Copyright by Cory Michael Gavito 2006

The Dissertation Committee for Cory Michael Gavito Certifies that this is the approved version of the following dissertation:

THE ALFABETO SONG IN PRINT, 1610 CA. 1665: NEAPOLITAN ROOTS, ROMAN CODIFICATION, AND IL GUSTO POPOLARE

Committee:

Andrew F. DellAntonio, Supervisor Elizabeth B. Crist Lorenzo F. Candelaria Susan L. Jackson David Hunter

THE ALFABETO SONG IN PRINT, 1610 CA. 1665: NEAPOLITAN ROOTS, ROMAN CODIFICATION, AND IL GUSTO POPOLARE

by Cory Michael Gavito, B.M.E., M.M.

Dissertation
Presented to the Faculty of the Graduate School of The University of Texas at Austin in Partial Fulfillment of the Requirements for the Degree of

Doctor of Philosophy

The University of Texas at Austin December, 2006

Dedication

To Mom and Dad

Acknowledgements

The realization of this project would not have been possible without the support and guidance of Andrew Dell'Antonio. While my gratitude toward his unfailing commitment to this dissertation goes far beyond the written page, I would like to acknowledge his assistance in procuring contacts and resources abroad, and especially in dealing with the more nuanced matters of translation. To the Hutchison foundation and to the College of Fine Arts at the University of Texas, I offer my thanks for financially supporting several semesters of dissertation research. Likewise, I thank the Newberry Library for supporting my research through a dissertation research fellowship; special thanks to Erin Lucido and Paul Gehl at the Newberry for their assistance and hospitality during my stay in Chicago. In Italy, I would like to extend my gratitude to Kathryn Bosi at the Biblioteca Berenson, Villa i Tatti in Florence, who graciously allowed me access to the library's microfilm collection. In Bologna, I thank the staff at the Biblioteca della musica di Bologna (formerly the Civico Museo Bibliografico Musicale), especially Alfredo Vitolo, for their kindness and assistance in acquiring most of the primary sources consulted in the forgoing dissertation. Other Italian libraries whose staffs were most helpful in tracking down research materials include the Biblioteca del Conservatorio Santa Cecilia in Rome and the Fondazione Levi in Venice. I also thank the Biblioteca Panizzi in Reggio Emilia for their committed search in locating one of the only known copies of the Canzonette spirituale (Milan, 1657). v

Several people in the US were also instrumental in providing me access to primary sources. I thank David Hunter at UT-Austin for acquiring microfilm duplicates of several alfabeto song sources housed in the British Library and the library at Christ Church, Oxford. To Gary Boye I owe special thanks for sharing with me his transcriptions of the alfabeto songs printed in several guitar intavolature. A heartfelt thanks goes out to the Interlibrary Loan department at UT-Austin who were always up for the challenge of hunting down microfilms. To the following people I would like to acknowledge my gratitude for their support and assistance throughout the dissertation process: Susan Jackson, Elizabeth Crist, Lorenzo Candelaria, Rebecca Baltzer, Stephen Wray, Gary Beckman, Agi Vojtko, Francesco Passadore, Ann Johns, Alessandro Belluzzi, Gianluca Renzi, Padre Diego Lorenzi, Padre Stefano and Sorella Francesca, Ildar Khannanov, Carlos Ufret-Vincenty, Javier Jara, Miguel Alvear, Kathryn Metz, Michael O'Brien, Jen Smull, Ryan Kangas, Barney McAll, Jenn Gavito, Eli McAll, Chris Gavito, Mom and Dad. To Prill: thanks for everything.

vi

THE ALFABETO SONG IN PRINT, 1610 CA. 1665: NEAPOLITAN ROOTS, ROMAN CODIFICATION, AND IL GUSTO POPOLARE
Publication No._____________

Cory Michael Gavito, Ph.D. The University of Texas at Austin, 2006

Supervisor: Andrew Dell'Antonio The focus of this dissertation is the widespread practice of annotating vocal music with a tablature system known as alfabeto, a shorthand notational method related to basso figurato that uses alphabetical letters and typescript characters to represent hand positions on the fretboard of the five-course Spanish guitar. Cultivated in Italy from the latesixteenth century until the mid-1600s, alfabeto songs first appeared in print in 1610. The repertory witnessed its most prolific printed dispersal during the 1620s and 30s, where at times it comprised over half of the yearly total output of secular vocal music published in Italy. The resiliency of the repertory even during outbreaks of plague and crippling economic instability attests to the alfabeto songs economic, musical, and cultural value in Italy during the early seicento. This undoubted popularity has led some scholars to hypothesize that music printers added alfabeto to vocal publications primarily to increase their appeal within the competitive music printing market. This project demonstrates alternatively that vocal music with alfabeto emerges in the seventeenth century as a unique musical tradition that offered composers and performers a viable option in the quest for musical expression. Strong evidence for this position lies in the fact that the songs are imbued with specific musical and poetic typologies that commonly draw from circulating ideologies of pastoral life, authenticity, and the Spanish Kingdom of Naples. The central role that the Mezzogiorno played in the initial diffusion and later standardization of alfabeto songs in Italy is also noted in the chronology of the repertorys publication as well as the large number of textual and musical concordances that pervade the repertory. This offers a balanced assessment of alfabeto-inscribed vocal music printed in Italy, a phenomenon emphasized in previous scholarship as fundamentally Venetian. The Neapolitan provenance of several key alfabeto song components further adds to a growing consensus in early modern Italian musicology that the Kingdom of Naples was a source of several musical traditions that were later established and standardized in the north/central Italian environs.

vii

Table of Contents
List of Tables.........................................................................................................ix List of Figures .......................................................................................................xi List of Musical Examples.....................................................................................xii Introduction..............................................................................................................1 Chapter 1: The language of alfabeto song print dedications, letters, and titles.....14 Chapter 2: Alfabeto song texts and pastoral realism..............................................31 Chapter 3: Alfabeto song printing and publishing.................................................64 Chapter 4: Alfabeto song concordances...............................................................109 Chapter 5: Alfabeto song as a musical symbol of Naples and the Italian south..145 Chapter 6: Historiographical claims for the repertory and concluding remarks..168 Appendix 1: Alfabeto song prints published in Italy, 1610-ca. 1665...................176 Appendix 2: Index of first lines of alfabeto songs published 1610-ca. 1665......185 Bibliography........................................................................................................239 Vita......................................................................................................................247

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List of Tables
Table 1: Alfabeto songbooks printed without mention of a dedicatee or patron...21 Table 2: Alfabeto songbooks with attractive and fanciful titles............................28 Table 3: Alfabeto songbooks containing arie siciliane.........................................58 Table 4: Contents of Fasolo's Il carro di Madama Lucia (Rome, 1628)..............60 Table 5: Publishing & provenance of alfabeto song prints and composers, 16101665.........................................................................................................69 Table 6: Roman alfabeto song anthologies and city of composers employment/activity...............................................................................71 Table 7: The chronology of alfabeto song prints issued 1610-1665.....................87 Table 8: Breakdown of publication data according to composer region and city of activity.......................................................................................................98 Table 9: Breakdown of alfabeto song reprints by printing center and decade of publication, 1610-1665............................................................................102 Table 10: Anthological alfabeto song reprints, 1610-1650.................................103 Table 11: Alfabeto song prints 1610-1616 and the incidence of their texts appearing concordantly in subsequent alfabeto song publications..........................111 Table 12: Neapolitan alfabeto song sources 1612-1618 and their texts with concordances in subsequent alfabeto songbooks.....................................................112-13 Table 13: Textual concordances between Falconieris Il primo libro di villanelle (Rome, 1616/18) and subsequent alfabeto song prints.......................................114 Table 14: Textual concordances among Falconieris Musiche...libro sexto (Venice, 1619) and subsequent alfabeto song prints.......................................................115

ix

Table 15: Concordant texts among the contents of Millionis Prima scielta di villanelle ((Rome, 1627), alfabeto song books published 1610-1660, and early musical sources.........................................................................117 Table 16: Textual concordances among Stefanis alfabeto song anthologies and the wider printed repertory of alfabeto songbooks published prior to Stefanis first edition....................................................................................131-32 Table 17: Textual concordances located in Stefanis anthologies and and subsequent alfabeto song sources.........................................................................138

List of Figures
Figure 1: Kapsberger, Libro primo di villanelle (Rome, 1610), Hor chamorosi accenti ......................................................................................................................7 Figure 2: Romano, Prima raccolta di bellisssime canzonette (Vicenza, 1618), Alfabeto chart and setting of Ardo l mio vivo ardore"............................9 Figure 3: Kapsberger, Figlio dormi, dormi figlio, Libro secondo di villanelle (Rome, 1619)..............................................................................................50 Figure 4: Romano, Filgio dormi, dormi figlio, Terza raccolta di bellissime canzoni alla romanesca (Venice, 1623)....................................................51 Figure 5: Pesori, Si guardi, chi pu, Lo scrigno armonico (1640?8?)................54 Figure 6: Fasolo, Il carro di Madama Lucia, Sotto un ombroso faggio Squazzato di Colasone...................................................................................................61 Figure 7: Total Italian secular vocal editions and alfabeto song editions published in Italy.............................................................................................................66 Figure 8: Kapsberger, Libro secondo di villanelle (Rome, 1619)..........................77 Figure 9: Romano, Prima raccolta di bellissime canzonette (Venice: Salvadori, (1618).........................................................................................................91 Figure 10: Printing and composer activity of alfabeto song publishing, 1610-1665, figured according to percentages of the entire printed output...................97 Figure 11: Page 1 of the Regsitro de discepoli piu riguardevoli, from Stefano Pesoris Galeria musicale (Verona, 1646)............................................................105 Figure 12: Dedication page of Montesardos I lieti giorni di Napoli (Naples, 1612)

.................................................................................................................153

xi

List of Musical Examples

Example 1: Montesardos alfabeto chart from the Nuove inventione dintavolatura (Florence, 1606).....................................................5 Example 2: Figlio dormi from Kapsbergers Libro secondo di villanelle (Rome, 1619)............................................................................................51 Example 3: Figlio dormi from Romanos Terza raccolte di bellissime canzoni alla romanesca (Venice, 1623).........................................................52 Example 4: Texts of Pesoris Si guardi, chi pu and Marinos Fuggite incauti Amanti with alfabeto symbols.................................................55 Example 5: Transcription of the alfabeto chart in Kapsberger, Libro secondo di villanelle (Rome: Robletti, 1619)...............................................78 Example 6: Transcription of the alfabeto chart in Montesardo, Nuove inventione dintavolatura (Florence: Marescotti, 1606)..............................78 Example 7: Alfabeto chart from Montesardo, Nuove inventione dintavolatura (Florence: Marescotti, 1606)......................................................90 Example 8: Transcription of Romano, Prima raccolta di bellissime canzonette (Venice: Salvadori, 1618)...........................................................91 Example 9: Transcription of alfabeto chart from Milanuzzi, Primo scherzo delle ariose vaghezze (Venice: Magni, 1622)....................................92 Example 10: Transcription of alfabeto chart from Ghizzolo, Frutti damore...libro quinto (Venice: A. Vincenti, 1623)...........................................93 Example 11a: "Scala di Musica per B. Quadro," Miniscalchi, Arie...Libro terzo (Venice: A. Vincenti, 1630)......................................................94

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Example 11b:

"Scala di Musica per B. Molle, " Miniscalchi, Arie...libro terzo (Venice: A. Vincenti, 1630)....................................................................94

Example 12:

Millioni, Tirinto mio tu mi feristi, Prima scielta di villanelle (Rome, 1627).......................................................................................119

Example 13:

Stefani, Tirinto mio tu mi feristi, Scherzi amorosi (Venice, 1622) ................................................................................................120

Example 14:

Stefani, Non pi con mestaccenti, Concerti amorosi (Venice, 1623), with text and alfabeto extracted..............................................121

Example 15:

Millioni, Non pi con mesti accenti, Prima scielta di villanelle (Rome, 1627)..........................................................121

Example 16:

Comparison of the opening strophes of Millionis and Stefanis setting of O Clorida........................................................................122

Example 17:

Stefani, O Clorida, gi che sadernano, Affetti amorosi (Venice, 1618) ...............................................................................................123

Example 18: Example 19:

Millioni and Stefani, O Clorida..........................................123 Falconieri, Occhieti amanti, Libro primo di villanella (Rome, 1616) ...............................................................................................125

Example 20: Example 21:

Millioni and Falconieri, Occhietti amanti...........................126 Millioni, Prendi deh prendi il volo, Prima scielta di villanelle (Rome, 1627) and Severi, Prendi, deh! Arie... libro primo (Rome, 1626) ................................................................................................127

Example 22:

Transcription of Severi, Prendi, deh!..................................128

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Example 23a:

Bass line and alfabeto of "Alma mia dove te'n vai" from Kapsberger, Libro terzo di villanelle (Rome, 1619)...................................133

Example 23b:

Bass line and alfabeto of "Alma mia dove te'n vai" from Stefani, Scherzi amorosi (Venice, 1620/22)........................................133

Example 24: Example 25:

Stefani, E viver e morire, Affetti amorosi (Venice, 1618)..134 Falconieri, E viver, e morire, Libro primo di villanelle (Rome, 1616) ...............................................................................................134

Example 26:

Stefani/Catalani, Voi mi dite chio non vami, Concerti amorosi (Venice, 1623)........................................................................136

Example 27:

Robletti/Catalani, Voi mi dico chio non vami, Raccolta (Rome, 1621).......................................................................................137

Example 28:

Stefani, Concerti amorosi (Venice, 1623) Quanto pi cruda sete ................................................................................................139

Example 29:

Crivellati, Cantate diverse (Rome, 1628) Quanto pi cruda sede ................................................................................................139

Example 30:

Stefani, Concerti amorosi (Venice, 1623), Ahi che morir mi sento ................................................................................................141

Example 31:

Milanuzzi/F. Monteverdi, Quarto scherzo delle ariose vaghezze (Venice, 1624), Ahi che morir mi sento...............................141

Example 32:

Ghizzolo, Frutti damore...libro quinto (Venice, 1623) Hor che lAlba lampeggia...............................................................................142

Example 33:

Milanuzzi, Quarto scherzo delle ariose vaghezze (Venice, 1624) Hor che lAlba lampeggia............................................................143

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INTRODUCTION Alfabeto was first advertised in Italy in the early seventeenth century as a simplified alternative to traditional guitar and lute intabulation. According to the basic principles of the system, letters of the alphabet correspond to particular groupings of finger positions on the fret board of a five-course Spanish guitar. When executed in a rasgueado or battuto (strummed) manner, the sounding result of each lettered grouping is a chord. Beginning in 1610, alfabeto tablature appeared in vocal music publications in formats remarkably similar to the twentieth-century mapping of chord progressions of jazz tunes and popular music songs in fake-book anthologies or in the multitude of fake book inspired web sites published on the Internet. Published all over Italy, alfabeto songs were among the most prolifically printed secular vocal music repertories of the early- to mid-seicento. To date, no comprehensive study of the repertory has been written, perhaps due to the assumption that alfabeto was an expendable addition to vocal publications, instead of a necessary and in fact defining component of a musical tradition dating back to the sixteenth century. A central aim of this project is to report the high profile of alfabeto songs among the printed musical repertories of the seicento, and to uncover the great number of textual and musical concordances that bind the repertory. An equally important focus is to convey a sense of the degree to which this tradition held meaning and significance for early seventeenth-century Italians. Beyond the musical, the repertory chronicles changing ideologies of the pastoral world and further serves to highlight cultural and social relationships among the north and central Italian regions, Rome, and the Spanish-ruled Mezzogiorno.

An overarching aim of this project is to suggest that the alfabeto song repertory reveals itself as an intersection of elite and non-elite traditions. Similar to the printed canzone villanesche alla napolitana repertory of the sixteenth century, the alfabeto song tradition appears to have been an interesting meeting point of learned and vernacular cultures during the first half of the seventeenth century.1 Although comprised of carnival street entertainments, lullabies, peasant ballads, and dialect songs, alfabeto songs were sponsored and cultivated by members of the same cultural and musical establishment that produced humanist music drama, solo and polyphonic madrigals, polychoral church music, and other sophisticated musical forms that advertised progressive, even revolutionary musical and intellectual agendas. As the musicologist Nigel Fortune once remarked about alfabeto songs: so popular were they that Monteverdi, the greatest musician in Venice, could hardly avoid writing a few, even if he rather despised them. 2 This comment encapsulates both an acknowledgment of the cultural presence of the repertory and the construction of a putative high art dismissal of the tradition. Such perceptions of the alfabeto song have had broader implications for the historiography of early modern Italian music, repercussions that this study aims to unpack. Musicologists before Fortune also grappled with the presence of alfabeto songs in contexts that seemed "inappropriate." Oscar Chilesotti, like Fortune after him, resolved this issue using notions of the popular in one of the earliest modern musicological accounts of alfabeto-accompanied vocal music. Commenting in 1909 on the presence of figured bass and alfabeto in Raffaello Rontanis six Varie musiche, Chilesotti concluded
1

On the cultural and social aspects of the canzone villanesche alla napolitana repertory, see Donna G. Cardamone, The canzone villanesca alla napolitana and Related Forms, vol. 1 (Ann Arbor, MI: UMI Research Press, 1981). 2 Nigel Fortune, Monteverdi and the Seconda Prattica in The New Monteverdi Companion , ed. Dennis Arnold and Nigel Fortune (London and Boston: Faber and Faber, 1985), 186.

that guitarists, based on their preference for either il gusto popolare (popular taste) or le regole scolastiche (scholastic rules), could improvise their accompaniments accordingly. Consequently, guitarists with popular taste could read from alfabeto, while those with learned taste could read from figured bass.3 Indeed, popular taste for the Spanish guitar was itself a theme in the seventeenth century, as seen in Vincenzo Giustinianis Discorso sopra la musica de suoi tempi of 1628: Tanto pi che nellistesso tempo sintrodusse la Chitarra alla spagnola per tutta Italia, massime in Napoli, che unita con la Tiorba, pare che abbiano congiurato di sbandire affatto il Liuto; et quasi riuscito a punto, come il modo di vestire alla spagnola in Italia prevale a tutte le altre foggie.4 Moreover, at the same time the Spanish guitar was introduced to Italy, mainly in Naples. Together with the Theorbo, it appears that they have conspired to disband the Lute completely, and they have nearly succeeded, as similarly the fashion of dressing in the Spanish manner prevails over all other styles in Italy.

From the perspectives of Chilesotti and Giustiniani, the popular is not a massinfluenced or mass-consumed practice, but rather an approach to musical taste that is seen as opposed to more normative elite practices (whether learned or otherwise). These notions of the popular are useful starting points for thinking about the alfabeto song repertory as embodying certain aspects of the popular in early modern Italy. This dissertation will be exploring such constructs as exemplifying particular early modern aesthetics and sensibilities. Early modern taste for alfabeto songs and the Spanish guitar went hand in hand with taste for musical traditions and practices associated with a facet of culture often construed as popular rather than elite; namely, the musically unsophisticated and unwritten. At the same time, these tastes were founded by and circulated within a highly
3
4

Oscar Chilesotti, Canzonette del Seicento con la chitarra, Rivista musicale italiana 16 (1909): 849. Vincenzo Giustiniani, Discorso sopra la musica de suoi tempi, transcribed in Angelo Solerti, Le origini del melodramma (Torino: Fratelli Bocca, 1903), 126.

literate and privileged elite. In fact, the earliest known Italian mention of Spanish guitaraccompanied song performance involved Ferrante Sanseverino, the Prince of Salerno, in 1544.5 It is also within the context of the intersection between written and unwritten musical traditions that alfabeto song first emerged in Italy (Naples, more specifically) in the late sixteenth century. This is shown in the appearance of three popular songs Non vegio al mondo cosa," Non per viver da lunge amor non marde e punge," and Mentre laquila sta mirando il sole in a manuscript at the Biblioteca Universitaria in Bologna that James Tyler has dated ca. 1585-1600.6 Before their appearance in this manuscript, the songs were mentioned early in the sixteenth century as sung in Naples by various by apprentices and artisans in Giambattista Del Tufos Ritratto o modello."7 The Bologna manuscript," as it has come to be known, is one of the earliest known documents to contain the guitar tablature known in Italy as alfabeto.8 This notational system, as it appears in the Bologna manuscript, is comprised of letters of the alphabet that are placed above the canto part notation in places where a harmonic shift is suggested. As Tyler has demonstrated with the Bologna manuscripts alfabeto setting of the canto part from Marenzios three-part villanella Dicemi la mia stella (published in 1584), the alfabeto

Benedetto Croce, Anedotti di varia letteratura, 2nd ed., vol. 1 (Bari: Laterza, 1953-4), 333-34. Cited in Keith A. Larson, The Unaccompanied Madrigal in Naples from 1536 to 1654 Ph.D. dissertation, Harvard University, 1985, 111. 6 James Tyler and Paul Sparks, The Guitar and its Music from the Renaissance to the Classical Era (New York: Oxford University Press, 2002), 39. 7 Giambattista Del Tufo, Ritratto o modello, Bilblioteca Nazionale di Napoli MS XIII.C.96, ed. in Calogero Tagliareni, Giovanni Battista Del Tufo, Ritratto (Naples, 1959). Cited and translated in Donna G. Cardamone, The canzone villanesca alla napolitana and Related Forms, vol. 1 (Ann Arbor, MI: UMI Research Press, 1981), 116-17. As Cardamone notes, the songs presented in the Ritratto, many of which are dialect spin-offs of lyrics found in earlier literary sources, reflect the mutual influence between oral and written lyric traditions in an urban setting. 8 More detailed information about the Bologna manuscript can be found in Tyler, The Guitar, 37-45 and John Walter Hill, Roman Monody, Cantata, and Opera from the Circles around Cardinal Montalto (New York: Oxford University Press, 1997), 70-4.

of the Bologna manuscript corresponds with the changing harmony indicated by the canto II and bass parts in Marenzios original setting.9 More is learned about alfabeto notation in Girolamo Montesardos Nuove inventione dintavolatura per sonare...la chitarra spagnola (Florence: Marescotti, 1606), the first known printed text on the alfabeto system in Italian. In this source, Montesardo calls his new inventions of intabulation alfabetto, which he defines as a series of alphabetical and typescript characters that correspond to groups of finger positions on the fret board of a five-course Spanish guitar. Strummed simultaneously, the various fingerposition groups sound chords, which number 27 in Montesardos chart on page three of the Nuove inventione: Example 1: Montesardos alfabeto chart from the Nuove inventione dintavolatura (1606), with a modern transcription of the corresponding sonorities sounded on a fivecourse Spanish guitar10

From the chart one can gather that Montesardos new alfabeto system is a simple way of expressing vertical sonorities without the need for music staff or the numbered
9

Tyler, 40-1. The resulting sonorities are based on the standard tuning of a five-course Spanish guitar in Italy ca. 1600. For details about this and other five-course tunings, see Tyler, Appendix II, 184-86.
10

tablature system for plucked string instruments. As he states in the title of the collection, Montesardo advertises that this new tablature is per sonare li baletti sopra la chitarra spagniola senza numeri, e note per mezzo della quale da se stesso ognuno senza maestro potr imparare (for playing dances on the Spanish guitar without numbers and notes, by means of which you will be able to learn yourself without a teacher). Unlike the alfabeto of the Bologna manuscript, Montesardos alfabeto, as indicated in the title, appears to be designed for guitarists not accompanying vocal music, but rather playing dances such as the ones included in the Nuove inventione, including the Villano di Spagna, Ruggiero, Bergamesca, and Ballo di Napoli. In contrast to the Bologna manuscript, Montesardo incorporates rhythmic notation with the alfabeto, which is indicated by lower and upper case letters (corresponding to the duration of the strum) and the position of the alfabeto above or below a horizontal line (corresponding to an upor down-stroke strum). As Tyler, Gary Boye, and others have shown, this rhythmic alfabeto system (illustrated by Montesardo here in its earliest and most basic form) is almost entirely exclusive to the guitar repertory of the subsequent decades of the seventeenth century, and thus belongs to a more specialized instrumental tradition than that of the repertory studied in this dissertation.11 Alfabeto appended to vocal music as presented in the Bologna manuscript, on the other hand, occurs in Girolamo Kapsbergers Libro primo di villanelle (Rome: Robletti, 1610), the earliest known collection of vocal music with alfabeto published in Italy. As is seen in Hor chamorosi accenti from Kapsbergers Libro primo (Figure 1), the alfabeto

11

As Tyler notes, the only vocal music publication with rhythmic alfabeto is Benedetto Sanseverinos Il libro primo dintavolatura (1622). Tyler, 52. For a detailed study of the development of rhythmic alfabeto in guitar instrumental prints, see: Gary R. Boye, Giovanni Battista Granata and the Development of Printed Music for the Guitar in Seventeenth-Century Italy, Ph.D. dissertation, Duke University, 1995.

is placed above the melody line in positions that correspond to harmonic shifts implied by the bass. With the knowledge of the alfabeto system as outlined in Montesardos chart of 1606, a musician would be able to render the harmony of Kapsbergers setting on the five-course Spanish guitar the same way a keyboardist or other chordal instrumentalist could realize the harmony from figured bass. Figure 1: Kapsberger, Libro primo di villanelle (Rome, 1610), Hor chamorosi accenti

An interesting feature of this early printed exemplar of alfabeto as vocal accompaniment is that Kapsbergers alfabeto supplements not only one, but two other accompaniment notation options: figured bass and chitarrone tablatureattesting to the multiplicity of

accompaniment options Kapsberger and his editorial partners envisioned for the songs within the collection. Furthermore, while alfabeto emerged as the predominant accompaniment notation in the later standardized tradition, I will argue below that Kapsbergers employment of the multi-option format may have resulted from a scrupulous desire to appeal to the musical practices fostered by circles within the Roman elite. In 1618, a collection of poetry edited by Remigio Romano was published in Vicenza that incorporated alfabeto above the lines of verses with no recourse to other musical notation (See Figure 2). This anthology, entitled Prima raccolta di bellissime canzonette, includes the first known examples of alfabeto songs published in Italy without reference to rhythmic or melodic notation. Together with the staffed prototype in Kapsbergers Libro primo, these two formats constitute the two templates that Italian music printers used when issuing vocal music with alfabeto throughout the early to mid seventeenth century.

Figure 2: Romano, Prima raccolta di bellisssime canzonette (Vicenza, 1618), Alfabeto chart and setting of Ardo l mio vivo ardore.

The visual difference between the two notational formats underlies another important distinction: collections like Romanos seem to indicate that the melodies and/or basses of the songs are familiar enough to exclude pitch and rhythmic notation, or that the users of this book were encouraged to embellish pre-existing tunes in circulation or even improvise new music on the given poetic meter and chord changes. In any case, this notational format vividly illustrates how written and unwritten traditions collide in the alfabeto song repertory. Further, the methods employed to reproduce such a format required very little in the way of specialized musical typesetting, and it is likely that these unstaffed collections were significantly less expensive to produce than that staffed

collections (Kapsbergers engraved collection would have been even more expensive). This may explain part of the greater diffusion of alfabeto prints to the less established houses in small regional centers that will be explored in Chapter 3. Scholars have located a total of 112 extant first edition alfabeto song prints issued from the Italian music presses from the time of Kapsbergers Libro primo of 1610 to one of the last published alfabeto song publications, the incomplete Di[ntavolatura] of Tomasso Marchetti ca. 1665. The number of known reprinted editions brings the total figure to 150. The list of prints upon which these data are based was derived by crossreferencing several bibliographies, assembled here for the first time; I present the list, which I posit as the most current inventory of printed vocal music with alfabeto, as Appendix 1 of this dissertation. I owe much of my knowledge of the existing bibliographies to James Tyler, who published his own inventory of printed vocal sources with alfabeto in 2002. Appendix 1 makes note of some of the additions and subtractions made to Tylers inventory, including corrections based on the 2005 rediscovery of the Miscellanea raccolta di musica at the library of the Conservatorio di musica C. Pollini in Padua.12 Considering that the repertory spans over 100 first editions containing more than 1,400 song settings, there are a number of crucial issues related to the topic of alfabeto song in print that have not been explored in this dissertation. The results of this project stem mainly from observations about publishing history, poetic issues, and textual and musical concordances, with an emphasis on the cultural relevance of these aspects. While the subject of alfabeto songs in manuscript surfaces in this dissertation from time to time,
12

See Francesco Passadore, Una miscellanea di edizioni musicali del primo Seicento, Fonti musicali italiane 10 (2005): 7-38. I thank Professor Passadore for sharing information about this collection and for providing me a copy of his article.

10

I have chosen to focus exclusively on the printed tradition. Authors such as Cesare Acutis, Dinko Fabris, John Walter Hill, Sylvia Castelli, Cosimo Passaro, and James Tyler have examined the tradition of alfabeto songs in manuscript, and their research has greatly informed this study.13 I have excluded such topics as performance context and the role of gender in the circulation of the repertory out of an unwillingness to treat such important subjects without the same kind of rigor applied to the topics at hand; likewise, analytical discussion of the songs is limited to the context of concordance. It is my hope that these subjects will be given their deserved attention in future scholarship. The topic of alfabeto song in print has been treated peripherally by a number of authors, all of whom have greatly influenced the direction of this project. Roark Miller has examined the importance of alfabeto songs in vocal publications of composers affiliated with San Marco and the parochial church of Santo Stefano in Venice, especially Carlo Milanuzzi, Giovanni Pietro Berti, and Guglielmo Miniscalchi.14 Miller, along with Silke Leopold, has additionally spoken about the alfabeto song poetry anthologies of Remigio Romano and their association with subsequent compositions published in the Venetian orbit.15 Most recently, John Walter Hill has examined the role of alfabeto

13

Cesare Acutis, Cancioneros musicali spagnoli in Italia, 1535-1635 (Pisa: Universit di Pisa, 1971); Sylvia Castelli, Una chitarra per Scapino in Rime e suoni per corde spagnole: Fonti per la chitarra barrocca a Firenze, ed. Giovanna Lazzi (Florence: Edizioni polistampa, 2002), 31-7; Dinko Fabris, Andrea Falconieri Napoletano. Un liutista-compositore del seicento (Rome: Edizioni Torre d'Orfeo, 1987). Fabris discusses Falconieri's alfabeto songs both in manuscript and print, as well as their concordance in other musical sources. Along with Hill's Roman Monody, Fabris's chapter "La musica vocale di Falconieri" (7589) provided the impetus for my research into alfabeto song concordances as they appear in the printed tradition. Cosimo Passaro, Manoscritto per chitarra spagnola 2951 della Biblioteca Riccardiana di Firenze, Il Fronimo 20 (1992): 35-43; Tyler, The Guitar, 37-59; Hill, Roman Monody, 70-8 and 140-172. 14 Roark Miller, The Composers of San Marco and Santo Stefano and the Development of Venetian Monody (to 1630), Ph.D. dissertation, The University of Michigan, 1993. See especially Chs. IV (152254) and VII (323-35). 15 Miller, New Information on the Chronology of Venetian Monody: the Raccolte of Remigio Romano, Music and Letters 77 (1996): 22-33; and Silke Leopold, Remigio Romano's Collection of Lyrics for Music, trans. Karen Williams, Proceedings of the Royal Musical Association 110 (1983): 45-61.

11

manuscripts associated with the court of Cardinal Montalto in Rome, and the subsequent appearances of their contents in the printed alfabeto song anthologies of Giovanni Stefani and Giuseppe Giamberti.16 The following study is based on the existing sources of printed alfabeto songs listed in the inventory of Appendix 1. Chapter one is an exploration of what might seem to be the more peripheral aspects of alfabeto song publications: titles, dedications, encomia, and other textual references to the repertory. Despite the boilerplate aspect of much of this material, I will argue that the types of metaphors and strategies evoked in this paratextual language show evidence of composers and publishers desires to present their alfabeto songs with particular rhetorical landscapes in mind. Chapter two offers an introduction to the language of alfabeto song texts, with special emphasis on the pastoral tone that characterizes a large percentage of the repertory. Chapter three presents a chronology of the published repertory, including analyses of regional publication and a comparative study of the published tradition within the larger context of Italian music publishing in the seicento. Chapter four explores some representative musical and textual concordances within the repertory. The final two chapters offer concluding and interpretive thoughts about the observations presented in previous sections, with chapter five focusing on the origins and prominence of the tradition in the Kingdom of Naples and Rome, and the final chapter recounting how the practice of notating vocal music with alfabeto has played out in musicological historiography since the early twentieth century. Nearly a century ago, Chilesotti invoked the popular nature of alfabeto song prints as a talisman of their artistic ability, and this, within a larger context of Italians

16

Hill, Roman Monody, 70-8, 140-169, and Appendix B (357-413).

12

recapturing their distant musical past.17 Fifty years later, Fortune employed the popular in pigeonholing the repertory under the shadows of the more sophisticated and notationally-complex (and thus for Fortune artistically superior) basso-continuo monody tradition. While both associations appear somewhat simplisticand certainly were designed in the service of broader intellectual or aesthetic agendastheir approaches to making sense of the repertory illustrate the polarizing and sometimes ambivalent attitudes about alfabeto songs (and to an extent popular music in general) that reveal themselves in reflections about music in early modern Italy. At the same time, these scholars' focus on the popular resonates with the contexts surrounding the alfabeto songs first flourishing and consequent proliferation in print. It is the purpose of this dissertation to offer a nuanced assessment of the intersections between early modern Italian notions of the popular (largely as articulated by the highly literate elite) and the widely disseminated and sonically/poetically-influential phenomenon of alfabeto song. With this premise in mind, it is hoped that this project can start where Chilesottis left off in 1909, and that his claims for the repertorys musical and cultural viability be revisited with a focus and attention that is overdue.

17

On the role of Italian seventeenth-century music in Italian nationalistic rhetoric of the early twentieth century, especially in the Rivista musicale italiana, see Andrew Dell'Antonio, "Il Divino Claudio: Monteverdi and Lyric Nostalgia in Fascist Italy" Cambridge Opera Journal 8 (1996): 271-84.

13

Chapter 1: The Language of Alfabeto Song Print Dedications, Letters, and Titles Oggi non se ne compongono tante perch si usa poco di cantare madrigali, n ci occasione in cui si abbiano da cantare, amando pi le genti di sentir cantare a mente con gli strumenti in mano con franchezza, che di vedere quattro o cinque compagni che cantino ad un tavolino col libro in mani, che ha troppo del scolaresco e dello studio.18 Vi sono ancora gli Sonatore di Chitarra alla Spagnola, alliquali si ben li tocca listesso grado, nondimeno per essere state usata de gente basse, e di poco valore non dico da Boffoni, liquali se ne hanno servito ne i conviti.19 Today not many madrigals are composed because few are sung; neither are there occasions in which they have to be sung; people are fonder of hearing [music] sung by heart with an instrument in hand and with sincerity rather than watching four or five friends singing at a little table with a book in their hands, which has more of the schoolboy and study [about it.] There are also players of the Spanish guitar, who belong to the same status [as the players of the double harp and lute]; notwithstanding that [the guitar] was used by people of low status and those of little worth, not to mention Buffoons who have made use of it at banquets.

These statements by Pietro della Valle and Scipione Cerreto introduce us to the problematic and sometimes ambiguous status of the Spanish guitar during the early decades of the seventeenth century. As a member of the strumenti di corde family, the instrument was simultaneously associated with the noble lute and arpa doppia, and considered the instruments of peasants, blind beggars, and clowns. Yet, as della Valle and the alfabeto song repertory illustrate, the instrument could also function as a fashionable instrumental prop in vocal music performances. Similarly, the visibility of the Spanish guitar and alfabeto song among the influx of monody prints issued after 1600 is problematic for some recent scholars. Tim Carter has suggested that as a phenomenon created under the banner of new music aesthetics, vocal music with alfabeto fails to meet the high standards of the new music tradition.
18
19

Solerti, 171. Scipione Cerreto, Dell'arbore musicale (Naples: Sotille, 1608), 37. Published in facsimile in Francesco Luisi, ed., Dell'arbore musicale: facsimile dell'esemplare appartenuto a Padre Martini (Bologna: Libreria musicale italiana editrice, 1989).

14

Alfabeto songs, printed with great regularity after 1610, are for Carter adumbrations of the new music rather than true manifestations of the practice: The striking persistence of the new music in print cannot be explained simply by those collections (numerous at least from the 1610s) clearly catering to singers of modest achievement, with simple tunes and pleasant ditties sung to the strummed chords of the Spanish guitar.20 Here again, the alfabeto song appears in a dialectical relationship between musical sophistication and banality. Although alfabeto songs proliferate under new music guises (new music representatives such as DIndia, Kapsberger, and Francesca Caccini composed alfabeto songs, often printed side-by-side with their new music compositions), they cannot be considered true new music projects because they lack the same degree of musical erudition. The Spanish guitar and alfabeto song are complicated symbols in seicento music. Not only do they escape modern historiographical categories, they also confused musical authorities of their own time. To better understand this complex repertory, it will be helpful to explore the repertorys meaning and significance in seventeenth century Italy. This chapter attempts to extract some of the repertory's contemporaneous significance through examining the language of dedications, encomia, letters, and miscellaneous notes to the reader that often introduced the editions. While the encomiastic writing of these "paratextual" items reflects a written practice that became standardized in musical publications around the middle of the previous century, they often contain clues about a variety of matters concerning publishing, performance, taste, and audiences.

20

Carter, "Printing the 'New Music'," in Music and the Cultures of Print, ed. Kate van Orden (New York and London: Garland, 2000), 6.

15

Themes and Metaphors in Paratextual Material Antiquity As Jane Bernstein has noted, antiquity and nature were common themes in the dedication letter writing of Italian music prints of the mid-sixteenth century.21 In the paratextual language of alfabeto song publications, the authoritative symbol of antiquity was appropriated in ways that served to legitimize the repertory within the larger sphere of musical publications. This is observed in the frequent allusion to the chitarra as the seicento heir to the ancient kithara (cetera or cetra in Italian). In the dedication to Priamo da Lezze in his alfabeto songbook Gratie et affetti amorosi 1627, Marc'Antonio Aldigatti boasts of the noble and ancient practice of making music with the cetera, citing Achilles and Apollo among early practitioners: Imper che Achille dopp le consulte con maggior Duci della Greci per espugnar la famosa Troia non si sdegnava di prender in mano la sonora Cetera: & Apollo istesso dallAntichit reputato lo Dio della sapientia bene spesso con archo soave soleva per diletto feriri le corde ammirabili del suo musico legno.22 Achilles, after deliberations with the great leaders of Greece about conquering the famous Troy, did not disdain from taking in his hands the sonorous Cetera. Apollo himself, who the ancients reputed as the God of wisdom, often raised with delight a sweet bow and struck the admirable strings of his musical instrument.

While Apollo's instrument is not named, the etymological similarities between Achilles's cetera and the modern chitarra are clearly at play in Aldigatti's citation of ancient practice. The linguistic and organological associations of the chitarra with the kithara in Italy go back at least to Tinctoris, who in the late fifteenth century described a four-string fretted instrument called a cetole as a derivate of the Greek lyre.23 In fact, the classical

21

Jane A. Bernstein, Print Culture and Music in Sixteenth-Century Venice (New York: Oxford University Press, 2001), 147. 22 Marc'Antonio Aldigatti, Gratie et affetti amorosi (Venice: Magni, 1627). 23 James Tyler, Cittern, Grove Music Online, ed. Laura Macy (accessed 28 October 2006) <http://www.grovemusic.com.content.lib.utexas.edu:2048>

16

resonance of the name "chitarra" might explain the favored nomenclature for instruments known in Italy during the seventeenth century as "chitarre." As Tyler has noted, the "chitarra", both in Italy and Spain during the sixteenth and early seventeenth century, was also known alternatively as the "viola" in Italian and the "vihuela" in Spanish.24 Aldigatti's language, in any case, illustrates how the instrument was used in the early seventeenth century to conjure ancient heritage and legitimacy. Stefano Pesori created a similar legitimizing atmosphere in his introduction to the Galeria musicale, his second of two known alfabeto songbooks, published in 1648. In addition to namedropping the likes of Pythagoras, Pesori also noted the edifying affects of cetra playing in the lives of the notable Roman figures Titus, Hadrian, and Nero: Eccoti Giovent virtuosa una Galeria Musicale, debole s, m honorato disegno della mia professione; desideroso di trattenerti alquanto, e ricercarti dallo studio migliore daltre pi necessarie, e pi giovevoli discipline. Tarreco con alcune toccate di Chitarriglia larmonia allorecchio; non per lusingarti alluso delle Sirene, m per invaghirti s lopinione di Pitagora de i Cieli; giudicio di Esso principalmente mirabili, perche armonici. Presso grandhuomeni non affeminata, disprezzabile la Musica. Tito Imperatore (scrive Suetonio) la prattico. Adriano pi volte deposto colle cure lo Scettro, si tratenne delicie con una Cetra. Lo stesso Nerone, benche spietato applaudendo musicalmente allincendiose ruuine di Roma.25 Here is, oh virtuous youth, a musical gallery--a lowly yet honorable sketch of my profession, since I am desirous of entertaining you for a while, and to keep you from the better of the other more necessary and beneficial disciplines. I bring to bear, with various toccate for the Chitarriglia, harmony for the ear; not for enticement as used by the Sirens, but to make you fond of the heavens, which according to the opinion of Pythagoras, are most wondrous because of their harmonies. Music for great men is not effeminate or despicable. Emperor Titus (writes Suetonius) practiced it; Hadrian many times left his cares and his sceptre to entertain delights with a kithara. Nero, despite his ruthlessness, did the same with musical applause at the fiery ruins of Rome.

24

James Tyler, Guitar, Grove Music Online, ed. Laura Macy (accessed 28 October 2006) <http://www.grovemusic.com.content.lib.utexas.edu:2048> 25 Stefano Pesori, Galeria musicale, (Verona: Giovanni Battista & Fratelli Merli, 1648), 41.

17

In this passage, Pesori's moralizing tone is framed within an apologia on the chitarriglia. He is moved to point out that although the sound of the instrument has the potential (reputation?) for tempting the spirit, the cetrain the hands of Titus, Hadrian, and Nerowas capable of soothing even the most celebrated and notorious souls of the Roman Empire. Moreover, Pesori traces the noble heritage of the chitarriglia back to the days of the ancient Romans, forging a historiography that serves to legitimize not only the Galeria, but Pesori's own professional status. In the introduction to his other alfabeto song book, Lo scrigno armonico, Pesori goes a step further in establishing the ancient connotations of the chitarriglia, noting that according to Marco Scacchi, the chitarriglia surfaced in antiquity even before the kithara, and simultaneously with the harp: Mi resta per ultimo di far particolari queste lodi alla Chitarriglia. Il Volgo tiene esser venuta dalle Spagne l'inventione di questo suono, forsi perche essendo le sue correnti veramente d'oro nel valore, non possano derivare se non d'onde i fiumi corrono s le rene dorate, come f il Tago; chi h prattica nei racconti dell'armonia scritti tanto eruditamente allo Scachi, trover che la Chitarriglia assai pi antica delle Cetre, e gemella dell'Arpe.26 At last, there remains for me to make these particular praises to the Chitarriglia: The masses believe that the invention of this sound came from Spain perhaps because its currents of sound are worth as much as gold, and thus cannot flow except from where the rivers run on golden banks, as does the Tagus. He who has experience in the accounts of harmony written in such an erudite manner by [Marco] Scacchi will find that the Chitarriglia is even more ancient than the Cetre, and is the twin of the harp.

While few alfabeto song composers go to such lengths in creating a historical vision of the chitarriglia and chitarra, Pesori's statements demonstrate the desire to situate the instrument against the backdrop of ancient practice, thus validating its cultivation for his readers.

26

Stefano Pesori, Lo scrigno armonico ([n.p.], 1640/48[?]).

18

The Souvenir/Vanity Press As Lorenzo Bianconi has noted, seventeenth century printed music editions often served as admired "souvenirs" with little basis for future performances.27 Margaret Murata believes the functioning of this type of musical publication to be indicative of a larger conceptualization of musical documents in early modern Europe: In the seventeenth century...the score is not yet identical to the notion of "music." In manuscript, the score is still very much part of an artisan's kit. It can be a short-hand for obtaining a performance, or it can be an exemplum of a class of performance possibilities. The score is either a disposable part of the musical culture, or it is a sign of it. (Scores of modern pop music might be an equivalent.) In print, the score is quite often a counter or token in patron-artist relations as it is a functional tool for making music. Scores in the seventeenth century are by no means coextensive with the repertory, actual or potential. They are the tip of another iceberg.28 While alfabeto songs, too, address patrons and dedicatees in ways that reflect the "souvenir" press of the early seventeenth century, there are examples in the repertory where dedications employ language that goes beyond simply recognizing the munificence of a patron or dedicatee. Nicol Fontei's opening statements in the dedication to Giorgio Nani of his Bizzarrie poetiche of 1636, for example, suggest that the composer envisioned for his music an audience outside Nani's circle:

27

While his discussion is limited to printed editions of Lully's tragdies lyriques and early Italian court operas, Bianconi's observations could arguably be applied to other "noble" printed editions such as Monteverdi's fifth book of madrigals. See Lorenzo Bianconi, Music in the Seventeenth Century, trans. David Bryant (New York: Cambridge University Press, 1987), 74-75. 28 Margaret Murata, "Scylla and Charybdis, or Steering between Form and Social Context in the Seventeenth Century" in Exploration in Music, the Arts, and Ideas: Essays in Honor of Leonard B. Meyer, ed. Eugene Narmour and Ruth A. Solie (Stuyvesant, NY: Pendragon, 1988), 75.

19

Questi armoniosi concenti, detti Bizzarrie Poetiche, animati in gran parte dalla penna gentile del Sig. Giulio Strozzi per uso della di lui virtuosissima Cantaratrice, devono quasi merci d'honore sovra il picciol legno della mia sorgente fama pericolosamente incaminarsi per l'ampio Mare delle publiche stampe al dubbio porto dell'eternit. 29

These harmonious concenti, called Bizzarrie Poetiche, were enlivened in great part by the kind pen of Signore Giulio Strozzi for usage by his most virtuous singer; they will, as treasured goods aboard the small ship of my inspired fame, dangerously make their way across the vast sea of public prints toward the doubtful port of eternity.

The motives for publication in Fontei's case stand in striking contrast to those who envisioned their publications for the souvenir press. He informs his readership that the music printed within the publication is intended for performance (per uso) and equates the printing of the book (with an apt Venetian metaphor) to a ship transporting precious cargo toward the "doubtful port of eternity." Fontei sees music publishing as a commercial venture (music prints = merci = merchandise, wares, goods, etc.), and he is aware of the competitive nature of the Venetian music book trade while acknowledging the existence of his book within the larger market of public printed material. To what extent did Fontei and others like him consider the entrepreneurial potential of publishing alfabeto songs? Nigel Fortune proposed the assumption that composers and publishers added alfabeto to increase the market value of their publications.30 Evidence surrounding the commercial practices associated with alfabeto song printing may exist in sources that appear to obscure the patronage of an edition. Alessandro Vincenti and Giovanni Battista Robletti, for example, both printed alfabeto song books in which no dedicatee or patron is mentioned. The fact that we are left to speculate to what extent these editions were patronized or politically/financially
29 30

Nicol Fontei, Delle bizzarrie poetiche...libro secondo (Venice: Magni, 1636), 3. Fortune, "Italian Secular Song from 1600 to 1635: The Origins and Development of Accompanied Monody," Ph.D. diss., Cambridge University, 1953, 146-7.

20

supported is important for considering the contexts and environments in which alfabeto song prints were created and subsequently disseminated. Failure to recognize patronage or dedication appears to stand in opposition to both the notion of souvenir or "vanity" prints as well as the standard practice of addressing or identifying patrons/dedicatees in Italian music prints after 1540.31 In total, there are fifteen alfabeto song sources printed without a dedication or mention of a patron (Table 1): Table 1: Alfabeto songbooks printed without mention of a dedicatee or patron Year 1616 1618 1627 1628 1628 1632 1634 1635 1640 1641 1650 1652 1660 1661 ca. 1665 Composer (Editor), Title D'Aragona, Paolo. Soavi ardori. Various (ed. Stefani). Affetti amorosi Fasolo, Giovanni Battista. Barchetta passaggiera Fasolo, Giovanni Battista. Il carro di Madama Lucia Fedele, Giacinta. Scielta di villanelle Kapsberger, Giovanni Girolamo. Li fiori libro sesto Various, (ed. A. Vincenti). Arie de diversi Abatessa, Giovanni Battista. Cespuglio di varii fiori Kapsberger, Giovanni Girolamo (ed. Franceschi). Libro settimo di villanelle Ziani, Pietro Andrea. Il primo libro di canzonette Sabbatini, Pietro Paolo. Prima scielta di villanelle a una voce Sabbatini, Pietro Paolo. Prima scielta di villanelle a due voci Marchetti, Tomasso. Il primo libro d'intavolatura Millioni, Pietro. Nuova corona d'intavolatura Marchetti, Tomasso. D'i[ntavolatura . . .?]

This information becomes even more exceptional when one considers that two of the alfabeto song books listed above are Roblettis only known secular vocal editions that leave unmentioned a dedicatee or patron.32 Even in the case of Roblettis most

31

Bernstein notes that dedications in Italian music prints began to flourish around 1538-40, Print Culture and Music, 145. Appendix B of Bernstein's Print Culture and Music illustrates that the overwhelming majority of Italian music prints published 1536-1572 acknowledge a dedicatee and/or patron. Mary S. Lewis dubbed Antonio Gardano's printing business a "vanity press," acknowledging the fundamental role of external patronage in the production of single-composer editions (103-08). See Lewis, Antonio Gardano, Venetian Music Printer, 1538-1569, 3 vols. (New York: Garland, 1988-2005), I: 108-9. Lewis also holds that the relatively few sixteenth-century music editions lacking a dedication or preface were presumably issued as "commercial ventures." Lewis, 109. 32 These prints are Giovanni Battista Fasolo's Barchetta passaggiera (1627) and Il Carro di Madama Lucia (1628).

21

preferred (and thus "in demand"?) composers such as Anerio and Cifra, not one of these composers secular vocal music editions omits mention of a patron or dedicatee.33 With no explicit evidence of financial backing, patronage, or sponsorship, we are left to wonder if Robletti or the composers and printers represented above arranged the production of their alfabeto songbooks.

Il Teatro del mondo and astronomical phenomenon Other themes that surface in alfabeto song publications, such as il teatro del mondo, situate the encomiastic writing of the dedications and letters within the standard practices of the sixteenth century.34 Carlo Milanuzzi, for example, grandiloquently employs the metaphor of his compositions being transported onto the world's stage under performers' wings in a letter to "most courteous singers" his Primo scherzo delle ariose vaghezze of 1622: A Cortesissimi Cantori: Questo mio Primo Scherzo dAriose Vaghezze se nesce al publico (gentilissimi Musici) assicurato sulAli della vostra Amorosa accoglienza, sotto la cui bona fortuna volandosene per il gran Teatro del Mondo, spera felicissimo larrivo s le vostre virtuose mani. 35 To most courteous singers: This my first of cherished arias goes out to the public (most kind musicians). Assured in the wings of your loving acceptance, under whose good fortune it will go flying into the theater of the world, happily hoping for its arrival in your virtuous hands.

33

According to the publication information listed in Cited in Emil Vogel, Alfred Einstein, Franois Lesure, and Claudio Sartori, Bibliografia della musica italiana vocale profana pubblicata dal 1500 al 1700, (Pomezia and Geneva: Staderini-Minkoff, 1977) [hereafter " NV"]. Fortunately this bibliography records mention of dedicatees, patrons, editors, and printers of Italian secular vocal publications. 34 For an overview of sixteenth-century dedication and letter writing in Italian music prints, see Bernstein, 105-07. 35 Carlo Milanuzzi, Primo scherzo delle ariose vaghezze (Venice: A. Vincenti, 1622).

22

Likewise, Cherubino Busatti, writing in the dedication to Priamo da Lezze of his 1638 Arie a voce sola, singles out the role of print in the dissemination of his works into the "teatro del mondo": Qesti parti primitie del mio, qualsi sia, ingegno, mentre ardisco porta gli per mezzo della Stampa all luce del Mondo, non doveano uscire fare di se stessi in cosi ampio Teatro, pomposa mostra. 36 These early works of my ordinary invention, while I venture to bring them through the means of a Print to the light of the world, should not have gone out in this sizeable theatre in a display of pomposity.

The rhetorical strategy of invoking a teatro del mondo also surfaced in sixteenth and seventeenth century book titles. Publications such as Abraham Ortelius's Teatrum mundi of 1606, a geographical map of the world, Christopher Helvicus's Teatrum historicum et chronologicum of 1609, an early printed attempt at a universal timeline, and closer to our subject, Michael Praetorius's Theatrum instrumentorum seu sciagraphia of 1620, a pictorial encyclopedia of musical instruments, provide a sampling of early modern titles with allusions to this styling of the metaphor.37 By 1600, the "theatrum mundi" had become a literary clich, and alfabeto song composers/editors/publishers appear to be capitalizing on the literary currency of the phrase in stylizing the language of their dedications.38 Another metaphorical trope employed by authors of alfabeto song print dedications and letters is the evocation of astronomical phenomena. Metaphors of this type, like "il teatro del mondo", are not foreign to dedications and letters outside the repertory or the seventeenth century. An early example of a dedication employing this

36 37

Cherubino Busatti, Arie a voce sola (Venice: A. Vincenti, 1638). For more on this type of fashioning of the metaphor in early modern Europe, see Ann Blair, The Theater of Nature: Jean Bodin and Renaissance Science (Princeton, NJ: Princeton University Press, 1997), 153179. 38 On the ubiquity of the phrase at the beginning of the seventeenth century, see ibid., 153.

23

type of metaphor in sixteenth century Italy is from Hippolito Chamater's dedication to Cesare Gonzaga in his Quarto libro delli madrigali a quinque voci published in 1569: Suole valorissimo Signore, la virt di quelli c'ha la benigna fortuna inalzati piu sublimi gradi, tanto piu gli huomini destare ad imitarla, quanto quella si vede in maggior altezza collocata: Il che se agevole f giamai per l'essempio di alcuno di vedere, non sia che piu di leggiero si speri di poter hora conseguire, che da Vostra Signoria Illustrissima & Eccellentissima, la quale, per havere con si perfetta armonia, congiunta con la felice sua fortuna, tutti i beni dell'animo, ha in se potere d'invitar ciascuno riverirla, & ammirarla, fra i quali anchor che chiara mi fusse la bassezza del mio stato, nondimeno si come la virt del Sole, non Diamanti & Rubini risplende solamente, ma etiandio pietre piu basse & humili, Cosi h hauto insieme potere d'infiammarmi qualunque mi sia, l'ardentissimo raggio, del natio suo valore. 39 Your most valorous Signore: the virt of whom has, by kind fortune, lifted these [works] to greater sublime levels, and which arouses humans to imitate it, such that one sees placed in oneself greater stature. If that [virt] is never easy to see through the example of someone, it is because one cannot hope to obtain it with great ease; that of Your Most Illustrious and Excellent Highness, who, since having with such perfect harmony joined your happy fortune with the goods of the soul, has the power to invite everyone to revere you and admire you, I among those, though the baseness of my being is clear to me; nevertheless, just as the virt of the sun does not merely illuminate Diamonds and Rubies, but also more lowly and humble stones, thus, the most ardent ray of your noble birth has likewise had the power to inflame me, common though I am.

A number of Chamater's metaphorical references to the sun and luminescence reappear in the dedication language of seventeenth century alfabeto song prints. First is the comparison of the patron's qualities and virt to those of the Sun (capital 'S'). Here Gonzaga is portrayed as illuminating Chamater's humility and deep reverence for his benefactor, while at the same time, like the sun, emitting rays of valor and virtue that "inflame" the same spirit in the composer. Another element present in this passage that one encounters in later alfabeto song dedications is the decorative and poetic employment of parts of speech and turns of phrase that connote luminescence, radiance, and other sun-

39

Hippolito Chamater, Quarto libro delli madrigali a quinque voci (Venice: Scotto, 1569).

24

related phenomena (e.g. "chiara," "risplende," infiammarmi," "ardentissimo," "raggio," etc.). In seventeenth-century alfabeto song prints, similar metaphorical procedures occur with some regularity, as demonstrated in the following examples: quale humilissimamente supplico mirare questo mio, non dir parto, ma pi tosto aborto con locchio della sua singolarissima humanit, potendo guisa di Sole illuminare co suoi fecondissimi raggi le oscurissime tenebre del mio povero intelletto. 40 Spero bene che il Mondo sia per lodarmi d'ingegnoso, havendo io saputo nel nome di V.E. ritrovar il Sole, che far luminosa ogni Aria ristretta in queste carte. 41 I most humbly beseech you to view myI wont say creation (a miscarriage, more accurately)through the eye of your most singular humanity; since you can, like the sun, illuminate the most obscure darkness of my poor intellect with your most fertile rays. I well hope that the world will praise me as ingenious, since I was able to find the likeness of the sun in the name of Your Excellency, which will make luminous each aria crammed in these pages.

Guglielmo Miniscalchi, in his dedication to Carlo Rossi of the Arielibro terzo of 1630, refines the astronomical scope of his metaphorical language to include references to the movement of the heavens. Also noteworthy is the persistent theme of light and color imagery that runs through the language, a fitting poetic strategy to honor the name of Miniscalchis patron:

40 41

Biagio Marini, Scherzi, e canzonette (Parma: Anteo Viotti,1622). Stefano Landi, Arie a una voce (Venice: Gardano, 1620).

25

O come nasce felice sorte questo mio infelice Parto, Illustrissimo Signor, se hora nel seno di V.S. Illustrissima felicemente raccolto pu acquistar tanto di lume, che alla chiara luce della sua protettione sgombri da s ogni ombra di contraria sorte. Egli composto d'aria spirito vitale de gli elementi: e non contento di formar in se stesso l'armonia humana, e strumentale, aspira all celeste ancora, voglioso di velar la vera cagione del suo rossore col riflesso de i rosseggianti raggi di cortesto chiarissimo nome; che guisa di Sole con armonica proportione si raggira fr gli altri Cieli, a pr de Corpi elementari, emisti. 42

O how my poor work was born for such a happy fate, Most Illustrious Signor, if it is now happily gathered in the breast of Your Most Illustrious Highness, acquiring such luminosity that it is cleared of each shade of contrary sorts by the bright light of your protection. [My work] was composed from the air of the vital spirit of the elements, and shapes itself through human and instrumental harmony; but not content with this it aspires beyond to the heavenly harmony, desirous to hide the true cause of its blushing with the reflection of the reddening rays of this most luminous name, which, in the manner of the Sun, revolves around bodies with harmonic proportion, for the benefit of the lesser elementary bodies.

In maintaining and expanding on the rhetorical strategies of "il teatro del mondo" and astronomical phenomena, authors of alfabeto song paratextual material demonstrate what kinds of themes and language proved to be effective in communicating with audiences (whomever they might be).

Titling Strategies The titling strategies of alfabeto song composers and editors/publishers also reveal hints about the cultural significance and meaning of the repertory. It has long been noted that the Chiabreresque canzonetta and Marinist imagery serve as the poetic models and dominant literary influences of the alfabeto song repertory. As Robert Holzer observes, the cultivation of canzonetta verse attests to the fashion-consciousness of
42

Guglielmo Miniscalchi, Arie...libro terzo (Venice: A. Vincenti, 1630).

26

composers and editors who issued alfabeto song books and other vocal prints that incorporated such language.43 The appeal to literary fashion went beyond text setting in the alfabeto song repertory, as seen in the many titles that incorporate stylish literary imagery, such as Soavi ardori (= sweet labors), Le stravaganze d'amore (= the eccentricities of love), and Bizzarrie poetiche (= poetic bizzare things). As Giulio Ongaro has shown, the practice of advertising printed editions with attractive poetic titles originated with Venetian printers of musical anthologies in the 1560s (especially Girolamo Scotto), whose purpose was to "pique the curiosity of the public" presumably for commercial benefit.44 In the tradition of late-sixteenth century Venetian musical anthologies, many (though not all) alfabeto song prints eschew standard mention of the musical genre in the title (e.g. "Salmi e motteti" and "Canzone napolitane") in favor of appending titles with a more fanciful and modern flavor (Table 2).

43

Robert R. Holzer, "'Sono d'altro garbo...le canzonette che si cantano oggi,': Pietro della Valle on Music and Modernity in the Seventeenth Century," Studi Musicali 21 (1992): 268-272. 44 Giulio Ongaro, Venetian Printed Anthologies of Music in the 1560s and the Role of the Editor," in The Dissemination of Music: Studies in the History of Music Publishing, ed. Hans Lenneberg (Lausanne: Gordon and Breach, 1994), 45.

27

Table 2: Alfabeto songbooks with attractive and fanciful titles Year 1612 1613 1613 1616 1616 1616 1616 1616 1618 1618 1620 1622 1627 1628 1635 1638 1640/48 Composer (Editor), Title Montesardo, Girolamo. I lieti giorni di Napoli Giaccio, Orazio. Armoniose voci Various. Orfeo Salzilli, Crescenzio. La sirena libro secondo Salzilli, Crescenzio. Amarille libro terzo D'Aragona, Paolo. Amorose querele D'Aragona, Paolo. Soavi ardori Corradi, Flaminio. Le stravaganze d'amore Giaccio, Orazio. Laberinto amoroso Various (ed. Stefani). Affetti amorosi Olivieri, Giuseppe. La pastorella Armilla Guazzi, Eleuterio. Spiritosi affetti Fasolo, Giovanni Battista. Barchetta passaggiera Fasolo, Giovanni Battista. Il carro di Madama Lucia Fontei, Nicol. Bizzarrie poetiche Gabrielli, Francesco. Infermit, testamento e morte Pesori, Stefano. Lo scrigno armonico

The Bizzarrie poetiche of Nicolo Fontei, published by Alessandro Vincenti in 1635 is one of the more striking examples of an alfabeto song print advertising its stylishness and modernity through its title. As Robert Holzer has noted, "bizzarro" was understood to signify musico-poetical objects of a fashionable modern sensibility to early modern Italians, primarily those akin to Marinism and Chiabrera's canzonette.45 Holzer provides numerous reports of the popularity of things "bizzarro" among Italian readers, including the account of Tommaso Stigliani, a Roman literary connoisseur who voiced strong opposition to the poetry of Marino. In March of 1636, Stigliani writes:

45

Holzer, 268-272.

28

Un tempo i lettori si contentarano d'una lettera non cattiva, poi volsero eccellenza, apresso desiderano maraviglie, ed oggi cercano stupori; ma, dopo avergli trovati, gli hanno anco in fastidio ed aspirano a trasecolamenti ed a strabiliazioni. Che dobbiamo noi fare in cos delicata et e bizzara, il cui gusto si tanto incallito e tanto ottuso che ormai non sente pi nulla?
46

At one time readers contented themselves with readings that were not bad, then they wanted excellence, then they desired marvels, and today they look for stupors; but after having found them, they hold them boring and aspire to amazements and to astonishments. What must we do in so indifferent a time and so delicata and bizzara an age, whose taste is so calloused and so obtuse that by now it no longer feels like anything?

Fontei and Vincenti, in selecting the title "bizzarrie poetiche" for a musical collection, speak to the stylistic awareness of their audience while at the same time accommodating the changing status of modern Italian taste. The material presented here has attempted to show that composers and editors/publishers of alfabeto song collections assembled paratextual material with certain rhetorical strategies in mind. In many cases, these approaches echoed those of earlier years. In other cases, the older strategies were refined. These authors appear aware of themes and metaphors with traditional resonance such "il teatro del mondo" and astronomical science, while at the same time, incorporating modern appeals to literary fashion. One important theme that emerges from the paratextual material is the appropriation of antiquity to legitimize the cultivation of the chitarra. As will be shown in later chapters, the symbol of ancient authority manifests itself in various ways throughout the publication of alfabeto songs during the seciento. It will also later be demonstrated how the publication history of the repertory suggests an early and codified practice in circles of the Roman elite during the 1610s and 20s. Pietro della Valle, quoted earlier, mentioned that he learned to play the Spanish guitar in Naples sometime before
46

Giambattista Marino, Giambattista Marino: Epistolario seguito da lettere di altri scrittori del seicento, ed. Angelo Borzelli and Fausto Nicolini (Bari: Laterza, 1911-12), 34. Trans. and cited in Holzer, 269.

29

1640.47 Here it is worth mentioning that Della Valle was one of Giovanni Battista Doni's closest associates in Rome; Doni's enthusiasm for ancient Greek music persuaded several Roman composers (including Della Valle) to experiment with ancient instruments and theoretical systems.48 Alfabeto songs were launched onto the Roman scene during a time when an acute sense of ancient authority figured prominently in the intellectual and aesthetic life of the city's musical elite. The following chapter serves to further contextualize the theme of antiquity and ancient authority as it relates to alfabeto song texts.

47 48

Solerti, 169. Frederick Hammond, Music and Spectacle in Baroque Rome (New Haven: Yale University Press, 1994), 101-02.

30

Chapter 2: Alfabeto Song Texts and Pastoral Realism As scholars have previously noted, the canzonetta inspired many of the song texts inscribed with alfabeto.49 This is apparent in the number of alfabeto songbooks that advertise themselves as books of canzonette, as in the collections of bellissime canzonette musicali of Remigio Romano.50 As a literary genre the canzonetta is noted for both its metrical and strophic formalism and pastoral subject matter.51 As Massimo Ossi has shown, the canzonetta served a variety of expressive needs in the music of Monteverdi, contrasting an earlier view that the canzonetta limited the expressive language of composers.52 In considering the prevalence of canzonetta poetry in the alfabeto song repertory, this chapter examines pastoral ideologies that were in circulation while the repertory was created and disseminated. Consequently, such themes as "authenticity," "realism," and "naturalness" that pervade the literary, scientific, and artistic pastoral imagination also figure prominently in the alfabeto song language. Before undertaking an analysis of the alfabeto texts themselves, it will be necessary to first examine how these ideologies of pastoralism gained currency among Italian writers, scientists, and musical authors of the seicento.

49
50

Miller, "The Composers of San Marco," 190-93. Apart from Romano's collections, other books with " canzonetta" in their title are: Borlasca (1612), Canzonette a tre voci; Marini (1622), Scherzi, e canzonette; Manzolo (1623) Canzonette; Sabbatini (1641), Varii capriccii e canzonette; Ziani (1641), Il primo libro di canzonette; Anonymous (1657) Canzonette spirituali, et morali; and Anonymous (1659), Nuove canzonette musicali. In addition to these are numerous editions with literary titles that advertise "canzonetta" on the title page. Stefani's anthologies Scherzi amorosi and Concerti amorosi, for example, are subtitled on their frontispieces as "canzonette in musica/ad una voce." 51 Gary Tomlinson, Monteverdi and the End of the Renaissance (Berkeley and Los Angeles: University of California Press, 1987), 153; 210-14. 52 See Massimo Ossi, "'Ordine novo, bello et gustevole': The Canzonetta as Dramatic Module and Formal Archetype," Journal of the American Musicological Society 45 (1992): 261-304. Tomlinson argues that strophic forms such as the canzonetta "usually placed severe limitations on his [Monteverdi's] rhetorical response to the text." See Tomlinson, 211.

31

Literary Realism in the Pastoral after Guarini As Annabel Patterson has shown, the patterns of pastoral ideology varied greatly during the Renaissance, and were often used to reinforce civic and political values. 53 In Italy, the mainstream pastoral ideology of the court establishment was expressed through humanist exegeses of Virgil and Theocritus. For example, the pastoral commentaries of Poliziano, Landino, and other scholars associated with the Medici during the last half of the quattrocento and early cinquecento sought to establish the pastoral as noble allegory, and drew on the rich imagery of pastoral texts to build an iconography that remained associated with Medici rule for several generations. In its vernacular state, nearly a century after Poliziano, the pastoral and its allegorical vocabulary underwent a series of transformations. By the time of the printing Guarinis Il Pastor fido (1590), the pastoral emerged as a source of literary, philosophical, and moral debate. The attacks launched against Il Pastor fido as it circulated in manuscript throughout the 1580s, spearheaded by the moral philosopher Iasone De Nores, viewed Guarinis work as a threat to humanist pastoral ideology. As tragicommedia, argues De Nores, Il Pastor fido neglected to align itself fully with any single moral-edifying genre espoused by Aristotle.54 De Nores, a professor of moral philosophy at the University of Padua, published his complaints against Guarini's pastoral and its inability to neatly fit into the categories of tragedy, comedy, or epic. These accusations were echoed among Catholic reformers, noted in the regular inclusion of Il Pastor fido among officially sanctioned lists of banned book titles published throughout

53

Annabel M. Patterson, Pastoral and Ideology: Virgil to Valery (Berkeley and Los Angeles: University of California Press, 1987), 62-77. 54 Tomlinson, 18.

32

the early seicento.55 Guarini's response to the attacks published in 1588 led to what some scholars have called the last great Italian literary polemic of the sixteenth century.56 With Il Pastor fido, the pastoral mode slowly began to assert its independence from the glosses of humanist allegoriesso dear to De Nores and his fellow conservative criticsnot only through a departure from Aristotelian formalism, but also through an updated vocabulary of pastoral ideology. Perhaps the most famous example of pastoral revisionism is Giambattista Marino's L'Adone, which sparked its own heated literary debate soon after it was published in 1623 (a debate that continued well into the eighteenth century). Another path of pastoral ideological change emerged from a group of poets and writers who developed themes of pastoral authenticity, involving the mapping of mythological pastoral sensibilities onto real and contemporaneous spaces, people, and localities. Quinto Marini describes this ideological revision of the pastoral as exemplified in Gian Vincenzo Imperiales pastoral poem Lo Stato Rustico (1607):

55

Paul F. Grendler, The Roman Inquisition and the Venetian Press (Princeton: Princeton University Press, 1977). 56 Tomlinson, 18.

33

Lo Stato Rustico segna...dalla poesia pastorale di ascendenza arcadia sannazzariana (in cui si erano inseriti lAminta e Il Pastor fido, e che si sarrebbe baroccamente evoluta nellAdone, non a caso con lautorizzazione proprio di ClizioImperiale) verso un a poesia che potremmo definire di villa; e civilt di villa potremmo chiamare quella qui ricostruita dal poeta. Lepicentro politico di questa nuova civilt uno spazio reale: la grandiosa villa della famiglia Imperiale di Sampierdarena, con limmenso giardino che ascende in ordinati gradoni la collina di fronte al mare.57

Lo Stato Rustico represents the transition from the [kind of] pastoral poetry handed down from the verses of Sannazzaros Arcadia (into which had been inserted LAminta and Il Patsor fido, which would evolve into the baroque Adone, not incidentally with the express authorization of for Clizio-Imperiale), toward a [new] poetry that can be defined of the villa; and we can call what the poet reconstructs a culture of the villa. The political epicenter of this new culture is a real space: the grandiose villa of the Imperiale family of Sampierdarena, with the immense garden that climbs in orderly levels over the hill that faces the sea.

Marini notes similar traces of pastoral authenticity in the novelle Le instabilit dellingegno (1635) by Anton Giulio Brignole Sale and Arcadia in Brenta (1667) by Giovanni Sagredo, the latter singled out because of its cultural and social significance. As Marini explains, pastoral authenticity emerges as an important theme in Sagredos text, noted in the interactions between the noble company vacationing at their villa in the Veneto countryside and the shepherds, farmers, and country maidens that inhabit their immediate surroundings: E si veda il peculiare rapporto della nobile brigata col mondo contadino; un mondo davvero arcadico e tranquillizante, civile nello suo aggraziatissimo garbo, di cos forte attrazione non solo sotto laspetto paesaggistico, ma anche umano e sociale.58 One sees a peculiar rapport between the noble company and the peasant world; a world indeed arcadian and peacefully civil in its most gentle-mannered courtesy, so strongly attractive from not only a picturesque point of view, but also a human and social one.

Marini points to the Giornata Sesta (Sixth day) as an illustration of the cultural immersion of the noble company into the peasant world:
57

Quinto Marini, Barocco in villa. Le ingegnose arcadie del Seicento, in I capricci di proteo. Percorsi e linguaggi del barocco, ed. Enrico Malato (Rome: Salerno editrice, 2002), 336-7. 58 Ibid., 367.

34

Dimand Laura allintendente della casa se verano in quella villa di belle contadine.Bellissime, rispose, perch noi siam vicini alla citt e abbiamo qualche cosa di pi civile praticando frequentemente la nobilit. Sta qui prossima la villa del Dolo, dove vi sono una mano di fanciulle che, non lavorando la campagna, si conservano bianche come il giglio, rubiconde come la rosa. Danzano a maraviglia e cantano poi di leggiadrissime villanelle alluso del loro paese. 59

Laura asked the head of the household if there were in that villa any beautiful country girls. Most beautiful ones, he replied, since we are near the city and have something more civil [about us] in our frequent contact with the nobility. Nearby is the villa of Dolo, where there are a handful of young girls who, not having worked the countryside, have been preserved white as a lily and as ruby red as a rose. They dance marvelously and then sing most lovely villanelle according to their local customs.

A number of interesting relationships form as a result of this intersection of contrasting social groups. First the strong sense of voyeurism evoked on the part of the noble company objectifies the country folk and reinforces existing political and economic hierarchies. The descriptions of the clothing, the dancing, and the music of the country girls underscore the theatricality of the scene as well as the cultural difference between the groups, adding a dimension of otherness that personifies the spectacle. At the same time, the noble company becomes enamored not only by the purity and naturalness of the country girls, but also by the songs and dances of their indigenous surroundings. Experiencing rural authenticity is for the noble company a great source of enjoyment, moving themat one pointto participate in the spectacle secondo il costume del paese (according to the customs of the country):

59

Giovanni Sagredo, LArcadia in Brenta, overo la melanconia sbandita di Ginnesio Gavardo Vacalerio (Cologne: Francesco Kinchio, 1667), 351.

35

Unitemente, senza esimere n meno il Sig. Silvio, chera il pi attempato. e cos datasi la mano e formato in circolo, si principi la danza secondo il costume del paese.60

All together, without excluding even Sig. Silvio, who was the most elderly, they began to form a circle holding hands, and started to dance according to the customs of the town.

Marini reads this climactic moment as the transformation of the mythological Arcadia into a real living Arcadia; a rustic paradise that attempts to level social and cultural inequality. As the pastoral landscape migrates from the hills and fields of Arcadia to the Brenta plain, shepherds and nymphs are replaced with modern-day shepherds, farmers, and maidens. The pastoral realism of LArcadia in Brenta surfaced in other spheres of expression including science, architecture, and music. The authentic pastoral world, for example, was prized and consulted for its empirical knowledge about the natural world. Leonardo Fiorivanti and Paolo Boccone wrote extensively on the scientific wisdom of farmers, and noted the debts that the academic community owed to them in the fields of botany, medicine, and geology. Boccone, a botanist employed by the Medici during the mid-seventeenth century, regarded visits to countryside farms and homes as academic conferences for students of medicine, noting in particular the vast knowledge of soil, plants, and animals in rural societies.61 Along similar lines, the famous Renaissance architect Andrea Palladio applied the structural designs of agrarian farmhouses and granaries to several of his notable villas erected in the late sixteenth century.62

60 61

Ibid., 351-2. Piero Camporesi, The Anatomy of the Senses: Natural Symbols in Medieval and Early Modern Italy, trans. Allan Cameron (Cambridge, MA: Polity Press, 1994), 186-91. 62 Thes villas include Villa Emo, Fanzolo Villa Barbaro, Maser, Villa Saraceno, Finali di Agugliaro. See Martin Kubelik, Palladios Villas in the Tradition of the Veneto Farm, Assemblage 1 (1986): 90-115.

36

Rural or pastoral authenticity was given specific attention by Vincenzo Giustiniani in his Discorso sopra la musica (1628), in which the author cites the superior natural grace apparent in the singing and dancing of southern Italian peasants:

E che sia il vero che la grazia del cantare sia parte proveniente della natura e non larte...si conosce talvolta perch tal cantante ad uno parr grazioso et ad un altro nojoso...et il simile si potrebbe dire dellaltre cose che tacer per brevit. Non per mi pare di tralasciare un effetto mirabile, che dalla musica e dal suono procede e si continuamente osservato da molto tempo in qua nella Puglia e nel Regno di Napoli nelle persone che sono morsicate dalla tarantola, o sia soffritto, come in que luoghi si suol dire...tra molte altre arie e musiche e suoni, che si fanno sentire a glinfermi, li quali sentono giovamento solamente da un suono o da una musica... perch quando questi tali non restano liberati, in ciascun anno nella stagione nella quale furono offesi, vengono riassaliti dal tormento, cos con i suoni e canti diversi si procura darli occasione, se non di remedio, almeno di refrigerio, che ricevono molto maggiore che da glaltri rimedi di medici.63

And that it is true that grace in singing is something provided by nature and not by art...is understood since sometimes singing will appear pleasing to one person and boring to another...and the like can be said of other things that I will leave unspoken for the sake of brevity. I must not, however, fail to mention an astonishing effect of music and sound that proceeds from and has been continually observed for some timein Puglia and in the kingdom of Naplesin people who have been bitten by a tarantula, or "fried" as it is said in those places...Among many other tunes, music, and sounds that are performed for the sickened ones, those that comfort them come only from one sound or one [kind of] music...And when these people are not cured, each year in the season in which they became afflicted, they are attacked by the [same] torment. Thus with diverse sounds and songs they become if not cured, then at least given some relief, which is considered much greater than the other remedies given by doctors.

The musical practices of these rural societies, according to Giustiniani, were akin to ancient musical practices, as he goes on to say:

63

Solerti, 116-7.

37

Potrei a questo proposito addurre li molti e varij effetti che glautori antichi scrivono della musica usata da glArcadi, et altre favolette, come delle Sirene, dAnfione, di Marsia, dArione, dApollo, delle Muse e dOrfeo, e dellaltre narrate per vere, atte a muovere glanimi deglascoltatori a diverse e contrarie azioni, con la diversit della maniera e del modo.64

To this point I could mention the many and varied effects that the ancient authors ascribe to the music used by the Arcadians and those of other fables, such as the Sirens, Amphion, Marsyas, Arion, Apollo, the Muses, and Orpheus; and others that have been told as truth, able to move the spirits of their listeners to diverse and contrary actions according to the diversity of the manner and style.

In associating the musical abilities of his southern countrymen with those of the ancients, Giustiniani further ascribes a special aesthetic legitimacy as well as a great sense of empowering authenticity to rural southern Italian music. Pastoral Realism and Ancient Authenticity in Seicento Music Giustinianis ancient validation of rural, pastoral, and rustic musical practices has antecedents in musical writings from authors up to two and three generations before his own. As Claude Palisca, Donna Cardamone, and Barbara Russano Hanning have noted, concordances between ancient musical practice and modern (= Renaissance) rural musical traditions appear in Vincenzo Galileis appraisals of a cultivated solo song tradition, often considered one of the pillars of late-Renaissance musical aesthetics.65 In Galileis attacks on polyphonic music, both in the Dialogo and the Dubbio, he argues for the melodic and harmonic imitation of the rustic and pastoral world, past and present. Galilei equates the lyric qualities of ancient song with the arie of contemporary

64 65

Ibid., 117. Claude Palisca, Vincenzo Galilei and Some Links Between Pseudo-Monody and Monody, Musical Quarterly 46 (1960): 344-360; Cardamone, 1: 62-65; and Barbara Russano Hanning, Of Poetry and Musics Power: Humanism and the Creation of Opera (Ann Arbor, MI: UMI Research Press, 1980).

38

shepherds and peasant workers, and grants their expressive potential superior to the great sixteenth-century polyphonic tradition.66 By virtue of their aesthetic correspondence with ancient tradition, rustic and peasant songs maintain a certain level of pastoral authenticity for Galilei, even more so than the stylized villanesche and villotte of his contemporaries. Girolamo Mei, Galileis predecessor in the quest for musical understanding about the ancient world, turned his attention toward poetic meter and versification in establishing a pastoral or rustic musical authentic. In a manuscript that survives in the Biblioteca Riccardiana in Florence, Mei sketches the maniere of various forms of Tuscan verse, noting for example, the profundity of endecasillabi or the gracefulness of settenari. Ottonari, on the other hand, are best suited for cose villesche, peasant things, that is, the songs of shepherds and lower class individuals.67 As Hanning has demonstrated, Galilei and Meis observations on the songs of peasant and rustic/rural culture contributed to the poetic identity of Orfeo, Caronte and other pastoral and simple characters of the early music drama libretto.68 The issue of authenticity and antiquity captured the historical, theoretical, and practical musical imagination of the Florentine Camerata and its orbit. In the preface to his Le nuove musiche, Giulio Caccini noted the lessons learned from his discussions with Vincenzo Galilei, Mei, and others on the qualities of ancient music, stating:

66 67

These citations are noted and expanded upon in Cardamone, 1: 62, and Palisca, 93. Hanning, 33, 156, 353. 68 Ibid., 155-59.

39

...a volere che ella possa penetrare nellaltrui intelletto e fare quei mirabili effetti che ammirano gli scrittori, e che non potevano farsi per il contrappunto nelle moderne musiche: e particolarmente cantando un solo sopra qualunque strumento di corde, che non se ne intendeva parola per la moltitudine di passaggi, tanto nelle sillabe brevi quanto lunghi...L onde, dato principio in quei tempi a quei canti per una voce sola, parendo a me che avessero pi forza per dilettare e muovere, che fa pi voce insieme, composi in quei tempi, i madrigali...e particolarmente laria...in quello stile proprio, che poi mi serv per le favole che in Firenze si sono rappresentate cantando....Ove fatti udire detti madrigali et aria in casa del signor Nero Neri a molti gentilhuomini, che quivi sadunavano...tutti possono rendere buna testimonianza quanto mi esortassero a continovare lincominciata impresa, dicendomi perfino a quei tempi non avere udito mai armonia duna voce sola, sopra un semplice strumento di corda, che avesse avuto tanta forza di muovere laffetto dellanimo quanto quei madrigali.69

[The Camerata urged me] to aspire that it could penetrate the intellect of others and make those [same] wonders that are admired by the ancient writers, which can not emanate from the counterpoint of modern compositions: particularly when sung alone to some stringed instrument, so that one cannot comprehend the words because of the multitude of passaggi on short syllables as much as in long ones...Wherefore, having in those times begun these songs for one voice alone, it seemed to me they had more power to delight and move than those for several voices together, I composed in those days madrigals...and in particular, a tune in that style which then served me for the favole sung on the stage in Florence...[In Rome] I made these madrigals and this tune heard at the home of Signor Nero Neri for many gentlemen who frequented it...all can make the good testimony of how much they urged me to continue this enterprise thus started, telling me that even in those times one had never heard the harmony of only one voice with a simple stringed instrument that had so much force to move affection of the spirit as did those madrigals.

Caccini argues that in order to tap into the power of ancient music, one must essentially become an ancient musician. It is interesting to note that while Caccini is advertising the modernity and singular innovation of his art, his approach to singing as described here is approvingly and consciously anachronistic. This authentic performance aesthetic was advanced some years earlier by Galilei in the Dubbi, perhaps the source of Caccinis musical convictions. In what Palisca describes as Galileis decoding the secret of the

69

Solerti, 57-8.

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Greek art [music], the manner of singing attributed to the Greek musician Olympos becomes for Galilei the model for ancient musical practice: Using many notes is artificial. This suits instruments, which are products of art, when playing alone; but not at all voices, which are produced by nature, whether thay are singing alone or to the sound of some instrument. The latter kind of singing succeeds very well provided one knows that part of the rules of counterpoint which is adequate for this end. And, if someone were to ask me, since it is natural for a man to be able to reach with his voice eight or ten notes without straining, whether therefore all notes outside of the three or four used by Olympos were to be scorned I would reply in this way. The three or four that Olympos used in one song were not apt for expressing all the passions and affections of the soul. The three or four notes that a tranquil soul seeks are not the same as those which suit an excited spirit, or one who is lamenting, or a lazy or somnolent one...In this way the musician will tend to use now these an another time others according to the affections he wants to represent and impress on the listener.70 A limitation of means (Paliscas phrase) advocated by Galilei and echoed in Caccini was deemed critical for effective and authentic singing; this has obvious implications for a repertory associated with shepherds, peasants, and cose villesche. Moreover, the authentic way to perform in such a manner was to sing alone to a stringed instrument. Identical readings of ancient musical authority around the turn of the century further reveal prevailing attitudes about musical authenticity and simplicity. Galilei himself continually promoted an ideal modern musician based on the qualities of ancient musicians according to ancient Greek texts in translation. As in previously mentioned accounts of ancient performance, Galilei illustrates ancient authenticity through the solo singing to the accompaniment of a stringed instrument. In his Dialogo della musica antica, et della moderna, Galilei cites Aristotles Problems on Music in addressing specifically the performance style of the ancients as follows:

70

Cited and translated in Palisca, Pseudo-Monody and Monody, 347.

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The ancient Greek and Latin actors recited their comedies and tragedies to the sound of the tibia and of the kithara, whence it was necessary to adjust them to suit the high, low, and middle ranges, according to the quality of the characters that took part.71 And in explaining further this ancient musical performance style, Galilei again calls on the traditions of rural musicians in his own time: When shepherds and workers in the fields were finished with their labors they turned for solace to the popular airs, which they sang to the strumming of some instrument.72 More specifically, the interlocutors Strozzi and Bardi in the Dialogo cite the musical practices of peasant and urban street culture as embodying the effects of ancient musical practice: Strozzi: Those who sang to the aulos could not play and sing at the same time, unless some sack that they first filled with air breathed little by little into the aulos while thay sang, or if they had some bellows fitted under the armpit, as I once saw a Neapolitan juggler do. While conversing with spectators, he very decently played his bagpipe fitted with several auloi to which he supplied wind with such dexterity that it was difficult for the listeners to notice how the instrument was blown at the same time as he played and sang. The Blind Man of Forl does this today, as you may have seen. He has a boy who supplies wind to direct his flute while he sings various airs and closes and opens his holes with his fingers according to the needs of his song. This is different from what a little while ago I said Marsyas did, who with his own breath and fingers played two auloi at the same time.

71 72

Hanning, 17. Ibid., 347,

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Bardi: The music by those who simply played an instrument or knew only how to sing, or when songs were performed in the manner just described, was for the most part brief simple airs, created for no other purpose than to please the common people. On one of those airs they repeated the same music for each group of two, three, or four lines, not unlike what we hear everyday when a capitolo is sung to the lute, as also in dance songs of the people, peasants and such, This sort of playing and singing was very frequently used together with dance in the choruses of the satyr play, comedy, and tragedy. The chorus sang the air that best suited the expression of the sentiment at hand to the accompaniment of an aulos or other instrument, no differently than we described concerning the dithyramb.73 This authoritative character image of the ancient musician as singer with stringed accompaniment, not surprisingly, also surfaced on the early musical stage with some regularity. In Rinuccinis libretto to Jacopo Peris setting of La Favola di Dafne, for example, the drama begins featuring Ovid, the ancient voice of the pastoral, singing the following lines of the prologue: I, Ovid who sang so sweetly on the learned lyre about the flames of heavenly mortals...I appear to you tonight, o mortals.74 Apollo too, in Rinuccini and Monteverdis collaboration Arianna, presents himself in the prologue armed with kithara in hand, a depiction likely to have been inspired by Platos rendering of the Greek God in the Republic. La Musica herself, in Striggio and Monteverdis LOrfeo, is personified according to similar traits:

73 74

Ibid., 345-46. Cited and translated in ibid., 6.

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Io la Musica son, chai dolci accenti So far tranquillo ogni turbato core, Ed or di nobil ira ed or damore Possinfiammar le pi gelate menti. Io su cetera dor cantando soglio Mortal orecchio lusingar talora E in questa guisa a larmonia sonora De la lira del ciel pi lalme invoglio.75

I am Music, who, through sweet accenti Know how to make peaceful each troubled heart, And now with noble anger and now with love Can inflame the most frozen minds. I, singing to my golden kithara, am accustomed to At times enticing mortal ears, And in this way I invite souls even more to [hear] the sonorous harmony of the lyre of heaven.

The inevitable connection between images of ancient musical authority on the early seicento musical stage and the figure of the peasant as embodying pastoral authenticity continued to surface in musical writings later in the century. Compiled around 1650, the Discorsi e regole sopra la musica of Severo Bonini closes the dialogue between Don Severo and his pupil Filareto with the maestros observations on the roles of peasants and female singers of (presumably) sacre rappresentazioni and the preservation of Latin and Italian musical rhetoric:

... perche il medesimo occorso di questo Stile moderno, come delle parole, vocaboli della lingua latina, e della nostra toscana, le quali havendo smarrito molti vocaboli proprij, rispetto al gran concorso di genti barbare, mediante le continove guerre, si sono salvati benissimo nelli contadini, come lontani dal praticar la Citta; si mantiene ancora in alcune arie che sono esercitate dalle Donne nel rappresentare sopra delle Scene, Rosana, Uliva, et altre simili Sante.76

...for what you have observed with regard to the modern [recitativo] style can also be observed in the case of Latin or Tuscan words and expressions (lost through the influx of barbarian peoples due to continual warfare) which have been perfectly preserved among peasants far from contact with the city, and can be heard today in some airs that are sung by women in the staged performances of Rosana, Uliva, and other similar saints.

75 76

Claudio Monteverdi and Alessandro Striggio, lOrfeo. Favola in musica (Venice: Amadino, 1609). Severo Bonini, Discorsi e regole sopra la musica (ms. [ca. 1650]), cited and translated in Discorsi e regole, ed. by Mary Ann Bonino (Provo, UT: Brigham Young University Press, 1979), 180.

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Bonini's depiction of the "authentic" voice of the peasants finds resonance in the court of Cosimo II de'Medici, where a shepherd named Giovanni Dionosio Peri was employed during the early seventeenth century to showcase his poetic and musical talent.77 All of these examples communicate a strong sense of realism that emerged from the Italian musical consciousness from the latter part of the 1500s and into the first decades of the seventeenth century. Madrigal part-singing and polyphonic music in general were seen by Galilei and others as obstacles in achieving the expressive potential of musical practice equal to that of the ancients. No doubt these attitudes about musical authenticity heightened the notoriety of solo singing that Caccini and others advertised as new developments of musical expression early in the seicento. Yet, as has been demonstrated, oftentimes this search for musical authenticity motivated authors to locate traces of ancient practices in the activities of Italian peasants. Pastoral Authenticity and Musical Organology The juxtaposition of the real rustic/peasant/pastoral world with the musical world of antiquity to assess and locate authenticity surfaced in other musical texts during the seventeenth century. The year 1600 saw the publication of Giovanni Lorenzo Baldanos Libro per scriver lintavolatura per sonare le sordelline, an instruction manual on how to play the sordellina, an instrument modeled after the sampogne, both of which are still heard to this day in rural southern Italy and Sicily. The sordellina is commonly understood by scholars as a failed academic invention meant to portray the wind pipes of Arcadia and ancient Greece. This view is informed primarily by the remarks of Emilio de Cavalieri (as recounted by Alessandro Guidotti) and Vincenzo Giustiniani; the former
77

Giovanni Kezich and Maurizio Agamennone, I poeti contadini. Introduzione all'ottava rima: immaginario poetico e paesaggio sociale (Rome: Bulzoni, 1986), 115-18.

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calling for the instrument in his Rappresentazione di anima e di corpo to imitate tibie allanticae," the latter abhorring the instrument due to its unsuitability for singing.78 At the same time, the instrument acquired a great deal of authentic validation because it could be seen as both a remnant of ancient culture and an instrument through which one could channel the power of ancient music. This is clear from the numerous accounts of the sordellinas hereditary relationship to the sampogna and the pastoral (ancient and modern) iconography that documents the instruments cultural relevance.79 The sordellina created a lineage from antiquity to modern times, and asserted the Italian inheritance of ancient culture. If taken at his word, Giustiniani only emphasizes that degree with which the sordellina might have resonated with ancient culture. Perhaps the visibility of the instrumentthe physical embodiment of antiquitywas valued over its musical function. The examples above demonstrate how instrumental practice could serve as explicators of rural/pastoral authenticity. As embodiments of authenticity, instruments enabled musicians to assert the authority of antiquity through aural and visual means. Rearticulated images such as Orpheus and his kithara helped to circulate the close associations among plucked and strummed stringed instruments with ancient authority, and musical authenticity. The physical appropriation of ancient authority is noted in other instrument "inventions" like the sordellina: perhaps the most famous is the lyra
78

Cavalieri/Guidotti: E perch in alcune sue arie particolari par che abbia imitato (per quella notizia che se ne pu avere) appunto luso loro, et egli medesimo pur loda che sia talora qualche dialogo pastorale suonato e cantanto allantica, come s detto, ne ho voluto mettere un esempio in fine di questopera il cui canto dover essere accompagnato da dua flauti, vero dua tibie allantica che noi chiamiamo sordelline. Solerti 2-3. Giustiniani: La Sordellina fu inventava anche in Napoli et introdotta in Roma, ove non ha poi continuato, per essere stromento imperfetto, e che solo gusta alquanto la prima colta che si sente, e poi, non havendo molto variet nelle consonanze n servendo al cantare, viene facilmente a noia. Solerti, 126. 79 Febo Guizzi and Roberto Leydi, Le zampogne in Italia , 2 vols., (Milan: Ricordi, 1985). For evidence of the pastoral iconography of the instrument, see especially vol. 1., ch. 1 Le zampogne meridionali, 31109.

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barberina of G.B. Doni, an instrument designed to accurately depict the microtonal intervals that result from dividing the ancient Greek enharmonic genus.80 Like the sordellina and lyra barberina, the chitarra held a certain amount of authenticity not only because of its connections to ancient culture (kithara = chitarra) but also because of its perceived rural and folk origins, particularly in Naples and areas of the Italian south.81 As seen in the previous chapter, alfabeto song composers at times went to great lengths to assert the ancient heritage of the chitarra. On the same token, the titles, characters, and stories of alfabeto song texts reveal similar demands to connote the repertory with ancient resonance.

Pastoral/Ancient Authentcity in Alfabeto Song Texts The changing pastoral ideology after Guarini altered the language of pastoral poetry. Non-Virgilian and Theocritan figures such as Adonis, Cloris, Lidia, and Christ were (re-)introduced to the language of the pastoral and offered authors and composers opportunities to express the pastoral world in versatile ways. Alfabeto song texts were composed and borrowed within the milieu of this changing pastoral ideology, noted foremost in the pastoral quality of alfabeto text titles, subjects, and characters. Further examination of the subject matter of alfabeto texts reveals a perceptible absence of references to Ovidian pastoral plots, images, and characters such as Dafne, Orfeo, and Euridice, subjects that remained inseparable from staged music drama. The ideological distinction between alfabeto texts and early music drama libretti is emphasized here to demonstrate the dynamic quality of pastoral interpretation and further, to introduce the
80 81

Hammond, 101. This subject will be discussed in more detail in Chapter 4.

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question of what motivated alfabeto song poets to remain faithful to certain pastoral typologies. It should be noted that while many alfabeto texts embody strong stylistic similarities to the poetry of Guarini, Marino, and most noticeably Chiabrera, most of the poems are anonymously composed. In fact, part of what makes the alfabeto song repertory so unique is that, as Roark Miller has argued, the poems were themselves in all likelihood authored by the composers of the musical settings.82 This allows not only for a more intimate reading of musico-textual relationships, but also enables modern readers to identify specific alfabeto song poetry typologies, as most of the poems were composed as alfabeto song lyrics. The following examples serve to demonstrate how certain alfabeto song texts emphasize a pastoral ideology of realism, authenticity, and naturalness. Valvasensi (1634) The kinds of poetry selected by composers of alfabeto songs reveal a desire to authenticate the pastoral world, noted foremost in Lazzaro Valvasensis Secondo giardino damorosi fiori (Venice: Magni, 1634). In the final setting of this collection, Gioldin gioldin, Valvasensi clams that [le] Parole sentire a[l] cantare da doi contadine furlane et poste in musica dallautore (the words were heard sung by two Friulian country women and set to music by the author).83 Much like the noble company in Sagredos Arcadia in Brenta, Valvasensis quest for evoking the real thing led him directly to the source. With an almost folkloristic desire to capture the peasants song in their natural state, Valvasensi printed the words of the text in the original Friulian dialect. This kind of pastoral message serves to transport the soundworld of the peasants
82 83

Miller, "The Composers of San Marco," 100-01. NV 2792.

48

directly to the performer and listener. The pastoralism is imbued with a strong sense of connection between rural life and the world of performer, providing a bridge that joins arcadia with the modern world.

Fa la ninna nanna Joachim Steinheuer parallels Valvasensi's search for "authenticity" in "Gioldin, gioldin" with Nicol Rubini's setting of "Fa la ninna," from the Coppia de baci allettatrice al bacio (Venice, 1613), in which the text is printed in Modenese dialect and with the subtitle: "La mamma cantatrice alla modenesa."84 This earliest printed musical example of a ninna-nonna, or lullaby, belongs to a somewhat obscure phenomenon in early seventeenth-century musical publications, known before 1640 in only four settings, two of which are found in the alfabeto songbooks Libro secondo di villanelle (Rome, 1619) by Kapsberger and the Terza raccolta di bellissime canzoni alla romanesca (Venice, 1620) by Remigio Romano. 85 One of the most salient features of the ninna-nonna tradition is the text, a strophic lullaby with a refrain ninna la ninna-nonna ("rock-a-bye baby") or some variant phrase. This is seen in Kapsbergers and Romanos ninne, two textually-related settings that

84

Joachim Steinheuer, "'Fare la ninnananna': Das Wiegenlied als volkstmlicher Topos in der italienischen Kunstmusik des 17. Jahrhunderts" Recercare 9 (1997): 50-52.
85

The remaining settings of ninne published before 1640 are: Nicol Rubini, "Fa la ninna" in Coppia de baci allettatrice al bacio (Venice, 1613); Francesco Fiamengo, Amoroso signore. Nenia al Bambin Ges in Pastorali concenti al presepe (Venice, 1638); and Tarquinio Merula, Hor ch tempo di dormire. Canzonetta spirituale sopra alla nanna in Curtio precipato (Venice, 1638). 1640 saw published two additional ninna-nanna settings: Pietro Paolo Sabbatini, Maria stringendo al petto il Figlio pargoletto. Ninna nanna della B. Vergine al Bambino Ges salvator del mondo in Canzone spirituali...libro secondo (Rome, 1640); and Giovanni Battista Caputi, "Venite o pastori" in Canto dei pastori al bambino (Naples, 1640). These settings are transcribed in Steinheuer. Merula's ninna-nanna is transcribed in its complete form in Leopold, Al Modo dOrfeo, vol. 2., 99-104.

49

appear as the earliest ninne for solo voice printed in Italy (Figures 3 and 4, Examples 2 and 3). Figure 3: Kapsberger, Figlio dormi, dormi figlio, Libro secondo di villanelle (Rome, 1619)

50

Figure 4: Romano, Filgio dormi, dormi figlio, Terza raccolta di bellissime canzonette (Venice, 1623)

Example 2: Figlio dormi from Kapsbergers Libro secondo di villanelle (Rome, 1619) Figlio dormi, dormi figlio Son sleep, sleep son Chinal ciglio Caro figlio Close your lashes dear son Ricciutello della mamma Mamas little curly-lashed one Del mio petto dolce fiamma Sweet flame of my breast Mio bambino piccinino. My little baby boy. F la nanna f la ninna figlio Rock-a-bye baby Ninna la nanna ninna nanna Rock-a-bye baby Amoroso mio tesoro My loving treasure Ninna la nanna ninna nanna Rock-a-bye baby Dolce e vago ricciutello Sweet and lovely little curly-lashed one Vezzosetto vago e bello. Lovely and sweet charming boy.

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Example 3: Figlio dormi from Romanos Terza raccolte di bellissime canzoni alla romanesca (Venice, 1623) Figlio dormi, dormi figlio Son sleep, sleep son Bello figlio mio vermiglio Beautiful son, my flower Core care della Mamma Mamas dear heart Del mio petto dolce fiamma: Burns sweetly in my breast: Mio bambino piccinino f la ninna, Rock-a-bye my little baby boy, Ninna la ninna Nanna Ninna, Rock-a-bye baby, caro, e dolce, dolce, e bello; Dear and sweet, sweet and beautiful; Caro dolce, e bello mio bambino, My dear, sweet, and beautiful baby boy, Mio bambino piccinino My little baby boy As Steinheuer has shown, these early ninna-nanna alfabeto song texts share textual similarities with anonymous fifteenth- and sixteenth-century lullaby poems, gathered and transcribed by the historical folklorist Tito Saffioti. 86 These concordances further attest to the unwritten context from which ninna-nanne undoubtedly emerged. The concordances, as well as others in the later ninna-nanna repertory, have led Steinheuer to speculate that Rubini's "Fa la ninna" represents the "folk" beginnings of the ninna-nanna tradition. Though not inscribed with alfabeto, Rubini's setting introduces and reinforces the authentic spirit of pastoralism that was associated with the early ninnananne repertory. That this lullaby tradition is further present in alfabeto song sources suggests that the unwritten and authentic resonance of the ninna-nanna deemed it a suitable format for alfabeto-inscribed vocal music. Pesori (1640/48?) Pastoral realism can also be gleaned in part from the 1640/48? edition of Stefano Pesoris Lo scrigno armonico, an anonymously printed collection of guitar dances in
86

Steinheuer, 49-96.

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scordatura/alfabeto tablature and texts with alfabeto. Pesoris print is a valuable document to help us understand the underlining cultural meaning of pastoral alfabeto song texts because it is one of the few that places the repertory in a specified cultural narrative context. Following a long introduction to his musical compositions, Pesori recounts the story of Corralbo and Celinda, a pastoral tale on which Pesoris eight poems with alfabeto are based. Pesoris narration provides a descriptive account of the rustic/pastoral ideology encountered in the alfabeto song context: Corralbo vien disprezzato nellamor suo da Celinda, perche essendo povero Pastore habbi egli ardito spiegarli il suo affetto con alcuni versi, con occasione duna veglia lo f arrossire con un biglietto alla presenza dalcuni Pastori, addolorato sotto il gravame di questa passione scrive Celinda le seguenti note, e si scuse, che non credeva, chella pigliasse sdegno il suo affetto, non vi essendo legge in amore. Corralbo is disdained in his love by Celinda, since, being a poor shepherd, he has been so bold as to unfold his affection with some verse; during a celebration she makes him blush with a note in the presence of the other shepherds. Grieving over the burden of his passion, he writes to Celinda the following notes, apologizing since he did not believe that she would receive his affection with disdain, there not being [any] laws in love.

Corralbos molte vaghissime villanelle that follow indicate neither a bass line nor melody line; the only musical cues given are alfabeto chord symbols placed above the text. This striking rendering of the poor shepherds spiegando (outpouring) of his love for Celinda draws on a number of musical and non-musical references that illustrate the authentic pastoral world of Corralbo and his songs. The musical cues are fairly straightforward: Corralbos knowledge of musical notation is limited to the alfabeto system, his instrument of choice is the Spanish guitar, and the melodies of the tunes are presumably improvised or sung from memory. Detached from the soundworld of more legitimate and standard traditions of musical practice (most evidently noted in the lack of music staff and rhythmic notation), Corralbo is imbued with a sense of musical autonomy

53

and authenticity that is reminiscent of earlier accounts of the simplicity of ancient musical practice. The musical realism portrayed by Pesori is echoed in Corralbos song texts, which draw from the familiar language of lyric and pastoral poetry and present them in fragmented and illusory ways. In Corralbos fifth song Si guardi, chi pu, (Figure 3) subtitled Lamante tradito fatto consigliero in Amore, Pesori references Marinos Fuggite incauti Amanti in the third verse, perhaps alluding to the musical subject of Marinos text. Yet when compared against Marino, Corralbos song seems to function not as a paraphrase of Marinos text, but rather as a trace of it, as if the poet was recalling Marino from memory: Figure 5: Pesori, Si guardi, chi pu, Lo scrigno armonico ([n.p.], 1640?8?)

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Example 4: Texts of Pesoris Si guardi, chi pu and Marinos Fuggite incauti Amanti with alfabeto symbols Corralbo (Pesori) G H B O Si guardi, chi pu: B E La maga dAmore D H B G H tolto il mio Cuore, poi dice di no: B E Si guardi chi pu D Si guardi H Si guardi B G Si guardi chi pu H B G Si guardi chi pu [more verses:] LEmpia con dolci accenti Va lusingando ogni indurato petto Ma poi di tradimenti Il miserAmator li fa ricetto. Lo s per prova, il dico Piango lerror antico Sospiro la cagion, chha morte v: Si guarda chi pu Fuggite incauti Amanti, La spiettata cagion daspri martiri Ah chin un mar de pianti Vo sommerge tallhor con suoi sospiri Fugite i vezzi, i sguardi Che con finti, e buggiardi Fugite pur colei, che mingann Si guardi chi pu. Pesoris presentation of a modular or troped text and alfabeto adds further to the improvisational element of Corralbos song. The textual repetition and fragmentation coupled with the strong sense of musical ambiguity evoked in this song emphasize the Marino Fuggite incauti Amanti La canora omicida Chasconde, empia ed infina Sotte note soavi amari piani Quelle corde sonore Sono i lacci dAmore; Quella che sembra cetra EdAmor la faretra: Quellarco, arco dAmor: quedolci accenti Son saetti pungenti

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starkly intimate and realistic manner in which Corralbo unveils his feelings for Celinda. Musically and poetically, Pesori distances Corralbo from elite and standard musical traditions (figuratively and non-figuratively), and perhaps employs these very attributes in order to identify him as embodying rural/pastoral authenticity. Reactions to Pastoral Realism and Guitar Song Corralbo and other pastoral figures were not always glorified for their intuitive musical gifts and embodiment of real ancient musical practice. Characters such as Corralbo were in fact problematic for some musical authors, as the guitar and vocal repertories associated with the instrument sometimes surfaced as musical symbols of the ignorant, uneducated, and morally questionable in reports from the seicento musical elite. In Severo Boninis Discorsi e regole of ca. 1650, the author addresses both the music of and the listening of music by such individuals and informs his readership about the shortcomings of their music making: Se saranno poi persone idiote e di bassamano, d' ingegno grosso, come bottegai vili, e Contadini, non haverano tanto diletto come i suddetti: l' haveran ben maggiore sentir cantar ciechi con la Lira, chitarra, Zufoli, particolarmente le Donnicciuole, altre poverelle, e semplici creature.87 If they [listeners] are ignorant and inferior or of obtuse mind, such as lowly shopkeepers and peasants, they will not take as much delight [in listening to music] as the others just mentioned: they would do better just listening to the blind sing to the Lira, guitar, or Pipes, particularly harlots and other poor and simple creatures.

Boninis critique of contadini (farmers, shepherds, peasants), bottegai vile (lowly shopkeepers) and donnicciuole (vulgar women of low moral standing) focuses mainly on their inability to take delight in music as do musicians of elite traditions. Despite his glaring cultural prejudice, Bonini provides anecdotal evidence for the kinds of rustic and
87

Bonini, trans. Bonino, 125.

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peasant culture musical associations that existed during his time. While Bonini does not specify the repertories of these inferior musicians, he introduces us to the ambivalent attitudes toward guitar song that were in circulation around mid-century. Boninis mention of the guitar as an instrument suitable for the enjoyment of peasant culture is echoed in other references to the instrument catering to simple people of rural sensibilities. Earlier in the century in Spain, the native land of the guitar, one reads in a dictionary of the Spanish language that: Until our times this instrument [the 6-course vihuela] has been highly esteemed and has had most excellent musicians, but since the invention of the guitar there have been very few who have devoted themselves to the study of the vihuela. It has been a great loss, because all kinds of notated music was played on it, and now the guitar is nothing more than a cowbell, so easy to play, especially in rasgado [strummed manner] that there is not a stable-boy who is not a musician of the guitar.88 These citations reveal that the figures of Valvasensis peasant women and Corralbo in Pesoris Lo scrigno armonico emerged as sources of contradiction within the context of seventeenth century music. As voiced in various musical writings of the time, this confusion emanates from the symbol of the peasant-musician as a living remnant of ancient culture yet simultaneously cast as musically illiterate. Central to these characters ambiguity, however, is a recognition and assertion of their real embodiment of pastoral culture. Whether evoking the traditions of the ancient past or musing within the limitations of their natural abilities, there is a sense of authenticity and "naturalness" about them and their music that reflects a wider ideological revision of the pastoral world.

88

Sebastin Covarrubias Orosco, Tesoro de la lengua castellana o espaola (Madrid, 1611), cited and translated in Diana Poulton, Notes on the Guitar, Laud and Vihuela, Lute Society of America Journal 18 (1976): 46-48.

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Other traces of pastoral authenticity are especially apparent in alfabeto song publications with connections to the Italian south. As will be shown in Chapter 4, Naples and Sicily were fundamentally bound to the cultural identity of both the Spanish guitar and (somewhat by extension) alfabeto songs. Although the symbolism of the Italian south was diverse and complex in the early modern era, pastoralism and rusticity were frequently evoked in formulating a mythology of the region, especially in travel literature that circulated among foreign visitors and inhabitants in the northern and central Italian regions.89 It is interesting to note that alfabeto song appears to be the only printed musical repertory of the early seicento that cultivated the tradition of arie siciliane, or strophic strambotti in Sicilian dialect (see Table 3.). Alfabeto song was considered a desirable format for reproducing and preserving the tradition of arie siciliane, echoing Valvasensi's wish to present his dialect song with alfabeto. The examples of Valvasensi's "Gioldin, gioldin" and the aria siciliana repertory suggest that alfabeto notation and the Spanish guitar were used to emphasize a particular mode of "authentic" musical practice. In incorporating alfabeto, these examples hint at a musical practice with strong connections to peasant culture and Italian south. Table 3: Alfabeto songbooks containing arie siciliane Composer/editor Giovanni Stefani, ed. Giovanni Stefani, ed. Remigio Romano Carlo Milanuzzi Diacinta Fedele Gio. Battista Abatessa Title Affetti amorosi Scherzi amorosi Terza raccolta Secondo scherzo Scielta di villanelle Intessitura di varii fiori Publication90 Venice: A. Vincenti, 1618 Venice: A. Vincenti, 1620 Vicenza: Salvadori, 1620 Venice: A. Vincenti, 1622 Vicenza: Grossi, 1628 Rome: i Pieri e Paci, 1652

89 90

See Ch.4. First editions only.

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The Italian south is likewise an important symbol of authenticity in the publication Il Carro di Madama Lucia, a collection of alfabeto songs, duets, and choruses composed by Giovanni Battista Fasolo and published by Robletti in Rome in 1628. As is clear from the title page, Fasolos collection was published primarily with the musical practices of the Neapolitan rural and carnevale orbit close at hand: IL CARRO / di / Madama Lucia / et una serenata in lingua / Lombarda / Che fa la gola a carnavale / doppo un Ballo di tr Zoppi con una Sguaz- / zata di Colasone Una Morescha de Schia- / vi 3 Et altre Arie e Correnti Francese / con le littere per la Chiattare Spagnola / Poste in musica / Dal Fasolo / Ne Capricciosi Accademico Retirato / Rappresentato / E dato in luce / Da Gio Battista Robletti Romano // In Roma per il Robletti 1628 / Con Licenza de Superiori THE CHARIOT of Madama Lucia and a serenade in the Lombard language that is tasty for carnival; followed by a ballo for three Zoppi with a Squazzato di Colascione, a Morescha of the slaves for three voices, and other arie and French correnti, with letters for the Spanish guitar, set to music by Fasolo of the Capricciosi Accademico Retirato; presented and given light by Giovanni Battista Robletti Romano; In Rome by Robletti 1628, with license of the Superiors.

Prominent in the advertisement of this collection is the Neapolitan carnevale figure Lucia, the colascione, a Neapoltian rural folk instrument, the Naples-based moresca, and of course the Spanish guitar, an instrument whose Italian origins are located in the Spanish Kingdom of Naples.91 The Spanish guitar, an instrument closely bound to the culture of southern Italy, plays a fundamental role in establishing the cultural and pastoral authenticity of certain items in Il carro, noted by the fact that not all the settings are inscribed with alfabeto, as is shown in the following annotated song list of the collection:

91

Elena Ferrari-Barassi, I varii stromenti della Luciata , in La musica da napoli durante il Seciento, ed. Domenico Antonio dAlessandro and Agostino Ziino (Rome: Edizioni Torre dOrfeo, 1987), 325-44. This topic will be discussed further in Ch. 4.

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Table 4: Contents of Fasolo's Il carro di Madama Lucia (Rome, 1628), including order of the arrangement within the collection, page number, number of voices, and the presence of alfabeto. Title Sfortunata chi mi consola (Lamento di Madama Lucia) Laltra nottal far del goirn (Serenata in lingua Lombarda) Baccho Baccho portator dallegrezza Al mie pias i cullumbott Viva e viva Una volta fui al Mare Mentre per bizzaria Alle danze voi Pastori (Ballo di 3 Zoppi) Sotto un ombroso Faggio (Squazzato di Colasone) Hor s che e giorno quel hora (Corrente Francese) Hor cantar pi non vogliamo No. 1 2a 2b 2c 2d 2e 2f 3 4 5 6 Pp. Vc. 2 1 4 1 4 3 5 1 6 3 7 1 8 3 9 3 10 3 11 1 12 3 Alf. yes yes yes yes yes yes no yes yes no no

As the poems suggest, the guitar was more suitable for certain texts, namely those with specific Neapolitan connotations such as the opening Lamento di Madama Lucia and the Squazzato di Colasone, or in the pastoral numbers such as Alle danze voi Pastori and Baccho baccho portator dallegrezza. The Squazzato di Colasone (Figure 4) provides a colorful example of pastoral and Neapolitan authenticity, noted in the pastoral references to musical practice and onomatopoeic gestures that imitate the rasgueado (strummed) manner of playing the colascione92:

92

The colascione is a Neapolitan long-necked lute believed to be of popular origins. Tinctoris noted that the instrument was derived from the Middle Eastern tambura, introduced to Naples through the Turkish siege of Otranto in the Province of Lecce. See Alexander Silbiger, Imitations of the Colascione in 17thCentury Keyboard Music, The Galpin Society Journal 30 (1980): 92-7.

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Figure 6: Fasolo, Il carro di Madama Lucia, Sotto un ombroso faggio Squazzato di Colasone

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Sotto un ombroso Faggio Il primo di Maggio Il Pastorel dAmone, Sonava il Colasone E risonava laria in simil guisa: Rin tren tirin tren tirin tren tren Tirin tren tirin tren tiren tren tren Davannelle risa

Under a shady Beech On the first of May The Shepherd Amone Played the Colascione And the aria [tune] sounded thus: Rin tren tirin tren tirin tren tren Tirin tren tirin tren tiren tren tren Go forth with smiles

The Rin tren tirin trenset in homorhythmof the sixth line, while mocking the sound of the colascione, describes in the second verse the sound of the antica Zampogna: Era gi sparso intorno, Il son gentile e adorno, Gi che facea vergogna, Al antica Zampogna; Ma mentre che il Pastor stava sonando Trin trin tre, Molte Lumache givano danzando It was already scattered around, The pleasant and fine sound, So that it put to shame The ancient Zampogna; Yet while the shepherd was playing Trin trin tre, Many snails were dancing

In the third and final verse, the text explicitly references the cultural associations of these rustic instruments:

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Lasciavano i Bifolchi, Gli Armenti, i Prati, e i Solchi, Cheel suono inusitato, Havea tutti destato, Tal che sudia per ogni sentiero Trin tren tirin, etc. Oda st sono, chi non vuol pensiero.

The herdsmen left The herds, the fields, the furrows, For the unusual sound Had stirred excitement in everyone So that on every path one could hear trin tren tirin, etc. Let those who want no care hear this sound.

This alliterative device was earlier used to great effect in invoking rural music in Adriano Banchieris Il metamorfosi musicale of 1601, in which the three-voice setting of La villotta alla contadinesca nel chitarrino imitates the strumming of the guitar on the words Tin tin tin tin tiri trine.93 Fasolos setting reiterates the strong connection between the guitar, Naples, and pastoral authenticity in the seventeenth century, and moreover, underscores the imaginative and symbolic use of the instrument in the alfabeto song tradition.

93

For more on this instrumental effect in the music of Banchieri and others, see Ivano Cavallini, Lintavolatura per chitarrino alla napolitana dal Conserto vago, 1645, Quadrivium 19 (1978): 244.

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Chapter 3: Alfabeto Song Printing and Publishing Alfabeto songs were cultivated in both print and manuscript traditions. While musicologists have begun to evaluate alfabeto song manuscripts in some detail, the print tradition has yet to be properly explored.94 The precarious position of Italian music printing in the early to mid seventeenth century may help to explain the scholarly neglect of the repertory. In the span of eight years, the city of Venice witnessed significant interruptions of four of its most illustrious printing firms. The deaths of Angelo Gardano in 1611, Melchiorre Scotto in 1613, Giacomo Vincenti in 1619, and closure of Ricciardo Amadinos press in 1617 in many ways signaled the end of what might be characterized as the "Golden Age" of Italian music printing. The numbers illustrate the state of decline in an equally dramatic fashion: the total number of music editions published in Italy dropped from 450 in 1615 to less than 350 in 1625.95 Following the North-Central Italian plague of the early 1630s, this number would plummet to only 100 publications issued in

94

More recent alfabeto song manuscript studies include: John H. Baron, Spanish Solo Song in NonSpanish sources, 1599-1640, Journal of the American Musicological Society 30 (1977): 20-42; Hill, Roman Monody; and Giovanna Lazzi, ed., Rime e suoni per corde spagnole. 95 Angelo Pompilio, Editoria musicale a Napoli e in Italia nel Cinque-Seicento in Musica e cultura a Napoli dal XV al XIX secolo , ed. Lorenzo Bianconi and Renato Bossa (Florence: Leo S. Olschki, 1983), 9697. Pompilio derived these numbers from the following catalogs: Howard Mayer Brown, Instrumental Music Printed Before 1600: A Bibliography (Cambridge, MA: Harvard University Press, 1965); Gaetano Gaspari, Catalogo della Biblioteca del Liceo musicale di Bologna, 4 vols., (Bologna: Romagnoli DallAcqua, 1890-1902; reprinted Bologna: A. Forni, 1961); Joaquim de Vasconcellos, ed., Primeira parte do index da livraria de musica do muyto alto, e poderoso Rey Dom Joo o IV (1649) (Portogallo: Imprensa portugueza, 1874-1876); Mario de Sampaio Ribeiro, Livraria de msica del El-Rey D. Joo IV: Estudio musical, histrico e bliogrfico (Lisbon: Academia Portuguesa da Histria, 1967); Oscar Mischiati, Indici, cataloghi e avvisi degli editore e librai musicali italiani dal 1591 al 1798 (Florence: Leo S. Olschki, 1983); Emil Vogel, Alfred Einstein, Franois Lesure, and Claudio Sartori, Bibliografia della musica italiana vocale profana pubblicata dal 1500 al 1700, (Pomezia and Geneva: Staderini-Minkoff, 1977), Giovanni O. Pitoni, Notita de Contrapuntisti e de Compositori di muisca (Vatican City: Biblioteca Apostolica Vaticana, Cappella Giulia ms. 11); Franois Lesure, ed., Recueils imprims XVIe-XVIIe sicles I: Liste chronologique (Munich-Duisberg: G. Henle, 1960); Claudio Sartori, Bibliografia della musica stumentale italiana stampata in Italia fino al 1700, 2 vols. (Florence: Leo S. Olschki, 1952 and 1968); E.H. Mueller von Asow, Heinrch Schtz: Gesammelte Briefe und Schriften (Regensburg: G. Bosse, 1931); Raffaele Casimiri, Enrico Sagittario (Heinrich Schtz) alla scuola di Giovanni Gabrieli Note darchivio 10 (1938): 90; Franz Waldner, Zwei Inventarien aus dem XVI. und XVII. Jahrhundert ber hinterlassene Musikinstrumente und Musikalen am Innsbrucker Hofe Studien zr Musikwissenschaft 4 (1916): 128-147.

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1635. These conditions, coupled with an economic crisis during the 1620s, portray a bleak future for Italian music publishing after 1620. 96 Research on Italian music publishing during the first half of the seicento by Angelo Pompilio and Tim Carter further illustrates the unstable nature of music printing.97 As Pompilio first demonstrated and Carter later reemphasized, after 1600 and up until the middle of the century, sacred music publishing nearly eclipsed the production of secular music editions. This was not an isolated incident but a pan-Italian phenomenon that Carter has attributed in part to the stabilizing demand for church music following the ecclesiastical reforms of the Catholic Church.98 As a primarily secular music genre, printed alfabeto song flourished in environments that appear, at least to modern times, to have threatened the success of repertories of its kind. Details of the publication history of the alfabeto song, however, portray the repertory in a somewhat different light. The graph below (Figure 7) documents the production of alfabeto song publications as well as the overall Italian publication of secular vocal music from 1610 to the 1660s. As the shape of the graph indicates, the plague of the early 1630s proved to be a defining moment in the production history of Italian printed secular vocal music during the first half of the seventeenth century.99 Apart

96

For more on the effects of the Italian economic crisis of 1619-22 on music publishing, see Bianconi, Music in the Seventeenth Century, 77-8. 97 Pompilio, ibid., and Tim Carter, Music Publishing in Italy, c. 1580-c. 1625: Some Preliminary Observations, Monteverdi and his Contemporaries (Aldershot & Burlington, VT: Ashgate, 2000), 19-37. Carters data, in contrast with Pompilio, was compiled from Sartori, RISM Series A/I, RISM B/1, Brown, NV, Nigel Fortune, A Handlist of Printed Italian Secular Monody Books, 1602-1635, The Royal Musical Association Research Chronicle 3 (1963): 27-50, and John Whenham, Duet and Dialogue in the Age of Monteverdi, vol. 2 (Ann Arbor, MI: UMI Research Press, 1981), 25-164. 98 Carter, "Music Publishing in Italy," 23. 99 Data for Italian secular vocal music prints from the years 1610-1640 was taken from Carter, Music Publishing in Italy," 23-37. The only alfabeto song print whose collective texts are entirely sacred is the anonymous Canzonette spirituali et morali (Milan: Rolla, 1659). Alfabeto song collections that contain mixed sacred and secular texts such as Kapsbergers Libro secondo di villanelle (Rome: Robletti, 1618)

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Figure 7. Total Italian secular vocal editions and alfabeto song editions published in Italy

Total number of secular vocal editions

Alfabeto song publications

from the similar general trajectory of alfabeto song and overall Italian secular vocal music printing dictated by the events of the early 1630s, there remain a few instances where the two strands demonstrate opposing trends. The first is the sharp decline in Italian secular vocal music printing after 1618, during which time alfabeto song production reached its peak with ten publications issued in 1620. While Italian secular

and Manzolos Canzonette (Venice: A. Vincenti, 1623) were considered sacred or secular, following Carter, according to the majority of their song texts.

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vocal music publishing on the whole continued to weaken significantly during the 1620s, the data portray the decade as not only somewhat stable but also as the most productive for alfabeto song publishing. This trend counters previous generalizations about the effects of the Italian economic crisis of the1620s and its noticeable effects on secular music publishing during the decade.100 Despite the plague, yearly totals of alfabeto song prints during the 1630s at times comprised nearly half of the total output of Italian secular vocal music prints.101 What remains significant is that while Italian secular vocal music printing as a whole experienced steady and at times drastic decline after 1618, alfabeto song continued to be published on a fairly consistent and intermittently elevated basis throughout the 1620s and 30s. Its resilience during such unstable times demonstrates a notable demand for the repertory. It has been argued that printers indiscriminately added alfabeto to song collections to increase the market value of their publications.102 While this claim has yet to be verified in the primary literature, it demonstrates how scholars in the past have come to terms with the repertorys noticeable presence in music publication during the first half of the seventeenth century. This project argues that alfabeto songs existed as autonomous compositions and that this special system of tablature was deemed appropriate for certain types of songs with certain types of texts. As the repertory became standardized, it is eveident that notating alfabeto alongside text or melodies was an essential part of a tradition unto itself. This chapter seeks to strengthen this premise
100 101

See Pompilio, 81, and Carter, "Music Publishing in Italy," 26. In 1634 and 1635, alfabeto songbooks comprised 40 percent of the total yearly output of Italian secular vocal music prints (2 out of the 8 total publications in 1634 and 4 out of the 10 in 1635). 102 As Nigel Fortune argues, the Spanish guitar was becoming more and more popular in Italy, and this led to a new practice favoured by music-publishers, especially the commercially-minded [Alessandro] Vincenti: the practice of providing every song with letters for the guitar, even when, as in more serious songs, they were wildly inappropriate. Fortune, "Italian Secular Song," 136-137.

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through an analysis of the publication history of the repertory. The following pages will discuss how the trends and patterns of publication reveal relationships among various printing centers as well as among the individual publications themselves. It will be further shown how these relationships define the repertorys origins in Naples and Rome and later standardization in the central and northern regions of Italy, especially Venice. The table below breaks down the corpus of printed vocal music with alfabeto according to the location of both the publishing center and the area in which the composers of the collections were employed (Table 5). Unsurprisingly, the data confirm Venice as the leading music publisher in Italy during the early seventeenth century; not only did Venice publish the most alfabeto song books, but the citys music publishers also represented publications whose composers worked in the most varied locations (only the mezzogiorno and Sicily are absent). The printing history of the alfabeto song as well as the list of its practitioners provide further evidence that this tradition of accompanied singing to the guitar was grounded in Rome and points southward. It is interesting to note that while Venice led in the publication of the repertory, Roman composers were represented most frequently in the books, with nearly forty percent of their collective output published before 1620. Naples, whose publications make up about six percent of the entire repertory, printed all of its alfabeto songbooks before 1620. Venice, on the other hand, though dominating alfabeto song publishing throughout the 1600s, produced nearly ninety percent of its publications only after 1620. These results concerning the instrumental role that Roman musicians played in the origin and maintenance of the alfabeto song repertory encourage a reconsideration of past claims for the Venetian

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provenance of the tradition.103 Table 5: Publishing & provenance of alfabeto song prints and composers, 1610-1665104

Region of composer employment or the provenance of concordant sources in anonymous prints105 Outside Italy Campania / Puglia Emilia-Romagna Lazio/ Marches Lombardy/ Piedmont Tuscany/ Umbria Sicily Veneto/ Friuli Anonymous publication

# of prints

Publishing Center

Bracciano Florence Messina106 Milan Naples Orvieto Parma Pavia Rome Rome & Lucca Venice Verona Verona Padua & Parma Vicenza [n.p.] TOTALS

1 1 1 5 7 1 1 1 35 1 50 1 1

1 1 1 6 7 1 1 1 34 1 4 4 3 2 1 31 1 5 1 1

4 1 112

1 9 4 40 9 5 1

3 1 38

103

The centrality of Venice in the diffusion of printed songs with alfabeto is discussed in Leopold, Remigio Romano's Collection of Lyrics for Music, 45-61, and Miller, The Composers of San Marco." 104 First editions only; reprints are considered below.

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These examples highlight the usefulness of considering the activities of various printing centers in evaluating the publishing history of the alfabeto song repertory. As will be shown, each center developed its own kind of alfabeto song publication and publication history, while at the same time contributed to formulating a standardized repertory. Rome Rome's printers issued 33 first editions of alfabeto song prints, producing the most prints in Italy outside of Venice. Like other printing centers such as Naples and Milan, Roman printers concentrated their efforts on representing native composers. This is not only evident in the number of single-composer editions by Roman composers, but also in the number of anthologies that feature Roman composers. Table 6 illustrates the abundance of Roman composers found in alfabeto song anthologies published in the city.

105

For anonymous prints, their provenance was figured by the majority presence of music and/or text in concordant prints or manuscripts. For example, the Florentine provenance of Stefanis anonymous anthology Concerti amorosi (Venice: Vincenti, 1623) was determined according to Hill, who identified a majority number of musical concordances in Florentine manuscript sources. See Hill, 165. 106 Tylers catalog in The Guitar, 50, reports that Cesare Del Giudices Madrigali concertati (now lost) was printed in Palermo. An early eighteenth-century reference notes the publication of the edition in Messina by Pietro Brea. See Antonio Mongitore, Biblioteca sicula, sive de scriptoribus siculus, qui tum vetera, tum recentiora saecula illustrarunt, notitiae locupletissimae, vol. 2 (Palermo: 1708-14, reprinted Bologna: Forni, 1971), 108. This is also cited in Giuseppe Donato, Su alcuni aspetti della vita musicale in Sicilia nel Seicento, in La musica a Napoli durante il Seicento , ed. Domenico Antonio dAlessandro and Agostino Ziino (Rome: Edizioni Torre dOrfeo, 1987), 599.

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Table 6: Roman alfabeto song anthologies and city of composers employment/activity Title Giardino musicale di varii eccellenti autori (Robletti, 1621) Composers Abundio Antonelli, Giovanni Boschetto Boschetti, Ottavio Catalani, Alessandro Constantini, Girolamo Frescobaldi, Stefano Landi, Raffaello Rontini [Francesco Cerasolo] Abundio Antonelli, Ottavio Catalani, Gioseppe Cenci, Stefano Landi, Don Hipolito Macchiavelli, Pellegrino Mutij, Domenico Mazzocchi, Giovanni Bernardino Nanini, Raffaello Rontini Nicol Borboni, Alessandro Constantini, , Ferdinando Grappuccioli, Pellegrino Mutij, Giovanni Giacomo Porro, Pietro Paolo Sabbatini, Francesco Severi, Gregorio Veneri [Antonio Granata, Francesco Pesce, Giovanni Antonio Todini, Henrico Torscianello ] Paolo Agostini, Giuseppe Giamberti, Giovanni Bernardino Nanino City of Activity Rome

Raccolta de varii concerti musicali (Robletti, 1621)

[Uncertain] Rome

Vezzosetti fiori di varii eccellenti autori (Robletti, 1622)

Rome

[Uncertain]

Poesie diverse poste in musica (Soldi, 1623)

Rome

The Roman publication history also makes apparent that the practice of notating alfabeto tablature alongside poetic texts and vocal lines was cultivated in Roman musical circles before emerging on the Venetian scene during the 1620s. This coincides with the arguments of James Tyler and others who place Rome at the forefront of alfabeto practice based on the appearance of the tradition in Roman sixteenth-century manuscript

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sources.107 Not only was the earliest alfabeto song publication issued in Rome, but also the chronology of alfabeto song music publishing indicates that the city produced more publications than any other center in printing activities before 1620.108 The first Venetian single-composer alfabeto song print, Bernardino Borlascas Canzonette...libro secondo (G. Vincenti, 1611), itself has a distinct Roman flair, as indicated on the title page: Canzonette a tre voci di Bernardino Borlasca....appropriate per cantar nel Chitarrone, Lira doppia, Cembalo, Arpone, Chitariglia alla spagnuola, o altro simile strumento da concerto comhoggi di si costuma nella Corte di Roma. Canzonette for three voice by Bernardino Borlasca...arranged for singing to the Chitarrone, Lira doppia, Cembalo, Arpone, Chitariglia alla spagnola, or other similar instrument of concerto as is today the custom in the courts of Rome.109

Similarly, Flaminio Corradis Le stravaganze damore (G. Vincenti, 1616), another early Venetian alfabeto song print, makes its Roman connections known in the opening duet (and title of the collection) Stravaganza damore, a parody of Luca Marenzios canzonetta from the final intermedio of the 1585 play with the same title by Christoforo Castelletti.110 Remigio Romano's Terza raccolte di bellissime canzoni alla romanesca offers an interesting context for Rome's cultivation of the alfabeto song. In both existing versions of this book, only the songs labeled "romanesca" are appended with alfabeto. Moreover, in the edition published by Angelo Salvadori in 1620, the "romanesca" alfabeto songs are
107 108

See Tyler, 37-40; and Hill, 68-90. The earliest extant alfabeto song print is Giovanni Girolamo Kapsberger's Libro primo di villanelle (Rome: Robletti, 1610). 109 Borlasca, in the dedication of this print to Cardinale Bonifacio Caetano, also describes his canzonette as puramente alla Romana. This has led Ruth I. DeFord to interpret Borlascas characterization of his canzonettas as stylistically aligned with Marenzios Terzo libro delle villanelle (Rome: Alessandro Gardano, 1585). See DeFord, Marenzio and the villanella alla romana, Early Music 27 (1999): 550-51. The title page of Borlascas second book, however, indicates that the Roman manner of his edition is defined by the particular instrumentation of an accompanying ensemble, in which the Spanish chitariglia (a small four-course guitar) figures prominently. 110 Although Corradi was employed as a singer at San Marco in Venice in 1615, his whereabouts before this time are unknown. Notarial records indicate that he was from Fermo, a town located in the eastern territory of the Papal states. The document in question refers to him as Ill[ustr]e Cap[ita]n[o] flaminio Corradi da Fermo. See Miller, The Composers of San Marco, 58.

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grouped together and appear at the front of the collection, followed by alfabeto-less settings of canzonette, scherzi, and other genres. Interestingly, not a single romanesca setting in these editions includes a text in ottava rima, the standard poetic form of romanesca settings throughout the sixteenth and seventeenth centuries. These peculiarities coupled with alfabeto sonorities in the settings whose sequences are foreign to the established bass and harmonic patterns of the romanesca musical model leave one to ponder the implication of the phrase "alla Romanesca." Might Romano have chosen to describe the alfabeto settings "alla romanesca" not as indicative of a musical or poetic form, but more literally as settings in the Roman style? In several instances, Roman printers acknowledged alfabeto song as an exclusively Roman tradition. In 1624, for example, Giovanni Battista Robletti published Juan Araniess Libro segundo de tonos y villancicos, which was advertised on the title page as being composed con la Zifra de la Guitarra Espannola a la usanza Romana (with the chord(s) of the Spanish guitar according to Roman usage). This sentiment was expressed in alfabeto song prints throughout Italy beyond Venice and Rome, as in the Scielta de canzonette of Giovanni Ambrosia Colonna (Milan: Per l'her. di Giovanni Battista Colonna, 1627), who advertised its contents as Scielta de canzonette voce sola de pi illustri musici di Roma (Choice collection of canzonette for one voice composed by the most illustrious musicians of Rome.) Likewise, the title page of Cesare Del Giudices Madrigali concertati (Messina: Brea, 1628) publicized canzonette alla napolitana e alla romana per la chitarra spagnola. Alfabeto song publications from all over Italy demonstrate the widespread associations of the Spanish guitar and alfabeto with the city of Rome.

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The publishing evidence of a Roman codification of the repertory mirrors the visibility of the Spanish guitar within circles of the Roman elite. As Frederick Hammond has noted, the Spanish guitar was a common sight and sound among the Barberini, noted early on in Cardinal Antonio Barberini's cultivation of the instrument in 1627. Hammond also cites a 1634 invoice from Cardinal Francesco Barberini's instrument maker that records the purchases of a theorbo, archlute, Spanish guitar, and lyra barberina. Sometime in the 1630s or 40s, Don Taddeo Barberini mentions having learned the Spanish guitar and having his sons instructed in playing the instrument.111 Cardinal Montalto also sponsored guitar playing at his court, noted in the hiring of the Neapolitan virtuosa Ippolita Recupito to teach a young pupil the Spanish guitar at the court in 1615.112 The notable Roman musician Pietro della Valle, as mentioned earlier, maintains in his Della musica dell'et nostra (1640) that he learned how to play the Spanish guitar in Naples while studying with Giuseppe Novazio.113 Roman printers of alfabeto songs also developed approaches to publishing the repertory that set them apart from other Italian publishers, especially Venetian printers who standardized the alfabeto song repertory in the 1620s and 30s. There are two aspects of Roman alfabeto song publishing that contrast with the publishing practices of the Venetian houses. The first is the presence of a promoter, or an individual who requests the publication of a print ad instanza (= at request). While Venetian prints typically acknowledge the patron of a collection as responsible for initiating the production of the print, Roman editions often acknowledge both patrons and promoters as financing and creating demand for the products. Antonio Poggioli, who at one time or another
111 112

Hammond, 95-6. Hill, 133. 113 Solerti, 169.

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collaborated with each individual Roman printer of alfabeto song, appears on the Roman scene with great regularity, and the inclusion of his name in many prints emphasizes the importance of his position. While the details of his professional relationship with printers are not always clear, Sartori has remarked about his ownership of a bookshop in the Parione district of Rome.114 Between 1618 and 1623, Poggioli collaborated with Robletti in the publication of one of Romes most substantial collections of alfabeto song, Rafaello Rontanis four books of Musiche. Other Roman figures participated in similar ways. Like Poggioli, Paolo Masotti, himself a printer of music, promoted the publication of alfabeto songbooks as indicated on the title page of Gregorio Veneris Li varii scherzi (Soldi, 1621).115 Although Poggiolis and Masottis involvement in the publication of alfabeto song proves elusive in some cases, their roles as promoters were important as they emphasize the complex network of individuals that oftentimes collaborated to publish music. A second aspect of Roman alfabeto song publications that differs from the practices of their Venetian counterparts is the printing of alfabeto charts; a visual reproduction of the guitar fretboard with corresponding finger intabulation for each letter/sonority. Not only are there substantially fewer Roman editions that include alfabeto charts, but the few that do share a specific template that contrasts with the Venetian kind. Roman publications also eschew the standardized printed format of Venices alfabeto charts. In fact, not a single Roman publication includes a chart printed
114

Sartori, Dizionario degli editori musicali, 123. Third-party promotion of alfabeto songs did not originate in Rome. In 1612, Montesardo's I lieti giorni di Napoli was published in Naples "ad instanza di Pietro Paolo Riccio," a Nepolitan book dealer who also promoted Salzilli's La sirena libro secondo (1616). Salzilli's title page at the bottom reads: "In Napoli, Giovanni Battitsa Gargano and Lucrezio Nucci, si vendono alla libraria di Pietro Paolo Riccio." 115 The title page reads: Le varii scherzi di Gregorio Veneri romano...Libro primo. Opera quinta. In Roma per Luca Antonio Soldi. 1621 con licenza de Superiori. Adistanza di Paulo Masotti.

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from typeface; all of the charts within the prints are engraved, usually in the back or on a page with extra space.116 In short, alfabeto charts and other pedagogical resources are not a priority in the Roman prints as they are in others. Here it is notable to recall Roblettis characterization of alfabeto and Spanish guitar accompaniment as a specifically Roman practice; the necessity of alfabeto charts for an audience whose interaction with the alfabeto system was comparatively widespread would be minimal, just as it is unnecessary to provide todays musicians with fingering or tablature charts that outline our system of letter-name chords. The first Roman edition to include an alfabeto chart is Kapsbergers Libro secondo di villanelle (Rome, 1619) (Figure 8). This chart, in addition to the one found in his third book of villanelle, might have been added to the collections because of the composers own experience with plucked stringed instruments.117 The fact that no other Roman publications feature alfabeto charts and that Robletti did not typeset the charts lends claim to Kapsbergers authorship, although closer scrutiny of Kapsbergers charts reveals that the author may have had other models at his disposal.

116

For an illustrative example, see Kapsbergers Libro secondo di villanelle (Rome, 1619) [Figure 8]. In this print the alfabeto chart is engraved beneath the tavola on the final page of the edition. This stands in stark contrast with Venetian publications, which usually dedicate an entire prefatory page to an alfabeto chart printed from typeface. 117 Celebrated as a virtuoso theorbist, lutenist, and guitarist in Roman circles (and hailed as a renown composer by Giustiniani, Doni, and others throughout Italy), Kapsberger contributed greatly to the body of alfabeto song, producing seven books of villanelle with alfabeto that were all published between 1610 and 1640. For Kapsbergers reputation as a composer and performer in Italy, see James Forbes, The NonLiturgical Vocal Music of Johannes Hieronymous Kapsberger (1580-1651), Ph.D. dissertation, The University of North Carolina at Chapel Hill, 1977.

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Figure 8: Kapsberger, Libro secondo di villanelle (Rome: Robletti, 1619)

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Example 5. Transcription of the alfabeto chart in Kapsberger, Libro secondo di villanelle (Rome: Robletti, 1619)

Example 6. Transcription of the alfabeto chart in Montesardo, Nuove inventione dintavolatura (Florence: Marescotti, 1606)

As illustrated in these examples, Kapsbergers charts reference a format based on Montesardos chart published in Florence four years earlier. In fact, with the exception of two (B and R), chords A through R of Kapsbergers and Montesardos chart share the same sonorities and voicings, re-emphasizing the standardization of the alfabeto language throughout Italy. Kapsbergers chart, however, leaves out four of Montesardos chords

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(Y, Z, U, and 9), which leads to a mismatch in the chord assignment after chord R. The remaining six chords of Montesardos chart are not lost but renamed in Kapsbergers charts, thus (V in Montesardo becomes S in Kapsberger, XT, TV, RxZ, SY, and +X. Among Montesardos omitted chords, Y, Z, and 9 are inversions of chords found in Kapsbergers (A, D, and X respectively; these chords arent really left out, just presented in multiple inverted versions in Montesardos chart) while chord & spells a sonority (Db-F-Ab) in Montesardo that is neither replicated nor inverted in Kapsbergers chart. These differences and similarities among the chart styles attest to both the standardization and change that the alfabeto language endured across regional centers. It is interesting to note that while Kapsberger retained the first two-thirds of Montesardos system, the final third was entirely revamped even though the sonorities and voicings of the shared chords were no different. This differs with Venetian alfabeto charts, which although published over ten years after Kapsbergers first villanelle book, remained more faithful to Montesardos model. The charts reveal that the system of alfabeto was first introduced early in the 1600s in the Neapolitan Montesardo's publications, and later codified in Kapsberger's alfabeto early songbooks of the 1610s. Venetian alfabeto publications, on the other hand, are largely responsible for standardizing the charts in publications after 1620. The publishing history of Roman alfabeto songs demonstrates that the alfabeto system and the Spanish guitar were identified early on as components of Roman practice. Through an examination of the chronology of alfabeto charts, it also becomes apparent that early Roman charts serve as models for later Venetian publications of alfabeto song.

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Despite the Venetian proclivity for publishing the repertory throughout the 1620s and 30s, the publication history also suggests that the alfabeto system and singing to the Spanish guitar was well known early on in Rome, and consequently explicated Roman musical identity throughout Italy in the seventeenth century. Naples Alfabeto song publishing in Naples in many ways mirrors that of Rome with the notable exception that all of Napless alfabeto song prints (both first editions and reprints) were published before 1620. The 1610s also marked the decade that saw both Rome and Naples leading Venice in the output of alfabeto songs, a striking observation given that Venice would virtually eclipse all other printing centers in the publication of the repertory during the 1620s. Manuscript source studies agree that the Bologna manuscript (I-Bu MS 177/iv) and the Traetta manuscript (I-Rvat, Chigi L.vi.200) are the earliest Italian musical documents that contain alfabeto tablature for the Spanish guitar.118 Problems in the dating of the Bologna manuscript (ca.1585-1600) have led Hill to acknowledge the Traetta manuscript as the earliest datable Italian alfabeto source (1599).119 Significantly, both sources are of Neapolitan provenance and both sources employ the alfabeto system as vocal accompaniment. These early sources are not only important for determining the geographical origins of the alfabeto system in Italy, but more fundamentally, they illustrate that the system of alfabeto in its earliest documented stage was exclusively

118 119

More detailed information about these sources can be found in Hill, 70-4, and Tyler, 37-45. Hill, 70.

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associated with vocal music, not, as has been assumed in the past, to an instrumental tradition.120 It might seem surprising at first given the predominance of single-voice alfabeto songs in later sources, but the Neapolitan prints contain a significant number of three-part alfabeto songs in the Neapolitan tradition of canzone villanesche. While this subject will be explored in later chapters, it is worth noting here as the relationships between the multi-voiced format and the layout of Neapolitan alfabeto song prints reveal much about the origins of alfabeto practice. In 1616, Lucrezio Nucci published Paolo DAragonas Amorose querele and Soavi ardori, two collections of three-voiced canzonette with alfabeto. Nucci advertised these collections with the following inscription on the title page: Canzonette a tre voci segnate con le lettere dellalfabeto per la Chitarra alla spagnola sopra la parte del Basso e Canto. Di Paolo DAragona In Napoli per Lucretio Nucci 1616. Con licenza de Superiori. Canzonettas for three voices scripted with alphabetical letters for the Spanish Guitar above the Bass and Canto parts. By Paolo DAragona. Printed in Naples by Lucretio Nucci, 1616 with license of the Superiors.

Printing alfabeto above the canto as well as the bass is for Nucci an intentional act; not only does he advertise the practice on the title page, but he also considers it integral to the work despite the redundancy of duplicating the alfabeto in separate parts. The implications for the performance practice of this tradition are that performers either singing, or reading from the bass and canto parts can accompany the tunes. Alfabeto in the bass may not seem surprising, as it follows the practice of contemporaneous musical publications of adding figures to the bass to indicate harmonic voicing. Alfabeto in the canto part, however, shifts the emphasis of harmonic figuration away from the bass and
120

See Miller, "The Composers of San Marco," 182-93.

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to the melody, a practice that would seem counterintuitive in repertories with basso continuo or basso seguente. On the other hand, it suggests that the three-voice canzonette can be reduced to a melody voice and guitar accompaniment, perhaps even independent of the bass. Arguably, Nuccis decision to print DAragonas canzonette with such flexible options could have been influenced by a desire to attract wider audiences. The prints remain traditional in their three-voiced form, but also satisfy extra demand for solo or duet singing. The practice of reducing three-voiced canzonette to single-voiced accompanied versions is suggested in other Neapolitan prints. Orazio Giaccios Armoniose voci, first published jointly by Nucci and Giovanni Battista Gargano in 1613, features alfabeto not in the vocal parts, but rather above the texted verses in the basso part. As in the DAragona prints, the placement of the alfabeto implies a variety of flexible performance options, including singing solo to guitar accompaniment. As was suggested earlier, printing alfabeto above the canto part might seem at first foreign when compared to other printed practices of harmonic figuration. It should be noted, however, that guitar letters are notated above all of the canto parts of the tunes in the Bologna manuscript that incorporate alfabeto. In this way, the print tradition in Naples can be seen as standardizing of the layout of alfabeto songs as presented in early manuscripts. The placement of the alfabeto above the canto part in three-voiced pieces in the printed tradition, coupled with the initial printed appearance of the repertory in Naples supplies more evidence of the Neapolitan provenance of the alfabeto song tradition.121

121

Tyler notes the provenance of alfabeto song in Neapolitan manuscripts.

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Milan An interesting result from the data is the noticeable presence of the Milanese press in the production of alfabeto songbooks. Although the city never did compete with Rome or Venice in the printing of secular vocal music during the sixteenth and seventeenth centuires, Milan published sacred music at a steady and at times extensive rate during the first half of the seicento.122 Milan, like Naples, also maintained its Spanish identity throughout the early modern era (having been a Spanish province since the mid sixteenth century), and accordingly Milanese alfabeto song publications reflect both the publishing trends and the cultural profile of the city. To this latter point, it is significant that Milan published the first alfabeto songbook in the Spanish language, Benedetto Sanseverinos El segundo libro de los ayres ([n.p.], 1616).123 Recently recovered at the library of the Conservatorio C. Pollini in Padua, the books title and date suggest that Sanseverino compiled a previous first book of ayres earlier in the century, leading to the consideration of an early seventeenthcentury Spanish Milanese alfabeto song tradition that coincides with the early Neapolitan and Roman traditions.124 All of the existing early Milanese prints, however, stand out among the repertory through their close associations with instrumental practice. This is not only demonstrated in the activities of the composers of the editions, but also in the content and layout of the prints.

122

This is shown through a comparison of the tables outlining Italian music publishing in Pompilio, 96-102. Pompilios data show that while Milan averaged about five secular publications per year from 1600 to 1650, Venice averaged upwards of 70 per year and Rome 15 per year during this same time period. Sacred music publishing in Milan, however, figures much more prolifically in Pompilios data. 123 This print is listed in Tyler's catalogue, 98. 124 Passadore, 24.

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Giovanni Ambrosio Colonnas Il secundo libro dintavolatura (Milan: Eredi di Giovanni Battista Colonna, 1620) is the first in a series of alfabeto prints that disperse songs with alfabeto among a larger collection of instrumental pieces for the guitar. Editions of this type were published as part of an extensive tradition of guitar intavolature that was especially cultivated in Milan, Rome, and Bologna throughout the seventeenth century.125 Sanseverino and Colonna, both guitarists, authored all but one of the Milanese alfabeto song prints, and each of their publications employs the intavolatura format. Colonnas occupation as both a guitarist and printer appear to have influenced the format and language of his intavolatura prints. In contrast with other alfabeto song printers and composers, Colonnas publications discuss matters of notation, rhythm, strumming, and tuning, some of it gleaned from earlier sources (such as Montesardos Nuove inventione) and some of it original.126 Sanseverino, whose publications were printed by Filippo Lomazzo, advocates similar ideas in his intavolature with alfabeto songs. His publications offer a refinement of battuta (strummed) notation and tuning that has been described as pivotal in the standardization of seventeenth-century guitar notation.127 The intavolature of the early 1620s are the last Milanese alfabeto song collections until Carlo Francesco Rollas 1657 publication of one of most expansive yet elusive

125

In-depth studies of the alfabeto solo guitar tradition in Italy include Gary R. Boye, Giovanni Battista Granata and the Development of Printed Music for the Guitar in Seventeenth-Century Italy, Ph.D. dissertation, Duke University, 1995; Tyler, 52-99; and Johannes Wolf, Handbuch der Notationskunde, 2 vols., (Leipzig: Breitkopf and Hrtel, 1919), 2: 171-218. 126 Gary R. Boye and Robert Strizich, Colonna, Giovanni Ambrosio Grove Music Online, ed. Laura Macy (Accessed 1 February 2006) <http://www.grovemusic.com.content.lib.utexas.edu:2048> 127 Tyler, 58.

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collections of alfabeto song, the anonymous Canzonette sprituali e morali.128 According to the title page, this 200-page edition of sacred alfabeto songs anthologizes the musical repertory of the Oratory of Chiavenna, a provincial town just north of Lago di Como near todays Italian-Swiss border.129 This late publication demonstrates the standardization of the alfabeto system across a large cross-section of northern Italy at mid-century; there is no alfabeto chart and none of the pedagogical material that prefaces the earlier Milanese publications. The Canzonette spirituali e morali is an important document because it is indicative of a specific performing tradition that employed the alfabeto system. The use of alfabeto song in sacred environments noted in this print is confirmed in Foriano Picos Nuova scelta di sonate per la chitarra spagnola (Naples: Paci, 16[?]8), where alfabeto is printed alongside the Litany of the saints. The presence of the alfabeto system in sacred publications illustrates that the inclusion of alfabeto in Rollas collection was probably not an afterthought or an attempt on the printers part to increase the marketability of the publication as it has been argued for Vincentis publications.130 Although Rolla was

128

Mariangela Don claims a publication date of 1653 as printed in a copy housed in the Biblioteca Municipale in Reggio Emilia. See Don, La stampa musicale a Milano fino allanno 1700 (Florence, Leo S. Olschki, 1961), 69. In a copy preserved in the Biblioteca Panizzi in Reggio Emilia, the final page of music (p. 181) states: In Milano, Per Carlo Francesco Rolla Stamp. Con licenza de Superiori 1657. According to the Panizzi staff and official website (http://panizzi.comune.re.it), the Biblioteca municipale and Biblioteca popolare of Reggio Emilia were consolidated to form the new Biblioteca Panizzi in 1975. Unless there is a second copy of this print in the Panizzi, Dons date is most likely a misprint. 129 The full title of the collection reads: CANZONETTE / Sprituali, e Morali, / Che si cantano nellOratorio di / Chiavena, eretto sotto la / Protettione di S. Filippo / Neri / Accommodate per cantar 1.2.3. voci come / pi piace, con le lettere della Chitarra / sopra Aria communi, e nuovi date in / luce per trattenimento Spirituale / dogni persona. 130 Fortunes claim that the commercially-minded Vincenti haphazardly applied alfabeto to pre-existing music (cited early in this chapter), has been echoed in more recent scholarship. See Miller, "The Composers of San Marco," 187-88.

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undoubtedly familiar with the alfabeto system through his fathers publications, he did not publish any other work with alfabeto apart from the Canzonette.131 Venice Venice needs no introduction as Italys foremost music publishing center throughout the sixteenth century and into the seventeenth. Its participation in the printing of alfabeto songs began in 1613 with the anthology entitled Orfeo and would grow to comprise nearly 45 percent of the entire printed repertory. Roark Miller has explored the central role that Venice played in the printed dissemination of solo song with alfabeto in his dissertation and a subsequent article on the prints of Remigio Romano.132 In his research Miller argues for the consideration of an exclusive Venetian solo song style based on textual and musical concordances, musical style analysis, and patronage, to which there additionally exists a penchant for intabulating prints with alfabeto. The practice of incorporating alfabeto in Venetian monodic prints, according to Miller, is the result of Venetian composers contact with a separately cultivated tradition of dances and variations for the guitar that is divorced from vocal traditions.133 Miller also claims that the association of alfabeto with vocal music does not surface in the literature until the surge of Venetian alfabeto song prints issued at the start of the 1620s.134 As will be

131

Carlos father, Giorgio, was one of Milans most prominent music publishers during the first half of the seventeenth century, and published at least one instrumental collection with alfabeto, Giovanni Battista Sfondrinos Trattimento virtuoso. Disposto in leggiadrissime sonate per la chitarra (1637). While Sfondrinos print has been noted as anonymously published (Don, 124), in a copy housed in the Biblioteca del Conservatorio statale di musica Luigi Cherubini in Florence, Giorgio Rolla is named as the printer on the title page. See Boye, Chronological List," "Sfondrino (1637)." 132 Miller, The Composers of San Marco, and New Information on the Chronology of Venetian Monody: the Raccolte of Remigio Romano, Music and Letters 77 (1996): 22-33. 133 Miller, The Composers of San Marco, 189-90. 134 Ibid., 182-83.

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shown later in this chapter, this thesis presents a somewhat incomplete picture of alfabeto song printed and composed in Venice and throughout Italy. In revisiting the chronology of alfabeto song publishing in the seventeenth century, the figures reveal a number of important issues concerning the publication history of alfabeto song among Italys printing centers. As reflected in Table 4, the general picture of alfabeto song publishing is characterized by a peak in the 1620s followed by steady decline. This trajectory is mirrored in all of the printing centers with the exception of Naples. However, in breaking down further the publication history according to printing centers, it is revealed that each of the four major printing centers have their own type of publication history (Table 7). Table 7: The chronology of alfabeto song prints issued 1610-1665135 City of Publication Venice Rome Milan Naples Other Total 1610-20 7 9 3 7 4 30 1621-30 26 16 2 0 5 49 Decades 1631-40 12 2 0 0 2 16 1641-50 5 2 0 0 1 8 1651-60 1 3 1 0 1 6 1661-5 0 2 0 0 1 3

Venice, for example, championed alfabeto song publishing only during the 1620s and 30s; during the 1610s and 40s, it contributed on more or less an equal level with the rest of Italy, and during the 50s and 60s it published only one book. Rome, whose trajectory reflects the peak of the 20s, led in publication numbers during the teens and published five books during the 50s and 60s. Milan and Naples shared a history of peaking their

135

These figures represent first editions as presented in Appendix 1.

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publishing activity before 1620, with Naples producing all of its repertory during the 1610s. In terms of increase and decline, these figures provide a more complex picture. On the one hand, Rome and minor (other) centers of publication maintained a relatively stable output throughout the six decades, while on the other hand, Naples and most dramatically Venice exhibit erratic trends in publishing throughout the first half of the century. While these numbers again confirm Venice as the leader in the publication of the repertory, they also lead to provocative arguments against past claims for Venetian hegemony in the production of alfabeto song. It should be emphasized, however, that the provenance of a print can be determined by factors other than the place of publication, such as the city or area of the composer/compilers employment, as well as the provenance of earlier prints and manuscripts if the print is judged to have been copied from those sources. Unlike Rome, Naples, and Milan, Venetian alfabeto song publications featured music of composers from various locations around Italy. Among the Venetian editions one finds music from the Milanese composer Giovanni Ghizzolo, the Bolognese Domenico Manzolo, a handful of Roman composers including Filiberto Laurenzi, Stefano Landi, and Filippo Vitali, as well as several anthologies with concordances in earlier Neapolitan, Roman, and Florentine prints and manuscripts. The cosmopolitan flair of Venetian alfabeto song publishers should not, however, overshadow the significant number of local composers who are represented in the prints. As the chart above illustrates, 32 out of the total 50 Venetian publications are native collections. To this extent, Millers focus on the Venetian proclivity toward alfabeto song is not exactly

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overstatement. In fact, based on publishing figures alone, one would assume a Venetian provenance for the repertory. Ubiquitous among Venetian editions are alfabeto charts, visual renderings of the alfabeto language designed presumably for amateurs or those uninitiated into the system. As previously mentioned, these remain conspicuously absent from Neapolitan and Roman prints, perhaps indicative of the widespread knowledge of the system among the musicians in those areas. The printed sources for the Venetian charts appear to emanate Girolamo Montesardos Nuove inventione dintavolatura, a guitar instructional book published in Florence in 1606. Montesardo, a Pugliese native from the region of Lecce who worked in Bologna, Rome, Naples, and Lecce, would later contribute the alfabeto songbook I lieti giorni di Napoli to the repertory in 1612, and may have contributed earlier with a lost publication in Spanish El primo libro de la canciones villanelas.136 Montesardos chart exists as the earliest printed source to advocate the alfabeto system, and in comparing the Venetian charts with Montesardos, it is clear that the publishers were aware of the Nuove inventione or perhaps another later publication that incorporated Montesardos system. The strongest candidate for this later type is Remigio Romanos Prima raccolta di bellissime canzonette musicali, the earliest extant printed source to preface an edition of alfabeto songs with a pedagogical chart (there are no songs or lyrics in the Nuove inventione). First printed in Venice in 1618, Romanos print contains what looks to be a chart closely modeled on Montesardos, with only minor alterations that are retained in subsequent Venetian prints (Examples 6, and 7, and Figure 7).

136

Cited as: Geronimo Montesardo. El pr. lib. de la canciones villanelas, di G.M. 4. Venet. 1606 in Albert Ghler, Verzeichnis der in den Frankfurter und Leipziger Messkatalogen der Jahre 1564 bis 1759 angezeitgten Musikalien (Hilversum: Frits A.M. Knuf, 1961), 54.

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Example 7: Alfabeto chart from Montesardo, Nuove inventione dintavolatura (Florence: Marescotti, 1606)

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Figure 9. Romano, Prima raccolta di bellissime canzonette (Venice: Salvadori, 1618)

Example 8: Transcription of Romano, Prima raccolta di bellissime canzonette (Venice: Salvadori, 1618)137

137

In chords E and T there appear to be typographical errors in the tablature. These were corrected in later published versions of the chart, as seen in Milanuzzis Primo scherzo (below).

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In contrast with Kapsbergers charts in Rome, Romanos chart more or less retains the language Montesardos alfabeto chart with three minor exceptions: the placement of chord + at the head of the chart, the alteration of chord R (certainly a typographical error in Montesardos chart), and the renaming of chord 9 to chord . With exception of the inevitable editorial alteration of Romanos typographical errors (see chords E and T), later Venetian charts replicate Romanos letter assignment, chord spelling, numbered tablature and voicing and doubling, as seen in the charts of Milanuzzi and Ghizzolo. (Examples 9 and 10) Example 9: Transcription of alfabeto chart from Milanuzzi, Primo scherzo delle ariose vaghezze (Venice: Magni, 1622)

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Example 10: Transcription of alfabeto chart from Ghizzolo, Frutti damore...libro quinto (Venice: A. Vincenti, 1623)

Shown chronologically, these Venetian charts depict a common lineage to Montesardo and further illustrates how the Venetian prints served to standardize the prevailing printed language of the alfabeto system. One important contrast between the Venetian charts and those of earlier models is the inclusion of two scale collections with corresponding alfabeto. Although the publications make no reference to the specific purposes of these scales, their subtitles are concerned with illustrating the difference between playing alfabeto in keys with and without B-flat. As noted in Example 10, the scales are written in bass clef with corresponding letters above the notes.

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Example 11a: "Scala di Musica per B. Quadro," Miniscalchi, Arie...Libro terzo (Venice: A. Vincenti, 1630)

Example 11b: "Scala di Musica per B. Molle, " Miniscalchi, Arie...libro terzo (Venice: A. Vincenti, 1630)

* Misprint in tablature. As the charts above illustrate, the number on the third fret should read 2 instead of 3, lowering the B-flat to A.

The first scale (Scala di Musica per B. Quadro) implies a mixed language of tonal and modal sonorities. Considering the scalar notes and alfabeto chords in tonal terms, the series of chords reads: G major, A minor, G major (1st inversion), C major, D major, E major, F major, G major, A minor. From a theoretical point of view, the scale, wrought with harmonic cross relations and polymodality, appears awkward. The second Scala di Musica per B. Molle presents similar problems, most notably in the harmonic cross relations created by the chord series Bb major C major D major E major. But from a pedagogical standpoint, from which the chart presumably emanates, the scales seem to be 94

functioning as a device that illustrates the possibility of playing different chords over a single bass note, depending on the mode or key of the tune. The bass note G, for example, can be played with an A chord or an O chord; a D in the bass can be accompanied by either a C chord or an E chord, and so on. The nature of these scalar charts suggests that once a student learned to associate certain chords with bass notes according to the tunes modality, he or she could provide accompaniment without the assistance of letters, even in different keys. This has far-reaching consequences for other harmonic instruments. Here alfabeto functions simply as a system of corresponding vertical sonorities that is easily translatable to any instrument that can produce harmony. As in our modern chordal language, only the knowledge of letter names and corresponding harmonic structures is needed for performers of any chordal instrument to employ the system. The standardization of pedagogical material in Venetian alfabeto prints was witnessed mainly in the publications of Vincenti, who published the bulk of alfabeto songbooks in Venice. His decision not to incorporate more comprehensive systems of alfabeto and pedagogical material that was becoming increasingly important to instrumental collections that included alfabeto throughout the 1630s and 40s is unclear.138 Certainly Vincenti knew these publications through his own contributions to the repertory as well as those of his competitors. His sensitivity to demand in the commercial music market, especially during economically unstable times, may, on the other hand suggest
138

The expanding language of alfabeto tablature in solo guitar literature is discussed in Wolf, 172-6 and Boye, "Giovanni Battista Granata." Title-page and prefatory material transcriptions of many alfabeto rasgueado (strummed style) guitar books (including alfabeto charts) have been published by Boye on the internet, allowing for an even more detailed analysis of the increasingly complex alfabeto language of Roman, Bolognese, and Milanese solo guitar prints. See Boyes interactive Chronological List of Rasgueado Tablatures at http://www.library.appstate.edu/music/guitar/strummed.html (accessed 1 June 2006). Special thanks to the author for allowing this link to be cited and published here.

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that Vincentis standard chart sufficed the needs of alfabeto song print buyers. Arguably, the instrumental repertory attracted a much smaller audience; the music was demanding and its performing forces not as flexible and varied as that of alfabeto song. The charts at any rate attest to Vincentis awareness of the potential unfamiliarity of his audience with a system of chord tablature that originated in the south of Italy. This, even despite his continual inclusion of the chart in alfabeto songbooks published as late as the 1640s. The picture that begins to emerge after close consideration of the publishing history of the repertory is a standardization of Neapolitan, Roman, and even Milanese traditions through the Venetian presses. This is illustrated through several aspects of the Venetian publishing tradition, such as trends in the repertorys output, the variety of composers represented in the publications, and the presence of alfabeto charts that precede the editions. While it is true that Venice published more alfabeto books than any other Italian printing center, it contributed significantly only after 1620, and after that published as many books by native musicians as did Rome. These trends, while not ignoring the role that Venice played in the dissemination of the repertory, portray Venice as contributing to the repertory in a less demonstrative fashion than has been previously characterized. Provincial Centers Before considering the publishing history of the fourth and final printing center(s) of alfabeto song, it will be helpful to review the publication data noted earlier. Below are visual representations of this data in graph and chart form that clearly demonstrates that other (mainly provincial or quasi-urbanized) towns like Orvieto and Bracciano not only participated on an equal footing with the combined print effort of Milan and Naples, but

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they also served as the activity centers of composers for nearly 25% of the total printed output (Figure 10 and Table 8). This highlights the significant role that cities outside the major metropolitan centers played in disseminating the alfabeto song repertory through print. Figure 10: Printing and composer activity of alfabeto song publishing, 1610-1665, figured according to percentages of the entire printed output139

50% 45% 40% 35% 30% 25% 20% 15% 10% 5% 0%

e s ic Ro m M ila le en ap V N O th er e n

Print centers Composer activity

139

First editions only.

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Table 8: Breakdown of publication data according to composer region and city of activity Composer Region Campania/Puglia Emilia/Romagna Number of prints 9 4 Composer city of activity Bitonto: 2 Naples: 7 Bologna: 1 Cesena: 1 Forl: 2 Rome: 38 Viterbo: 1 Milan: 7 Turin: 2 Florence: 5 Messina: 1 Padua: 1 Valvasone (Pordenone): 1 Venice: 35 Verona: 2 Outside Italy: 1

Lazio/Marches Lombardy/Piedmont Tuscany Sicily Veneto/Friuli

39 9 5 1 40

Anonymous

In examining the role that smaller towns (the other category) outside Italys six major music-printing areas (Venice, Rome, Florence, Milan, Bologna, Naples) played in the dissemination of the alfabeto song, it should be noted that provincial music printing was not typical in sixteenth-century Italy. This point is illustrated in the printing history of the canzona villanesca alla napolitana repertory, which apart from the madrigal, was the most widely printed genre of secular vocal music in Italy during the sixteenth century.140 As expected, Venice leads in the printing production of the repertory, with Rome, Milan, and Naples following behind in less impressive numbers.141 Interestingly, only one provincial town participated in the printing of canzone villanesche: the city of
140

This is demonstrated in the combined output of the Venetian printing firms of Scotto and Gardano, who together published 102 editions of canzone villanesche during the sixteenth century, second in publication only to the madrigal. A comparison of this output with other sixteenth century genres published by Scotto and Gardano is noted in Bernstein, 148. 141 See Appendices A and C in Cardamone, 2: 1-23, 35-51.

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Capua (located just north of Naples), which produced a non-extant anthology in 1547.142 Bianca Maria Antolini credits the expansion of Giovanni Battista Roblettis Roman press to the hamlets of Rieti and Tivoli in the 1620s and 30s as economically motivated, noting that the firms were subsidized by local administrations.143 Other seventeenth century music printers followed suit in Rome and elsewhere, including Andrea Fei (Rome) in Bracciano in 1621, Bartolomeo Zannetti (Rome) in Orvieto in 1620 or 21, Giovanni Giacomo Carlino (Naples) in Tricarico (region of Potenza) in 1613, and Pellegrino Bidelli (Lucca) in S Felice sul Panaro (region of Modena) in 1616.144 Claudio Sartori referred to the seventeenth century as the age of editori nomadi italiani, citing Ottavio Beltrano as the centurys most notable nomadic editor.145 Born in Calabria, Beltrano opened presses in Cosenza, Sorrento, Montefusco (region of Avellino), Benevento, Ancona, and Naples within the short span of eleven years (1637-1648). The rise of provincial music printing reflects the changing shape of the Italian economy during the course of the seventeenth century. It is traditionally acknowledged that the decline of the Italian economy in the seicento was largely the result of plague and decreased value of manufactured goods. As Carlo Cipolla has noted, this decline was primarily an urban one; the rural economy, on the other hand, increased significantly during the century as urban industries moved to provincial towns to avoid hefty taxes, guild restrictions, and high labor costs.146 The increasing foreign demand for low-priced

142

Canzonj vilanesche napolitane nove scelte et di varij autori (Citt di Capua: Sultzbach, 1547). Cardamone (2: 5) cites mention of the print in Richard Schaal, Das Inventar der Kantorei St. Anna in Augsburg, Catalogus Musicus 3 (1965): 36. 143 Bianca Maria Antolini, Aspetti delleditoria musicale a Roma, in Muisca e musicisti nel Lazio, ed. Renato Lefevre and Arnaldo Morelli (Rome: Fratelli Palombi, 1985) 16-17. 144 See the individual printer entries in Sartori, Dizionario degli editori musicali. 145 Sartori, Beltrano, Ottavio, ibid., 22. 146 Carlo Cipolla, The Economic Decline of Italy, trans. Janet Pullan in Crisis and Change in the Venetian Economy, ed. Brian Pullan (London: Methuen, 1968), 132-145.

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Italian agricultural exports also contributed to a strengthening rural economy. Moreover, the seventeenth century bore witness to an emerging rural elite, a burgeoning class of provincial entrepreneurs who capitalized on the increasing value of agricultural property. Villages such as Poppi in Tuscany and Nerola in Lazio provide examples of how the growing rural economy fostered wealth and prosperity among the rural landscape.147 Small towns that were once feudal outposts could now support business and industry that was traditionally reserved for urban economic centers. Even more, they could effectively compete with urban centers as they offered business and industry economic incentives. In this respect, it seems fitting that Robletti, Zannetti, and others would seek to establish printing houses in provincial areas. The close proximity to timber and other agricultural goods essential for paper and ink production may have also contributed to the increasing number of provincial music printing centers. The cost of publishing Remigio Romanos four volume collection of alfabeto songbooks (Prima-quarta raccolte [Pavia: De Rossi, 1625]) could have led the composer to De Rossis press in Pavia, a leading rural manufacturing center of soap and paper.148

147

See Giovanna Benedusi, A Provincial Elite and the Emergence of the Tuscan Regional State: Poppi, a Case Study in Rural Society, 1440-1700, Ph.D. dissertation, Syracuse University, 1988; and Caroline Castiglione, Political Culture in Seventeenth-Century Italian Villages, The Journal of Interdisciplinary History 31 (2001): 523-552. 148 Lynna Hollen Lees and Paul M. Hohenberg, Urban Decline and Regional Economies: Brabant, Castile, and Lombardy, 1550-1750 (New York and London: Cambridge University Press, 1989), 445. This introduces the larger issue of urbanism versus provincialism in early modern Italy. While Pavia is considered by Lees and Hohenberg to be an urban center with a population of 18,000 in 1600, economically and socially it stands provincial in comparison with the urban metropolises of Milan, Rome, Venice, and Naples. Although demographics play an important role in defining urban and provincial areas, it is also useful to take into account cultural and social factors that determine urbanization, such as artistic production and patronage, international political influence, and religious/educational institutionalization. To this point Rome, Venice, Milan, Naples, Florence, Bologna, Genoa, and Palermo are indisputable Italian urbanized centers in the seventeenth century; Mantua, Ferrara, Turin, Siena, Perugia, and the like are borderline cases to be considered individually. See Lees and Hohenberg, 446. On the subject of Romanos Prima-quarta raccolta di bellissime canzonette (Pavia: De Rossi, 1625), this large anthological set of alfabeto songs was the only one of Romanos fourteen alfabeto song prints not

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Several provincial printers of alfabeto song publications operated under the previously cited conditions of franchising city businesses out to less populated areas. These include Andrea Fei of Rome, who opened a press in Bracciano, Robletti of Rome, who opened a press in Orvieto, and Angelo Salvadori of Venice, who operated a press in Vicenza. Other printers, such as Giovanni Battista Merli (e fratelli) in Verona and Francesco Grossi in Vicenza are known only through their alfabeto song publications, and emphasize the options available to composers or patrons who sought to have music published. As mentioned, cost may have been an important factor in driving business away from the established presses of Venice and Rome, especially for musicians like Biagio Marini and Stefano Pesori who were employed in areas more isolated from major urban centers.149 Reprints The number of reprints that were issued from Italian music presses between 1610 and 1665 further attests to the notable presence of the alfabeto song prints during the Seicento. This figure31 in allbrings the total number of alfabeto song publications to 142, with reprints constituting about 20 percent of the known repertory. As in the publication of first editions, the 1620s proved to be the most prolific decade for alfabeto
published in either Venice or Vicenza. For the publication history of Romanos alfabeto song collections, see Miller, The Composers of San Marco and Santo Stefano, 154-5. 149 Anteo Viotti is known only to have published Marinis Scherzi e canzonette (1622) and his music drama Le lagrime dErminia (1623) (Sartori, Dizionario degli editori musicale, 167). From a long line of Parmigiani music publishers, Viotti and his services were requested during Marinis employment with the Farnese court in Parma (Thomas D. Dunn, Marini, Biagio, The New Grove Online, ed. Laura Macy (Accessed 2 June 2006) <http://www.grovemusic.com.content.lib.utexas.edu:2048> .) Pesori, referred to in his publications as "Stefano Pesori Mantovano", appears to have been working in Verona in 1646, as he signed his dedication to Ferdinando Carlo Archduke of Austria from Verona in the preface to his Galeria musicale, published by Giovanni Battista Merli e fratelli in 1646. This pushes back the date of Pesoris move from Mantua to Verona in 1649 offered by Carla Tessari, who noted Pesoris name in the Anagrafi of the contrada Santa Cecilia in Verona in 1649 as the earliest reference to his presence in Verona. See Tessaris introduction in Stefano Pesori, Galeria musicale, ed. Carla Tessari (Verona: A.M.I.S., 1989), 5.

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song reprints, with the total number (22) comprising about 20 percent of the average number of total music edition reprints issued within this ten-year span (77).150 The data also demonstrate that the publishing centers of alfabeto song maintained more or less the same output trajectories of first editions as they did with reprints, with perhaps the exception of Venice, which published no reprints after 1630. Table 9: Breakdown of alfabeto song reprints by printing center and decade of publication, 1610-1665 City Venice Rome Milan Naples Florence Venice & Turin Vicenza Pavia Total 1st eds. + reprints 1610-20 1 1 0 2 1 0 0 0 5 35 1621-30 8 2 2 0 0 3 4 3 22 70 Decade 1631-40 1641-50 0 0 0 0 1 0 0 0 1 0 0 0 0 0 2 18 0 0 0 8 1651-60 0 2 0 0 0 0 0 0 2 8 1661-5 0 0 0 0 0 0 0 0 0 3 Total 9 5 3 2 2 3 4 3 31 142

It is interesting to note that the anthologies of Milanuzzi, Stefani and Roman constitute half of the total number of reprints (Table 10):

150

This number was figured from the data in Pompilio, Editoria musicale nel Cinque-Seicento," 97, which although not precise (values were based on their position in Pompilios graphs), claims an average figure of about 77 total Italian music edition reprints published between 1620 and 1630 (100 in 1620, 75 in 1625, and 55 in 1630. Carters numbers in Music Publishing in Italy," 20, which compares the total number of Italian music prints to reprints every fifth year between 1550 and 1640, presents a lesser figure of 13 reprints derived from averaging the number of reprints issued in 1620 (23), 1625 (12), and 1630 (4). As previously mentioned, Pompilios source bibliography is considerably more comprehensive than Carters and therefore offers a more realistic perspective on the music publishing business during the first half of the seicento.

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Table 10: Anthological alfabeto song reprints, 1610-1650 Title Affetti amorosi Editor Giovanni Stefani Stefani Stefani Giovanni Stefani Remigio Romano Romano Seconda raccolta di canzonette Romano Remigio Romano Romano Romano Remigio Romano Romano Romano Remigio Romano Romano Carlo Milanuzzi Publisher Venice: A. Vincenti Vincenti Vincenti Venice: A. Vincenti Vicenza: Salvadori Venice & Turin: Cavaleri Pavia: De Rossi Vicenza: Salvadori Venice & Turin: Cavaleri Pavia: De Rossi Vicenza: Grossi Vicenza: Salvadori Pavia: De Rossi Venice & Turin: Cavaleri Venice: Salvadori Venice: A. Vincenti Date 1621 1623 1626 1622 1622 1624 1625 ca. 1622 1624 1625 1621 1622 1625 1624 1625 1623/4

Scherzi amorosi Prima raccolta di bellissime canzonette

Terza raccolta di bellissime canzonette

Nuova raccolta di bellissime canzonette Quarto scherzo delle ariose vaghezze

The large number of reprinted anthologies indicate that anthologies were among the most popular formats for printing alfabeto songs in the seventeenth century (just as musical anthologies were popular publications in the sixteenth century.151) This coincides with the widespread appeal of alfabeto songs (texts and music) in anthological publications discussed in Chapter 4, and further supports a perception of the relatively

151

On the wide spread appeal of Venetian anthologies in the mid-cinquecento, see Ongaro, 43-70.

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high demand for alfabeto song publications during the unfavorable state of the secular music publishing trade in the early decades of the century. The subject of alfabeto song publication spurs one final topic in this chapters discussion of the repertory: the question of customer profiles. For sixteenth-century music printing studies (seventeenth-century music printing is comparatively underrepresented in musicological literature), the lack of unearthed documents relating to the transactions of Italian music book printers and sellers has forced scholars to speculate about generic profiles of music book consumers.152 Of the evidence that exists, only relatively few specific accounts regarding music print transactions have been noted, and these activities are limited to the major houses of Venice (Gardano, Scotto) and Rome (Dorico) during the mid-to late-sixteenth century.153 On the one hand, the pedagogical nature of many Venetian alfabeto song books discussed in chapter 4hints at the fact that students of music, or perhaps even music tutors that in turn sold the books to their students, might have comprised a healthy portion of the alfabeto song book market. Such a scenario might have been the case in the sale of Stefano Pesoris alfabeto books of the 1640s. On two separate occasions Pesori published lengthy registers of his students, categorizing them according to class structure within the Veneto caste system.154 Numbered among Pesoris pupils include members from all strata of social organization: Nobili Veneti, Marchesi, Conti, Dottori, Religiosi, Gentilhuomini, Capitani, Cittadini, Mercanti, Tedeschi, and Ebrei. Pesoris advertisement serves as both a testament to the kinds of people that may have been trained in the alfabeto system as
152 153

See Agee, 43. See accounts in Agee; Bernstein; Suzanne G. Cusick, Valerio Dorico: Music Printer in SixteenthCentury Rome (Ann Arbor, MI: UMI Research Press, 1981); and Lewis. 154 These registers are found in Pesoris Galeria musicale (Verona: Giovanni Battista & Fratelli Merli, 1646) and the Toccate di chitarriglia parte terza (Verona: Andrea & Fratelli Rossi, [n.d.]).

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well as to the social profile of consumers that were likely to have been in the market for music books with alfabeto (Figure 11). Figure 11: Page 1 of the Regsitro de discepoli piu riguardevoli, from Stefano Pesoris Galeria musicale (Verona: Giovanni Battista & Fratelli Merli, 1646)

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On the other hand, investigation into the economic details of purchasing alfabeto in Venice reveals that most Venetian middle-class merchants and master laborers at midcentury could have easily afforded alfabeto music books. According to Alessandro Vincentis catalogue of music prints of 1649, the average cost of an alfabeto songbook was between 1 and 2 lire (20 40 soldi), a little more than a Venetian unskilled laborers (lavoranto) average daily wage in 1630.155 For a conservative comparison, an engineer at the end of the sixteenth century averaged 240 ducats (29,760 soldi or 1,488 lire) per year, placing his average monthly income at 124 lire.156 At mid-century, a skilled Venetian textile worker was documented as earning 24.5 lire in one month. To put these numbers in perspective, the monthly cost of rent in an apartment located within the working class Venetian parrochia of Angelo Raffaele (San Rocco) averaged 7.9 lire in 1651.157 The cost of an alfabeto songbook at mid-century was equal to that of about three linen cloths or a knife used to cut brazilwood.158 A similar economic scenario appears in Rome. While the prices of individual Roman alfabeto songbooks are not known, John Walter Hill cites the cost of a book of canzonette musicali in 1600 at 2.04 scudi.159 Contemporaneous accounts, however, render this figure inflated. In 1570, Giovanni Animuccia was reimbursed 1.30 scudi for his purchase of Palestrinas third book of masses (about 100 folio pages).160 At this 1570 rate, a book matching the dimensions of Kapsbergers Libro primo di villanelle published in
155

Brian S. Pullan, Crisis and Change in the Venetian Economy in the Sixteenth and Seventeenth Centuries (London: Methuen, 1968), 158. 156 Agee, 26. 157 Richard T Rapp, Industry and Economic Decline in Seventeenth-Century Venice (Cambridge, MA: Harvard University Press, 1976), 133. 158 Ibid., 181. 159 Hill, xix. 160 For this and other details about the purchase of Palestrinas published masses in the late sixteenth century, see Cusick, 157-8.

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1610 (24 folio pages in length) would amount to about 30 baiocchi, or .30 scudi. Even accounting for price inflation between the forty-year period of Animuccias purchase and publication of the Libro primo, the average size of an alfabeto song printabout 30 folio pagesappears to have been within the purchasing limits of a Roman operaio specializzato (skilled laborer), who grossed an average monthly income of 3 scudi in the early seicento.161 These Venetian and Roman figures seem to agree with Richard Agees summation of music book customer profiles in Venice during the late sixteenth century: purchases of music books whose value equals that of alfabeto songbooks were feasible to all but the unskilled laborer with a large family and the institutionalized poor.162 While the figures presented here are preliminary and unsatisfactory for detailing the consumer profiles of alfabeto song book buyers, they are helpful in considering the economic context of the price lists issued by Vincenti, in which several of his published alfabeto song books are inventoried.163 Although the details of consumer transactions of alfabeto songs have yet to be uncovered, tracing and analyzing the publication history of the repertory serves to illustrate both the various periods of the repertory's dissemination as well as the geographical patterns of diffusion the repertory underwent after its appearance on the music publishing scene during the early 1610s. Research into the publishing history also demonstrates how both urban and provincial centers produced the printed tradition, and further describes how elements of the repertory became introduced and/or standardized as
161

Renato Ago, Economia barocca: Mercato e instituzioni nella Roma del Seicento (Rome: Donzelli editore, 1998), 8-9. 162 Agee (in agreement with Tim Carter) notes that at a price of about 27 soldi, a set of printed part books was affordable for a large cross-section of Venetian society during the late sixteenth century. See Agee, 27. Tim Carter has also shown that at least one Florentine bookshop sold printed music to clerics, leather workers, and custom inspectors. See Carter, "Music Selling in Late Sixteenth-Century Florence: The Bookshop of Piero di Giuliano Morosi," Music & Letters 70 (1989), 495-96. 163 These inventories are transcribed in Mischiati, 140-267.

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the century progressed.

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Chapter 4: Alfabeto Song Concordances The high incidence of concordant texts among printed alfabeto songs presents some of the most convincing evidence for the cultivation of an alfabeto song tradition in the early seventeenth century. About 400 of the nearly 1,600 musical settings of poetry in alfabeto song prints share a text with at least one other setting in the repertory. These numbers are especially impressive considering that most of the lyrics are anonymously penned, a practice that, while not entirely foreign to other secular song publications, runs counter to an established musical tradition of pulling texts from the Italian literary canon.164 For a composer such as Monteverdi, who famously chronicled the advocacy of words as the mistress not the servant of harmony, the transmission of anonymous texts would seem to undermine the composers unyielding reverence toward the Italian literary establishment of the sixteenth and seventeenth centuries.165 Such flourishing of anonymous doggerel seems inappropriate at best in an age that characterized its own madrigal poetry as the last born child of this [Tuscan] tongue, which the divine Tasso...and most courteous Agostino Nardi, Simonetti, Guarini and others...equal or rather surpass the epigrams of the Latin poets.166 This attitude is certainly not reflected in the frequent concordances of anonymous canzonette, arie, and scherzi texts among alfabeto songbooks that flooded the printed music market of the 1610s, 20s, and 30s.167 While some of these concordances, most
164

Illustrated, for example, in the madrigal books of Monteverdi, which incorporate volumes of texts by Tasso, Guarini, Rinuccini, and Marino, some of which dedicate themselves to the texts of a single author (Il quinto libro de madrigale [Venice: Amadino, 1605], for example, employs exclusively Guarinian texts.) 165 This, the credo for the seconda prattica, was purported as Monteverdis own in his brother Giulio Cesare Monteverdis Dichiaratione from Monteverdis Scherzi muscali (Venice, 1607). 166 Maurizio Moro, I tre giardini de madrigali (Venice: 1602), 19. This excerpt is cited and translated in Tomlinson,, 88. 167 Monteverdi himself contributed three anonymous alfabeto songs to the repertory: "Si dolce 'l tormento," "Ohim ch'io cado," and "La mia turca," all published in Milanuzzi (1624).

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notably among anthological publications, also incorporate musical material, many do not. The disproportionate number of textual concordances over musical borrowings adds to the complex and elusive nature of alfabeto song composition. On one hand, the high textual borrowing incidence leads to the idea that composers may have scoured alfabeto song publications for texts, or, in the case of non-staffed alfabeto songs, they might have assumed that the melody of a well-known tune could be recalled simply from its text. On the other hand, the high frequency of textual borrowing in the repertory demonstrates that composers and editors carried the knowledge to judge what types of texts were appropriate candidates for alfabeto inscription. Using a popular alfabeto song text, composers could offer their own personalized musical renditions, perhaps even in response to or in competition with earlier settings in circulation. As in the case of the publication history of alfabeto song prints explored above in Chapter 3, tracing the chronology of alfabeto song text concordances reveals patterns that emphasize relationships among an earlier southern repertory and a later, more standardized northern repertory. These relationships are first demonstrated in the incidence of concordant texts found among the early and later repertories, with numerous cases of subsequent appearances of texts first published in Roman and Neapolitan sources (Table 11).

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Table 11: Alfabeto song prints 1610-1616 and the incidence of their texts appearing concordantly in subsequent alfabeto song publications Composer (Publishing) Kapsberger (Rome, 1610/12) Borlasca (Venice, 1611) Montesardo (Naples, 1612) Giaccio (Naples, 1613/16/18) Various (Venice, 1613) Sanseverino (Milan, 1616) Salzilli (Naples, 1616) D'Aragona (Naples, 1616) D'Aragona (Naples, 1616) Salzilli (Naples, 1616) Falconieri (Rome, 1616/18) Corradi (Venice, 1616) Title Libro primo di villanelle Canzonette... libro secondo I lieti giorni di Napoli Armoniose voci Orfeo. Musiche de' diversi autori El segundo libro de los ayres La sirena... libro secondo Soavi ardori Amorose querele Amarille... libro terzo Libro primo di villanelle Le stravaganze d'amore
Incidence of textual concordance

5 0 6 8 0 0 2 5 11 2 16 3

Not only do these numbers indicate the likely presence of a foundational bibliography for later alfabeto sources, they also represent, as a group, sources that sustained one of the highest rates of concordant incidence among single-composer alfabeto song prints published in the seventeenth century. Examining the later sources that include textual concordances with pieces of the early Neapolitan prints serves to encapsulate this phenomenon in more concrete terms. The table below recounts in detail the number of alfabeto song prints that subsequently appropriate texts from the seven early Neapolitan alfabeto song prints published during the 16-teens: Girolamo Montesardos I lieti giorni di Napoli (1612), Crescenzio Salzillis La sirena...libro secondo (1616) and Amarille...libro terzo (1616), Paolo dAragonas Soavi ardori (1616) and Amorose querele (1616) and Orazio Giaccios Armoniose voci (1613/16/18) and Laberinto amoroso (1618) (Table 12).

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Table 12: Neapolitan alfabeto song sources 1612-1618 and their texts with concordances in subsequent alfabeto songbooks [known poets in brackets]168 [* no alfabeto] Neapolitan source Montesardo (1612) Concordant text Chi pu mirarvi Ite sosipiri miei O felice quel giorno [Francesco Lombardi] Vagheggiando le bellonde [G. Chiabrera] Vezzosetta pastorella Deh fuggitincauti amanti Mira quel pesce mira come a lesca Pi non tamo desio crudel Ama pur ninfa gradita Fuggi fuggi dolente core [Cataneo] In questo duro scoglio Ohim che far deggio [G. Torelli] DAragona, Soavi ardori (1616) Ahi che morir mi sento Concordant source DAragona (1616b) DAragona (1619b) Kapsberger (1619a) Vitali (1622) Vitali (1620) DAragona (1616a) Kapsberger (1640) Olivieri (1620) Milanuzzi (1630) Milanuzzi/F. Monteverdi (1624) Romano (1618)* Robletti, ed. (1621)* Milanuzzi (1622a) Giamberti (1623) Stefani, ed. (1620)

Salzilli, La sirena (1616)

Salzilli, Amarille (1616)

DAragona, Amorose querele (1616)

Giaccio, Armoniose voci (1613/16/18)

Al fonte al prato al bosco a lombra [F. Cini/G. Chiabrera?] Ecco che pur al fine La mia bella pastorella Ite sospiri miei Non voglio amare per non penare Occhi belli occhi sereni Donningrata senzamore Dove nandr dolente Dunque il mio fido amore

Stefani, ed. (1623) Milanuzzi/F. Monteverde (1624) Millioni (1627) Tarditi (1628) Severi (1626) Giaccio (1618) Landi (1620) 169 Kapbsberger (1619a) Robletti/Borboni (1622) Milanuzzi (1624) Giaccio (1618) Stefani, ed. (1620) Sances (1636) Stefani, ed. (1618)

168
169

Poets noted in NV and Leopold, Al modo d'Orfeo 2. La mia cara pastorella.

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[Cataneo] Ecco lalma mia bella [Cataneo] Non voglio amare per non penare Pass lardore - Amante pentito [Cattaneo] Godi pur col nuovo amante

Stefani, ed. (1623) DAragona (1616b) Robletti/Borboni (1622) Milanuzzi (1624) Stefani, ed. (1618) Romano (1620b)* Stefani, ed. (1620)

Giaccio, Laberinto amoroso (1618)

As this table illustrates, Neapolitan texts appear to occur most frequently in alfabeto song anthologies. While several of the Neapolitan source texts can be attributed to such living poets as Orazio Cataneo and Gabriello Chiabrera, sources appear to have fostered the transmission of several standard alfabeto song texts that recurrently appear throughout the repertory, including Cattaneos Fuggi fuggi dolente core, the anonymous Ahi che morir mi sento, and Cini/Chiabreras Al fonte al prato al bosco alombra. 170 Among these three, only Al fonte al prato seems to have been circulated outside of the alfabeto song repertory. Both Fuggi fuggi dolente core and Ahi che morir mi sento are found in non-alfabeto Neapolitan prints that were published before their appearance in alfabeto song prints; after this they are only known as alfabeto songs. Certainly the texts appearance in such popular publications as Stefanis Scherzi amorosi, Milanuzzis Scherzi, and Romanos Raccolte, all of which were reprinted, facilitated their popularity within the later repertory. Non voglio amare per non penare suggestively illustrates this point: after the anonymous poems initial publication in Giaccios Armoniose voci
170

This text is found, among other places, in Giulio Caccinis Nuove musiche e nuova maniera di scriverle (Florence: Pignoni, 1614). While Tim Carter attributes the text in Caccinis collection to Francesco Cini, H. Wiley Hitchcock and Silke Leopold both claim anonymous authorship. See Carter, Caccini, Giulio Romano, Grove Music Online, ed. Laura Macy (Accessed 23 March 2006). http://www.grovemusic.com.content.lib.utexas.edu:2048, Hitchock, Caccinis other Nuove musiche, Journal of the American Musicological Society 27 (1974): 441, and Leopold, Al modo dOrfeo , 2: 222. The editors of the NV cite Chiabreras authorship as the text appears in collections published throughout the seventeenth century including the two listed above.

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(Naples, 1613/16/18), it subsequently appeared in dAragonas Soavi ardori (Naples, 1616), Roblettis Vezzosetti fiori (Rome, 1622), and finally Milanuzzis Quarto scherzo (Venice, 1624). These examples of textual circulation among the alfabeto song repertory emphasize the foundational role that the early Neapolitan prints played in the dissemination of alfabeto songs throughout the 1620s and beyond. Another source that chronicles the textual outcropping of early southern sources is Andrea Falconieris Libro primo di villanelle (Rome: Robletti, 1616/18) a collection that incurred one of the highest rates of textual outsourcing in the entire alfabeto song repertory (Table 13).171 The Libro primos influence in the alfabeto song repertory appears to have been felt beyond the poetic, as demonstrated by the numerous musical concordances shared between Falconieris print and later sources (see anthologies below). Table 13. Textual concordances between Falconieris Il primo libro di villanelle (Rome, 1616/18) and subsequent alfabeto song prints Concordant text Concordant source Armilla ingrata Olivieri (Rome, 1620) Robletti, ed. (Rome, 1621a) Aure vaghe, aure gioconde Kapsberger, (Rome, 1619a) Rontani (Rome, 1620) Vitali (Rome, 1620) E vivere, e morire Stefani, ed. (Venice, 1618/21/23/26) Filli vezzosa Stefani, ed. (Venice, 1620/22) O fronte serena Kapsberger, (Rome, 1619) Occhi rubelli del regno Manzolo (Venice, 1623) dAmore Severi (Rome, 1626) Occhietti amati Vitali (Rome, 1620) Millioni (Rome, 1627) Pastorella ove tascondi Crivellati (Rome, 1628) Soccorso ahim ben mio Manzolo (Venice, 1623) Spiega, spiega la vela Kapsberger (Rome, 1619b) nocchiero Vezzosette e care Kapsberger (Rome, 1619a)
171

For a discussion of concordances found between Falconieri's Libro primo and Libro sexto and the manuscript tradition, see Fabris, Andrea Falconieri Napoletano, 76-81.

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Although the circulation of Falconieris anonymous texts was most prevalent among Roman publications, Stefani also incorporated Falconieris text in his anthologies published by Vincenti in Venice. Falconieri, always described as Napole[/i]tano in publications of his music, seems to have been known among elite circles of the Italian court establishment, including Cardinale (Gian Carlo) de Medici, to whom the Libro primo is dedicated. His associations with the courts of Parma and Mantua might have contributed to the Venetian publication of his Musiche...libro sexto (1619), Falconieris second alfabeto songbook that also introduces texts later appropriated in alfabeto song collections (Table 14). Table 14: Textual concordances among Falconieris Musiche...libro sexto (Venice, 1619) and subsequent alfabeto song prints [* no alfabeto] Concordant text Al dolce mormorar Bocca ridente Filli ascoltami Ladra ladra dAmore Mille scherzi e canti O fronte serena Concordant source Robletti, ed. (Rome, 1621a) Ghizzolo (Venice, 1623) Milanuzzi (Venice, 1624) Severi (Rome, 1626) Millioni (Rome, 1627) Robletti/Mutij (Rome, 1622)* Manzolo (Venice, 1623) Kapsberger (1619b)

Alfabeto Song Anthologies and their Concordant Sources: Millioni's Prima scielta di villanelle (1627)
Pietro Millionis Prima scielta di villanelle (Rome: Facciotti, 1627) is one of several Roman alfabeto song sources that do not employ musical staff notation. As seen in the alfabeto prints of Stefano Pesori from earlier chapters, this unique format resembles that of poetry anthologies, with the addition of alfabeto symbols printed above the words. Millionis print is not the first of its kind to appear in Italy; both Silke Leopold 115

and Roark Miller have explored Remigio Romanos five-volume Raccolte di bellissime canzonette (1618-1626), an enormous anthology of more than 400 poems, 43 of which are inscribed with alfabeto.172 The textual and musical concordances among the settings of Romanos collection and those of other musical collections have led Miller to conclude that Romano relied on printed and manuscript Venetian musical sources in assembling his printed anthologies.173 Millionis Prima scielta, while also comprising a significant number of textual concordances with other alfabeto sources, offers an alternative to Romanos anthologies in understanding the nature of musical/textual borrowing within the repertory. Unlike the Romano anthologies, the Prima scielta is truly a retrospective anthology in that all but three of Millionis 28 concordant alfabeto sources were published before 1627. Table 15 lists all 28 alfabeto song concordances of pieces in the Prima scielta as well as the earliest musical source to include the concordant text.

172

Leopold, Remigio Romanos Collection of Lyrics for Music, 45-61; and Miller, The Chronology of Venetian Monody, 152-93. 173 Miller, 153-54.

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Table 15: Concordant texts among the contents of Millionis Prima scielta di villanelle (Rome, 1627), alfabeto song books published 1610-1660, and early musical sources Text Ahi che morir mi sento Concordant alfabeto song book DAragona (1616b) Stefani, ed. (1623) Milanuzzi (1624) Tarditi (1628) Stefani, ed. (1620) Stefani, ed. (1620) Miniscalchi (1630) Camarella (1633) Colonna (1627) Stefani, ed. (1618) Caccini (1618) Colonna (1627) Camarella (1633) Falconieri (1619) Manzolo (1623) Stefani, ed. (1623) Stefani, ed. (1618) Olivieri (1620) Robletti/Severi, (1622) some Severi (1626) Stefani, ed. (1618) Falconieri (1616) Vitali (1620) Rontani (1620a) Severi (1626) Stefani, ed. (1620) Earliest concordant musical source Usper, Il primo libro de madrigali (Venice, 1604) Stefani, ed. (1620) Dal Pozzo, Il primo libro de madrigali (Venice, 1585) Millioni/Colonna (1627) Falconieri, Il quinto libro delle musiche (Florence, 1618) Del Negro, Glamorosi pensieri (Venice, 1607) Borboni, Musicali concenti (Rome, 1618) Stefani, ed. (1618) Olivieri (1620)

Ameriai t mio core Amor che deggio far

Amor poi che non giovano Dovio credea le mie speranze havere

Ladra ladra dAmore Non pi con mesti accenti O beglocchi belle chiome O di raggi di fiammelle

O Clorida se i colli Occhietti amati Prendi deh prendi il volo Tirinto mio tu mi feristi

Stefani, ed. (1618) Falconieri (1616) Rontani (1620a) Marini, Arie, madrigale et correnti (Venice, 1620) Robletti, ed. (1621b)

Voi mi dite chio non vami [Celiano]

Robletti, ed. (1621b) Vitali (1622) Guazzi (1622)* Stefani, ed. (1623)

* Guazzis setting does not include alfabeto although it is part of a larger alfabeto song collection

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If the concordances of Romanos anthology indicate a proclivity toward Venetian music later published in the 1620s, Millionis concordances present a strong tendency to borrow from older Roman and Neapolitan printed sources. The third column of the table highlights the presence of texts in earlier non-alfabeto song sources as well as texts that circulated specifically within the alfabeto song repertory. Again, the high incidence of poetic borrowing is significant given that all texts but one are unattributable. Even in the instance of this one text, Voi mi dite chio non vami by the Sicilian poet Angelo Grillo (Levio Celiano), it is not known to have circulated outside the five alfabeto song books listed here.174 Although the absence of melody and rhythm in Millionis print complicates the issue of musical concordances, a close comparison of the concordant text sources reveals strong evidence for musical borrowing. The clearest examples of musical concordance surface among the pieces in Millionis book that are also found in the popular anthologies of alfabeto songs collected by Giovanni Stefani. Published eight to ten years before Millionis book, Stefanis editions have been noted for their associations with the Roman court of Cardinal Montalto as well as early seventeenth century Florentine manuscripts.175 As seen in the examples below, the musical similarities between Millionis and Stefanis setting of Tirinto mio, tu feristi are illustrated not only by the choice of key and chord sequence, but also by their identical placement of alfabeto symbols with corresponding word syllables, noted especially at cadences (Examples 12 and 13).

174

The editors of the NV identify Celiano as the author of this text, although it is unclear whether or not the attribution is made in corresponding music prints. The text is missing in Durantes indices of Grillos poetry. See Elio Durante and Anna Martellotti, Don Angelo Grillo O.S.B. alias Livio Celiano. Poeta per musica del secolo decimosesto (Florence: Studio per edizione scelte, 1989). 175 Hill, 165-66.

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Example 12: Millioni, Tirinto mio tu mi feristi, Prima scielta di villanelle (Rome, 1627) Original O H O L C Tirinto mio, tu mi feristi G O L C O Di tal ferita chio ne morr C A G H B G Tul petto l core crudel maspristi, G H M G H Che mai salute non sperer G O L O C O Che mai salute non sperer Alfabeto transcription using modern chord symbols176 g Bb g c D Tirinto mio, tu mi feristi F g c D g Di tal ferita chio ne morr D G F Bb C F Tul petto l core crudel maspristi, F Bb Eb F Bb Che mai salute non sperer F g c g D g Che mai salute non sperer

176

Capital letters indicate major chords (D = D major triad); lower-case letters indicate minor chords (g = g minor triad)

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Example 13. Stefani, Tirinto mio tu mi feristi, Scherzi amorosi (Venice, 1622)

Most striking in Millionis version, as in all the pieces in the Prima scielta, is the attention given to the placement of the alfabeto symbols above the text. If the symbols were arranged in a more haphazard fashion, the link to Stefanis setting would be less certain. The correspondence of the alfabeto placement is especially apparent at the cadence points morr and sperer where Millioni, following Stefanis version, is careful to inscribe the alfabeto over the final truncated syllable of both words. While the added chords and cadential tonic chords with raised thirds that characterize Stefanis setting present a more harmonically varied version, this does not diminish the clear musical correlation between the two versions. The musical concordance between pieces in Millionis and Stefanis books is further illustrated in the two settings of Non pi con mesti accenti. By extracting the text and alfabeto symbol placement from Stefanis scored version, it is possible to 120

compare the two versions according to Millionis format, perhaps more convincingly portraying the musical affinity between the settings (Examples 14 and 15). Example 14: Stefani, Non pi con mestaccenti, Concerti amorosi (Venice, 1623), with text and alfabeto extracted Original O D H G O C Non pi con mestaccenti D O C A Io narer mia f G H BG Piangetocchi dolenti OH M G H Parlate voi per me A BMB C A Piangete voi per m Alfabeto transcription using modern chord symbols g a Bb F g D Non pi con mestaccenti a g D G Io narer mia f F Bb C F Piangetocchi dolenti gBb Eb F Bb Parlate voi per me G CcC D G Piangete voi per m

Example 15: Millioni, Non pi con mesti accenti, Prima scielta di villanelle (Rome, 1627) Original O C A G Non pi con mesti accenti O L C Io narrer mia f, G B G Piangete occhi dolenti H M G H Parlate voi per me, B L C O Parlate voi per me Alfabeto transcription using modern chord symbols g D G F Non pi con mesti accenti g g D Io narrer mia f, F C F Piangete occhi dolenti Bb Eb F Bb Parlate voi per me, C c D g Parlate voi per me

Millionis print continues to display unmistakable musical references to Stefanis anthologies in the setting of O Clorida, the abbreviated title of a poem that appears to

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have been known under various textual guises.177 A comparison of Millionis and Stefanis lyrics shows that although different words comprise the strophes, the meter and versification of the two poems are identical: Example 16: Comparison of the opening strophes of Millionis and Stefanis setting of O Clorida Millioni O Clorida Se i colli in infiorano E sinamorano Le piante ognhor Richissima dogni belt Mardi dolcissima Senza piet Meter / Versification
(Millioni) (Stefani)

Stefani O Clorida Gi che sadernano I prati e tornano Pi lieti i d Deh, rigida hor perch tu Qual neve frigida Tinduri pi?

4 5 sdrucciolo 5 sdrucciolo 5 tronco 9 tronco 5 sdrucciolo 5 tronco

4 5 sdrucciolo 5 sdrucciolo 5 tronco 9 tronco 5 sdrucciolo 5 tronco

Their musical kinship, while indisputable, also demonstrates some independence on the composers part. Millionis setting appears have softened the key of Stefanis version from quadro to molle (to use the terminology of the repertory), noted by the opening O chord (g minor) and the C chords (D major) at the beginning of the second section on the words Richissima dogni belt. As seen in previous (and later) examples, interchange between hard and soft chords on the same tone appears with great flexibility in this repertory and adds a noticeable improvisational element to the harmonic structure of the songs. This does not detract, however, from our observation of the identical musical treatment of the two texts presented by the composers:

177

None of the lyrics of Millionis and Stefanis strophes match for O Clorida, although their meter and versification are identical, as shown above.

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Example 17: Stefani, O Clorida, gi che sadernano, Affetti amorosi (Venice, 1618)

Example 18: Millioni and Stefani, O Clorida Millioni (original) O O Clorida D A B A Se i colli in infiorano B C A B E sinamorano C A Le piante ognhor C I C Richissima dogni belt A B Mardi dolcissima C A Senza piet Stefani (alfabeto extracted from above) A O Clorida B A D A Gi che sadernano B D A I prati e tornano C A Pi lieti i d E I E Deh, rigida hor perch tu B A B E A Qual neve frigida B C A Tinduri pi?

Evidence that Millioni modeled his compositions on earlier alfabeto song prints is further shown by the Prima scieltas musical and textual references to pieces in the Libro primo di villanella (Rome, 1616) and Musiche...libro sexto (Florence, 1612) by the Neapolitan composer and guitarist Andrea Falconieri. In Millionis setting of Occhietti amanti, the alfabeto sequence and placement is virtually identical to Falconieris

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handling of the text. Even without reference to melody or bass, the alfabeto harmony in Millionis song introduces unmistakable musical parallels to Falconieris print:

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Example 19: Falconieri, Occhieti amanti, Libro primo di villanella (Rome, 1616)

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Example 20: Millioni and Falconieri, Occhietti amanti Millioni (original) E B G Occhieti amanti B G A B Che maccidere B G B E Perche spietati I C Ver me pi fete B A B Splendin sereni C A Di gioia pieni B A B Splendin sereni H B G Di gioia pieni B Vostri splendori E H I E Fiamme de cori Falconieri (alfabeto extracted from above) e b g Occhietti amanti o b g Che mincendete b g Perche spietati a b Omai pi siete b d g Splendin sereni c a Di gioia pieni b g Splendin sereni b g Di gioia pieni g b Vostri splendori e h i i c Fiamme dei cori

Millioni continued to rely on alfabeto song publications printed in Rome in compiling his Prima scielta, noted by the inclusion of Francesco Severis Prendi, deh! from the Arie...libro primo, printed by Paolo Masotti in 1626. Severi, a castrato employed by the Papal choir and Cardinal Scipione Borghese, continued to articulate in the preface to his Arie a penchant for composing in the manner of Roman singing (il modo di cantar alla Romana) as first communicated in his Salmi passaggiati of 1615. This locally defined practice according to Severi comprises: passaggi, trilli, ed altro restar pienamente sodifatto con far capitale de glavvertimenti intorno a questo dati da me in quella medesima opera de salmi.178 passaggi, trilli, and others will be fully satisfied, if one takes advantage of the notes that begin my aforementioned psalm settings.

178

Francesco Severi, Salmi passaggiati (Rome: Borboni, 1615). 126

As the contents of Severis Arie are known only through Oscar Chilesottis incomplete transcription of 1909, it is difficult to conclude whether or not Severi expected the readers of his print to improvise embellishment alla Romana. From the group assembled in Chilesottis collection (all with alfabeto), only one song (O di raggi, o di fiammelle) notates melodic elaboration. The rest are plainly executed with little or no reference to the embellished figuration witnessed in the Salmi passaggiati, suggesting that Severi expected performers to implement the Roman improvisational model. Such a practice may have been a strong motivation for Millioni to include Severis Prendi, deh! among his collection of alfabeto songs. With the absence of melody and rhythm altogether, singers who performed from Millionis print were forced to create spontaneous musical ideas based on Severis chord progression, whether traces/elaborations of a well-known tune (perhaps Severis), or entirely newly composed melodies: Example 21: Millioni, Prendi deh prendi il volo, Prima scielta di villanelle (Rome, 1627) and Severi, Prendi, deh! Arie... libro primo (Rome: Masotti, 1626) Millioni G B G Prendi deh prendi il volo G B G Leggiadra Auretta; B Verso la fera A C A Megera che mi saetta, G H Verso la maga che vaga, M G H Verso la maga che vaga del mio gran duolo G B G O prendi prendi deh prendi il volo Severi G H B G Prendi, deh! Prendil volo O L C A Leggiadrauretta B Verso la fera GB E BAB Megera che mi saetta B G B G B E I Verso la maga ch vaga C A B G Del mio gran duolo, H B G Prendi, deh! Prendil volo

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Example 22: Transcription of Severi, Prendi, deh!

These examples have shown that alfabeto song textual and musical concordances figure significantly not only in the anthologies of Remgio Romano and later Venetian prints, but also in the Roman orbit of Pietro Millioni and his Prima scielta. The questions of attribution in Millionis book are important to raise because they illustrate the lack of concern for compositional attribution that surface in many alfabeto song anthologies. Scholars elsewhere have relegated similar cases of hidden authorship to plagiarism.179 On the surface, Millionis print appears to be simply what it is advertised to be: a scielta di villanelle = a choice [selection] of villanellas, a kind of greatest hits collection of some of the most popular tunes in circulation. Of further importance, the greatest hits emanate from sources with provenance south of the north Italian court and urban environs, with many textual concordances found among early Neapolitan alfabeto song sources. Giovanni Stefani The alfabeto song anthology was also a major vehicle for publication for the music editor/promoter/composer Giovanni Stefani. Little is known about Stefani other than what can be gathered from the title pages and dedications of his editions. He seems

179

See Miller, "The Composers of San Marco and Santo Stefano," 155-6.

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to have been recognized as a competent music editor, having been sponsored by a number of patrons in assembling his alfabeto song anthologies. While Miller has noted the textual concordances of Stefanis editions with the anthologies of Romano, Hill has demonstrated Stefanis musical concordances with manuscripts associated with the Montalto court in Rome, including pieces by the Roman composers Ottavio Catalani, Giuseppe Cenci, and Raffaello Rontani.180 The popularity ofand evident demand for Stefanis anthologies can be determined by the number of subsequent textual concordances found in later alfabeto prints, the number reprinted editions, and also in their advertisement in the catalog inventories of Alessandro Vincenti, a fact that served as the basis for Pitonis mistaken claim that Stefani authored his musical editions.181 Miller, based on the textual concordances among Stefanis and Romanos editions as well as the close proximity of their publication dates, has suggested that the two editors may have relied on each others compilations in preparing their anthologies for print.182 The musical and textual concordances among Stefanis editions and the wider repertory of alfabeto songs may suggest that Stefani was familiar with early Neapolitan and Roman alfabeto song prints, and may have even used these sources in compiling his own anthologies. All of Stefanis alfabeto song anthologies were printed and subsequently reprinted in Venice by Vincenti, suggesting, perhaps, that Vincenti was enthusiastic about publishing anthologies of music that had gained earlier appeal outside of Venice. Stefani compiled four alfabeto song anthologies (his only known publications), two of which are today extant in their printed form (Scherzi amorosi
180 181

Hill, 165. Giovanni Ottavio Pitoni, Notitia de contrapuntisti e compositore di musica (ca. 1725), ed. Cesarino Ruini (Florence: Olschki, 1988), 259. 182 Miller, Stefani, Giovanni, The New Grove Online, ed. Laura Macy (accessed 12 June 2006) <https://www.grovemusic.com.content.lib.texas.edu:2048>

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[1620/22] and Concerti amorosi [1623/23]); the Affetti amorosi (1618/21/23/26) is known only through Oscar Chilesottis 1886 transcription of the 1621 edition; the Ariette amorose, mentioned by Ftis and possibly acknowledged as Stefanis Libro 4o in Vincentis 1649 catalog index, is non-extant.183 As with Millionis Prima scielta, Stefanis anthologies are largely retrospective (although there are a number of later concordant sources) whereas Romanos anthologies typically cite pieces that appear in prints after the initial publication date. Table 16 below lists the textual concordances between Stefanis anthologies and the wider repertory of alfabeto song prints that were published before the date of Stefanis first edition.

183

Franois-Joseph Ftis, Stefani, Giovanni, Biographie universelle des musiciens et bibliographie gnrale de la musique vol. 8 (Brussels, 1835-44), 115.

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Table 16: Textual concordances among Stefanis alfabeto song anthologies and the wider printed repertory of alfabeto songbooks published prior to Stefanis first edition [* no alfabeto] Anthology (Stefani) Affetti amorosi (1618/21/23/26) Text Deh Filli vientene - Belt di Filli Dovio credea le mie speranze havere - Amante tradito Dunque il mio fido amore Amante tradito [Cataneo] E vivere e morire - Scherzi damanti Alma mia dove ten vai Partita di Donna amata [Rinuccini] Donna ingrata senzamore Amor sventurato Filli vezzosa- Piet bramata Gioite gioite di mille tormenti Amante Godi pur col nuovo amante - Amante sdegnato Ohim che far deggio Breve contento dAmante abbandonato [Torelli] Pass lardore e vivo in festa - Amante dispietoso pentito [Cataneo] Quien menoscaba mis Concordant alfabeto sources Kapsberger (1619b)184 Caccini (1618)*

Giaccio (1613) Falconieri (1616) Kapsberger (1619b) Rontani (1620) Giaccio (1613)* Falconieri (1616) Kapsberger (1619) Giaccio (1618) DAragona, (1616a)

Scherzi amorosi185 (1620/22)

Giaccio (1613)

Romano (1620b)

184

Although Kapsbergers Libro secondo di Villanelle was published in 1619 (the year following Affetti amorosis initial appearance in print), there exists no copy of Stefanis 1618 print, and thus there is no way of knowing if Kapsberger culled the text from Stefanis 1618 print, or if Stefani became inspired by Falconieris version for a later edition. Their close musical similarities (discussed below) stress the likelihood of either scenario. 185 In the dedication to the 1620 reprint, Stefani states: lAnno passate diedi in luce unOperetta intitolata Affetti Amorosi, leading Miller to deduce that the Scherzi amorosi was first published in 1619, one year after the Affetti amorosi of 1618. Miller, "The Composers of San Marco," 180). The list here includes concordant sources published up until the year of the earliest extant edition of the Scherzi amorosi (1620), so as not to assume that the contents of the first edition match those of the second (or later) edition(s).

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Concerti amorosi (1623/23)

benes? - Pruebas de Amor estraas Suspiri miei che dhavra in hura siti - Arie per cantar ottave Siciliane - Amoroso querelle Ahi che morir mi sento Amante che chiede aita Ecco lalma mia bella Disuasione ad amare Ferma ferma non pecottere Dolce sonno Non mercede - Donna Crudele Piangetocchi piangete Tradita bellezza Pupillette vezzosette Occhi oggetto del core Salcun vi giura Libert catenata Tu non hai provato Amore Esperienza amorosa Voi mi dite chio non vami - Amorosa querela [Celiano]

Romano (1620b)

DAragona (1616b) Giaccio (1613) Robletti, (1621a) Rontani (1620) Veneri (1621) Robletti/Rontani (1621a) Veneri (1621) Vitali (1620) Olivieri (1620) Robletti/Catalani (1621b) Vitali (1622)

The alfabeto song source that Stefani recalled most frequently in his anthologies is Orazio Giaccios Armoniose voci, a popular book of three-voice canzonette first published in 1613 in Naples, where it was subsequently reprinted in 1616 and 1618. The similar thematic titling of individual settings in the two collections suggests that Stefani may have simply lifted them from Giaccios collection. This is especially apparent in Donna ingrata senzamore and Dunque il mio fido amore, where the titles Amante sventurato and Tradito amante of Giaccios settings appear more or less verbatim in Stefanis print. Stefani also relied on Kapsbergers second and third books of Villanelle (both published in Rome in 1619) in assembling his anthologies, adopting similar texts and

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music in all three cases of concordance. Although Kapsbergers authorship of Deh Filli vientene and Gioite gioite di mille tormenti in Stefanis collections has been addressed elsewhere, the musical/textual similarities among Kapsbergers and Stefanis setting of Alma mia dove ten vai have been overlooked. A comparison of the two settings demonstrates that Stefani's folia bass pattern suggests a paraphrashed version of Kapsberger's bass (Example 23). The correspondence is further illustrated by the alfabeto sequences, which agree at key cadences. The musical relationships are not as evident here as they are in the other two examples of concordances provided above, but they reveal a kinship that surpasses coincidence, especially considering that Stefani lifted material from the same source. Example 23a: Bass line and alfabeto of "Alma mia dove te'n vai" from Kapsberger, Libro terzo di villanelle (Rome, 1619)

Example 23b: Bass line and alfabeto of "Alma mia dove te'n vai" from Stefani, Scherzi amorosi (Venice, 1620/22)

A more concrete example of Stefanis musical borrowing is found in a comparison of E viver e morire from the Affetti amorosi and a setting of the same text in Falconieris Libro primo di villanelle. At first glance, the settings appear to have little in common apart from the key signature and the text. The phrasing, text setting, and alfabeto sequence seem distantly related at best and the scoring differences mark a discernable textural contrast. An unmistakable concordant passage, however, appears in

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the middle of the two settings at the phrase beginning quando mi vedi. The similarities are noted especially in the sequencing melodic line (the top voice in Falconieri), the alfabeto sequence, and the text setting: Example 24: Stefani, E viver e morire, Affetti amorosi (Venice, 1618)186

Example 25: Falconieri, E viver, e morire, Libro primo di villanelle (Rome, 1616)

This clear, though hidden, reference to Falconieri is not altogether surprising considering that Stefani demonstrates elsewhere a familiarity with Roman, Florentine,
186

Alfabeto based on Chilesottis transcription in Giovanni Stefani, "Affetti amorosi" ed. Oscar Chilesotti, Biblioteca di rarita musicale 3 (Milan: Ricordi, ca. 1915).

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and Neapolitan sources. Falconieris trace also suggests that prints and manuscripts may have been used in conjunction with oral sources in Stefanis preparation of his anthologies. A final and indisputable printed alfabeto source for Stefani and his anthologies is Roblettis anthology Raccolta di varii concerti musicali, printed in Rome in 1621. The concordant source in question, Voi mi dite chio non vami, with a text by Levio Celiano (pseudonym for Don Angelo Grillo), is attributed to the Sicilian/Roman composer Ottavio Catalani in the manuscript CC.225 housed in the Civico Museo Bibliografico Musicale in Bologna.187 Roblettis and Stefanis versions, apart from a few discrepancies in the alfabeto sequence, are virtually identical:

187

Hill, 388.

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Example 26: Stefani/Catalani, Voi mi dite chio non vami, Concerti amorosi (Venice, 1623)

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Example 27: Robletti/Catalani, Voi mi dico chio non vami, Raccolta (Rome, 1621)

The popularity of Stefanis anthologies, noted first and foremost in the number of reprints circulating throughout the 1620s, is likewise noted in the cases of musical and textual concordances in publications issued after the original appearance of the anthologies in print:

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Table 17: Textual concordances located in Stefanis anthologies and subsequent alfabeto song sources188 Stefani Collection / Title Affetti amorosi (1618) Dov'io credea le mie speranze havere Amante tradito O beglocchi o belle chiome Vaneggiamenti amorosi O Clorida / Gi che sadornano - Donna ritrosa Scherzi amorosi (1620) Ameriai t mio core - Sdegno amoroso Amor che deggio far Amor penoso Gioite gioite Giovanetta vezzosa Fugasi amore Quien menoscaba mis benes? Pruebas de Amor estraas Suspiri miei che dhavra in hura siti Arie per cantare ottave Siciliane Amorose querele Tirinto mio t mi feristi - Ninfa abbandonata Concerti amorosi (1623) Ahi che morir mi sento - Amante che chiede aita Amarillide deh vieni Gi t noto crudel chhormai son morto Servit non gradita Non pi con mesti accenti - Pianto amoroso Quanto pi cruda sete - Pietosa fierezza Concordant source Colonna (1627) Millioni (1627) Millioni (1627)

Millioni (1627) Miniscalchi (1630) Camarella (1633) Severi (1626) Valvasensi (1634) Romano (1620b) Fasolo (1627) Romano (1620)b Romano (1620b) Millioni (1627)

Milanuzzi (1624) Millioni (1627) Landi (1627) Milanuzzi (1628) Millioni (1627) Crivellati (1628)

Stefanis and Millionis later musical concordances have already been noted above; to this list one can add the three settings from Romanos Terza raccolta, Giovanetta
188

Not including the great number of concordances found in Romanos anthologies without alfabeto. For these figures, see Miller, The Composers of San Marco, 177.

138

vezzosa, Quien menoscaba mis benes?," and Suspiri miei che dhavra in hura siti," which are more or less identical versions of the same tunes. Other concordances contain strong musical resonance with one another, although troping and tracingas witnessed in Falconieris E vivere e morirefigure in several cases. This can be seen in Stefanis and Crivellatis settings of Quanto pi cruda sete: Example 28: Stefani, Concerti amorosi (Venice, 1623) Quanto pi cruda sete

Example 29: Crivellati, Cantate diverse (Rome, 1628) Quanto pi cruda sede

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Based on the alfabeto and bass sequences alone, the settings do share similar musical traits, noted for example in the cadences at pi vi sar fedele and e gloria mia, the shift to a Bb center in the b section of the tunes (signaled by the E flats and the cadence in m. 8 of both settings), and the F centrality that governs both settings. Consideration of alfabeto, bass, and melody, however, points to a kinship that surpasses coincidental resemblance. These moments of true concordance appear at the phrases marked with brackets, on the words pi vi sar fedele, dunque non sia le mai cortese e pia, and e gloria mia, confirming the earlier observation of concordance based on alfabeto and bass. While the surrounding phrases reveal other trace moments of correspondence (note for example Crivellatis embellished version of Stefanis phrase donna alle mie querele), these unmistakable points of relationnot to mention the shared texts present a modular approach to composition, based not on through-composed originality, but on the troping of specific musical gestures that correspond to certain textual phrases. This compositional approach also figures in a comparison between Stefanis and Francesco Monteverdis setting of Ahi che morir mi sento, a popular alfabeto song text that also appeared in DAragonas Soavi ardori (1616), Millionis Prima scielta (1627), and Tarditis Amorosa schiera (1628). As the transcriptions of the settings illustrate below, both the text and music of this song seemed to have circulated among the alfabeto song repertory:

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Example 30: Stefani, Concerti amorosi (Venice, 1623), Ahi che morir mi sento

Example 31: Milanuzzi/F. Monteverdi, Quarto scherzo delle ariose vaghezze (Venice, 1624), Ahi che morir mi sento

As with the previous examples, the two settings, based on alfabeto and bass alone, appear distantly related at first glance, with the exception of the phrase ti curi poco del mio gran f(u)oco. The melody of the two settings at this point, however, confirms with the bass and alfabeto that here again is an indisputable case of true concordance.

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The issues of attribution raised by these examples not only question traditional assumptions about compositional authority in the seventeenth century, but more importantly, they shed light on what kinds of strategies composers and editors felt compelled to adopt when assembling alfabeto songs. The above represents only a fraction of what may have been a widespread practice of quoting and borrowing existing musical segments, since the task of organizing musical concordances in sources without textual affinities is beyond the scope of this project. Other examples of modular composition appear outside Stefanis anthologies, such as Milanuzzis and Ghizzolos settings of Hor che lAlba lampeggia, where the musical concordance lies not so much in melodic lines and alfabeto, but in form and structure: Example 32: Ghizzolo, Frutti damore...libro quinto (Venice, 1623) Hor che lAlba lampeggia

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Example 33: Milanuzzi, Quarto scherzo delle ariose vaghezze (Venice, 1624) Hor che lAlba lampeggia

The striking text setting similarities between these two versions leads to the inevitable conclusion that some version of Hor che lAlba lampeggia was in circulation at the time one or both of these settings appeared in print. While both composers can equally claim authorship, the stark musical affinity of the two settings reinforces the Chilesottian premise that an unwritten version of the tune might have fostered the noticeable similarities between Ghizzolos and Milanuzzis versions. Much like the processes of circulation surrounding Millionis concordant sources, the pervasively aural context of alfabeto songs could have prompted the similar musical traces found in these two versions of Hor che lAlba lampeggia.

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In exploring the musical and textual correspondences among Stefanis anonymous alfabeto song anthologies, it appears that the editor was familiar with the texts and music from alfabeto song sources published in Rome and Naples during the 1610s, and further, that the popularity of his anthologies may have triggered the appearance of many texts and musical phrases from Stefanis collection in later published sources. Thus, despite the claims that Stefanis sources are elusive, the concordant texts with similar music indicate that indeed Stefani borrowed material from earlier publications with tunes grounded in more southern traditions. 189 At the same time, Stefanis later concordances allude to a modular approach to alfabeto song composition that is also present in other concordant sources throughout the repertory.

189

Miller, 180.

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Chapter 5: Alfabeto Song as a Musical Symbol of Naples and the Italian South Alfabeto songs were not simply alternatives to other established musical practices of the day, they presented opportunities for composers and performers to invent and extemporize in meaningful ways. The songs without musical staff notation, in particular, convey the great sense of musical freedom that musicians undoubtedly applied to their performances. They capture an improvisational spirit that appears absent from contemporaneous musical publications that became increasingly concerned with contriving and dictating musical taste through the intricacies of musical notation. William Porter has characterized the compositional control of early modern solo songwriters such as Caccini and dIndiamusicians who went to great lengths to explicate musical elaboration and artificeas frozen improvisation.190 The regular presence of such improvisational arias as the siciliana and romanesca in the alfabeto song repertory, many in their texted form only, preserve the practice of cantare per arie, the improvisational singing of texts based on standard poetic forms. While the system of alfabeto intabulation was ostensibly originally designed for amateur guitarists, the vocal practice implied from unstaffed alfabeto songs requires a level of musical sensitivity beyond that of simply reading the notes. Even in their notated form, rarely do they convey the visual sense of artifice that characterizes a great deal of the vocal and instrumental music prints of the early to mid seventeenth century. To this extent, the alfabeto song tradition articulates a certain level of suspicion toward the more elite and sophisticated means of notating musical ideas, such as the solo

190

William Vernon Porter, The Origins of the Baroque Solo Song: A Study of Italian Manuscripts and Prints from 1590-1610, Ph.D. dissertation, Yale University, 1962, 23.

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madrigals of Caccini and DIndia or the keyboard works of Frescobaldi. Alfabeto song formats reduce melodic lines and harmony to unaltered and overtly simplistic designs, and provide potential performers a chance to demonstrate through improvisation and elaboration the ability to execute a tasteful and meaningful musical performance. Elaborate notation arguably slights the performer, mechanizing and telegraphing musical gestures that run counter to circulating ideas about musical expression. These aspects of the repertory pose challenging questions to prevailing notions about professional singing and composing in the seventeenth century. The art of composing and performing alfabeto songs demanded specialized knowledge, more specifically, a working vocabulary of musical and textual gestures that were passed down from Neapolitan and Roman traditions. In the Roman court of Cardinal Montalto, for example, evidence for the cultivation of this knowledge surfaces in the training of a young singer named Baldassare. Subjects that composed the pupils curriculum apart from singing lessons included counterpoint, composition, and lessons with the Neapolitan virtuosa Ippolita Recupito, who, according to a letter from Cesare Marotta to Enzo Bentivoglio in 1615, will teach him how to play the guitar.191 The pedagogical focus of the guitar and the alfabeto system attracted both musical professionals such as Montaltos Baldassare and more privileged individuals in search of the more noble pursuits of music making, such as those codified in Castigliones Il cortegiano. As indicated in Girolamo Montesardos Nuove inventione dintavolatura (Florence, 1606)the first printed record of the alfabeto system in Italythe noble claims for cultivating the Spanish guitar may very well have been the impetus for the

191

Hill, 133.

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diffusion of the alfabeto system in Italy. In addressing the dedicatee of the collection, Francesco Buontalenti, Montesardo elevates guitar playing to an expression of virt: Li giorni dietro di passaggio Fiorenza, come desiderosissimo di sentire, e godere li canori Cigni, del nuovo Parnaso di questa virtuosissima Citt, & essendone invaghito: mi parve necessario farmi conoscere, acci s'appresentasse (non per mio merito: m per loro gratia) alcuna occasione di gradire, e servire questa virtuosa Nobilt; e fr l'altre mie deboli conditioni, sono stati molti Gentilhuomini, li quali si sono compiaciuti, del sonare, e cantare alla Spagniuola, & in particolare V. S. Molt'Illustre, tanto, che talmente eccitato dal giudicio fattone da lei, intendentissima, cosi di questa virt; come anco di molte altre accompagnate di buonissimi costumi, & infinite gratie.192 Some days when I passed through Florence, I became most desirous of hearing and enjoying the singing swans of this most virtuous city, a new Parnassus. Having become enchanted by this, it seemed to me necessary to make myself be known in case there should arise the opportunity (not by my merit but by their grace), at some occasion to provide enjoyment and service to this virtuous Nobility. And despite my weakness, there have been many gentlemenyour Highness in particularwho are gratified by the playing and singing in the Spanish manner; such that I was so excited by [favorable] judgment that you expressed, [since] you are so knowledgeable of this skill/craft/virt, as also of many others accompanied by fine customs and infinite grace.

Other accounts substantiate the amateur noble or upper class cultivation of the guitar throughout the early modern era. The Prince of Salerno, Ferrante Sanseverino, for example, is mentioned as charming the ladies at the Fontainebleau court in France with songs sung to the guitar in 1544.193 The manuscript entitled Libros de cartas y Romances Espanoles, one of the earliest alfabeto song sources, was dedicated to the Duchess of Traetta.194 Later in the seventeenth century, the noble music connoisseur Pietro della Valle mentioned that he studied the Spanish guitar in Naples with Giuseppe Novazio,

192
193

Girolamo Montesardo, Nuove inventione d'intavolatura (Florence: Marescotti, 1606). Benedetto Croce, Anedotti di varia letteratura, 2nd ed., vol. 1 (Bari: Laterza, 1953-4), 333-34. Cited in Keith A. Larson, The Unaccompanied Madrigal in Naples from 1536 to 1654 Ph.D. dissertation, Harvard University, 1985, 111. 194 Hill, 42.

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buon maestro di chitarra.195 From dedications to several alfabeto song prints we can learn that patrons sometimes requested an alfabeto song publication after hearing selections performed during some occasion; in the case of Stefano Pesori, many of his students included such noble patrons of music, indicating that the patronage of alfabeto song books might have been carried forth with the knowledge that their patrons would later use them as pedagogical and performing sources. The pedagogical underpinnings of the alfabeto song repertory and the consequent widespread practice of singing to Spanish guitar accompaniment were sources of contention among some professional musicians, that is to say musicians who were employed as such or recognized as leading performers of the day. This was seen earlier in Chapter 2 in Severo Boninis case against the Spanish guitar, in which he attacks the instruments association with members of the lower class and the musically unsophisticated. In Bellerofonte Castaldis letter to readers from the Primo mazzetto di fiori of 1623, the author appears to have more of a problem with the practice of reading alfabeto than with the instrument itself: Il quale digratia non si torca, perche l'Autore, come benissimo s fare, non habbia messo l'A.B.C. della Chitarra Spagnolissima sopra ciascheduna di quest' Arie che si faria pur anch'egli lasciato portare a seconda dal uso moderno, s'ei non si fosse accorto che poco serve simil Pedanteria a chi non s se non scartazzare, per mille spropositi che ne le cadenze occorrono mediante il geroglifico sudetto, e colui che s non ha bisogno che se gl'insegni.196 Please do not turn away because the Author, most well knowing how to do it, did not place the A.B.Cs of the Spanish Guitar above each one of these Airs, as one does according to current usage. This would have been done if one had not seen that such Pedantry is of little use to those who dont know (if the letters are not discarded) of the innumerable errors that occur at the cadences because of the aforementioned hieroglyphs. He who knows how does not need to be taught.

195 196

Solerti, 169. Bellerofonte Castaldi, Primo mazzetto di fiori (Venice: A. Vincenti, 1623), 18.

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Castaldis admonishment of the practice of notating alfabeto stems from his attitude of superiority as a professional musician (in his specific case a professional theorbist, lutenist, and presumably guitarist). The ultimate source of his denigration, however, is the untrained amateur, one who is not only unable to reconcile musical notation with the alfabeto, but also one who needs to be taught. Castaldis indignation may have also been fueled by the growing number of musical amateurs among the nobility who cultivated the guitar, thus lessening Castaldi's role as arbiter of musical authority. As della Valle, Sanseverino, Montesardo, and the Duchess of Traetta demonstrate, the guitar and alfabeto provided noble connoisseurs of music an opportunity to move beyond the passive, sometimes vicarious role of listener and into the performing world of musician. Exposure to the alfabeto song repertory enabled a host of other educational experiences that noble and non-noble students alike could develop as part of their musical training. Exercising tasteful judgment in regard to both music and text (as well as their relationship to one another), for example, was a sign of refined connoisseurship and musicianship, and one that could be cultivated through an interaction with alfabeto songs. The lexicon of gestures, phrases, and poetic themesestablished through the network of musical and textual concordances circulating within the repertoryprovided amateurs with tools for evaluating and even demonstrating musically sound judgment. Fundamentally, this vocabulary could explain why certain kinds of songs were judged more appropriate than others to incorporate alfabeto. The question of a songs potential for alfabeto inscription was an important topic for alfabeto song composers/publishers, noted in the many title pages that advertise its contents per cantare con lalfabeto per la

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Chitarra Spagnola in quelle pi a proposito per tale istromento (for singing with alfabeto for the Spanish guitar in those pieces more appropriate for such an instrument). Experienced musical judgment was especially crucial for performers reading from nonnotated alfabeto song sheets. Backed with the knowledge of what constitutes an appropriate and effective performance, the untrained amateur could attain, even surpass, the improvisational (compositional?) merits of the professional musician. Such an approach to alfabeto song improvisation/composition capitalized on specific musical and textual themes that must have resonated with great currency among audiences in the seicento.197 As shown in Chapter 4, many of these themes originated in sources printed in Rome and Naples. Whether or not audiences heard these musical gestures as Roman, Neapolitan, or southern is of course difficult to answer. The examples of Sanseverino, della Valle, Montesardo, and the Dutchess of Traetta allude to the overarching association of Naples with guitar song performance, a theme that was also emphasized in the high occurrence of musical and textual outsourcing among the repertory from prints and manuscripts of Roman and Neapolitan provenance. The appropriation of southern musical traditions was certainly not a new phenomenon in the central and northern regions of Italy, illustrated by the widespread printing of the villanesca alla napolitana in Venice during the sixteenth century. The remainder of this chapter serves to contextualize both the early Neapolitan cultivation and later Venetian standardization of the repertory within a wider Italian awareness and mythology of Neapolitan culture. I intend to show how the alfabeto song tradition and the Spanish

197

On the effects of good judgment and taste in singing during the early Seicento , see Richard Wistreich, "'La voce grata assai, ma...': Monteverdi on singing," Early Music 22 (1994): 7-19, and Suzanne G. Cusick, 'There was not one lady who failed to shed a tear': Arianna's lament and the construction of modern womanhood," Early Music 22 (1994): 21-43.

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guitar were instrumental in constructing and maintaining certain notions and even stereotypes of Neapolitan (and to an extent Sicilian) identity. Above all, the alfabeto song tradition emanated from a complex ideology about "southern-ness" that was inextricably linked to the Spanish viceroyalty in the Kingdom of Naples as well as the emerging "grand tour" mythology of the Italian south that captivated both its inhabitants and visitors to the Mezzogiorno. Naples and Authenticity The city of Naples was presented as a theme and source of inspiration in the early printed alfabeto song repertory. In Montesardos I lieti giorni di Napoli (Naples, 1611/12), Naples was promoted as a living pastoral paradise, praised in the dedication to Don Pietro Ferdinando di Castro for its fertile soil and natural beauty:

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Ampie, & Illustre Citt sono per l'Italia: ma fra tutte la pi vagha, e pi gentile (dicono) sia Napoli, che se ben in un'altr'Opera du Musica lodai Fiorenza, per le notti allegre, non mi pareva conveniente tacer le devute lodi della mia bella, e gentile Napoil, con darglene questo titolo al mondo de LIETI GIORNI, lieti per la fecondit della terra; poiche tutto l'anno soavissimi frutti si cogliono, lieti per l'amenit dell'aria, essendovi un'eterna Primavera, lieti per la bellezza, e leggiadria del Mare, che la cinge, lieti per l'infinte fontane, e maravilgliosi giardini, che l'ombreggiano, lieti per gli ameni colli, abondanti compagne, e fruttiferi monti, che la satiano, e smaltata in giro da leggiadrissimi borghi marvigliosa la rendono.198

There are expansive and illustrious cities in Italy; but among them all, Naples is the most charming and genteel (as they say); and if in another musical work I praised Florence for its cheerful nights, it does not seem to me reasonable to keep quiet about the dutiful praises of my beautiful and gentle Naples, to it I give this title to the world: HAPPY DAYS, days that are delightful because of the fertility of the land, as all year round very sweet fruit can be picked; delightful because of the sweetness of the air, where it is eternally Spring; delightful because of the beauty and loveliness of the sea that surround it; delightful because of the infinite fountains and marvelous gardens that shade it; delightful because of the pleasant hills, abundant countryside, and fruit-bearing mountains that grow there, varnished around by delightful villages that make it marvelous.

198

Montesardo, I litei giorni di Napoli (Naples: Gargano & Nucci, 1612).

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Figure 12: Dedication page of Montesardos I lieti giorni di Napoli (Naples, 1612)

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This the author contrasts with his earlier publication Lallegre notti di Fiorenza, a musical collection that recounts the music-filled evenings of Florentine piazzas.199 Note in Montesardos dedication of this earlier publication his focus on the architectural and cultural grandeur of the city: Fra quante Citt nel Fecondo suo seno laltera Italia richiude, alcuna non ve ne h (cosi co[m]une opinione) che con la bella, Flora di garreggiare ardisca. Questa irrigata dallArno, cui saldi Ponti, Archi stabili sopra le chiare acque distendono, mille canori Cigni, mille lodi di lieta cantare, invita dolcemente. Eccelsa per i Tempi da Dedalica mano fabricati; Augusta per lArchitettura, e copie de Palazzi Maravigliosa per la dirittura, & ampiezza della Strade; Gratiosa per i Giardini, che tali lEsperidi non hebbero, Superba per la grandezza delle Statue. Sublime per laltezza delle Colonne, Altera per la magnificenza delle Loggie, adorna per la bellezza delle Fontane, Vaga per la Piazze spatiose: Industre per la diversit dellArti, Forte per la Struttura delle Mure che la pingono.200 It is the common opinion that among the cities noble Italy holds in its fertile breast, none have the courage to compete with the beautiful Flora [Florence]. This [Flora] is irrigated by the Arno, with its sturdy bridges; stable arches above the clear water spread out over countless singing swans; innumerable praises of delight are sung, sweetly inviting [you]; glorious for its temples made by Daedalus-like hands; majestic for its architecture and quantity of palaces; marvelous for the straightness and openness of its streets; charming for its gardens, such that Hesperus never had; splendid for the grandeur of its statues; sublime for the nobility of its columns; stately for the magnificence of its loggias; decorated for the beauty of its fountains; graceful for its spacious piazzas; industrious for the diversity of its arts; strong for the construction of its walls that surround it.

Most sensitive to his patrons respect and civic pride, Montesardo in Lallegre notti fashions the cultural heritage of Florence as its greatest strength. In contrast with Naples, Florence is a city that has benefited most from the industry of human ingenuity and perseverance. Naples, on the other hand, is a city blessed by nature; an earthly paradise

199

For more on Montesardos Lallegre notti, see Tim Carter, Serate Musicali in Early SeventeenthCentury Florence: Girolamo Montesardos LAllegre Notti di Fiorenza, in Renaissance Studies in Honor of Craig Hugh Smyth (Florence: Giunti Barbra, 1985), 555-68; and Maria Grazia Barone, Da Lallegre notti di Fiorenza a I lieti giorni di Napoli: Itinerario di un compositore del 600, in La musica da Napoli durante il Seicento, ed. Domenico Antonio dAlessandro and Agostino Ziino (Rome: Edizioni Torre dOrfeo, 1987), 105-24. 200 Montesardo, L'allegre notti di Fiorenza (Venice, 1608).

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that for the native Montesardo has no equal in its charming, agreeable, and genteel atmosphere. The disparity of the two cities outlined in these descriptions underlines the wider issue of how regional and civic identity was established in early modern Italy. To Neapolitans the dedication of I lieti giorni rouses pride in the land and its natural surroundings; to its northern Italian neighbors it advertises a retreat from the civilized and developed world and emphasizes an already circulating mythology about Naples and the Italian south. As Jennifer Selwyn has recently argued, this mythology, in the sixteenth and seventeenth century, was propagated in large part by Catholic religious reformers, especially the Jesuit fathers who equated their missionary activities in the Mezzogiorno to similar exploits in the New World.201 Benedetto Croces phrase il paradiso abitato da diavoli sums up the ambivalent mythology espoused by the Jesuits that informed the Curia and other regions of the north about the Kingdom of Naples in the early modern period.202 The polarizing duality of Naples as a paradise inhabited by devils captured the early modern Italian imagination at least by the fifteenth century, noted in the Florentine satirist Arlotto Mainardis Facezie motti e burle (ca. 1450), where the author describes Naples as an earthly paradise [that produces] an enormous quantity and abundance of innumerable goods and many exquisite types of fruits for the nourishment...and sustenance of men...[who are] full of little ingenuity...malignant, bad and full of treason.203 The scandalous political affairs of the Spanish viceroyalty and an

201

Jennifer D. Sewlyn, A Paradise Inhabited by Devils: The Jesuits Civilizing Mission in Early Modern Naples (Aldershot, UK, Burlington, VT, and Rome: Ashgate, 2004). 202 Benedetto Croce, Il paradiso abitato da diavoli, in Uomini e cose della vecchia Italia (Bari: Laterza, 1927). 203 Piovano Arlotto Mainardi, Facezie motti de burle, ed. Chiara Amerighi (Florence: Libreria Editrice Fiorentina, 1980), 232-3. Translated citation in Selwyn, 25-6.

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untamed, often riotous Neapolitan populace, while serious concerns for the Jesuit fathers, were not always top priorities for the Curia insurgency in early modern southern Italy. Tommaso Orfini, an official papal visitor to the Terra di Bari and Otranto provinces in present-day Puglia during the second half of the sixteenth century, voiced other concerns about the suspicious practices of the local clergy such as keeping concubines, committing murders and other serious crimes, and fathering children. Orfini was also disturbed by the spiritual practices of the laity: Si trovato molto difettarsi ne landar de sacerdoti a linfermi et agonizzanti in luogho de quali si travo andarci le donne con parole che chiamano orationi, che hanno del superstitioso.204 The priests were found to be greatly wanting to attend the sick and dying; in their place went women with words that they call orationi, which have something superstitious about them.

The impression of the Kingdom of Naples as a cultural and political backwater was also made on foreign visitors, who often allude to an aloof and decadent ruling Spanish monarchy, spurring famine, plague, and food riots among the populace. Fabrizio Barnaba, an agent of the Grand Duke of Tuscany, chronicles in 1601 that: The famine is so great throughout the Kingdom [of Naples] that the communities come together in Naples, and they go throughout the city, crying: Bread, bread. And there is such a concentration of the poor that God forbid there is an infestation of plague; because the people are dying on the streets and no one is taking any chances.205 The paradox of Naples existing in the minds of early modern Italians as a place of immeasurable beauty and fecundity yet tainted by the sordid and ignorant affairs of its inhabitants and foreign rulers seemed to have an effect on the collective psyche of
204

Tommaso Orfini, La visita di Brindisi, A.S.V. Arm. XXXV, t. 93, cited in Pasquale Villani, La visita apostolica di Tommaso Orfini nel regno di Napoli (1566-1568): Documenti per la storia dellapplicazione del Concilio di Trento, in Annuario dellIstituto storico italiano per let moderne e conteporanea 8 (1956): 38. 205 Fabrizio Barnaba, Lettere di 23 Aprile 1607: Documenti sulla storia economica e civile del regno Cavati dal Carteggio degli agenti del granduca di Toscana in Napoli dallanno 1582-1648, Archivio storico italiano 9 (1846): 266. Cited and translated in Selwyn, 33-4.

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Neapolitans and their southern neighbors. This is most evident in the surging number of Neapolitan descrittioni and regional histories published in Latin and the vernacular throughout the sixteenth and seventeenth century that cast the southern kingdom in favorable light.206 While many foreign visitors criticized Naples for its crowded streets and looming social problems (foreigners often blamed the citys large multiethnic population) the travel guide author Giulio Cesare Capaccio in 1634 celebrated the cultural vibrancy of his city in heroic terms: Now many other inhabitants have been added here [...] Calabrese, Abruzzese and from closer by, coastal dwellers [... and] they have filled up the entire city with such a frequency that they make up almost a third of it [...] and from what I have heard, as the inhabitants are frequenting and developing the city, they are [also] ennobling it.207 Early modern Neapolitan travel guides often allude to the physical and optimistic qualities of the city and countryside, emphasizing the extraordinary panoramas offered from hilltops that surround the city, its classical and biblical history, and the wonders of natural monuments such as Mt. Vesuvius, the Grotta del Cane (Cave of the Dog), and its seaside cliffs. 208 In the context of the circulating mythology of Naples in print during the seventeenth century, Montesardos I lieti di giorni di Napoli serves as much as an advertised descrittione of the province as it does a musical tribute to the city and its

206

For an introduction to early modern Neapolitan travel guide literature, see Jeanne Chenault Porter, Baroque Naples: A Documentary History (New York: Italica Press, 2000), xxxi-xxiii. A comprehensive bibliography of early modern descrittioni of Naples can be found in Rosario Manfredi, Le discrittioni di Napoli (1450-1692): appunti per una ricerca bibliografica, in Rendiconti della Accademia di archeologia, lettere e belle arti 63 (1992): 63-108. 207 Giulio Cesare Capaccio, Il Forasteiro (Naples, 1634), 690. Cited and translated in Selwyn, 26. 208 See for example the landscape descriptions of John Evelyns An Englishmans view of the City [of Naples] in 1645, transcribed in The Diary of John Evelyn, Kalendarium 1620-49, vol. 2, ed. E.S. de Beer (Oxford: Clarendon Press, 1955). 325-32. For descriptions of Neapolitan physical landmarks by native authors, see Enrico Bacco, Nuova discrittione del regno de Napoli diviso in dodici provincie (Secondino Roncaglio and Ottavio Beltrano: Naples, 1629).

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ruler. In Montesardos dedication to the collection, his illustration of the Neapolitan landscape was supplemented with praise for the rule of its dedicatee Don Pietro Fernando di Castro, the Spanish viceroy of Naples from 1610-1616. Fernando was a descendant of Fernando Ruiz di Castro, an earlier enlightened viceroy of Naples whose progressive reign established, among other things, state recognition of intellectual academies, a practice that nearly ceased after Viceroy Don Pietro di Toledos condemnation of the anti-Spanish sentiment of the academies in the middle of the sixteenth century:209 Hor godi pi lieta, e pi felice Napoli, mentre nuovo Sole, e nuovo Duce ti regge, & illustra, come fa hoggi la presenza di V.S. Illustrissima, & Eccelentissima, che se per tutta la Spagna il nome suo have acquistato quel chiaro grido, che'l mondo s, hoggi chiaramente si vede, per la santit della vita, per la gran prudenza, & per l'heroiche sue virt esser stimata da tutti per un chiaro, e lucido Sole, che fa pi lieti, e pi splendenti i nostri giorni, ma felicissimo mi riputar io essendo per tal splendore sicuro, e libero di detrattori.210 Now, Naples, delight in more happiness, in more well-being, as a new Sun, a new Duke reigns and brightens you, as is shown today by the presence of Your Most Illustrious and Excellent Highness, as throughout all of Spain your name has acquired that bright fame that the world knows; today one clearly sees that [because of] the holiness of your life, your great prudence, and your heroic virt you are esteemed by all a bright and lucid sun that makes our days more happy and splendid; and I consider myself most happy since I am, through this splendor, secure and free of detractors.

I lieti giorni di Napoli is a unique addition to the literature propounding a mythology of Naples. Drawing from familiar themes present in the language of travelers guides and histories of the city, Montesardos alfabeto songbook functions beyond the scope of an exclusively musical publication. Neapolitan music occupied an important place in formulating a mythology of Naples. The city, for example, was regularly cited in musical writings of the seicento as the origin of musical practices that were later standardized in north and central Italian
209 210

Chenault Porter, xliv-xlv. Montesardo, I lieti giorni di Napoli.

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regions. Among the musical achievements that Vincenzo Giustiniani traces back to Naples in his Discorso sopra la musica (1628) include the villanella napoletana as cultivated in Rome, the invention of the arpa doppia and sordellina, and the practice of singing to the Spanish guitar.211 Neapolitan musicians are likewise cited in Giustinianis treatise as introducing various styles and practices to northern cities and courts. Among them include Giulio Cesare Brancaccio and a Giovanni Andrea Napoletano, credited as introducing to Italy the singing of one voice with accompaniment, and [Carlo] Gesualdo Prince of Venosa, described as inventing the manner of composing madrigals full of many artifices and exquisite counterpoint.212 The foundation for the musical mythology of Naples in the seicento had antecedents in the sixteenth century, most notably demonstrated in the recognition of the city as the birthplace of the canzona villanesca as well as home (if only temporarily) to two of the most influential music theorists of the Renaissance, Tinctoris and Gaffurius. Oftentimes the language used to describe Neapolitan music celebrated the natural, innate, and folkloristic qualities that captured the interest of audiences from northern Italy and beyond. Reminiscent of early modern Neapolitan travel guide authors who boasted about the natural beauty of their homeland, Neapolitan musical authors, too, painted an image of Neapolitan music that emphasized sweetness, delicacy, naturalness, and even intuition, as the poet Benedetto Di Falco proclaimed in 1535:

211 212

Solerti, 121-6. Solerti, 107, 109.

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Della musica poi, oltre di quel naturale instinto, di che par che il Cielo habbia ogni Napoletano spirito dotato, onde quasi ciascuno alla natura, larte giungendo di girono, e di notte, talhora con voci, talhora con strumenti, diverse armonie in diversi luochi si sentono con dolcezza mirabile.213

Then, in regards to music, besides that of natural instinct, with which it appears that heaven has endowed every Neapolitan, almost every one adds art to nature; and this day and night, at times with voices, at times with instruments, diverse harmonies or heavenly sweetness are heard in various places .

As Donna Cardamone has shown, sixteenth century Neapolitan authors were vocal and often prideful about the ubiquitous role of music in the everyday life of Naples, including the lives of the plebe (the Neapolitan lower working class). This view is explicitly stated in Giambattista Del Tufos explanation of local Neapolitan customs to his Milanese audience: Ludito da canzon, musiche, e suoni per tutti quei cantoni havr cio che desia, cio chegli vuole ne laria, e n le parole la notte e l d da cento con non mai pi bramar altro contento. Come ne le botteghe parte parte senza nessuna altre arte tutti quei lavoranti, e quei garzoni nostri Napolitanj con glaghi con le forbici le mani cantando arij, canzoni.214 The ear will obtain all it cares for from songs, music, and sounds in all corners [of the city], all that it wants in the tune and in the words, day and night, by the hundreds, so that it will nevermore long for another kind of happiness. Likewise in the shops everywhere, and with no need of instruction, all those workers and those Neapolitan shopkeepers of ours sing arie and canzoni with needles and scissors in their hands.

The Spanish guitar plays a central role in discussions of Neapolitan music by native and non-native authors in the late sixteenth and early seventeenth century. The Neapolitan theorist Scipione Cerreto in his Dellarbore musicale of 1608, for example, noted the local custom of singing to the Spanish guitar in the following terms:

213

Benedetto Di Falco, Antichit di Napoli e del suo amenissimo distretto , 6th ed. (Naples: Carlo Porsile, 1679), 64. 1st ed. (Naples: Mattio Cancer, 1535). Cited and translated in Cardamone, vol. 1, 105. 214 Giambattista Del Tufo, Ritratto o modello, Bilblioteca Nazionale di Napoli MS XIII.C.96, edited in Calogero Tagliareni, Giovanni Battista Del Tufo, Ritratto (Naples, 1959). Cited and translated in Cardamone, vol. 1, 115.

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Vi sono ancora gli Sonatore di Chitarra alla Spagnola, alliquali si ben li tocca listesso grado, nondimeno per essere state usata de gente basse, e di poco valore non dico da Buffoni, liquali se ne hanno servito ne i conviti, ma che fusse poi usato tal suono da Cavalieri, & da altri persone principali lh cagionato la facilit dello stromento, quale essercitio simpara pi tosto per aria, che per arte.215

There are also players of the Spanish guitar, who belong to the same status [as the players of the double harp and lute]; notwithstanding that [the guitar] was used by lower class people and those of little worth, not to mention Buffoons who have made use of it at banquets; later [the instruments] cultivation by Cavalieri and other notable persons came about because of the facility of the instrument, whose technique is learned more per aria than per arte.

As Keith Larson has mentioned, the Spanish guitar appeared to have been cultivated both by the Neapolitan popolo and the nobility, which is evident not only in the earlier cited account of the Prince of Salerno impressing the female company in a visit to France with his guitar songs, but also remarks by Giovanni Vincenzo Imperialethe Genoese consulate in Naplesabout the working class plebe singing songs to the guitar in 1632.216 The association of Neapolitan noble musicians with the guitar continued into the seventeenth century, noted by Giustinianis description of Carlo Gesualdo in the Discorso: E cominci il Prencipe Gesualdo di Venosa, che sonava anche per eccelenza di Leuto e di Chitarra napoletana, a componere Madrigali pieni di molto artificio e di contraponto esquisito.217 And then Prince Gesualdo of Venosa, who also played excellently the lute and the Chitarra napoletana, began composing madrigals full of artifice and exquisite counterpoint.

Later in the Discorso, Giustiniani communicates directly the Neapolitan provenance of playing both the chitarra spagnola and napolitana:

215
216

Scipione Cerreto, Dell'arbore musicale (Naples: Sottile, 1608). Imperiale noted on 21 Dec. 1632 that he would rather hear four romanzi squawked out over the out-oftune guitar of a barber than hear the funeral antiphons of bad news brought in the days mail, (Larson, 112). Larson cites Giovanni Vincenzo Imperiale, Viaggi di Gian Vincenzo Imperiale, Atti della Societ Ligure di storia patria 29 (1898): 536. 217 Solerti, 109.

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Tanto pi che nellistesso tempo sintrodusse la Chitarra all spagnola per tutta Italia, massime in Napoli, che unita con la Tiorba, pare che abbiano congiurato di sbandire affatto il Liuto; et quasi riuscito a punto, come il modo di vestire alla spagnola in Italia prevale a tutte le altre foggie...Il suonare di Chitarra napolitana resta affatto dismesso in Roma, e quasi anche in Napoli, con la quale gi suonavano in eccelenza Don Ettore Gesualdo e Fabritio Fillomarino in conserto col Prencipe suddetto di Venosa.218

Moreover, at the same time the Spanish guitar was introduced to Italy, mainly in Naples. Together with the Theorbo, it appears that they have conspired to disband the Lute completely, and they have nearly succeeded, as similarly the fashion of dressing in the Spanish manner trumps all other styles in Italy...The playing of the Chitarra napolitana has entirely ceased in Rome, and is nearly given up in Naples, where it was excellently played in previous times by Don Ettore Gesualdo and Fabritio Fillomarino in conserto with the previously cited Prince [Gesualdo] of Venosa.

The primary role that the guitar played in fashioning the musical identity of Naples in early seicento Italy is also evident in the alfabeto song repertory. This is foremost apparent in the circulation of Neapolitan alfabeto song texts among the repertory outlined in Chapter 4. The repertory also displays its Neapolitan roots in the cultivation of folklore and dialect songs that frequent the publications, most significantly illustrated in Il carro di Madama Lucia (Rome: Robletti, 1628), a collection titled after the stock Neapolitan carnival theater character Lucia. As Elena Ferrari-Barassi has noted, the organization, characters, and numbers in Fasolos alfabeto songbook are indicative of the Neapolitan moresca tradition that first appeared in print during the first half of the sixteenth century.219 The oft-cited Lamento di Madama Lucia that opens Fasolos collection, based on a descending tetrachord bass pattern, features a dialogue between the Moorish slaves Lucia and Cola, and was later set in a similar musical setting by Francesco Manelli in his Musiche varie (Venice: Magni, 1636).220 Other strong

218 219

Solerti, 126. Ferrari-Barassi, 325-331. 220 For discussions on Giovanni Battista Fasolo, Francesco Manelli, and the authorship of the Lamento di Madama Lucia, see Ferrari-Barassi, La Luciata di Francesco Manelli. Considerazione su una perduta

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resonances of the Il Carro and the Neapolitan moresca tradition occur in Sotto un ombroso Faggio, subtitled Squazzato di Colasone, a three-voice dialogue featuring onomatopoeic refrains alluding to the sounds of Neapolitan and rustic instruments, a defining attribute of the moresche of Nola and Lasso.221 The allusion of Fasolos collection to earlier popular theatrical and musical traditions of the South persuaded Lorenzo Bianconi to characterize the dramatic scene of Il Carro as realistic portrayal[s] of lower class life (rural and/or urban).222 The focus of Bianconis assessment, however, has less to do with Neapolitan identity as it does with a comparison of the musical appropriation of the passacaglia and ciaccona in Lamento di Madama Lucia and the refined settings of Frescobaldi, Storace, Gregorio Strozzi, Purcell, and Lully: This function [an appropriation of the passacaglia and ciaccona in the stylized choral and ceremonial dances of the mid-late seventeenth century], we might add, has little in common with the earlier erotic connotations of this originally popular dance; nor, indeed, is it linked to the realism of the earliest scenic applicationsthemselves surely of decidedly low-class orientationof the passacaglia/chaconne on the Italian peninsula. Low class is the coarse and burlesquely plaintive dialogue between Madama Lucia and Cola Napoletano in what can only be described as a true miniature scene of commedia dellarte descent.223

stampa della Biblioteca Municipale di Breslavia, lesemplare di un manoscritto berlinese e un componimento del Fasolo, in Quadrivium 9 (1970): 211-42; and Francesco Luisi, Il carro di Madama Lucia et una serenata in lingua lombarda: note sullattribuzione definitiva a Giovanni Battista Fasolo, in Seicento inesplorato: Levento musicale tra prassi e stile, ed. Alberto Colzani and Andrea Luppi (Como: A.M.I.S., 1993), 481-96. The most recent additions to the biography discussion involving Giovanni Battista Fasolo and Francesco Manelli are presented in a series of articles that introduce a facsimile edition of Chilesottis trasncription of Fasolos Barchetta passaggiera. See Fasolo, Barchetta passaggiera, ed. Oscar Chilesotti and Ottavio Beretta (Lucca: Libreria musicale italiana, 1994). 221 Donna Cardamone, Villanella, Grove Music Online, ed. Laura Macy (accessed 10 May 2006) <http://www.grovemusic.com.content.lib.utexas.edu:2048> 222 Bianconi, Music in the Seventeenth Century, 102-04. 223 Ibid., 104.

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Although Bianconi omits reference to the Neapolitan flavor of the Lamento, his insight into the popular and low class authenticity of the musical scene contributes to a sense of the (north) Italian impression of Spanish-Italian customs during the early seicento. As Bianconi mentions, the Spanish chaconna was first introduced in its Italian printed form in Montesardos Nuova inventione dintavolature per sonare li balletti sopra la chiatrra spagnola (1606), and would continue to be affiliated with Spanish guitar music throughout the seventeenth century. The chaconas further association with moral impropriety and New world barbarism only helped to perpetuate in Italy negative views of Spanish customs that mirrored the general Italian indignation and mistrust of Spanish rule in Naples and Sicily.224 Certainly these stereotypes played foremost in the minds of the Neapolitan ruling class, who were arguably the first Italians to experience the guitars association with the chacona and other lower class exponents as personified in early seventeenth-century Spanish theater produced on the Neapolitan stage.225 Alfabeto song also figured prominently in the early seventeenth century musical associations with other regions in the Kingdom of Naples, most notably Sicily. Ottavio Tiby first dealt with the issue of a Sicilian presence in later alfabeto vocal publications in 1954, noting the inclusion of arie siciliane or arie per cantare ottave siciliane in the alfabeto collections of Stefani, Milanuzzi, and Romano.226 As later musicologists such as Dario Lo Cicero have shown, the dissemination of the aria siciliana in the first half of the
224

The Revolt of Masaniello (ca. 1647) is often considered the culmination of the ambivalent and strained relationship between Spains ruling government in Naples and the Neapolitan populace during the seventeenth century. The standard references in Italian and English are Aurelio Musi, La Rivolta di Masaniello nella scena politica barocca (Naples: Guida, 1989) and Rosario Villari, The Revolt of Naples, trans. James Newell (Cambridge, UK: Polity Press, 1993). 225 Richard Hudson advanced the thesis that the chacona was introduced to Italy via the Neapolitan stage in Passacaglio and Ciaccona: From Guitar Music to Italian Keyboard Variations in the 17th Century (Ann Arbor, MI: UMI Research Press, 1980), 8-9. 226 Ottavio Tiby, Il problema della Siciliana dal Trecento al Settecento Bollettino del Centro di studi filologici e linguistici siciliani 2 (1954).

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seventeenth centurymore or less defined according to its literary design (a strambotto in ottava rima)is confined to the alfabeto song repertory.227 Unlike other musical settings of ottave rime such as the Ruggeiro, the siciliane of the alfabeto song repertory are not associated with a particular set of musical gestures such as a melody or harmonic pattern. Their associative uniqueness appears to lie rather on the employment of Sicilian dialect. Pietro della Valle in his letter to Lelio Guidiccioni on the musica delet nostra, emphasizes that the arie siciliane as cultivated in Rome were imported from the South, and further groups them with a series of foreign musical imports that captured Roman audiences. Della Valles account of the importation of arie siciliane is imbued with a sense of authenticity and even folklore, as he purports to have heard a popular Sicilian air while on an excursion to Messina in 1610:

227

Dario Lo Cicero, Nuove fonti per la siciliana seicentesca in Ceciliana per Nino Pirrotta , ed. Maria Antonella Balsano and Giuseppe Collisani (Palermo: Flaccovio editore, 1994), 11-24. The absence of arie siciliane in solo song publications of the seventeenth century is confirmed in Leopolds inventory of ottave settings. See Leopold, Al modo dOrfeo, vol. 2, 176-82.

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E le arie siciliane, che son galantissime per gli affetti pietosi e malinconici, le quali io, prima forse di tutti, portai in Roma da Napoli prima, e poi anche da Sicilia: dove lanno 1611 ebbi in Messina unaria che ora la sento cantare in Roma per una delle pi belle, e mi furono anche donati due libri manoscritti di ottave siciliane assai buone, che ancora li conservo; e infin dallora, presa un poco quella maniera, anche io di mia testa in quel tuono siciliano schizzai qualche cosa che ho fra li miei scartafacci, e come si vede son cose affettuosissime: ne tempi addietro in Roma non si erano mai sentite; oggi ci si cantano cos bene come nellistessa Sicilia, n so se meglio possa farsi. Lasciamo le ciaccone spagnuole, le saravante, i passacagli, le ciacotte portoghesi e tante altre arie straniere che da poco tempo in qu, e di stravanganze di tempi e di novit di andare, hanno in Roma arrichitto molto la musica delle villanelle e canzonette che prima ci erano ignote..228

I was perhaps the first to bring to Rome arie sicilianemost gallant for their plaintive and melancholy affettifirst from Naples and also from Sicily, where in the year 1611 I obtained in Messina an aria that today I hear sung as one of the most beautiful in Rome. I was also given two manuscript books of very fine ottave siciliane that are still in my possession. From that time, having acquired that skill somewhat, I also sketched some things from my head in the Sicilian mode/sound, which I have in my notebooks. As one can see they are full of affetto. These were never heard in past times in Rome: today they are sung there as well as they are in Sicily, and I dont know if it can be done any better. Let us leave the Spanish ciaccone, the sarabands, the passacagli, the Portuguese ciacotte, and other such foreign arie that for the last little while have greatly enriched the music of villanelle and canzonette in Rome, by their extravagance of meter and novelty of rhythm that have been unknown to us until now.

Two sources that contain pieces that most likely fits della Valles description of arie siciliane heard in Rome are Giovanni Battista Abatessas Intessitura di varii fiori (Rome: i Pieri e Paci, 1652), a Spanish guitar tablature book appended with alcune villanelle and ottave siciliane, and the Roman musician Giacinta Fedeles Scelta di villanelle (Vicenza: Francesco Grossi, 1628), a collection of Neapolitan songs and ottave siciliane with alfabeto. Abatessa, whose guitar books were published in Italy throughout the early seventeenth century, was born in Bitonto and spent his last years in Bari. While his villanelle are presented as texts with alfabeto, the siciliane that conclude the Intessitura appear without alfabeto, adding to the enigmatic musical quality of the ottava
228

Solerti, 169-70.

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siciliana in musical publications. Manuscript sources of arie siciliane with alfabeto, on the other hand, confirm that this unique repertory was closely associated with the guitar, and that the symbol of the instrument as an exponent of southern Italian culture extended beyond the confines of the city of Naples. This is noted in Francesco Grossis printing of Fedeles Scelta di villanelle in Vicenza in 1628, whose ottave siciliane appear with lower case alfabeto printed above the strophes, in the same manner as Millionis Prima scielta and Abatessas villanelle. Fedeles song book survives in a bound collection of ottave and popular Venetian poetry books by Paolo Britti housed in the British Library, attesting to the books association with the northern Italian cultivation of ottave siciliane in the early seventeenth century. The guitar and its accompanying alfabeto notation present themselves as confusing and often contradictory symbols in seicento musical life. While articulating popular authenticity and contributing to the musical mythology of Naples and Spanish Italy, it also created a sense of tension and anxiety for authors who were concerned with musical professionalism and taste (Bonini, Cerreto, and Castaldi).

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Chapter 6: Historiographical Claims for the Repertory and Concluding Remarks The ambivalence of the repertory and the Spanish guitar noted by seventeenthcentury authors survives today in the works of scholars who see the alfabeto song as a problematic symbol of failure and irony in the world of seicento music. This view was first voiced in Nigel Fortunes dissertation on monody from 1953: The sudden popularity of the guitar [in the 1620s]...coincided, firstly with the publication of arias (or rather villanellas and canzonets) more frivolous and inane than any that had been published in earlier years and, secondly with Giacomo Vincentis introduction of small quarto song-books. The three innovations link up with one another; but it is idle to speculate whether it was the guitar which popularized and debased the aria and led to a demand for handier publications, or conversely, whether people found that the new, silly songs sounded best if they were sung to the guitar.229 Fortunes anxiety about the prolific production of alfabeto songs in the 1620s was foregrounded in a misinformed (and perhaps ethnocentric) appraisal about artistic life in Spanish Italy during the sixteenth and seventeenth centuries: [In Spanish Naples] taxes on corn, bread, and salt were iniquitous; famine was a continual horror; there were frequent outbreaks of malaria; the most trifling offence was punished with the utmost severity; the Spanish rulers threatened the subject Italians with contempt and insolence, and openly flaunted their extravagance in front of them; and, on top of all this, the rigours of the Inquisition were more terrible in Naples than anywhere else. It is useless, then, to look to Naples for signs of a flourishing artistic life. The Spaniards also entered Milan when the last, childless member of the ruling house of Sforza died. Milan, however, was already a rich industrial centre, and the people were much better off than their southern compatriots, even though they were obliged to feed and house a large Spanish army. But here, too, artistic life was sterile; there were therefore no monodies published in Milan. Even in those more fortunate parts of Italy which escaped Spanish domination the people were haunted by their conquerors. They consciously adopted Spanish customs. For instance, everybody started dressing in the Spanish fashion; the sombre black which now took the place of the bright colors and jewels of the Renaissance

229

Fortune, 192.

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seemed almost to be the symbol of a people mourning their glorious past.230 Fortunes distress about the debasement of the aria as exemplified in repertories like the alfabeto song that cultivated literary genres such as the villanella and canzonetta was echoed by Gary Tomlinson, who in Monteverdi and the End of the Renaissance, interpreted Monteverdis impulsive interest in the Chiabreresque canzonetta as signaling the demise of the composers introspective compositional potency.231 Although Tim Carter has challenged to great effect Tomlinsons unfair assessment of Monteverdis poetic choices, his scholarship unveils a tendency to critically evaluate the relevance of popular music such as the improvised tradition of cantare per arie as noted in his article on The Concept of Aria232: Even if the strategies [of the arie per cantare tradition] discerned in Marenzios Se il dolce sguardoare not new to the villanella repertory, the fact that they start to encroach upon more serious genres is clearly cause for comment.233 Fortunes, Tomlinsons, and Carters anxiety about so-called lighter genres such as the canzonetta, villanella, and aria has filtered into more recent studies that touch on the subject of alfabeto songs, including Millers dissertation on Venetian monody:

230

Fortune, 101. All of Fortunes claims for artistic stagnation in Spanish Italy are refuted in Lorenzo Bianconi and Rento Bossa, eds., Musica e cultura a Napoli dal XV al XIX secolo and Robert Kendrick, The Sounds of Milan, 1585-1650 (New York: Oxford, 2002). Regarding Fortunes discussion of the Inquisition and Spanish domination in Italy, he draws from the familiar language of nineteenth and twentieth century historiography that posits Spanish imperialism as the source of the so-called questione meridionale (i.e. southern underdevelopment). For a history of this discourse see Croce, Il Paradiso abitato da diavoli; Giuseppe Galasso, Laltra Europa. Per unanthropologia storica del Mezzogiorno dItalia, revised ed., (Lucca: Argo, 1997); and Nelson Moe, The View from Vesuvius: Italian Culture and the Southern Question (Berkeley and Los Angeles: The Univertsity of California Press, 2002). 231 Tomlinson, Monteverdi and the End of the Renaissance, see esp. 230-232. 232 Carter, Review of Monteverdi and the End of the Renaissance by Gary Tomlinson, Early Music History 8 (1988): 245-60. 233 Carter, An Air New and Grateful to the Ear: The Concept of Aria in Late Renaissance and Early Baroque Italy, Musical Analysis 12 (1993): 136.

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Bertis and Grandis music, created under the protection of the nobility and presumably for their pleasure, was sheltered for many years from the inroads made by the Spanish guitar in other canzonetta collections and musical domains. Implicit in their compositional aesthetic, then, was the fundamental role of the continuo bass line. A consistent bass line liberated the upper voices in polyphonic madrigals, allowing composers more freedom to pursue various modes of text expression, such as the dramatic scena of Monteverdis Tamo mia vita,...Though Grandi and Berti used the basso continuo in the different, solo canzonetta repertory, their preference for this mode of accompaniment hints that they were more concerned with textual expression than was Milanuzzi. Their avoidance of guitar tablature may in fact signal the absence of pre-existing chordal frameworks in their music for solo voice.234 The overwhelming presence of alfabeto songs in the Venetian solo song repertory of the 1620s was a source of ambivalent concern for Miller, a fact that culminates in his characterization of Romanos Raccolte di bellissime canzonette as a plagiarized version of posthumous concordances in musically-notated printed sources.235 The alfabeto system itself, more specifically, is a topic of immediate anxiety for Miller, noted in his characterization of the systems theoretical shortcomings and especially in his support of Nigel Fortunes claim that publishers were mainly responsible for adding alfabeto to compositions to increase the market appeal of their vocal music publications.236 For Miller, alfabeto is a kind of liability that composers generally sought to avoid; only in the cases of Kapsberger and Milanuzzi, by virtue of their status as guitarists, is Miller willing to accept the possibility that composers intended their compositions to be appended with alfabeto. Italian musicology, on the other hand, has examined the alfabeto song repertory with less problematic results. This somewhat sympathetic approach was introduced early

234 235

Miller, The Development of Venetian Monody, 191. See Chapter 4. 236 Fortune, 183-188. Miller qualifies Fortunes assessment of printers business practices in New Information, 25.

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in the twentieth century by Oscar Chilesotti, a scholar known best for his early music transcriptions in the Rarit musicale italiana series (on which Respighi based his orchestrations of early music). Writing about alfabeto songs in 1909, Chilesotti notes: ...ma pure si segnava con le lettere per la Chitarra Canzoni ad una o pi voci scritte col Basso continuo, e semplici poesie delle quali la melodia era notissima o per le quali si citava laria in voga da adattarvi. Questultimo caso lascia anche supporre che talora gli accordi, opportunamente variati, fossero destinati a creare una forma artistica speciale, per quanto modestissima, collaccentare il ritmo poetico o col sostenere limprovvisazione di un recitativo, di un canto, ecc., a guisa dellarte dei trovatori antichi e dei cantastorie ormai passati di moda.237 ...there were also inscribed with letters for the guitar songs for one or more voices written with Basso continuo, and simple poems for which the melody was very well known or for which they indicated the fashionable aria [scheme] to use/adapt. This latter case leads one to suppose that at times the chords, suitably varied, were destined to create a unique artisticthough modestform by accenting the poetic rhythm or by [providing] support for improvising a recitativo, a song, etc., in the manner of the art of the ancient troubadours and of minstrels of ages past.

Later Italian scholars, although eschewing some the Romantic nostalgia that colored Chilesottis scholarship, adopted Chilesottis pretext that alfabeto songs occupied an important and worthwhile position in early seventeenth century vocal music practice. This is most evident in the work of Ivano Cavallini, who defended the popularity of alfabeto song publications against the negative (and speculative) views of Nigel Fortune.238 One of Fortunes claims with which Cavallini takes issue includes the notion of a relegation of the guitar to less refined performance contexts, to which Cavallini responds with primary source evidence about the guitars visibility in court performances and elite society.239 More recent studies dealing with the topic of alfabeto songs in manuscript (a large and increasing body of material), including the work of authors such as John Walter Hill,
237 238

Chilesotti, Canzonette del Seicento, 847. Cavallini, Sullopera Gratie at affetti amorosi di Marcantonio Aldigatti (1627), Quadrivium 19 (1978): 145-94. 239 Cavallini, 154.

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James Tyler, and Sylvia Castelli, have adopted Chilesottis and Cavallinis stance in their approach to the repertory.240 Hill, in particular, has noted the important roles that the guitar and alfabeto notation played in the musical environment of the Montalto court in Rome during the first half of the seventeenth century. Concluding Thoughts: Alfabeto Song and the Incompatability of "Monody" In many ways, the alfabeto song repertory illustrates the problems associated with the (still persistent) usage of the term monody and the subsequent classification of early seicento song according to the stylistic delineations of madrigale and aria introduced by Caccini in his Nuove musiche.241 Such compartmentalization not only oversimplifies vocal music practice in Italy during this time, but it also undermines the array of approaches and strategies such as alfabeto inscription available to both composers and performers. The publication history of the repertory not only challenges the modern historiographical claim to the hegemony of Venetian alfabeto song publications, but also to the wider acceptance of the predominance of Florentine-based new music models in secular vocal music production in the early seventeenth century. Both the alfabeto songs association with noble patron/performers and their presence in manuscripts associated with members of the aristocracy and ruling classes attests to their legacy even among

240

Hill, esp. 57-139; Tyler, The Guitar and its Music 37-81; Castelli, 31-7. This last article is part of one of the most recent collections of essays about alfabeto in manuscript. Other essays in the book mainly address the issue of alfabeto and guitar music, although there are (especially in Castellis case) places where vocal music is discussed. The Florentine manuscripts discussed at these conference proceedings in 2002 are some of the richest sources of alfabeto songs in Italy. 241 See for example Tim Carter, Monody, Grove Music Online, ed. Laura Macy (accessed 8 June 2006) < http://www.grovemusic.com.content.lib.utexas.edu:2048>

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social groups that cultivated elevated models of solo singing such as the solo madrigal and musical drama. For the purveyors and composers of alfabeto songs, adherence to Caccinian models and other musical systems that emphasized compositional control through elaborate musical notation seems not to have been a prime motivation. In fact, the aesthetic premise that characterizes much of the repertory is an outward avoidance (if not rejection) of the florid style of melodic notation that dominates the publications of Caccini. This is effectively illustrated in the Musiche books of Sigismondo dIndia, where the composer discriminates between madrigali and arie of the Caccini mold and the unmistakable character of the alfabeto song. Naturally this has led scholars to interpret the repertory (or, rather, the practice of alfabeto inscription) under the guises of unwritten and oral traditions.242 While the elusive nature of alfabeto notation strongly resonates with such practices, notation and dissemination through the printed medium are still some of the hallmarks of alfabeto song tradition. An analogy to lead sheet fake books or chord layouts that frequent todays vocal publications (printed and electronic) might serve to convey the dynamics of the unwritten and written that characterize the repertory. As in the fake book tradition, the harmonic (and sometimes melodic and rhythmic) components of alfabeto tunes are presented in incomplete and skeletal frameworks. It is expected that performers have knowledge a priori of the language needed to execute a performance, or perhaps need only the more forgettable cues of well-known tunes, such as chord progressions and lyrics.

242

See Lo Cicero, 113. Ignazio Macchiarella has also written about unwritten traditions and their predominance in musical cultures unfamiliar with the more established language of notation and music theory. See his Appunti per una indagine sulla tradizione non scritta della musica del XVI-XVII secolo, in Ceciliana per Nino Pirrotta, 97-109.

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The unwritten and written disparity that has pervaded this study of alfabeto song plays into a much wider cultural discussion about the repertorys associations with Naples and the Italian south. The strong contrast between alfabeto song notation and the established tradition of musical notation mirrors similar antitheses between, for example, the economic practices of the south and the north. Scholars such as John Marino, Patrick Chorley, and Paolo Macry have described the marginalized business practices of the Mezzogiorno, noting the prevalence of entreprenurial huckstering and bartering, and the practice of establishing contracts between merchants and agricultural sellers alle voce.243 Marino has shown how Napless anticapitalist economic landscape bolstered criticism from early modern Florentine and Venetian merchants and bankers, who recognized the hallmarks of Neapolitan social codes that were central to Neapolitan businesscleverness, friendship, loyalty, and honoras weak and politically disastrous cultural imperfections.244 The economy of the early modern Mezzogiorno, which Marino has dubbed a trickster economy, was ultimately the outcome of the contrast between the urban environment and natural abundance of the countryside. As products of southern culture, alfabeto songs counteract new music and seconda prattica ideologies of the northern (and in Naples, the institutional) establishment. Their stark simplicity, degenerative and archaic notational system, and poetic bizzaria suggest a strategic backwardness (an ubiquitous concept in the historical mythologizing of Naples and the Italian south) when compared to the aesthetic

243

John A. Marino, Economic Idylls and Pastoral Realities: The Trickster Economy in the Kingdom of Naples, Comparative Studies in Society and History 24 (1982): 224; Patrick Chorley, Oil, Silk, and Enlightenment: Economic Problems in XIIIVth Century Naples (Naples: Istituto italiano per gli studi storici, 1965), 83-140; and Paolo Macry, Ceto mercantile e azienda agricola nel Regno di Napoli: il contratto alla voce nel XVIII secolo, Quaderni Storici 21 (1972): 851-909. 244 Marino, 215.

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programs of the nuove musiche, seconda prattica, stile moderno, and other modernizing progressive agendas. 245 In the north, attitudes about the guitar and musical practices of the lowers and peasant classes are mixed; on one hand, they are seen as inferior and incapable of producing the same effects as nobler musical performers and instruments. On the other hand, their affiliation with pastoral and ancient traditions lend an authentic and natural quality about them that could potentially transcended other musical pursuits. With the popularity of the standardized tradition in later central and northern publications of the 1620s and 30s, alfabeto song emerged on the printed music scene in a format that was understood as incompatible with traditions such as the solo madrigal. This did not, however, appear to effect the production of the repertory; on the contrary it surfaced as one of most widely printed secular vocal traditions of its time.

245

Castaldi referred to alfabeto as a system of heiroglyphs, a reference to the perceived archaic and nonevolutionary aspects of the notation. See Castaldi, 18.

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APPENDIX 1. Alfabeto Song Prints Published in Italy, 1610-ca. 1665246 1610 1611 Kapsberger, Giovanni Girolamo (ed. Flammini). Libro primo di villanelle Rome: [n.p.] [1612]. / 4o/ Ded. Girolamo Kapsberger Borlasca, Bernardino. Canzonette a tre voci... libro secondo Venice: Giacomo Vincenti. /8o/ Ded. Cardinale Bonifacio Caetano Dignissimo Legato di Romagna Montesardo, Girolamo. I lieti giorni di Napoli Naples: Giovanni Battista Gargano and Lucrezio Nucci, ad instanza di Pietro Paolo Riccio. /8o/ Ded. Don Pietro Ferdinando di Castro Giaccio, Orazio. Armoniose voci Naples: Giovanni Iacomo Carlino [1616, 1618]. /8o/ Ded. Giovanni Francesco Paulella

1612

1613

246

The following sources were consulted to create this catalogue: Oscar Chilesotti, Canzonette del Seicento con la chitarra, Rivista musicale italiana 16 (1909); James Tyler and Paul Sparks, The Guitar and its Music from the Renaissance to the Classical Era (New York: Oxford University Press, 2002); John Walter Hill, Roman Monody, Cantata, and Opera from the Circles around Cardinal Montalto (New York: Oxford University Press, 1997); Francesco Passadore, Una miscellanea di edizioni musicali del primo Seicento Fonti musicali italiane 10 (2005): 7-38; Roark Miller, The Composers of San Marco and Santo Stefano and the Development of Venetian Monody (to 1630), Ph.D. dissertation, The University of Michigan, 1993; Silke Leopold, Al modo d'Orfeo: Dichtung und Musik im italienischen Sologesang des frhen 17. Jahrhunderts, 2 vols. (Laaber: Laaber Verlag, 1995); Gaetano Gaspari, Catalogo della Biblioteca del Liceo musicale di Bologna, 4 vols., (Bologna: Romagnoli DallAcqua, 1890-1902; reprinted Bologna: A. Forni, 1961); Oscar Mischiati, Indici, cataloghi e avvisi degli editore e librai musicali italiani dal 1591 al 1798 (Florence: Leo S. Olschki, 1983); Emil Vogel, Alfred Einstein, Franois Lesure, and Claudio Sartori, Bibliografia della musica italiana vocale profana pubblicata dal 1500 al 1700, (Pomezia and Geneva: Staderini-Minkoff, 1977); Franois Lesure, ed., Recueils imprims XVIe-XVIIe sicles I: Liste chronologique (Munich-Duisberg: G. Henle, 1960-); Karl-Heinz Schlager, ed., Einzeldrucke vor achtzehnhundertm, 15 vols. (Kassel, Basel, and Tours: Barenreiter, 1971-); Johannes Wolf, Handbuch der Notationskunde, 2 vols., (Leipzig: Breitkopf and Hrtel, 1919); Mariangela Don, La stampa musicale a Milano fino allanno 1700 (Florence, Leo S. Olschki, 1961); Gary R. Boye, Chronological List of Rasgueado Tablatures at http://www.library.appstate.edu/music/guitar/strummed.html (accessed 1 June 2006); Antonio Mongitore, Biblioteca sicula, sive de scriptoribus siculus, qui tum vetera, tum recentiora saecula illustrarunt, notitiae locupletissimae, vol. 2 (Palermo: 1708-14, reprinted Bologna: Forni, 1971); Franois-Joseph Ftis, Biographie universelle des musiciens et bibliographie gnrale de la musique (Brussels, 1835-44); Francesco Luisi, Il carro di Madama Lucia et una serenata in lingua lombarda: note sullattribuzione definitiva a Giovanni Battista Fasolo, in Seicento inesplorato: Levento musicale tra prassi e stile, ed. Alberto Colzani and Andrea Luppi (Como: A.M.I.S., 1993). Citations include year, composer (editor in parentheses, when acknowledged), folio format (ottavo/quarto), printer, dedicatee (with title where acknowledged), and other pertinent publishing information given on the title page, including advertising for bookshops (libraria) and sponsorship. Reprints are noted in bracketed dates. The publishing and dedication material of reprints are given when this information differs from that of first editions. In cases where multiple editions by the same composer were issued during the same year, the dates are appended with alphabetical letters. Publishing information for the following prints was taken from the New Vogel and not verified through first-hand contact (lost prints excluded): Borlasca, 1611; Salzilli, 1616a, 1616b; D'Aragona, 1616a, 1616b; Kapsberger, 1630, 1632, 1640; Valvasensi, 1634; Gabrielli, 1638; Ziani, 1641; Milanuzzi, 1643; Anonymous, 1659.

176

[1613 1616 1616a 1616b 1616a 1616b 1616 1616

Various. Orfeo. Musiche de' diversi autori Venice: Bartolomeo Magni] Sanseverino, Benedetto. El segundo libro de los ayres Milan: Filippo Lomazzo. /4o/ Dirigido Conde Iulio Cesare Borromeo Salzilli, Crescenzio. La sirena libro secondo Naples: Giovanni Battitsa Gargano and Lucrezio Nucci, si vendono alla libraria. Salzilli, Crescenzio. Amarille libro terzo Naples: Lucrezio Nucci. /8o/ Ded. Monsignor Francesco Cecchino D'Aragona, Paolo. Amorose querele Naples: Lucrezio Nucci. /8o/ Ded. Don Vincenzo Ruffo, Marchese di Licordia D'Aragona, Paolo. Soavi ardori. Naples: Lucrezio Nucci. /8o/ [no ded.] Falconieri, Andrea. Libro primo di villanelle Rome: Giovanni Battista Robletti. /4o/ Ded. Cardinale de Medici Corradi, Flaminio. Le stravaganze d'amore Venice: Giacomo Vincenti [1618]. /4o/ Ded. Giovanni Cornato, Procuratore di San Marco, Venezia Caccini, Francesca. Il libro primo delle musiche Florence: Zanobi Pignoni. /8o/ Ded. Cardinale de Medici Giaccio, Orazio. Laberinto amoroso Naples: Giovanni Battista Gargano and Lucrezio Nucci. /8o/ Ded. Giovanni Francesco Paulella Various (ed. Stefani). Affetti amorosi Venice: Giacomo Vincenti [1621, 1623, 1626] [no ded.] Romano, Remigio. Prima raccolta di bellissime canzonette musicali Vicenza: Angelo Salvadori [1622, 1624, 1625]. /4o/ Kapsberger, Giovanni Girolamo (ed. Ferrari). Libro secondo di villanelle Rome: Giovanni Battista Robletti. /4o/ Ded. Kapsberger Kapsberger, Giovanni Girolamo (ed. Porta). Libro terzo di villanelle Rome: Robletti. /4o/ Ded. Kapsberger Rontani, Raffaello. Le varie musiche...libro terzo Rome: Luca Antonio Soldi. /4o/ Ded. Conte D. Michele Moroni

1618 1618

1618 1618 1619a 1619b 1619

177

1619 1620

Falconieri, Andrea. Musiche libro sexto Venice: Stampa del Gardano/Bartolomeo Magni. /4o/ Ded. Odoardo Nannini Colonna, Giovanni Ambrosio. Il secundo libro d'intavolatura Milan: Erede di Giovanni Battista Colonna. Ded. Don Francesco Gallio [1627] Ded. Fratelli Giovanni Geronimo & Giovanni Battista Motetti [Milan: Dionisio Gariboldi, 1637] Sanseverino, Benedetto. Intavolatura facile...opera terza Milan: Filippo Lomazzo. Ded. Cleophas Senago [MS additions see Boye] Rontani, Raffaello. Varie musiche...libro quarto Rome: Giovanni Battista Robletti, ad instantia di Antonio Poggioli. /4o/ Ded. Giovanni Battista Matthei, Marchese di Rocca Rinibalda[1625]. /4o/ Ded. Caterina Manini Rontani, Raffaello. Varie musiche...libro quinto Rome: Giovanni Battista Robletti, ad instantia di Antonio Poggioli. /4o/ Ded. Giovanni Battista Olgiatti, Marchese di Poggio e di Catino [1625] ad instantia di Antonio Poggioli. /4o/ Ded. Giulio Cesare Castellani Olivieri, Giuseppe. La pastorella Armilla Rome: Luca Antonio Soldi. /8o/ Ded. Cardinal Del Monte Vitali, Filippo. Musiche...libro terzo Rome: Luca Antonio Soldi. /4o/ Ded. Ferdinando Ruccelai Various, (ed. Stefani). Scherzi amorosi Venice: Alessandro Vincenti [1622]. /8o/ Ded. Filippo Musotti Landi, Stefano. Arie a una voce Venice: Stampa del Gardano/Bartolomeo Magni. /4o/ Ded. Paolo Savello, Prencipe dAlbano per Santa Maria Cesarea Romano, Remigio. Seconda raccolata di belissime canzonette musicali Vicenza: Angelo Salvadori [c.1622, 1624, 1625]. /4o/ Romano, Remigio. Terza raccolta di bellissime canzoni alla romanesca Vicenza: Angelo Salvadori [1621, 1622, 1625]. /4o/ Various, (ed. Giovanni Battista Robletti). Raccolta di varii concerti musicali Rome: Giovanni Battista Robletti. Ded. Monsignor Stefano Pignatelli, Protonotario Apostolico

1620 1620a

1620b

1620 1620 1620 1620

1620a 1620b 1621a

178

1621b 1621

Various, (ed. Giovanni Battista Robletti). Giardino musicale Rome: Giovanni Battista Robletti. Ded. Paolo Quagliati Veneri, Gregorio. Li varii scherzi...libro primo Rome: Luca Antonio Soldi, adistanza di Paolo Masotti. /4o/ Ded. Dorotea Delfinoni D'India, Sigismondo. Le musiche...libro quarto Venice: Alessandro Vincenti. /4o/ Ded. Conte Feredico Rossi di San Secondo Sanseverino, Benedetto. Il primo libro d'intavolatura per la chitarra spagnuola Milan: Filippo Lomazzo. Ded. Cleophas Senago [MS additions, see Boye] Marini, Biagio. Scherzi, e canzonette Parma: Anteo Viotti. /8o/ Ded. Ferdinando Gonzaga, Duca di Mantova Various, (ed. Giovanni Battista Robletti). Vezzosetti fiori Rome: Giovanni Battista Robletti. Ded. Margherita V[ivemi?] Milanuzzi, Carlo. Primo scherzo delle ariose vaghezze Venice: Bartolomeo Magni. /8o/ Ded. Felice Aleardi Milanuzzi, Carlo. Secondo scherzo delle ariose vaghezze Venice: Alessandro Vincenti. /8o/ Ded. F[ra] Daniele Todeschini da Venezia [1625]. /8o/ [no ded.] Vitali, Filippo. Arie a 1 2 3 voci Venice: Stampa del Gardano/Bartolomeo Magni. /4o/ Michel Angelo Baglioni, Signor del Morcone Guazzi, Eleuterio. Spiritosi affetti...libro primo Venice: Marca tipografica del Gardano. /4o/ Ded. Cardinal Farnese Rontani, Raffaello. Le varie musiche...libro sesto Rome: Giovanni Battista Robletti, ad instantia dAntonio Poggioli. /4o/ Ded. Alessandro Del Nero, Signore di Porcigliano Rontani, Raffaello. Le varie musiche libro primo Rome: Giovanni Battista Robletti. /4o/ Ded. Dorotea del Verme [1614 has no alfabeto] Giamberti, Giuseppe. Poesie diverse Rome: Luca Antonio Soldi. /8o/ Ded. Monsignor Girolamo Grimaldi Kapsberger, Giovanni Girolamo (ed. Pannocchieschi). Libro quarto di villanelle Rome: Luca Antonio Soldi. /4o/ Ded. Kapsberger

1621 1622 1622 1622 1622a 1622b

1622

1622 1622

1623

1623 1623

179

1623 1623 1623 1623 1623 1623 1624 1624 1624 1625

Romano, Remigio. Nuova raccolta di bellissime canzonette musicali Venice: Angelo Salvadori [1624, 1625, 1625] D'India, Sigismondo. Le musiche...libro quinto Venice: Alessandro Vincenti. /4o/ Ded. Prencipe Carlo Arciduca dAustria Ghizzolo, Giovanni. Frutti d'amore...libro quinto Venice: Alessandro Vincenti. /4o/ Ded. Francesco Reloggio Manzolo, Domenico. Canzonette Venice: Alessandro Vincenti. /8o/ Ded. Giovanni Pellegrino Palmieri Various (ed. Stefani). Concerti amorosi Venice: Alessandro Vincenti. /8o/ Ded. Lodovico Magnami Conti di Massa Milanuzzi, Carlo. Terzo scherzo delle ariose vaghezze Venice: Alessandro Vincenti. /8o/ Ded. Giovanni Battista Bonzi di Padova Aranies, Juan. Libro segundo de tonos y villancicos Rome: Giovanni Battista Robletti Berti, Giovanni Pietro. Cantade et arie Venice: Alessandro Vincenti. /8o/ Ded. Valerio Michiel Milanuzzi, Carlo. Quarto scherzo delle ariose vaghezze Venice: Alessandro Vincenti ["novamente ristampa"]. /8o/ [no ded.] Miniscalchi, Guglielmo. Arie...libro primo Venice: Alessandro Vincenti. /8o/ Ded. Francesco Premuda[1627]. /8o/ [no ded.] Severi, Francesco. Arie libro primo Rome: Paolo Masotti. /4o/ Ded. Duca della Corgnia Romano, Remigio. Residuo alla quarta parte Venice: Angelo Salvadori Anonymous, (ed. Stefani). Ariette amorose Venice: Alessandro Vincenti [lost] Grandi, Alessandro (ed. Andrea Ziotti). Cantade et arie...libro terzo Venice: Alessandro Vincenti. /8o/ Ded. Francesco Duodo Millioni, Pietro. Prima scielta di villanelle Rome: Guglielmo Facciotti. /8o/ Ded. Cavalier Baldassar De Nobili

1626 1626 1626 1626 1627

180

1627 1627 1627

Fasolo, Giovanni Battista. Barchetta passaggiera Rome: Giovanni Battista Robletti. /4o/ [no ded.] Landi, Stefano. Il secondo libro d'arie musicali Rome: Giovanni Battista Robletti. /4o/ Ded. Principessa di Piemonte Aldigatti, Marc'Antonio. Gratie et affetti amorosi Venice: Bartolomeo Magni. /8o/ Ded. Nicolo Rossi, Consigliere et Residente in Venezia Berti, Giovanni Pietro. Cantade et arie...libro secondo Venice: Alessandro Vincenti. /8o/ Ded. Giovanni da Ponte Miniscalchi, Guglielmo. Arie...libro secondo Venice: Alessandro Vincenti. /8o/ Ded. Padre Don Candido Bencio Obizzi, Domenico. Madrigali et arie...libro primo Venice: Alessandro Vincenti. /4o/ Ded. Lorenzo Loredano Colonna, Giovanni Ambrosio. Scielta de canzonette Milan: Per l'her. di Giovanni Battista Colonna. Ded. Signori Fratelli Giovanni Geronimo & Giovanni Battista Motetti Sabbatini, Pietro Paolo . Il sesto Bracciano: Andrea Fei . /4o/ Ded. al Principe e Principessa di Venosa Del Giudice, Cesare. Madrigali concertati Messina: Pietro Brea [lost] Crivellati, Domenico. Cantate diverse Rome: Giovanni Battista Robletti. /4o/ Ded. Monsignor Grimaldi governatore della provincia del patrimonio Fasolo, Giovanni Battista. Il carro di Madama Lucia Rome: Giovanni Battista Robletti. /4o/ [no ded] Milanuzzi, Carlo. Sesto libro delle ariose vaghezze Venice: Alessandro Vincenti. /8o/ Ded. Rizolo Miliari Tarditi, Orazio. Amorosa schiera d'arie Venice: Alessandro Vincenti. /4o/ Ded. Prencipe Don Lorenzo di Toscana Fedele, Giacinta. Scielta di villanelle Vicenza: Francesco Grossi. /8o/ [no ded.]

1627 1627 1627 1627

1628 1628 1628

1628 1628 1628 1628

181

1629 1630 1630 1630

Grandi, Alessandro (ed. Giacomo Grandi). Cantade et arie...libro quarto Venice: Alessandro Vincenti. /8o/ Ded. Antonio Rosa and Paolo Rossi Kapsberger, Giovanni Girolamo (ed. Donata) Libro quinto di villanelle Rome: Paolo Masotti. /8o/ Ded. Kapsberger Milanuzzi, Carlo. Settimo libro delle ariose vaghezze Venice: Alessandro Vincenti. /8o/ Ded. Anibale Berni dal Finale di Modena Miniscalchi, Guglielmo. Arie...libro terzo Venice: Alessandro Vincenti. /8o/ Ded. Nicolo Rossi, Consigliere et Residente in Venezia Kapsberger, Giovanni Girolamo (ed. Tempi) Li fiori libro sesto Rome: Paolo Masotti. /8o/ [no ded.] Camarella, Giovanni Battista. Madrigali et arie Venice: Alessandro Vincenti. /8o/ Ded. Sigismono dEste Pesenti, Martino (ed. A. Vincenti) Arie a voce sola...libro secondo Venice: Alessandro Vincenti. /8o/ Ded. Pietro Morosini Various, (ed. A. Vincenti). Arie de diversi Venice: Alessandro Vincenti [no ded.] Valvasensi, Lazzaro. Secondo giardino d'amorosi fiori Venice: Bartolomeo Magni. /8o/ Ded. Ippolito Valvasone di Manicao Abatessa, Giovanni Battista. Cespuglio di varii fiori Orvieto: Ad instantia di Giovanni Battista Robletti [1637]. /8o/ [no ded.] Marini, Biagio. Madrigaletti...libro quinto Venice: Stampa del Gardano/Bartolomeo Magni. /8o/ Ded. Friderico Duca di Wirtenbergh Fontei, Nicol. Bizzarrie poetiche Venice: Bartolomeo Magni. /8o/ Ded. Giovanni Vidmano de liberi signori di San Paterniano Milanuzzi, Carlo. Ottavo libro delle ariose vaghezze Venice: Alessandro Vincenti. /8o/ Ded. Nicolo Valvasone Fontei, Nicol. Bizzarrie poetiche...libro secondo Venice: Bartolomeo Magni. /4o/ Ded. Giorgio Nani

1632 1633 1633 1634 1634 1635 1635

1635

1635 1636

182

1636 1636 1637

Pesenti, Martino (ed. A. Vincenti). Arie a voce sola...libro terzo Venice: Alessandro Vincenti. /8o/ Ded. Angela Soler Sances, Giovanni Felice. Il quarto libro delle cantate et arie Venice: Alessandro Vincenti. /8o/ Ded. Marchese Pio Enea Obizzi Landi, Stefano. Il quinto libro d'arie Venice: Stampa del Gardano/Bartolomeo Magni. /4o/ Ded. Prencipe Giovanni Carlo di Toscana Busatti, Cherubino. Arie a voce sola Venice: Alessandro Vincenti. /4o/ Ded. Priamo da Lezze Gabrielli, Francesco. Infermit, testamento e morte Verona, Padua, and Parma: [n.p.] Kapsberger, Giovanni Girolamo (ed. Franceschi). Libro settimo di villanelle Rome: Vincenzo Bianchi. /4o/ [no ded.]

1638 1638 1640

1640/8 Pesori, Stefano. Lo scrigno armonico [n.p.]. Ded. Marchese MarcAntonio Sagramosi 1641 1641 Sabbatini, Pietro Paolo. Varii capriccii e canzonette Rome: Vincenzo Bianchi. /4o/ Ded. Conte Maffeo Fiubba Laurenzi, Filiberto. Concerti et arie Venice: Alessandro Vincenti. /4o/ Ded. Giovanni Da Pesaro, Cavalliere eletto Procuratore di San Marco Ziani, Pietro Andrea. Il primo libro di canzonette Venice: Alessandro Vincenti [lost] [no ded.] Milanuzzi. Carlo. Nono libro delle ariose vaghezze Venice: Alessandro Vincenti. /8o/ Ded. Pietro Alberto Grazioli Busatti, Cherubino. Settimo libro d'ariette Venice: Alessandro Vincenti. /4o/ Ded. Marchese Ottavio Gonzaga Tarditi, Orazio (ed. A. Vincenti). Arie a voce sola Venice: Alessandro Vincenti. /8o/ Ded. Antonio Campagnella Anonymous Pesori, Stefano. Galeria musicale Verona: Giovanni Battista & Fratelli Merli. Ded. Bernardino Gherardini, Marchese di Scurano, Conte di S. Polo

1641 1643 1644 1646 1648 1648

183

1650

Sabbatini, Pietro Paolo. Prima scielta di villanelle a una voce Rome: Vitale Mascardi. /4o/ [no ded.] [1652, 4o Ded. Giovanni Battista Manganoni] Sabbatini, Pietro Paolo. Seconda scielta di villanelle e una voce Rome: Vitale Mascardi ["nuovo ristampe"] [1652]. /4o/ Ded. Carlo Previsano Abatessa, Giovanni Battista. Intessitura di varii fiori Rome and Lucca: i Pieri e Paci. /8o/ [no ded.] Sabbatini, Pietro Paolo. Prima scielta di villanelle a due voci Rome: Vitale Mascardi. /4o/ Ded. Monsignor Carlo Pio tesoriero generale di N.S. Anonymous. Canzonette spirituali, et morali Milan: Giorgio Rolla Anonymous. Nuove canzonette musicali Venice: Giacomo Batti Marchetti, Tomasso. Il primo libro d'intavolatura Rome: Francesco Moneta, si vendono da Giovanni Battista Rossi Milanese in [Piazza] Navona [no ded.]. [anonymous version published Rome: Catalani, 1648]. [no ded.] Millioni, Pietro. Nuova corona d'intavolatura Rome: lHerede del Mancini, si vendono alla Stamperia dellHerede del Mancini, appresso allOrat. della S.S. Trinit dePellegrini. [no ded.]

1651 1652 1652

1657 1659 1660

1661

ca. 1665 Marchetti, Tomasso. D'i[ntavolatura . . .?] R[ome?]: n.p. [no ded; see Boye for details]

184

Appendix 2: Index of First Lines of Alfabeto Songs Published 1610-ca. 1665247 Text A che pi larco tendere A ciel sereno A dio mio cor a dio ti lascio A i diletti alle gioie A l' see All' A la see Alla A le see Alle A miei pianti Tarditi (1628) Amorosa schiera darie Arie a una voce Libro segundo de tonos y villancicos Libro segundo de tonos y villancicos Bizzarrie poetiche La pastorella Armilla Le varie musiche...libro primo Frutti damore...libro quinto Madrigali et arie Il sesto...opera ottava Primo scherzo delle ariose vaghezze Arie a voce sola Le stravaganze damore Canzonette...a una e due voce Madrigali et arie Amorosa schiera darie Armoniose voci A qualunque animale alberga in terra Landi (1620) - Aria da cantar sestine A quell ninno que en gaa Aranies (1624) A ucciglas suaves tenplad las voces A voi sole si canti - I vecchi non odono volentieri cantar damore Acceso mio core - Arietta Accorta lusinghiera Ah ah che pur ti veggio Ah Clori ah rabiosetta Ah cor non sei pi mio Ah fallace infido Amore - Amore amaro Ah Filli al tuo bel volto Ah ladra damore / dammi il mio core Ah ladra d'amore / dammi il mio core Ah son tradito ferito il mio core Ahi che mi sento morire Ahi che datemi parto anima mia Partenza
247

Composer/editor (year) Collection title Landi (1627) Il secondo libro darie musicali Kapsberger (1632) Tarditi (1628) Severi (1626) Li fiori libro sesto Amorosa schiera darie Arie...libro primo

Aranies (1624) Fontei (1635) Olivieri (1620) Rontani (1623) Ghizzolo (1623) Obizzi (1627) Sabbatini (1628) Milanuzzi (1622a) Busatti (1638) Corradi (1616) Manzolo (1623) Obizzi (1627) Tarditi (1628) Giaccio (1613)

Text incipits are based on versification; when concordance appears, a slash (/) indicates a break between the first and second lines of poetry. This has been done to illustrate textual variance or similarity after the first line of concordance. Also in cases of concordances, spellings and contractions have been standardized. For clarity and standardization, commas, periods, colons, and semi-colons have been omitted. Capitalization has been retained/standardized for proper names only. This appendix does not include the settings of the Canzonette spirituale (Milan: Rolla, 1957). 185

Ahi che morir mi sento Ahi che morir mi sento - Del sig Francesco Monteverde Ahi che morir mi sento

DAragona (1616b) Milanuzzi (1624) Millioni (1627)

Soavi ardori Quarto scherzo delle ariose vaghezze Prima scielta di villanelle Concerti amorosi terza parte Secondo scherzo delle ariose vaghezze Amorosa schiera darie Varii capricci...libro settimo Delle bizzarrie poetiche...libro secondo Libro segundo de tonos y villancicos Musiche...libro sexto Giardino musicale Lo scrigno armonico Arie...libro primo Soavi ardori Il carro di Madama Lucia Madrigali et arie Amarille libro terzo Cantade et arie a voce sola...libro terzo Settimo libro delle ariose vaghezze Canzonette...a una e due voce Il carro di Madama Lucia Libro segundo de tonos y villancicos Libro quinto di villanelle Arie...libro primo Libro primo di villanelle Secondo scherzo delle ariose vaghezze Libro primo di villanelle Ottavo libro delle ariose vaghezze Canzonette...a una e due voce Il quinto libro darie Libro primo di villanelle Terza raccotla di bellissime canzoni

Ahi che morir mi sento - Amante che Stefani, ed. (1623) chiede aita Ahi chi mi guida al foco - Amante Milanuzzi (1622b) infelice Ahi ladra crudele Tarditi (1628) Ahi lasso perche fuggi? Ahi s che spargo allaura Al concillo much dexa la gara Al dolce mormorar Al dolce mormorar Al fiero gioco Al fonte al prato al bosco Al fonte al prato al bosco Al mie pias il unAlban - Serenta in lingua lombarda Al pallor dun bel sembiante Al piacer chio nodrisco Al seren del tuo colto Al tuo partir Balletto Al venir di mia Clori Al mie pias i cullumbott Serenata in lingua lombarda Ala luz del dia las aves canta Allantro al poggio alla selva Allarmi a larmi Allombra alla fonte Allombra vientene - Invito amoroso Alla caccia pastori Alla Donna sol piace Alla gloria glhonori Alla guerra damor correte amanti Alla luce / alla mia candida Alla luce / alla mia candida - Aurora Sabbatini (1641) Fontei (1636) Aranies (1624) Falconieri (1619) Robletti, ed. (1621b) Pesori (ca. 1648) Severi (1626) DAragona (1616b) Fasolo (1628) Camarella (1633) Salzilli (1616b) Grandi (1626) Milanuzzi (1630) Manzolo (1623) Fasolo (1628) Aranies (1624) Kapsberger (1630) Severi (1626) Kapsberger (1610) Milanuzzi (1622b) Kapsberger (1610) Milanuzzi (1635) Manzolo (1623) Landi (1637) Kapsberger (1610) Romano (1620b)

186

tornate - Invitto pastorale con la sua intavolatura - Gratiosissima romanesca e bella Alle danze voi pastori - Ballo di 3 zoppi Alle dolcezze ai canti Alle gioie damore / tinvita il tuo bene - Arietta Allo sdegno o guerrieri Alm'afflitta che fai? - Dialogo a due voci Alma che fai che pensi? - Aria napolitana Alma che scorgi t Alma fugace Alma mia dove te'n vai Alma mia dove te'n vai Alma mia dove te'n vai - Partita di Donna amata - Arie della folia Almen deh dimmi Dio - Partenza fedele Altri gode damar Altro alfin non amore Altro che sospirar Altro non il mio cor - Disperatione amorosa Ama pur ninfa gradita - Del sig Francesco figlio del Sig Monteverde Ama pur ninfa gradita Amami Clorida - Amor sprezzato Amanti Amore Amar donna superba - Frutti damore Amarilli alma del core Amarillide deh vieni Amarillide deh vieni - Primavera genitrice dAmore Amarillide mia crudel - Fede aborrita Amarillide vezzosa Amate mie stelle - Occhi sereni

alla romanesca Fasolo (1628) Grandi (1629) Olivieri (1620) Rontani (1620a) Montesardo (1612) Camarella (1633) Kapsberger (1623) Kapsberger (1619b) Kapsberger (1619b) Rontani (1620a) Stefani, ed. (1620) Milanuzzi (1622b) Miniscalchi (1630) Grandi (1629) Sabbatini (1628) Stefani, ed. (1618) Milanuzzi (1624) Salzilli (1616b) Milanuzzi (1622b) Sances (1636) Stefani, ed. (1618) Salzilli (1616a) Landi (1627) Stefani, ed. (1623) Stefani, ed. (1623) Ghizzolo (1623) Milanuzzi (1622b) Il carro di Madama Lucia Cantade et arie...libro quarto La pastorella Armilla Varie musiche...libro quarto I lieti giorni di Napoli Madrigali et arie Libro quarto di villanelle Libro terzo di villanelle Libro terzo di villanelle Varie musiche...libro quarto Scherzi amorosi canzonette...libro secondo Secondo scherzo delle ariose vaghezze Arie...Libro Terzo Cantade et arie...libro quarto Il sesto...opera ottava Affetti amorosi canzonette Quarto scherzo delle ariose vaghezze Amarille libro terzo Secondo scherzo delle ariose vaghezze Il quarto libro delle cantate et arie Affetti amorosi canzonette La sirena libro secondo Il secondo libro darie musicali Concerti amorosi terza parte Concerti amorosi terza parte Frutti damore...libro quinto Secondo scherzo delle ariose vaghezze

187

Amerai t mio core Ameriai t mio core - Sdegno amoroso Amo bellezza che del mio mal punto Amor altri si duol - Amor vitale Amor che deggio far / Se non mi giova amar - Amor penoso Amor che deggio far / Se Lidia mia crudel Amor che deggio far deggio morire? Amor che fai Amor deh dimmi d Amor diletto - Amante felice Amor il mio tormento e la mia fede Infelicit damante - Aria per cantar sonetti Amor non pi cieco - Amor cangiato Amor non piangere Amor non pi ferie non pi martir Amor non posso pi Amor poi che non giovano Amor poi che non giovano Amor se per affligermi Amor tiranno Amor Amor tiranno / Lungi dal core Amore che deggio far Amore il mio tormente la mia fede Amore io pi non ardo Amorosa pargoletta Andianna i fonta i prati - La Peregrina Angioletta leggiadretta Angioletta troppin fretta - Infedelt di donna Anima del cor mio Anima dove sei dovhai ricetti Dialogo

Millioni (1627) Stefani, ed. (1620) Camarella (1633) Milanuzzi (1622b) Stefani, ed. (1620) Miniscalchi (1630) Camarella (1633) Sances (1636) Berti (1627) Stefani, ed. (1620) Stefani, ed. (1618) Romano (1626) Kapsberger (1632) Busatti (1644) Manzolo (1623) Colonna (1627) Millioni (1627) Manzolo (1623) Milanuzzi (1628) Busatti (1644) Millioni (1627) Crivellati (1628) Grandi (1626) Severi (1626) Montesardo (1612) Manzolo (1623) Stefani, ed. (1618) Romano (1626) Montesardo (1612)

Prima scielta di villanelle Scherzi amorosi canzonette...libro secondo Madrigali et arie Secondo scherzo delle ariose vaghezze Scherzi amorosi canzonette...libro secondo Arie...Libro Terzo Madrigali et arie Il quarto libro delle cantate et arie Cantade et arie...libro secondo Scherzi amorosi canzonette...libro secondo Affetti amorosi canzonette Ressiduo quarte parte Li fiori libro sesto Settimo libro dariette Canzonette...a una e due voce Scielta de canzonette Prima scielta di villanelle Canzonette...a una e due voce Sesto libro delle ariose vaghezze Settimo libro dariette Prima scielta di villanelle Cantata diverse Cantade et arie a voce sola...libro terzo Arie...libro primo I lieti giorni di Napoli Canzonette...a una e due voce Affetti amorosi canzonette Ressiduo quarte parte I lieti giorni di Napoli

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Anima tormentata e quando mai Annodate e stringete Apparecchiati su mondati il labro Premio proposto da Venere a chi le trova Amore Apra il suo verde seno Apri pur Citerea prima dellalba Arcier charmato Arco centocchi havea t ben lo sai Occhi homicidi di donna bella Romanesca bella con la sua intavolatura per la Chitara Ardamore Filli bella Arda ma rivelar Arder innamorato Ardir ardir alla guerra Ardo dAmore e piango Ardo el mio vivo ardore Ardo ma rivelar Ardo milla per voi e nellardor Amor fedele Ardo s ma non tamo Ardo tacito amante - Musica per cantar sonetti nel Citarone o Chitariglia spagnola - Questa musica per li primi otto versi del sonetto et si pu cantar anco le ottave Arma pur di fiereza il tuo petto Arman larco Armi alla mano - Aria Armilla anima cara - Madrigale Armilla ingrata Armilla ingrata Armilla ingrata Armilla mia le luci - Arietta Augellin chel tuo Amore Aura che qui dintorno

Pesenti (1636) Marchetti (1660) Fontei (1635) Guazzi (1622) Kapsberger (1632) Grandi (1629) Romano (1620b)

Arie a voce sola...libro terzo Il primo libro dintavolatura Bizzarrie poetiche Spiritosi affetti Li fiori libro sesto Cantade et arie...libro quarto Terza raccotla di bellissime canzoni alla romanesca Frutti damore...libro quinto Sesto libro delle ariose vaghezze Cantade et arie...libro quarto Libro quarto di villanelle Libro primo di villanelle Prima raccotla di bellissime canzonette Cantade et arie ad una voce sola...libro primo Seconda raccotla di bellissime canzonette Cantata diverse Madrigaletti...libro quinto

Ghizzolo (1623) Milanuzzi (1628) Grandi (1629) Kapsberger (1623) Falconieri (1616) Romano (1618) Berti (1624) Romano (1620a) Crivellati (1628) Marini (1635)

Pesenti (1633) Laurenzi (1641) Tarditi (1646) Olivieri (1620) Falconieri (1616) Olivieri (1620) Robletti, ed. (1621a) Olivieri (1620) Landi (1620) Obizzi (1627)

Arie...libro secondo Concerti et arie Arie a voce sola La pastorella Armilla Libro primo di villanelle La pastorella Armilla Giardino musicale La pastorella Armilla Arie a una voce Madrigali et arie

189

Aure amorose - Allaure Aure liete aure vezzose Aure placidi e volanti - Amante timido Aure vaghe aure gioconde Aure vaghe aure gioconde Aure vaghe aure gioconde Aure vaghe aure gioconde Aurette lascivette chal crin doro Aurilla mia Ay que contento - Amante felice Vilanella spagnola Baccho Baccho portator dallegrezza - Serenata in lingua lombarda Baci rari e graditi Baci soavi e cari Bacianne Aminta mio Beglocchi lucenti Bel fior ch lAlba apr Belll ciel belli sol Bella Aurora - Aspettata amante Bella Clori eh non partire Bella Clori non fuggire - Estivo traffullo Bella fanciulla dal viso rosato Bella Filli crudele - Filli crudele Bella Filli Filli cara - Amante non amato Bella Filli io son ferito Bella Fillide mia mentre cantando Bella mia nemica damor Bella mia questo mio core - Amante felice - Sopra laria della Ciaccona Bella s ma troppaltera Belle e vezzosa Belle ninfe al prato al prato Belle rose purpurine

Milanuzzi (1623) Salzilli (1616b) Milanuzzi (1622a) Falconieri (1616) Kapsberger (1619a) Rontani (1620b) Vitali (1620) Obizzi (1627) Kapsberger (1619a) Stefani, ed. (1618) Fasolo (1628) Corradi (1616) DAragona (1616b) Falconieri (1619) Falconieri (1616) Kapsberger (1623) Crivellati (1628) Romano (1618) Falconieri (1619) Stefani, ed. (1623) Falconieri (1616) Stefani, ed. (1618) Milanuzzi (1622a) Robletti, ed. (1621b) Severi (1626) Tarditi (1628) Stefani, ed. (1618) Rontani (1619) Giamberti (1623) Kapsberger (1619a) Salzilli (1616a)

Terzo scherzo delle ariose vaghezze Amarille libro terzo Primo scherzo delle ariose vaghezze Libro primo di villanelle Libro secondo di villanelle Varie musiche...libro quinto Musiche...libro terzo Madrigali et arie Libro secondo di villanelle Affetti amorosi canzonette Il carro di Madama Lucia Le stravaganze damore Soavi ardori Musiche...libro sexto Libro primo di villanelle Libro quarto di villanelle Cantata diverse Prima raccotla di bellissime canzonette Musiche...libro sexto Concerti amorosi terza parte Libro primo di villanelle Affetti amorosi canzonette Primo scherzo delle ariose vaghezze Raccolta de varii concerti musicali Arie...libro primo Amorosa schiera darie Affetti amorosi canzonette Le varie musiche...libro terzo Poesie diverse Libro secondo di villanelle La sirena libro secondo

190

Bellissima Mirtilla Bellissima vaghissima Belt non ho n bramola - Desiderio di bont Ben chin van chiedio mercede Ben che in me giri Ben fuggir - Aria Ben maveggo o bellingrata Ben mio t fai sel core - Amante fedele Ben sai t chio tadoro Ben t potrai crudele - Fedele amante Ben ver chei pargoleggia Scherzo damore Benche Filli ognhor maffaglia Bionda mia bella - Bionda bella Bionde chiome lacci doro Bionde chiome o lacci doro Bocca cara perch avara mi sei t? Bocca ridente Bocca ridente Bona notte mio core Bona sera Breve la vita Amor Calata per cantare Caldi sospiri chuscite dal core Caldi sospiri chuscite dal core Candidetta reina Cangia cangia tue voglie - Balletto Canta la cicaletta Cara Armilla mio bene primo amor Arietta Cara dolce amorosetta Cara la rosa e vaga Care aurette Care luci che vaghezza

Milanuzzi (1624) Milanuzzi (1624) Fontei (1635) Berti (1627) Vincenti, ed. (1634) Severi (1626) Berti (1627) Giaccio (1613) Berti (1624) Milanuzzi (1623) Montesardo (1612) Laurenzi (1641) Giaccio (1613) Milanuzzi (1624) Ghizzolo (1623) Valvasensi (1634) Falconieri (1619) Ghizzolo (1623) Tarditi (1628) Fedele (1628) Grandi (1626) Carbonchi (1640) Valvasensi (1634) Rontani (1623) Kapsberger (1632) Fasolo (1627) Landi (1637) Olivieri (1620) Robletti, ed. (1621a) Falconieri (1616) Busatti (1644) Rontani (1623)

Quarto scherzo delle ariose vaghezze Quarto scherzo delle ariose vaghezze Bizzarrie poetiche Cantade et arie...libro secondo Arie de diversi Arie...libro primo Cantade et arie...libro secondo Armoniose voci Cantade et arie ad una voce sola...libro primo Terzo scherzo delle ariose vaghezze I lieti giorni di Napoli Concerti et arie Armoniose voci Quarto scherzo delle ariose vaghezze Frutti damore...libro quinto Secondo giardino damorosi fiori Musiche...libro sexto Frutti damore...libro quinto Amorosa schiera darie Scelta di vilanelle napolitane Cantade et arie a voce sola...libro terzo Le dodici chitarre spostate Secondo giardino damorosi fiori Le varie musiche...libro primo Li fiori libro sesto Barchetta passaggiera Il quinto libro darie La pastorella Armilla Giardino musicale Libro primo di villanelle Settimo libro dariette Le varie musiche...libro primo

191

Care treccie aurati stami Cari lacci damore Caro labro vermigiletto Caro mio ben Celai per lungo tempo - Arietta Cerca mio cor piet

Severi (1626) Salzilli (1616a) Aldigatti (1627) Miniscalchi (1627) Olivieri (1620) Milanuzzi (1628)

Arie...libro primo La sirena libro secondo Gratie et affetti amorosi canzonette...libro secondo Arie...libro secondo La pastorella Armilla Sesto libro delle ariose vaghezze Il primo libro delle musiche Madrigali et arie Madrigali et arie Varii capricci...libro settimo Seconda scelta di villanelle a una voce Settimo libro dariette Scelta di vilanelle napolitane Libro secondo di villanelle Cantade et arie ad una voce sola...libro primo Libro primo di villanelle Arie...Libro Terzo Arie...libro secondo Sesto libro delle ariose vaghezze Il quarto libro delle cantate et arie La sirena libro secondo Libro settimo di villanelle Madrigali et arie La pastorella Armilla Amarille libro terzo Varii capricci...libro settimo Seconda scelta di villanelle a una voce Frutti damore...libro quinto Libro settimo di villanelle Concerti et arie Prima raccotla di bellissime canzonette Cantade et arie...libro secondo

Chamor sia nudo e pur con lali al Caccini, F. (1618) tergo - Canzonetta per cantare sopra la Chitarra spagnola Chio mora? Camarella (1633) Chio non tami cor mio? Chio sospiri al vostro foco Chio sospiri al vostro foco Chio tami e segua pi? Che dirr si io moro la crudel Che fai t Che far dolce mio ben Che far donna ingrata Che giova pur a me Che mi giova penare Che mi val che t mami Che piet sperar si pu Che pi pensi o mio core Che poter pensi Che sia dentro al mio core Che sia vero mi dite - Arietta Che spemhaver Che speravi o mio cor? Che speravi mio cor? Che? Vorr dunque amar chi non ha fede - Madrigale Chi brama contento qua gi Chi brama gioire Chi con lima pungente - Amante geloso Chi con lima pungente Camarella (1633) Sabbatini (1641) Sabbatini (1652) Busatti (1644) Fedele (1628) Kapsberger (1619a) Berti (1624) Kapsberger (1610) Miniscalchi (1630) Miniscalchi (1627) Milanuzzi (1628) Sances (1636) Salzilli (1616a) Kapsberger (1640) Obizzi (1627) Olivieri (1620) Salzilli (1616b) Sabbatini (1641) Sabbatini (1652) Ghizzolo (1623) Kapsberger (1640) Laurenzi, Filiberto Romano (1618) Berti (1627)

192

Chi crede chio vami Chi desia di saper che cosa amore Chi desia di saper che cosa amore Canzonetta per cantare sopra la Chitarra spagnola Chi di dentro maccende - Amor nodrito fr contrarij Chi di dentro maccende - Del sig Gio Pietro Berto Musico della Serenissima Signoria Chi di te pi crudel Chi fuggir amor desia Chi fuggitivo Amor Chi maffrena chi mi lega Chi mi porge Chi mirar desia bellezza Chi nel regno almo dAmore Chi non fa cosa sia Amor Chi non ride quando gioca Chi non tama cor mio - Madrigale Chi piange e chi sospira Chi prendamor a gioco - A Giuseppe Antonino - Questa cantata sia portata adaggio Chi pu mirarvi Chi pu mirarvi Chi sa amar a tacer mercede accetti Chi sar che di me Chi scherza con amore Chi spera sol nel mundo Chi vidde mai Chi vuol acqua purissima Chi si un bacio e melnegasti Chiudete lorecchie Chiudi Filli Cieco egli mai non f Cinta di rose

Vincenti, ed. (1634) Vitali (1620) Caccini, F. (1618) Romano (1618) Milanuzzi (1624) Manzolo (1623) Ghizzolo (1623) Miniscalchi (1625) Landi (1620) Busatti (1644) Robletti, ed. (1621b) Sances (1636) Sances (1636) Landi (1637) Olivieri (1620) Fasolo (1627) Valvasensi (1634) Montesardo (1612) DAragona (1616b) Grandi (1629) Miniscalchi (1625) Milanuzzi (1643) Kapsberger (1640) Tarditi (1628) Landi (1637) Sances (1636) Landi (1627) Busatti (1638) Fontei (1636) Kapsberger (1623)

Arie de diversi Musiche...libro terzo Il primo libro delle musiche Prima raccotla di bellissime canzonette Quarto scherzo delle ariose vaghezze Canzonette...a una e due voce Frutti damore...libro quinto Arie...libro primo Arie a una voce Settimo libro dariette Raccolta de varii concerti musicali Il quarto libro delle cantate et arie Il quarto libro delle cantate et arie Il quinto libro darie La pastorella Armilla Barchetta passaggiera Secondo giardino damorosi fiori I lieti giorni di Napoli Soavi ardori Cantade et arie...libro quarto Arie...libro primo Nono libro delle ariose vaghezze Libro settimo di villanelle Amorosa schiera darie Il quinto libro darie Il quarto libro delle cantate et arie Il secondo libro darie musicali Arie a voce sola Delle bizzarrie poetiche...libro secondo Libro quarto di villanelle

193

Cinto ho lalma s forte Cinto il sole di rai Clori bella Clori bellissima il cor mi stempera Clori che dun cor Clori che dun cor Clori crudele - Giovine crudele divenuta vecchia Clori mia Clori vezzosa Clorida Colei che del mio mal empia sen ride - Corrente Come fugace Laura Come lasciarmi puoi sio sono il segno Come mami t Clori Come potr giamai vivo scampare Il principio di questa canzona si canta battuta stretta - Fortuna contraria Come s maccendete anima mia Come vezzosa Con al mia donna Amor s congiurato - Amorosi contrarij Con amoroso incanto Con leggiadre parolette Con quella viperetta Con un dolente ohim Con un dolente ohim Con voi parlo beglocchi Consenti pur - Balletto Consenti pur - Desiderio damante Cor mio che pensi t Cor mio la tua partita Cor mio saltrui si crede - Fedelt in amare Cor mio se questa fera

Giamberti (1623) Kapsberger (1623) Miniscalchi (1627) Milanuzzi (1624) Milanuzzi (1630) Grandi (1629) Miniscalchi (1627) Manzolo (1623) Carbonchi (1640) Miniscalchi (1630) Falconieri (1619) Kapsberger (1619b) Landi (1627) Giaccio (1613)

Poesie diverse Libro quarto di villanelle Quarto scherzo delle ariose vaghezze Arie...libro secondo Quarto scherzo delle ariose vaghezze Settimo libro delle ariose vaghezze Cantade et arie...libro quarto Arie...libro secondo Canzonette...a una e due voce Le dodici chitarre spostate Arie...Libro Terzo Musiche...libro sexto Libro terzo di villanelle Il secondo libro darie musicali Armoniose voci

Clori apparve s bella a glocchi miei Milanuzzi (1624)

Salzilli (1616a) Pesenti (1633) Romano (1626) Giaccio (1618) Tarditi (1628) Milanuzzi (1635) Kapsberger (1619a) Severi (1626) Milanuzzi (1643) Grandi (1626) Milanuzzi (1622a) Kapsberger (1640) DAragona (1616b) Romano (1626) Robletti, ed. (1621b)

La sirena libro secondo Arie...libro secondo Ressiduo quarte parte Laberinto amoroso Amorosa schiera darie Ottavo libro delle ariose vaghezze Libro secondo di villanelle Arie...libro primo Nono libro delle ariose vaghezze Cantade et arie a voce sola...libro terzo Primo scherzo delle ariose vaghezze Libro settimo di villanelle Soavi ardori Ressiduo quarte parte Arie...libro secondo

194

Cor mio se questa fera Cor mio vostro il mio core Madrigale Coron le fiere belue - Amorose preghiere Correte allaura venite Correte allaura venite - Per Laura Balletto Correte ai fiori pastori Correte pescatori Cos languando v Cos languendo accoromi Cos mi fuggi - Ninfa fuggitiva Cos Nilio cant fuor Cos timido Amante - Timor dAmante Cos v - Scherzando con Amore sinnamora Cotogniella - Aria veneziana Creder ma per qual fede Cruda proterva Cruda proterva Cruda signora - Crudelt biasmata Crudel amor a che mi stratij tanto? Crudel cos tradirmi - Fede tradita Crudel ove ne vai - Donna fedele Crudel t vuoi chio mora? Crudele che vo t Crudelt coglamanti Crudo arcier pene Cuor mio t sei un fuoco - Donna che accenda il foco nel petto de gli amanti & in se stessa fredda dAmore - Unaltra romanesca bellissima per la chitrara Dangelica bellezza Daspro dolor Duna guancia alma ridente

Pesenti (1633) Olivieri (1620) Romano (1626) Vitali (1622) Milanuzzi (1623) Valvasensi (1634) Kapsberger (1610) Miniscalchi (1625) Milanuzzi (1630) Milanuzzi (1622b) Pesenti (1633) Miniscalchi (1630) Miniscalchi (1625) Carbonchi (1640) Sabbatini (1628) Grandi (1626) Valvasensi (1634) Romano (1626) Giaccio (1618) Stefani, ed. (1623) Stefani, ed. (1623) Grandi (1629) Abatessa (1652) Grandi (1629) Kapsberger (1630) Romano (1620b)

Raccolta de varii concerti musicali La pastorella Armilla Ressiduo quarte parte Arie...libro quarto Terzo scherzo delle ariose vaghezze Secondo giardino damorosi fiori Libro primo di villanelle Arie...libro primo Settimo libro delle ariose vaghezze Secondo scherzo delle ariose vaghezze Arie...libro secondo Arie...Libro Terzo Arie...libro primo Le dodici chitarre spostate Il sesto...opera ottava Cantade et arie a voce sola...libro terzo Secondo giardino damorosi fiori Ressiduo quarte parte Laberinto amoroso Concerti amorosi terza parte Concerti amorosi terza parte Cantade et arie...libro quarto Intessitura di varii fiori Cantade et arie...libro quarto Libro quinto di villanelle Terza raccotla di bellissime canzoni alla romanesca

Milanuzzi (1643) Kapsberger (1630) Kapsberger (1619a)

Nono libro delle ariose vaghezze Libro quinto di villanelle Libro secondo di villanelle

195

Da canori passaggi Da giusto sdegno di macchiata fede Da grave incendio oppresso Da grave incendio oppresso - Chiede lagrime agli occhi per estinguer foco dAmore Da la ruota deglanni Da le lusinghe homai - Amante fedele donna infedele Da le lusinghe homai Dal ciel damor seren Dal ciel damor seren - Per Laura Dal ciel il nome tiene Dal giardino damore Dal molle seno Damigella tutta bella Datemi pace o duri miei pensieri De laura lieta lamoroso fiato De mis tormentos y enoso - Osos en mirar daosos Debbo amar chi me disama Deh che veggio ohim - Partenza dura Deh cieli inteneritevi Deh comin van chiedete Deh consoli il mio tormento Deh dolce anima mia Deh fermil volo Deh fermil volo Deh Filli vientene Deh Filli vientene - Belt di Filli Deh fossio fera un giorno - La sdegnosa Deh fuggitincauti amanti Deh fuggite Deh girate luci amate Deh lasciami languire

Obizzi (1627) Pesenti (1636) Berti (1627) Romano (1626) Vincenti, ed. (1634) Romano (1623) Berti (1627) Vitali (1622) Milanuzzi (1623) Fontei (1636) Grandi (1629) Kapsberger (1623) Landi (1627) Berti (1627) Kapsberger (1630) Stefani, ed. (1620) Fasolo (1627) Milanuzzi (1623) Manzolo (1623) Rontani (1619) Obizzi (1627) Falconieri (1619) Severi (1626) Landi (1637) Stefani, ed. (1618) Kapsberger (1619a) Montesardo (1612) Salzilli (1616a) Kapsberger (1640) Rontani (1623) Aldigatti (1627)

Madrigali et arie Arie a voce sola...libro terzo Cantade et arie...libro secondo Ressiduo quarte parte Arie de diversi Nuova raccotla di bellissime canzonette Cantade et arie...libro secondo Arie...libro quarto Terzo scherzo delle ariose vaghezze Delle bizzarrie poetiche...libro secondo Cantade et arie...libro quarto Libro quarto di villanelle Il secondo libro darie musicali Cantade et arie...libro secondo Libro quinto di villanelle Scherzi amorosi canzonette...libro secondo Barchetta passaggiera Terzo scherzo delle ariose vaghezze Canzonette...a una e due voce Le varie musiche...libro terzo Madrigali et arie Musiche...libro sexto Arie...libro primo Il quinto libro darie Libro secondo di villanelle Affetti amorosi canzonette I lieti giorni di Napoli La sirena libro secondo Libro settimo di villanelle Le varie musiche...libro primo Gratie et affetti amorosi canzonette...libro secondo

196

Deh mio piagato - Arietta Deh mira o Filli Deh non credete n Deh non credete n Deh per pietate Deh perch tant Deh perch tant - Donna bella e crudele - Balletto Deh scoprite - Aria Deh torna Clori mia Deh vaga mia Clori Deh venite veder la bella Clori Deh volgetemi il guardo Deh volgetemi il guardo Del palazzo amoroso Della citt fuggendo i gravi ardori Dhe see Deh Di meste mammolette Di mia Dori Di non amar disposto Di veder stava il cieco Dica ognun chio son amante - Aria Diceno alchuni che solu la mortu Digame un requiebro galanama Dilettosa laria gira amorosa Dimmi cor mio dolente - Arietta Dimmi Filli mio ben Dimmi gi che novello Disgombrasti pur il velo - Amore innaghito Disperato dolore Dispietata crudel Distillate occhi dolenti Dite chio canti io canter

Olivieri (1620) Severi (1626) Milanuzzi (1635) Fontei (1636) Kapsberger (1640) Vitali (1622) Milanuzzi (1623) Severi (1626) Camarella (1633) Grandi (1626) Rontani (1620a) Manzolo (1623) Aldigatti (1627) Milanuzzi (1635) Rontani (1623) Kapsberger (1632) Camarella (1633) Fontei (1636) Camarella (1633) Tarditi (1646) Fedele (1628) Aranies (1624) Kapsberger (1630) Olivieri (1620) Obizzi (1627) Sabbatini (1628) Milanuzzi (1622a) Kapsberger (1619b) Tarditi (1628) Vitali (1620) Busatti (1638)

La pastorella Armilla Arie...libro primo Ottavo libro delle ariose vaghezze Delle bizzarrie poetiche...libro secondo Libro settimo di villanelle Arie...libro quarto Terzo scherzo delle ariose vaghezze Arie...libro primo Madrigali et arie Cantade et arie a voce sola...libro terzo Varie musiche...libro quarto Canzonette...a una e due voce Gratie et affetti amorosi canzonette...libro secondo Ottavo libro delle ariose vaghezze Le varie musiche...libro primo Li fiori libro sesto Madrigali et arie Delle bizzarrie poetiche...libro secondo Madrigali et arie Arie a voce sola Scelta di vilanelle napolitane Libro segundo de tonos y villancicos Libro quinto di villanelle La pastorella Armilla Madrigali et arie Il sesto...opera ottava Primo scherzo delle ariose vaghezze Libro terzo di villanelle Amorosa schiera darie Musiche...libro terzo Arie a voce sola

197

Dolce auretta cha lherbetta Arietta Dolce languir - Penar soave Dolce languire Dolce Filli tutta bella Dolce mia vita - Prieghi dAmante Dolce riso che nel viso Dolce spirto damore Dolce spron nel tuo stral Dolci miei sospiri Dolci sospiri Dolorosi sospiri Donna bella deh pace Donna il dir chio non vami Donna ingrata senzamore Donna ingrata senzamore - Amor sventurato Donna non sol t mhai ferito il core Donna non vi sdegnate Donna superba chhai doro le trezze Donna se voi il tuo ritratto Donna voi vi credete Donne che vi pensate Donne intendo che questanno Peste amorosa Donzelletta lascivetta - Amor sollecito Donzellette chil ben seno Dorinda mia face Dorinda mia face Dormite pensieri - Aria Dovio credea le mie speranze havere - Amante tradito Dovio credea le mie speranze havere Dovio credea le mie speranze havere Dove donna veloce hor volgi il

Olivieri (1620) Milanuzzi (1622a) Berti (1624) Ghizzolo (1623) Giaccio (1613) Veneri (1621) Crivellati (1628) Aldigatti (1627) Rontani (1623) Falconieri (1616) DAragona (1616a) Giaccio (1618) Obizzi (1627) Giaccio (1613) Stefani, ed. (1620) Salzilli (1616a) DAragona (1616b) Berti (1627) Colonna (1627) Crivellati (1628) Busatti (1644) Fontei (1635) Stefani, ed. (1623) Kapsberger (1619a) Milanuzzi (1624) Camarella (1633) Tarditi (1646) Stefani, ed. (1618) Colonna (1627) Millioni (1627) Sabbatini (1641) 198

La pastorella Armilla Primo scherzo delle ariose vaghezze Cantade et arie ad una voce sola...libro primo Frutti damore...libro quinto Armoniose voci Li varii scherzi Cantata diverse Gratie et affetti amorosi canzonette...libro secondo Le varie musiche...libro primo Libro primo di villanelle Amorose querele Laberinto amoroso Madrigali et arie Armoniose voci Scherzi amorosi canzonette...libro secondo La sirena libro secondo Soavi ardori Cantade et arie...libro secondo Scielta de canzonette Cantata diverse Settimo libro dariette Bizzarrie poetiche Concerti amorosi terza parte Libro secondo di villanelle Madrigali et arie Quarto scherzo delle ariose vaghezze Arie a voce sola Affetti amorosi canzonette Scielta de canzonette Affetti amorosi canzonette Varii capricci...libro settimo

piede? Dove dove ahime risplende il mio bel sol - Lontananza penosa Dove dove sei gita Dove dove son iti tanti piacer Dove dove ten vai / Deh non fuggir Armilla - Arietta Dove dove ten vai / Rigidetta vezzosa - Arietta Dove dove ten vai / Rigidetta vezzosa Dove il foco sanida Dove io credei - Aria Dove nandr che non mi segua Amor Dove nandr dolente - Si finge unanima disperata per amore Dove son le promesse Due fresche rose Due soli chun bel viso - Felice nascita do core amante Due vaghe stelle Dulce det den si el danno que me hacen Dunque Aminta Dunque Cloirda mia per questi prati Dunque dovr sol io veder - Balletto Dunque hai t dato il cor - Donna di pi amanti Dunque il mio fido amore - Tradito amante Dunque il mio fido amore - Amante tradito Dunque partir deggio - Madrigale Dunque sempre a un fiero strale Canzon baccante Dupon monam E ben ver chio tamai E che lungi da voi - Romanesca E che pensavi t E felice amatore

Romano (1623) Vincenti, ed. (1634) Rontani (1619) Olivieri (1620) Olivieri (1620) Veneri (1621) Pesenti (1633) Camarella (1633) Sances (1636) Giaccio (1613) Valvasensi (1634) Sabbatini (1652) Fontei (1636) Ghizzolo (1623) Aranies (1624) Falconieri (1619) Kapsberger (1619a) Berti (1627) Giaccio (1613) Giaccio (1613) Stefani, ed. (1618) Severi (1626) Berti (1627) Carbonchi (1640) Milanuzzi (1630) Severi (1626) Grandi (1629) Pesenti (1636)

Nuova raccotla di bellissime canzonette Arie de diversi Le varie musiche...libro terzo La pastorella Armilla Li varii scherzi La pastorella Armilla Arie...libro secondo Madrigali et arie Il quarto libro delle cantate et arie Armoniose voci Secondo giardino damorosi fiori Prima scelta di villanelle a due voci Delle bizzarrie poetiche...libro secondo Frutti damore...libro quinto Libro segundo de tonos y villancicos Musiche...libro sexto Libro secondo di villanelle Cantade et arie...libro secondo Armoniose voci Armoniose voci Affetti amorosi canzonette Arie...libro primo Cantade et arie...libro secondo Le dodici chitarre spostate Settimo libro delle ariose vaghezze Arie...libro primo Cantade et arie...libro quarto Arie a voce sola...libro terzo

199

E Lidia il vostro seno morta la piet E pur ancora lusingando vai E pur convien E pur di novo ahi lasso E pur partir - Partenza dura E pur partir - Partenza penosa E pur partir E pur stolto chi crede - Fedelt de lamata E pur torno a cantar Lilletta ingrata pur vago un d sereno si grave l tormento s grave il tormento E tornato il mio ben E t credi t pensi E tutta tua questalma E virt de lumi ardenti E vivere e morire E viver e morire - Scherzi damanti Ecco bella cagion de larder mio Ecco che pur al fine Ecco che pur al fine Ecco che pur al fine - Amante fatto libero Ecco che pur baciate Ecco che tutto langue - La vecchia cortigiania Ecco del bello Ecco di dolci raggi il sol armato Ecco eccomi scorto - Diaologo per 2 canti e strumento Ecco Filena - LAllegra Ecco il di cara mia vita - Ballo Ecco lalba o di laura che la squilla - Madrigale Ecco lalma mia bella - Bellezze

Busatti (1638) Busatti (1644) Milanuzzi (1630) Tarditi (1628) Obizzi (1627) Milanuzzi (1622a) Romano (1623) Pesenti (1636) Miniscalchi (1630) Milanuzzi (1635) Kapsberger (1632) Grandi (1626) Obizzi (1627) Busatti (1638) Pesenti (1636) Pesenti (1636) Falconieri (1619) Falconieri (1616) Stefani, ed. (1618) Miniscalchi (1627) DAragona (1616b) Giaccio (1618) Giaccio (1613) Obizzi (1627) Milanuzzi (1622a) Crivellati (1628) Camarella (1633) Salzilli (1616b) Montesardo (1612) Fasolo (1627) Olivieri (1620) Giaccio (1613)

Arie a voce sola Settimo libro dariette Settimo libro delle ariose vaghezze Amorosa schiera darie Madrigali et arie Primo scherzo delle ariose vaghezze Nuova raccotla di bellissime canzonette Arie a voce sola...libro terzo Arie...Libro Terzo Ottavo libro delle ariose vaghezze Li fiori libro sesto Cantade et arie a voce sola...libro terzo Madrigali et arie Arie a voce sola Arie a voce sola...libro terzo Arie a voce sola...libro terzo Musiche...libro sexto Libro primo di villanelle Affetti amorosi canzonette Arie...libro secondo Soavi ardori Laberinto amoroso Armoniose voci Madrigali et arie Secondo scherzo delle ariose vaghezze Cantata diverse Madrigali et arie Amarille libro terzo I lieti giorni di Napoli Barchetta passaggiera La pastorella Armilla Armoniose voci

200

traditrici Ecco lalma mia bella - Disuasione ad amare Ecco la primavera Ecco Lidia mia bella - Tiranide amorosa Ecco Maggio deglamor - Balletto a tre sopra il Maggio Ecco pur ch voi ritorno Ecco Silvio colei Ecco sorge la bellalba Ecco sorgon glarbori - Caccia amorosa descritta in un pastorale invitto di caccia materiale - Bella romanesca musicale con intavolatura alla spagnola Ecco torna lAurora Ecco un legato dAmore - Amante ferito Ecco un legato damore Ed pur ver Empio cor pi non ti credo En dos lucietes estrellas - Romance Esci sospir - Partenza crudele Esta resta con Dio Et ecco pur - Sonetto Eurilla core vita - Lontananta dolente Fabbricator dinganni Falsi sospiri e finti Falsi sospiri finti Fanciullo arciero Fatemi guerra pur quanto vi piace Felice chi vi mira Felice il girono - Core sciolto Felice possessor - Possesso amoroso Felici glanimi Ferma ferma hai non percottere

Stefani, ed. (1623) DAragona (1616a) Stefani, ed. (1623) Sabbatini (1628) Sabbatini (1652) Camarella (1633) Veneri (1621) Romano (1620b)

Concerti amorosi terza parte Amorose querele Concerti amorosi terza parte Il sesto...opera ottava Prima scelta di villanelle a due voci Madrigali et arie Li varii scherzi Terza raccotla di bellissime canzoni alla romanesca

Manzolo (1623) Milanuzzi (1622a) Valvasensi (1634) Miniscalchi (1627) Grandi (1626) Aranies (1624) Milanuzzi (1622b) Colonna (1627) Severi (1626) Stefani, ed. (1620) Kapsberger (1630) Veneri (1621) Rontani (1619) Kapsberger (1619b) Salzilli (1616a) Giaccio (1618) Romano (1626) Fontei (1635) Kapsberger (1623) Robletti, ed. (1621a)

Canzonette...a una e due voce Primo scherzo delle ariose vaghezze Secondo giardino damorosi fiori Arie...libro secondo Cantade et arie a voce sola...libro terzo Libro segundo de tonos y villancicos Secondo scherzo delle ariose vaghezze Scielta de canzonette Arie...libro primo Scherzi amorosi canzonette...libro secondo Libro quinto di villanelle Li varii scherzi Le varie musiche...libro terzo Libro terzo di villanelle La sirena libro secondo Laberinto amoroso Ressiduo quarte parte Bizzarrie poetiche Libro quarto di villanelle Giardino musicale

201

Ferma ferma non pecottere - Dolce sonno Ferma il bel piede Fermate homai fermate in queste rive Fia mia ve vedo in stato - Veneziana - Sopra laria di Catte Fiamma del mio cor - Amor geloso Fia il prato senza fiori Fiati angosciosi Figlio dormi dormi figlio Figlio dormi dormi figlio Bellissimo scherzo intavolato alla spagnola Filli ascoltami Filli ascoltami Filli ascoltami Filli ben sommi Filli cara Filli che di dolore Filli da tuoi bei sguardi Filli filli ben mio Filli filli non tamo Filli mia mi dice Amore - L'amante irresoluto Filli mia pena Filli per altro amante

Stefani, ed. (1623) Kapsberger (1619b) Salzilli (1616b) Milanuzzi (1628) Stefani, ed. (1623) Colonna (1627) Berti (1627) Kapsberger (1619a) Romano (1620b) Falconieri (1619) Milanuzzi (1624) Severi (1626) DAragona (1616a) Falconieri (1619) Berti (1624) Robletti, ed. (1621b) Giaccio (1618) Vincenti, ed. (1634) Fontei (1636) Corradi (1616) Grandi (1629)

Concerti amorosi terza parte Libro terzo di villanelle Amarille libro terzo Sesto libro delle ariose vaghezze Concerti amorosi terza parte Scielta de canzonette Cantade et arie...libro secondo Libro secondo di villanelle Terza raccotla di bellissime canzoni alla romanesca Musiche...libro sexto Quarto scherzo delle ariose vaghezze Arie...libro primo Amorose querele Musiche...libro sexto Cantade et arie ad una voce sola...libro primo Raccolta de varii concerti musicali Laberinto amoroso Arie de diversi Delle bizzarrie poetiche...libro secondo Le stravaganze damore Cantade et arie...libro quarto Primo scherzo delle ariose vaghezze Il quinto libro darie Laberinto amoroso Libro primo di villanelle Scherzi amorosi canzonette...libro secondo Le stravaganze damore Madrigali et arie Amorose querele Frutti damore...libro quinto

Filli quellaure crespe - Bellezze di O Milanuzzi (1622a) - Aria per cantare ottava Filli se morto Landi (1637) Filli tu parte ahi parte del cor mio Filli vezzosa Filli vezzosa Piet bramata Filli vita del mio core Fillid forza homai Fillide bella Fiori stelle dAprile - Madrigale di Girolamo Ferrari Giaccio (1618) Falconieri (1616) Stefani, ed. (1620) Corradi (1616) Obizzi (1627) DAragona (1616a) Ghizzolo (1623)

202

Fiorite valli Fioriti monti - Sdegno amoroso Fioriti poggi ombrose vallamene Flora pi vaga Folgorar con guardo altero Folle folle chi crede Folle mio core dove volando vai? Dialogo Folle quellalma Folti boschetti Fontane rose e fiori Fonte deterno Fonti del mio dolor occhi lucenti Fra mortali alma belt Fresche aurette vezzosette Fresco ruscel Fu colpa de begli occhi Fugge il verno de dolori Fuggi fuggi crudele - Arietta Fuggi fuggi dolente core Fuggi fuggi dolente core Fuggi fuggi linganno Fuggi fuggi lontano Fuggi fuggi mio cor Fuggi o cor il terreno e vano amor Lauda Fuggi sprezza o mio core Fuggi sprezza o mio core Fuggiam fuggiamo Fuggimi pur si vuoi Fuggir pur mi convien Fuggir voglio chi mi fuggi Corrente Fuggir la ria crudel Fuggite amanti questingrate bella Fuggite pur crudi martir - Amante sciolto da laci dAmore

Kapsberger (1610) Romano (1626) DAragona (1616b) Kapsberger (1610) Vitali (1620) Grandi (1626) Berti (1627) Sabbatini (1641) Falconieri (1616) Montesardo (1612) Kapsberger (1623) Landi (1637) Fasolo (1627) Vitali (1620) Kapsberger (1630) Olivieri (1620) DAragona (1616a) Rontani (1620b) DAragona (1616a) Milanuzzi (1622a) Kapsberger (1630) Landi (1637) Sances (1636) Rontani (1623) Vincenti, ed. (1634) Milanuzzi (1635) Grandi (1629) Tarditi (1628) Miniscalchi (1625) Miniscalchi (1630) Miniscalchi (1625) Giaccio (1618) Romano (1618)

Libro primo di villanelle Ressiduo quarte parte Soavi ardori Libro primo di villanelle Musiche...libro terzo Cantade et arie a voce sola...libro terzo Cantade et arie...libro secondo Varii capricci...libro settimo Libro primo di villanelle I lieti giorni di Napoli Libro quarto di villanelle Il quinto libro darie Barchetta passaggiera Musiche...libro terzo Libro quinto di villanelle La pastorella Armilla Amorose querele Varie musiche...libro quinto Amorose querele Primo scherzo delle ariose vaghezze Libro quinto di villanelle Il quinto libro darie Il quarto libro delle cantate et arie Le varie musiche...libro primo Arie de diversi Ottavo libro delle ariose vaghezze Cantade et arie...libro quarto Amorosa schiera darie Arie...libro primo Arie...Libro Terzo Arie...libro primo Laberinto amoroso Prima raccotla di bellissime canzonette

203

Fuggite pur crudi martir Fuggitiva damore Fuggitivo io tho pur colto Fuggo Amor Fulminate accesi lampi Fuor del mio petto Fuor del regno damor Gelido core Gi che il mio fuoco e spento Gi che non son Adone Gi che per horintenerir Gi di bella nemica un solo sguardo Gi di Turca rubella - Madrigale Gi languide dal ciel cascan le stelle Gi risi del mio mal mentre sperai Gi t noto crudel / Che per te si distrugge Gi t noto crudel chhormai son morto - Servit non gradita Gi vezzosa Giammai non tese amore - Bellezze della S.O.C. Giglida mi che gigli spargi e fiori Gioisca per contento Gioite danzate Gioite gioite / Di mille tormenti Gioite gioite / Di mille tormenti Amante Gioite gioite / Di mille tormenti Gioite gioite / Di mille tormenti Balletto Gioite meco ninfe Gioldin gioldin fin che poden chustent - Parole sentite a cantare da doi contadine furlane et poste in musica dellautore Giovaningrata a chi tha lalma data Giovanetta ritrosetta

Milanuzzi (1624) Abatessa (1652) Berti (1624) Miniscalchi (1630) Kapsberger (1619b) Salzilli (1616b) Berti (1627) Landi (1637) Pesori (ca. 1648) Sances (1636) Miniscalchi (1630) Pesenti (1633) Olivieri (1620) DAragona (1616b) Kapsberger (1619b) Milanuzzi (1628) Stefani, ed. (1623) Kapsberger (1630) Milanuzzi (1622b) DAragona (1616a) Tarditi (1628) Grandi (1626) Kapsberger (1619a) Stefani, ed. (1620) Severi (1626) Valvasensi (1634) DAragona (1616a) Valvasensi (1634)

Quarto scherzo delle ariose vaghezze Intessitura di varii fiori Cantade et arie ad una voce sola...libro primo Arie...Libro Terzo Libro terzo di villanelle Amarille libro terzo Cantade et arie...libro secondo Il quinto libro darie Lo scrigno armonico Il quarto libro delle cantate et arie Arie...Libro Terzo Arie...libro secondo La pastorella Armilla Soavi ardori Libro terzo di villanelle Sesto libro delle ariose vaghezze Concerti amorosi terza parte Libro quinto di villanelle Terzo scherzo delle ariose vaghezze Amorose querele Amorosa schiera darie Cantade et arie a voce sola...libro terzo Libro secondo di villanelle Scherzi amorosi canzonette...libro secondo Arie...libro primo Secondo giardino damorosi fiori Amorose querele Secondo giardino damorosi fiori

DAragona (1616b) DAragona (1616b) 204

Soavi ardori Soavi ardori

Giovanetta vezzosa - Fugasi amore Giovanetta vezzosa - Amante appassionato - Aria per cantare e suonare con la chitara Giovanetta vezzosa Giovanette ascoltate Gira il nemico - Assalto damore Gite ardenti sospiri Giunto il sole in occidente Glanni fioriti - Vecchi cantatrice Godete amanti Godi crudel - Crudelt di donna Godi Filli al mio languir Godi pur col nuovo amante

Stefani, ed. (1620) Romano (1620b) Fasolo (1627) Berti (1624) Fontei (1635) Fedele (1628) Kapsberger (1630) Fontei (1635) Kapsberger (1610) Romano (1626) Ghizzolo (1623) Giaccio (1618)

Scherzi amorosi canzonette...libro secondo Terza raccotla di bellissime canzoni alla romanesca Barchetta passaggiera Cantade et arie ad una voce sola...libro primo Bizzarrie poetiche Scelta di vilanelle napolitane Libro quinto di villanelle Bizzarrie poetiche Libro primo di villanelle Ressiduo quarte parte Frutti damore...libro quinto Laberinto amoroso Scherzi amorosi canzonette...libro secondo Delle bizzarrie poetiche...libro secondo Cantade et arie...libro secondo Secondo scherzo delle ariose vaghezze Secondo giardino damorosi fiori Frutti damore...libro quinto Arie...Libro Terzo Libro settimo di villanelle Cantade et arie...libro secondo Quarto scherzo delle ariose vaghezze Le varie musiche...libro terzo Libro terzo di villanelle Il quinto libro darie Arie...Libro Terzo Arie...libro primo Libro primo di villanelle Amorose querele Varie musiche...libro quarto

Godi pur col nuovo amante - Amante Stefani, ed. (1620) sdegnato Gran folia di Pittor Fontei (1636) Gravi tormenti amore Berti (1627)

Guance amante dispiegate - Bel volto Milanuzzi (1622a) di Guance amante dispiegate - A Don Valvasensi (1634) Michiele Clarencis - Questa cantata sia portata con battuta larga Guarda che fai Ghizzolo (1623) Hai pur al fine Hai vinto ragione Havran pur fine i lunghi Herbe fiorite Ho s stretto il cor legato Ho pur doro il crin anchio Hol cor ferito Hoggi appar il sol - Ritorno de lamata Hor cha miei danni Hor chamorosi accenti Hor chho dal core Hor ch'io non seguo pi il dispietato Miniscalchi (1630) Kapsberger (1640) Berti (1627) Milanuzzi (1624) Rontani (1619) Kapsberger (1619b) Landi (1637) Miniscalchi (1630) Miniscalchi (1625) Kapsberger (1610) DAragona (1616a) Rontani (1620a) 205

Hor che dardore Hor che fatto ha partita Hor che fiorita Hor che glAugelli - Trastuili amorosi Hor che lalba lampeggia Hor che lalba lampeggia Hor che la nottombrosa - Eccho Hor che mi val crudel Hor che pi non mi sfaccio Hor che temprato raggio - Rubella damor - Balletto Hor che vicin mi sento Hor comin un momento Hor dite un poco - Residuo Hor godete dAmore - Amore sdegnato Hor meno lieti i giorni Hor non mi struggo Hor tra laure e tra fiori - Invito e scusa Hora canusco - Aria Siciliana Posta ad instanze del P.F. Seraphino Spinelli da Fabriano Hora s tanti - Amorosi nodi Hormai la notte in giro I' see Io I bei guardi che mincendono I bei legami - Balletto I falli miei I miei guardi e i miei sospiri Amante timido I nostri voti i ciel I ruscelletti / Vivi cristalli - Arietta I ruscelletti / Vivi cristalli Il cor ferirmi Il di seren - Privatione di B.D.

Salzilli (1616a) Obizzi (1627) DAragona (1616b) Stefani, ed. (1620) Ghizzolo (1623) Milanuzzi (1624) Montesardo (1612) Camarella (1633) Obizzi (1627) Milanuzzi (1623) Obizzi (1627) DAragona (1616a) Obizzi (1627) Stefani, ed. (1620) Milanuzzi (1628) Ghizzolo (1623) Fontei (1635) Milanuzzi (1622a) Stefani, ed. (1623) Camarella (1633) Fasolo (1627) Guazzi (1622) Kapsberger (1640) Giaccio (1613) Grandi (1626) Olivieri (1620) Veneri (1621) Tarditi (1628) Milanuzzi (1622a)

La sirena libro secondo Madrigali et arie Soavi ardori Scherzi amorosi canzonette...libro secondo Frutti damore...libro quinto Quarto scherzo delle ariose vaghezze I lieti giorni di Napoli Madrigali et arie Madrigali et arie Terzo scherzo delle ariose vaghezze Madrigali et arie Amorose querele Madrigali et arie Scherzi amorosi canzonette...libro secondo Sesto libro delle ariose vaghezze Frutti damore...libro quinto Bizzarrie poetiche Secondo scherzo delle ariose vaghezze Concerti amorosi terza parte Madrigali et arie Barchetta passaggiera Spiritosi affetti Libro settimo di villanelle Armoniose voci Cantade et arie a voce sola...libro terzo La pastorella Armilla Li varii scherzi Cantata diverse Amorosa schiera darie Primo scherzo delle ariose vaghezze

Il bacio l pi bel dono - Concertato Crivellati (1628)

206

Il mio ben Lilla Il mio cocente ardore Il mio cor nutrir vivo sua f Balletto Il mio stolto rival - Balletto Il mio stolto rival Il pi pungete strale Il prato ameno Imparate da me la sofferenza Lamante sofferente In amor non ho fortuna - Aria In dir volea chad una In questa riva ombrosa In questa verde riva In questo duro scoglio In te la vita In van lusinghi in van prometti e giuri In van lusinghi in van prometti e giuri In van lusinghi in van prometti e giuri In van ti lagni o bella - Voglia doro in un dente di O. Madrigale Ad istantia di D. Vincenzo Aquino Inchinatevi o fiori

Milanuzzi (1624) Sances (1636) Berti (1627) Milanuzzi (1630) Valvasensi (1634) Pesenti (1633) Kapsberger (1632) Fontei (1635) Tarditi (1628) Rontani (1623) Manzolo (1623) Fasolo (1627) DAragona (1616a) Kapsberger (1623) Robletti, ed. (1621a) Colonna (1627) Landi (1627) Milanuzzi (1623) Kapsberger (1623)

Quarto scherzo delle ariose vaghezze Il quarto libro delle cantate et arie Cantade et arie...libro secondo Settimo libro delle ariose vaghezze Secondo giardino damorosi fiori Arie...libro secondo Li fiori libro sesto Bizzarrie poetiche Arie a voce sola Le varie musiche...libro primo Canzonette...a una e due voce Barchetta passaggiera Amorose querele Libro quarto di villanelle Giardino musicale Scielta de canzonette Il secondo libro darie musicali Terzo scherzo delle ariose vaghezze Libro quarto di villanelle Affetti amorosi canzonette Settimo libro delle ariose vaghezze Madrigali et arie Spiritosi affetti Seconda scelta di villanelle a una voce Varii capricci...libro settimo Cantade et arie ad una voce sola...libro primo Prima scelta di villanelle a una voce Cantade et arie ad una voce sola...libro primo Armoniose voci

Ingrata disleali ed incostanti - Donna Stefani, ed. (1618) incostante - Aria siciliana Io canto ognhor dolente Milanuzzi (1630) Io charmato finhor dun duro gelo Io credea che tr glamanti Io gi spiro io gi mi moro Io gi spiro io gi morire Io moro di desio Io moro occhi leggiadri Io non bramo la vita Io non restato - Vergine lungo tempo servita e da altri goduta Camarella (1633) Guazzi (1622) Sabbatini (1652) Sabbatini (1641) Berti (1624) Sabbatini (1652) Berti (1624) Giaccio (1613)

207

Io non vedr mai - Madrigale di Donato Core napolitano amico nio carissimo Io non v pianger pi - Balletto Io non volo et ho lale Io parto dal tuo viso o mio tesoro Io per voi piango e sospiro Io pur saper vorrei Io pur ti miro Io s ben che l mio servite Io son preso e ferito Io tento in van Io tutta focAmor - Donna abbandonata Io v cercando di fare allamore Io v cercando un core - Del sig Antonio Granata Io v cercando un core Io v morir / Amanti poi che l'empia Io v morir / Non sia alcun che di vita mi ragioni Io v morire per non pi penare Amor penoso Io voglio amare Io voglio sospirare - Spirituale Io vorrei pur fuggir Amor legato Io vu gioir Amanti Ite dolenti Ite sospiri miei / Ite voland'al cielLa dispietata Ite sospiri miei / Ite voland'al ciel Ite sospiri miei ritrovar Lalba cinta di fiori Lalba cinta di fiori Lalma mi struggi Lalma mi struggi

Camarella (1633) Grandi (1626) Landi (1637) DAragona (1616a) Millioni (1627) Crivellati (1628) Aldigatti (1627) Abatessa (1652) Vincenti, ed. (1634) Miniscalchi (1625) Miniscalchi (1627) Carbonchi (1640) Robletti, ed. (1622) Aldigatti (1627) Aldigatti (1627) Camarella (1633) Milanuzzi (1622a) Crivellati (1628) Crivellati (1628) Stefani, ed. (1623) Miniscalchi (1630) Robletti, ed. (1621b) Montesardo (1612) DAragona (1616b) Kapsberger (1619a) Kapsberger (1623) Severi (1626) Ghizzolo (1623) Milanuzzi (1624)

Madrigali et arie Cantade et arie a voce sola...libro terzo Il quinto libro darie Amorose querele Prima scielta di villanelle Cantata diverse Gratie et affetti amorosi canzonette...libro secondo Intessitura di varii fiori Arie de diversi Arie...libro primo Arie...libro secondo Le dodici chitarre spostate Vezzosetti fiori Gratie et affetti amorosi canzonette...libro secondo Gratie et affetti amorosi canzonette...libro secondo Madrigali et arie Secondo scherzo delle ariose vaghezze Cantata diverse Cantata diverse Concerti amorosi terza parte Arie...Libro Terzo Raccolta de varii concerti musicali I lieti giorni di Napoli Soavi ardori Libro secondo di villanelle Libro quarto di villanelle Arie...libro primo Frutti damore...libro quinto Quarto scherzo delle ariose vaghezze

208

Laltra nottal far del goirn Serenta in lingua lombarda Lamante vero Laurate Fila ammiro - Bella mana di O. Laureo crin Londa che limpida La bella amante La bella Dori La Intullur La mia bella pastorella La mia cara pastorella La mia Clori amorosa - Costanza amorosa La mia Filli il mio bella La mia Filli la cruda La mia Filli vezzosa La mia leggiadra Filli La mia ninfa leggiadra La mia superbetta La mia Turca che dAmor La Norcina - per cantare La notte sorge La pastorella mia La primavera sen riede La speme e un cuor amante buona La tua guerr cagion de la mia pace La vezzosetta Aurora La violetta chin su lherbetta sapre La vita alberga Labbra vivace Ladra ladra dAmore Ladra ladra dAmore Lagrime tutte amare Lagrimosa piet Languendo mi sto per cruda beltade Languidetta amor mio

Fasolo (1628) Falconieri (1619) Milanuzzi (1622a) Miniscalchi (1625) Kapsberger (1619a) Kapsberger (1640) Ghizzolo (1623) Carbonchi (1640) DAragona (1616b) Landi (1620) Stefani, ed. (1618) Falconieri (1619) Veneri (1621) Rontani (1623) Robletti, ed. (1621a) Landi (1637) Miniscalchi (1627) Milanuzzi (1624) Carbonchi (1640) Milanuzzi (1628) Rontani (1623) Rontani (1620a) Busatti (1644) Giaccio (1618) Ghizzolo (1623) DAragona (1616a) Kapsberger (1619a) Falconieri (1619) Falconieri (1619) Millioni (1627) Sances (1636) Kapsberger (1610) Tarditi (1628) Salzilli (1616b)

Il carro di Madama Lucia Musiche...libro sexto Primo scherzo delle ariose vaghezze Arie...libro primo Libro secondo di villanelle Libro settimo di villanelle Frutti damore...libro quinto Le dodici chitarre spostate Soavi ardori Arie a una voce Affetti amorosi canzonette Musiche...libro sexto Li varii scherzi Le varie musiche...libro primo Giardino musicale Il quinto libro darie Arie...libro secondo Quarto scherzo delle ariose vaghezze Le dodici chitarre spostate Sesto libro delle ariose vaghezze Le varie musiche...libro primo Varie musiche...libro quarto Settimo libro dariette Laberinto amoroso Frutti damore...libro quinto Amorose querele Libro secondo di villanelle Musiche...libro sexto Musiche...libro sexto Prima scielta di villanelle Il quarto libro delle cantate et arie Libro primo di villanelle Amorosa schiera darie Amarille libro terzo

209

Languir dAmor se lempia Amante languido Languisca pur contento - Amor maturo Lascia lascia le fiere Lasciatemi qui solo Lascivette pastorelle Lasso ben maccorgio che dallinferno - Sonetto Lasso me dove gite - Arietta Lasso mi f languire Lauretta mia quando maccese Bellezze di Laura Le pramatiche novelle - La burlescha Le vaghe ninfe - Scherzo di ninfe Leggiadri occhi sereni - Occhi sospirati Lidia che l mio cor Lidia che del mio amore Lidia che fia di me Lidia pi non ti voglio Lidia sappressa il giorno - Partenza amorosa Lieti fuggiamo Lieti verdi fiorite e fresche valli Madrigale Lilla cor mio - Balletto Lilla cruda che veggio Lilla infedel ohim Lilla mio cor mio ben mia vita e mia desir Lilla sorda a miei prieghi Lilla sol 'l mio ben Lilla te ci h pur colta Lilla vezzosa Lilla vorrei partir - Aria Lilletta chun d Lilletta della - Gagliarda Lo stral chavventa amor

Milanuzzi (1622b) Milanuzzi (1622a) Abbatessa (1635) Tarditi (1646) Kapsberger (1610) Obizzi (1627) Olivieri (1620) Milanuzzi (1630) Stefani, ed. (1618) Montesardo (1612) Montesardo (1612) Stefani, ed. (1623) Miniscalchi (1625) Berti (1627) Berti (1627) Grandi (1629) Fontei (1636) Kapsberger (1630) Ghizzolo (1623) Milanuzzi (1630) Pesori (ca. 1648) Pesenti (1636) Valvasensi (1634) Grandi (1629) Vincenti, ed. (1634) Milanuzzi (1628) Crivellati (1628) Tarditi (1646) Milanuzzi (1643) Milanuzzi (1630) Berti (1624) 210

Secondo scherzo delle ariose vaghezze Primo scherzo delle ariose vaghezze Cespuglio di varii fiori Arie a voce sola Libro primo di villanelle Madrigali et arie La pastorella Armilla Settimo libro delle ariose vaghezze Affetti amorosi canzonette I lieti giorni di Napoli I lieti giorni di Napoli Concerti amorosi terza parte Arie...libro primo Cantade et arie...libro secondo Cantade et arie...libro secondo Cantade et arie...libro quarto Delle bizzarrie poetiche...libro secondo Libro quinto di villanelle Frutti damore...libro quinto Settimo libro delle ariose vaghezze Lo scrigno armonico Arie a voce sola...libro terzo Secondo giardino damorosi fiori Cantade et arie...libro quarto Arie de diversi Sesto libro delle ariose vaghezze Cantata diverse Arie a voce sola Nono libro delle ariose vaghezze Settimo libro delle ariose vaghezze Cantade et arie ad una voce

Lontan dal tuo bel volto Luci belle luci ingrate Luci belle luci ingrate - Aria in Ciaccona Luci care luci belle Lucidissimo Sole - Canta Uranio pastore il fortunato suo giorno delle nozze con la bella Hyelle Lunge da questo sen Lungi da te men v Lungi lungi amor da me Lusinghiero infido amore - Amante abbandonato Mai pi dur dAmor Mai pi dur dAmor Margarita / Ben che maletti Mentre brunetta minvita cantar Aria aggiunta Mentre del mondo Mentre haveste doro l crin Mentre la notte al suo bel manto il lembo Mentre pomposa Mentre sdegnasti amarmi Mentre torna Sonetto Mentre vivo lontano Mi ferite Mi fugge mi strugge Mi lega amor Mi parto e nel partir ti dico amore Partenza Mi parto hai forte ria Mi vuol lasciar Mia Lilletta - Balletto Milla bellissima - Arietta Mille dolci parolette

Grandi (1626) Giamberti (1623) Crivellati (1628) Rontani (1623) Landi (1620) Vincenti, ed. (1634) Ghizzolo (1623) Fasolo (1627) Stefani, ed. (1618) Grandi (1626) Valvasensi (1634) Valvasensi (1634) Milanuzzi (1624) Kapsberger (1623) Rontani (1620b) Camarella (1633) Severi (1626) Grandi (1629) Severi (1626) Milanuzzi (1624) Vitali (1622) Miniscalchi (1627) Milanuzzi (1630) Stefani, ed. (1618) Millioni (1627) Miniscalchi (1627) Milanuzzi (1630) Olivieri (1620) Guazzi (1622)

sola...libro primo Cantade et arie a voce sola...libro terzo Poesie diverse Cantata diverse Le varie musiche...libro primo Arie a una voce Arie de diversi Frutti damore...libro quinto Barchetta passaggiera Affetti amorosi canzonette Cantade et arie a voce sola...libro terzo Secondo giardino damorosi fiori Secondo giardino damorosi fiori Quarto scherzo delle ariose vaghezze Libro quarto di villanelle Varie musiche...libro quinto Madrigali et arie Arie...libro primo Cantade et arie...libro quarto Arie...libro primo Quarto scherzo delle ariose vaghezze Arie...libro quarto Arie...libro secondo Settimo libro delle ariose vaghezze Affetti amorosi canzonette Prima scielta di villanelle Arie...libro secondo Settimo libro delle ariose vaghezze La pastorella Armilla Spiritosi affetti

211

Mille scherzi e canti belli Mille scherzi e canti belli Mille volte incostante Mio desir Mira Armilla ritrosetta Mira che fa costei Mira cruda mia Mira la bella aurora Mira mira che la rosa

Falconieri (1619) Manzolo (1623) Obizzi (1627) Ghizzolo (1623) Olivieri (1620) Sabbatini (1652) Camarella (1633) Giaccio (1618) Kapsberger (1630)

Musiche...libro sexto Canzonette...a una e due voce Madrigali et arie Frutti damore...libro quinto La pastorella Armilla Prima scelta di villanelle a una voce Madrigali et arie Laberinto amoroso Libro quinto di villanelle La pastorella Armilla La sirena libro secondo Lo scrigno armonico Prima scielta di villanelle Arie...libro primo Concerti amorosi terza parte Libro settimo di villanelle Canzonette...a una e due voce Settimo libro dariette Libro segundo de tonos y villancicos Cantade et arie ad una voce sola...libro primo Arie...libro secondo Libro quarto di villanelle Arie...libro secondo Giardino musicale Secondo scherzo delle ariose vaghezze Libro primo di villanelle Nono libro delle ariose vaghezze Concerti et arie Canzonette...a una e due voce Frutti damore...libro quinto Cantade et arie a voce sola...libro terzo Soavi ardori La pastorella Armilla

Mira quel pesce mira come a lesca Olivieri (1620) Arietta Mira quel pesce mira come a lesca Salzilli (1616a) Mirate chio son giunto Mirinda mia Misera me dunque - Romanesca Misero amante io vivo Rimproverata fede Misero che fia di me Misero comesser pu Mitigate il rigor lumi feroci Miza gala sus paos en que uga i tuerze Morir lieto e contento - Aria 2 Morir per te mio ben Navicella che bel vento Ne per tempo o per loco Negatemi crudele Negatemi crudele - Amor Finto Negatemi pur cruda Nel gioco damore Nelle pene chio sento Nidi cari e lucenti Ninfa bellissima Ninfa crudele Ninfa gentile Ninfe e pastori - Dialogo pastorale Pesori (ca. 1648) Millioni (1627) Severi (1626) Stefani, ed. (1623) Kapsberger (1640) Manzolo (1623) Busatti (1644) Aranies (1624) Berti (1624) Miniscalchi (1627) Kapsberger (1623) Miniscalchi (1627) Robletti, ed. (1621a) Milanuzzi (1622b) Kapsberger (1610) Milanuzzi (1643) Laurenzi (1641) Manzolo (1623) Ghizzolo (1623) Grandi (1626) DAragona (1616b) Olivieri (1620)

212

Ninfe vezzose e belle - Amoroso invito di pastori alle sue ninfe Ninfe vezzose e belle - Amoroso invito No no no non burlar meco No no non tamo pi No no pi non tamo Non ardu chi non ardu comardia Amante sdegnato - Aria siciliana Non bram'altro il mio cor Non cercar Non credete a donne mai Non credete a donne mai

Romano (1618) Milanuzzi (1622a) Kapsberger (1630) Tarditi (1628) Miniscalchi (1627) Stefani, ed. (1618) Colonna (1627) Kapsberger (1640) Marchetti (1660) Busatti (1638)

Prima raccotla di bellissime canzonette Primo scherzo delle ariose vaghezze Libro quinto di villanelle Amorosa schiera darie Arie...libro secondo Affetti amorosi canzonette Scielta de canzonette Libro settimo di villanelle Il primo libro dintavolatura Arie a voce sola Amorosa schiera darie Le varie musiche...libro terzo Varie musiche...libro quarto Concerti amorosi terza parte Il secondo libro darie musicali Nono libro delle ariose vaghezze Madrigali et arie Bizzarrie poetiche Libro secondo di villanelle Canzonette...a una e due voce Delle bizzarrie poetiche...libro secondo Il quinto libro darie Libro quarto di villanelle Madrigali et arie Arie a voce sola Settimo libro dariette Concerti amorosi terza parte Prima scielta di villanelle Libro primo di villanelle Amarille libro terzo Arie...libro secondo

Non credete amanti non credete al Tarditi (1628) duol Non credete chio vami lasso e ch'io Rontani (1619) - Sonetto recitativo Non mercede Rontani (1620a) Non mercede - Donna crudele Non pi tempo n Non fia che pi mi fidi - Arietta Non ha doglia maggiore Non ha donzella amore - Donzella saputa Non havea Febo Non mai cos lucente Non maledico io n Non mi dar pi tormento Non mi lasciar mai pi Non mi negar aita Non pensar bella Filli Non perchio taccia lieve il mio tormento Non pi con mesti accenti - Pianto amoroso Non pi con mesti accenti Non pi dAmore Non pi laccio mi cinge Non pi lagrime no non pi sospiri Stefani, ed. (1623) Landi (1627) Milanuzzi (1643) Obizzi (1627) Fontei (1635) Kapsberger (1619a) Manzolo (1623) Fontei (1636) Landi (1637) Kapsberger (1623) Camarella (1633) Busatti (1638) Busatti (1644) Stefani, ed. (1623) Millioni (1627) Falconieri (1616) Salzilli (1616b) Pesenti (1633) 213

Non pi pena - Core sciolto Balletto Non pi sdegno n dispetto Non pi sospiri felice mio cuore Non pi morte cor mio Non posso pi soffrir / Cos acerbo martir - Amore insoportabile Non posso pi soffrir / Si grave duol si gran martir Non primavera fiori Non pu ferir Amor Non pu vestito - Felicit humana Non ridi non fuggi non tascondi t Donna schermitrice Non sa che sia dolor Non sa che sia gradir Non saettar pi amore Non seguAmor chi senza forte nasce Non sei pi bella Non si creda adamor Non s pomposa - Sonetto (NV) Non s pu soffrir ohim - Del sig Gio Giacomo Porro - Organista dellAltezza Serenissima di Savoia Non s pu soffrir ohim Non si rida del mio stato Non si scherzi con Amore Non si scherzi con Amore Non son gi sguardi ohim - Arietta Non son gi sguardi ohim Non son tanta gi mai Non son tuo non sei mai Non son tuo non sei mai Non state pi in pensier anima mia Amante sdegnato Non ti lascio Eurilla mia Non vedi t come io

Milanuzzi (1623) Giaccio (1618) Fedele (1628) Millioni (1627) Milanuzzi (1622b) Miniscalchi (1627) Corradi (1616) Grandi (1626) Fontei (1635) Giaccio (1613) Kapsberger (1619a) Busatti (1644) DAragona (1616b) Pesori (ca. 1648) Severi (1626) Pesenti (1636) Severi (1626) Robletti, ed. (1622) Abatessa (1652) Severi (1626) Landi (1627) Milanuzzi (1635) Olivieri (1620) Veneri (1621) Pesenti (1636) Milanuzzi (1630) Pesenti (1633) Giaccio (1613) Obizzi (1627) Fedele (1628)

Terzo scherzo delle ariose vaghezze Laberinto amoroso Scelta di vilanelle napolitane Prima scielta di villanelle Secondo scherzo delle ariose vaghezze Arie...libro secondo Le stravaganze damore Cantade et arie a voce sola...libro terzo Bizzarrie poetiche Armoniose voci Libro secondo di villanelle Settimo libro dariette Soavi ardori Lo scrigno armonico Arie...libro primo Arie a voce sola...libro terzo Arie...libro primo Vezzosetti fiori Intessitura di varii fiori Arie...libro primo Il secondo libro darie musicali Ottavo libro delle ariose vaghezze La pastorella Armilla Li varii scherzi Arie a voce sola...libro terzo Settimo libro delle ariose vaghezze Arie...libro secondo Armoniose voci Madrigali et arie Scelta di vilanelle napolitane

214

Non voglio amare Non voglio amare - Vano il fuggire Amore Non voglio amare - Del sig Nicol Borboni Non voglio amare Non voglio esser amante Non voglio pi seguire Non voglio pi seguire Non vol pi languir Non vuoi chio tami - Donna incostante Nova fiamma damore Nova fortuna Novi rai lampeggiano Nudo Arciero O beglocchi che guerrieri O begl'occhi che mirate O begl'occhi che safiri - Arietta O beglocchi di Sole O beglocchi o belle chiome Vaneggiamenti amorosi O beglocchi o belle chiome O begl'occhi o belle stelle - Arietta O beglocchi o chiare stelle - Occhi amorosi O beglocchi vezzosi O bei labri rubinetti O bei lumi O bei lumi / O raggi ardenti - Arietta O bellocchi see O begl'occhi O bella che fuggi O bella e vaga Flora O bella s m fera O belli occhi see O begl'occhi O bellissima Aria O bellissimi capelli

DAragona (1616b) Giaccio (1613) Robletti, ed. (1622) Milanuzzi (1624) Fontei (1636) Miniscalchi (1625) Crivellati (1628) Millioni (1627) Stefani, ed. (1620) DAragona (1616b) Falconieri (1616) Kapsberger (1630) Falconieri (1616) Robletti, ed. (1621a) Manzolo (1623) Olivieri (1620) Landi (1627) Stefani, ed. (1618) Millioni (1627) Olivieri (1620) Stefani, ed. (1618) Veneri (1621) Busatti (1638) Severi (1626) Olivieri (1620) Miniscalchi (1630) Kapsberger (1610) Milanuzzi (1628) Severi (1626) Falconieri (1616)

Soavi ardori Armoniose voci Vezzosetti fiori Quarto scherzo delle ariose vaghezze Delle bizzarrie poetiche...libro secondo Arie...libro primo Cantata diverse Prima scielta di villanelle Scherzi amorosi canzonette...libro secondo Soavi ardori Libro primo di villanelle Libro quinto di villanelle Libro primo di villanelle Giardino musicale Canzonette...a una e due voce La pastorella Armilla Il secondo libro darie musicali Affetti amorosi canzonette Prima scielta di villanelle La pastorella Armilla Affetti amorosi canzonette Li varii scherzi Arie a voce sola Arie...libro primo La pastorella Armilla Arie...Libro Terzo Libro primo di villanelle Sesto libro delle ariose vaghezze Arie...libro primo Libro primo di villanelle

215

O ben sparsi sospiri O biondetta lascivetta O biondetti lasciavetti O bocca vezzosa O bocca vezzosa O cara libert O cara palma O care selve O che bel stare vicino al mare O che bel fronte O che bel fronte O che felice giorno O che felice sorte O che gradita O che stato penoso O ciel che mi nasconde O Clorida / Gi che sadornano Donna ritrosa O Clorida se i colli infiorano O Clorida / Vaga e gentile O colli o monti - La Pastorale O come vaga - Bella mano di O. O come vario amor O come fuggono O come lieta v Balletto O come superbetta O come v precipitoso un core Balletto O con ragion O core pensoso O cuori ben legati O dun bel crin vagante Madrigaletto O da fila canore - Bella mano O da fila canore O de dolori miei - Forza docchi

Falconieri (1616) Pesenti (1636) Camarella (1633) Milanuzzi (1628) Miniscalchi (1630) Laurenzi (1641) Manzolo (1623) Ghizzolo (1623) Colonna (1627) Vincenti, ed. (1634) Milanuzzi (1635) Corradi (1616) Corradi (1616) D'India (1623) Pesenti (1633) Sabbatini (1628) Stefani, ed. (1618) Millioni (1627) Milanuzzi (1628) Montesardo (1612) Milanuzzi (1622b) Miniscalchi (1625) Kapsberger (1640) Milanuzzi (1630) Miniscalchi (1625) Milanuzzi (1630) Grandi (1629) Kapsberger (1640) Sabbatini (1628) Milanuzzi (1643) Romano (1623) Berti (1624) Romano (1623)

Libro primo di villanelle Arie a voce sola...libro terzo Madrigali et arie Sesto libro delle ariose vaghezze Arie...Libro Terzo Concerti et arie Canzonette...a una e due voce Frutti damore...libro quinto Scielta de canzonette Arie de diversi Ottavo libro delle ariose vaghezze Le stravaganze damore Le stravaganze damore Le musiche...libro quinto Arie...libro secondo Il sesto...opera ottava Affetti amorosi canzonette Prima scielta di villanelle Sesto libro delle ariose vaghezze I lieti giorni di Napoli Secondo scherzo delle ariose vaghezze Arie...libro primo Libro settimo di villanelle Settimo libro delle ariose vaghezze Arie...libro primo Settimo libro delle ariose vaghezze Cantade et arie...libro quarto Libro settimo di villanelle Il sesto...opera ottava Nono libro delle ariose vaghezze Nuova raccotla di bellissime canzonette Cantade et arie ad una voce sola...libro primo Nuova raccotla di bellissime

216

bellissimi O del cielo damor O del cielo nero velo O del foco damore O del mio caro - Aria di romanesca e di zeffiro O di glorie chiara parole O di raggi e di fiammelle O di raggi o di fiammelle -Arietta O di raggi o di fiamelle

D'India (1623) Ghizzolo (1623) Salzilli (1616a) Severi (1626) Landi (1627) Severi (1626) Olivieri (1620) Millioni (1627)

canzonette Le musiche...libro quinto Frutti damore...libro quinto La sirena libro secondo Arie...libro primo Il secondo libro darie musicali Arie...libro primo La pastorella Armilla Prima scielta di villanelle Arie...libro secondo Arie de diversi Affetti amorosi canzonette Libro terzo di villanelle La pastorella Armilla Cantade et arie ad una voce sola...libro primo Nuova raccotla di bellissime canzonette Gratie et affetti amorosi canzonette...libro secondo I lieti giorni di Napoli Arie...libro quarto Frutti damore...libro quinto La sirena libro secondo Libro terzo di villanelle I lieti giorni di Napoli Musiche...libro sexto Libro primo di villanelle Libro secondo di villanelle Le musiche...libro quinto Arie a una voce Madrigali et arie Canzonette...a una e due voce Madrigaletti...libro quinto

O Dio che veggio? - Cantata sopra il Pesenti (1633) passacaglio O Dio qual pene io sento Vincenti, ed. (1634) O dolcaura o dolci venti - Fedelt non conosciuta O dolci sguardi O dolci sospiri - Arietta O dolcissima saetta O dolcissimo viso - Amante lontano della amata donna O donzella tutta bella O felice quel giorno O felice quel giorno O Filli bella O Filli del mio cor fiamma novella O Filli vientene O fortunati giorni ove mortali Mercurio O fortunato martire O fronte serena O fronte serena O gioia de mortali - Aria O giorno avventuroso O giovinetti mentre Aprile e Maggio Aria O graditi miei caldi sospiri O infelice colui che sinnamora Vilanella che si pu cantare nella Stefani, ed. (1618) Kapsberger (1619b) Olivieri (1620) Berti (1624) Romano (1623) Aldigatti (1627) Montesardo (1612) Vitali (1622) Ghizzolo (1623) Salzilli (1616a) Kapsberger (1619b) Montesardo (1612) Falconieri (1619) Falconieri (1619) Kapsberger (1619a) D'India (1623) Landi (1620) Camarella (1633) Manzolo (1623) Marini (1635)

217

Chitariglia O leggiadri occhi belli - Occhi crudeli O lingua che girata O luci amate O mar tantira O mar tantira - Amante accorto O me dolente O mia felice O mia filli gradita O mia leggiadra e vaga pastorella O mia vita o mio core O miei gravi sospiri O mio bene o mio tesoro - Morte e vita O mio cor che di spene O mio cor che di spene O mio cor che di spene O mio core che novello - Amor fuggitivo O nocchier chin questo lido O pargoletta amori O perduti di letti O perle lucenti O pianto selvombrose - Arietta O primavera giovent dallanno O qual gioia nel petto mi st O quando il labro ti bacio O quante volte h detto O quanti cuori quanti - Alla terza O quanti errore e Tenebre Spirituale O quanti furon brevi - Dolore nel partire della sua donna O rosetta che rosetta O se deccelso Alloro - Gloriosi fregi di B. D. O se dun sguardo sol

Stefani, ed. (1618) Manzolo (1623) Kapsberger (1619b) Vitali (1622) Milanuzzi (1623) Milanuzzi (1624) Giamberti (1623) Vincenti, ed. (1634) Corradi (1616) Falconieri (1619) DAragona (1616a) Giaccio (1613) Vitali (1622) Pesenti (1633) Vincenti, ed. (1634) Stefani, ed. (1620) Kapsberger (1632) Salzilli (1616a) Sances (1636) Kapsberger (1632) Rontani (1619) Rontani (1623) Manzolo (1623) Falconieri (1616) Milanuzzi (1630) Fontei (1636) Manzolo (1623) Fontei (1636) Robletti (1621b) Milanuzzi (1622a) Milanuzzi (1624)

Affetti amorosi canzonette Canzonette...a una e due voce Libro terzo di villanelle Arie...libro quarto Terzo scherzo delle ariose vaghezze Quarto scherzo delle ariose vaghezze Poesie diverse Arie de diversi Le stravaganze damore Musiche...libro sexto Amorose querele Armoniose voci Arie...libro quarto Arie...libro secondo Arie de diversi Scherzi amorosi canzonette...libro secondo Li fiori libro sesto La sirena libro secondo Il quarto libro delle cantate et arie Li fiori libro sesto Le varie musiche...libro terzo Le varie musiche...libro primo Canzonette...a una e due voce Libro primo di villanelle Settimo libro delle ariose vaghezze Delle bizzarrie poetiche...libro secondo Canzonette...a una e due voce Delle bizzarrie poetiche...libro secondo Raccolta de varii concerti musicali Primo scherzo delle ariose vaghezze Quarto scherzo delle ariose vaghezze

218

O sguardi lusinghieri O sol deglocchi chiari - Arietta O sospiro amoroso O stelle omicide arciere dei cori Arietta O stringaventurata - Concertato O vaga tortorella - Per cantare nella Chitariglia O vezzosetta dalla chiome doro O vita soavissima

Tarditi (1628) Olivieri (1620) Obizzi (1627) Rontani (1619) Crivellati (1628) Marini (1635) Falconieri (1616) Manzolo (1623)

Amorosa schiera darie La pastorella Armilla Madrigali et arie Le varie musiche...libro terzo Cantata diverse Madrigaletti...libro quinto Libro primo di villanelle Canzonette...a una e due voce Concerti amorosi terza parte Amorose querele Sesto libro delle ariose vaghezze Laberinto amoroso Madrigaletti...libro quinto Barchetta passaggiera Canzonette...a una e due voce Soavi ardori Laberinto amoroso Amarille libro terzo Concerti amorosi terza parte Nono libro delle ariose vaghezze Amorose querele Laberinto amoroso Nono libro delle ariose vaghezze Madrigali et arie Cantade et arie ad una voce sola...libro primo Laberinto amoroso Amorose querele Il quarto libro delle cantate et arie Libro terzo di villanelle Libro primo di villanelle Canzonette...a una e due voce Arie...libro primo

O voi chintorno alla grimoso canto - Stefani, ed. (1623) Romanesca - Pianto funestro O voi tutti chamate la mia Clori DAragona (1616a) Occhi belli al primo sguardo Occhi belli ma fieri del bel regno Occhi belli occhi cari - Per cantare nella Chitariglia Occhi belli occhi guerrieri Occhi belli occhi i crudeli Occhi belli occhi sereni Occhi belli occhi sereni Occhi belli ondil mio core Occhi belli saette damore - Lacci amorosi Occhi damor rubelli Occhi ladri damor Occhi miei che vedrete? Occhi miei di che godete Occhi miei pur sapete Occhi miei tristi - Dialogo con glocchi Occhi morte del mio core Occhi nido damore Occhi occhi miei cari Occhi ridente Occhi rubelli del regno dAmore Occhi rubelli del regno dAmore Occhi rubelli del regno dAmore Milanuzzi (1628) Giaccio (1618) Marini (1635) Fasolo (1627) Manzolo (1623) DAragona (1616b) Giaccio (1618) Salzilli (1616b) Stefani, ed. (1623) Milanuzzi (1643) DAragona (1616a) Giaccio (1618) Milanuzzi (1643) Obizzi (1627) Berti (1624) Giaccio (1618) DAragona (1616a) Sances (1636) Kapsberger (1619b) Falconieri (1616) Manzolo (1623) Severi (1626)

219

Occhi se sette i giri onde il mio nume- Sonetto Occhi un tempo a la mia vita Canzon baccante Occhi vaghi occhi lucenti Occhi vibrate Occhietti amati Occhietti amati Occhietti amati Odi Euterpe il dolce canto Odoroso gelsomino Odoroso gelsomino Ogni finta dolcezza Ogni finta dolcezza Ogni giorno t mi di - Spirituale Oh con quanta vaghezza - Cantata voce sola Ohim chio cado - Del sig Claudio Monteverde Ohim chio pur non oso Ohim che far deggio Ohim che far deggio - Breve contento dAmante abbandonato Ohim che langue il cor Ohim che th fattio - Fuggitiva Ohim come far - La faceta Ohim e qual novo in sen Ohim quant felice Ohim son cose Oim see Ohim Onde che mormorate - Aria Oscurando i suoi sembianti Ove fuggi ove vai Pace pace crudel Pallidetta bizzaretta Pallidetta qual viola Para risibir at Lisa - Romance

Berti (1627) Berti (1627) Corradi (1616) Kapsberger (1619b) Falconieri (1616) Vitali (1620) Millioni (1627) Corradi (1616) Kapsberger (1632) Pesenti (1633) Aldigatti (1627) Berti (1627) Manzolo (1623) Berti (1624) Milanuzzi (1624) Pesenti (1636) DAragona (1616a) Stefani, ed. (1620) Milanuzzi (1630) Giaccio (1613) Montesardo (1612) Berti (1624) Miniscalchi (1630) Sances (1636) Tarditi (1646) Kapsberger (1632) Salzilli (1616b) Pesori (ca. 1648) Salzilli (1616a) D'India (1621) Aranies (1624)

Cantade et arie...libro secondo Cantade et arie...libro secondo Le stravaganze damore Libro terzo di villanelle Libro primo di villanelle Musiche...libro terzo Prima scielta di villanelle Le stravaganze damore Li fiori libro sesto Arie...libro secondo Gratie et affetti amorosi canzonette...libro secondo Cantade et arie...libro secondo Canzonette...a una e due voce Cantade et arie ad una voce sola...libro primo Quarto scherzo delle ariose vaghezze Arie a voce sola...libro terzo Amorose querele Scherzi amorosi canzonette...libro secondo Settimo libro delle ariose vaghezze Armoniose voci I lieti giorni di Napoli Cantade et arie ad una voce sola...libro primo Arie...Libro Terzo Il quarto libro delle cantate et arie Arie a voce sola Li fiori libro sesto Amarille libro terzo Lo scrigno armonico La sirena libro secondo Le musiche...libro quarto Libro segundo de tonos y villancicos

220

Pargoletta che non sai - Ninfa sconoscente Pargoletta che vai Pargoletta vezzosa / Pargoletta amorosa - Amante innamorato di pargoletta ritrosa Pargoletta vezzosa e ridente - Piaga innocente Parlando la mia dea - Concertato Parten las galeras llevan Parto nel mio partir - Partenza Pass lardore - Amante dispietoso pentito Pass lardore - Amante pentito Pastor io che non v Pastorella gentile Pastorella ove tascondi Pastorella ove tascondi - Arietta Pastorella ove t'ascondi - Arietta Pazzarella Peccai Signor peccai Pensamientos altos fortuna Per due vezzosi lumi Per gioia del mio cor - Amoroso desio Per glocchi miei di tua belt pass Per piet del mio gran duol Per piet del mio gran duol Per piet delle mie pene Per piet delle mie pene Per questa vita giuro Per tue gioi - Vita solitaria Per un morso trantira? Perch cruda ognhora pi Perch fuggi ristrosetta Perch fuggi un tuo fedel Perch lalba i chiari

Stefani, ed. (1618) Rontani (1619) Stefani, ed. (1618) Stefani, ed. (1623) Crivellati (1628) Aranies (1624) Miniscalchi (1630) Stefani, ed. (1618) Giaccio (1613) Stefani, ed. (1618) Kapsberger (1632) Kapsberger (1610) Falconieri (1616) Crivellati (1628) Ghizzolo (1623) Kapsberger (1640) Aranies (1624) Sabbatini (1628) Stefani, ed. (1620) Camarella (1633) Miniscalchi (1625) Busatti (1638) Kapsberger (1619a) Corradi (1616) Severi (1626) Fontei (1636) Obizzi (1627) Laurenzi (1641) Pesenti (1636) Milanuzzi (1628) Berti (1627)

Affetti amorosi canzonette Le varie musiche...libro terzo Affetti amorosi canzonette Concerti amorosi terza parte Cantata diverse Libro segundo de tonos y villancicos Arie...Libro Terzo Affetti amorosi canzonette Armoniose voci Affetti amorosi canzonette Li fiori libro sesto Libro primo di villanelle Libro primo di villanelle Cantata diverse Frutti damore...libro quinto Libro settimo di villanelle Libro segundo de tonos y villancicos Il sesto...opera ottava Scherzi amorosi canzonette...libro secondo Madrigali et arie Arie...libro primo Arie a voce sola Libro secondo di villanelle Le stravaganze damore Arie...libro primo Delle bizzarrie poetiche...libro secondo Madrigali et arie Concerti et arie Arie a voce sola...libro terzo Sesto libro delle ariose vaghezze Cantade et arie...libro secondo

221

Perch mi fuggite o crudele Amante fuggitiva Perch mi mirate si poi Perch non credi al mio pianto Amante fedele - Bellissimo scherzo intavolato alla spagnuola Perch segui afflitto core Perch segui Filli amata Perch taci cor mio - Amante tacito Perdano i lampi suoi Pescatrice ligurina Piagate amori Piagate amori - Velen damor vitale Balletto Piaghe damor Piangetocchi piangete Pianget'occhi pingete Piangetocchi piangete - Tradita bellezza Piango de miei diletti Piansi un tempo arsi gelai Pietate occhi pietate Pietate occhi pietate Pietosi allontanatemi Pietosi allontanatevi

Stefani, ed. (1623) Tarditi (1628) Romano (1620b) Veneri (1621) Pesenti (1636) Stefani, ed. (1620) Sabbatini (1641) Rontani (1623) Vitali (1622) Milanuzzi (1623) Kapsberger (1640) Veneri (1621) Robletti, ed. (1621a) Stefani, ed. (1623) Milanuzzi (1635) Landi (1627) Pesenti (1636) Sabbatini (1652) Sances (1636) Tarditi (1646)

Concerti amorosi terza parte Amorosa schiera darie Terza raccotla di bellissime canzoni alla romanesca Li varii scherzi Arie a voce sola...libro terzo Scherzi amorosi canzonette...libro secondo Varii capricci...libro settimo Le varie musiche...libro primo Arie...libro quarto Terzo scherzo delle ariose vaghezze Libro settimo di villanelle Li varii scherzi Giardino musicale Concerti amorosi terza parte Ottavo libro delle ariose vaghezze Il secondo libro darie musicali Arie a voce sola...libro terzo Prima scelta di villanelle a due voci Il quarto libro delle cantate et arie Arie a voce sola La pastorella Armilla Arie...libro primo Musiche...libro terzo Canzonette...a una e due voce Arie de diversi Raccolta de varii concerti musicali La sirena libro secondo Libro settimo di villanelle Affetti amorosi canzonette Frutti damore...libro quinto Amarille libro terzo

Pi del mio amore non senti - Arietta Olivieri (1620) Pi dolce il guardo / Ver me non gira Severi (1626) Pi lieto il guardo / Ver me non gira Pi lieto il guardo / Ver me non gira Pi lieto il guardo / Ver me non giri Pi non amo pi non ardo Pi non bramo n risi Pi non credete Pi non ho non ho cor io - Amante senza core Pi non tamo Aminta ingrato Pi non tamo desio crudel Vitali (1620) Manzolo (1623) Vincenti, ed. (1634) Robletti, ed. (1621b) Salzilli (1616a) Kapsberger (1640) Stefani, ed. (1618) Ghizzolo (1623) Salzilli (1616b)

222

Pi non tamo e desio crudel Pi non tamo e non tadoro Pi non v non voglio amore Poi cha baciar ninvita Poi ch'a miei pianti Poi ch'al fido amor mio Poi chattendi ognhora bramosa cara Poi chhai schernito Poi chho s gran dolore Poi chio vidi al mio martir Poi che la bella fera Poi che la crud fera - Amor gelato Poi che non val contro Poi che non val gridar Poi che rotta la fede Poi che senti il mio dolore Poi che vol amor Poiche see Poi che Poiche a see Poi ch'a Poiche al see Poi ch'al Pompa mortale t non mallettil sen Prendi amor larco e gli strali Arietta Prendi deh prendi il volo Prendi deh prendi il volo Prendi deh prendi il volo Preso londe tranquille Promette amor Puo l suo crin che scherza e fere Pupilette vezzosette / Dolci pene del mio cor - Occhi oggetto del core Pupilette vezzosette / Se miratil cor beate Pupillette lucenti Pupillette / Non ancidete Qual alga in questa riva

Milanuzzi (1630) Giamberti (1623) Sabbatini (1628) Falconieri (1619) Berti (1624) Pesori (ca. 1648) Kapsberger (1610) Salzilli (1616b) Salzilli (1616a) Manzolo (1623) Salzilli (1616b) Various (Stefani) Berti (1627) Miniscalchi (1625) Obizzi (1627) Kapsberger (1610) Manzolo (1623)

Settimo libro delle ariose vaghezze Poesie diverse Il sesto...opera ottava Musiche...libro sexto Cantade et arie ad una voce sola...libro primo Lo scrigno armonico Libro primo di villanelle Amarille libro terzo La sirena libro secondo Canzonette...a una e due voce Amarille libro terzo Concerti amorosi terza parte Cantade et arie...libro secondo Arie...libro primo Madrigali et arie Libro primo di villanelle Canzonette...a una e due voce

Kapsberger (1630) Rontani (1619) Rontani (1620a) Severi (1626) Millioni (1627) Manzolo (1623) Kapsberger (1632) Ghizzolo (1623) Stefani, ed. (1623) Veneri (1621) Manzolo (1623) Busatti (1638) DAragona (1616b)

Libro quinto di villanelle Le varie musiche...libro terzo Varie musiche...libro quarto Arie...libro primo Prima scielta di villanelle Canzonette...a una e due voce Li fiori libro sesto Frutti damore...libro quinto Concerti amorosi terza parte Li varii scherzi Canzonette...a una e due voce Arie a voce sola Soavi ardori

223

Qual cadavero spriante i begli occhi Qual per me stella s rea Qual stato esser pu mai Qual vago canto il pregio Quand'amor see Quando amor Quand'il see Quando il Quando'io see Quando io Quando a noi mostra Fille Quando amor dentrun cor Quando amor dentrun cor Quando amor mi fer Quando amor ti viddestinto Quando dentro il tuo seno Quando dentro il tuo seno - Amorosi contrarii Quando fuor del chiuso tetto Quando il ciel mi f soggetto Quando il sol Quando io vissi il tuo diletto Quando lalba in oriente Quando miro l mio sol quel chadoro Quando premieramente - Lamante sfacciato Quando Rinaldo invitto Quando torni - Arietta Quando tra suoi rigori Quando t mi guardi e ridi Quando unanima havrai Quanto pi cruda sete - Pietosa fierezza Quanto pi cruda sete Quanto pi miro la vaga mia stella Quanto tinganni amor - Cantata Quasi intrepida Amazzone Quel baccio che mi date

Vitali (1620) Landi (1637) Pesenti (1636) Rontani (1620b)

Musiche...libro terzo Il quinto libro darie Arie a voce sola...libro terzo Varie musiche...libro quinto

Salzilli (1616b) Grandi (1626) Crivellati (1628) Rontani (1623) Kapsberger (1632) Berti (1624) Romano (1623) Milanuzzi (1635) Robletti, ed. (1621a) Kapsberger (1632) Manzolo (1623) Fasolo (1627) Miniscalchi (1630) Fontei (1635) Landi (1637) Rontani (1620b) Kapsberger (1630) Manzolo (1623) Grandi (1629) Stefani, ed. (1623) Crivellati (1628) Robletti, ed. (1621b) Pesenti (1636) Landi (1627) Falconieri (1616)

Amarille libro terzo Cantade et arie a voce sola...libro terzo Cantata diverse Le varie musiche...libro primo Li fiori libro sesto Cantade et arie ad una voce sola...libro primo Nuova raccotla di bellissime canzonette Ottavo libro delle ariose vaghezze Giardino musicale Li fiori libro sesto Canzonette...a una e due voce Barchetta passaggiera Arie...Libro Terzo Bizzarrie poetiche Il quinto libro darie Varie musiche...libro quinto Libro quinto di villanelle Canzonette...a una e due voce Cantade et arie...libro quarto Concerti amorosi terza parte Cantata diverse Raccolta de varii concerti musicali Arie a voce sola...libro terzo Il secondo libro darie musicali Libro primo di villanelle

224

Quel core quel core - Cor mentito Quel core quel core - Cor mentito Quel foco ondio tuttardo Quel rosignol chin si soavi accenti Quel sol che luce parve Quellhaver sempre da piangere Quell'infedele lingua Quellinfedele lingua - Occhi finestre del core Quella belt chardori Quella luce che sindor Quella rosa s vermiglia Quelle dolci parolette Quelle lacrime finte Questa cruda mancide Questa cruda mancide Questa ingrata Questa mia aurora che minnamora Qualit di D amante - Balletto Questa piaga mi sia sempre nel core - Aria di romanesca Questa piaga mi sia sempre nel core - Aria per cantar ottave Questa piagha mi sia sempre nel core Questa tenera angioletta - Villanella che si pu cantare nella Chitariglia Queste doglie e martiri Quest pur quella notte Questi son quei beglocchi Questo crudele Questo qui non sono i pianti Qui la sete Qui si vive in gioie - Cantar damore Quien menoscaba mis benes? Pruebas de amor estraas Quien menosiaba mis bene? -

Milanuzzi (1622a) Romano (1623) Miniscalchi (1630) Robletti, ed. (1621a) Kapsberger (1623) Milanuzzi (1643) D'India (1621) Milanuzzi (1623) Fontei (1636) Kapsberger (1632) Giaccio (1618) Berti (1627) Milanuzzi (1628) Ghizzolo (1623) Milanuzzi (1624) Aldigatti (1627) Milanuzzi (1623) Vitali (1622) Milanuzzi (1623) Colonna (1627) Marini (1635) Milanuzzi (1643) Grandi (1629) Severi (1626) Kapsberger (1640) Millioni (1627) Severi (1626) Fontei (1635) Stefani, ed. (1620) Romano (1620b) 225

Primo scherzo delle ariose vaghezze Nuova raccotla di bellissime canzonette Arie...Libro Terzo Giardino musicale Libro quarto di villanelle Nono libro delle ariose vaghezze Le musiche...libro quarto Terzo scherzo delle ariose vaghezze Delle bizzarrie poetiche...libro secondo Li fiori libro sesto Laberinto amoroso Cantade et arie...libro secondo Sesto libro delle ariose vaghezze Frutti damore...libro quinto Quarto scherzo delle ariose vaghezze Gratie et affetti amorosi canzonette...libro secondo Terzo scherzo delle ariose vaghezze Arie...libro quarto Terzo scherzo delle ariose vaghezze Scielta de canzonette Madrigaletti...libro quinto Nono libro delle ariose vaghezze Cantade et arie...libro quarto Arie...libro primo Libro settimo di villanelle Prima scielta di villanelle Arie...libro primo Bizzarrie poetiche Scherzi amorosi canzonette...libro secondo Terza raccotla di bellissime canzoni

Pruebas de amor estraas - Aria per cantare e suonare con la Chitara all Spagnuola Raccogli in giro Raccogli in giro Raddoppia anima mia raddoppia i baci - Sonetto Rallegrati o core Rapitemi feritemi Rapitemi feritemi Rapiti baci Rasciugate Restamor Filli a Dio Resta resta con Dio Ria merc falsa f - Rotta fede Ridete meco amanti Ridete meco amanti Ridono i prati Rigida Eurilla Rimirate Risolviti mio cuore Ritorna al tuo pastor smaritAgnella Spirituale Ritrosetta e bella Clori - Aria Ritrosetta fastosetta Romane romane - Canzonetta nova per cantare & suonare con Chitarra alla Spagnola Rompalo sdegno le dure catene Sdegno guerriero Rompi o mio core / Quellamoroso laccio Rompi mio core / Quell'amoroso laccio Rondinella peregrina Rottho la f spietata Rubinetti lascivetti - Labri Di O Rubinetti lascivetti - Bei labri

alla romanesca Vitali (1620) Severi (1626) Obizzi (1627) Milanuzzi (1624) Milanuzzi (1635) Sances (1636) Carbonchi (1640) Berti (1624) Giaccio (1618) Severi (1626) Milanuzzi (1622b) Grandi (1626) Valvasensi (1634) Ghizzolo (1623) Kapsberger (1619a) Falconieri (1616) Milanuzzi (1635) Manzolo (1623) Tarditi (1646) Sabbatini (1641) Romano (1620a) Stefani, ed. (1623) Obizzi (1627) Grandi (1626) Kapsberger (1623) Grandi (1629) Milanuzzi (1622a) Romano (1623) Musiche...libro terzo Arie...libro primo Madrigali et arie Quarto scherzo delle ariose vaghezze Ottavo libro delle ariose vaghezze Il quarto libro delle cantate et arie Le dodici chitarre spostate Cantade et arie ad una voce sola...libro primo Laberinto amoroso Arie...libro primo Secondo scherzo delle ariose vaghezze Cantade et arie a voce sola...libro terzo Secondo giardino damorosi fiori Frutti damore...libro quinto Libro secondo di villanelle Libro primo di villanelle Ottavo libro delle ariose vaghezze Canzonette...a una e due voce Arie a voce sola Varii capricci...libro settimo Seconda raccotla di bellissime canzonette Concerti amorosi terza parte Madrigali et arie Cantade et arie a voce sola...libro terzo Libro quarto di villanelle Cantade et arie...libro quarto Primo scherzo delle ariose vaghezze Nuova raccotla di bellissime canzonette

226

Rugiadose van laurette Sa la gelata mia timida lingua Salcun vi giura Salcun vi giura - Libert catenata Saltrui splendil mio sole pi tosto Dialoga Filli e Clori Samor e cieco non pul vero scorgere - Pentimento amoroso Sannidano Saventino strali S ver la tua partita Sio fossi un giorno Sio men v siio men v Sio miro il bel volto della mia Filli Sio non raggiro il piede Sio non spargo per voi - Amorosa imprecatione Sio son dolente ohim Sio sospiro e sio piango Sio ti seguo ognhor - Balletto S'io ti seguo / Mi fuggi t Sio ti bacio ritrosetta Sa sospir finti sa mentiri pianti Sai che traffitto da pungente ortica Saione Saria pur tempo amor Schiera daspri martiri - Madrigale Sciocco e stolto rival Sciolta il crin rotta i piani e nuda il piede- Bella mendica - Sonetto Sciolto da lacci il pi Sconsolato dolor Sdegno ohim dove sei - Di Francesco Maria Melvi romano Sdegnosetta Mirtilla Se bel rio se bell'auretta Se belt col crin disciolto

Kapsberger (1623) Camarella (1633) Vitali (1620) Stefani, ed. (1623) Salzilli (1616b) Stefani, ed. (1623) Kapsberger (1632) Tarditi (1628) Montesardo (1612) Obizzi (1627) Ghizzolo (1623) Rontani (1623) Pesenti (1633) Romano (1623) Pesenti (1633) Kapsberger (1610) Milanuzzi (1630) Valvasensi (1634) Ghizzolo (1623) Sances (1636) Valvasensi, Lazzaro Carbonchi (1640) Camarella (1633) Camarella (1633) Berti (1624) Milanuzzi (1622b) Miniscalchi (1625) Severi (1626) Tarditi (1646) Rontani (1619) Rontani (1620a) Kapsberger (1630)

Libro quarto di villanelle Madrigali et arie Musiche...libro terzo Concerti amorosi terza parte Amarille libro terzo Concerti amorosi terza parte Li fiori libro sesto Amorosa schiera darie I lieti giorni di Napoli Madrigali et arie Frutti damore...libro quinto Le varie musiche...libro primo Arie...libro secondo Nuova raccotla di bellissime canzonette Arie...libro secondo Libro primo di villanelle Settimo libro delle ariose vaghezze Secondo giardino damorosi fiori Frutti damore...libro quinto Il quarto libro delle cantate et arie Secondo giardino damorosi fiori Le dodici chitarre spostate Madrigali et arie Madrigali et arie Cantade et arie ad una voce sola...libro primo Secondo scherzo delle ariose vaghezze Arie...libro primo Arie...libro primo Arie a voce sola Le varie musiche...libro terzo Varie musiche...libro quarto Libro quinto di villanelle

227

Se ben rose celesti nel bel viso Se brami hormai Se credete chio Se duo cor un foco infiamma Se gia l tuo sguardo Se gi gran tempo amanti Se gi tuo sgurado Se io see S'io Se la vita ti dono Se mamasti tamai Se mai toffese Se mi fugite vi seguo Se mille facelle Se nasce in cielo - Di Guglielmo Miniscalchi Venetiano Se non hai di ferro il core - Amorose preghiere Se partite sdegnose Se per haver contento Se per loro dun crine Se per onta di quel foco Se per voi l cor di cenere - Occhi crudele Se per voi sarde e si more Se pietade in te non trovi Se pietade in voi non trova Se pietose voi sete Se ridete gioiose Se rivolgin me serene - Desio di morte amorosa Se spiagar miro il sole Se talhor di stille amare - Aria Se terrena belt passa e non dura Eternit damore - Aria della romanesca Se ti convien penare Se tosto recano

Falconieri (1616) Grandi (1629) Severi (1626) Salzilli (1616b) Ghizzolo (1623) Landi (1637) Milanuzzi (1624) Pesenti (1636) Abbatessa (1635) DAragona (1616a) Tarditi (1628) Sances (1636) Milanuzzi (1624) Stefani, ed. (1623) Rontani (1619) Kapsberger (1640) Berti (1624) Milanuzzi (1635) Stefani, ed. (1620) Kapsberger (1610) Manzolo (1623) Giamberti (1623) Sabbatini (1641) Tarditi Stefani, ed. (1623) Salzilli (1616b) Tarditi (1646) Stefani, ed. (1618) Salzilli (1616a) Kapsberger (1640)

Libro primo di villanelle Cantade et arie...libro quarto Arie...libro primo Amarille libro terzo Frutti damore...libro quinto Il quinto libro darie Quarto scherzo delle ariose vaghezze Arie a voce sola...libro terzo Cespuglio di varii fiori Amorose querele Amorosa schiera darie Il quarto libro delle cantate et arie Quarto scherzo delle ariose vaghezze Concerti amorosi terza parte Le varie musiche...libro terzo Libro settimo di villanelle Cantade et arie ad una voce sola...libro primo Ottavo libro delle ariose vaghezze Scherzi amorosi canzonette...libro secondo Libro primo di villanelle Canzonette...a una e due voce Poesie diverse Varii capricci...libro settimo Amorosa schiera darie Concerti amorosi terza parte Amarille libro terzo Arie a voce sola Affetti amorosi canzonette La sirena libro secondo Libro settimo di villanelle

228

Se t nieghi ria belt - Piet bramata Se t non vuoi Se t senta piet Se varmate di rigore - Vano protesto damante Se vedesti le piaghe Se vedesti le piaghe Se venere dal ciel qu gi scendesse - Bellezza esquisita di amata... - Aria per cantare & suonare non la chitara alla Spagnuola Se voi donne intendeste la tirannia Povert di spirito nelle donne Sel cor non ho comesser pu chio viva Sen gode mia Clori Segui amoroso core Segui dolente core Semplicetto e quel cor Sempre dite Sempre guerra guerra sempre Senso fallace Senti che novi accenti - Bella ritrosa - Balletto Sento lo strale Serpe rigida Sfere fermate li giri sonori Sfortunata chi mi consola - Lamento di Madama Lucia con la risposta di Cola Sguardo lusinghiero Si ben mustru di fora tutto yelu Amore celato - Aria siciliana S che mi pento dhaverti seguito S chio vorrei fuggire Si dolce il tormento - Amor costante Si dolce il tormento S dolce il tormento

Stefani, ed. (1623) Tarditi (1628) Milanuzzi (1635) Fontei (1635) Rontani (1622) Manzolo (1623) Romano (1620b)

Concerti amorosi terza parte Amorosa schiera darie Ottavo libro delle ariose vaghezze Bizzarrie poetiche Le varie musiche...libro sesto Canzonette...a una e due voce Terza raccotla di bellissime canzoni alla romanesca Bizzarrie poetiche Cantata diverse Arie...libro secondo La sirena libro secondo Libro primo di villanelle Arie...libro primo Concerti et arie Varii capricci...libro settimo Libro settimo di villanelle Terzo scherzo delle ariose vaghezze Amorosa schiera darie Ottavo libro delle ariose vaghezze Quarto scherzo delle ariose vaghezze Il carro di Madama Lucia Barchetta passaggiera Affetti amorosi canzonette Amorosa schiera darie Cantata diverse Primo scherzo delle ariose vaghezze Quarto scherzo delle ariose vaghezze Amorosa schiera darie

Fontei (1635) Crivellati (1628) Miniscalchi (1627) Salzilli (1616a) Falconieri (1616) Miniscalchi (1625) Laurenzi (1641) Sabbatini (1641) Kapsberger (1640) Milanuzzi (1623) Tarditi (1628) Milanuzzi (1635) Milanuzzi (1624) Fasolo (1628) Fasolo (1627) Stefani, ed. (1618) Tarditi (1628) Crivellati (1628) Milanuzzi (1622a) Milanuzzi (1624) Tarditi (1628)

229

Si si chio mi pento S s chio tamo e tadoro - Fedele amante Signora tanto vamo Signoria mi desidero So che finto quel guardo Ladulation gradita S che locchio s ferir So guardi chi pu Soavissime voci Soccorretemi tutti Soccorso ahime ben mio Soccorso ohim ben mio Socorri amore - Pene amorose descritte Son ancor pargoletta Son caduti al fine i fiori Son daltrui le luci ardenti - Gelosia Son giochi scherzi e vezzi Son tutto tutto ardore - Amante timido Sonino scherzino Sono damor i frutti Sono intricato Sono lacci donne belle Sono lacci o donne belle Sorga da londe Sorge lucente Sospiri tormentosi Sospiro s Sostien diletta mia cha mio diletto Sotto aspetto ridente Sotto aspetto ridente - Amante tradito da sua Donna Sotto un ombroso Faggio Squazzato di Colasone Sovra un fonte cristallino Sovra un fonte cristallino - Amor

Miniscalchi (1625) Milanuzzi (1622a) Millioni (1627) Millioni (1627) Fontei (1635) Ghizzolo (1623) Pesori (ca. 1648) Berti (1627) Milanuzzi (1643) Falconieri (1616) Manzolo (1623) Romano (1626) Vincenti, ed. (1634) Obizzi (1627) Milanuzzi (1623) Manzolo (1623) Fontei (1636) Kapsberger (1623) DAragona (1616b) Giamberti (1623) Corradi (1616) Severi (1626) Vitali (1622) Kapsberger (1623) Busatti (1644) Miniscalchi (1627) Vincenti, ed. (1634) Grandi (1626) Romano (1626) Fasolo (1628) Vitali (1622) Milanuzzi (1623)

Arie...libro primo Secondo scherzo delle ariose vaghezze Prima scielta di villanelle Prima scielta di villanelle Bizzarrie poetiche Frutti damore...libro quinto Lo scrigno armonico Cantade et arie...libro secondo Nono libro delle ariose vaghezze Libro primo di villanelle Canzonette...a una e due voce Ressiduo quarte parte Arie de diversi Madrigali et arie Terzo scherzo delle ariose vaghezze Canzonette...a una e due voce Delle bizzarrie poetiche...libro secondo Libro quarto di villanelle Soavi ardori Poesie diverse Le stravaganze damore Arie...libro primo Arie...libro quarto Libro quarto di villanelle Settimo libro dariette Arie...libro secondo Arie de diversi Cantade et arie a voce sola...libro terzo Ressiduo quarte parte Il carro di Madama Lucia Arie...libro quarto Terzo scherzo delle ariose vaghezze

230

insidioso Sparite dal Core Spento h le faci amore Speranze non partire - Di Fra Giovanni Domenico Rutulini scolaro del signor Sabbatini Speravo amante Spiega la vela nocchiero Spiega la vera nocchiero Splendete splendete - Occhi amati Splendor degli occhi miei Sprezzami bionda e fuggimi Sprezzami bionda e fuggimi - Amor costante Sprezzami bionda e fuggimi Spirti celesti e santi Spunta la rosa Stanca del mio penar Stava Olindo assiso a fronte Stavasi assisa Clori Stelle che ornate il Cielo - Martire sfogato Stelle ridenti e lieti - Pastore adolorato Stelle vezzose Stravaganza damore S desta i fiori Su lali dellinganno - Presto Su lherbe assisomi Su la fiorita sponda Su la riva del mare Su la sponda del Tebro humida erbosa - Sonetto Su pastorelle vezzose Su su contra costei fa guerramore S s destati Clori - Aria S s lieti cantate

Laurenzi (1641) Ghizzolo (1623) Sabbatini (1641) Miniscalchi (1627) Falconieri (1616) Kapsberger (1619b) Stefani, ed. (1618) Robletti, ed. (1621a) D'India (1621) Milanuzzi (1623) Grandi (1626) Kapsberger (1623) Valvasensi (1634) Milanuzzi (1628) Guazzi (1622) DAragona (1616b) Romano (1626) Stefani, ed. (1618) Kapsberger (1619b) Corradi (1616) Kapsberger (1619b) Fontei (1636) Kapsberger (1630) Kapsberger (1632) Giaccio (1618) Rontani (1623) Olivieri (1620) Giaccio (1618) D'India (1623) Berti (1624)

Concerti et arie Frutti damore...libro quinto Varii capricci...libro settimo Arie...libro secondo Libro primo di villanelle Libro terzo di villanelle Affetti amorosi canzonette Giardino musicale Le musiche...libro quarto Terzo scherzo delle ariose vaghezze Cantade et arie a voce sola...libro terzo Libro quarto di villanelle Secondo giardino damorosi fiori Sesto libro delle ariose vaghezze Spiritosi affetti Soavi ardori Ressiduo quarte parte Affetti amorosi canzonette Libro terzo di villanelle Le stravaganze damore Libro terzo di villanelle Delle bizzarrie poetiche...libro secondo Libro quinto di villanelle Li fiori libro sesto Laberinto amoroso Le varie musiche...libro primo La pastorella Armilla Laberinto amoroso Le musiche...libro quinto Cantade et arie ad una voce

231

Su su lieti cantate Su su ninfe su pastori allombra S s pastorelli Su venite innamorati Suffurrate venticelli Superba e troppo altiera Superbetta la mia vita Superbetta sei pur colta Superbetta sei pur colta - Amante che invita la sua Donna piacere nel Giardino Suspiri miei che dhavra in hura siti Arie per cantar ottave siciliane Amoroso querelle Suspiri miei che dhora in hora siti Sospiri amorosi - Bellissimo scherzo intavolato alla spagnuola di ottave ciciliane Susurrate aure volanti Tamai gran tempo Tamer pi che mai Tamer pi che mai Taci mia lingua taci - Consiglio amoroso Tante gratie il cielo adorno Tante guerre e tanti danni Tante volte mi burl quella bocca La schernitrice Tanto lagrimar fin chel tuo core Tanto sdegno ha'l cor di sciolto Ten fuggi mia vita Ti lascio Filli ingrata Tirannetta del mio core Tirinto mio t mi feristi - Ninfa abbandonata Tirinto mio t mi feristi Togliti da glochhi miei -

Valvasensi (1634) DAragona (1616a) Various (Vincenti) Salzilli (1616a) Milanuzzi (1624) Miniscalchi (1627) Sances (1636) Grandi (1626) Romano (1626) Stefani, ed. (1620) Romano (1620b)

sola...libro primo Secondo giardino damorosi fiori Amorose querele Arie de diversi La sirena libro secondo Quarto scherzo delle ariose vaghezze Arie...libro secondo Il quarto libro delle cantate et arie Cantade et arie a voce sola...libro terzo Ressiduo quarte parte Scherzi amorosi canzonette...libro secondo Terza raccotla di bellissime canzoni alla romanesca Libro terzo di villanelle Il secondo libro darie musicali Arie...libro primo Amorosa schiera darie Delle bizzarrie poetiche...libro secondo Gratie et affetti amorosi canzonette...libro secondo Cantade et arie ad una voce sola...libro primo Bizzarrie poetiche Cantata diverse Varie musiche...libro quarto Frutti damore...libro quinto Arie a voce sola Arie...libro quarto Scherzi amorosi canzonette...libro secondo Prima scielta di villanelle Secondo scherzo delle ariose vaghezze

Kapsberger (1619b) Landi (1627) Severi (1626) Tarditi (1628) Fontei (1636) Aldigatti (1627) Berti (1624) Fontei (1635) Crivellati (1628) Rontani (1620a) Ghizzolo (1623) Busatti (1638) Vitali (1622) Stefani, ed. (1620) Millioni (1627) Milanuzzi (1622b) 232

Appassionato amante Tormentateme pur quanto bramate Aria Torna a la fiamma antica Torna Clori mia bella Torna di novo alla sua fiama antica Torna di nuovo a riverir Torna il sereno zefiro

Tarditi (1646) Salzilli (1616a) DAragona (1616a) Kapsberger (1610) Sabbatini (1641) Berti (1624)

Arie a voce sola La sirena libro secondo Amorose querele Libro primo di villanelle Varii capricci...libro settimo Cantade et arie ad una voce sola...libro primo Scherzi amorosi canzonette...libro secondo Cantade et arie ad una voce sola...libro primo Settimo libro delle ariose vaghezze Primo scherzo delle ariose vaghezze Secondo scherzo delle ariose vaghezze Arie a voce sola Arie...libro primo Libro quarto di villanelle Spiritosi affetti Concerti amorosi terza parte Amorosa schiera darie Musiche...libro sexto Varii capricci...libro settimo Seconda scelta di villanelle a una voce Scherzi amorosi canzonette...libro secondo Libro secondo di villanelle Arie...libro quarto Terzo scherzo delle ariose vaghezze Cantade et arie a voce sola...libro terzo Ressiduo quarte parte Secondo giardino damorosi fiori Gratie et affetti amorosi canzonette...libro secondo

Torna ostinato core - Amore rinovato Stefani, ed. (1620) Torna sereno / Di gioia pieno - 2 Torna torna mio ben - Balletto Tornate pur sospiri - Amante disperate Tr due negre pupillette - Alma tormentata Tra mortali Aria Tra questombre - Diaologo per tre ninfe Tr queste di terror Tr queste piante soletto Tr queste selve - Concerto amoroso Traditorella che credi Traditrice lusinghie Traffitto il sen da rigido tormento Traffitto il sen da rigido tormento Tre ninnas me dan enosos - Amor incierto Tronca lindegno Troppo ingrato sarei troppo infedele Berti (1624) Milanuzzi (1630) Milanuzzi (1622a) Milanuzzi (1622b) Tarditi (1646) Severi (1626) Kapsberger (1623) Guazzi (1622) Stefani, ed. (1623) Tarditi (1628) Falconieri (1619) Sabbatini (1641) Sabbatini (1652) Stefani, ed. (1620) Kapsberger (1619b) Vitali (1622)

Troppo ingrato sarei troppo infedele- Milanuzzi (1623) Romanesca Troppo troppo fedele Grandi (1626) Troppo troppo fedele - Cor risoluto di non voler pi amare Troppo troppo fedele Tu mi dici chio moro Romano (1626) Valvasensi (1634) Aldigatti (1627)

233

Tu mi lasci o cruda o bella Tu mi vorresti morto Tu mia Filla mhai ferito - Dialogo Tirsi Filli Tu non hai provato amor - Arietta Tu non hai provato amore Esperienza amorosa T non provar amore Tu non vuoi Lilla crudele Tu sciogli - Sonetto

D'India (1621) Fontei (1636) Falconieri (1619) Olivieri (1620) Stefani, ed. (1623) Milanuzzi (1628) Veneri (1621) Severi (1626)

Le musiche...libro quarto Delle bizzarrie poetiche...libro secondo Musiche...libro sexto La pastorella Armilla Concerti amorosi terza parte Sesto libro delle ariose vaghezze Li varii scherzi Arie...libro primo Bizzarrie poetiche Nono libro delle ariose vaghezze Poesie diverse Quarto scherzo delle ariose vaghezze Il quinto libro darie Bizzarrie poetiche La pastorella Armilla Terzo scherzo delle ariose vaghezze Varie musiche...libro quarto Arie...Libro Terzo Bizzarrie poetiche La pastorella Armilla Madrigali et arie Arie a voce sola Madrigali et arie Libro segundo de tonos y villancicos Sesto libro delle ariose vaghezze Musiche...libro terzo Il primo libro dintavolatura Nono libro delle ariose vaghezze Amorosa schiera darie Arie...libro primo Ressiduo quarte parte

Tu sei foco e non maccendi - Strano Fontei, Nicol accidente in bella donna Tu sei pur bella o cara Milanuzzi (1643) Tu sei pur bella / Vezzosetta Tu tr fiori vezzosetta Tu vedi alato arcier Tu vuoi chiedere o core - Silentio loquace Tuo danno sia - Arietta Tuo danno sia - Sdegno Tutte le viste o mai son fatte accorto Tutto pronto al piacere Uccellatori - Diaologo LUccellatrice Udiste udiste o core - Arietta Udite meraviglie Udite o belle sfere Udite o selve i miei crudi martiri Un farao de la chacona se hizo el mes de las rosas - Chacona Un fermo sasso non cesso pregar Un laccio amabile Un pitocco damor chiede piet Un riso minamora un guardo mi saetta - Arietta Un sol bacio per piet Un sospiretto sol Un sospiretto sol - Picciola mercede richiesta Giamberti (1623) Milanuzzi (1624) Landi (1637) Fontei (1635) Olivieri (1620) Milanuzzi (1623) Rontani (1620a) Miniscalchi (1630) Fontei (1635) Olivieri (1620) Obizzi (1627) Busatti (1638) Obizzi (1627) Aranies (1624) Milanuzzi (1628) Vitali (1620) Marchetti (1660) Milanuzzi (1643) Tarditi Miniscalchi (1625) Romano (1626)

234

Un sospiretto sol Una volta fui al mare - Serenta in lingua lombarda Uscite pur dal seno Usurpator tiranno Ut re mi fa so la dove - Scherzo boscareccio Ut re mi fa sol la dove - Scherzo pastorale Vamai se voi mamaste Va va chio non ti credo Vadino pur i pianti Vado altronte - Lontonanza Vaghe chiome allettatrici Vaghe ninfe Vagheggiando le bellonde - La galante Vagheggiando le bellonde Vagheggiate onde marine Vaghi amanti che bramante Bellezza di donna amata Vaghi gigli al ben candore Vaghi raggi deh venite Vaghi rai di ciglia ardenti Vaghi rai di ciglia ardenti Vaghi rai lucente stelle Vaghi rai pupille ardenti - Aria Vago augel par che tenti Vanne cruda - Balletto Vanne Dori Vanne v v ti fida o mio core Vanne vanne infedel Vanne vattenAmor - Cantata Vattene Filli v ladove Clori Vedermi fr catene Vedete la mia luce Vedilo vedilo l Vedovella tutta bella

Crivellati (1628) Fasolo (1628) Sabbatini (1641) Valvasensi (1634) Milanuzzi (1622a) Romano (1623) Landi (1627) Valvasensi (1634) Miniscalchi (1627) Milanuzzi (1622b) Busatti (1644) Grandi (1629) Montesardo (1612) Vitali (1620) Salzilli (1616b) Stefani, ed. (1618) Kapsberger (1630) Rontani (1619) Rontani (1619) Vitali (1620) Millioni (1627) Tarditi (1646) Salzilli (1616b) Milanuzzi (1630) Severi (1626) Milanuzzi (1635) Milanuzzi (1630) Milanuzzi, Carlo Milanuzzi (1624) Pesori (ca. 1648) Kapsberger (1610) Milanuzzi, Carlo Milanuzzi (1624)

Cantata diverse Il carro di Madama Lucia Varii capricci...libro settimo Secondo giardino damorosi fiori Primo scherzo delle ariose vaghezze Nuova raccotla di bellissime canzonette Il secondo libro darie musicali Secondo giardino damorosi fiori Arie...libro secondo Secondo scherzo delle ariose vaghezze Settimo libro dariette Cantade et arie...libro quarto I lieti giorni di Napoli Musiche...libro terzo Amarille libro terzo Affetti amorosi canzonette Libro quinto di villanelle Le varie musiche...libro terzo Le varie musiche...libro terzo Musiche...libro terzo Prima scielta di villanelle Arie a voce sola Amarille libro terzo Settimo libro delle ariose vaghezze Arie...libro primo Ottavo libro delle ariose vaghezze Settimo libro delle ariose vaghezze Ottavo libro delle ariose vaghezze Quarto scherzo delle ariose vaghezze Lo scrigno armonico Libro primo di villanelle Sesto libro delle ariose vaghezze Quarto scherzo delle ariose vaghezze

235

Vedr mio sol Madrigale Venticel gratissimo Vezzose Pastorelle - Amoroso invito Vezzosetta e bella Clori Vezzosetta mia pargoletta Vezzosetta Pastorella La stratiosa Vezzosetta Pastorella Vezzosetta ritrosa Vezzosette e care Vezzosette e care Vezzoso amore Viemmi passa Caronte - Contrasto dunanima e Caronte Vien le notte fuggel d - Parte lamato bene Vieni Clori vezzosetta - Arietta sopra Ruggiero Vienne pace gentil Vienni Lavinia bella - Invita la sua D goder le bellezze di Posilipo Violette belle Vita mia shai pur voglia Viva e viva - Serenta in lingua lombarda Viva speranza Viva viva la piaga - V cantata allegra Vivace miei desiri - Sopra lAria di Ruggiero Vivace sospiri Viver tr pianti Vivi vivi contenta - Del sig Pietro Paolo Sabbatino Vivo in foco damor - Balletto Vivo mostro dellinferno

Severi (1626) Kapsberger (1630) Stefani, ed. (1623) Vitali (1620) Corradi (1616) Montesardo (1612) DAragona (1616a) Miniscalchi (1627) Falconieri (1616) Kapsberger (1619a) DAragona (1616a) Giaccio (1613) Miniscalchi (1630) Sabbatini (1628) Kapsberger (1623) Giaccio (1613) Kapsberger (1632) Salzilli (1616b) Fasolo (1628) Kapsberger (1619b) Milanuzzi (1628) Ghizzolo (1623) Abbatessa (1635) Sances (1636) Robletti, ed. (1622) Berti (1627) Abbatessa (1635)

Arie...libro primo Libro quinto di villanelle Concerti amorosi terza parte Musiche...libro terzo Le stravaganze damore I lieti giorni di Napoli Amorose querele Arie...libro secondo Libro primo di villanelle Libro secondo di villanelle Amorose querele Armoniose voci Arie...Libro Terzo Il sesto...opera ottava Libro quarto di villanelle Armoniose voci Li fiori libro sesto Amarille libro terzo Il carro di Madama Lucia Libro terzo di villanelle Sesto libro delle ariose vaghezze Frutti damore...libro quinto Cespuglio di varii fiori Il quarto libro delle cantate et arie Vezzosetti fiori Cantade et arie...libro secondo Cespuglio di varii fiori Giardino musicale Le musiche...libro quarto Secondo scherzo delle ariose vaghezze Cespuglio di varii fiori

Vivr fra miei tormenti e le mie pene Robletti, ed. (1621a) Voglio il mio duol scoprir D'India (1621) Voglio il mio duol scoprir Leggierezza di D Voglio prima morir Milanuzzi (1622b) Abbatessa (1635) 236

Voi bella ninfa mi toglietil core Voi Celia luce mia - Arietta Voi che servite amore Voi chel mio mal sapete Voi dite di partire Voi fete bella ma fete crudele Voi fingete damarmi Voi folli e schiocchi amanti Voi mi dico chio non vami Voi mi dite chio non vami Voi mi dite chio non vami Amorosa querela Voi mi dite chio non vami Voi mi dite cor mio - Amante fedele Voi mi fate morire Voi morir mi vedete Voi non rubate? ah cruda Madrigale Voi partire mio sole Voi partire sdegnose - Amoroso sdegno Voi pazzarello mi turbate ognhora Arietta -Risposta Voi pur mi prommetteste occhi sereni Voi siete bella ma siete crudele Arietta Voi vi dolete Armilla sio non vamo - Arietta Voi volete chio viva Volgi e rivolgi Volgi glocchi ma piangenti Volgi glocchi pietosi Volgi glocchi sereni Voria Clori e non sa che Vorrai Laurilla mia - Diaologo Vorrei morire poi che m crudele Vuestra bellezza seora - Amante confuso - Vilanella spagnola

Corradi (1616) Olivieri (1620) Salzilli (1616b) Obizzi (1627) Valvasensi (1634) Falconieri (1616) Tarditi (1628) Berti (1624) Robletti, ed. (1621b) Vitali (1622) Stefani, ed. (1623) Millioni (1627) Giaccio (1613) Sabbatini (1652) Sabbatini (1652) Olivieri (1620) Severi (1626) Stefani, ed. (1623) Olivieri (1620) Kapsberger (1619b) Olivieri (1620) Olivieri (1620) Salzilli (1616a) Severi (1626) Kapsberger (1632) Marchetti (1660) Abatessa (1652) Vincenti, ed. (1634) Sabbatini (1628) Camarella (1633) Stefani, ed. (1618)

Le stravaganze damore La pastorella Armilla Amarille libro terzo Madrigali et arie Secondo giardino damorosi fiori Libro primo di villanelle Amorosa schiera darie Cantade et arie ad una voce sola...libro primo Raccolta de varii concerti musicali Arie...libro quarto Concerti amorosi terza parte Prima scielta di villanelle Armoniose voci Prima scelta di villanelle a una voce Prima scelta di villanelle a una voce La pastorella Armilla Arie...libro primo Concerti amorosi terza parte La pastorella Armilla Libro terzo di villanelle La pastorella Armilla La pastorella Armilla La sirena libro secondo Arie...libro primo Li fiori libro sesto Il primo libro dintavolatura Intessitura di varii fiori Arie de diversi Il sesto...opera ottava Madrigali et arie Affetti amorosi canzonette

237

Zeffiretti

Severi (1626)

Arie...libro primo

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VITA Cory Michael Gavito was born on April 27th, 1975 in Carmel, California. He is the second child of Val and Marcia Gavito. In 1986, the family moved to San Antonio, TX, where Cory attended Clark High School. After graduating from Plano Senior High School in Plano, TX, Cory earned his B.M.E from Texas Christian University in Ft. Worth in 1998. In 2001 he graduated from the University of North Texas in Denton with a M.M. in Musicology. Upon entering the University of Texas at Austin in 2001 as a doctoral student, Cory served as an Assistant Instructor and acted as Director of the UT Early Music Ensemble. In 2004 he was awarded the first Deans Graduate Research Fellowship offered by the UT College of Fine Arts. In the following year, he was awarded the A.D. Hutchison University Continuing Fellowship, and in 2006, served as a Research Fellow at the Newberry Library in Chicago. He currently serves as Assistant Professor of Musicology at Oklahoma City University. Permanent Address: 2801 E 21st Street Austin, TX 78722. This dissertation was typed by the author.

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