Asioli, Francesco
Concerti armonici per la chitarra spagnuola (1676)
I. Overview
Listed as his third work, this book is slightly longer (48 pages) and much more varied in scope than Asioli 1674, his other surviving tablature. Campanelle again are almost completely absent and ornamentation is kept to a minimum. As in Pellegrini 1650 and Granata 1659, each of the pieces is dedicated to a member of a confraternity, the Collegio de Nobili of Parma. Like Coriandoli 1670 and Asioli's first work, Asioli 1676 is plagued with typographical errors that do not seem to have been corrected at the printshop, as Granata's later books had been. In addition, the pages used in the one remaining copy of this book (in F-Pn) are rather thin, and the ink has bled through quite noticeably. Asioli's works appear to represent a level below the more elaborately printed and edited later books of Granata.
Title: Concerti armonici per la chitarra spagnuola (Bologna: Giacomo Monti, 1676).
Description:
48 pp. in movable type
28 pieces
Movable Type Foliation: ABCDEF (4 ff. each)
Page Size -- F-Pn: c21 cm. (width) X c15 cm.
II. Prefatory Material
p. (1) -- CONCERTI ARMONICI PER LA CHITARRA SPAGNUOLA ESPOSTI DA FRANCESCO ASIOLI REGGIANO, OPERA TERZA. DEDICATI A GL'ILLUSTRISSIMI SIGNORI CONVITTORI Del Collegio de Nobili di Parma. In Bologna, per Giacomo Monti. 1676. Con licenza de'Superiori.:
p. (2) -- blank
p. 3 -- ILLUSTRISSIMI SIGORI. . . . [dedication]
p. 4 -- [dedication, finished and signed:] Francesco Asioli
pp. 5-6 -- A' Lettori. . . . [no technical information]
[hypothetical alfabeto chart; based on common usage:]
| A | B | C | D | E | F | G | G2 | G3 | G5 | G7 | H2 | H3 | H5 | H7 | K3 |
|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|
| 2 | 3 | 0 | 0 | 0 | 2 | 3 | 4 | 5 | 7 | 9 | 2 | 3 | 5 | 7 | 3 |
| 0 | 2 | 0 | 2 | 0 | 2 | 3 | 4 | 5 | 7 | 9 | 4 | 5 | 7 | 9 | 5 |
| 0 | 0 | 2 | 2 | 2 | 1 | 2 | 3 | 4 | 6 | 8 | 4 | 5 | 7 | 9 | 5 |
| 3 | 1 | 3 | 1 | 3 | 0 | 1 | 2 | 3 | 5 | 7 | 4 | 5 | 7 | 9 | 4 |
| 3 | 0 | 2 | 0 | 1 | 0 | 1 | 2 | 3 | 5 | 7 | 2 | 3 | 5 | 7 | 3 |
| L | M | M2 | M3 | M5 | N2 | N3 | N5 | O | P | P3 | P5 | P8 | S2 | S3 | S5 | T5 |
|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|
| 3 | 1 | 2 | 3 | 5 | 4 | 5 | 7 | 1 | 3 | 5 | 7 | X | 2 | 3 | 5 | 7 |
| 1 | 1 | 2 | 3 | 5 | 2 | 3 | 5 | 0 | 3 | 5 | 7 | X | 2 | 3 | 5 | 5 |
| 0 | 3 | 4 | 5 | 7 | 2 | 3 | 5 | 0 | 1 | 3 | 5 | 8 | 4 | 5 | 7 | 5 |
| 4 | 4 | 5 | 6 | 8 | 2 | 3 | 5 | 3 | 1 | 3 | 5 | 8 | 5 | 6 | 8 | 5 |
| 3 | 3 | 4 | 5 | 7 | 5 | 6 | 8 | 3 | 1 | 3 | 5 | 8 | 4 | 5 | 7 | 8 |
[extraordinary chords used in alfabeto name only (hypothetical):]
| D6 | E4 | I7 | O6 | R3 | R5 | V3 |
|---|---|---|---|---|---|---|
| 5 | 3 | 5 | 6 | 3 | 5 | 5 |
| 7 | 3 | 7 | 5 | 5 | 7 | 5 |
| 7 | 5 | 7 | 5 | 5 | 7 | 3 |
| 6 | 6 | 7 | 8 | 5 | 7 | 3 |
| 5 | 4 | 5 | 8 | 3 | 5 | 3 |
III. Notation
Tablature: Italian tablature with alfabeto chords, measure lines, meter signs, and rhythm signs. The following piece demonstrates a sort of soggetto cavato where the patron's name is spelled out with boldly placed alfabeto chords, in this case (p. 26) the first name of Cosmo Masi:
Range (highest fret used on each course):
| 5th course | 10th fret |
| 4th course | 10th fret |
| 3rd course | 10th fret |
| 2nd course | 11th fret |
| 1st course | 11th fret |
Left-hand ornaments used: tremolo (.T. ) and vibrato (#).
Instrument: 5-course guitar
IV. Indices
Ten genres are present in the book, with 8 ballettos, 5 allemandes, and 5 gigues comprising the bulk of the work. The pieces are grouped by 2 or sometimes 3 in a variety of keys, but no full suites are present:
| Page | Title | Key | Meter |
|---|---|---|---|
| p. 7 | Alemanda AL SIGNOR ALESSANDRO FALCONIERI FIORENTINO | f | C |
| p. 9 | Sarabanda AL SIGNOR D. ALESSANDRO SFORZA ROMANO | d | 3/[4] |
| p. 10 | Balletto AL SIGNOR ANNIBALE GAETANO BIANCHELLI RIMINESE | A | C |
| p. 11 | Aria AL SIGNOR D. ANNIBALE VISCONTI MILANESE | d | C |
| p. 12 | Balletto AL SIGNOR ANTONIO LEOPOLDO CO. DI PETTING DI PRAGA | a | C |
| p. 13 | Alemanda AL SIGNOR CONTE ANTONIO OTTAVIANO GARZADORO VICENTINO | b | C |
| p. 15 | Balletto AL SIGNOR MARCHESE (BARTOLOMEO SPADA)Note 1 | C | C |
| p. 17 | Balletto AL SIGNOR BARTOLOMEO VISCONTI MILANESE | D | C |
| p. 18 | Alemanda AL SIGNOR MARCHESE BATTISTA PALLAVICINO PARMIGIANO | c | C |
| p. 20 | Balletto AL SIGNOR CONTE CAMILLO PORTO VICENTINO | d | C |
| p. 22 | Gigue AL SIGNOR ABBATE CARLO LUIGI ARBORIO GATTINARA TORINESE | d | 6/8 |
| p. 23 | Alemanda AL SIGNOR ABBATE CLEMENTE FEDERICO TROTTI SANDRIO DI MOMBASILIO FOSSANESE | g | C |
| p. 25 | Gigue AL SIGNOR (CO)NTE RADOLUPINote 2 | g | 3/8 |
| p. 26 | Aria AL SIGNOR CONTE (COSMO MASI)Note 3 | g | 3/4 |
| p. 27 | GigueNote 4 | G | 3/8 |
| p. 28 | Balletto AL SIGNOR DON ERCOLE VARANO DI CAMERINO FERRARESE | F | C |
| p. 30 | Preludio AL SIGNOR FERDINANDO RAIMONDO MASSIMILIANO BARON DI NEYDEGG VIENNESE | G | C |
| p. 32 | Borea AL SIGNOR FRANCESCO ANTONIO CONTE DI HOENZOLLEREN SVEVO | g | C |
| p. 33 | Sonata AL SIGNOR ABBATE FRANCESCO GIACINTO SANGIORGIO ALDOBRANDINO TORINESE | a | C |
| p. 35 | --Sua fugà che segue AL SIGNOR MARCHESE FRANCESCO DI PASSANO GENOVESE | a | 3/[4] |
| p. 36 | Balletto AL SIGNOR GIOAN FRANCESCO ORSETTI LUCCHESE | d | C |
| p. 38 | Gigue AL SIGNOR GIO. GUGLIELMO BARON DI LUCEMBURG BAVARO | d | 3/8 |
| p. 40 | Balletto prestissimo AL SIGNOR CONTE GIROLAMO BARBARANO VICENTINO | G | C |
| p. 42 | Alemanda AL SIGNOR CONTE GIUSEPPE CARPANI MILANESE | g | C |
| p. 43 | Gigue AL SIGNOR IGNATIO FILIPPO CO. DI BREINER VIENNESE | g | 12/8 |
| p. 44 | Capriccio AL SIGNOR LEOPOLDO RAIMONDO CO. DI BRAIDA MORAVO | D | C |
| p. 46 | Sarabanda AL SIGNOR LORENZO CUTTICA MARCHESE DI CASSINE ALESSANDRINO | D | 3/[4] |
| p. 47 | Capriccio AL SIGNOR LUCIANO SERRA GENOVESE | D | C |
Notes:
1. The patron's name is spelled out in alfabeto chords: B-A-R3-T5-O-L-O6-M-E4-O S5-P5-A-D-A. Return to text
2. C-O R5-A-D6-O6-L-U3-P8-I7. Return to text
3. C-O-S3-M-O. Return to text
4. M5-A-S2-I7. 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., with the forms actually used in the book in parentheses.
| Genres: | total | major | minor | C | 3/4 or 3/[4] | 3/8 | 6/8 | 12/8 |
|---|---|---|---|---|---|---|---|---|
| Balletto | 8 | 5 | 3 | 8 | 0 | 0 | 0 | 0 |
| Alemanda | 5 | 0 | 5 | 5 | 0 | 0 | 0 | 0 |
| Gigue | 5 | 1 | 4 | 0 | 0 | 3 | 1 | 1 |
| Aria | 2 | 0 | 2 | 1 | 1 | 0 | 0 | 0 |
| Capriccio | 2 | 2 | 0 | 2 | 0 | 0 | 0 | 0 |
| Sarabanda | 2 | 1 | 1 | 0 | 2 | 0 | 0 | 0 |
| Borea | 1 | 0 | 1 | 1 | 0 | 0 | 0 | 0 |
| Fuga | 1 | 0 | 1 | 0 | 1 | 0 | 0 | 0 |
| Preludio | 1 | 1 | 0 | 1 | 0 | 0 | 0 | 0 |
| Sonata | 1 | 0 | 1 | 1 | 0 | 0 | 0 | 0 |
| Totals: | 28 | 10 | 18 | 19 | 4 | 3 | 1 | 1 |
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 | 1 | A minor | 3 | |
| B flat major | 0 | B flat minor | 0 | |
| B major | 0 | B minor | 1 | |
| C major | 1 | C minor | 1 | |
| C sharp major | 0 | C sharp minor | 0 | |
| D major | 4 | D minor | 6 | |
| E flat major | 0 | E flat minor | 0 | |
| E major | 0 | E minor | 0 | |
| F major | 1 | F minor | 1 | |
| F sharp major | 0 | F sharp minor | 0 | |
| G major | 3 | G minor | 6 | |
| A flat major | 0 | A flat minor | 0 |
Index of Names:
ASIOLI, Francesco [composer]
CONCERTI ARMONICI PER LA CHITARRA SPAGNUOLA ESPOSTI DA FRANCESCO ASIOLI REGGIANO OPERA TERZA. DEDICATI A GL'ILLUSTRISSIMI SIGNORI CONVITTORI Del Collegio de Nobili di Parma. In Bologna, per Giacomo Monti. 1676. Con licenza de'Superiori / p. (1)
[dedication signed:] Francesco Asioli / p. 4
BARBARANO, Girolamo
Balletto prestissimo AL SIGNOR CONTE GIROLAMO BARBARANO VICENTINO / p. 40
BIANCHELLI, Annibale Gaetano
Balletto AL SIGNOR ANNIBALE GAETANO BIANCHELLI RIMINESE / p. 10
CARPANI, Giuseppe
Alemanda AL SIGNOR CONTE GIUSEPPE CARPANI MILANESE / p. 42
Collegio de Nobili di Parma
CONCERTI ARMONICI PER LA CHITARRA SPAGNUOLA ESPOSTI DA FRANCESCO ASIOLI REGGIANO OPERA TERZA. DEDICATI A GL'ILLUSTRISSIMI SIGNORI CONVITTORI Del Collegio de Nobili di Parma. In Bologna, per Giacomo Monti. 1676. Con licenza de'Superiori / p. (1)
CUTTICA, Lorenzo
Sarabanda AL SIGNOR LORENZO CUTTICA MARCHESE DI CASSINE ALESSANDRINO / p. 46
DI PASSANO, Francesco
Sua fugà che segue AL SIGNOR MARCHESE FRANCESCO DI PASSANO GENOVESE / p. 35
FALCONIERI, Alessandro
Alemanda AL SIGNOR ALESSANDRO FALCONIERI FIORENTINO / p. 7
FILIPPO, Ignatio
Gigue AL SIGNOR IGNATIO FILIPPO CO. DI BREINER VIENNESE / p. 43
GARZADORO, Antonio Ottaviano
Alemanda AL SIGNOR CONTE ANTONIO OTTAVIANO GARZADORO VICENTINO / p. 13
GATTINARA, Carlo Luigi Arborio
Gigue AL SIGNOR ABBATE CARLO LUIGI ARBORIO GATTINARA TORINESE / p. 22
GUGLIELMO, Gio.
Gigue AL SIGNOR GIO. GUGLIELMO BARON DI LUCEMBURG BAVARO / p. 38
HOENZOLLERN, Francesco Antonio
Borea AL SIGNOR FRANCESCO ANTONIO CONTE DI HOENZOLLEREN SVEVO / p. 32
LEOPOLDO, Antonio
Balletto AL SIGNOR ANTONIO LEOPOLDO CO. DI PETTING DI PRAGA / p. 12
MASI, Cosmo
Aria AL SIGNOR CONTE (COSMO MASI) [COS3MO] / p. 26
Gigue [M5AS2I7] / p. 27
MASSIMILIANO, Ferdinando Raimondo
Preludio AL SIGNOR FERDINANDO RAIMONDO MASSIMILIANO BARON DI NEYDEGG VIENNESE / p. 30
MONTI, Giacomo [printer]
. . . In Bologna, per Giacomo Monti 1676 . . . / p. (1)
ORSETTI, Gioan Francesco
Balletto AL SIGNOR GIOAN FRANCESCO ORSETTI LUCCHESE / p. 36
PALLAVICINO, Battista
Alemanda AL SIGNOR MARCHESE BATTISTA PALLAVICINO PARMIGIANO / p. 18
PORTO, Camillo
Balletto AL SIGNOR CONTE CAMILLO PORTO VICENTINO / p. 20
RADOLUPI, --
Gigue AL SIGNOR (CO)NTE RADOLUPI [CO R5AD6O6LU3P8I7] / p. 25
RAIMONDO, Leopoldo
Capriccio AL SIGNOR LEOPOLDO RAIMONDO CO. DI BRAIDA MORAVO / p. 44
SANDRIO, Clemente Federico Trotti
Alemanda AL SIGNOR ABBATE CLEMENTE FEDERICO TROTTI SANDRIO DI MOMBASILIO FOSSANESE / p. 23
SANGIORGIO, Francesco Giacinto
Sonata AL SIGNOR ABBATE FRANCESCO GIACINTO SANGIORGIO ALDOBRANDINO TORINESE / p. 33
SERRA, Luciano
Capriccio AL SIGNOR LUCIANO SERRA GENOVESE / p. 47
SFORZA, Alessandro
Sarabanda AL SIGNOR D. ALESSANDRO SFORZA ROMANO / p. 9
SPADA, Bartolomeo
Balletto AL SIGNOR MARCHESE (BARTOLOMEO SPADA) [BAR3T5OLO6ME4O S5P5ADA] / p. 15
VARANO, Ercole
Balletto AL SIGNOR DON ERCOLE VARANO DI CAMERINO FERRARESE / p. 28
VISCONTI, Annibale
Aria AL SIGNOR D. ANNIBALE VISCONTI MILANESE / p. 11
VISCONTI, Bartolomeo
Balletto AL SIGNOR BARTOLOMEO VISCONTI MILANESE / p. 17
V. Bibliography
Boye, Gary R. "Giovanni Battista Granata and the Development of Printed Guitar Music in Seventeenth-Century Italy" (diss., Duke Univeristy, 1995).
Boye, Gary R. "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).
Répertoire international des sources musicales: Einzeldrucke vor 1800. RISM A/I [A 2504
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 = Bibliothèque nationale de France, Département de la Musique] (visited in 1992)
Condition: some burn holes; darkened and stained pages; rough page edges; much ink bleeding
Binding: dark white, leather-like cover; worn and dirty [possibly original]
Manuscript additions:
Cover -- ink: "Asioli Fr., / Concerti armonici / per la chitarra spagnuola"
Spine -- tape, partially torn: "-ti armonici per la Chitarra spagnuola"; white tape: "Rés 98"
2 added pages at front
p. (1) -- green stamp: "CONSERVATOIRE DE MUSIQUE / BIBLIOTHEQUE"; ink in stamp: "25431"; pencil: "Rés. 98"
p. 8 -- torn and patched
p. 25 -- green stamp: "CONSERVATOIRE DE MUSIQUE / BIBLIOTHEQUE"
p. 48 -- green stamp: "CONSERVATOIRE DE MUSIQUE / BIBLIOTHEQUE . . . 25431" [p. 48 not originally the end; the book may not be complete]
14 blank folios at end
back cover -- pencil?: "Coll. ju. 14/4 86 Ly [?] Op"
Corrigenda [in dark ink, close to original]:
p. 17 -- line 1:
measure 1, beat 3: 7/1st > 5?/1st
bt. 4: 7/3rd > 6 and 6/2nd > 5
measure 2, bt. 2: 7/3rd > 6 and 6/2nd > 5
Pagination:
[some pages bound out of order, but the page numbers are correct:]
Incorrectly bound pages after p. 17: 17 22 23 20 21 18 19 24
Incorrectly bound pages after p. 33: 33 38 39 36 37 34 35 40
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