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Corbetta, Francesco
Varii scherzi di sonate per la chitara spagnola . . . (1648)
I. Overview
The first of Corbetta's works to be published outside of Italy, but still using Italian notation. The pieces are carefully grouped into suites tuono. Excellent music . . .
Title: Varii scherzi di sonate per la chitara spagnola . . . ([Brussels]: n.p., 1648).
Description:
88 pp. (preface in movable type, music engraved)
39 pieces
Foliation: none
Page Size -- F-Pn: c29 cm. (width) X 18.4 cm.; GB-Lbl: c30.5 cm. X 19.8 cm.
Plate Size -- F-Pn: (f. 2r) 21.8 cm. X 10.2 cm.; (p. 7+) 19.7 cm. X 8.5 cm.; GB-Lbl: (p. 21) 20.4 cm. X 8.3 cm.
II. Prefatory Material
f. 1r -- VARII SCHERZI DI SONATE PER LA CHITARA SPAGNOLA DI FRANCESCO CORBETTA PAVESE. All' Alt.za S.ma di LEOPOLDO GUGLIELMO Arciduca d'Austria, &c. LIBRO QUARTO. [movable type]
f. 1v -- blank
f. 2r -- [engraving of two cherubs carrying a shield, signed:] Io Thomas aelin. / Frederick Bouttats.
f. 2v -- blank
p. (1) -- SERENISSIMO SIGNORE. [Dedication in movable type, signed:] Bruxelles il 1. del anno 1648 . . .
p. (2) -- blank
p. (3) -- [engraved portrait:] al cielo de gli nonnori alto é immortale, . . . si vola sol della virtú con l'alle [signed:] Ioan Thomas delineavit . . . Fred. Bouttats sculpsit
p. (4) -- blank
p. (5) -- [movable type:] Eccoti ò curioso di novo parte dèlle miè fatiche sopra la Chitara Spagnola; in esse troverai nove curiosità per divertirti scuserai la fretta per che per satisfare il mio desiderio di farli vedere al mondo sotto la protettione di questo gran Principe le ho date; come anche per sodisfare alla volontà di molti studiosi di questo stromento. Ma averti, che se non sai principio ne caverai poco frutto perche havendo ridotto la Chitara all'ultima perfettione non ho stimato bene il farti vedere cose facile, come ho fatto nel mio primo libro, & ancor', che sono un poco dificli, sarano tanto piú belle per satisfarti, volendo esser patiente è studioso nel farli.
Qui vedrai nove inventioni di Passachali, con l'attaco d'una lettra in l'altra come di preludii Alemande, Sarabande, Correnti, con alquante corrente Francese, Havendole ridotte nella Chitara per satisfare à diversti. Hora averti, che de li numeri che vedrai sopra li righe, quali dinotano le corde se vi sara la botta presso in giù ò in su, la batterai quando non andera picigata, & le lettere che haverano presso qualche numero con la battuta avanti, sarai la lettera, & giungerai col detto, che piu ti accomoda, sopra quel numero, è poi la batterai. In vedendo questo segno [slur] che si chiama strascio si dovera picigare il primo numero tirando il resto con la man sinistra, & essendo posto cossi [downwards] osserverai il medesimo: Tocando il primo numero ò à votto venendo ò à votto venendo in giu, senza piu tocar la corda tanto che finisse la legatura del detto strascio, quest, è il tremolo [left blank] è questo è il tremolo sforzato [blank] , ò accento come vogliamo in dire, qual non /
p. (6) -- essendo principiante facilmente li saperai. Non ho posto il resto del alfabetto secondo la regola ordinaria, perche serve quelle lettere con li numeri sopra, essendo li medesimi, & per più facilità poste cossi nel libro, per quelli, che non sano solo la tavolatura Francese, ho poste sotto all'alfabeto Italiano, li acordi medesimi à la Francese, avertendo, che il canto resta al contrario cio è di sotto l'a.b.c.d. della Francese è come 0.1.2.3. del Italiana si che facilmente potrano impararle. Ho posto di più il modo di trovar tutti le consonance della musica più familiari per servirsene di sonare sopra la parte, si che habbi particolar cura, che di tutto ne riusserai benè.
p. 7 -- [Alfabeto: in Italian and French tablature]
| + | A | B | C | D | E | F | G | H | I | K | L | M | N | O |
|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|
| 2 | 2 | 3 | 0 | 0 | 0 | 2 | 3 | 1 | 0 | 1 | 3 | 1 | 3 | 1 |
| 2 | 0 | 2 | 0 | 2 | 0 | 2 | 3 | 3 | 2 | 3 | 1 | 1 | 1 | 0 |
| 0 | 0 | 0 | 2 | 2 | 2 | 1 | 2 | 3 | 2 | 3 | 0 | 3 | 1 | 0 |
| 0 | 3 | 1 | 3 | 1 | 3 | 0 | 1 | 3 | 2 | 2 | 3 | 4 | 1 | 3 |
| 0 | 3 | 0 | 2 | 0 | 1 | 0 | 1 | 1 | 0 | 1 | 3 | 3 | 4 | 3 |
| P | M+2 | M+3 | G3 | H3 | K3 | M3 | N3 | P3 |
|---|---|---|---|---|---|---|---|---|
| 3 | 2 | 3 | 5 | 3 | 3 | [3] | [5] | 5 |
| 3 | 2 | 3 | 5 | 5 | 5 | [3] | 3 | 5 |
| 1 | 4 | 5 | 4 | 5 | 5 | [5] | 3 | 3 |
| 1 | 5 | 6 | 3 | 5 | 4 | [6] | 3 | 3 |
| 1 | 3 | 4 | 3 | 3 | 3 | [5] | 6 | 3 |
[The N chord is not used. Other chords called for in the tablature:]
| G2 | H2 | H5 | K2 | K5 | M2 | M5 | N2 | N5 | P5 | M+5 |
|---|---|---|---|---|---|---|---|---|---|---|
| 4 | 2 | 5 | 2 | 5 | 2 | 5 | 4 | 7 | 7 | 5 |
| 4 | 4 | 7 | 4 | 7 | 2 | 5 | 2 | 5 | 7 | 5 |
| 3 | 4 | 7 | 4 | 7 | 4 | 7 | 2 | 5 | 5 | 7 |
| 2 | 4 | 7 | 3 | 6 | 5 | 8 | 2 | 5 | 5 | 8 |
| 2 | 2 | 5 | 2 | 5 | 4 | 7 | 5 | 8 | 5 | 6 |
III. Notation
Tablature: Mixed tablature. Ornaments: % (tremolo) and # (vibrato).
Range (highest fret used on each course):
| 5th course | 7th fret |
| 4th course | 7th fret |
| 3rd course | 7th fret (9th in chords) |
| 2nd course | 8th fret (10th in chords) |
| 1st course | 10th fret |
Instrument: 5-course guitar
IV. Indices
Title information in brackets [ ] is editorial; information in parentheses
Index of Pieces (all solo guitar):
| Page | Title | Key | Meter |
|---|---|---|---|
| p. 8 | PassachaglieNote 1 | c | 3/[4] |
| p. 10 | [Passachaglia] | Bb | 3/[4] |
| p. 12 | [Passachaglia] | g | 3/[4] |
| p. 14 | [Passachaglia] | F | 3/[4] |
| p. 16 | [Passachaglia] | d | 3/[4] |
| p. 18 | [Passachaglia] | C | 3/[4] |
| p. 20 | [Passachaglia] | a | 3/[4] |
| p. 22 | [Passachaglia] | G | 3/[4] |
| p. 24 | [Passachaglia] | e | 3/[4] |
| p. 26 | [Passachaglia] | D | 3/[4] |
| p. 28 | Chiacona | C | 3/[4] |
| p. 32 | Prelud al 5to tuono (Prelud. al 5. tuono Almanda & Sarabanda) | C | [¢] |
| p. 34 | Alm[and]a | C | ¢ |
| p. 36 | Sar[a]b[and]a | C | 3/[4] |
| p. 37 | Sar[abanda] | C | 3/[4] |
| p. 38 | Prelud al 3to tuono (Prelud. al 3. tuono Almanda Corent. & Sarabanda) | a | ¢ |
| p. 40 | Alm[and]a | a | ¢ |
| p. 42 | Cor[ente] | a | 3/[4] |
| p. 44 | Sar[a]b[and]a | a | 3/[4] |
| p. 45 | Sar[a]b[and]a | g | 3/[4] |
| p. 46 | Prelud al 6to tuono (Prelud. al 6. tuono Almanda & Sarabanda) | F | ¢ |
| p. 48 | Alm[and]a | F | ¢ |
| p. 50 | Sar[a]b[and]a | F | 3/[4] |
| p. 52 | Prelud al 4to tuono (Prelud. al 4. tuono Almanda & Corente) | e | [¢] |
| p. 54 | Alm[and]a | e | ¢ |
| p. 56 | Cor[ente] | e | 3/[4] |
| p. 58 | Prelud. al novo accordo (Prelud. al novo accordo, Gigue & Passachalo) [tuning: A-C#-F#-B-E] | A | ¢ |
| p. 60 | Gigue | A | ¢ |
| p. 62 | Pas[a]chal[o] | A | 3/[4] |
| p. 65 | Cor[ente Francese] (Corenti Francese) | g | 3/[4] |
| p. 66 | Cor[ente Francese] | a | 3/[4] |
| p. 67 | Cor[ente Francese] | C | 3/[4] |
| p. 68 | Cor[ente Francese] | a | 3/[4] |
| p. 69 | Cor[ente Francese] | Bb | 3/[4] |
| p. 70 | Sar[abanda] (Sarabande Francese) | d | 3/[4] |
| p. 71 | Sar[a]b[anda] | C | 3/[4] |
| p. 72 | Sar[aband]a | c? | 3/[4] |
| p. 74 | Sar[a]b[and]a | G | 3/[4] |
| p. 75 | Prima Parte Folias (Follias) [with 2a, 3a, 4a, 5a parte] | d | 3/[4] |
1. Each passacaglia but the last modulates to the key of the next one. Return to text
Index of Genres:
The following chart summarizes the solo guitar contents of the book by genre. Major genres are given by the form used in the New Grove Dictionary of Music and Musicians, 2d ed., with the forms actually used in the book in parentheses. Lesser known titles are grouped under "miscellaneous dances" and "songs." Rhythmic variations and rotte are considered part of the main work.
| Genres: | total | major | minor | meter |
|---|---|---|---|---|
| Passacaglia (Passachaglie) | 11 | 6 | 5 | 3/[4] |
| Sarabande (Sarabanda) | 9 | 5 | 4 | 3/[4] |
| Corrente (Corente) | 7 | 2 | 5 | 3/[4] |
| Prelude (Prelud) | 5 | 3 | 2 | 3 in ¢ and 2 in 3/[4] |
| Allemande (Almanda) | 4 | 2 | 2 | ¢ |
| Chaconne (Chiacona) | 1 | 1 | 0 | 3/[4] |
| Folia (Folias) | 1 | 0 | 1 | 3/[4] |
| Gigue | 1 | 1 | 0 | ¢ |
| Totals: | 39 | 20 | 19 | 31 in 3/[4] 8 and in ¢ |
Index of Keys Used:
Keys used in the book; an * indicates that the key is only used in a passacaglia. Note that the pitch is relative and that since the guitarist was using tablature, there was no need to think in terms of traditional key signatures.
| A major | 3 | A minor | 7 | |
| B flat major | 2 | B flat minor | 0 | |
| B major | 0 | B minor | 0 | |
| C major | 8 | C minor | 2 | |
| C sharp major | 0 | C sharp minor | 0 | |
| D major | 1* | D minor | 3 | |
| E flat major | 0 | E flat minor | 0 | |
| E major | 0 | E minor | 4 | |
| F major | 4 | F minor | 0 | |
| F sharp major | 0 | F sharp minor | 0 | |
| G major | 2 | G minor | 3 | |
| A flat major | 0 | A flat minor | 0 |
Index of Names:
BOUTTATS, Frederick [engraver?]
Frederick Bouttats fec. / f. 2r
Fred. Bouttats sculpsit / p. (3)
CORBETTA, Francesco (Pavese) [composer]
VARII SCHERZI DI SONATE PER LA CHITARA SPAGNOLA DI FRANCESCO CORBETTA PAVESE. . . . LIBRO QUARTO. / f. 1r
[dedication, signed:] Bruxelles il 1. del anno 1648 . . . / p. (1)
[portrait] / p. (3)
GUGLIELMO, Leopoldo [dedicatee]
VARII SCHERZI DI SONATE PER LA CHITARA SPAGNOLA DI FRANCESCO CORBETTA PAVESE. All' Alt.za S.ma di LEOPOLDO GUGLIELMO Arciduca d'Austria, &c. LIBRO QUARTO. / f. 1r
[dedication to] / p. (1)
THOMAS, Ioan [copyist??]
Io. Thomas delin. / f. 2r
Ioan Thomas delineavit. / p. (3)
V. Bibliography
Boye, Gary R. "Giovanni Battista Granata and the Development of Printed Guitar Music in Seventeenth-Century Italy" (diss., Duke Univeristy, 1995).
Hall, Monica. "A Few More Observations on Baroque Guitar Stringing." Lute Society Journal (UK) XLVIII (2008): 71-75.
Eisenhardt, Lex. "Bourdons as Usual." Lute Society Journal (UK) XLVII (2007): 1-37.
Hall, Monica. "Santiago de Murcia and François Le Cocq." Journal of the Lute Society of America XVI (1983): 3-6.
________. "Communications." Journal of the Lute Society of America XVII & XVIII (1984 & 1985): 139-141.
________. "Dissonance in the Guitar Music of Francesco Corbetta." Lute Society Journal (UK) XLVII (2007): 55-80.
________. Baroque Guitar Stringing: A Survey of the Evidence. Lute Society Booklets, No. 9. (Guildford: Lute Society, 2003, rev. 2008).
________. "Francesco Corbetta: A Biography." Lute Society Journal (UK) LIII (2013): 18-48.
Hudson, Richard. Passacaglio and Ciaccona: From Guitar Music to Italian Keyboard Variations in the 17th Century (Ann Arbor, MI: UMI Research Press, 1981).
Pinnell, Richard T. "The Role of Francesco Corbetta (1615-1681) in the History of Music for the Baroque Guitar: Including a Transcription of His Complete Works." (diss., UCLA, 1976).
________. "Alternate Sources for the Printed Guitar Music of Francesco Corbetta (1615-1681)." Journal of the Lute Society of America IX (1976): 62-85.
________. Francesco Corbetta and the Baroque Guitar: With a Transcription of His Works (Ann Arbor, MI: UMI Research Press, 1980).
Répertoire international des sources musicales: Einzeldrucke vor 1800. RISM A/I [C 3653
Russell, Craig H. "Santiago de Murcia: The French Connection in Baroque Spain." Journal of the Lute Society of America XV (1982): 40-51.
________. "François Le Cocq's Influence on Santiago de Murcia: Problems with Dates, Sources, and Recomposition." Journal of the Lute Society of America XVI (1983): 7-11.
________. "Communications." Journal of the Lute Society of America XVII & XVIII (1984 & 1985): 141-142.
Tyler, James, and Paul Sparks. The Guitar and Its Music: From the Renaissance to the Classical Era (Oxford: Oxford University Press, 2002): 68, 88.
Weidlich, Joseph. "Battuto Performance Practice in Early Italian Guitar Music." Journal of the Lute Society of America 11 (1978): 63-86.
VI. Exemplars
F-Pn = France: Paris, Bibliothèque nationale de France, épartement de la Musique (visited in 1992)
Condition: Page edges in front darkened (burned) and stained but only in borders. Fairly light plates with very legible music.
Binding: White leather-like with 2 holes for ties (original?); very warped with dark stains around edges.
Manuscript additions:
Cover -- white tape: "INVENTAIRE Vm7 6217"; white tape: "Ne pas communiquer / donner à la place / Vmc. 9989/51"
Spine -- old and faded ink[?]: "Aux de Guitare. par Corbett[e?]"
Inside Cover -- ink: "JJ165"
2 added folios at front
+ f. 2v -- pencil: "Vm7 6217"
f. 1r -- top right, ink: "1"; red stamp: "BIBLIOTHEQUE ROYALE I"; ink: "Vm 2665/3" and "aug.disc--par"
f. 2r -- red stamp: "B.R."; top right, ink: "2"
f. 3r -- top right, ink: "3"
f. 4r -- top right, ink: "4"
p. 7 -- red stamp: "BIBLIOTHEQUE ROYALE I" (and pp. 21, 86)
2 added folios at end
GB-Lbl = Great Britain: London, The British Library (visited in 1992)
Condition: Light plates with some bleeding and light areas; large borders; gold edges on pages.
Binding: Red with gold decoration; holes from 4 ties [original?].
Manuscript additions:
Spine -- green tape: "III" and "157"
Inside front cover -- pencil: "Kab III/1. 157"
2 added[?] folios at front
+ f. 2v -- pencil: "Hirsch III 157"
f. 1v -- red stamp: "HIRSCH LIBRARY B.M." (and f. 2v, p. 8)
f. 5r -- brown ink, last line: "%" and "#"
Corrigenda (in ink):
p. 7 -- ink, st. 4: H3 > f on 1st course added in ink
p. 18 -- st. 2, m. 3: 6/2nd added
p. 19 -- st. 1, m. 4: slur added over 0 1 3
p. 26 -- st. 3, m. 4: slur added over 5 7 on first; st. 4, m. 1: slur added over 0 2/4th; m. 2: slur added over 3 5/1st
p. 27 -- st. 2, m. 1: 0/2nd over 3/1st added; slur added below 2 0/4th; st. 4, m. 2: 6/1st added; end of line: [double bar and slash added]
p. 28 -- st. 4, m. 7: slur added below 1 0/2nd
p. 29 -- st. 2, m. 4, bt. 3: 0/2nd erased for 0/3rd; st. 4, m. 6, bt. 3: 6/2nd added
p. 32 -- st. 1, 7th note: 0/1st added
p. 40 -- st. 1, m. 2: g[?]/2nd added; st. 2, m. 1: 3/5th added; m. 2: 3rd rhythm sign from 1/8 > 1/16
p. 48 -- st. 2, mm. 2-3: downstroke added under e and M3
p. 53 -- st. 3, m. 3: eighth note added
p. 54 -- st. 1, m. 3: downstroke added for 2/4th and 3/1st
p. 77 -- st. 3, next to last notes: 0 2 3/1st >> 0 1 3
p. 80 -- st. 4, mm. 1-3: 4 notes added in normal notation [in treble clef? = d d# e f beginning below the line]
p. 83 -- st. 2, m. 4: # added
p. 84 -- st. 3: chord added: 4-3-1-2-1
p. 85 -- st. 2, m.6: E whole note added; st. 4, m. 8, 2nd note: F > Gp P
p. 86 -- red stamp: "HIRSCH LIBRARY BRITISH MUSEUM"
2 blank folios at end
Inside back cover -- pencil: "Auch Fr. H Nr [?] ESR 1/21"
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