INTAVOLATURA DE VIOLA

O VERO LAUTO
I-il
Edition revue et corrige
Prfaced'Arthur Ness
Index de Claude Chauvel

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EDITIONS ' \ e L
GENVE
1988

MINKOFF

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ISBN2-8266-0647-6
1536
de l'ditionde Naples,Sultzbach,
Rimpression
@ Minkofl 1977
O Minkofl 1988
8, rue Eynard,1205Genve(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,Francescod 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 bris. 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 wll, 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 BibliothqueNationale in Paris, where they now
carry the shelfmark Rs. 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-Gllner, "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 facsmile. 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 Miln's Libro d.e musica de aihuela de ntano
enritulado El Nlaestro (Valencia, 1536; facsimile, Geneva: Minkoff, 197i).

PRFACE

'ANNEE
T536,qui vit la publication des deux prsents volumes consacrsaux 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 pur luth. Veis la fin du XV' sicle,les luthistes abandonnrent le plectre au profit
des digts pour faire sonner I'instrument, ce qui, au dire deJohannesTincto.ris,leur permettait deJour <<seulsune composition, non seulement deux, mais aussi trois et qu_atr_e
parries, et cela de fort habile manire>>.Nanmoins, en ces premires dcenniesdu XVI'
iicle, la musique pour luth du genre de celle publie par Petrucci, avec ses lignes contrapunctiques carctristiquesen gammes rapides, demeurait sous I'influence stylistique des
virtuoses du plectre du Quattrocentol.
L'imprim de Sulzbachius et son complment, l'anthologie milanaise de Giovanni
Antonio asteliono - runissant des euvres de Francesco,Marco dall'Aquila, Alberto da
Ripa et Pietro Paulo Borrono2 -, vinrent rompre avecla gnration de Petrucci en introduisant une phase classiquede la musique pour luth, qui conciliait la nouvelle mthode

d'excution avecles techniquesde composition de la polyphonie vocale.Ceseuvres posaient

les basesd'un langage soliste qui exploitait la sonorit et les caractristiquesde jeu de
l'instrument cordespinces,et fournis'saientles lmentsncessaires
l'laborationd'une
musique abstraite dont la logique interne se dispense de texte.
Le luthiste-compositeur le plus influent de cette priode fut assurment Francescoda
Milano, surnomm <il divino>>par ses contemporains.$on adressesur le luth, la uiola d.a
m.anoet autres instruments tait rpute < sublime >),et sescompositions largement diffuses
codifirent le nouveaulangagedes luthistes jusqu'I'avnementdu <style bris>, au XVII.
sicle.Les prsents livres sont comme la source naissantede I'art de Francescoque pratiquement tous les principaux centresd'dition du continent transformrent en mare aprs
1546; en Angleterre, seseuvres figuraient dans nombre de manuscritsaux ctsde cellesde
John Dowland et de ses contemporains anglais. L'quilibre naturel, presque classique,
deslmentsessentielsau langagepurement instrumental constitueI'hritageer le principe
vital de la musiquede Francesco.Comme I'illustrent si bien les euvres du prsent volume, il
s'est dlect ce jeu digital ml d'imagination en traitant les ides musicalesavec une
remarquable clart formlle. Par ses euv-res, il se situe rsolument dans le cercle choisi des
matres luthistes de la RenaissanceItalienne.
Les deux livres < della Fortuna> imprims par Sulzbachius,dont I'existencereposait
seulement sur une rfrenceanciennedans un cataloguemanuscrit rdig vers 15853,onr
longtemps t considrscomme perdus. Cet ensemble unique fut retrouv en 1968, et
acquisla mme anne par la BibliothqueNationale de Paris o il est actuellementconserv
sous la cote R/r. Vmc 474. Les deux livres, publis respectivemenr en mai et avrrl 1516,
prsentent quelquesdoublons,et sont nots,le premier en tablature italienne, le seconden
tablature napolitaine (ou espagnole),d'utilisation assezrare5.On notera que dans certains
cas les duplications peuvent tre considrescomme tant des versions diffrentes de la
mme pice.
Traductionde ClaudeChauuel

NOTES

Venise,1107(fac-simil: Genve,Minkoff,
r Cf. Francesco
Spinaccino
,Intabulaturad.elauto, libro primo (,-secondo),
de lauto,Yenlse,1508 (fac-simil:Genve,Minkoff, 1980).
1978)etloan Ambrosio Dalza,'lntabulatura
2 Intabulatura de leuto d.idiaersiautori,Milaq 1136 (fac-simil:Genve,Minkoff, souspresse).
in FontesArtis
r Cf. M.L. Martinez-Gllner:<Die AugsburgerBibliothekHerwart und ihre Lautentabulature-n>,
(1969),
44.
Musicae,XYI
a Lescahiersg (fol. 2g' - 132')) du Libro primo et 8 10 (fol. 29, - 39') du Libro secondo,qui avaientt intervertis
Deux
par le relieur, ont ici ; remis en bn ordre. Lei deux livres ont t dcritspour la gg9m1ir9{oispar Yves Giraud : <<
da Milano>, inReaue de Musicologie,LY(1969),pp.2I7-219iirrresde tablatureinconnusde Francesco
: La ligne suprieurereprsentela chanterelle;le chiffre I dsignela corde vie,2 la premirefrette, etc. A
son
fut seulementutilisepa1Lgyg-Mt!11dans
tablature_napolitaine
I'exceptiond:lmprisdestini I'enseignement,la
Libro'd.emuticid.e uihuelade mano ,nlitulodo El Maestro,Valnce,1536 (fac-simil:Genve,Minkoff' 1975).

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