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Frescobaldi's Early Inganni and Their Background

Published online by Cambridge University Press:  01 January 1978

John Harper
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Extract

It is forty years since Willi Apel published his important article which linked Frescobaldi's keyboard music with that of the contemporary Neapolitan composers, Mayone and Trabaci. By drawing attention to generic, formal and stylistic features common to the music of Frescobaldi and the Neapolitans he established a more balanced outlook on Italian keyboard music of the seventeenth century, and also pointed to Cabezon as an influence on Mayone and Trabaci. There is, however, a case for reconsidering this current view in the light of the artistic contacts between Naples and Ferrara in the last decade of the sixteenth century, and for examining the possible origins of some of the compositional processes that have appeared to link Frescobaldi to his southern counterparts. Professor Apel singled out features common to Frescobaldi, Mayone and Trabaci; and more recent work by Roland Jackson has established further musical evidence to support the specific influence of Trabaci on Frescobaldi's chromatic compositions and toccatas, and to suggest a more general pattern of musical practice in Naples, exemplified in the chromatic and other compositional procedures found both in Trabaci's music and in the works – vocal as well as instrumental – of Gesualdo and de Macque. Amongst these procedures is the device of inganno which Jackson has identified in some of Frescobaldi's mature chromatic music.

Type
Research Article
Information
Proceedings of the Royal Musical Association , Volume 105 , 1978 , pp. 1 - 12
Copyright
Copyright © 1980 The Royal Musical Association and the Authors

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References

NOTES

1 Willi Apel, ‘Neapolitan Links between Cabezon and Frescobaldi’, Musical Quarterly, xxiv (1938), 419–37.CrossRefGoogle Scholar

2 Roland Jackson, ‘On Frescobaldi's Chromaticism and its Background’, Musical Quarterly, lvii (1971), 255–69.CrossRefGoogle Scholar

3 Roland Jackson, ‘The Inganni and the Keyboard Music of Trabaci’, Journal of the American Musicological Society, xxi (1968), 204–8.CrossRefGoogle Scholar

4 Anthony Newcomb, ‘Carlo Gesualdo and a Musical Correspondence of 1594’, Musical Quarterly, liv (1968), 409–36; Anthony Newcomb, ‘Alfonso Fontanelli and the seconda pratica in Ferrara: some newly uncovered music and letters’, IMS Report 1972 (Copenhagen, 1974), 576–80.Google Scholar

5 Relevant passages of the letters are quoted in Anthony Newcomb, ‘Carlo Gesualdo and a Musical Correspondence’.Google Scholar

6 Ibid., 417.Google Scholar

7 Giovanni Maria Trabaci, Ricercate, canzone franzese … (Naples, 1603); Il secando libro de ricercate … (Naples, 1615).Google Scholar

8 Willi Apel, The History of Keyboard Music to 1700, tr. and rev. Hans Tischler (Bloomington/London, 1972), 453.Google Scholar

9 Girolamo Frescobaldi, Il primo libro delle fantasie (Milan, 1608).Google Scholar

10 Conzomi per sonare … da diversi eccellentissimi musici, pub. Alessandro Raverii (Venice, 1608).Google Scholar

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13 E.g. ‘Recercar Cromaticho post il Credo’, Messa degli Apostoli, Fiori musicali (Venice, 1635); discussed in Roland Jackson, ‘On Frescobaldi's Chromaticism’.Google Scholar

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36 Op. cit., ii, 45.Google Scholar