16th Century Music Prints

In 2010 we celebrated the fifth centenary of the birth of the
greatsixteenth-century Spanish musician, organist Philip II, Antonio de Cabezon. The present work aims to compile the history and meaning of his musical output again albeit briefly, while as a reminder and reflection background to his work raises at present (as discussed in the articles that follow it immediately), in an attempt to claim the best music for keyboard, harp and vihuela dating from the historic period of maximum splendor and projection in the Hispanic world.

En el año 2010 se celebró el quinto centenario del nacimiento del gran músico del Quinientos hispano, organista de Felipe II, Antonio de Cabezón. El presente trabajo pretende compilar nueva aunque brevemente la trayectoria y significado de su producción musical, al tiempo que servir de recordatorio, marco inicial, y antecedente, a la reflexión que su obra suscita en la actualidad (como se verá en los artículos que siguen inmediatamente a éste), en un intento de reivindicación de la mejor música para tecla, arpa y vihuela del período histórico de mayor esplendor y proyección en ámbito hispánico.

Knowledge and debate in the field of sixteenth- and early seventeenth-century Venetian music has greatly benefitted in recent decades from studies of major institutions, composers, repertories and sources, as also from investigations of the quantitative aspects of musical life in what was one of the largest, richest and most commercially oriented cities on the Italian peninsula: the Venetian musical phenomenon includes, on the one hand, regular or sporadic musical activities in the city’s many churches and private palaces (activities which provided significant earnings for large numbers of musicians, whether or not salaried members of the ducal cappella) and, on the other, the auxiliary trades of music printing and instrument making. The transmission of the musical repertories has also received notable attention: in particular, the contemporary and later reception of Venetian musical repertories in different political, linguistic and/or confessional areas. Central, too, have been questions of ‘sound’, both with regard to the particular interaction between musical composition, the spatial peculiarities and the specific liturgical and ceremonial traditions of the Venetian ducal chapel, and in the context of music-making at large.

This collection of essays on the life, times and works of a composer who ranks among the most outstanding musical personalities of his day variously unites these strands in an albeit partial attempt to interpret Giovanni Gabrieli’s output and activities in their Venetian context and, at the same time, cast light on their broader historiographical significance: on the one hand Gabrieli as point of synthesis of a complex Venetian musical tradition, on the other his interaction with and impact on contemporary musical life, his influence on later generations of composers both at home and abroad, the rediscovery of his achievements by nineteenth- and twentieth-century historians and performers, the revisitations of his music by twentieth-century composers.

Reviews:
– Rivista Italiana di Musicologia 53 (2018), p. 285–291 (Michelangelo Gabbrielli)
– Early Music 46 (2018), p. 167–169 (Eleanor Selfridge-Field); reply: Early Music 46 (2018), p. 367–368
– Renaissance Quarterly 71 (2018), p. 776–777 (Tim Shephard)
– Music & Letters 100 (2019), p. 543–546 (Tim Carter)

Participation in the Session "Research Surrounding the 'Books of Hispanic Polyphony' Online Database", chaired by Emilio Ros-Fábregas.
The five participants will present new research related, in different ways, to the online Books of Hispanic Polyphony database (http://hispanicpolyphony.eu, Jan Koláček, webmaster) in which they have been working as part of a team for the past four years (R+D Project “Libros de polifonía hispana 1450-1650: catálogo sistemático y contexto histórico-cultural” —HAR2012-33604; Spanish Ministry of Economy and Competitivity, 2012-2016).  This Session will mark the beginning of the open access to this comprehensive online database that contains a considerable amount of information about sources of Hispanic polyphony (manuscript and printed) from the 15th through the 19th centuries, composers, institutions, locations, works and related documents. Work on the Books of Hispanic Polyphony database continues under the current R+D Project “Polifonía hispana y música de tradición oral en la era de las humanidades digitales” (HAR2016-75371-P; Spanish Ministry of Economy, Industry and Competitivity, 2017-2020).

Les Amours de Ronsard sont accompagnées de quelques intonations musicales qui permettent de chanter l'ensemble des poèmes. Cet essai propose une nouvelle histoire éditoriale du rapport entre le recueil et sa partie musicale, une édition moderne, ainsi que le fac-similé des deux éditions du supplément.

Ronsard's Amours are accompanied by some musical intonations that enable all the poems to be sung. This essay offers a new editorial history on the relationship between the collection and its musical part. It contents a modern edition and a facsimile of the two editions of the musical supplement.

(Musicologie, 4)
ISBN 2406056996, 9782406056997

Reviews:
– Bulletin de la Société Française d’Etude du Seizième Siècle 84 (2016), pp. 14–15
– L’Universo Mondo. Bollettino d’Informazione del Gruppo di Studio sul Cinquecento Francese 44 (2016), pp. 54–55 (Daniele Speziari) http://www.cinquecentofrancese.it/attachments/article/290/UM%2044.pdf
– Revue de musicologie 103 (2017), pp. 256–259 (Isabelle His)
– Renaissance Quarterly 71 (2018), pp. 376–377 (Jessica J. Appleby)