, "Parody Technique in Sixteenth-Century Instru
mental Music," in Gustave Reese and Rose Brandel, ed., The
Commonwealth of Music (New York: The Free Press, 1965), p. 209.
20
Modern edition by Oscar Mischiati (Mainz: B. Schott, 1958-
61), pp. 17-20. The original chanson appears in Pierre Passereau,
Opera Omnia, ed. Georges Dottin ([Rome]: American Institute of
Musicology, 1967), pp. 23-5.
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77
attitude.
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78
21
The letter xs gxven xn Edward Lowinsky, "Adrian Willaert's
Chromatic 'Duo" Reexamined," Tijdschrift der Vereniging voor
Nederlandsche Muziekgeschiedenis XVIII (1956) , 14-8.
22
A collectxon of liturgical works for keyboard, Intavola-
tura cioe recercari, canzoni, himni, magnificati, appeared xn
1543.
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79
23
Discussed in Floyd Sumner, "The Instrumental Canzone
Prior to 1600" (Ph.D. dissertation, Rutgers University, 1973),
pp. 114-20.
24
Discussed in Ward, "Parody Technique," pp. 209-12.
25
Discussed and transcribed in Roland Jackson, "The
Keyboard Music of Giovanni Maria Trabaci" (Ph.D. dissertation,
University of Texas, 1964) , pp. 215-7.
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80
26
Documentation for the existence of a 1571 edition, no
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madrigal entitled "Con le1 fossio," receives both a simple
tion only, while the remaining three receive both the tran-
27
scription and paraphrase technique. The mtabulations of
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82
death.
yet unidentified.
28
Sperindio Bertcido, Canzoni francese intavolate per sonar
d 'Organo (Venice: G. Vincenti, 1591); idem, Toccate, ricercate
et canzoni francese intavolate per sonar d'organo (Venice: G.
Vincenti, 1591); modern edition of both prints by Klaus Speer
in Corpus of Early Keyboard Music XXXIV (1969) .
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
his brief tenure in Napless a secular volume, the Intavolatura
29
Antonio Valente, Intavolatura de cimbalo (Naples: G.
Cacchio, 1576); modern edition by Charles Jacobs (Oxford:
Clarendon Press, 1973).
30
Incomplete modern edition by Roland Jackson m Corpus
of Early Keyboard Music XXIV (1966), and Joseph Watelet in
Monumenta Musicae Bslgicae IV (1938); described in Alexander
Silbiger, "Italian Manuscript Sources of Seventeenth-century
Keyboard Music" (Ph.D. dissertation, Brandeis University, 1976).
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
84
31
Castell'Arquato, Chiesa Collegiata: MS XII; described
in H. Colin Slim, "Keyboard Music at Castell'Arquato by an
Early Madrigalist," Journal of the American Musicological
Society XV (1962), 35-42.
32
Florence, Biblioteca Mediceo-laurenziana: Acquisti e
Doni 641; described in Frank A. D'Accone^ "The 'Intavolatura
di M. Alamano Aiolli'— a newly discovered source of Florentine
keyboard music," Musica Disciplina XX (1966), 151-74.
I am grateful to Prof. D'Accone for having supplied me with
his transcriptions of several pieces from this manuscript.
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85
Spain
Bermudo sets out to treat not only the playing of all keyboard
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86
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87
33
transcriptions. While the methodology is novel, and the
33
John Ward, "The Editorial Methods of Venegas de Henestrosa,"
Musica Disciplina VI (1952), 105-13.
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88
scale passage.^
34
Charles Jacobs, "The Transcription Technique and Style
of Antonio de Cabezdn as Shown in his Thirteen Intabulations
of Josquin des Prez" (Master's thesis, New York University,
1957).
35
Coimbra, Biblioteca Geral da Universidade: MSS 43 and
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89
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90
36
Willi Apel, "Neapolitan Links between Cabez6n and Fresco-
baldo," Musical Quarterly XXIV (1938), 419-37; Santiago Kastner,
"II soggiorno italiano di Antonio e Juan de Cabez6n," L 1Organo
I (1960) , 49-69; and Renato Lunelli, "Organari stranierx xn
Italia," Note d'archivo per la storia musicale XIV (1937),
65-72; 117-27; 251-97.
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91
37
Sumner, "The Instrumental Canzone," pp. 58-63, discusses
these sources of the term.
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92
the lute and, later, the keyboard increased, so too did the
mental canzona:
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93
retroactively.
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94
the letter does not mention the term canzona, the implication
40
The correspondence is found m Mitteilungen des Vereins
fur Geschichte der Stadt Nurnberg, 15 vols., (Nurenberg: n.p.,
1895), 11:97: "Grues mir auch den Paulus Lautensack und bit in
von meinetwegen das er ein, zwei stiicklein auf das instrument
schick, die ich ein weil lern, bis ich hie anfang, und das er
mirs deutlich aussetzt, damit ich alsdebesser lernen kann.
Sonderlich aber wolt ich gern das 'Le contant' haben." Cited
in Otto Kinkeldey, Orgel und Klavier in der Musik des 16. Jahr-
hunderts (Leipzig: Breitkopf and Hartel, 1910), p. 92.
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95
41
Galilei, Fronimo dialogo, p. 156.
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96
42
Giovanni Paolo Cima, Partito de ricercan e Canzoni alia
Francese (Milan: S. Tini and F. Lomazzo, 1606), fol. 1V; "le
presenti Ricercate, & Canzoni Francese, fatte in Partitura dal
Mag. Sig. Paolo Cima, Organista nella Chiesa della Santiss.
Vergine appresso S. Celso in Milano, il quale, per le molte
preghiere degli amici, et per giovare alii desiderosi di
apprendere 1'arte di suonare d'organo, m'hS. concesso ch'io
le stampassi. Sapendio io dunque quanto sia il desiderio
del Sig.r suo Padre, che V.S. sia ornata di tutte le virtil,
mantenedole Maestri di lettere, di musica si di cantare come
di suonare varie sorti d'Istromenti ... io ci habbi aggiunti
hora questi, et a lei dedicatili: poiche per l'artificio che
trover^ in essi, potrS. facilmente con la vivacity del suo
felice ingegno, farsi eccellentissima Suonatrice."
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97
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98
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99
date from between 1543 and 1555. Finally, the Parisian firm
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100
from their vocal prototypes and were often confused with one
43
Nicola Vicentino, Madrigali a cinque voci (Milan: P.
Pontio, 1572), pp. 22-3; modern edition by Henry W. Kaufmann,
Corpus mensurabilis musicae 26 ([Rome]: American Institute of
Musicology, 1963) , pp. 331-3. Sumner, "The Instrumental Can
zone," p. 177, believes that the opening melodic idea of the
canzona is related to the opening of a chanson by Pierre de
Villiers, "D'une dame je suis saisi." The melody is a common
one, however, and Sumner's thesis appears tenuous.
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101
44
The manuscript is indexed m Appendix III where these
chansons are nos. 1, 5, 7, 37, 41-2.
45
The table cf contents on p. 14 compounds the confusion
by listing the piece as "Torna. Crequilon. a £." A modern
edition of Godard's chanson appears in Publikation aiterer
praktischer und theoretischer Musikwerke XXIII (1905), 51-2.
46 .
Dietrich Kamper, Studien zur instrumentalen Ensemblemusik
des 16 Jahrhunderts in Italien (Cologne: BShlau, 1970), 22-3.
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102
derived from the ricercar rather than the vocal chanson. The
out, is, to some extent at least, that both views are correct;
yet the radical change of style between the early and late
model, these works most often received the title canzone alia
francese. ^
47
Wasielewski, Geschichte der Instrumentalmusik, p. 133.
48
Crocker, "An Introductory Study," pp. 342-72. While as
terminological designations the canzona francese and canzona
alia francese are workable concepts, a perusal of sources
reveals that their use as titles in the sixteenth and seventeenth
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103
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104
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105
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106
beyond doubt. The point is simply that, while the norm for
works are all largely based on the early vocally oriented style
free of ornament.
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CHAPTER III
107
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108
writing in 1575:
2
Girolamo Tiraboschi, Biblioteca modenese, 7 vols., (Modena:
La SocietA Tipografica, 1786), 6:591: "Et la honora molto
Claudio Merulo Musico & Organista di conosciuta eccellenza, il
quale habitando in Venezia e grossamente salariato dalla
Republica Veneziana per lo servitio della Chiesa di S. Marco,
& il quale ha scritto in quella professione diverse cose
elette, essendo esso molto bene amato & abbracciato dalla
nobilita Vinitiana." Tiraboschi quotes from Francesco Sansovino,
Ritratti delle piu nobili et famose citta d'Italia (Venice, 1575)
3All cited m Debes, "Die Musikalischen Werke," pp. xiv-
xviii.
4
Reproduced m Adelmo Damerini, "Merulo," Enciclopedia
italiana XXII, p. 927.
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109
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110
from 1592, but Louis Debes has suggested that the majority
5
Debes, "Die Musikalischen Werke," P. vii.
6
On Merulo's activities in Parma see Angelo Catelani,
"Memorie della vita e delle opere di Claudio Merulo," Gazzeta
Musicale di Milano XVIII (1860); reprinted with additions and
corrections by Giacomo Benvenuti in Bollettino Bibliografico
Musicale V, VI (1930-1), 35-6; 39.
7
Of Merulo's seven volumes for keyboard, three were not
published by Gardano: the Ricercari d'intavolatura d'organo
(1567) and Messed'intavolatura d'organo ... libro quarto
(1568) were published by the composer in Venice, while the
Toccate d*intavolatura d'organo (1598) was published by
Verovio in Rome. The three earlier books of Messe, implied
in the designation libro quarto of the 1568 print, are no
longer extant.
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
Ill
CANZONI
D 1INTAVOLATURA D'ORGANO
DI CLAUDIO MERULO DA CORREGGIO
A QUATTRO VOCI, FATTE ALLA FRANCESE.
Nouamente da lui date in luce, & con ogni diligencia corrette.
LIBRO PRIMO
AL SERENISSIMO PRENCIPE DI PARMA, ET PIACENZA
IL SIGNOR RANUCCIO FARNESE.
[printer's mark]
In Venetia Appresso Angelo Gardano.
M .D .LXXXXII.
LIBRO SECONDO
DI CANZONI
D 'INTAVOLATURA D'ORGANO
DI CLAUDIO MERULO DA CORREGGIO
A QUATTRO VOCI, FATTE ALLA FRANCESE.
Da Lui reuiste, In tempo di sua vita, & date in Luce da Giacinto
SUO NEPOTE
[woodcut of Merulo]
In Venetia Appresso Angelo Gardano & Fratelli
MDCVI.
LIBRO TERZO
DE CANZONI
D'INTAVOLATURA D'ORGANO
DI CLAUDIO MERULO DA CORREGGIO.
A CINQUE VOCI FATTE ALLA FRANCESE.
Et date in Luce da Giacinto Merulo suo Nepote.
[woodcut of Merulo]
IN VENETIA
APPRESSO ANGELO GARDANO
MDCXI.
The usual style and format of the day is followed in all three
and lion face each other rampant, their paws supporting a seal
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112
patron. The Libro primo was published the same year Ranuccio
8
Unicum at Basel, Universitatsbibliothek: K.K.IV 28. ^ Modern
edition by Pierre Pidoux, Canzonen (Kassel and Basel: Baren-
reiter, 1941). Individual compositions are included in Adam
Adrio, Die Fuge (Cologne: A. Volk, 1960), p. 17; Ernst Ferand,
Die Improvisation in Beispielen (Cologne: A. Volk, 1961) , pp.
89-91; Otto Kinkeldey, Orgel und Klavier Musik des 16. Jahr-
hunderts (Leipzig: Breitkopf and Hartel, 1910), pp. 296-300;
and Johannes Wolf, Geschichte der Musik in allaemein-verstand-
licher form, 4 vols., (Leipzig: Quelle and Meyer, 1929-30),
1:96-99.
9
On Merulo's relationship with Ranuccio see Nicolo Pelicelli,
"Musicisti in Parma nei secoli XV-XVI," Note d'Archivo per la
storia musicale VIII (1931) , 36. Volpino's letter is cited in
Tiraboschi, Biblioteca modenese, 6:592-3.
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113
Giacinto studied music with his grand uncle and was appointed
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
The Libro terzo was dedicated on 1 March 1611 by Giacinto
12
Reproduced in George Kinsky, A History of Music in
Pictures (New York: Dover, 1951), p. 107. The woodcut is
similar to the anonymous portrait belonging to the Conser-
vatorio di Musica in Bologna and reproduced in Paul Henry
Lang, Pictorial History of Music (New York: W.W. Norton,
1960), p. 3.
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
Table 1
Sources and Concordances:
Canzoni d'Intavolatura of Claudio Merulo
Venice Turin Woltz Other MS Verona Vincenti Oxford Raverii Gallus RISM
(1592) Foa 3 (1617) Source MS (1588) MS (16:08) (1598)
Libro Primo
1. La Bovia fol.l no. 17
2. La Zambeccara 7 no. 24 23
3. La Gratiosa 12V no. 67 18 8
4. La Cortese 17V 68 21 16 no. 2
5. La Benvenuta 21V 69 16 3
6. La Leonora 25V 70 23 V, fol.119
7. L'Albergata 28V 71 17
8. La Rolanda 33 72 20
9. Petit Jacquet 36 73 19 V, fol.118 1 no. 18
(1606)
Libro Secondo
1. Petite Camusatte 2 75
2. La Pazza 4V 76 .15 p.l
3. La Radivila 6 77 3
4. La Palma 8 78 p.l
5. La Rosa 9 79 26
6. La Pargoletta 10 80
7. La Seula 12 81 T, fol.241v 21
8. La Ironica 14V 82
9. La Iolette 16 83
10. La Scarampa 17 84
11. L 'Arconadia 19 85
(1611)
Libro Terzo
1. Languissans p.l 60
13
2. Content 9 61 9 1550,
3. Oncques amour 16 62 42 6
157225
4. Susanne un jour 22 63 1553
1560
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
Table 2
Sources and Concordances:
Keyboard Canzonas Attributed to Merulo
Miscellaneous
9. [without titles] 45 na 15 T, fol. 241 19
10. 22
11. B, p. 19
12. V, fol.121
13. V, fol.124 5
116
117
from the Libro primo and the complete contents of the Libro
13
Oscar Mischiati, "L1intavolatura d'organo tedesca della
Biblioteca Nazionale di Torino: Catalogo ragionato," L 1Organo
IV (1963), fn. 95; the volume is indexed on pp. 78-80. Debes,
"Die Musikalischen Werke," p. 110 omits reference to Mischiati
nos. 35-6 and equates the fifth canzona of the Libro primo
with Mischiati no. 32 which, while based on an identical
subject, is an altogether separate piece.
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
118
the prints.
14
Turin, fols. 43-5; the model is taken from Verona,
Biblioteca capitolare: Cod. MCXXVIII (cited hereafter as
Verona), p. 8.
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
119
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35.
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125
together not from what the virtuoso did play, but for con
R eproduced with perm ission o f the copyright owner. F urther reproduction prohibited w itho ut perm ission.
126
ten works (nos. 15-24) are listed under the composer's name.
from his tablature since "each player has his special manner
17
A thematic index to these pieces is given in Appendix IV.
R eproduced with perm ission o f the copyright owner. F urther reproduction prohibited w ith o u t perm ission.
127
18
Johann Woltz, Nova musices organicae tabulatura (Basel:
J.J. Genath, 1617), fols. 93-94v ; Merulo, Libro primo, fols.
36-43. The model appears in Verona, p. 1 and, with an additional
quinto and basso generale, in Alessandro Raverii, ed., Can
zoni per sonare con ogni sorte di stromenti a quattro, cinque
& otto (Venice: A. Raverii, 1608), p. 18; modern edition by
Leland Bartholomew (n.p.: Fort Hays Kansas State College,
1965), pp. 55-8.
R eproduced w ith perm ission o f the copyright owner. F urther reproduction prohibited w itho ut perm ission.
128
Example 2
.Verona
-i— *-
■--- r-G--
_v a -- 4— * -
~4----- 4-
=F
s
Merulo
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| ----- --- ■, , u . . | _______________________
n i i
f t - =-T=-=r- - , __==, J - ^ = t= = l
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129
— 1----i
---- !
---1----
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—
i Q - ■■■ ,0 0 P O' J
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i
x T r r-r-
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.1.
I
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which often gave way to the recomposition of structural
fourth canzona from the Libro primo, presents only mm. 1-25
R eproduced w ith perm ission o f the copyright owner. Further reproduction prohibited w itho ut perm ission.
131
19 .
Mischxatx, "L'intavolatura d'organo," p. 84 cites Vienna,
Osterreichische Nationalbibliothek: MS 10110, fols. 3v-5, a
highly ornamented intabulation of "Petit Jacquet," as a source
of Merulo's intabulation of the chanson. The arrangement, how
ever, is clearly distinct from the one of Merulo.
20
On Tubingen see J. Wolf, "Neuerwerbungen der Musikabteilung
der Staatsbibliothek Berlin," Acta Musicologica III (1931), 122.
21
On Liege see Lydia Schierning, Die Uberlieferung der deutschen
Qrgel und Klaviermusik aus der 1 Halfte des 17. Jahrhunderts
(Kassel and Basel: Barenreiter, 1961), pp. 60-2. Debes, "Die
Musikalischen Werke," pp. 73-4, cites the source but not the
work.
R eproduced w ith perm ission o f the copyright owner. Further reproduction prohibited w itho ut perm ission.
132
22
Adam Sutkowski and Oscar Mischiati, "Una preziosa fonte
manoscritta di musica strumentale: 'L'intavolatura di Pelplin,1"
L'Organo II (1961), no. 815.
23
Vienna is described in Schierning, Die Uberlieferung,
pp. 60-2; and indexed in F.W. Riedel, Das Musikarchiv im
Minoritenkonvent zu Wien (Kassel: BSrenreiter, 1963), pp.
47-72.
24
On Basel see Wilhelm Merian, Der Tanz in den deutschen
tabulaturbtichern (Leipzig: Breitkopf and Hdrtel, 1927) , pp. 271-8.
R eproduced w ith perm ission o f the copyright owner. Further reproduction prohibited w itho ut perm ission.
133
25 7
Not RISM 1560 , p. 16, Crecquillon's setting a 3^, as in
Debes, "Die Musikalischen Werke," p. 367.
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134
27
Modern edition m Orlando di Lasso, Samtliche Werke, ed.
by F.X. Haberl and A. Sandberger (Leipzig: Breitkopf and Hartel,
1896-1926), 14:29-32.
28
Kenneth Jay Levy, "'Susanne un Jour:' The History of a 16th
Century Chanson," Annales musicologiques I (1953), pp. 375-9.
29
Modern editions by James Bastian in Corpus mensurabilis
musicae 51 ([Rome]: American Institute of Musicology, 1970),
pp. 28-75. On the paraphrase technique see Bastian, "The
Sacred Music," pp. 258-69.
30
The chanson survives m a bassus part book at Bologna,
Civico museo bibliografico musicale: MS Q26, fol. 71v ; and,
as an instrumental piece, in Angelo Gardano, ed., Musica di
diversi autori (Venice: A. Gardano, 1577), fols. 18v-19.
R eproduced with perm ission o f the copyright owner. Further reproduction prohibited w ith o u t perm ission.
135
appears in the Verona part books and as the model for a diminution
and integrated form typical of vocal works from the period. The
(mm. 17-23) which uses motivic fragments from the opening, while
31
Contrary to Howard Mayer Brown, Instrumental Music Printed
Before 1600 (Cambridge: Harvard University Press, 1965), p. 382.
32
Cambridge, Magdalene College, MS Pepys 1760, fol. 57v .
R eproduced w ith perm ission o f the copyright owner. Further reproduction prohibited w itho ut perm ission.
136
33
quite simply in the tenor. However, in the middle of the
a model, and hint that the piece might well be a paraphrase com
33
Modern edition in Martin Picker, The Chanson Albums of
Marguerite of Austria (Berkeley: University of California Press,
1965), pp. 437-9.
■ ^ M o d e r n editions in Curtis, "Mellange de Chansons," pp. 109-
11 and 191-3 respectively.
3^Debes, "Die Musikalischen Werke," pp. 218. The list can be
augmented by five works, however, if one considers pieces which
survive only as unornamented keyboard intabulations.
R eproduced w ith perm ission o f the copyright owner. F urther reproduction prohibited w itho ut perm ission.
137
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
138
use, two titles from the Libro primo come to mind: "La Gratiosa"
tions (nos. 15, 17, 23 and 27), while two pieces are rededi
39
Appendix III, no. 42, a copy of Crecquillon's "Oncques
amour," is intabulated in the Libro terzo.
40
On the custom of dedications see Claudio Sartori, "Une
pratique des musiciens lombards 1'hommage des chansons instru-
mentales aux families d'une ville," in Jean Jacquot, ed.,
Musique instrumentale de la Renaissance (Paris: Editions du
centre national de la recherche scientifique, 1955), pp. 305-12.
41 .
Similarly, the opening canzona of Vincenti's collection
of 1588, "L'Olica," is renamed "La Radivila" in its intabula
tion in the Libro secondo.
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
139
42 .
Giovanni Antonio Terzi, Intavolatura di liutto, accomo-
data con diversi passaggi ... libro primo (Venice: R. Amadino,
1593), p. 43: "Canzon francese di Clau. da Correggio per
suonar come di sopra." Appendix III, no. 22 is arranged in
idem, II secondo libro di intavolatura di liuto (Venice:
G. Vincenti, 1599) , p. 911 "Fantasia come di sopra [Vicenzo
Bellaver]."
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
14 0
Exam ple 3
Lute 1
1¥
Lute 2
- X — +-
ZCL
¥ T
£ £- d— 0-
£
., rr^i»-#
u-
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141
43
freely composed responses.
43
Subtitled "Concentus duplex vocum & Instrumentorum, con-
tinens cantionem nuncupatam la Cortesa," the motet appears on
pp. 40-56.
44
Both the intabulation and ensemble work are transcribed
in Volume II, pp. 30-7.
45
Transcribed m Volume II, pp. 6-12 and 23-9 respectively.
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
142
46
On Oxford see G. E. P. Arkwright, Catalogue of Music in
the Library of Christ Church (Oxford: Milford, 1923), p. 79.
47
Gallus, Sacri operis, pp. 57-76: "Veni electa mea.
Concentus duplex vocum, & Instrumentorum, continens cantionem
la Ben venuta nuncupatam."
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
for choral responses, the entire piece can be reconstructed.
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
CHAPTER IV
144
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
1 45
Example 1
Lassus, Susanne un jour
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146
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148
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149
15.
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150
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151
R eproduced with perm ission o f the copyright owner. F urther reproduction prohibited w itho ut perm ission.
152
more effective and ensure that the music falls easily under
R eproduced with perm ission o f the copyright owner. F urther reproduction prohibited w itho ut perm ission.
153
amateur performance.
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154
2
Girolamo Dalla Casa, II vero modo di diminuir (Venice: A.
Gardano, 1584), 2:12-3; Giovanni Bassano, Motetti, madrigali
et canzoni francese (Venice: G. Vincenti, 1591), p. 33; Gio-
vanni Terzi, Intavolatura di liutto ... libro primo (Venice:
R. Amadino, 1593), p. 39. The latter has been transcribed in
the pitch of the vocal model in order to facilitate comparison.
3 .
Diego Ortiz, Trattado de glosas sobre clausulas (Rome: n.p.,
1553), pp. 103-6; modern edition of the recercada and Sandrin's
chanson a £ in Ernst T. Ferand, Die Improvisation in Beispielen
(Cologne: A. Folk-Verlag, 1961), pp. 38-51.
R eproduced with perm ission o f the copyright owner. F urther reproduction prohibited w itho ut perm ission.
Example II
Lassus, Susanne un jour
Dalla Casa I:
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i *
± 0- » ___ a . , 7* ' art'
f— .j i.. l
-3- ,
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Tfi Ffta ' 1" - r y
Bassano:
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ojo J3.
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159
for two lutes exemplifies the style: the first lute plays
voices from the original chanson, while the second lute part,
the other hand, frequently use the whole note and even the
breve as the time unit being ornamented, resulting in a reduction
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160
the first C and D of the cantus and the A and F of the altus
of the ornamentation.
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161
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162
7
Adrxano Banchieri, Conclusioni nel suono dell'organo (Bologna:
G. Rossi, 1609), p. 17 states that only at funerals should there
be no diminutions, and, in the cadenza finale to his Cartella
musicale (Venice: G* Vincenti, 1614) , p. 235, implies that even
contrapuntal music was highly ornamented: "si come pure aduiene
a un Organista intelligente, che leggiadramente voglia far sentire
una sua bella & benintesa Ricercata, prima fa sentire un Ripieno
per ingresso, doppo comincia pianpiano una leggiadra fugha di
tutte le parti rispondenti alia Quarta & Quinta, fa sentire
Tirate, Passaggi, Tremoli, Trilli, Leggature, Accenti & vaghi
intrecciamenti alle parte di mezo, & scherzato buona pezza vo-
lendo ridursi all'operatione compita viensene alia Cadenza
finale, con chiuder gli registri."
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163
to embellishment.
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164
For example, the canzona "La Pazza" (Volume II, pp. 69-74)
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165
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166
rapid changes are for the most part lacking. Rather, the
lation of "La Bovia" which opens the 1592 print (Volume II,
g
Dalla Casa, II vero modo, 1:2.
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167
note of the original passage and ends on its final note, or,
top line, or any other line; all parts get a share of embel
bass line was being singled out for special attention, Merulo
9
For example, Adrian Petit Coclico, Compendium musices
(J. Montani and U. Neuberi: Nuremberg, 1552) , fol. 13v. Late-
century authors permitted ornamentation of the bassus, but
usually with embellishments specifically conceived to provide
harmonic support. Banchieri, Cartella musicale, p. 229,
states that passaggi for the cantus, altus and tenor can be
applied interchangeably, but pointedly fails to mention
the bassus. Lodovico Zacconi, Prattica di musica (Venice:
A. Gardano, 1592), 1:63, prints diminutions specifically for
the bass which, in their rhythmic values and triadic orienta
tion, resemble those of Merulo.
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168
which opens the Libro terzo (Volume II, pp. 112-120), exhibits
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169
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170
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171
the case in the opening of "La Ironica" (Volume II, pp. 101-102).
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172
passaggio, but when the quinto enters with the theme in the
yet when the bassus enters with the same figure in m. 3, it's
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173
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174
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175
ment.
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176
in the opening lines of the work, and became more and more
ciples or, for that matter, the overall form of the work
homophonic passages.
A section from "La Cortese" (Volume II, pp. 30-7) shows this
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177
original.
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178
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179
used; if major, the major scale. When the next chord implies
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180
contributions.
was then the most elaborate and most powerful that Western
music had known, and was not seen again until the vocal
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181
literature.
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182
APPENDIX I
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183
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[anonymous] Ces facheuz sotz qui 1529' Attaingnant, 1531 Attaingnant, 1529'
mesdisent d'aymer (a 3) Ammerbach, 1583 Newsider, 15442
Phalese, 1545-3
Heckel, 15623
Clemens non Papa, A demy mort (a 4) 154516 Henestrosa, 1557 Fhal§se, [1547]11
Jacobus Ammerbach, 1583 Phalese, 15687
Mareschall, 1640 Phalese, 15716
Clemens non Papa, Le departir est sans 1536' Ammerbach, 1583 Newsidler, 1544^
Jacobus departement (a 4) Phalese, 15474
Heckel, 1562-3
29
Mais languiray-je 1549 Mareschall, 1639 Casa, 1584 Phalese, 155211
toujours (a 4) Gardano
16
Mourir me fault (a 4) 1545 Ammerbach, 1583 Phalese, 155211
Vreedman, 1568*3
(for cittern)
Courtois, Jean Petit jacquet (a 4) Bologna Q26 Gabrieli, 1605 Casa, 1584 Barbetta, 1582^"
Gardano
16
Crecquillon, Alix avoit aux dens (a 4) 1545 Ammerbach, 1583 Casa, 1584 Phalese, 1571^
Thomas Paix, 1583
Henestrosa, 1557
185
belle (a 4)
L'oeil dit asses (a 3) 1560 Mareschall, 1640
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25
Crecquillon, Oncques amour me fut 1553 Paix, 1583 Casa, 1584(2) Phalese, 15716
Thomas (a 5) Vincenti Merulo, 1611 Bassano, 1591 Newsidler, 1566
Verona
Pis ne me peult venir [1543]15 Valente, 1576 Bonizzi, 1626 Phalese, 155211
(a 5) Verona Schmid, 1577 Jobin, 1572-1-
Cabezon, 1578 Kargel, 1575^
Mareschall, 1639 (for cittern)
Molinaro, 15997
Crecquillon, Ung gai berger (a 4) 154316 Henestrosa, 1557 Casa, 1584 Phalese, 1545
Thomas Gardano Schmid, 1577 Bassano, 1591 Phalese, 1547®
Cabezon, 1578 Rogniono, 1592(3) Bakfark, 155 3-1-
Bertoldo, 1591 Ochsenkun, 1558®
Gabrieli, 1605 Becchi, 1568-1-
Mareschall, 1639 Waissel, 1573^
London 2088 Newsidler, 1574®
Correa, 1626 Barbetta, 15821
Naples 48 Molinaro, 1599^
Janequin, Clement Escoutez tous gentilz Gardano Paix, 1583 Newsidler, 15442
galloys Loffelholtz, 1585 Phalese, 1545®
Florence 641 Milano, 1546®
Milano, 1546®
Paladin, 154?®
Gorlier, 1551-*-
(for guitar)
Morlage, 1554®
Phalese, 1563"*"2
Phalese, 1571®
187
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Janequin, Clement Martin menoit son 15366 Gabrieli, 1605 Casa, 1584 Francesco di Milano,
porceau (a 4) Gardano Munich 2987 15466
Phalese, 154618
Bakfark, 15531
Rippe, 1562
Ruffo, 15648
Phalese, 15747
Barbetta, 1582
17 2
Or vien Qa vien m 1amye 1540 Bertoldo, 1591 Attaingnant, 1533
(a 4) Verona Castell'Arquato XI Bakfark, 1553-*-
Rippe, 1554^
Paladin, 15608
Phalese, 15687
PhalSse, 1574?
Reveillez vous, cueurs [c. 1528]5 Henestrosa, 1557 Casa, 1584 Francesco di Milano,
endormis (a 4) Gardano 15466
Phalese, 1546-*-8
188
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Lasso, Orlando di Bon jour mon coeur (a 4) 15658 Schmid, 1577 Phalese, 1568
Paix, 1583 Phalese, 15703
Fitzwilliam Phalese, 15716
Kargel, 15741
Newsidler, 1574^
Phalese, 15747
Kargel, 15753
Kargel, 15784
(for cittern)
Lasso, Orlando di Las voullez vous 155912 Schmid, 1577 Phalese, 1568^
qu'une personne (a 4) Phalese, 1571
Kargel, 15741
Le Roy, 15742
3
Le departir est sans 15659 Paix,1583 Newsidler, 1566
departement (a 5) Phalese, 1571®
Jobin, 15721
Vous qui aymez les dames 1565 Mareschall, 1639 Phal&se, 157l6
(a 5)
191
Denss, 1594^
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192
Phalise, 15825
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Sandrin, Pierre Doulce memoire en plaisir 1538 15 Cabezon, 1578 Ortiz, 1553(4) Phalese, 15479
Regnault consumme (a 4) Gardano Ammerbach, 1583 Casa, 1584 Newsidler, 1549
Loffelholtz, 1585 Phalese, 1549®
Lublin, 1540 Drusina, 15562
Heckel, 15623
Rippe, 15621®
Phalese, 156312
Vreedman, 1568®
(for cittern)
Phalese, 15703
(for cittern)
Waissel, 15733
Willaert, Adrian Qui la dira la peine 1560 Valente, 1576 Gabrieli, 1587^
(a 4) Verona Cabezon, 1578 Valderrabano, 1547
Gabrieli, 1605
193
194
APPENDIX II
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Ardemanio, Cesare Seconda aggiunta alii concerti 8 Pelplin 308: no. 826
(Milan, 1617d)
Bariola, Ottavio Capricci, overo Canzoni a 1-20 Turin, Foa 1 : nos. 98-117
quattro...libro terzo
(Milan, 1594a)
Borgo, Cesare [Canzoni alia francese a 1-24 Turin, Foa 1 : nos. 62-85
quattro...libro secondo
(Venice, 1599d)] 1- 5 Pelplin 308: nos. 817-819, 840, 830
Bottaccio, Paolo 11 primo libro delle Canzoni 1-12 Pelplin 308: nos. 794-805
da suonare (Venice, 1609a)
14-20 Pelplin 308: nos. 806-812
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Bottaccio, Paolo Seconda aggiunta alii concerti Pelplin 308: nos. 824-825
(Milan, 1617d)
Grillo, Giovanni Canzoni per sonare con ogni 14 Vienna 8 : fol. 108
sorte di stromenti
(Venice, 1608f) 15 Vienna 8 : fol. 12 3
Ingegnieri, Marc 11 secondo libro de madrigali 20-21 Paix, 1583: nos. 84-85
Antonio (Venice, 1579)
Lapi, Pietro Canzoni per sonare con ogni 11-12 Vienna 8 : fol. 107
sorte di stromenti
(Venice, 1608f)
197
Brussels 26660
Merula, Tarquinio 11 primo libro delle canzoni 1-12 Pelplin 308: nos. 782-793
per sonare (Venice, 1615d)
198
Woltz, 1617: no. 21
Metallo, Gramatico [Canzoni alia neapolitana... 1-13 Basel 43: fol . 129-178
libro quarto (Venice, 1594)]
Mortaro, Antonio Primo libro de canzoni da 1-21 Turin, Foa 3: nos. 6-26
199
sonare (Venice, 1600c)
1 Schmid, 1607: no. 72
Pellegrini, Vicenzo Seconda aggiunta alii concerti 1 Pelplin, 308: no. 820
(Milan, 1617d)
10 Pelplin, 308: no. 827
Turin, Foa 3: no. 92
Prioli, Giovanni Sacrorum concentuum (Venice, 1618ei) 9-12 Vienna 8 : fol. 44-46
Rivolta, Giovanni Seconda aggiunta alii concerti 11 Pelplin 308: no. 828
(Milan, 1617d)
Rovigo, Francesco Partitura delle canzoni da 1-6 Turin, Foa 1: nos 46-51
suonare (Milan, 1600b)
Valentini, Giovanni Canzoni per sonare...libro primo 1-4 Vienna 8 : fol. 46-48
(Venice, 16091)
200
201
APPENDIX III
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202
Number: Page:
6 6 Tomaso Crequilon
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203
12 11 di Claudio da Coreio a 4
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204
24 22 Del Guami. a 4.
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205
39 36-7 Canzon. a 4.
40 44 a 5.
41 45 a 5.
0
=RISM 1560 , fol. 6 : "Pis ne me peut venir," Crecauillon
47 50-1 Canzon a 6.
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206
APPENDIX IV
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210
SELECTED BIBLIOGRAPHY
Primary Sources
Manuscripts
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211
Printed Works
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212
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213
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214
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Secondary Sources
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216
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217
Eitner, Robert. "Hermann Finck iiber die Kunst des Singens, 1556"
Monatsheffe fur Musikgeschichte. XI (1879) , 129-41.
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218
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219
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220
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221
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222
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THE CANZONI D 1INTAVOLATURA OF CLAUDIO MERULO:
Volume II
by
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CO NTENTS
Page
PREFACE iii
LIBRO P R I M O ....................................... 1
1. La B o v i a .................................. 6
2. La Z a m b e c c a r a . ........................... 13
3. La G r a t i o s a .............................. 23
4. La C o r t e s e .............................. 30
5. La Benvenuta ........................... 38
6. La L e o n o r a .............................. 46
7. L ' A l b e r g a t a .............................. 48
8. La R o l a n d a .............................. 51
9. Petit J a c q u e t ........................... 53
LIBRO S E C O N D O ................................... 63
1. L a n g u i s s a n s ........................... 114
2. Content ........................... 126
3. Oncques a m o u r ........................ 137
4. Susanne un jour ..................... 14 6
ii
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PREFACE
iii
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since it seems to have been an indication of right-hand and
this has not been expressly indicated but may have been implied
iv
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a note represent a reading of the Turin tablature. Because
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therefore, retain the original tied notation, and no consolida
vi
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CANZONI
D 'INTAVOLATURA D 1ORGANO
LIBRO PRIMO
M.D.LXXXXII.
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2
AL SERENISSIMO PRENCIPE
DI PARMA, ET PIACENZA,
da chi e donato, & a chi si dona, hanno in molte parti fin qui
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3
nella luce del mondo; poi che anco saranno state gradite da
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4
RANUCCIO FARNESE.
see that even my music also does not displease you. Given
this, the gift, he from whom it is given, and the one to whom
often shown in hearing these same Canzoni with his most gracious
attention, since these songs will come to you with that same
joy with which they emerged from me, and since they were
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rendered with the fullest hope that they would be accepted
a way that they may with equal joy come before the light of
the world; furthermore that they also will have been accepted
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6
1. La Bovia
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9
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5. La Benvenuta
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JTO j j
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J i
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46
6. La Leonora
A 1 11
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47
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48
7. L'Albergata
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51
8. La Rolanda-
JL
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52
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53
9. Petit Jacquet
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55
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LIBRO SECONDO
DI CANZONI
D'INTAVOLATURA D'ORGANO
SUO NEPOTE.
MDCVI.
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64
A L L 1ILLUSTRE SIGNORE
Hiacinto Merulo.
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65
you bore for my uncle's virtues (which one may call extra
and devotion towards Your Lordship, to which end I wish for you
eternal happiness.
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66
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A L L 1ILLUSTRISS. S. CONTE
del Sig. Claudio Merulo antichissimo servitore suo, & mio Zio
defunto ella vede nella mia Verde pianta renovarsi, & farsi
Di V. S. Illustrissima,
Servitore affettionatissimo:
Iacinto Merulo.
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memory; and it may be that you see his now extinct service
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153
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155
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156
iiittai
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157
CRITICAL NOTES
C Cantus
A Altus
T Tenore
B Bassus
Q Quinta pars
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158
LIBRO PRIMO
1. La Bovia
v
Source: 1592, fols . 1-6 : "Canzon A 4 Dita La Bovia"
La Zambeccara
La Gratiosa
La Cortese
La Benvenuta
6. La Leonora
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159
7. L 1Albergata
8. La Rolanda
9. Petit Jacquet
1 3 C Ve reads b-flat’
4 1-3 C Ve reads d'
9 1592 deletes first four quarter-beats of the model
12 1-2 C Ve reads d'
LIBRO SECONDO
1. Petite Camusette
R eproduced with perm ission o f the copyright owner. Further reproduction prohibited w ith o u t perm ission.
160
2. La Pazza
9 1 C Ox
10 5 A SL i - O S I
1606 r e a d s j 3 3 H f l /w 1 ' corrected after Tu
10 7 A Tu reads T O
13 5-6 C Ox reads d', b-flat'
16 4 A Tu reads d 1, e 1
24 4 C Ve reads b-flat'
24 6 T Tu reads c, d
30 2 TB 1606 missing, supplied from Tu
32 8 C Ve reads b-flat'
3. La Radivila
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161
4. La Palma
3 7 A Tu reads d ’
5 1-2 A Tu reads f1, g'
10 5-6 B Tu reads
tn 3-4 B Tu reads g. ,
12 4-5 C Tu reads
15 7-8 B 1606 reads F, D, E, F
16 4 B 1606 reads A, G, F, G, corrected after Tu
23 3-5 A 1606 missing, supplied
24 5-8 TB 1606 unclear, supplied
La Rosa
La Pargoletta
n §
La Seula
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162
8. La Ironica
3
7
7-8
6-8
A
T
1606
Tu
reaas I.J*JJJ] , c o r n e a a£tsr a
reads e, f-sharp, g
11 7-8 A Tu reads f
12 2 T Tu reads E
14 6-8 T 1606 reads a third too high, corrected after
17 1-2 T 1606 reads a third too high, corrected after
25 7 A Tu reads c"
26 1-4 B Tu wanting
28 7 A 1606 reads b 1, corrected after Tu
29 7 A 1606 reads g, corrected after Tu
35 2 C 1606 reads g", corrected after Tu
9. La Iolette
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163
10. La Scarampa
11. L'Arconadia
8 2 C 1606/Tu read g 1 1
21 1-3 B 1606 reads 9 $
24 7 A 1606 reads e
LIBRO TERZO
1. Lanquissans
3 4 C 1611 reads
4 8 C Tu reads g', f', d', e'
4 7-8 T Tu reads J
8 6 A 1611 reads g-sharp, corrected after Tu
00
1
21 T Tu reads:
-* r *
31 4 B Tu reads
42 4 C 1611 reads corrected after m. 31
45 3 C 1611 reads , corrected after Tu
48 5-6 B 1611 rhythm"unclear, given as per Tu
52 5 B 1611 reads A, corrected after Tu
57 7 B 1611 reads G-flat. corrected after Tu
65 3-4 T 1611 reads T
• 1 1 1
69 5-6 T Tu reads:
I
70 8 T 1611 reads , corrected after Tu
R eproduced w ith perm ission o f the copyright owner. Further reproduction prohibited w itho ut perm ission.
164
2. Content
3. Oncques amour
2 7 C 1611 g 1 reads J*
3 5-6 A Tu read i M r l
5 1 T 1611 reads J
7 3 T 1611 reads J
9 3-4 C 1611 reads corrected after Tu
15 2-3 T 1611 reads j ~ ' corrected after Tu
21 5-8 TB 1611 reads a third too high, corrected after 1588-Ve
24 1-2 C Tu
reads t T c ■A *
24 7 B Tu reads
A‘ 1 »< ,—
R eproduced with perm ission o f the copyright owner. F urther reproduction prohibited w itho ut perm ission.