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Musicians on Parnassus

Published online by Cambridge University Press:  02 January 2019

H. Colin Slim
H. Colin Slim*
Affiliation:
University of California, Irvine
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Extract

Philippo Oriolo da Bassano's poem, Monte Parnaso, is an imitation of Dante which, however, in no way reflects the glories of the great Florentine's verse. It has rightly been accorded little attention beyond a few nods in its direction by literary historians. The excerpts from die poem published in 1899 have slumbered on library shelves within the pages of the Giornale Dantesco. The complete poem is preserved in a late sixteenth-century manuscript in the Biblioteca Estense at Modena. On the concluding folio a note records that the poem was read through in 1586 by one Zuanne Cozza, a notary (who perhaps copied it), it having come by chance into the hands of a worthy notary and citizen of Treviso, one Iseppo Cozza, whose monogram appears at the top of the same folio. No other copies are known.

Type
Research Article
Information
Studies in the Renaissance , Volume 12 , 1965 , pp. 134 - 163
Copyright
Copyright © Renaissance Society of America 1965

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References

1 See Luigi Mario Capelli, ‘II “Monte Parnaso” di Philippo Oriolo da Bassano”, Qiornale Dantesco VII (new ser., IV) (1899), 341-352.

2 Raccolta Campori, MS. γ.B.6.21.

3 Fol. 68v: ‘II monte parnaso di fdippo oriolo da Bassano dedicato all'ill.mo. s.v conte sertorio coll'alto venuto per novo accidente nelle mano dell egregio huomo m. iseppo cozza degnissimo nodaro, et cittadin de Treviso comovante nelle deletevol villa de Bigulino. et io Zuanne cozza nodaro lessi essi capitoli l'anno 1586 inditio’ quartadecima alii 24 del mese de ottobrio le diedi principio.'

4 In describing the lutenist Francesco da Milano, Léon Dorez, La Cour du Pape Paul III, 1 (Paris, 1932), 227, II. 6, utilized Oriolo's poem and quoted from Capelli's excerpts. I also cited Capelli's excerpts in my article, ‘Keyboard Music at CasteU'Arquato by an Early Madrigalist', Jour, of the American Musicological Soc. XV (1962), 38, II. 16.

5 See Lesfaktz et dictz dejean Molinet, ed. Noäl Dupire, I (Paris, 1936), 89 and 313, and II (1937), 779 and 831-833; and Michel Brenet, ‘Les Poèies de Jehan Molinet', Revue de musicologie I (1917), 21.

6 See Oeuvres de]. Lemaire de Beiges, ed. Auguste Jean Stecher, III (Louvain, 1885), 110 and 157.

7 See Eloy d'Amerval, Le livre de la deablerie (Paris, 1508), ed. Charles Frederick Ward (1922, Univ. of Iowa Humanistic Stud, II, no. 2), p. 226, and Michel Brenet, ‘Un Poétemusicien du XVe siécle: Eloy d'Amerval', Revue d'histoire et de critique musicales 1 (1901), 43-53.

8 See Les Noels dejean Daniel dit Maitre Mitou, ed. Henri Chardon (LeMans, 1884), p. 8.

9 See Oeuvres poetiques de Guillaume Cretin, ed. Kathleen Chesney (Paris, 1932), pp. 210-216, 60-73.

10 Viridario (Bologna, 1513); see Knud Jeppesen, Die italienische Orgelmusik am Anfang des Cinquecento, 1 (2d ed., Copenhagen, i960), 82-83, n. 14.

11 Libro intitulato Cronica ove si tratta di epitaphii di amore e di virtute (s.L, 1525), fol. 48.

12 See Vittorio Rossi, ‘Caio Caloria Ponzio e la poesia volgare letteraria di Sicilia nel secolo xv', Archivio storico siciliano, new ser. XVIII (1893), 237-275.

13 See Le Opere maccheroniche di Merlin Cocai, ed. Attilio Portioli, III (Mantua, 1888), 67-68.

14 Materfloreat, text only in Edward E. Lowinsky, ‘The Medici Codex, a Document of Music, Art, and Politics in the Renaissance', Annales musicologiques, v (1957), 87-88.

15 Omnium bonorum plena, printed in Sechs Trienter Codices, erste Auswahl, ed. G. Adler and O. Roller (Vienna, 1900, Denkmaler der Tonkunst in Österreich, VII), p. III.

16 Nymphes des bois, printed in Josquin des Pres, Wereldlijke Werken, ed. Albert Smijers, I (Amsterdam, 1925), 56.

17 See Pantagruel, Quart livre, ‘Nouveau Prologue', and Die Musik in Geschichte und Gegenwart, x, cols. 1837-1838.

18 (Turin, Florence, and Rome), pp. 227-240.

19 v (Rome, 1897), 95-100.

20 See above, n. 1.

21 ‘Un Barbiere-poeta bassanese del secolo xvi', Bollettino del Museo Civko di Bassano VII (1910), 98-103.

22 See Luigi Balduzzi, ‘I Collalto', Giornale araldico-genealogico-diplomatico v (1877- 1878), 157-158. I am indebted to Professor Danilo Aguzzi of Tulane University for assistance in locating a genealogy of this family.

23 Ibid.

24 The absence of so famous a musician as Adrian Willaert (c. 1490-1562) from Oriolo's list lends support for this dating. Although he was in Italy around 1520, Willaert seems not to have come north until 1522 when he entered the service of Alfonso 1 d'Este at Ferrara. See the Encyclopedic de la tnusique Fasquelle, III, 918-919.

25 These poets accompanied their own verses on the lira da braccio. See Die Musik in Geschichte und Gegenwart, VIII, cols. 935-954.

26 See Curt Sachs, Real-Lexikon der Musikinstrumente (rev. ed., New York, 1964), s.v. piffero. Renaissance dance-bands usually included shawms and trombones; fifes were more often associated with side drums, or tabors. See Anthony Baines, Woodwind Instruments and their History (rev. ed., New York, 1963), pp. 232-233.

27 On the whole question of genius in the Renaissance, see Lowinsky, ‘Musical Genius —Evolution and Origins of a Concept—IP, Musical Quarterly L (1964), 479-495.

28 See the facsimile edition by Leo Schrade (Cassel, 1931).

29 See Martin Agricola, Musica instrumentalis deudsch, erste und vierte Ausgabe. Wittemberg, 1528 und 1545, ed. Robert Eitner (Leipzig, 1896, Publikation alterer praktischer und theoretischer Musikwerke, xx), pp. 230-231. A thirteen-stringed lute is not mentioned in Agricola's 1528 edition.

30 See the facsimile edition by Benvenuto Disertori (Florence, n.d.).

31 See for example, Daniel Heartz, ‘Les Premieres “Instructions” pour le luth (jusque vers 1550)', Le Luth et sa musique (Paris, 1958), p. 79, who remarks on the uniformity found in lute treatises of the time concerning the number of strings.

32 See Die Musik in Geschichte und Gegenwart, x, cols. 1139-1142, and 1, cols. 549-550, respectively.

33 See the facsimile of the 1492 edition published by Gaetano Cesari (Rome, 1934), fol. hI-hIv.

34 I have used the Paris edition of 1512, printed by J. Petit, fols. A2, A4, and G8.

35 I have used the Cologne edition of 1508, printed by H. Quentell, fols. A4 and B2.

36 See Strunk, Oliver, Source Readings in Music History (New York, 1950), pp. 94, 98.Google Scholar

37 1 have used the Strassburg edition of 1508, printed by J. Gruningerus, fol. U2: ‘De chordarum inventoribus et tetrachordis'.

38 See Antiquae tnusicae autores septem, ed. Meibom, Marcus (Amsterdam, 1652), pp.29–35.Google Scholar

39 See Boethius, , De musica libri quinque (Venice, 1499), fol. 25, bk.Google Scholar I, ch. 20: ‘De additione cordarum'.

40 See Johannes Tinctoris (c. 1435-1511), The Art of Counterpoint (Liber de arte contrapuncti), tr. Albert Seay (1961, American Inst, of Musicology, Musicological Stud, and Documents v), pp. 14-15.

41 See James Haar, ‘The Note Nere Madrigal', Jour, of the American Musicological Soc. XVII (1965), 36.

42 I am indebted to Professor Hannibal Noce of the University of Chicago for some suggestions in the translation.