LassusV2, Istex, Corpus, bibRecord, 000C16

Fronimo de Vincenzo Galilei. By Philippe Canguilhem. pp. 235. Centre d’Études Supérieures de la Renaissance: Collection ‘Épitome musical’. (Minerve, Paris and Tours, 2001, €40. ISBN 2-86931-101-X.)

Identifieur interne : 000C16 ( Istex/Corpus ); précédent : 000C15; suivant : 000C17

Fronimo de Vincenzo Galilei. By Philippe Canguilhem. pp. 235. Centre d’Études Supérieures de la Renaissance: Collection ‘Épitome musical’. (Minerve, Paris and Tours, 2001, €40. ISBN 2-86931-101-X.)

Auteurs : John Griffiths

Source :

Music and Letters [ 0027-4224 ] ; 2005-08.

RBID : ISTEX:56770B2E69F1109A436CD930268595545E0C4CC9

English descriptors

Teeft :
- Canguilhem, Contrapuntal, Della moderna, Fantasia, Finer points, Fronimo, Galilei, Intabulation, Intabulations, Lute, Lutenist, Madrigal composers, Modern music, Music prints, Music theory, Parody fantasia, Polyphonic, Second edition, Treatise, Vincenzo galilei.

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https://api.istex.fr/document/56770B2E69F1109A436CD930268595545E0C4CC9/fulltext/pdf

DOI: 10.1093/ml/gci073

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ISTEX:56770B2E69F1109A436CD930268595545E0C4CC9

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        <article-title><italic>Fronimo de Vincenzo Galilei</italic>
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    <p>Best known as a member of Giovanni de’ Bardi’s Florentine Camerata and a champion of ancient music, Vincenzo Galilei was principally a lutenist and a practical musician. This is one of the pervasive themes that shape Philippe Canguilhem’s recent study of Galilei’s <italic>Fronimo</italic>
. Unlike his famous and polemical <italic>Dialogo della musica antica et della moderna</italic>
 (1581), <italic>Fronimo</italic>
 is chiefly a practical book designed to teach lutenists how to intabulate vocal music, and to instruct them in many other aspects of music theory. It also contains a rich anthology of madrigals for performance and study. First published in Venice in 1568, <italic>Fronimo</italic>
 was reissued in a revised second edition in 1584. In this first monograph on <italic>Fronimo</italic>
, Canguilhem demonstrates that the book provides a complete musical education for the lutenist and contends that it is comparable only to Zarlino’s <italic>Istitutioni harmoniche</italic>
 among the counterpoint treatises of the second half of the sixteenth century (p. 86). Undoubtedly one of the most substantial Renaissance lute treatises and the most detailed account of lute intabulation practice, <italic>Fronimo</italic>
 reflects the practices of the best lutenists and teachers of the period. Organized in six chapters, Canguilhem’s book explores Galilei’s professional life and musical development, the two editions of <italic>Fronimo</italic>
 and the repertory it contains, Galilei’s instructions on intabulating, the links between intabulations and fantasias, and the influence of the treatise. Canguilhem’s primary focus is on Galilei as lutenist and teacher, and even though <italic>Fronimo</italic>
’s contributions to broader issues of music theory are not explored, the book adds a new dimension to the commonly projected image of Galilei and is a significant contribution to the study of the neglected field of sixteenth-century intabulations.</p>

    <p>Surprisingly little is known about Galilei’s life. Canguilhem’s biographical sketch adds little new factual material. It is nonetheless enlightening because of the way he integrates Galilei’s writings into his biography and through his consideration of some small and previously ignored clues. In trying to shed light on the decade that Galilei spent in Pisa (1562–71), the period of <italic>Fronimo</italic>
’s gestation and before his definitive move to Florence, Canguilhem teases out the identity of the author of one of <italic>Fronimo</italic>
’s dedicatory sonnets, Gasparo Torello, a lecturer in law at the University of Pisa, and suggests Galilei’s likely association with the Pisan academic milieu during these years. This, he argues, may have been as influential on Galilei’s intellectual development as his later study in Venice with Zarlino. Even the names of the two characters of <italic>Fronimo</italic>
’s didactic dialogue, Fronimo (practical wisdom) and Eumatius (he who learns easily), may have derived from conversations with Pisan humanists. Canguilhem portrays Galilei as no ordinary lutenist, but also a singer, composer, and pedagogue, an enlightened musician at the intersection of theory, practice, and pedagogy. Adulation does not preclude criticism, however, and Galilei’s flaws and limitations are also discussed. It is suggested that his inability to gain court employment as a lutenist, singer, or composer may indicate modest abilities as a performer. His lack of success in the public sphere may well account for the frequent acidity of Galilei’s pen, and Canguilhem sides with Palisca, Pirrotta, and D. P. Walker who also concluded that Galilei may not have been the most <italic>simpatico</italic>
 of souls.</p>

    <p>Galilei’s instructions on lute intabulation are synthesized in the fifty pages of Canguilhem’s second chapter. The text of <italic>Fronimo</italic>
 is carefully examined, and Galilei’s principles and practice are compared with contemporary sources to situate the treatise within the broader frame of Renaissance performance practice. Canguilhem underlines the role of the lute as a tool for learning the finer points of contrapuntal composition, the advantages accruing from being able to play vocal polyphony on a solo instrument, and the nexus between what has been separated by modern musicology into artificially distinct instrumental and vocal traditions. Galilei was concerned that intabulators should aim above all to maintain the integrity of their models, and Canguilhem argues—distinguishing him from Adrian Le Roy (<italic>Instructions</italic>
, 1574) and others—that Galilei was more interested in intabulations as works for study than as performance repertory.</p>

    <p>Galilei’s instructions focus on two key issues: the technical question of how best to place polyphonic works on the lute, and detailed explanations of how to maintain the integrity of the original counterpoint. Further issues such as embellishment and the application of <italic>musica ficta</italic>
 are discussed as subservient to these principal aims. In line with Juan Bermudo (<italic>Declaración</italic>
, 1555), Galilei’s preference was not to transpose the music but to imagine the lute to be tuned to different pitches. Galilei explains this in terms of a number of <italic>poste</italic>
 that allow the intabulator to imagine the instrument to be tuned in G, A, B, C, D, E, and F irrespective of its real sound. In his method of intabulating he differs from some of his contemporaries in that he advocates setting the mensural notation into score prior to intabulation, rather than intabulating the voices individually. This allows the intabulator to see the contrapuntal movement of the voices with the greatest clarity. Canguilhem presents selected examples from <italic>Fronimo</italic>
 to demonstrate the finer points of Galilei’s explanations of how to distribute notes on the fingerboard to retain the voice-leading of the model. Galilei’s concern for polyphonic integrity also causes him to advocate greater restraint in embellishment than was the practice of many of his contemporaries. His ultimate test of the quality of an intabulation was that it should be clear enough to permit reconstruction of the original polyphonic model from the tablature.</p>

    <p>The textual differences between the 1568 and 1584 editions of <italic>Fronimo</italic>
 and changes in the interpolated musical works are summarized effectively by means of a table (pp. 47–8). Apart from minor modifications, it is the addition of a new thirty-page section on counterpoint, modes, tuning, and other theoretical questions that constitutes the most significant difference, including Galilei’s cycle of twenty-four fantasias in each of the twelve modes in natural and transposed (<italic>per b molle</italic>
) positions. Regrettably, Canguilhem does not discuss this section in any detail, leaving interested readers the option of consulting the original text of <italic>Fronimo</italic>
 (facs. repr., Bologna, 1969) or Carol MacClintock’s excellent English translation (Musicological Studies and Documents, 39; Stuttgart, 1985).</p>

    <p>Following his assertion that ‘the lutenist and the contrapuntist are not different beings’ (p. 91), Canguilhem seeks in his chapter ‘From Intabulation to Fantasia’ to explore links between instrumental and vocal genres, the ways in which instrumentalists absorbed the technique and aesthetics of musical composition through intabulations, and the way that a lutenist such as Galilei applied this knowledge. Instead of drawing parallels between Galilei’s freely composed fantasias and his madrigal intabulations, Canguilhem chooses to build his argument around Galilei’s intabulation of Cipriano de Rore’s madrigal <italic>Ancora che col partire</italic>
 (pp. 97 ff.) and the parody fantasia based on the work (pp. 107 ff.). While this provides only limited insight into the issues that confronted instrumental composers, it is not without merit. Examination of Galilei’s intabulation shows that he ignored his own principles in a few passages that are awkward to place literally on the lute, while the parody fantasia is built from two passages of the madrigal (bars 1–13 and 19–29), each extended with new original material. Canguilhem reveals the way in which Galilei enriches his polyphony in the vocal paraphrases and describes the more idiomatic conception of the freely constructed sections but, given the marked textural differences between its sections, the work does not provide great insight into Galilei’s handling of abstract instrumental composition. It would have made sense here to examine some of Galilei’s non-referential fantasias too, to see what could be learnt about the transfer of vocally derived contrapuntal technique to the instrumental idiom, particularly the structural and rhetorical dimensions of abstract composition.</p>

    <p>Chapters 4 and 5 of Canguilhem’s book are based on comparisons of the 1568 and 1584 editions of <italic>Fronimo</italic>
. Many of the textual changes represent the maturation of Galilei’s views on music and can be associated with ideas expounded in his <italic>Dialogo della musica antica et della moderna</italic>
. The added thirty pages of the second edition discussed above convert <italic>Fronimo</italic>
, in Canguilhem’s words, from ‘a simple treatise on intabulation’ to a book that aimed ‘to give the reader the full range of knowledge necessary for a perfect comprehension of all modern music’ (p. 124), a complete compendium. Even though Canguilhem avoids discussion of Galilei’s theoretical contributions in the book, he does use the comparison to reveal the contradictory side of Galilei in the 1580s. In the second edition of <italic>Fronimo</italic>
, we find the avowed critic of modern music giving instruction in counterpoint to facilitate a style of composition that he no longer advocated. Galilei justifies this, however, on the grounds that such counterpoint is acceptable on the lute and that contrapuntal lute music can also be used to accompany the solo voice.</p>

    <p>The significant change to the repertory in the 1584 edition of <italic>Fronimo</italic>
 is at the heart of chapter 5. Canguilhem presents an analysis of the repertory included in both editions that surveys Galilei’s musical taste, his preferred composers, his access to polyphonic sources, and changes of fashion. He also uses the <italic>Fronimo</italic>
 repertory as a gauge of Galilei’s association with the Medici court in Florence. Detailed tables list and compare the works in each edition: 98 in 1568, 110 in 1584. Canguilhem uses these repertorial changes to address broader questions of Florentine musical taste in the 1570s and 1580s, as well as the nature of Galilei’s music library. In the 1568 edition, the sixty-five madrigals by sixteen composers are principally drawn from sources published in the two preceding decades, especially by Rore, Lassus, and Striggio. Almost half are by composers associated with Florence, while the remainder may be grouped geographically: Willaert and his Venetian followers; Vincenzo Ruffo and other north Italian composers, particularly from Verona and Padua; and Roman works from the Palestrina circle. To these may be added a group of works by the first generation of madrigal composers. A much broader selection of composers is included in the 1584 edition, but the dominant composers of the first edition are represented by only one or two pieces. Venetian works now dominate, followed by works from northern Italy. Greater attention is given to Rome, while Florentine compositions are few. Canguilhem observes both the greater variety of the later collection and the absence of recently composed works. He sees this as Galilei’s possible resistance to recent compositional trends or his unfamiliarity with the most recent madrigalian fashions. He concludes once again that the 1584 repertory is best understood as reflecting the contradictions in Galilei’s thinking, ‘his desire to return to a simple vocal music, alone capable of realizing the emotions contained in the text and his desire to describe as well as possible the subtleties of the counterpoint practised by his contemporaries’ (p. 187).</p>

    <p>Source questions occupy a good part of the chapter—issues of both authorship and access. Canguilhem argues that Galilei must have had access to manuscript copies of some madrigals prior to their publication, and he uses misattributions of vocal models as a tool to discover some of Galilei’s sources. He also discusses the <italic>unica</italic>
 madrigals in <italic>Fronimo</italic>
, the madrigals of local Florentine provenance that affirm Galilei’s Medici court associations, and some problems of conflicting or erroneous attributions. The discussion of the last point is a reminder of the time-consuming difficulties of resolving thorny issues of authorship, but it does not always make compelling reading. In contrast, Canguilhem’s treatment of the Florentine context is engaging and shows that Galilei had direct contact in Florence with madrigal composers or court singers. On the basis of the contents of <italic>Fronimo</italic>
 and in the absence of documentary sources, Canguilhem proposes contact between Galilei and Alessandro Striggio, either directly or through Giovanni de’ Bardi. <italic>Fronimo</italic>
 includes works by Striggio that were not available in print, and suggests that the inclusion of works such as the never published lament <italic>Fuggi, speme mia, fugge</italic>
, composed for the nuptial celebrations of the future Grand Duke Francesco I in 1565, could only have been obtained through contacts with the composer, with Bardi, or even with the 14-year-old Giulio Caccini, who sang it at the wedding.</p>

    <p>Evidence of the impact of <italic>Fronimo</italic>
 is assembled in Canguilhem’s final chapter. He notes that the book was available in Florentine bookshops until at least 1604 and that it continued to have currency among the curious until the eighteenth century. His examination of annotations in the fifty-four surviving copies shows that the book was attentively read, and that it was used both as a lute tutor and for the the performance of its madrigals as accompanied solo songs. Its intabulations were copied into other lute anthologies, and it appears to have been the model for later treatises such as the second volume of Girolamo Diruta’s <italic>Transilvano</italic>
 (Venice, 1609) and Pier Francesco Valentini’s <italic>Il leuto anatomizzato</italic>
 (MS, <italic>c</italic>
.1650).</p>

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Fronimo de Vincenzo Galilei. By Philippe Canguilhem. pp. 235. Centre d’Études Supérieures de la Renaissance: Collection ‘Épitome musical’. (Minerve, Paris and Tours, 2001, €40. ISBN 2-86931-101-X.)

Fronimo de Vincenzo Galilei. By Philippe Canguilhem. pp. 235. Centre d’Études Supérieures de la Renaissance: Collection ‘Épitome musical’. (Minerve, Paris and Tours, 2001, €40. ISBN 2-86931-101-X.)

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