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access to The Journal of Musicology
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Cavalieri and Early
Monody
MURRAY C. BRADSHAW
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CAVALIERI AND EARLY MONODY
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THE JOURNAL OF MUSICOLOGY
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CAVALIERI AND EARLY MONODY
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CAVALIERI AND EARLY MONODY
The manuscript itself was compiled between 1600 and 1602, and
was put together probably with the aim of publishing it as a third
volume in the series of Ancina's laude.22 On the title page the copyist
was listed as Giovenale Ancina who was appointed bishop of Saluzzo
on August 26, 1602, and died in 1604. Neither Cavalieri nor Ancina
was able to see the manuscript through to its final publication. The
title page reads 243
LAMENTATIONES / HIEREMIAE PROPHETAE / CVM RE-
SPONSORIIS / OFFICII HEBDOMADAE MAIORIS / ET NOTIS
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THE JOURNAL OF MUSICOLOGY
for Holy Week) was written in 1600 the emphasis in this paper will
on the lamentations of parts one (written in 1600) and three (1599
There is such a clear distinction in style and text between t
music of parts i and 3, that it can safely be maintained that the mu
for the former was written in 1600 for performance in Rome at t
Vallicelliana, and the latter for Pisa in 1599. It is this last section th
contains the very earliest significant collection of monody that ha
survived. Yet, both sets alter considerably our traditional view of t
development of monody.
One striking difference between the two sets of compositions
that the texts used for the lamentations at Rome (part i) are the on
prescribed by Guidetti's Directorium Chori of 1582 (and found in
Liber Usualis), although not all verses are set, whereas the texts for
lamentations used in 1599 for the private chapel of the Medici at P
are very free. The table below shows the biblical texts prescribed
Guidetti for the three lessons of Thursday along with the texts us
for Pisa and for Rome. Although by no means decisive proof, it wo
seem likely that the liturgically "correct" texts in part one would ha
been used at the Vallicelliana, only a few miles from the Vatican,
244 the looser texts of part three for the private chapel of a powe
prince celebrating the services in his own chapel.
TABLE
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CAVALIERI AND EARLY MONODY
23 Kirkendale, op. cit., XII/2 (1971), 16. It is also known that she met Filippo Neri,
the founder of the Oratorians and the Chiesa Nuova (in Vallicella) during the 1590s.
She remained at the Medicean court until her death; see Alessandro Ademollo I Teatri
di Roma nel secolo decimosettimo (Rome, 1888; repr., Bologna, 1969), pp. 217-18
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THE JOURNAL OF MUSICOLOGY
Solo [soprano]
r'- r r rJ IJ J | | I
Ma- tri-bus su- is di- xe- runt:
' FTi I w ]
cumde-fi-ce- rent qua-s
246 [alto]
| -_ ~ [tenor]
[bass]
iR : 6J [Li - I I-
- ni- mas su- as
Solo
1-, 4 Fr i_' "r Ir ir 1 o 2in si- nu in si- nu ma- trum su- a- rum.
:b r r r rf u' rr r I 1r f lo 11
3 6 6 676 7
40 P P 6 6 I
# #
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CAVALIERI AND EARLY MONODY
v > J lJ 'fK IJ 0 LB
Vi- a Si- on lu- gent vi- a Si- on lu- gent
# r r f r r IJ r ' r I jriJf
,,pr rJ- -r J \ nJ Ir
(2) Henarmonico / i
=b ^ |rJ ) r lr I r Ir!1 r
psa op- pres- sa a- ma- ri- tu- di- ne.
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THE JOURNAL OF MUSICOLOGY
24 Kirkendale, op. cit., 1o-11; see also H. Prunieres, "Une lettre inedite d'Emilio
del Cavalieri," La revue musicale IV/8 (1923), 132, and Pirrotta, "Temperaments and
Tendencies in the Florentine Camerata," The Musical Quarterly XL/2 (1954), 181. The
"henarmonico" ending is one of three alternate endings Cavalieri wrote for the com-
position in Example ib.
25 Giovanni Battista Doni, Annotazioni (Rome, 1640), pp. 60-62 and also 284 and
359; see also Theodor Gollner, "Falsobordone-Anklange in Prologen und Auftritten
der frtihen Oper," Kongressbericht Bonn (Kassel, 1971), pp. 179-83.
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CAVALIERI AND EARLY MONODY
[~]gr
Jod Jod
OR'
[soprano]
[alto]
lo lo "fi"-" I'J o o o o1
Jod Jod
[tenor]
Jod
Solo [alto]@ X
^ x X X X X X X X -
J ji J iJ3
IJ jij!j.
i J11
bJ_]JlJ. JJJJ
Ma-num su- am mi-sit ho- stis ad o- mni-a de-si-de-ra-bi- li-a e- jus. 249
J J IJ ri IJ J IJ J pJ I J I
Translation: Jod. The enemy has put his hand on all
her possessions.
[alto]
4 1 ^J j ii^j 1 i! J I j
Ghi- - mel Ghi- mel Ghi- - mel
[tenor]
CI" IU I j. # ,J !j
Ghi- mGhi- mel Ghi- - mel
[tenor]
[bass]
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THE JOURNAL OF MUSICOLOGY
psalms.26 For G. B. Doni "its rightful place was 'in church'" ("il
suo luogo e il pulpito").27
The examples given above show the dominance of this declam
tory or falsobordone style in the music of the later lamentations
selection (Example la) begins with two declamatory recitatives (1
3-4), moves to a lyrical style for the trio (5-7), returns to th
sobordone style for the chorus (7-9), and, after a brief soprano
tion that fits into none of Doni's categories (although it is a
example of word painting), ends with an "expressive" bass mono
The brief alto monody in Example 2a (8-12) is a perfectly
example of the falsobordone type. Although all three styles occ
the lamentations of 1600, the declamatory or falsobordone style
inates. In the selection from Pisa (Example ib), however, Cav
starts with the expressive style (1-6), turns to the lyrical style (
makes a brief and rare turn to the falsobordone style (14-17
ends with a lengthy passage in the expressive style (18-29). The
selection is dominated by the expressive and lyrical styles.
All of this -both stylistic analysis and what we know of the liv
Cavalieri, Ancina, Archilei, and Isorelli-make it almost certain that
250 the first part of the manuscript was written for Rome in 1600 and the
third part copied by Ancina from another manuscript that had been
used a year earlier for the performance at Pisa. There is even a
general pattern of mensuration that adds more proof to the dual
nature of the manuscript-alla breve being used for the earlier music
at Pisa and tempus imperfectum cum prolatione imperfecta for
Rome.28
Ancina placed the newer music first because it was, after all, the
music that was written exclusively for performance at the Vallicella.
Why, though, did he add a second set of lamentations to the manu-
script, and, indeed why did he add a fourth part containing substitute
choral sections for the monodies in part 3 (and, also, only for those
monodies that contain the liturgical texts prescribed by Guidetti)?
The likely answer is that he was preparing the volume for publication.
As mentioned, Marx has theorized that it was to be the third part of
a series of laude edited by Ancina, the first volume having appeared in
1599 and a second in 16o0.29 Such laude were an important part of
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plause, and clearly proved that this style of music can move people to devot
1640, della Valle wrote that Cavalieri was "the first who gave to Rome a sample
style in a Rappresentatione, presented in the Oratorio of the Chiesa Nuova .
Solerti, Le origini del melodramma, pp. 162-63.
3i See Palisca, "The First Performance of 'Euridice,' " Queen's College Twenty
Anniversarv Festschrift (1937-1962) (New York, 1964), pp. 2-3.
37 In a letter dated 24 November, 1600; see Palisca, "Musical Asides in th
lomatic Correspondence of Emilio de' Cavalieri," 351.
38 The choruses of Vallicelliana Ms. o 31, which lie outside the scope of this
are as affective as the monodies. Frank D'Accone, for instance, has described them as
"radical" and "as audacious in many respects as Gesualdo's celebrated settings, and
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CAVALIERI AND EARLY MONODY
253
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