- Home
- Lute & Guitar
- Music for the Baroque Guitar
- Milanuzzi 1622
Milanuzzi, Carlo
Secondo Scherzo delle Ariose Vaghezze . . . Opera Ottava . . . (1622)
I. Overview
A relatively little-known early edition of Milanuzzi's Op. 8. The barring and notation in the 1625 reprint of this book is more consistent.
Title:
Secondo Scherzo delle Ariose Vaghezze . . . Opera Ottava. (Venice: Alessandro Vincenti, 1622).
Description:
64 pp. in movable type
26 pieces for voice/guitar and 26 pieces for solo guitar
Foliation: AB (16 ff. each)
Page Size -- I-Mc: 15.4 cm. (width) X 21cm.
II. Prefatory Material
f. 1r -- SECONDO SCHERZO DELLE ARIOSE VAGHEZZE Commode da Cantarsi à Voce Sola nel Clavicembalo Chitarrone, Arpa doppia, & altro simile stromento Con le Littere dell'Alfabetto, Con l'Intavolatura, e con la Scala di Musica per la Chitarra alla Spagnola. DI CARLO MILANUZII DA SANTA NATOGLIA Aggiontevi nel fine dal medemo Auttore alcune Sonate facili intavolate per la Chitarra alla Spagnola OPERA OTTAVA. Nuovamente Composta, & data in luce. CON PRIVILEGIO. IN VENETIA, A Appresso Alessandro Vincenti MDCXXII
f. 1v -- ALL'ANIMO GENEROSO DEL PADRE F. DANIELE TODESCHINI DA VENETIA SIGNOR MIO OSSERVANDISSIMO. . . . [dedication]
f. 2r -- [dedication signed:] Di Venetia li 22. Di Novembre 1622. Di V.R. Affettionatissimo servitore, & Amico F. Carlo Milanuzii da Santa Natoglia Agostiniano.
Alfabeto Chart:
| + | 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 | Q | R | S | T | V | X | Y | Z | & | Con | Ron |
|---|---|---|---|---|---|---|---|---|---|---|---|
| 3 | 4 | 2 | 2 | 4 | 4 | 2 | 5 | 3 | 4 | 2 | 3 |
| 3 | 4 | 4 | 2 | 2 | 4 | 4 | 5 | 5 | 3 | 2 | 3 |
| 1 | 3 | 4 | 4 | 2 | 2 | 4 | 4 | 5 | 1 | 4 | 5 |
| 1 | 2 | 4 | 5 | 2 | 2 | 3 | 3 | 5 | 2 | 5 | 6 |
| 1 | 2 | 2 | 4 | 5 | 2 | 2 | 3 | 3 | 1 | 3 | 5 |
[The following chords are not used: K, N, P, Q, S, T, V, X, Y, Z, &, Con, and Ron. Followed by two scales with appropriate harmonies on the guitar for continuo accompaniment (see Milanuzzi 1625 for a scan of the original):]
Scalla di Musica per B. Quadro
| alfabeto: | A | D | A | B | C | F | G | A | D |
|---|---|---|---|---|---|---|---|---|---|
| equals: | G | Am | G6 | C | D | E | F | G | Am |
| bass note: | G | A | B | C | D | E | F | G | A |
Scalla di Musica per B. Molle
| alfabeto: | G | O | D | H | B | E | F | G | O | D | H |
|---|---|---|---|---|---|---|---|---|---|---|---|
| equals: | F | Gm | Am | Bb | C | Dm | E | F | Gm | Am | Bb |
| bass note: | F | G | A | Bb | C | D | E | F | G | A | Bb |
III. Notation
Tablature: Alfabeto, stroke, and meter signs are used, and barlines are used somewhat inconsistently. There are no rhythm signs. Pieces for voice and guitar contain the alfabeto, a C clef with the melody and text, and a bass clef for the continuo.
Instrument(s): 5-course guitar
IV. Indices
These pieces were reprinted, in slightly altered format, in Milanuzzi 1625. Title information in brackets [ ] is editorial; information in parentheses ( ) is from the table of contents.
Index of Pieces (solo guitar pieces only):
| Page | Title | Key | Meter | Reprinted in: |
|---|---|---|---|---|
| p. 49 | Passo, e mezo | G | C | = Milanuzzi 1625 |
| p. 49 | --Sciolta del Passo e mezo | G | [3/4] | = Milanuzzi 1625 |
| p. 50 | Tenor di Napoli | G | C | = Milanuzzi 1625 |
| p. 50 | Pavana | a | C | = Milanuzzi 1625 |
| p. 51 | --Sciolta della Pavana | a | [3/4] | = Milanuzzi 1625 |
| p. 51 | Folia (Follia) in Tripla | g | 3/[4] | = Milanuzzi 1625 |
| p. 51 | Ruggiero | G | C | = Milanuzzi 1625 |
| p. 52 | --Rotta di Ruggiero | G | 3/[4] | = Milanuzzi 1625 |
| p. 52 | Gagliarda | G | 3/[2] | = Milanuzzi 1625 |
| p. 53 | Fantinella | G | [3/2] | = Milanuzzi 1625 |
| p. 53 | Ruggiero Alla moderno così ridotto dall'Autore | G | C | = Milanuzzi 1625 |
| p. 54 | --Rotta di Ruggiero | G | 3/[4] | = Milanuzzi 1625 |
| p. 54 | Pavaniglia | g | C | = Milanuzzi 1625 |
| p. 54 | --Rotta della Pavaniglia | g | 3/[4] | = Milanuzzi 1625 |
| p. 55 | Passagalli diversi | G | [3/4] | = Milanuzzi 1625 |
| p. 55 | [Passagallo] | D | [3/4] | = Milanuzzi 1625 |
| p. 55 | [Passagallo] | A | [3/4] | = Milanuzzi 1625 |
| p. 55 | [Passagallo] | a | [3/4] | = Milanuzzi 1625 |
| p. 55 | [Passagallo] | C | [3/4] | = Milanuzzi 1625 |
| p. 55 | [Passagallo] | G | [3/4] | = Milanuzzi 1625 |
| p. 55 | Bergamasche diverse | G | C | = Milanuzzi 1625 |
| p. 55 | [Bergamasca] | C | C | = Milanuzzi 1625 |
| p. 55 | [Bergamasca] | D | C | = Milanuzzi 1625 |
| p. 56 | Romanesca | G | C | = Milanuzzi 1625 |
| p. 56 | Favorita | g | C | = Milanuzzi 1625 |
| p. 56 | --Rotta della Favorita | g | 3/[4] | = Milanuzzi 1625 |
| p. 56 | Monica | g | C | = Milanuzzi 1625 |
| p. 57 | --Rotta della Monica | g | 3/[4] | = Milanuzzi 1625 |
| p. 57 | Ballo di Firenze in A | G | C | = Milanuzzi 1625 |
| p. 58 | --Rotta del Ballo | G | 3/[4] | = Milanuzzi 1625 |
| p. 58 | Villan de Spagna Diverso | G | C | = Milanuzzi 1625 |
| p. 58 | [Villan de Spagna] Alio modo in C | D | C | = Milanuzzi 1625 |
| p. 58 | [Villan de Spagna] Alio modo in I | A | C | = Milanuzzi 1625 |
| p. 59 | Ballo di Firenze in B | C | C | = Milanuzzi 1625 |
| p. 59 | --Rotta del Ballo | C | 3/[4] | = Milanuzzi 1625 |
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 (Passagallo) | 6 | 5 | 1 | 3/[4] |
| Bergamasca | 3 | 3 | 0 | C |
| Villano (Villan de Spagna) | 3 | 3 | 0 | C |
| Ballo del Gran Duca (Ballo di Firenze) | 2 | 2 | 0 | C |
| Ruggiero | 2 | 2 | 0 | C |
| Fantinella | 1 | 1 | 0 | [3/2] |
| Favorita | 1 | 0 | 1 | C |
| Folia (Follia) | 1 | 0 | 1 | 3/[4] |
| Galliard (Gagliarda) | 1 | 1 | 0 | 3/[2] |
| miscellaneous dances . . . (Tenor di Napoli) | 1 | 1 | 0 | C |
| Monica | 1 | 0 | 1 | C |
| Passamezzo (Passo, e mezo) | 1 | 1 | 0 | C |
| Pavan (Pavana) | 1 | 0 | 1 | C |
| Pavaniglia | 1 | 0 | 1 | [C] |
| Romanesca | 1 | 1 | 0 | C |
| Totals: | 26 | 20 | 6 | C = 17 3/[4] = 7 3/[2] = 2 |
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 | 2 | A minor | 2 | |
| B flat major | 0 | B flat minor | 0 | |
| B major | 0 | B minor | 0 | |
| C major | 3 | C minor | 0 | |
| C sharp major | 0 | C sharp minor | 0 | |
| D major | 3 | D minor | 0 | |
| E flat major | 0 | E flat minor | 0 | |
| E major | 0 | E minor | 0 | |
| F major | 0 | F minor | 0 | |
| F sharp major | 0 | F sharp minor | 0 | |
| G major | 12 | G minor | 4 | |
| A flat major | 0 | A flat minor | 0 |
Index of Names (not including the songs):
MILANUZII, Carlo [composer]
. . . Di Venetia li 22. Di Novembre 1622 . . . Affettionatissimo servitore, & Amico F. Carlo Milanuzii da Santa Natoglia Agostiniano / f. 2r
TODESCHINI, Daniele [dedicatee]
ALL'ANIMO GENEROSO DEL PADRE F. DANIELE TODESCHINI DA VENETIA SIG NOR MIO OSSERVANDISSIMO . . . / f. 1v [t.p. ]
VINCENTI, Alessandro [printer]
IN VENETIA, Appresso Alessandro Vincenti MDCXXII / f. 1r [t.p. ]
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).
Eisenhardt, Lex. "Dissonance and Battuto, A Hidden Practice in the Performance of Seventeenth-Century Guitar Music?" Lute Society Journal (UK) XLVII (2007): 38-54.
Hudson, Richard. Passacaglio and Ciaccona: From Guitar Music to Italian Keyboard Variations in the 17th Century (Ann Arbor, MI: UMI Research Press, 1981).
Répertoire international des sources musicales: Einzeldrucke vor 1800. RISM A/I [M 2742
Tyler, James, and Paul Sparks. The Guitar and Its Music: From the Renaissance to the Classical Era (Oxford: Oxford University Press, 2002): 97.
Weidlich, Joseph. "Battuto Performance Practice in Early Italian Guitar Music." Journal of the Lute Society of America 11 (1978): 63-86.
VI. Exemplars
I-Mc = Italy: Milano, Conservatorio di Musica Giuseppe Verdi, Biblioteca (visited in 1992)
Condition: very bad ink bleeding; some stains. Page edges good but very thin paper
Binding: light grey cardboard with white spine; very worn and spotted
Manuscript additions:
Cover: "S49-3" [white tape]; "ARCHIVIO MUSICALE NOSEDA" [purple stamp; also on pp. 4, 6, 8, 10, 12, 18, 20,
22, 24, 26, 28, 30, 34, 36 (38), 40, 42, 44, 50, 58, (60), (61)]; "79" [ink]; "19 [?]" [pencil]
f. 1r -- top: "79" [ink]
p. 14 -- "Francesco Vedoa [Vecloa?]" [ink]
p. 30 -- "Francesco Vedoa [Vecloa?]" [ink]
mis-numbered pages: . . . 30 35 36 33 34 . . . (31) (32)
Lute, Guitar, & Vihuela Home
Baroque Guitar Home