Instrumentalists and Renaissance Culture, 1420–1600: Players of Function and Fantasy

352 Pages·2016·4.875 MB·English

by  Victor Coelho, Keith Polk

–
Instrumentalists and Renaissance Culture, 1420 1600
This innovative and multilayered study of the music and culture
ofRenaissanceinstrumentalistsspanstheearlyinstitutionalization
ofinstrumentalmusicfromc.1420totheriseofthebassocontinuo
and newer roles for players around 1600. Employing
a broad cultural narrative interwoven with detailed case studies,
close readings of eighteen essential musical sources, and analysis
of musical images, Victor Coelho and Keith Polk show that
instrumentalmusicformedavitalanddynamicelementintheartistic
landscape, from rote function to creative fantasy. Instrumentalists
occupied a central role in courtly ceremonies and private social
rituals during the Renaissance, as banquets, dances, processions,
religiouscelebrations,andweddingsallrequiredtheirparticipation–
regardless of social class. Instrumental genres were highly diverse
artisticcreations,frompolyphonicrepertoriesrevealingknowledgeof
notatedstyles,toimprovisationandflexiblepractices.Understanding
the contributions of instrumentalists is essential for any accurate
assessmentofRenaissanceculture.
victorcoelhoisProfessorofMusicandDirectoroftheCenterfor
EarlyMusicStudiesatBostonUniversity,afellowofVillaITatti,the
Harvard University Center for Italian Renaissance Studies in
Florence, and a lutenist and guitarist. His books include Music and
ScienceintheAgeofGalileo,TheManuscriptSourcesofSeventeenth-
Century Italian Lute Music, Performance on Lute, Guitar, and
Vihuela, and The Cambridge Companion to the Guitar. In 2000 he
received the Noah Greenberg Award given by the American
Musicological Society for outstanding contributions to the
performance of early music, resulting in a recording (with Alan
Curtis) that won a Prelude Classical Award in 2004. His recordings
aslutenistanddirectorappearontheStradivarius,ToccataClassics,
andTeldeclabels:http://people.bu.edu/blues/.
keithpolkisProfessorEmeritus,UniversityofNewHampshire,and
hasalsotaughtatBrandeisUniversity;theNewEnglandConservatory,
andRegentsCollege,London.Heisoneoftheforemostauthoritieson
Renaissanceinstrumentalmusic,andhasproducednumerousarticles
and several books on the subject, including German Instrumental
Music of the Late Middle Ages (Cambridge University Press, 1992).
HeisalsoaprofessionalplayeroftheFrenchhorn,havingperformed
with the San Diego Symphony, the Amsterdam Concertgebouw
Orchestra, Boston Baroque, and the Smithsonian Chamber Players.
His Festschrift, Instruments, Ensembles, and Repertory, 1300–1600,
ed.TimothyMcGee&StewartCarter,waspublishedin2013.
Instrumentalists and Renaissance
–
Culture, 1420 1600
Players of Function and Fantasy
victor coelho
BostonUniversity
and
keith polk
UniversityofNewHampshire
UniversityPrintingHouse,CambridgeCB28BS,UnitedKingdom
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Informationonthistitle:www.cambridge.org/9781107145801
©VictorCoelhoandKeithPolk2016
Thispublicationisincopyright.Subjecttostatutoryexception
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noreproductionofanypartmaytakeplacewithoutthewritten
permissionofCambridgeUniversityPress.
Firstpublished2016
PrintedintheUnitedKingdombyTJInternationalLtd.PadstowCornwall
AcataloguerecordforthispublicationisavailablefromtheBritishLibrary
LibraryofCongressCataloguinginPublicationdata
Coelho,Victor,author.|Polk,Keith,author.
InstrumentalistsandRenaissanceculture,1420–1600:playersoffunction
andfantasy/VictorCoelhoandKeithPolk.
Cambridge,UnitedKingdom:CambridgeUniversityPress,2016.|Includes
bibliographicalreferencesandindex.
LCCN2015042964|ISBN9781107145801
LCSH:Instrumentalists–Socialconditions.|Renaissance.|Instrumentalmusic–15th
century–Historyandcriticism.|Instrumentalmusic–16thcentury–Historyandcriticism.
LCCML3795.C6352016|DDC784.09/031–dc23
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ISBN978-1-107-14580-1Hardback
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For Janet

Contents
Listoffigures [pagexi]
Prefaceandacknowledgments [xiv]
Listofabbreviations [xvii]
Prologue:ThecultureofRenaissanceinstrumentalmusic [1]
Patronage,population,andprinting [3]
PerspectivesonRenaissancesoundandcontext [5]
Thecombinationofvoicesandinstruments [7]
Casestudy1:JosquinintheinstrumentalrepertoryoftheRenaissance [8]
Renaissanceinstrumentalmusicandperiodization [14]
1 Renaissanceinstrumentalmusicanditspatrons [17]
Patronsandprofessionals [17]
Burgundy:themodelofpower–1400–77 [18]
Casestudy2:MagnificentBurgundy:instrumentalmusicduringthereignof
PhiliptheGood [19]
TheBurgundianmodelexpands–1480–1520 [22]
MaximilianI–Ercoled’Este–HenryVII [25]
TheBurgundianmodeltranscended–1520–50 [27]
Casestudy3:Patronagerunsrampant:instrumentalmusicatthecourtof
HenryVIII [28]
FrancisI–CharlesV [32]
Anewmodelofpower:Bavaria–1550–1600 [34]
Churchpatronageofinstrumentalmusic [36]
Thefifteenthcentury:instrumentalmusicthroughbackalleys [37]
Thesixteenthcentury:doorsopentoinstrumentalmusic [41]
Casestudy4:RenaissanceinstrumentalistsintheNewWorld
andcross-culturalencounters [42]
Civicpatronageinthefifteenthcentury [49]
GermanyandItaly–FlandersandEngland–FranceandSpain [50]
Civicpatronageinthesixteenthcentury [55]
Casestudy5:Playersandpolitics:TielmanSusatoandtheAntwerpBand,
c.1550 [55]
Sizematters [58]
2 Asource-basedhistoryofRenaissanceinstrumentalmusic [62]
1) Avariablerepertoryforinstrumentalists:Faenza,Bibliotecacomunale
117(c.1380–1426)–Faenza [64] vii
viii Contents
2) ZorziTrombettaandawatershedmomentforensemble
instrumentalmusic:London,BritishLibrary,CottonMSTitusA.xxvi
(c.1440)–Zorzi [66]
3) Acompendiumoffifteenth-centurykeyboardtechniques:TheBuxheim
OrganBook,Munich,BayerischeStaatsbibliothek,Cim.352b(formerly
Mus.ms.3725),(c.1460–70)–Buxheim [69]
4) Ensembleinstrumentalmusicmovestocenterstage:Rome,Biblioteca
Casanatense,MS2856(c.1481–90?)–Casanatense [71]
5) Atippingpointforinstrumentalmusic:Petrucci’sHarmonicemusices
OdhecatonA(Venice,1501 )–Odhecaton [76]
1
6) Theendofthebeginningoflutemusic:FrancescoSpinacino,
IntabulaturadeLautoLibroprimo/Librosecondo(Venice,1507 )–
2
Spinacino [78]
7) Thechansontraditionchallenged:Augsburg,Staats-und
StadtbibliothekMS20142a(c.1510)–Augsburg [85]
8) IntroducingthetrecoroneofRenaissancelutemusic:GiovanniAntonio
Casteliono,Intabolaturadileutodediversiautori(Milan,1536 )–
9
Casteliono [89]
9) Professionalsatwork:Copenhagen,DetkongeligeBibliotek,Gl.Kgl.Sml.
1872–4°(c.1545)–Copenhagen [94]
10) AlonsoMudarra,Treslibrosdemúsicaencifrasparavihuela(Seville,
1546 )–Treslibros [97]
14
11) Dancesformusicalrecreation:TielmanSusato’sHetderdemusyck
boexken...danserye(Antwerp,1551 )–Danserye [100]
8
12) Practicemeetstheory:VincenzoGalilei’sIntavolaturedelauto(Rome,
1563 )andFronimoDialogo(Venice,1568 /1584 ) [104]
7 2 5
13) KeyboardmusicinVenice:ClaudioMerulo,Ricercarid’intavolatura
d’organo(Venice,1567 )–Ricercari [109]
2
14) Internationalrepertoryontheperiphery:Lerma,ArchivodeSanPedro,
MS.Mus.1(c.1590)–Lerma1 [113]
15) Personare,noncantare:GiovanniGabrieli,Sacraesymphoniae(Venice,
1597 ) [116]
5
16) Viols,voices,andinstrumentalmusicinElizabethanEngland:William
Byrd,Psalmes,Sonets,&songs...madeintoMusickeoffiveparts
(London,1588 ) [120]
2
17) Insulargeniusatwork:FitzwilliamVirginalBook,Cambridge,
FitzwilliamMuseum,MusicMS168(c.1615–20)–Fitzwilliam [123]
18) Themagnificentclose:RobertDowland,AVarietieofLuteLessons
(London,1610)–Varietie [126]
3 Theplayers [131]
Thedailylifeofaninstrumentalist:conditionsofwork [132]
Incomeandbenefits [134]
Guildsandeducation [139]
Casestudy6:Anartistinhisownwords:BenvenutoCellinionthetraining
andearlycareerofaninstrumentalist [141]
Contents ix
Recruitingprofessionals [146]
Professionalplayersandtheirorigins [148]
Casestudy7:Theciecomiracoloso:ConradPaumann [150]
Femaleinstrumentalists [154]
Amateurs [156]
Casestudy8:TwoRenaissanceplaylists:thelutebooksofRaffaelloCavalcanti
(Cavalcanti)andEmanuelWurstisen(Wurstisen) [159]
4 Instrumentalmusicforcelebrationandceremony [164]
Festivals [165]
Casestudy9:Musicandpoliticalceremony:theritualgrantingofprivileges
andforgiveness,Bruges,16May1488 [166]
Theweddingasfestival [169]
Casestudy10:Tasteandmagnificenceentwined:theBavarianweddingof
1568 [169]
Processions [171]
Instrumentalmusicandbanquets [173]
Casestudy11:Pressingtheboundariesofextravagance:theFeastofthe
Pheasant–Lille,1454 [174]
Danceanditscontext [177]
Musicinthetheater [180]
Instrumentalmusicinsacredcelebrations [184]
5 Theinstrumentalist’sworkshop:pedagogy,intabulation,
andcompositionalprocess [189]
Instruction,composition,andperformanceinthefifteenthcentury [191]
Permanenceandevanescenceinfifteenth-centurycomposition [193]
Casestudy12:Thetheoristspeaks:Tinctorisoncounterpoint,resfacta,and
singingsuperlibrum [196]
Learningthebasics [199]
Acquiringskillonaninstrument [203]
Performingtherepertory [204]
Performancepracticeandinstrumentalists,1400–1500 [205]
Instruction,composition,andperformanceinthesixteenthcentury [208]
Learningthebasics [209]
Compositionandarrangement [212]
Intabulationsandthemusicaltext [213]
Renaissancetranslations [217]
Casestudy13:Intabulationsastranslations:EtienneDolet’sDelamanièrede
bientraduired’unelangueenautre(1540) [220]
Convergenceofinstrumentalistandcomposer [224]
6 Renaissanceinstruments:imagesandrealities [226]
Challengestoinvention [227]
Economics,distribution,andownership [228]
Animage-basedhistory [232]
I. Plucked-stringinstruments [233]