My research reflects on the Petrarchan traces present within the seven books for vihuela, a stringed instrument of Spanish origin used during the sixteenth century in Iberian territory. Within these theoretical and practical books, in addition to purely instrumental pieces, there are sections containing pieces for voice and vihuela on poetic texts in various languages (Latin, Italian, Spanish and Portuguese). Through a literary and musicological analysis, I have reflected on the influence that the Italian language together with the forms of the sonnet and song had on vihuelist composers of the 16th century. The heart of vihuelistic production is composed of the seven books of tablatures by Luis Milán (El Maestro, Valencia, 1536), Luis de Narváez (Los seys libros del Delphín, Valladolid, 1538), Alonso Mudarra (Tres Libros de Música, Sevilla, 1546), Enríquez de Valderrábano (Silva de Sirenas, Valladolid, 1547), Diego Pisador (Libro de música de Vihuela, Salamanca, 1552), Miguel de Fuenllana (Orphénica Lyra, Sevilla, 1554) and Esteban Daza (El Parnasso, Valladolid, 1576). In each there is an introductory theoretical section explaining how the instrument works, followed by solo pieces and pieces for vihuela and voice, written not in notation but in tablature, to be more easily read by those who do not know music. The large number of pieces for vihuela and voice suggests that the vihuelist may also have been a singer, playing and singing at the same time. The survey of vihuelistic production shows how 16th-century Spanish composers used Italian poetry and the new metres of the sonetto and the canzone for their music. However, the form of the sonnet suffers from a certain ambiguity because composers label as sonnets compositions that are only rarely true sonnets. On many occasions, in fact, they are texts in Italian or in endecasyllables, but which do not respect the organisation in quatrains and triplets and the rhyme scheme that are characteristic of them. If we observe the evolution of the language, we note that the first treatise writer, Milán, only included sonnets in Italian, followed by Mudarra, who used both Italian and Spanish sonnets, until the local language completely took over in Daza at the end of the century. The phenomenon denotes how the new form, initially considered foreign, is included in Spanish culture, which makes it its own. Two important publications contributed to this change: Boscán's 1534 translation of Baldassarre Castiglione's The Book of the Courtier and the collection of sonnets, and Las obras de Boscán y algunas de Garcilasso dela Vega repartidas en quatro libros by Boscán and Garcilaso, published in Barcelona in 1543. Within the books for vihuela we note a gradual replacement of the poets Petrarch and Sannazaro in favour of the Spaniards Boscán and Garcilaso. The overview of the seven books is followed by a musical analysis of a selection of sonnets and songs. The sonnet O gelosia, d'amanti orribil freno by Jacopo Sannazaro (1457-1530) is the only one within the vihuelistic production to have been set to music by two composers, Luis Milán and Alonso Mudarra. The two realize a different type of musical treatment: more durchkomponiert, similar to a written improvisation in Milán; in closed form, more similar to the Italian frottolistic repertoire and to Petrucci's Modo di cantar sonetti, in Mudarra. Of this last composer, I also analysed the first stanza of the Spanish translation of the famous Petrarchan song Chiare, fresche e dolci acque. These poetic-musical analyses made it possible to highlight the degree to which the vihuelists understood the Italian texts and the form of the sonnet and song.
La mia ricerca riflette sulle tracce petrarchesche presenti all’interno dei sette libri per vihuela, uno strumento a corde di origine spagnola utilizzato durante il XVI secolo in territorio iberico. All’interno di questi libri teorici e pratici, oltre a brani puramente strumentali si trovano delle sezioni comprendenti brani per voce e vihuela su testi poetici in varie lingue (latino, italiano, spagnolo e portoghese). Attraverso un’analisi letteraria e musicologica ho riflettuto sull’influenza che la lingua italiana insieme alle forme del sonetto e della canzone hanno avuto nei vihuelisti compositori del XVI secolo. Il cuore della produzione vihuelistica è composto dai sette libri di intavolature di Luis Milán (El Maestro, Valencia, 1536), Luis de Narváez (Los seys libros del Delphín, Valladolid, 1538), Alonso Mudarra (Tres Libros de Música, Sevilla, 1546), Enríquez de Valderrábano (Silva de Sirenas, Valladolid, 1547), Diego Pisador (Libro de música de Vihuela, Salamanca, 1552), Miguel de Fuenllana (Orphénica Lyra, Sevilla, 1554) e Esteban Daza (El Parnasso, Valladolid, 1576). In ognuno si trova una sezione teorica introduttiva che spiega il funzionamento dello strumento a cui fanno seguito brani solistici e brani per vihuela e voce, scritti non in notazione mensurale bensì in intavolatura, per essere più facilmente leggibili per chi non conosce la musica. La grande consistenza di brani per vihuela e canto suggerisce che il vihuelista poteva essere anche un cantore, e che suonasse e cantasse allo stesso momento. La ricognizione realizzata sulla produzione vihuelistica mostra come i compositori spagnoli del XVI secolo abbiano utilizzato la poesia italiana e i nuovi metri del sonetto e della canzone per le loro messe in musica. Tuttavia, la forma del sonetto soffre di una certa ambiguità in quanto gli autori etichettano come soneto delle composizioni che solo in rari casi sono dei veri e propri sonetti. In molte occasioni, infatti, si tratta di testi in lingua italiana o in endecasillabi, che non rispettano però l’organizzazione in quartine e terzine e lo schema rimico che ne sono propri. Se osserviamo l’evoluzione della lingua, notiamo che il primo trattatista Milán inserisce unicamente sonetti in lingua italiana, a cui segue Mudarra il quale utilizza sia sonetti italiani che spagnoli, fino a un completo sopravvento della lingua locale in Daza, alla fine del secolo. Il fenomeno denota come la nuova forma, inizialmente considerata straniera, venga inclusa nella cultura spagnola che la fa propria. Due importanti pubblicazioni hanno contribuito a questo cambio: la traduzione del 1534 di Boscán de Il libro del cortegiano di Baldassarre Castiglione e la raccolta di sonetti di Boscán e Garcilaso Las obras de Boscán y algunas de Garcilasso dela Vega repartidas en quatro libros, pubblicata a Barcellona nel 1543. All’interno dei libri per vihuela notiamo infatti una graduale sostituzione dei poeti Petrarca e Sannazaro in favore degli spagnoli Boscán e Garcilaso. Alla panoramica sui sette libri segue l’analisi musicale di una selezione di sonetti e canzoni. Il sonetto O gelosia, d’amanti orribil freno di Jacopo Sannazaro (1457-1530) è l’unico all’interno della produzione vihuelistica ad essere stato musicato da due compositori, Luis Milán e Alonso Mudarra. I due realizzano un tipo di trattamento musicale differente: più durchkomponiert, similmente a un’improvvisazione scritta in Milán; in forma chiusa, più assomigliante al repertorio frottolistico italiano e al Modo di cantar sonetti di Petrucci, in Mudarra. Di quest’ultimo ho analizzato anche la prima stanza della traduzione in lingua spagnola della celebre canzone petrarchesca Chiare, fresche e dolci acque. Queste analisi poetico-musicali hanno permesso di evidenziare il grado di comprensione che i vihuelisti avevano dei testi italiani e della forma del sonetto e della canzone.
Il petrarchismo nei libri per vihuela. Sonetos e canciones nella Spagna del Cinquecento.
MANGANO, ROBERTA
2020/2021
Abstract
My research reflects on the Petrarchan traces present within the seven books for vihuela, a stringed instrument of Spanish origin used during the sixteenth century in Iberian territory. Within these theoretical and practical books, in addition to purely instrumental pieces, there are sections containing pieces for voice and vihuela on poetic texts in various languages (Latin, Italian, Spanish and Portuguese). Through a literary and musicological analysis, I have reflected on the influence that the Italian language together with the forms of the sonnet and song had on vihuelist composers of the 16th century. The heart of vihuelistic production is composed of the seven books of tablatures by Luis Milán (El Maestro, Valencia, 1536), Luis de Narváez (Los seys libros del Delphín, Valladolid, 1538), Alonso Mudarra (Tres Libros de Música, Sevilla, 1546), Enríquez de Valderrábano (Silva de Sirenas, Valladolid, 1547), Diego Pisador (Libro de música de Vihuela, Salamanca, 1552), Miguel de Fuenllana (Orphénica Lyra, Sevilla, 1554) and Esteban Daza (El Parnasso, Valladolid, 1576). In each there is an introductory theoretical section explaining how the instrument works, followed by solo pieces and pieces for vihuela and voice, written not in notation but in tablature, to be more easily read by those who do not know music. The large number of pieces for vihuela and voice suggests that the vihuelist may also have been a singer, playing and singing at the same time. The survey of vihuelistic production shows how 16th-century Spanish composers used Italian poetry and the new metres of the sonetto and the canzone for their music. However, the form of the sonnet suffers from a certain ambiguity because composers label as sonnets compositions that are only rarely true sonnets. On many occasions, in fact, they are texts in Italian or in endecasyllables, but which do not respect the organisation in quatrains and triplets and the rhyme scheme that are characteristic of them. If we observe the evolution of the language, we note that the first treatise writer, Milán, only included sonnets in Italian, followed by Mudarra, who used both Italian and Spanish sonnets, until the local language completely took over in Daza at the end of the century. The phenomenon denotes how the new form, initially considered foreign, is included in Spanish culture, which makes it its own. Two important publications contributed to this change: Boscán's 1534 translation of Baldassarre Castiglione's The Book of the Courtier and the collection of sonnets, and Las obras de Boscán y algunas de Garcilasso dela Vega repartidas en quatro libros by Boscán and Garcilaso, published in Barcelona in 1543. Within the books for vihuela we note a gradual replacement of the poets Petrarch and Sannazaro in favour of the Spaniards Boscán and Garcilaso. The overview of the seven books is followed by a musical analysis of a selection of sonnets and songs. The sonnet O gelosia, d'amanti orribil freno by Jacopo Sannazaro (1457-1530) is the only one within the vihuelistic production to have been set to music by two composers, Luis Milán and Alonso Mudarra. The two realize a different type of musical treatment: more durchkomponiert, similar to a written improvisation in Milán; in closed form, more similar to the Italian frottolistic repertoire and to Petrucci's Modo di cantar sonetti, in Mudarra. Of this last composer, I also analysed the first stanza of the Spanish translation of the famous Petrarchan song Chiare, fresche e dolci acque. These poetic-musical analyses made it possible to highlight the degree to which the vihuelists understood the Italian texts and the form of the sonnet and song.È consentito all'utente scaricare e condividere i documenti disponibili a testo pieno in UNITESI UNIPV nel rispetto della licenza Creative Commons del tipo CC BY NC ND.
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https://hdl.handle.net/20.500.14239/14444