Abstract
Giovanni Bassano's Motetti, madrigali, et canzoni francese (1591) is the largest extant collection of diminutions from the sixteenth and seventeenth centuries. The original print is lost but survives in a complete transcription by Friedrich Chrysander. It contains ornamented motets and madrigals for soprano and bass voice, which may also be played instrumentally, and untexted diminutions of French chansons and madrigals for soprano instrument. The whole-piece diminutions of late sixteenth-century madrigals are unique to the repertoire but are not well known; I include several in the score in Volume 2 of my thesis.My study considers the function of Bassano 1591 and the differences between Bassano's vocal and instrumental diminution practice, with discussions of contemporary writings at each stage. I investigate Bassano's performance instructions; argue that the Venetian ridottos are the primary audience for the book; and show that it was available for sale until at least 1662, along with publications of music that it relies on.
Bassano's choices of vocal passaggi are influenced by the meanings of affective words; they move predominantly by step or small interval; and are organised around the important words of a passage. Bassano has a sectional approach to the original compositions, and a standard method for ornamenting passages of texted "note neri."
Bassano's instrumental diminutions are dissociated from the text; both the meaning of individual words and in the construction of lines of passaggi. They have more active figures than his vocal diminutions, with some motivic organisation which I link to the construction of Bassano's 1585 Ricercate. I present evidence that the French chansons were an entirely instrumental genre in Venice, having lost their texts during a period of manuscript transmission, but the instrumental madrigal diminutions show a conscious decision to ignore the text.
I conclude that Bassano's diminutions are a musical response to and interpretation of the original compositions. The different treatment of text amounts to a separation of vocal and instrumental practice, while Bassano's sensitivity to the text has not been recognised in the literature. Finally, Bassano's central position in Venetian musical society means that his 1591 diminutions can be seen as indicators of a late sixteenth-century Venetian style.
Date of Award | 7 Jan 2025 |
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Original language | English |
Supervisor | Catherine Haworth (Main Supervisor) |