El Cancionero musical de Gerona: madrigales y villancicos en una nueva fuente hispánica del siglo XVI.

Son muy escasos los ejemplos que han llegado hasta nuestros días del repertorio profano en castellano que se compuso y practicó en la península ibérica durante la segunda mitad del siglo XVI, fundamentalmente constituido por villancicos y madrigales. En este artículo se presenta una nueva fuente musical, aunque incompleta, de este repertorio localizada en el Arxiu Històric de Girona. Se trata de un librete de parte individual que contiene 13 madrigales, 8 villancicos, 1 villanesca napolitana y otra pieza incompleta no clasificable, entre los que se cuentan dieciete unica. Los poemas musicados identificados pertenecen a Garcilaso de la Vega, Juan Boscán, Jorge de Montemayor y Pêro de Andrade Caminha. El manuscrito atribuye algunas autorías musicales a Nicasi Sorita, Pedro Ortega y Francisco Guerrero. Las concordancias en otras fuentes permiten añadir en esta lista a Pedro Guerrero, Juan Navarro y Roger Pathie o Adrian Willaert.

OS CONCEITOS DE GRAVITÀ E PIACEVOLEZZA DE PIETRO BEMBO

Pietro Bembo, poeta e literato nascido em Veneza, publica em 1525 sua principal obra Prose della volgar lingua, um compêndio sobre o vulgar que estava sendo estabelecido como padrão literário italiano. É neste contexto de questione della lingua que nasce o madrigal italiano, um gênero de composição polifônica que destacou-se pela utilização de poemas de alta qualidade literária como os de Petrarca, defendido por Bembo. Uma análise “bembística” do texto pode dar diretrizes para a interpretação musical, tendo em vista que a música era composta a partir da palavra. Desta maneira pretende-se observar o poema O invidia sob a ótica das Prose e das categorias de gravità e piacevolezza nela propostos. Este poema foi musicado por Adrian Willaert, um dos expoentes do madrigal e contemporâneo de Bembo.

PHARMACY FOR THE BODY AND SOUL: DUTCH SONGBOOKS IN THE SEVENTEENTH CENTURY

Mention sixteenth- and seventeenth-century Dutch vocal music and the knowledgeable music lover usually thinks immediately of the brilliant polyphonic creations of famous Flemish masters like Josquin des Prez, Adrian Willaert and Orlande de Lassus. And they did indeed write compositions that still appeal to the imagination. Take Josquin’s polyphonic, chirping El Grillo, a relatively simple but effective piece that can entice even the most a-musical twenty-first-century student into the world of the Renaissance. Those familiar with the Baroque will recall Jan Pietersz Sweelinck, the organist of the Oude Kerk in Amsterdam and a composer of bewitching instrumental and vocal music, including his four books of polyphonic Pseaumes de David (1604–21) to the texts of Clément Marot and Theodore Bèze, which are still being performed regularly. Perhaps, too, the French, Latin and Italian arias by Constantijn Huygens from his Pathodia sacra et profana (1647). But it is then that the singing seems to stop in the Low Countries. The names of the composers, at least, are barely known beyond our borders.

GIOSEFFO ZARLINO AND THE MISERERE TRADITION: A FERRARESE CONNECTION?

Through Patrick Macey’s extensive research on Josquin des Prez’s Miserere mei Deus, the historical context of this monumental motet, especially its connection with the Savonarolan reform movement and its repercussions at the Este court of Ferrara, has received major attention. Above all, Macey has shown how this piece generated a whole cluster of compositions throughout the sixteenth century that bear musical, structural and/or textual references to Josquin’s work. One of the main elements of this intertextual web includes the use of Josquin’s soggetto ostinato – either literally or with slight variations – by composers such as Adrian Willaert, Cipriano de Rore and Nicola Vicentino, who were all connected with the Este court at a certain point in their careers. Macey’s discoveries have brought to light a highly intriguing reception history, to which other scholars have also contributed. In the present essay, I wish to add yet another piece of evidence to the afterlife of this Miserere tradition. I will focus on two lesser-known motets by Gioseffo Zarlino, Miserere mei Deus and Misereris omnium, both of which were published in his collection Modulationes sex vocum (Venice, 1566) (see Figure 1). Not only did they inscribe themselves in the intertextual network that was initiated by Josquin, but also they can be linked to the Ferrarese court in general and to Duke Alfonso II in particular.