INTAVOLATURA DE VIOLA O VERO LAUTO I-il Edition revue et corrigée Préfaced'Arthur Ness Index de Claude Chauvel
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EDITIONS ' \ e L GENÈVE 1988
MINKOFF
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ISBN2-8266-0647-6 1536 de l'éditionde Naples,Sultzbach, Réimpression @ Minkofl 1977 O Minkofl 1988 8, rue Eynard,1205Genève(Suisse)
PREFACE
HE year 1536,when the Neapolitan publisherJoannesSulzbachiusissuedthe present two-volume print devoted to the ricercars and intabulations of FrancescoCanovada Milano (1497-1543),marks a crucial juncture in the history of lute music.Towards the end of the fifteenth century, lutenists had abandoned the plectrum in favour of using bare fingers to sound the instrument, permitting them to play (as Johannes Tinctoris reported) "a composition alone, and most skillfully, in not only two parts, but even three or four". Nevertheless, lute music in the early decadesof the sixteenth century, such as that published by Petrucci with its characteristit counterpoints of running scalai passages,had remained under the stylistic sway of the plectrum virtuosos of the Quattrocentor. Sulzbachius'sprint, and Giovanni Antonio Casteliono's complementary Milanese anthology with its works by Francesco,Marco dall'Aquila, Alberto da Ripa and Pietro Paulo Borrono2, broke with the Petrucci generation to introduce a classicalphaseof lute music, one that reconciledthe newer method of lutenist play with the compositional techniquesof vocal polyphony. Such works laid foundation for a soloist idiom which exploited the sound and playing characteristicsof a plucked string instrument and provided the requisites for an abstract music that need not depend upon a text for internal logic.
The most influential lutenist-composerof the era was, of course,Francescodà Milano, called il d.i.ainoby his contemporaries. He was known for his "sublime" skill in playing the lute, viola da mano, and other instruments, and his widely disseminatedcompositions codified the new idiom until the advent of seventheenth-centurystyle brisé. The present books represenrthe first trickle of Francesco'smusic,which in 1546and the following years became a deluge that issued from virtually every major music publishing centre on the Continent; in England it was copied into manuscripts, where Francesco'sworks often appearedside-by-sidewith works by John Dowland and his English contemPoraries.An indigenous,near classicalbalanceof the most essentialingredientsfor a purely instrumental idiom is the legacyand vital principle of Francesco'smusic.As works in the present volume illustrate so wèll, his was a delight in digital play, temperedby imagination in manipulating musical ideas with formal clarity. His works place him firmly within the selectcircle of master lutenist-composersof the Italian Renaissance. Sulzbachius's"della Fortuna" books,known earlier only from a referencein a manuscript cataloguewritten around 15853,werelong thought to have been lost, but surfacedin 1968 when the unique set was purchasedby the BibliothèqueNationale in Paris, where they now carry the shelfmark Rés. Vntrc47q. The books were issued in May and April of 1536, respecrively, and their contents duplicate a few items, those in Book I being in Italian tablature, and those in Book II, in the rarely encounteredNeapolitan (or Spanish) lute tablaturet. It should be noted that in some instances the duplications may be considered different versions of the same piece. Arthur /. Nerr
FOOTNOTES
1 SeeFrancescoSpinacino Intabulatura de lauto,libro primo (-secondo),(Venice, 1107 facsimile, Geneva : Minkoff, , ; 1978), andJoan AmbrosioDalza, Intablatura d.elauto (Venice, 1108; facsimile, Geneva: Minkoff, 1980). 2 lntabolatura de lauro di diuerci autori, (Milan, 1,536; facsimile, Geneva: Minkoff, fin press]). I See M.L. Martinez-Gòllner, "Die Augsburger Bibliothek Herwart und ihre Lautentabulattren", Fontes Artis Musicae 16 (1969): 44. a In binding the eighth gathering (folios 29'-132'l) of Libro primo was exchanged with gatherings eight through ten (folios 29'-39') or Libro secondo;the original order has been restored in this facsìmile. The two books were first described by Yves Giraud, "Deux livres de tablature inconnus de Francescoda Milano", Reuue de Musicologie J) (1969):
2r7-rg.
t The top line represents the highest course and the numeral 1 = open strings, 2 = first fret, etc. Except for didactive prints, Neapolitan tablature was otherwise used only in Luis Milón's Libro d.e musica de aihuela de ntano enritulado El Nlaestro (Valencia, 1536; facsimile, Geneva: Minkoff, 197i).
PRÉFACE
'ANNEE T536,qui vit la publication des deux présents volumes consacrésaux rtcercart et mises en tublut..re de FrancescoCanova da Milano (1497 -1543) par les soins de I I'imprimeur napolitainJoannesSulzbachius,est une date crucialedans I'histoire de la musique póur luth. Veis la fin du XV' siècle,les luthistes abandonnèrent le plectre au profit des dóigts pour faire sonner I'instrument, ce qui, au dire deJohannesTincto.ris,leur permettait deJouèr <>.Néanmoins, en ces premières décenniesdu XVI' iiècle, la musique pour luth du genre de celle publiée par Petrucci, avec ses lignes contrapunctiques caràctéristiquesen gammes rapides, demeurait sous I'influence stylistique des virtuoses du plectre du Quattrocentol. L'imprimé de Sulzbachius et son complément, l'anthologie milanaise de Giovanni Antonio Òasteliono - réunissant des euvres de Francesco,Marco dall'Aquila, Alberto da Ripa et Pietro Paulo Borrono2 -, vinrent rompre avecla génération de Petrucci en introduisant une phase classiquede la musique pour luth, qui conciliait la nouvelle méthode
d'exécution avecles techniquesde composition de la polyphonie vocale.Ceseuvres posaient les basesd'un langage soliste qui exploitait la sonorité et les caractéristiquesde jeu de l'instrument à cordespincées,et fournis'saientles élémentsnécessaires à l'élaborationd'une musique abstraite dont la logique interne se dispense de texte. Le luthiste-compositeur le plus influent de cette période fut assurément Francescoda Milano, surnommé >par ses contemporains.$on adressesur le luth, la uiola d.a m.anoet autres instruments était réputée < sublime >),et sescompositions largement diffusées codifièrent le nouveaulangagedes luthistes jusqu'àI'avènementdu
