Pellegrini, Domenico
Armonioso Concerti (1650)
I. Overview
This is Pellegrini's only known work. Its style is rather conservative for 1650, but there are some interesting pieces, including a set of passacagli modulating through all 24 major and minor keys.
Title: Armonioso concerti sopra la chitarra spagnuola. (Bologna: Giacomo Monti, 1650).
Description:
(10) + 52 pp., movable type
39 pieces
Foliation: (5 ff. +) ABCDE (4 ff. each) F (6 ff.?)
Page Size -- I-Bc: 20.2 cm. (width) X 29 cm.; I-Tn: 20.2 cm. X 28.7 cm.; F-Pn (Rés F 195): 20.2 cm. X 30 cm.
(Rés F 196): 21 cm. X 31.1 cm.
II. Prefatory Material
f. 1r -- ARMONIOSI CONCERTI SOPRA LA CHITARRA SPAGNUOLA. [note that the pagination is jumbled in the modern S.P.E.S. facsimile edition]
f. 1v -- blank
f. 2r -- ARMONIOSI CONCERTI SOPRA LA CHITARRA SPAGNUOLA DI DOMENICO PELLEGRINI BOLOGNESE Accademico Filomuso. In Bologna, per Giacomo Monti. 1650. Con licenza de'Superiori. [wood cut: shield and cherubs, no music]
f. 2v -- blank
f. 3r -- ALL'EMINENTISSIMO, ET REVERENDISS. SIG. Sig. mio Padron Colendiss. IL SIG. CARDINALE FABRITIO SAVELLI Legato di Bologna. . . . [dedication]
f. 3v -- [dedication, cont.; signed:] Di Bologna li 16. Ottob. 1650, Humiliss. divotiss. & divotiss. & obligatiss. Servit. Domenico Pellegrini.
f. 4r -- S'allude all'Arma di Sua Eminenza scherzando col detto De comedente exivit cibus, & de sorti egressa est dulcedo. . . . [poem]
f. 4v -- A GLI STUDIOSI Della Chitarra Spagnuola. ["il mio Libro non impara senza Mastro" and notes on the Battaglia where he transcribed "molti mottivi" from French lute tablature . . .]
f. 5r -- Del modo dell'Arpeggiare. . . . [arpeggios, playing piano/forte, slurs, tremolo . . .]
f. 5v -- [tremolo, cont.; arpeggio exs. and Alfabeto:]
| + | A | B | C | D | E | F | G | H | I | K | L | M | N | O | P |
|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|
| 2 | 2 | 3 | 0 | 0 | 0 | 2 | 3 | 1 | 0 | 1 | 3 | 1 | 3 | 1 | 3 |
| 2 | 0 | 2 | 0 | 2 | 0 | 2 | 3 | 3 | 2 | 3 | 1 | 1 | 1 | 1 | 3 |
| 0 | 0 | 0 | 2 | 2 | 2 | 1 | 2 | 3 | 2 | 3 | 0 | 3 | 1 | 0 | 1 |
| 0 | 3 | 1 | 3 | 1 | 3 | 0 | 1 | 3 | 2 | 2 | 4 | 4 | 1 | 3 | 1 |
| 0 | 3 | 0 | 2 | 0 | 1 | 0 | 1 | 1 | 0 | 1 | 3 | 3 | 4 | 3 | 1 |
| Q | R | S | T | V | X | Y | Z | & | M2* | M3* |
|---|---|---|---|---|---|---|---|---|---|---|
| 4 | 2 | 2 | 4 | 4 | 2 | 5 | 3 | 4 | 2 | 3 |
| 4 | 4 | 2 | 2 | 4 | 4 | 5 | 5 | 3 | 2 | 3 |
| 3 | 4 | 4 | 2 | 2 | 4 | 4 | 5 | 1 | 4 | 5 |
| 2 | 4 | 5 | 2 | 2 | 3 | 3 | 5 | 2 | 5 | 6 |
| 2 | 2 | 4 | 5 | 2 | 2 | 3 | 3 | 1 | 3 | 4 |
[The chords Q, S, T, Y, and Z are not used]
Additional chords used:
| G2 | G3 | G4 | G5 | G6 | H2 | H3 | H4 | H5 | H6 | H7 | K2 | K3 | K4 | K5 | K6 | M2 | M3 | M4 | M5 |
|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|
| 4 | 5 | 6 | 7 | 8 | 2 | 3 | 4 | 5 | 6 | 7 | 2 | 3 | 4 | 5 | 6 | 2 | 3 | 4 | 5 |
| 4 | 5 | 6 | 7 | 8 | 4 | 5 | 6 | 7 | 8 | 9 | 4 | 5 | 6 | 7 | 8 | 2 | 3 | 4 | 5 |
| 3 | 4 | 5 | 6 | 7 | 4 | 5 | 6 | 7 | 8 | 9 | 4 | 5 | 6 | 7 | 8 | 4 | 5 | 6 | 7 |
| 2 | 3 | 4 | 5 | 6 | 4 | 5 | 6 | 7 | 8 | 9 | 3 | 4 | 5 | 6 | 7 | 5 | 6 | 7 | 8 |
| 2 | 3 | 4 | 5 | 6 | 2 | 3 | 4 | 5 | 6 | 7 | 2 | 3 | 4 | 5 | 6 | 4 | 5 | 6 | 7 |
| N2 | N3 | N4 | N5 | N6 | N7 | N8 | P2 | P3 | P4 | P5 | &2 | &3 | &4 | M* | M4* | M5* | M6* | M7* |
|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|
| 4 | 5 | 6 | 7 | 8 | 9 | 10 | 4 | 5 | 6 | 7 | 5 | 6 | 7 | 1 | 4 | 5 | 6 | 7 |
| 2 | 3 | 4 | 5 | 6 | 7 | 8 | 4 | 5 | 6 | 7 | 4 | 5 | 6 | 1 | 4 | 5 | 6 | 7 |
| 2 | 3 | 4 | 5 | 6 | 7 | 8 | 2 | 3 | 4 | 5 | 2 | 3 | 4 | 3 | 6 | 7 | 8 | 9 |
| 2 | 3 | 4 | 5 | 6 | 7 | 8 | 2 | 3 | 4 | 5 | 3 | 4 | 5 | 4 | 7 | 8 | 9 | 10 |
| 5 | 6 | 7 | 8 | 9 | 10 | 11 | 2 | 3 | 4 | 5 | 2 | 3 | 4 | 2 | 5 | 6 | 7 | 8 |
f. 6r -- [portrait; engraved with "DOMINICUS PEREGRINUS Bononiaensis" signed "Fontana F."; size: 17.7 cm. X 24.6 cm. Note the very
p. [52] -- TAVOLA Dell'Opera [index] . . . In Bologna, per Giacomo Monti. 1650. Con licenza de' Superiori.
III. Notation
Tablature: Alfabeto and Italian tablature with measure lines (inconsistently
The following example is a corrente from p. 44:
Range (highest fret used on each course):
| 5th course | 9th fret |
| 4th course | 10th fret |
| 3rd course | 9th fret |
| 2nd course | 10th fret |
| 1st course | 12th fret |
Left-hand ornaments used: trillo (.T. ), vibrato (SS.), arpeggio (:SS:)
The symbol "d" ("dodici") is used for the 12th fret.
Instrument: 5-course guitar
IV. Indices
There are several suites in a variety of different tonalities, as well
Index of Pieces (all for solo guitar):
| Page | Title | Key | Meter |
|---|---|---|---|
| p. 1 | Ricercata del primo Tuono | d | C |
| p. 2-20 | Passacagli Per tutte le lettere, e per diversi altri tuoni cromatici | dNote 1 | 3 |
| p. 21 | Balletto primo | D | C |
| p. 22 | -- Corrent | D | 3 |
| p. 23 | Corrente seconda | D | 3 |
| p. 23 | -- Sarabanda | D | 3 |
| p. 24 | Battaglia francese | D | C |
| p. 26 | Corrente terza | D | 3 |
| p. 27 | Toccata prima | G | C |
| p. 28 | Corrente quarta | G | 3 |
| p. 29 | Aria prima | G | C |
| p. 29 | Corrente quinta | G | 3 |
| p. 30 | Toccata seconda | C | C |
| p. 31 | Ballo del corriere | C | C |
| p. 32 | Corrente sesta | C | 3 |
| p. 32 | -- Sarabanda | C | 3 |
| p. 33 | Chiaccona in Parte variate alla vera Spagnuola | C | 3 |
| p. 36 | Toccata terza | F | C |
| p. 37 | Alemanda prima | F | C |
| p. 37 | -- Corrente settima | F | 3 |
| p. 38 | Corrente ottava | F | 3 |
| p. 38 | -- Sarabanda terza | F | 3 |
| p. 39 | Alemanda seconda | d | C |
| p. 40 | Corrente nona | d | 3 |
| p. 41 | Brando primo | d | 3 |
| p. 41 | -- Sarabanda | d | 3 |
| p. 42 | Parte variate sopra l'Aria della Romanesca | g | C |
| p. 43 | Alemanda terza | a | C |
| p. 44 | -- Corrente dell'Alemanda | a | 3 |
| p. 45 | Brando secondo | a | 3 |
| p. 45 | -- Sarabanda | a | 3 |
| p. 46 | Corrente decima | a | 3 |
| p. 47 | Brando terzo | A | C |
| p. 47 | -- Corrente del brando | A | 3 |
| p. 48 | Brando quarto | E | C |
| p. 48 | -- Volta del Brando | E | 3 |
| p. 49 | Alemanda quarta | e | C |
| p.50 | -- Corrente | e | 3 |
| p.51 | Sarabanda sesta | e | 3 |
1. The passacagli are modulatory, beginning and ending in D minor: d > F > d > F > Bb > g > Bb > Eb > c > Eb > f > bb > eb > B > F# > bb > c > g > F > a > C > a > G > e > D > b > D > A > f# > E > c# > B > g# > d. Return to text
The following chart summarizes the 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.
| Genres: | total | major | minor | C | 3 |
|---|---|---|---|---|---|
| Corrente | 13 | 6 | 4 | 0 | 13 |
| Sarabanda | 6 | 3 | 3 | 0 | 6 |
| Alemanda | 4 | 1 | 3 | 4 | 0 |
| Brando | 4 | 2 | 2 | 2 | 2 |
| Toccata | 3 | 3 | 0 | 3 | 0 |
| Aria | 1 | 1 | 0 | 1 | 0 |
| Balletto | 1 | 1 | 0 | 1 | 0 |
| Ballo | 1 | 1 | 0 | 1 | 0 |
| Battaglia | 1 | 1 | 0 | 1 | 0 |
| Chiaccona | 1 | 1 | 0 | 0 | 1 |
| Passacagli [34 sections] | 1 | 0 | 1 | 0 | 1 |
| Ricercata | 1 | 0 | 1 | 1 | 0 |
| Romanesca | 1 | 0 | 1 | 1 | 0 |
| Volta | 1 | 1 | 0 | 0 | 1 |
| Totals: | 39 | 24 | 15 | 15 | 24 |
Index of Names:
ANGELELLI, Angelo Maria
ALEMANDA TERZA. ALL'ILLUSTRISS. SIG. PADRON MIO COLENDISS. IL SIG. ANGELO MARIA ANGELELLI / p. 43 [individual piece dedicated to]
BARBAZZI, Ferdinando
BRANDO PRIMO. ALL'ILLUSTRISS. SIG. PADRON MIO COLEND. IL SIG. MARCH. FERDINANDO BARBAZZI CAVAGLIERE DI S. IAGO / p. 41 [individual piece dedicated to]
SARABANDA DETTA LA BARBAZZA / p. 41 [individual piece dedicated to]
BENTIVOGLI, Filippo
Corrente dell'Alemanda. A GL'ILLUSTRISS. SIGNORI PADRONI COLENDISS. LI SIG. CONTI ULISSE, E FILIPPO BENTIVOGLI / p. 44 [individual piece dedicated to]
BENTIVOGLI, Ulisse
Corrente dell'Alemanda. A GL'ILLUSTRISS. SIGNORI PADRONI COLENDISS. LI SIG. CONTI ULISSE, E FILIPPO BENTIVOGLI / p. 44 [individual piece dedicated to]
BOVIO, Antonio
TOCCATA TERZA. All'Illustriss. Sig. Padron mio Colendiss. IL SIG. ANTONIO BOVIO / p. 36 [individual piece dedicated to]
BOVIO, Rinaldo
ARIA PRIMA. All'Illustriss. Sig. Padron mio Colendiss. IL SIG. RINALDO BOVIO / p. 29 [individual piece dedicated to]
CASALE, Lodovico
Chiaccona in Parte variate alla vera Spagnuola. ALL'ILLUSTRISS. SIG. PADRON MIO COLENDISS. IL SIG. LODOVICO CASALE Colonnello della Guardia de Cavalli leggieri di Bologna / p. 33 [individual piece dedicated to]
CAMPEGGI, Tomaso
Parte variate sopra l'Aria della Romanesca. ALL'ILLUSTRISS. SIG. PADRON MIO COLENDISS. IL SIG. MARCHESE TOMASO CAMPEGGI SENATORE DI BOLOGNA / p. 42 [individual piece dedicated to]
[ERCOLANI, see HERCOLANI]
FANTUZZI, Paolo Emilio
CORRENTE SECONDA ALL'ILLUSTRISS. SIG. PADRON MIO COLENDISS. IL SIG. PAOLO EMILIO FANTUZZI SENATORE DI BOLOGNA / p. 23 [individual piece dedicated to]
SARABANDA DETTA LA FANTUZZA / p. 23 [individual piece dedicated to]
FAVA, Alessandro
ALEMANDA SECONDA. All'Illustriss. Sig. Padron mio Colendiss. IL SIG. ALESSANDRO FAVA / p. 39 [individual piece dedicated to]
FONTANA, -- [engraver]
portrait signed "Fontana F." / f. 6r [only in F-Pn 195, 196]
GESSI, Berl'Ingiero
TOCCATA SECONDA. ALL'ILLUSTRISS. SIG. PADRON MIO COLENDISS. IL SIG. BERL'INGIERO GESSI SENATORE DI BOLOGNA / p. 30 [individual piece dedicated to]
GRIMALDI, Gioseffo Maria
BALLETTO PRIMO All'Illustriss. Sig. Padron mio Colendiss. il Sig. GIOSEFFO MARIA GRIMALDI / p. 21 [individual piece dedicated to]
CORRENTE (Cortente) DETTA LA GRIMALDA / p. 22 [individual piece dedicated to]
HERCOLANI, Cesare Alessandro
CORRENTE SESTA. ALL'ILLUSTRISS. SIG. PADRON MIO COLENDISS. IL SIG. CO: CESARE ALESSANDRO HERCOLANI / p. 32 [individual piece dedicated to]
SARABANDA DETTA L'HERCOLANA (l'Ercolana) / p. 32 [individual piece dedicated to]
HERCOLANI, Giacomo
CORRENTE OTTAVA. All'Illustriss. Sig. Padron mio Colendiss. IL SIG. CO. GIACOMO HERCOLANI / p. 38 [individual piece dedicated to]
LIGNANI, Antonio
BALLO DEL CORRIERE. ALL'ILLUSTRISS. SIG. PADRON MIO COLENDISS. IL SIG. MARCHESE ANTONIO LIGNANI SENATORE DI BOLOGNA / p. 31 [individual piece dedicated to]
MALVASIA, Cornelio
". . . Nella Battaglia dedicata all'Illustrissimo Sig. Cornelio Malvasia . . ."/ f. 4v [reference to individual piece dedicated to him]
BATTAGLIA FRANCESE ALL'ILLUSTRISS. SIG. PADRON MIO COLENDISS. IL SIG. CORNELIO MALVASIA SENATORE DI BOLOGNA / p. 24 [individual piece dedicated to]
CORRENTE TERZA. DETTA LA MALVASIA / p. 26 [individual piece dedicated to]
MANZOLI, Carlo Sforza Attendoli
SARABANDA SESTA. ALL'ILLUSTRISS. SIG. PADRON MIO COLENDISS. IL SIG. CO. CARLO SFORZA ATTENDOLI MANZOLI / p. 51 [individual piece dedicated to]
MONTI, Giacomo [printer]
ARMONIOSI CONCERTI SOPRA LA CHITARRA SPAGNUOLA DI DOMENICO PELLEGRINI BOLOGNESE . . . In Bologna, per Giacomo Monti. 1650. Con licenza de'Superiori. / f. 2r
TAVOLA Dell'Opera [index] . . . In Bologna, per Giacomo Monti. 1650. Con licenza de' Superiori. / p. [52]
MUSOTTI, Bartolomeo
CORRENTE DECIMA. All'Illustriss. Sig. Padron mio Colendiss. IL SIG. BARTOLOMEO MUSOTTI / p. 46 [individual piece dedicated to]
PELLEGRINI, Domenico [composer]
ARMONIOSI CONCERTI SOPRA LA CHITARRA SPAGNUOLA DI DOMENICO PELLEGRINI BOLOGNESE Accademico Filomuso. . . . In Bologna, per Giacomo Monti. 1650. Con licenza de'Superiori. / f. 2r
[dedication, cont.; signed:] Di Bologna li 16. Ottob. 1650, Humiliss. divotiss. & divotiss. & obligatiss. Servit. Domenico Pellegrini. / f. 3v
engraved portrait: "DOMINICUS PEREGRINUS Bononiaensis" / f. 6r [only in F-Pn 195, 196]
INTAVOLATURA DI CHITARRA SPAGNUOLA DI DOMENICO PELLEGRINI. / p. 1
PIERIZZI, Paolo Francesco
BRANDO SECONDO. All'Illustriss. Sig. Padron mio Colendiss. IL SIG. PAOLO FRANCESCO PIERIZZI / p. 45 [individual piece dedicated to]
SARABANDA DETTA LA PIERIZZA / p. 45 [individual piece dedicated to]
RANUZZI, Angelo
BRANDO TERZO. All'Illustriss. Sig. Padron mio Colendiss. IL SIG. CO. ANGELO RANUZZI / p. 47 [individual piece dedicated to]
SANTACROCE, Marcello
TOCCATA PRIMA. ALL'ILL.MO ET REVERENDISS. SIG. PADRON MIO COL.MO MONSIG. MARCELLO SANTACROCE VICELEGATO DI BOLOGNA / p. 27 [individual piece dedicated to]
SAVELLI, Fabritio [book patron]
ALL'EMINENTISSIMO, ET REVERENDISS. SIG. Sig. mio Padron Colendiss. IL SIG. CARDINALE FABRITIO SAVELLI Legato di Bologna. . . . [dedication]/ f. 3r
SAVELLI, Paolo
ALEMANDA QUARTA. ALL'ILL.MO ET REVERENSISS. SIG. PADRON MIO COL.MO IL SIG. ABBATE D. PAOLO SAVELLI / p. 49 [individual piece dedicated to]
CORRENTE DETTA LA SAVELLINA / p. 50 [individual piece dedicated to]
VIZZANI, Filiberto
CORRENTE NONA. All'Illustriss. Sig. Padron mio Colendiss. IL SIG. FILIBERTO VIZZANI / p. 40 [individual piece dedicated to]
ZAMBECCARI, Costanzo Maria
BRANDO QUARTO. ALL'ILLUSTRISS. SIG. PADRON MIO COLENDISS. IL SIG. CO. COSTANZO MARIA ZAMBECCARI / p. 48[individual piece dedicated to]
ZAMBECCARI, Tomaso
ALEMANDA PRIMA. All'Illustriss. Sig. Padron mio Colendiss. IL SIG. CO. TOMASO ZAMBECCARI / p. 37 [individual piece dedicated to]
V. Bibliography
Boye, Gary R. "Giovanni Battista Granata and the Development of Printed Guitar Music in Seventeenth-Century Italy" (diss., Duke Univeristy, 1995).
________. "Performing Seventeenth-Century Italian Guitar Music: the Question of an Appropriate Stringing" in Performance on Lute, Guitar and Vihuela: Historical Practice and Modern Interpretation, ed. V.A. Coelho (Cambridge: Cambridge University Press, 1997).
Goy, François-Pierre. "Three Versions of Pierre Gaultier's Bataille (1626, 1638, 1650)." Journal of the Lute Society of America XLII-XLIII, Essays in Celebration of Arthur J. Ness's 75th Birthday, Part II (2009-2010): 1-89.
Hall, Monica. "Reviews: E-Mbn. Ms. M811--Libro de Diferentes Cifras de Gitara escogidas de los mejores autores (1705), study and edition by Francisco Alonso Valdivia Sevilla (Madrid: Sociedad de la Vihuela, 2008)." Lute Society Journal (UK) XLVII (2007): 117-118.
Répertoire international des sources musicales: Einzeldrucke vor 1800. RISM A/I [P 1153
Tyler, James, and Paul Sparks. The Guitar and Its Music: From the Renaissance to the Classical Era (Oxford: Oxford University Press, 2002): 75, 89.
VI. Exemplars
F-Pc > F-Pn = France: Paris, Bibliothèque du Conservatoire [in Bibliothèque épartement de la Musique] (visited in 1992) (2 copies:)
F-Pc > F-Pn -- Rés F 195
Condition: thin paper; very bad bleeding; but still fairly legible; fascicle F darker in color, with very bad bleeding
Binding: recent; multi-colored patterns and white and maroon spine "DOMENICO ELLEGRINI -- ARMONIOSI CONCERTI. 1650"
Manuscript additions:
Cover -- white tape: "Ne [pas] communiquer dovrer à la place Vug[?] 25035"
Spine -- white tape, pencil: "Rés F.195"
"Rés F. 195"
2 added folios at front
[pagination as in I-Bc]
f. 2r -- green stamp: "CONSERVATOIRE DE MUSIQUE BIBLIOTHEQUE . . . 23005"; pencil: "Rés F. 195"
!f. 6r -- portrait [in MINKOFF]; engraved with "DOMINICUS PEREGRINUS / Bononiaensis" signed "Fontana F."
size: 17.7 cm (w) X 24.6 cm (h)
[guitar with 6 (?) courses (top single) but not very detailed; very long nails on right hand evident; left hand nails seem shorter in comparison]
[folios numbered 1-31 on recto throughout in pencil]
p. 50 -- st.3,m.1: 2 barlines added after first and third occurences of 5/1st
p. [52] -- green stamp: "CONSERVATIORE DE MUSIQUE BIBLIOTHEQUE"; "23005"
3 folios added at back
F-Pc > F-Pn -- Rés F 196
Condition: much thicker paper; reddish tint (from red page edges?); very heavy imprint marks
Binding: dark white parchment-like (original?); bound with green and white string under spine; stained and wrinkled with some holes
Manuscript additions:
Cover -- white tape: "Ne [pas] communiquer dovrer à la place Vug[?] 25035" [and red dot]; tape: "Rés F196"
Spine -- ink [original??]: "Pellegrini"
Inside cover -- pencil: "Rés F. 195" and "C218"
f. 2r -- brownish ink: "De Mar[f?]ais"; green stamp: "CONSERVATOIRE DE MUSIQUE BIBLIOTHEQUE . . .
28741" [and p. 25 (w/o #) and p. [52]); pencil: "Rés F.196"
!f. 6r -- portrait
[no added folios at back]
Inside back cover -- pencil: [illegible?]
I-Bc = Italy: Bologna, Civico Museo Bibliografico Musicale G. B. Martini (visited in 1991-1992)
Condition: thick to fairly thin red-bordered pages; excellent condition; very legible except for a few thinner pages with bleeding
Binding: off-white cardboard
Manuscript additions:
Binding -- blue tape: "BB 110"
Cover -- top left: "BB 110"
ink: "Pellegrini Domenico / Armoniosi Concerti sopra la chitarra Spa-/gnuola -- Bologna 1650"
"BB110"
f. 2r -- top left, ink: "BB110"
bottom center, blue stamp: "BIBLIOTECA DEL LICEO MUSICALE DI BOLOGNA"
p. [52] -- black stamp: "LICEO MUSICAL G.B. MARTINI BIBLIOGRAFICO "
A copy is available in facsimile from both Minkoff and S.P.E.S. editions.
I-Tn = Italy: Torino, Biblioteca Nazionale Universitaria (visited in 1992)
Condition: some very thin pages with much staining; some mildew; pages of varying thickness - some very bad bleeding (p48, etc.) [NO red edges]
Binding: recent hard cover brown with white corners and spine; "
Manuscript additions:
Spine -- white tape: "BIBLIOTECA . . . RIS M. . . IC . . . I25" [partly torn off]
Inside front cover -- white stamp [crossed out in ink??]: "REGIA "
2 added folios at front
+f. 1r -- old ink: "9m 111 51" crossed out pencil: "Riserva mus'c. I.25"
NO f. 1 as in FACSIMILE
f. 2r -- top right, black stamp: "L.R."; bottom, blue stamp: "BIBLIOTECA DELLA R.A UNIVERSITA' DI TORINO"
f. 2v -- blank
[ff. 3r-5v as in FACS; NO portrait]
p. 7 -- st.4, after m.2, very light ink: single vertical line > double
2 added folios at back
US-BE = United States: Berkeley, CA, University of California, Music Library
Condition: boards bend outward as if water or humidity damaged; decent quality paper, but dark stains in the margins throughout; some unevenly cut pages (fore-edge [?]âwere the pages cut at this edge instead of on top?); thin paper with some definite bleed through
Binding: old (14th century?) Hebrew scroll [!!] around solid boards:
With the help of John Shepard, Head of Jean Gray Hargrove Music Library at the University of California, Berkeley, and Prof. Mauro Perani, University of Bologna, the binding was identified as from a Sefer Torah, containing the text of the Pentateuch Scroll Num. 32,11-Num. 34,13 up to the end of the verse. Prof. Perani comments that "The type of script could be dated from the XIV-XV centuries. The scroll shows the characteristics typical of the scrolls after the canonization of the XII-XIII centuries, when for writing the Sefer Torah prevailed the Palestinian tradition, according the external treatise Masseket soferim (VIII century), and the Babylonian one, described in Sefer Tagin (VIII century) was supplanted."
There is no relationship between the guitar book which is bound with the scroll, but many such scrolls were cut up and used for such purposes in 17th-century Bologna, where the book was printed.
Manuscript additions:
black ink on cover: "M127 P36 A7 1650 Case X"
black ink on spine: "PELLEGRINI . . . M127 P36 A7 1650 Case X"
inside front cover, pencil: "I 12i" . . . "Eitner VII, 353 / Gaspari IV, p. 173 // E[sherin?]. Raro"
no corrigenda in musical contents
3 added blank folios in front
3 added blank folios in back
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