CONTINUO PRACTICE FOR THE THEORBO

AS INDICATED

IN SEVENTEENTH-CENTURY ITALIAN PRINTED AND MANUSCRIPT SOURCES

3 VOLUMES

III: The New York Public Library Theorbo Manuscript (JOC 93-2)

THEODOROS KITSOS

Submitted in partial fulfillment

of the requirements for the degree of

Doctor of Philosophy

(Music Performance Practice)

THE UNIVERSITY OF YORK

DEPARTMENT OF MUSIC

May 2005.. -: -

The New York Public Library Theorbo Manuscript

Source

The New York Public Library for the Performing Arts, Astor, Tilden

and Lenox Foundations: call no. JOC 93-2 [Introdutioni a note con terza

maggiore e con terza minore e terza natturale].

Introduction

In seventeenth-century Italy, one of the most preferred instruments for

continuo accompaniment was the theorbo. Its role was not restricted

simply to a chordal accompaniment but, as Agostino Agazzari informs

us, the theorbo had a second role, an ornamental one, namely the improvisation of diminutions above the bass. ̀ Due to the improvisatory

nature of continuo, not many sources that illustrate the accompanying

style exist; and if the sources that display chordal realizations are rare,

the ones that demonstrate ornamented realizations are much rarer still. However, both of these qualities are well presented in the New York

Public Library theorbo manuscript, a lavish continuo tutor. The

manuscript, before coming into the possession of New York Public

Library, was owned by the music antiquarian Hans Schneider, Friedrich

'Agostino Agazzari, Del sonate sopra 1 basso con tutu li strornenti (Siena: D. Flacini, 1607; facs. edn., Bologna: Arnaldo Forni Editore, 1969).

Chrysander (1826-1901), and Auguste Botte de Toulmon (1797-

1850), whose property stamp appears on f. 1. Nothing is known about

the history of the manuscript prior to this point but it is almost certain

that it is of Italian provenance and dates from the late seventeenth

century.

The manuscript is written in Italian tablature and it was intended for

a fourteen-course theorbo, with six fingerboard courses and eight

diatonically tuned contrabass], tuned in the following way:

0 t4

(1

- II CF-A IT a°ää

The tuning of the bass courses is occasionally altered in order to fit the

key in use and, in most of the cases, the alteration is indicated at the

beginning of the section. The manuscript was compiled by someone

with an in-depth knowledge of the instrument and its peculiarities, and

with an indisputable educatiönal purpose. However, it is remarkable that

it does not display the typical compromises usually found in tutors

intended for students or amateurs as, on several occasions, a high level of

skill is required. Both the chordal and ornamental functions of the

theorbo are demonstrated with an expertise that is usually found only in

sources that contain solo music. The chordal examples contain

realizations of complex harmonies and they occasionally bear

designations such as durezze, arpeggio and ribattute; the ornamental

examples are infused with a variety of effective features such as groppi,

campanelle, strascini, or left-hand ornaments.

ii

The New York Public Library theorbo manuscript is a valuable document for modern players and scholars who want to comprehend the

accompaniment style of seventeenth-century Italy. It not only provides

practical tables with shapes of chordal realizations to be used by the theorbo player but, more importantly, it gives a consummate image of how the accompaniment can be enriched, which can be a guide for any instrumentalist.

Notes on notation and transcription

Although a transcription into modern notation does not completely re-

ensemble the information provided by the tablature, it is essential for

musicians who are unfamiliar with the tablature notation in order to

access the musical context. For that reason both original notation and transcription are juxtaposed in a way that the original features and layout of the manuscript are preserved. The manuscript is in landscape format with two systems per page, with a five-line staff for mensural notation and a six-line tablature staff. Between them the transcription of the tablature has been inserted in modern notation.

With the exception of ff. 26'-27 (pp. 52-3 of the present volume), the tablature lacks any rhythmic signs. This is presumably because the

rhythmic interpretation was left to the decision of the performer in

relation to the musical texture the examples were to be applied to. For

that reason, black stemless notation is employed for the transcription. The manuscript displays five different ways of barring: there are

single, double and triple barlines that are used in a way similar to today's

fashion (with triple barlines equivalent to final ones); and two types of

small vertical lines, one of two-space length and another of one-space

length, which are used exclusively in ornamental realizations and

presumably segment phrases and motifs respectively. The original

barring has been retained in both the tablature and the transcription,

with the exception of ornamented barlines that show the end of a

thematic section, and which have been replaced by final barlines.

Sections segmented by small vertical lines have been treated as full bars

and where an accidental appears once, it applies also to the subsequent

notes; however, due to the extended length of some of such 'bars',

precautionary accidentals in round brackets are occasionally used.

The tablature contains various signs associated with performance

which are not displayed in the transcription. The horizontal line (-)

indicates that the theorbo player should hold the fingers of the left hand

on the fingerboard as long as the line lasts in order to achieve the effect

of campanella. The dot ("), when applied to a single note, indicates the

pluck with the index finger of the right hand. Yet the use of multiple

dots in a chord is ambiguous: while at first sight it points towards the

plucking with index, middle and ring fingers, when it comes to four-

note chords, although such an execution is accomplishable, it also seems

rational to indicate the execution with one finger, possibly the index, in

a strumming fashion. Pietro Paolo Melii described such a practice and he

also used dots for its notation= The sharp-like symbol (0) is a left-hand

2 See, Pietro Paolo Melii, Intavolatura di Auto attiorbato, libro terzo (Venice: G. Vincenti, 1616; facs. edn., Florence: Studio Per Edizioni Scelte, 1979), f. 2'.

ill

ornament, and as is evident from its use for all the three notes of a chord in f. 26 (p. 51), it can only denote the use of vibrato. The x-like symbol (x)is also a left-hand ornament and indicates the single or multiple

alteration with the upper auxiliary note. This is evident in f. 21 where it

is used on an open course accompanied by the number 2 which means

that the auxiliary note is that of the second fret. The only sign carried into the transcription is that for the strascino (slur), which indicates that

the right hand plucks only the first note in each course and the left hand

slurs the remaining ones, because it usually-though not necessarily- indicates the musical phrasing.

As a final point, basso continuo figuring, abbreviated words,

punctuation and spelling of the original have been retained and any

editorial additions appear in square brackets.

Commentary

p. 4, first system, b. 5, tablature, second character of fourth line 7(d).

p. 9, first system , b. 4, tablature, both characters of third line

p. 9, first system, b. 7, tablature, third and fourth characters placed on fifth line providing f #-g.

p. 10, first system, tablature, b. 7, Oplaced on sixth line providing A.

p. 11, second system, tablature, b. 2, second line 2(f#).

p. 14, second system, tablature, b. 2, first line 6(d'#).

p. 18, first system, tablature, b. 1, both 7of third line placed on first and 7of first line placed on first.

p. 19, b. 1, second system, continuo figuring, a symbol appears over 3

(possibly a sharp).

p. 22, b. 2, first system, tablature, characters of last chord one line lower.

p. 22, b. 4, first system, tablature, characters of last chord one line lower.

p. 23, second system, tablature, b. 1, second character of third line

placed on second line (f).

p. 29, first system, tablature, b. 1, eighth course tuned to F#.

p. 43, course 8 tuned to F#, course ij tuned to C#.

p. 48, first system, tablature, b. 2, second line 3 (g).

p. 49, second system, tablature, b. 1, first character of sixth line 2 (B).

p. 54, course i2 tuned to B'6.

p. 83, first system, b. 7, continuo figuring, 6 with sharp.

p. 87, first system, b. 8, tablature, characters of second chord two frets

lower.

p. 96, second system, continuo figuring, 6 with flat.

p. 98, first system, b. 6, tablature, second character of second line 5 (ab).

p. 98, first system, b. 8, tablature, first character of second line 3 (gb).

iv

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DEE

G. so] re ut Con Terza Maggiore

G. so] re ut Con Terza Min ore

A. la ml re Con Terza Maggiore

A. la ml re Con Terza Natturale

B. fa b. m! Con Terza Natturale

B. fa Con Terza Natturale

C. so] fa ut Con Terza Natturale

Tavola

Introdutioni

C. 2. C. sol fa ut Con Terza Min ore

C. 2. D. la sol re Con Terza Maggiore

C. 3. D. la so] re Con Terza Natturale

C. 3. E. la ml Con Terza Maggiore

C. 4. E. la ml Con Terza Natturale

C. 4. F. fa ut Con Terza Natturale

C. S. F. fa ut Con Terza Min ore

[99]

C. 5.

C6

C. 6.

C7.

C. 7.

C. 8.

C. 8.

Abbelimenti

Sopra Note di Cadenze risolute

Con Quarta e Terza, E con Quarta Terza e Settima.

G. sol re ut.

A. lamlre.

B. fa b. mi.

C. Sol fa ut.

D. la so] re.

E. laml.

C. P. F. f ut.

C. P. B. fa.

C. 10. E. la fa.

C. 10. G. sol re ut. Maggiore

C. 10. C. sol fa ut. Maggiore

C. 10. F. fa ut. Maggiore

C. 11.

C. 11.

C. 11.

C. 11.

C. 12.

C. 12.

[100)

Sopra Note resolute

G. sol re ut.

G. so] re ut. Maggiore.

A. Ja mire.

B. fa.

B. fa b. mi.

C. Sol faut.

C. sol fa ut. Magglore.

Con Sesta, e Quinta falsa

C. 12. D. la so] re.

C. 12. D. la so] re Maggiore.

C. 12. E. la fa.

C. 13. E. la mi.

C. 13. F. faut.

C. 13. F. fa ut. Mggiore.

C. 13.

[101]

Sopra Note resolute Con Settlma, e Sesta

G. so] re ut.

G. sol re ut. Maggiore.

A. la mi re Min ore.

A. la mire. Natturale

B. fa.

B. fa b. mi.

C. sol fa ut.

C. 1 5. C. sol fa ut Maggiore

C. 15. D. la so] re.

C. 16. E. la fa

C. 16. E. lam!

C. 1G F. faut.

C. 16. F. fa ut Maggiore.

C. 17. D. la so] re Min ore.

[1021

Passeggi

Sopra Note Con Accompagnam. "

Et a Note di Cadenze.

G. so] re ut.

A. Ja mire.

B. fa b. mi.

B. fa.

C. Sol faut.

C. 21. D. la so] re.

C. 22. E. la mi.

C. 23. E. la fa.

C. 23. F. faut.

C. 24.

C. 2S.

C. 26.

C. 28.

C. 28.

(103)

Accompagnamenti.

Sopra qua] si voglia Note con ogni Accidenti, Et in quante forme, e

Modi, e Manierepossino trovarsi, e formarsi sopra la Tastattura di Tiorba

Con risolutione di Settima, e Seste legate, et unite.

G. so] re ut.

A. Ja mire.

B. A

C. 29. B. fa b. ml.

C. 30. C. sol fa ut.

C. 31. C. sol fa ut. Maggiore.

C. 32.

C. 33.

C. 34.

(104)

D. la sol re. C. 35. B. fa. C. 43.

B. lafa. C. 36. B. fab. ml. C. 44.

B. la mi. C. 37. C. sol fa ut. C 45.

F. fa ut. C. 38. D. la sol re. C. 46.

F. fa ut. Maggiore. C. 39. B. la mi. C. 47. li seguenti sono a1'Ottavältra.

G. sol re ut. C. 40. Rlsolutlone di Settime, e Seste

G. so] re ut. Maggiore. C. 41. legate, et unite.

A, la mi re. C. 42. Fine. C. 48.

[105)