Florentine continuo c1600

Author(s): Robert Spencer

Source: Early Music, Vol. 11, No. 4, Rameau Tercentenary Issue (Oct., 1983), pp. 575+577
Published by: Oxford University Press
Stable URL: http://www.jstor.org/stable/3137905
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it turns out to be merely a patch of these sources represent the practice of
moss my thesis is not affected. the composers themselves, whereas I
I feel that my rashness lies more in think it much more likely that only
setting out across this bog than in the players unsure of their ability to im-
conclusions I draw from the journey. I provise would have needed to intabulate
am grateful to Ms Buckley for the precise accompaniments.
details of Sir John Fitzedmund Fitz- The vital clue lies in the higher
quality of Kapsberger's accompan-
gerald's situation. That he was'the best
estated commoner in Ireland' is borne iments, which Professor Hill relegates
out by the inscription on his harp, to a postscript (no doubt because they
which proudly catalogues his principalwere written and published in Rome
servants. But aristocrat or no, he surelyten years later than the Florentine
LOUIS BEGIN
had pretensions to playing or hearingrealizations he considers). Though not
European music, as did the Irish aristo-of Caccini's stature, Kapsberger was a Bowmaker for
crats. Why else should the chromatic composer of repute, writing accom- Baroque instruments
Irish harp appear on the Continent atpaniments not for himself but for the
about the time of the emigration? Irishamateurs buying his books. By contrast,Snakewood bows (Letterwood, Amourette)
for violin, viola, violoncello, bass viol,
aristocrats were, one feels, a good dealpractically nothing is known of the
tenor viol, treble viol, Viola D'Amore.
less insular than the Gaelophiles wouldFlorentine scribes or their performing violone.
have them. competence. The incompleteness and
I must apologize for saying that the inaccuracy of the chord tables in B704
P.O. Box 693, Verchbres,
Irish harp was 'reduced' to a vernacular and FXIX.30 (noted by Hill on p.205) P.Q. JOL 2RO, Canada
use. Of course it always had a vern- would suggest that not too much con-
acular use, even when the chromatic fidence is to be placed in those manu- (514) 583-6540
instrument was being played. But the scripts. The accompaniments they
Brochure available
medieval instruments were capable ofcontain are mostly written not for theor-
playing any music, whereas the Euro-bo, but for lute, and disclose the fuller
pean repertory introduced a division chordal texture characteristic of that
between instruments capable of chrom-instrument; indeed, it is probable that
aticism and those that were not. many of them were written out by am- WARREN H. DAVIES
In Ms Buckley's last point, William ateurs who did not even possess a
Bathe's 'late device of a new harp' thattheorbo. One can speculate endlessly
Musical Instrument Case Maker
he presented to the queen is unlikely towhen so few facts are available.
have been Praetorius's Grosse Doppel- Instead of studying intabulations of
harfe. The date (cl586-8) is too early forchord configurations for the lute, the Guitars - Lutes - Vihuela
Nugent, and I doubt very much if hemodern player wishing to re-create Violin - Theorbo
did invent this 'device'. I should like to Caccini's accompaniments would do All Viols - Cellos
suggest that the passage may be the better to get the right instrument-a
earliest reference yet known to the chitarrone with a stopped-string length
chromatic Irish harp; but there we Cases in black fibreglass
of at least 76cm-and play from the
simulated leathercloth finish
stand, Ms Buckley and I, each on our bass alone as given in Le nuove musiche,
own tussock, fervently hoping that relying on his ear to suggest a tasteful
something more solid than a will-o'- and adequate accompaniment for the Harpsichord covers made to client's
the-wisp will emerge from the bog voice. Of course he must have a basic own patterns in heavyweight, rot proof,
cotton canvas, padded throughout and
between us to support our contentions. grounding in continuo playing and an lined with a superior crushed velvet
ROBERT HADAWAY, Coedmawr, Llanio Roadc unslaked thirst for knowledge of his- material. Each cover has draw loops
Tregaron. Dyfed Wales SY25 6PX torical practice; but he will develop his around the skirt and heavyweight
straps for transportation.
musical ability best by listening to the
Florentine continuo c1600 balance of voice and chitarrone with a
John Walter Hill should have been less trained, ever critical modern ear. Prices supplied on application.
respectful of the manuscript sources Hill has misinterpreted Kapsberger's
on which he bases the conclusions of "Cairn", Duns Tew, Oxfordshire
sign %/ as meaning'to be strummed with
his article 'Realized continuo accom- Telephone: Deddington 38222
the thumb' (p.206), whereas in both his
Steeple Aston 40481
paniments from Florence cl600' 1604
(EM and 1640 books for solo chitarrone
after 4.00pm
April 83 pp.194-208). He implies that
Kapsberger labels the sign'arpeggiare'.

EARLY MUSIC OCTOBER 1983 575

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The arpeggiation with thumb and fin- Dafne performed in Mantua in 1608) in
gers specified in 1604 suggests that Le nozze di Peleo e Tetide, which Cini was
courses 1 and 2 were both tuned to theoffering for performance in Mantua.
lower octave, and this tuning is con- Cini also says that Magli 'has been
firmed in the publication of 1640. there [in Mantua] at other times' (see S.
ROBERT SPENCER, 11 Barclay Oval Wood- Davari, Notizie biografiche del distinto
ford Green, Essex IG8 OPP maestro di musica Claudio Monteverdi
t +
(Mantua, 1884), pp.101-3). However,
the virtuoso tenor Francesco Rasi (who
Giovanni Gualberto Magli
Robert Donington (EM April 83 pp.283-
took the role of Apollo in Gagliano's 3aroque
5) understandably queries my assertion Dafne) still seems to be the most likely
candidate for the title role in Monte-
that Magli was a castrato and so could
hardly have sung the title role of verdi's first opera.
Monteverdi's Orfeo at its first or sub- TIM CARTER, Music Department University
of Lancaster, Bailrigg, Lancaster LAI 4YW
Penaissance
sequent performances (EM Jan 83
pp.93-4). Perhaps I might offer some
evidence that should set the record Bass viol sources of The Division- Leco r c( rs
straight. Magli was taken on as a Violin
T
(?young) court musician in Florence onMay I be permitted to add a couple of
23 August 1604 at a yearly salary of 72 glosses to Margaret C. Gilmore's most
scudi. A record of his appointment interesting Observation'A note on bass
(Florence, Archivio di Stato, Depositeria viol sources of The Division- Violin' (EM
Generale 389, Appendix, no.593) iden- April 83 pp.223-5)? A few points have
tifies him clearly as 'castrato', as do atarisen since she and I last corresponded.
Sath S 6UIB
least two subsequent payment lists. He The Viola da Gamba Society, like Ms
was probably appointed to fill a gap Gilmore, is still uncertain of the true
.C ?
created by the departure of the famous attribution of the divisions on Powl-
castrato Onofrio Gualfreducci in the
wheels Ground (the opening of which
previous year. Magli sang second sop-
forms Ms Gilmore's illus.1). We have
rano in the first choir of the final ventured to assume, however, that
intermedio of the 1608 Florentine wed- 'Powlwheel' could well have written
WALES
ding festivities (see T. Carter, 'A Flor-divisions on his own ground, and we
CHRISTIAN
entine Wedding of 1608', Acta musicolog- list three such sets under his name as
LEDGERWOOD
ica, 55 (1983), pp.89-107). On 18 OctoberVdGS nos.2, 4 and 5, no.4 being the set
1611, Don Antonio de' Medici sent him now under consideration.1 Mr Powl-
to study in Naples for two years. The wheel's Division on a Ground (the title in
salary records of the Florentine court Ms Gilmore's note), 'P.W.'s own follow'
for the late 1610s and early 1620s are (from the manuscript additions to Bod-
incomplete. However, Magli seems to leian, Mus. 184.C.8) and the attributions
have left court service by November to Pol(e)wheele in Christ Church, 1183
1615, though he was reinstated by and Haslemere, Dolmetsch, II.c.24 are
September 1622 if not before. He seems the straws at which we clutch. We have
to have left again by mid-January 1625. no means of assessing the claims of
BAROQUE RECORDERS
AFTER
It is likely that Magli did take part in Henry Butler or of Peter Young (who-
the first performance of Orfeo, though ever he was), though Elizabeth Phillips, THOMAS STANESBY SR.
we cannot be sure in what role. As well in correspondence with me, advanced Alto at A415E A410, or A406
THOMAS STANESBY JR,
as the evidence cited by Professor the tentative suggestion that Peter Alto at A415, or A408
RIPPERT
Donington (The Rise of Opera (London,Young might be the intabulator of the
Alto at A440
1981), p.332 n.4), a letter from Fran-version mentioned below. W. BEUKERS
cesco Cini to Ferdinando Gonzaga A concordance recently come to Soprano at A415, or A408
(dated Florence, 26 October 1607) light is that of the divisions in Mus. WRITE FOR BROCHURE TO
suggests that Magli (called a 'putto') 184.C.8 that precede the legend 'P.W.'s 26070 NEWBRIDGE ROAD
should sing the part cf Cupid (surely a own follow'. These prove to be the setLOS ALTOS HILLS, CALIF. 94022
Tel. 415 941-5949
soprano role, as in Marco da Gagliano's by Christopher Simpson2 that follow

EARLY MUSIC OCTOBER 1983 577

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