John Anthony GRIFFITHS The vihuela fantasia A comparative study of forms and styles A dissertation in the Department of Music submitted in partial fulfilment of the requirements of the degree of Doctor of Philosophy at Monash University. June, 1983 THEVIHU ELAFAMTASIAACOMPARATIVESTUDYOFFORMSANDSTYLESbYJohnAnthonyGrifths,B.A. iAdissertationintheDepartmentofMusicsubmittedinpartialfullmentoftherequirementsofthedegreeof'DoctorofPhilosophyatMonashUniversity.r{'ICONTENTSPageLISTOFTABLES..... ....... ...... ..... .............vLISTOFEXAMPLES...... . ......... ........ ........ viiSUMMARY... .................. ........ .... . ........ xvmd STATEMENT ................... ...... ............ xviiiACKNOWLEDGEMENTS ............... ........ ......... xix1.INTRODUCTION. ...... .......... ....... .........1SourcesandLiterature ....................... 9` e11micac1n................................17ClassicationofFantasies ................. 21ComparativeMethod .......................... 31SummaryTables .............................. 4812.LUISMILAN........... ....................... 52StylisticForces .... . ............. . ..... ....7Improvisation ............................... 73Form........................................78IMusicalLanguage ............................ 98ComparativeAssessment....... .... ..........l233.LUISDENARVAEZ............................126Style!OIOOIOOIIIOOOIOIOOllllllllllllllllllll-34FOrm138PolythematicFantasias ........ .............142Fantasiadeconsonancia..; ................. 159MonothematicFantasias ..................... 162ComparativeAssessment ..................... 171iiPage 4.ALONSOMUDARRA l74 .,.t' Style .............. ,........... 186 PolythematicFantasias l92 Non-imitativeFantasias 208 OstinatoFantasias 211 Id io mati cFant as i.a s 2 16 ComparativeAssessment 230 5.ENRIQUEZDEVALDERRABAN0 234 MelodieandContrapuntalStyle 254 ParodyFantasias 264 ImitativeFantasias 290 Non-imitativeFantasias . 294 HybridFantasias 299 ComparativeAssessment 306 6.DIEGOPISADOR 312 CantusfirmusFantasias 327 Fantasiaswithoutacantusfirmus 345 ComparativeAssessment .. 364 7.MIGUELDEFUENLLANA 369 Style 389 PolythematicFantasias 415 ParodyFantasias 434 MonothematicFantasias 442 IdiomaticFantasias 448 ComparativeAssessment . 454 8.ESTEBANDAZA .... 461 Style 469 PolythematicFantasias 490 Fantasiasdepassoslargos 500 iii Page ComparativeAssessment 505 1 9. . t THERAMILLETEFANTASIAS , 510 10.CONCLUSIONS 523 BIBLIOGRAPHY . 540 APPENDIX1:MotivicIndexofVihuelaFantasias 553 APPENDIX2:Morales,Magnificatfragments 617 SOURCESOFEXAMPLESCITED 621 SUPPORTINGPUBLICATION:EstebanDaza,TheFantasias forVihuela (Appended) iv 1. t TABLES Page 1.1TheComposersandClassesofVihuela Fantasias 30 1.2CategoriesofCompositionalProcedure 36 1.3ConceptParameter:ScoringSystem 39 1.4IdiomParameter:ScoringSystem 44 1.5IdiomScoreCalculations 48 2.1Milan:SummaryofFantasias 58 2.2Milan:PolyphonieProcedures(Concept) 72 2.3Milan:TexturalTypes(Idiom) 74 2.4Milan:ConceptandIdiomScores l24 3.1Narvaez:SummaryofFantasias 131 3.2Narvaez:PolyphonieProcedures(Concept) 136 3.3Narvez:TexturalTypes(Idiom) 137 3.4Narvez:ConceptandIdiomScores l71 4.1Mudarra:SummaryofFantasias 177 4.2Mudarra:FantasiaTypes 184 4.3Mudarra:PolyphonieProcedures(Concept) 188 4.4Mudarra:TexturalTypes(Idiom) l90 4.5Mudarra:ConceptandIdiomScores 231 5.1Valderrbano:SummaryofFantasias 242 5.2Valderrabano:PolyphonieProcedures (Concept)... 250 5.3Valderrabano:Textura!Types(Idiom) 253 5.4Valderrabano:ConceptandIdiomScores 308 6.1Pisador:SummaryofFantasias 319 v 1 6.2 6.3 6.4 6.5 7.1 7.2 7.3 7.4 7.5 7.6 8.1 8.2 8.3 8.4 9.1 9.2 Page Pisador:FantasiaTypes 321 Pisador:PolyphonieProce6ures(Concept) 324 Pisador:Textura!Types(Idiom) 326 Pisador:ConceptandIdiomScores 367 Fuenllana:SummaryofFantasias 375 TheModalCharacteristicsofFuenllanas Tientos ........................... 382 Fuenllana:PolyphonieProcedures(Concept)390 Fuenllana:Textura!Types(Idiom) 392 Fuenllana:ExpositionTypes 413 Fuenllana:ConceptandIdiomScores 458 Daza:SummaryofFantasias 465 Daza:PolyphonieProcedures(Concept) 470 Daza:Textura!Types(Idiom) 471 Daza:ConceptandIdiomScores 507 Ramillete:SummaryofFantasias 512 Ramillete:PolyphonieProcedures (Concept) 512 9.3Ramillete:Textura!Types(Idiom) 512 10.1ComparativeSummaryofFantasias 529 10.2AverageConceptandIdiomScores(Mean) 531 vi 1 .,. EXAMPLES Page 1.1ConceptScoreCa1culations 41 2.1Organizationofthefantasiasin ElMaestro 55 2.2Milan,Fantasiaswithchangingrnensuration.66 2.3Milan,Proportionalrnensurations 68 2.4 Fantasia1(b.l-19) 76 2.5Milan,Fantasia11(b.80-91) 76 2.6Milan,Pavana2(b.1-5) 77 2.7Milan,Recurrentrnotives 78 2.8Milan,Fantasia3(b.l-21) 81 2.9Miln,Fantasia27(b.1-49) 83 2.10Milan,Fantasia11(b.l-30) 84 2.11Milan,Fantasia29,structuraldivisions 86 2.12Milan,Fantasia19(b.1-40) 91 2.13Milan,Fantasia19(b.1-40),pcssible interpretations 92 2.14Milan,Fantasia7,relatedthernes 94 2.15Milan,Fantasia20,relatedth ernes( 1) 95 2.16Milan,Fantasia20relatedth ernes(2) 95 2.17Milan,Fantasia4,themes 96 2.18Milan,Fantasia6(b.1-13) 100 2.19Milan,Fantasia24(b.36-40) 101 2.20Milan,Fantasia34(b.24-25) 102 2.21Fantasia23(b.l-21) .2.22Milan,Fantasia20(b.205-07) 104 vii ., Page 2.23Milan,Fantasia14(b.1-7), 105 2.24Milan,Fantasia25 106 2.25Milan,Fantasia17(b.Sl-69) 107 2.26Milan,Fantasia14(b.l0-16) 108 2.27Milan,Fantasia18(b.73-77) 109 2.28Milan,Fantasia8(b.84-92) 109 2.29Milan,Fantasia28(b.67-73) 110 2.30Milan,Fantasia6(b.73-81) 111 2.31Milan,Fantasia22(b.l-15) 111 2.32Milan,Fantasia24(b.l85-99) 113 2.33Milan,Fantasia15(b.33-45) 114 2.34Milan,Tento4(b.l01-19) 115 2.35Milan,Fantasia18(b.78-86) 116 2.36Milan,Fantasia16(b.25-35) 116 2.37Milan,Tento1(b.97-106) 117 2.38 Fantasia16(b.l-14) 119 2.39Miln,Fantasia10(b.64-71) 120 2.40Milan,Fantasia15(b.65-77) 121 2.41Miln,Fantasia11,tonalstructure l21 2.42Milan,Fantasia2(b.l-18) 122 2.43Milan,StyleGraph l25 3.1 Fantasia9(b.65-69)andFrancesco daMilano,Fantasia66(b.l90-95) 140 3.2Narvez,Fantasia14 143 3.3Narvez,Fantasia14,structuralplan l46 3.4Narvaez,Fantasia2(b.1-35) 148 3.5 Fantasia2(b.35-67) 149 3.6Narvez,Fantasia2(b.67-102) 151 3.7Narvaez,Fantasia2(b.l02-21) 151 viii Page 3.8Narvaez,Fantasia2(b.l21-54) 153 1 3.9Narvaez,Fantasia2,s t r u ~ t u r a lplan l55 3.10Narvaez,Fantasia10(b.l-35) 156 3.11Narvaez,Fantasia10(b.35-75) 158 3.12Narvaez,Fantasia5(b.37-56) 160 3.13Narvez,Fantasia5(b.64-86) 161 3.14Narvaez,Fantasia6(b.l-36) 165 3.15Narvaez,Fantasia6(b.36-52) 166 3.16Narvaez,Fantasia6(b.52-81) 168 3.17Narvaez,Fantasia6(b.81-112) 169 3.18Narvaez,Fantasia6(b.ll2-28) 170 3.19Narvaez,Fantasia6,structuralplan l70 3.20Narvaez,StyleGraph l72 4.1OrganizationofMudarra'slibrose9undo 119 4.2Mudarra,Fantasia6(b.l-18,38-57) 194 4.3Mudarra,Fantasia6(b.l8-38) 195 4.4Mudarra,Fantasia6(b.57-76) 196 4.5Mudarra,Fantasia16(b.l-14) 198 4.6Mudarra,Fantasia16(b.l4-29) 198 4.7Mudarra,Fantasia16(b.29-49) 199 4.8Mudarra,Fantasia16(b.49-94) 200 4.9Mudarra,Fantasia12(b.l-20) 203 4.10Mudarra,Fantasia12(b.36-57) 204 4.11Mudarra,Fantasia19(b.l-29) 205 4.12Mudarra,Fantasia19(b.62-109) 207 4.13Mudarra,Fantasia23(b.l-28) 209 4.14Mudarra,Fantasia23(b.28-41) 210 4.15Mudarra,Fantasia18(b.l-42) 214 4.16Mudarra,Fantasia18(b.42-63) 215 ix ., Page 4.17Mudarra,Fantasia18,structuralplan 216 4.18Mudarra,Fantasia4,reco6structionofthe cantusfirmus ... 218 4.19Mudarra,Fantasia4(b.40-60) 219 4.20Mudarra,Fantasia2(b.l-21) 221 4.21Mudarra,Fantasia2(b.21-36) 222 4.22Mudarra,Fantasia10,skeletonofbars 1-96 . ................. 226 4.23Mudarra,Fantasia10,elaborationofbars 1-96 . .................... 227 4.24Mudarra,Fantasia10(b.ll2-24) 228 4.25Mudarra,Fantasia10(b.l26-58) 228 4.26Mudarra,Fantasia10,foliapatterns 229 4.27Mudarra,StyleGraph 232 5.1Valderrabano,Fantasia12(b.73-78) 254 5.2Va1derdlbano,Fantasia21(b.l30-38) 255 5.3Va1derdlbano,Fantasia31(b.34-39) 256 5.4Va1derrabano,Fantasia12(b.67-70) 256 5.5Va1derrabano,Fantasia25(b.32-45) 257 5.6Fantasia4(b.ll-24) 258 5.7Va1derrabano,Fantasia21(b. 25-41) 259 5.8Va1derrabano,Fantasia5(b. 73-78) 260 5.9Va1derrabano,Fantasia26(b.111-12;85-87) 26 2 5.10Va1derrbano,Fantasia21(b.20-22) 262 5.11Va1derrabano,Fantasia6(b.9-12) 263 5.12Va1derrbano,Fantasia13(b.66-70),two realizations 264 5.13Josquin,MissadeBeataVirgine,"KyrieII", structure 267 5.14Va1derrabano,Fantasia19,structure 268 x 1 Page 5.15Josquin,MissadeBeataVirgine,"KyrieII" (b.62-72)andFantasia19 (b.l-12) 269 5.16Josquin,MissadeBeataVirgine,"KyrieII" (b.77-88)andValderr3bano,Fantasia19 (b.33-56) 270 5.17Josquin,MissadeBeataVirgine,"KyrieII" (b.90-94)andValderrbano,Fantasia19 (b.69-78) 271 5.18Josquin,MissadeBeataVirgine,"KyrieII" (b.96-109)andValderrabano,Fantasia19 (b.l06-29) 272 5.19Valderrabano,Fantasia19(b.95-107) 273 5.20Morales,Animamea(b.l9-26)andValderrabano Fantasia8(b.59-78) 275 5.21Mouton,Queramuscumpastoribus(b.l-23) andFantasia28(b.l-32) 277 5.22AlbertdeRippe,FantaisieXIIand Valderrabano,Fantasia9,parodypassages.282 5.23deRippe,FantaisieXXIandValderrbano, Fantasia14,parodypassages 288 5.24Valderrabano,Fantasia1(b.l-19) 291 5.25Valderrbano,Fantasia1(b.19-33) 291 5.26Valderrbano,Fantasia1(b.33-43) 291 5.27Valderrabano,Fantasia1(b.43-60) 292 5.28Valderrbano,Fantasia1(b.59-77) 292 5.29Valderrbano,Fantasia30(b.l-13) 295 5.30Valderrabano,Fantasia6(b.l-29) 297 5.31Valderrabano,Fantasia6(b.29-52) 297 5.32Valderrbano,Fantasia6(b.59-83) 298 5.33Valderrabano,Fantasia6(b.90-113) 299 5.34Valderrbano,Fantasia25(b.85-106) 301 5.35Valderrbano,Fantasia32(b.93-114) 301 5.36Valderrabano,Fantasia33(b.87-109) 302 5.37Valderrbano,Fantasia18(b.l-23) 303 xi ., Page 5.38Valderrabano,Fantasia18(b.23-83) 304 5.39 . t Valderrbano,Fantasia18.(b.82-117) 306 5.40Valderrabano,StyleGraph 309 6.1Pisador,ModalDistribution 322 6.2Pisador,Fantasia13,structuralplan 327 6.3Pisador,Fantasia13,cantusfirmus rhythmicforms 329 6.4Pisador,Fantasia13(b.l-62) 332 6.5Pisador,Fantasia13(b.62-124) 334 6.6Pisador,Fantasia6,thamaticvariants 336 6.7Pisador,Fantasia6 339 6.8Pisador,Fantasia6,structure 341 6.9Pisador,Fantasia7(b.l-10) 343 6.10Pisador,Fantasia10(b.49-60) 343 6.11Pisador,Fantasia9(b.l-12) 343 6.12Pisador,Fantasia9(b.48-68) 344 6.13Pisador,Fantasia19,themes 346 6.14Pisador,Fantasia19(b.1-48) 347 6.15Pisador,Fantasia19(b.48-98) 350 6.16Pisador,Fantasia16(b.1-48) 352 6.17Pisador,Fantasia16(b.49-96) 353 6.18Pisador,Fantasia16(b.97-129) 354 6.19Pisador,Fantasia2 360 6.20 byPisadorandMil&n 361 6.21FrancescodaMilano,Ricercar7 (b.33-42) 362 6.22FrancescodaMilano,Fantasia67 (b.40-46) 363 6.23Pisador,StyleGraph 368 7.1Fuenllana,ThematicTypes 397 xii ., Page 7.2Fuenllana,Fantasia24,thematicvariants (b.1-26) 400 7.3Fuenllana,Fantasia18,thematic resemblances . 400 7.4Fuenllana,Fantasia4,thematic transformation 402 7.5Fuenllana,Fantasia12(b.13-22) 403 7.6Fuenllana,Fantasia21(b.27-33) 404 7.7Fuenllana,Fantasia21(b.41-46) 405 7.8Fuenllana,Fantasia40(b.70-78) 406 7.9Fuenllana,Fantasia26(b.l33-45) 407 7.10Fuenllana,Fantasia13(b.l-56) 417 7.11Fuenllana,Fantasia13(b.56-113) 420 7.12Fuenllana,Fantasia27(b.l-37) 422 7.13Fuenllana,Fantasia27(b.36-85) 424 7.14Fuenllana,Fantasia20(b.l-46) 428 7.15Fuenllana,Fantasia20(b.46-99) 431 7.16Fuenllana,Fantasia20(b.99-172) 432 7.17Morales,VeniDomine(b.1-31andFuenllana, Fantasia23(b.1-30) 437 7.18Morales,VeniDomine(b.149-57andFuenllana, Fantasia23(b.l12-28) 438 7.19Morales,VeniDomineandFuenllana, Fantasia23,themes 439 7.20Morales,VenidomineandFuenllana, Fantasia23,forma!modelsandparody relationships . 440 7.21Morales,Venidomine(b.71-93)andFuenllana, Fantasia23(b.65-83) 441 7.22Fuenllana,Fantasia6,thematicvariants 443 7.23Fuenllana,Fantasia50,themes 445 7.24Fuenllana,Fantasia34,cantusfirmus forms 446 7.25Fuenllana,Fantasia34 447 xiii .. Page 7.26Fuenllana,Fantasiadeconsonancias {bel-29} .449 7.27Fuenllana,Fantasiadec o ~ s o n a n c i a s (b.l23-50) . 45"' 7.28Fuenllana,Fantasiadeconsonancias (b.63-9f2J) 451 7.29Fuenllana,Fantasiaderedobles,themes 452 7.30Fuenllana,Fantasiaderedobles(b.l-19) 453 7.31Fuenllana,Fantasiaderedobles(b.43-53).454 7.32Fuenllana,StyleGraph 459 8.1Daza,SuperiusRangeofMode1Fantasias 467 8.2Daza,Fantasia13(b.12-22) 473 8.3Daza,Fantasia13(b.35-39) 476 8.4Daza,Fantasia8(b.37-41) 476 8.5Daza,Fantasia6(b.37-42) 477 8.6Daza,Fantasia11,themes 478 8.7Daza,thematictypes 483 8.8Daza,Fantasia3(b.l5-17) 488 8.9Daza,Fantasia17,episodesandthemes 490 8.10Daza,Fantasia17,thematicentries 491 8.11Daza,Fantasia17(b.l-15) 492 8.12Daza,Fantasia17(b.16-32) 493 8.13Daza,Fantasia17(b.32-40) 494 8.14Daza,Fantasia1,episodesandthemes 495 8.15Daza,Fantasia1,harmonieprogressions 497 8.16Daza,Fantasia21(b.1-16) 502 8.17Daza,Fantasia21(b.23-30) 503 8.18Daza,StyleGraph 506 9.1Lopez,Fantasia 514 9.2Fabricio,Fantasia(b.1-66) 518 9.3Fabricio,Fantasia(b.l27-30) 520 xiv Page 9.4Fabricio,Fantasia(b.189-95) 520 ., 10.1 . t GraphofAverageScores ~ 5 3 2 10.2ComparativeScoreRanges 534 10.3DistributionofScores 536 xv 1.t' SUMMARY Thisthesisexaminesthe219knownfantasias composedfortheSpanishvihuelademano,included ineightsourcesdatedbetween1536and1593.The principalaimsoftheresearcharetodelineatethe styleofeachoftheninecomposersrepresented,and todemonstratethemannerinwhichthefantasia developedfromfreeimprovisatorybeginningsto becomeasophisticatedcontrapuntalart.Individual idiosyncrasiesareonlypartlyseparablafromthis generaltrend. ChapterOneintroducestherepertory,surveys relevantsourcesandmusicolog ical setsoutthemethodologyof literature, thestudy. and A statisticallybasedcomparativeaparatushasbeen constructedtocompareeachfantasiatothenominal notionofthe instrumentalmotet.The'Concept' parameterquantifiestheconformityofeachfantasia toprinciplesofvocalcounterpoint,whilethe 'Idiom'parameterassessestheinfluenceofpurely instrumentalideas. ChapterTwoexaminesforty-fourfantasiasand tentasbyLuisMildn(1536).Theseareprimarily polythematic,andstronglysuggestiveofan improvisatorytradition.Theyarelooselyassembled conglomeratestructureswhichrelyonacommonstock xvi 1 offormulaeanddeviees. FourteenfantasiasbyLuisdeNarvaez(1538) discussedinChapterThrees e ~anewcosmopolitan trendinSpanishinstrumentalmusicthroughtheir incorporationofmorevocally-basedcounterpoint. Narvaez'sfantasiasachieveauniquebalancebetween theirstructuralandcontrapuntaldesign,andthe useofstrikinginstrumentalresources. Thetwenty-sevenfantasiasofAlonsoMudarra (1546)discussedinChapterFouraresimilarto thoseofNarvaez.Mudarra'sarelessdependenton imitativeproceduresandsubstitutefree counterpointforthesequencesandother prolongationdevieesusedbyNarvaez. EnriquezdeValderrabano'sthirty-three fantasias(1547)investigatedinChapterFiveare characterizedbytheextensiveuseofparody technique,andasubstantialavoidanceofimitation. Ofallvihuelists,hisidiosyncraticstyleisthe mostindependentofthemaintrendsofhisage. Twenty-sixfantasiasbyDiegoPisador(1552) examinedinChapterSixshowthisleastaccomplished vihuelistasthecomposerofmanymonothematic fantasias.Theweaknessesofhisstylereveal facetsofcompositionalprocedurenototherwise discernible. ChapterSevenexaminesfifty-onefantasiasby MigueldeFuenllana(1554),thelargestindividual contributiontothegenre.Theyarethemost grandioseinachievement,monumentsofinvolved xvii ., contrapuntalsplendour. Twenty-twofantasiasbyEstebanDaza(1576) discussedinChapteramoremodest contribution,butreflectacertainpolyphonie mastery.Theirdenseimitationisplaceddeftly withinthescopeofthevihuela. ChapterNineexaminestwofantasiasfrom RamilletedeFlores(1593).OnebyLpezrecalls Narvez,whilethatbyFabricioappearscontemporary w i ththemanuscr i pt,andexpandstechn ica 1and artisticdimensionsbeyondanypreviousboundaries. TheconclusionsofChapterTenare substantiallydrawnfromthestatisticalcomparision oftherepertory.AppendixOneisanindexofthe thematicmaterialoftheentirefantasiarepertory, intendedasaresourceforfurtherscholarship. PreviouslyunavailableMagnificatfragmentsby MoralesaretranscribedinAppendixTwo.The fantasiasofDazaareappendedasapublicationin supportoftheresearch. xviii 1 .~ STATEMENT Thisthesiscontainsnomaterialwhichhasbeen acceptedfortheawardofanyotherdegreeor diplomainanyuniversity.Tothebestofmy knowledgeandbelief,thethesiscontainsno materialpreviouslypublishedorwrittenbyanother person,exceptwhenduereferenceismadeinthe textofthethesis. xix .,.t' ACKNOWLEDGEMENTS Thisthesishasbeenpreparedwiththe assistanceandencouragementofmanyindividualsand organizationstowhomIwouldhereliketooffermy thanks.InparticularIamindebtedto: Dr.MargaretKartomi,forsupervisionandsupport; NiaHoldensonfortypingthemanuscript,and MeredithSher lockwhoca ta loguedandtypedthe thematicindex; ProfessorsHowardMayerBrown(Universityof Chicago),JohnWard(HarvardUniversity),and M.SantiagoKastner(Lisbon)andHopkinsonSmith (Basel)forbriefyetvaluableandinspiring discussions; RosBandt,wholivedthroughitall,andsurvived; TheBritishLibrary(London),BibliotecaNacional (Lisbon),BibliotecadelaCatedral(Toledo), BayerischeStaatsbibliothek(Munich),MusicLibrary, UniversityofIllinois(Urbana),andtheMicrofilm LibraryoftheLuteSocietyofAmerica. xx ., . ,, CHAPTER1 . INTRODUCTION Theemergenceofawrittentraditionofsolo instrumentalmusicwasoneofthemajormusical developmentsofthesixteenthcentury.Theprints andmanuscriptsofinstrumentalmusicwhichappeared atthebeginningofthecenturyrepresentthefirst fullfloweringofatraditionwhichhadbeen gatheringimpetusforperhapsacentury.Itsrise wasthenaturalconsequenceofagradua!shiftin musicalthinking.Compositionstylechanged.The decadeseithersideof1500sawmusicbecome increasinglyflexible.Composerswereforginganew musicallanguagewhichwouldallowthemgreater individualityandpersona!expression.Thecultural climateoftherenaissanceprovedareceptive environmentfornurturingtheincipientsolo tradition.Polyphonyperformedonasoloinstrument offeredapathwaytowardsanindividualisticmusical expression,withoutinhibitingthedevelopmentof centralmusicalconceptsandstyles.Itwasa responsetochang ingvalues.Fromtheearliest offerings,astronga ~ dinfectioussenseof enthusiasmandvitalitypervadestherepertory. Soloinstrumentalmusicsteppedintotheworldwith 1 1 confidenceandcertainty. Atthesametime,Spanishculturerosetoone ofitshighestpinnacles.Tthemarriageofthe CatholicMonarchsFerdinandandIsabellain1469 producedahithertounknownpoliticalunityand stability.ThereconquestofsouthernSpainwas completedwiththecaptureofGranadain1492, endingalmosteighthundredyearsofMoorish occupation.TheinfamousInquisitionwas establishedin1481,andtheexpulsionoftheJews in1492wasalsoundertakenwiththeaimofuniting Spainunderasinglefaith.Tofurtherimperial aspirations,Columbusexploratoryexpeditiontothe Americasin1498wasfinancedbyFerdinandand Isabella.Undertheirrule,Spainemergedasa modernEuropeanstate. Theascenttothethronein1516ofCharlesV, thefirstSpanishHabsburg,consolidatedearlier advances.TheSpanisheconomywasboostedbywealth fromtheAmericanterritories,althoughthiswealth waslargelydissipatedinwarscausedbyCharles' religiousfervour.Internaistabilitywas maintained,however,andtheextensionofSpanish sovereigntybeyondhernationalfrontiersinto Italy,theLowCountriesandAfricaresultedfrom Charles'roleasHolyRomanEmperor.Spainwasa politicallydynamicandartisticallyfertile environment.Charlessupportedtwomusicalchapels, oneofFlemishmusiciansandanother,established 2 ., later,ofSpanishmusicians.lMembersofthe chapelsaccompaniedhimonhisjourneysabroad,even tothebattlefield.In1556Charlesabdicatedin .t' favourofhissonPhilipII.DuringPhilip'sreign to1598,SpainremainedattheforefrontofEuropean politicsandart.Philipmaintainedhisfather's musicalestablishment,andsevera!outstanding Franco-Flemishcomposersservedhim.Amongthose whoheldprominentpositionsinthechapelsofthe tworulerswereThomasCrecquillon,NicolasGombert andPierredeManchicourt. Atnoo the itirn einh i stor ydo esSpa i na pp e a r tohaveoccupiedsuchaprominentpositionin Europeanpoliticalandculturallife.TheSpanish 'goldenage'producedpoets,writers,painters,and musiciansofthehighestcalibre.Thevihueliststo whosemusicthisthesisisdevotedmayberankedon thesarneplaneastheblindorganistAntoniode Cabezon(151ril-66)andthevocalpolyphonists CristobaldeMorales(c.l5rilril-53),JuanVazquez (c.l5rilril-c.156ril),FranciscoGuerrero(1527/8-99)and TomasLuisdeVictoria(c.l548-1611).The ir environmentwasalsotheworldofthepoets GarcilasodelaVega(15rill-36),SantaTeresade Jesus(1515-82),FrayLuisdeLe6n(1528-91)and LopedeVega(1562-1635),thewriterMiguelde lForadetailedaccount,seeHiginio!;gls, LaMusicaenlaCortedeCarlosV,2vols.,Monurnen-tosdelaMfisica2(1944;rpt.Barcelona InstitutoEspa?1oldeMusicolog!a,1965). 3 1 Cervantes(1547-1616)andthepainterDomenico Theotocopuli"ElGreco"(?1542-1614). Themusicunderinthisthesisis r asinglegenreofsixteenth-centurySpanishmusic forasoloinstrument:thefantasiareprtoryofthe vihuelademano.Thegenreisexaminedasanentire corpusofworksandintermsoftheindividual contributionsofasmallnumberofcomposers.The thesisassessestheirpersona!solutionstogeneral aesthetic,formal,andtechnicalproblems.Itisan historicalandanalyticalstudyofpartofthefirst phaseofdevelopmentofsoloinstrumentalmusic. Moremusicsurvivesforthevihuelademano thanforanyothersoloinstrumentplayedinSpain duringthesixteenthcentury.Thevihuelaisa guitar-shapedinstrumentnormallystrungwithsix doublecourses,eachtunedinunison,andtothe ascendingintervalsoftwofourths,amajorthi rd, andanothertwofourths.Theinstrumentappears usuallytohavebeentunedabovethenoteG,giving thetuningG,C,f,a,d' ,g',andwasreferredtoasthe commonvihuela,thevihuelacomun.2Itsplaying technique,aswellasitstuning,wasvirtually 2seeJuanBermuda,Corn i en ael1 ibrollamado declaraciondeinstrumentasmusicales(Ossuna,1555; rpt.Kassel:Barenrei ter,1957),fol.91.Hereafter citedasDeclaracin. 4 ., identicaltothecontemporaryEuropeanlute.3The similaritybetweentherepertoryandsocialfunction ofthetwoinstrumentsbas infrequent descriptionsofthevihuelaasthe'Spanishlute',a deniaioftheorganologicalandtimbraidifferences betweenthem.Itcanbesaid,however,thatthe vihuelaisthelute'sSpanishcounterpart. Theoriginsandearlydevelopmentofthe vihuelaaredifficulttotrace.Theearliest referencesdatefromthethirteenthcentury, al thoughmorefrequentmentionoccursfromthe secondhalfofthefifteenth.4Theappellation qualifiesthegenerictermvihuela,and servestodistinguishtheinstrumentpluckedwith thefingersfromthatplayedwithaplectrum orwithabowTheonly survivinginstrumentisinthecollectionofthe 3Minordifferencesintechniqueare(a)the Spanishdedillostroke,and(b)thedifference betweenthatwhichVenegasdeHenestrosacalled figuetacastellanaandfiguetaextranjerainhis LibrodeCi fraNueva,(AlcalideHenares,1557), reprintedinAngls,op.cit.SeeJoanMyers, "VihuelaTechnique,"JLSA,1 (1968),17. 4pujolcitesnumerousexamplesinthe introductiontohiseditionofMudarra'sTreslibros demus ica (1546).MonumentosdelaMsicaEspa'1ola, 7(Barcelona:InstitutoEspafioldeMusicolog!a, 1949),pp.2-3.SeealsoDianaPoul ton,"Vihuela"in TheNewGrove. 5 1 MuseJacquemartAndrinParis.5Severa! sixteenth-centurydepictionsarefound,mainlyas woodcutprints.Mostofthesearefoundinthe r printedbooksofvihuelamusicdescribedbelow. Duringthesixteenthcentury,thevihuelawas highlyesteemedinlearnedmusicalcirclesandwas therecipientofsorneofthemostoutstanding instrumentalmusicofitsage.Anumberofits leadingexponentswereemployedbysorneofSpain's prominentmusicalpatrons. Thefantasiagenrerepresentsthelargestbody oforiginalmusicwrittenforthevihuela.Nearly o n eth irdo fthe e n.t ireex tan tr e p e rto ryis dedicatedtothisgenre,sorne219compositionsofa totalexceeding670.Fantasiasbyninecomposers surviveincollectionsspanningasixty-yearperiod, from1536to1593.Theremainderoftherepertory comprisesintabulations,variationsets,dances,and accompaniedsongs. Thefantasiaisasmuchacompositionalprocess asamusicalform.Thisdistinctionwasrealizedby sornesixteenth-centurySpanishmusicians.Toa theoristlikeSanctaMarf.a,keyboardpiecesofthe 5Adescriptionandmeasurementsaregiven Prynne,"OnesurvivingVihueladeMano", byM. GSJ, this16 {1963) ,22-27.Outstandingphotographsof instrumentareinGuitares:Chefs-d'oeuvredes collectionsdeFrance(Paris:LaFlutedePan,1980, pp.32-39.Informationaboutanotherpossiblevihuela foundinQuito,Ecuador,basbeengivenbyFrederick Cook,"AVihuelainQuito?",GuitarandLute,No.9 {April1979),11-12,andbyPaulBeierandOscar Ohlsen"TheQuitoVihuelaRevisited",LSANewsletter, 16,No.l{1981),12-13.Itisuncertainwhetherth1s instrumentisavihuelaora guitar. 6 ., fantasiatypewerecalledtiento,whereasthe processbywhichtheywereinventedwascalled fantas{a.6o'dhfd uts1eSpa1n,t.' termsantas1aan ricercarwereusedsynonymouslytodescribethat whichtheSpanishcalledfantasiaortiento.7Any attemptatasuccinctdefinitionofthefantasiais inevitablylessthansatisfactory:nostructural modelcanbedefined,andthevarietyofoptions adoptedbycomposersisgreat.Mostgeneral historiansofrenaissancemusicappeardeliberately toavoiddefinitions,preferringinsteadtodescribe asampleofworksfromtherepertory. Asaprocess,thefantasiarepresentsacodeof musicalbehaviouroperatingwithincertain understoodboundaries:anabstractdiscourse, polyphonicallyexpressed,proceedingthroughtime. Itwasessentiallyregardedasanimprovisatoryart, askillacquiredthroughdisciplinedstudyandthe emulationofgreatmasters.Thefantasiawas intendedtobeperformedasaspontaneousactof 6seeCharlesJacobs,"ThePerformancePractice ofSpanishRenaissanceKeyboardMusic,"2vols., Diss.NewYorkUniversity1962,7whilenoSpanishkeyboardpiecessurvive bearingthetitlefantasia,severa!tientoswere composedfe:vihuela.Theyareusuallyshortpieces ofamorepreludialkindthanthefantasiaor keyboardtiento.Alistingofusesoftheterms fantasiaandr1cercarinthefirsthalfofthe sixteenthcenturyisfoundinH.ColinSlim,"The KeyboardRicercarandFantasiainItaly,c.l500-1550,withReferencetoParallelFormsinEuropean LuteMusicoftheSamePeriod,"Diss.Harvard pp.392-429. 7 ., musicalinventionandwasregardedby instrumentalistsasthehighestformofinstrumental art.Sorneoftheextantnotated1, 'fantasiasappearto becloselyrelatedtothisimprovisatorytradition. Manyothersdisplaythecharacteristicsofcareful planningandcomposition,andseemquiteremoved fromimprovisatorypractice.Awidevarietyof approachesisfound.Frequently,thepolyphonie discourseofthefantasiawasbasedonthe principlesofimitativepointwritingfoundinvocal musicofcomposersofthegenerationsofJosquinand Gombert.Thishasleadtothefantasiasometimes beingdescribedasaninstrumentalmotet.Bsucha descriptioncanserveausefulpurposeasapointof departure.JohnWardhasmadethebestattemptat devisinganempiricaldefinitionofthevihuela fantasia,describingitas"arelativelyfree, monothematicorpolythematic,moreorless polyphonie,twoormorevoiced,sometimeshighly ornamentedortoccata-likemusicofgreatlyvarying lengthoccasionallybasedonborrowedmusic(parody) butmoreoftennewlyinvented".9 Furtherdiscussionofthefantasiaandits 8Forexample,Groutdescribesthericercarof circa154f/Jas"ineffect,atextlessimitative motet"inAHistoryofWesternMusic,revisededn. (London:Dent,1973),p.227.AnthonyMilnerwrites of"thefullmotet-mannerofthericercare"in"The LateRenaissance"inThePelicanHistoryofMusic, vol.2(Harmondsworth:Penguin,1963),p.l8f/J. 9"TheVihuelademanoanditsMusic(1536-1576)",Diss.NewYorku.,1953,p.211;hereafter citedaswardv. 8 ., development,togetherwithasummaryofscholarly writingisgivenintheintroductorychapterof Slim'sdissertation,andinarticlesbyCaldwelland .t' FieldinTheNewGrove Musicians.llil Sourcesandliterature Theextantrepertoryofvihuelamusiccomprises sevenbooksoftablatureprintedinSpainbetween 1536and1576,aswellassevera!additionalpieces conservedinmanuscripts.Thereisalsoa substantialbodyofmusicprimarilyintendedfor keyboard,butdesignatedbyitsauthorsandeditors asalsobeingsuitableforthevihuela.Theprinted booksandmanuscriptfragmentsnotatevihuelamusic inso-calledItalianlutetablatureonasixline staff,whereeachlinerepresentsacourseofthe instrument,andnumbersareusedtoindicatethe fretpositionsoneachcourse.Mensuraisymbols placedabovethestaffindicaterhythm.Another similarlyidiomaticsystemoftablatureisusedin thekeyboardcollections.Thissystemisquite difficulttoapplydirectlytothevihuela.ll Theprintedvihuelabooksarelistedin 113JohnCaldwell,'Ricercare',andChristopher Field,'Fantasia',TheNewGrove. 11ThesetablaturesaredescribedinWilliApel, TheNotationofPolyphonieMusic,91313-161313,4thed. (CambridgeMass.:TheMedievalAcademyofAmerica, 1953),pp.47-53,56-63. 9 ., chronologicalorder:l2 LuysMilan,ElMaestro(Valencia:1536) LuysdeNarbaez,Losseysl ~ b r o sdelDelphin (Valladolid:1538) AlonsoMudarra,TresLibrosdeMusica (Seville:1546) EnrriquezdeValderravano,Silvadesirenas (Valladolid:1547) DiegoPisador,LibrodemusicadeVihuela (Salamanca:1552) MigueldeFuenllana,Orphenicalyra (Seville:1554) EstevanDaa,elParnasso(Valladolid:1576) Thelocationofcopiesoftheseworkstogetherwith inventoriesoftheircontentsaregiveninHowardM. Brown,InstrumentalMusicPrintedbefore1600:A Bibliography.13 Throughoutthisstudy,thevihuelists'names aregivenintheirusualmodernspellingwherethis differsfromtheoriginal,forexample,Luisde Narvaez,EnriquezdeValderrabanoandEstebanDaza. Foursmallmanuscriptcollectionscomplement theprintedsources.Threeofthesearefound appendedtocopiesoftheprintedsources.Thecopy ofMudarra'sTresLibrosdeMusicakeptinthe BibliotecaNacional,Madrid,containssevenpieces boundintotheendofthebook.Sixofthemare 12FulldetailsaregivenintheBibliography. 13(cambridgeMass.:Harvard,1967). Hl ., fromFuenllana'sOrphenicalyra,asarefourpieces copiedintotheendofoneoftheMadridcopiesof Valderdtbano'sSilvadesirenas 1,(R.l4018).Thecopy ofSilvadesirenasheldbytheOsterreiches Nationalbibliothek,Vi enna,hasthreepiecesadded byha ndatthebac k.Theseappeartobeunica. ManuscriptMS6001,Ramilletedeflores,heldbythe BibliotecaNacional,Madrid,datesfrom1593and . containsafurthertenpieces.OneisbyNarvaez, fromLosseyslibrosdelDelphin;theothernineare unica. Twoprintedbooksaredesignatedassuitable foranypolyphonieinstrument:keyboard,harpor vihuela.ThesearetheLibrodeCifraNueva(Alcala deHenares:1557)byLuysVenegasdeHenestrosa, andAntoniodeCabez6ns,ObrasdeMusica(Madrid: 1578) Twotheoreticalworksaresourcesofimportant informationaboutthevihuela'sphysical characteristics,performancepractice,andmusical style.TheseareJuanBermudo'sDeclaracionde instrumentasmusicales(Ossuna:l555),andtheLibro llamadoArtedetanerFantasia(Valladolid:1565)by FrayThomasdeSanctaMar{a.Thefirstbookof SanctaMar :lastreatiseisprimarilyconcernedw i th keyboardtechnique,whilethesecondisadetailed counterpointmanualaimedatteachingrulesbywhich fantasiascouldbyimprovised. Descriptionsandinventoriesofthesesources, excepttheMadridMS6001,arealsofoundinBrown, 11 1 InstrumentalMusic. Onlythefantasiaswrittenexclusivelyforthe vihuelaandnotatedinlutetablaturearecritically discussedinthisstudy.Therepertorycontainedin Cabezon'sObras,VenegasdeHenestrosa'sLibrode andSanctaMar{asArtedetafier isthereforeexcluded.Muchofthis keyboardliteraturebasalreadybeenthesubjectof considerablescholarlyscrutiny.l4 Theworksincludedinthisstudyaretheforty fantasiasbyMilanin aswellasfour tentosbyhimwhicharestylistically indistinguishablefromthefantasiascomposedin whathedescribedasthetafierdegalastyle.l5 Narvaezcontributedfourteenfantasias,and Mudarra'sbookcontainstwenty-seven,fourofwhich areforfour-courseguitar.Onlypassingreference ismadetotheeightbriefpreludialtientosinhis TresLibrosdeMusica.Thirty-threefantasiasare includedbyValderrabanointwenty-sixbyPisadorareinhisLibrodemusica. Fifty-onefantasiasbyFuenllanainOrphenicalyra representthelargestindividualcontributionto thegenre.Sixoftheseareforfive-course vihuela,andanothersixareforfour-courseguitar. Eighttientosbyhimwhichpurporttodemonstrate 14seepp.l5-16below. 15MilanpreferredtousethePortuguese spellingoftiento.ElMaestroisalsodedicatedto thePortuguesekingJoaoIII. 12 1 eachofthemodesarenotconsideredcentraltothe genre,andarenotdiscussedindetail.Daza's contributionrestsinthetwenty-twofantasiasin .t' elParnasso.Ramilletecontainstwofantasias:one byLpez,andanotherbyavihuelistorlutenist. namedFabricio.Thesixteenfantasiasforfour-courseguitarandfive-coursevihuelahavebeen includedinthisstudyastheyareinnoway stylisticallydifferentfromfantasiasforthesix-coursevihuela. Mostofthevihuelarepertoryisavailablein moderneditions.Milan'sElMaestroisavailable inthreeseparateeditionsbyLeoSchrade,l6Ruggero Chiesa,l7andCharlesJacobs.l8EmilioPujolhas editedNarvaez's MudarrasTresLibrosdeMusica,andtheoriginal compositionsbyValderrabanoinSilvadesirenas.l9 OrphenicalyrabyFuenllanaiseditedbyCharles Jacobs,211JandthefantasiasfromDazaselParnasso 16PublikationenXltererMusik,II,(Leipzig, 1927,rpt.Hildesheim:GeorgOlms,1967),hereafter citedasSchradeM. 17LuisMilan,ElMaestro,Operecompleteper vihuela,(Milan:Zerboni,1965). 18Luisde[sic]Miln,ElMaestro,(University ParkandLondon:PennsylvaniaStateUniversity Press,1971),hereaftercitedasJacobsM. 19MonumentosdelaM6sicaEspafiola,(Barcelona: InstitutoEspa'iioldeMusicologia),respectively vols.3(1945,rpt.1971),7(1949),22and23 (1965),andcitedhereafterasPujolN,PujolMu, andPujolv. 211JMigueldeFuenllana,OrphnicaLyra,(Oxford: OUP,1978),hereaftercitedasJacobsF. 13 1 havebeeneditedbythepresentauthor.21JuanJos ReyhaseditedtheworksintheRamillete rn anus cript. 2 20 n 1 yPi sad o r .1 f'L ib ! . ~ d e - ~ ~si ~ remainsunedited,probablyduetoitsli rnited musicalvalueandthelargenumberofprinting errorsitcontains.Fascimileeditionsofthe printedvihuelabookshavebeenpublishedsince 1971. Thepublicationofmoderneditionsoftheworks ofindividualvihuelistshassupersededtheolder anthologieswhichfirstbroughtvihuelamusictothe attentionoftwentieth-centurymusiciansand musicologists.Pre-eminentamongtheseisMorphy's LesLuthistesespagnolsduXVIeSicle(Leipzig, 1902).23 Themostdetailedcriticaldiscussionsof vihuela musicaretobefoundintheprefatorypages ofthevariouseditionsalreadymentioned,andin JohnWard'sauthoritativedissertation"TheVihuela demanoanditsMusic1536-1576."Warddedicatesan entiresectiontothefantasiawherehediscusses andassessesthecontributionsmadebyeach vihuelist.Mostofhisperceptionsoftheirmusic areverifiedbythefindingsofthisresearch.Each 21EstebanDaza,TheFantasiasforVihuela, RecentResearchesinMusicoftheRenaissance54, (Madison:A-REditions,1982),hereafterci tedas GriffithsD. 22JuanJosRey(ed.),Ramilletedeflores: Coleccininditadepiezasparav1huela(1593), (Madrid:Alpuerto,1975). 23(Rpt.NewYork:BroudeBros.,1967). 14 1 ofPujol'seditionscontainbiographical, bibliographical,andeditorialcommentaries,a generalcharacterizationof composerswork, andcommentariesontheformndcharacterofeach individualcomposition.Jacobs'Prefaceto OrphnicaLyraliststheprincipaltechnicalaspects ofthecompositionalstyleofFuenllanasfantasias, andcitesoccurrencesofeachcharacteristic. Schrade'seditionofElMaestrodoesnotincludeany criticaldiscussion,andJacobsdiscussesMilans styleonlybrieflyinhisedition. Otherresearchvaluabletothisstudyincludes thatwhichdealswithbroadissuesofstylein sixteenth-centuryinstrumentalmusic,orrelates specificallytoSpanishinstrumentalmusicorother closelyrelatednon-Spanishareas.Threearticles byJohnWardarecentral:"TheEditorialMethodsof VenegasdeHenestrosa,"examinesthemannerinwhich fantasiasbyMudarraandNarvaezwerereworkedby VenegasforinclusioninhisLibrodeCifraNueva.24 "TheUseofBorrowedMaterialin16th-Century InstrumentalMusic" ,25and"Pa rodyTechniquein 16th-CenturyInstrumentalMusic,"26are complementarystudieswhichexamineindetail parodiesmadebyparticularlyby 24MusicaDisciplina,6(1952),105-113. 25JAMS,5(1952),88-98. 26rnTheCommonwealthofMusic,ed.G.Reese andR.Brandel,(NewYork:TheFreePress,1965), pp.208-28. 15 . , Valderrabano.Forawealthofinformation concerningsourcematerials,BrownsInstrumental Musicisaninvaluableresearch,tool .1 SpecifiestudiesofSpanishinstrumentalmusic includeCharlesJacobs'dissertation,27andhis subsequentbookTemeoNotationing ~ a i ~ ~ ~ ~ Spain.28"SpanishIntabulationsintheSixteenth Century"byLeeEubankisofperipheralinterestfor theinformationitprovidesaboutthetypeofvocal musicpreferredbySpanishmusicians,andthemanner inwhichit wasrearrangedforsoloinstruments.29 AlmonteHowell'sarticle"PairedImitationin16th-CenturySpanishKeyboardMusic"focusesonkeyboard tientos,anddiscussesthemainthrustofthesecond bookofSanctaMar{astreatise.30Anevaluationof thesystemsandorganizationoftonalityinvihuela musichasbeenundertakenbyMariaEsterGrebein herstudy"ModalityintheSpanishVihuelaMusicof theSixteenth-CenturyanditsIncidenceinLatin AmericanMusic."31H.ColinSlim'sdissertation "TheKeyboardRicercarandFantasiainItaly," examinesalargerepertoryofmusicincludingthe vihuelafantasiasprintedbefore1550.OttoGofllbosi' 1 1 1 - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - ~ ~ - - - - ~ -27"PerformancePract.ice. '!... 28(Brooklyn:InstituteofMedievalMusic, 1964). 29(diss.,Indianau.,1974). 30MQ,53(1967) 1 377-96. 31AnuarioMusical,26(1971),29-59;and 27(1972),109-29. 16 d-.. castanewperspectiveonricercarformbyapplying hisrhythmically-basedanalyticalprocedurestoa workbyFrancescodaMilano. 1esacasestudyin methodologyinhisarticle"AlaRecherchedela FormedanslaMusiquedelaRenaissance:Francesco daMilano."32Hisargumentproposedforthefirst timeclearevidenceofhighlyorganizedfantasia structures.Thesamemethodshavebeenappliedby Jean-MichelvaccarotothefantasiasofAlbertde Rippe.33WarrenKirkendale'sarticle"Ciceronians versusAristoteliansontheRicercarasExordium" seekstoestablishalinkbetweenthenatureand functionofthericercarandthetheoryofrhetoric, al thoughi tbasli tt levalidi tyforworkscomposed after1535andthusforthefantasiasforvihuela.34 Delimitation Theprincipalaimsofthisresearchareto elucidatethemusicalstyleofthevihuelafantasia anditschronologicaldevelopment,topenetratethe styleofeachvihuelist,todelineatethe characteristicfeaturesofhisfantasias,andto definehisformalstructures.Imitation,ostinato, sequence,freecounterpoint,parody,andthe idiomaticuseofchordsandscalepassagesarethe 32InLaMusiqueInstrumentaledelaRenaissance, ed.J.Jacquot(Paris:CNRS,1955),pp.l65-76. 33AlbertdeRippe,Fantaisies,Vol.Iofhis Oeuvres,ed.Jean-MichelVaccaro(Paris:CNRS,l972). 34JAMS,32(1979),1-44. 17 ., ingredientsfromwhichfantasiaswerebuilt,butno recipegovernsthewayinwhichtheywerecombined. Theparticularbalanceofin'gredientsand r . the approachtakenbyeachvihuelistisanimportant generalfeatureofhisstyle. Itisarguedthataclearlineofchronological developmentcanbetracedinthehistoryofthe vihuelafantasia,andthattheidiosyncrasiesof eachcomposersstyleareonlypartlyseparablefrom thestylisticdevelopmentofthegenre.Thethrust ofthisargumentisthatthedevelopmentofthe fantasiarepresentsamovementawayfromfree improvisatorybeginningstoanincreasinglycomplex contrapuntalartwhicheventuallybecametoo sophisticatedtoremaininexistence.Subsequent stylechangeinSpanishpluckedinstrumentalmusic reflectsadesireformusictobesimplified,freed ofthecontrapuntalartificethatwasbathextremely difficulttoperform,andequallydemandingto listento.TheguitarbookofJuanCarlesyAmat entitled first publishedinBarcelonain1586,isthefirst tangibleevidenceofthereactionagainstthe polyphoniestyle.35 Thedevelopmentofthesixteenth-century Spanishfantasiawasoneofincreasingconformity ratherthandivergencefromamainstreampath.A 35seeEmilioPujol,"Significaci6ndeJoan CarlosAmat1572-1642enlahistoriadela guitarra",. AnuarioMusical,5125-46. 18 1 traditionwithimprovisatoryrootsattemptedto legitimizeitself byapproximatingthemainstream polyphonietradition.Vihuelamusic,withitsown . t"' obscuredbeginningsintheworldofimprovisation andoraltradition,followedapaththatwould certainlyhavemetwiththeapprovaloftheaustere andpiousmonarchsCharlesVandPhilipII.The exuberenceandflamboyanceoftheearlierliterature gavewaytoamorerefinedand,attimes, introvertedmusicinwhichthepassionsweremore consideredthanspontaneous. Analysisofvihuelafantasiasinthepresent studybasrevealedamuchgreaterdegreeofformai planningthanbaspreviouslybeenunderstood. Analysisofthepatternsofconstructionbytexture, themes,voice-leading,andtonalityshowsthat,in manycases,theworkshavearchitectoniebalanceand carefulstructuraldesignunderlyingtheir apparentlycontinuous,episodicevolution.In consciousorunconsciousresponsetotheirAge, theserenaissancecomposerscontrolledthelarge-scaleformoftheirworksmuchmorethanbas generallybeenrecognized. Therelationshipbetweenfantasiastyleand contemporaryvocalmusicbasalsobeenexploredin thisstudy.Boththetheoreticaltreatisesandthe repertoryshowaclearlinkbetweenthepolyphonie practicesusedinvocalandinstrumentalmusic. Fromthecorpusofmasses,motetsandmadrigals,a setofprinciplescanbederivedwhichrepresents 19 ., themainstreamconceptsofsixteenth-century compositionaltechnique.Evaluationoftheextent towhichtheseconceptsinfluphcedthestyleof instrumentalfantasias,andthemannerinwhichthey interactedwiththeidiomatictechniquesofthe vihuelaprovidesinsightintotheapproachofeach individualcomposer,andformsthebasisforuseful comparativejudgmentsofmusicalstyle.Thepresent studyexaminesthisinteractionofintellectualand idiomaticforcesineachvihuelist'smusic,and quantifiestherelationshipbymeansofthe systematicstatisticalproceduresdiscussedbelow. Thenextpartofthischapterexplainsthe analyticalmethodsused. Chapters2to9examinethefantasiasofeach composer,followingthechronologyofthesources. Briefbiographicalandbibliographicalinformation introduceseachchapterandgivesapreliminary accountofeachvihuelabook,itsartisticand didacticpretensions.Thisisfollowedbya discussionofeachcomposer'sstyle,outliningthe categoriesoffantasiasusedbyhimandtheir centralstylisticfeatures.Analysesaregivenof individualfantasiastypicalofeachvihuelist's style,andalsothosewhichareexceptional. Chapter10presentsanoverviewofthehistoryof thevihuelafantasiaandmakesageneralcomparison ofindividualstyleswithintherepertoryasa conclusion.Appendix1isamotiviccatalogueof theprincipalmelodiematerialofthefantasia 20 ., repertory.Itisintendedasareferencecatalogue ofthestockpileofthemesusedbythevihuelists. Itisenvisagedasservingasa,possiblereference .1 toolforsubsequentresearchof~ t h e rrepertories. Classificationoffantasias Forthepurposesofthisstudy,therepertory ofvihuelafantasiasbasbeenclassifiedaccording tothetypesofproceduresusedincomposition. Vihuelafantasias,however,donotreadilylend themselvestoclassification.Nosignificant,broad classescanbedefinedthataremutuallyexclusive ofoneanother.Theworksareclassifiedbytheir centraltendenciesandtheirpredominantfeatures. Whileclassificationinthisinstanceis perforeeaconstructionofthehistoricalspectator, therelevanttermsandideasaresuppliedbythe authorsofthemusic.Thetitlesgiventofantasias bytheircomposers,bothattheheadofeachpiece andinthetableofcontentsofeachbook, frequentlyprovideadditionalinformationaboutthe work.Mostcommonly,titles specifythemodeand thenumberofvoicesofthepiece,ortheintended tuningofthevihuela.Additionally,severa! vihuelistsappendedinformationinwordsorsymbols specifyingtempoorthedegreeofdifficultyofthe piecesfortheperformer.Fantasiaswithonlythis kindofspecificationaregenerallythoseofthe mosttypicalstyle:thatoftheimitativemotet. Fuenllanaadditionallyunderlinedtheoriginalityof 21 ., manyofhisworksofthiskindbydesignatingthem fantasiasdelauthor.Thespecifieinformation suppl iedbythecomposersis,presentedinthe .t summarytablesincludedineachchapter. Othermoreexceptionalfantasiashavetitles whichexplaintheirfunctionorprocess.The se titles,drawnfromthewholeliterature,are cataloguedanddefinedbelow.Theyencompassthree broadareas:theuseofidiomatictextures,parody techniqueandcantusfirmusthemes.36 1.Titlesdescribingtexture Thetitlesofidiomaticworksgenerallygivean indicationoftheirinstrumentaltexture.Mostof theseworksinvolvetheuseofdiminution;others revolvearoundhomophonie,non-imitativetextures. Manyfulfillasimilarfunctiontothatofthe nineteenth-centuryetude,thatis,asexercisesin instrumentaltechnique,whileremainingworksofart whicharesuitablefortheperformingrepertory. Fantasia [de]consonanciasmescladasconredobles isatitleusedexclusivelybyM i l ~ ntodescribe workswithsectionsofcontrastingtexture:passages ofrapiddiminutions(redobles)alternatingwith 36pujolV,Vol.!,pp.29-30,listsepithetsused invihuelafantasiatitlesmixedwithothers apparentlyofPujol'sowninvention.Theterms"de pa sostrenzados",and"depa sossu el tos"donot occurinanyofthevihuelasources,althoughthe lasttwoarederivedfromSanctaMartawhousesthem todescribetwokindsofimitation;concurrentand consecutive. 22 1 passagesofchords(consonancias),beingsometimes purely.homophonieandothertimespassagesof imitation. .t' Fantasia parahazersolturadedosdedos,and aretitlesalso exclusivelyusedbyMilan.Thesepiecesarefrom withintheprecedingcategory,butadditionally specifytheuseofparticularright-handtechniques. Dosdedosisthumbandindexfingeralternation,and dedilloisthebackwardsandforwardsmotionofthe indexfinger,usingthefingertipinthemannerofa plectrum. Fantasiadepassoslargosparadesenbolverlasmanos isatermusedbyMudarraandDazatomean 1 inlong passages(ofdiminution)todevelopthebands. 1 Mostofthesepiecesalternatepassagesof diminutionswithsectionsinimitativestyle. Severalabbreviatedversionsofthetitleappearin thebooksofthetwocomposers:... depassoslargos, .. paradesemvolverlasmanos,..depassosdesenvuel-tos,ormerely... depassos. FuenllanaalsousesthetermFantasiapara desembolturademanostodescribethefirstnine fantasiasofhislibroquarto.Theseareinfact polythematicimitativeworks(withonemonothematic exception)anddonotcontainpassagesof diminution.Theydistinguishthemselvesfromthe bulkofFuenllana1sworksonlybybeingshorterand 23 ., somewhateasiertoperform,sothatthetitle apparentlyonlyconveysadidacticintention .t' Fantasiaderedoblesisthetitleofonepieceby Fuenllanaandisaworkofimitativestylewhose themesandfreevoicescontainmanypassagesof quicknotes. Fantasiadecontrapuntoisthetitleofoneworkby Valderrabano,no.13.Itdenotesapolyphonie imitativepieceofrapidspeedwithmoreimitation thanis commonlythecomposer'shabit,andalight textureconcentratingonsemiminima( ~ )ratherthan minima( ~ )movement. Fantasiadeconsonancia(s)appearsastitletoworks byNarvaez,Valderrabano,andFuenllana.Allare non-imitativethrough-composedworksofprimarily homophoniedesignwithpassing-noteslinkingthe consonancesorchords. 2.TitlesindicatingParodytechnique ValderrabanoandFuenllanabothcomposed fantasiasacknowledgedbythemasparodiesofworks ofothercomposers.Fuenllanaheadedbothofhis imitating ].Valderrabanousedthesameti tleas wellasseveralothers:Fantasiasobre...[fantasia upon ],Fantasiacontrahechaa[fantasia imi tating ... ],Fan tas i a .. acomposturadade[fantasia 24 1 composedupon ],andFantasiahechasobre ---------------[fantasiamadeupon ].Thevarietyofapellations isapparentlyforvarietyoflanguage;nostylistic . ir differenceisdiscernible.M i ~ ~ nparodiedoneof hisownworksandit hasasitstitle Fantasiaque remedaa...[fantasiaimitating ].Mudarrasmost famousfantasiaimitatesthestyleofanother musician,aharpist,andistitledFantasiaque contrahaze [fantasiawhichimitates ]. 3.TitlesofCantusFirmusworks Fantasiasbasedonacantusfirmuswere composedbyNarvaez,Mudarra,Pisador,and Fuenllana.Whethertreatedasanostinatoorasan imitativetheme,thecomposersgivethesolmization syllablesofthecantusfirmusaspartofthetitle. Pisadorgavehisworksofthistypethegeneric ti tleFantasiassobrepassosremedados,perhaps suggestingthatthethemeswerenotofhisown invention.EachworkbyPisador,Narvaezand MudarraissimplytitledFantasiasobre ,followed bythesolmizationsyllables.Fantasiasobreun passoforcadofollowedbysolmizationsyllablesis Fuenllanaswayofdescribingthesame,andheuses .. sobreunpassoforosotodenoteanostinatowork, althoughheusedforadointhetableofcontents entryofthesamework. 4.MiscellaneousTitles Fantasia ... porotraparteindicatesafantasia, 25 . , includingmanybyMilan,composedusingatransposed mode.Thiswasoftenexplainedbyvihuelistsas placingtheworkonanotherPtrtofthevihuela's fingerboardtothatcustomarilyusedforthegiven mode.Suchshiftsresultedinthemodalfinalbeing locatedonadifferentstringandfret,andwas regardedbythemasachangeoftrmino.More specifieappendagesaregivenbyNarvaezandDaza. Worksinmode1transposedtoaGfinalare designatedbybothasFantasia .. porGsolreut.A similartranspositionbyDazatoanAfinalofa mode4pieceisti tledFantasia .. porAlamire. Fantasiasueltaisthetitlegivenbytohisnon-parodyworks,irrespectiveoftheirstyle differences.Itdesignatesworks'freeofborrowed material. Fantasiallana,meaning'plainfantasia,isusedby Pisadortosignifyasimple,technicallyeasywork. Fantasiadepassosdecontadoisthetitle ofone workbyMudarra.VenegasdeHenestrosamakes referencetoasimilartexturetothatofMudarras fantasiainhisdiscussionofredobletechniqueof thevihuela: thefourth[typeofredoble]iswiththe secondandthirdfingers[i.e.indexand middleoftherighthand],whichisgoodfor carryingthecantusfirmuswiththethumb, andplayingthetwofingersw iththetwo 26 ,. .. fingersdecontado.37 ItcanbeassumedthatEassosdecontadoare melodiesormotivesinquick 1timevaluesmoving .1 aboveacantusfirmus. Severalscholarshaveattemptedclassifications ofthefantasiarepertory.Themostsimplistichave beenmadebyPujolinrelationtotheworksof NarvezandValderrabano,eachofwhosefantasiashe dividesintotwocategories.Narvaezsfantasias aredividedaccordingtowhethertheyarelongand involved,orshortandsimple,thusmerely highlightingtheorderinwhichtheDelphinis organized:Narvezdividedtheworksonthesame basis.Pujol,inhis editionofSilvadesirenas, dividedtheworksaccordingtowhethertheywere parodiesorcompletelyoriginal,thatis, acomposturadasorsueltas. Wardclassifiedtherepertoryforthepurpose ofhisstudyunderthreebroadcategories:parody fantasias,monothematicfantasiasandpolythematic fantasias.Eachtyperepresentsworksconstructed upondifferentprinciples,onborrowedpolyphonie material,cantusfirmusthemes,andimitative polyphony.Thesethreetypesundoubtedlyconstitute thelargestgroupswithintherepertory,butthe categoriesmustbestretchedbeyondreasonable 37LibrodeCifraNueva,fol.BV,reprintedin Angls,LaMusicaenlaCortedeCarlosV,Vol.l, p.l60. 27 t 1 limitsinordercomfortablytoaccommodatesorneof thelessconventionalworks.Theythushighlight ' centraltendenciesratherthantobetotally comprehensive.Wardalsomadeanother categorizationalongchronological!inestogivea succinctoverviewoftheevolutionofthefantasia withinabroadinternationalcontext.Hisappraisal remainsunchallenged: Stylistically,thefantasiasofNarvaezand Mudarrabelongtowhatmaybecalledthesecond generationof16th- centuryinstrumentalmusic andmaybecomparedwiththosebyFrancescoda MilanoandJacobaFogliano;themusicof Valderrabano,thoughinsornewayssingular,and thatofPisadorandFuenllanabelongstothe thirdgenerationtogetherwiththeinstrumental worksofValentinBakfarkandAnnibale Padovano;andthemusicofDaza,likethatof VincenzoGalileiandAndreaGabrieli,belongs tothefourthgeneration,thoughitdoesnot sharethemoreobviousproto-Baroqueelements ofthisphaseof16th-centurymusic.Themusic ofbelongsto-noonegeneration,falling betweenthefirstandsecondgenerations,and servesinawayasabridgebetweenthe improvisatorystyleofthePetrucciand Attaingnantlutenistsandthetechnicallymore maturestyleoftheFrancescodaMilano generation.-:38 Twotypesofcategorizationareusedinthis study.Inthefirst,worksareclassifiedaccording tocentraltendency.Inthetablesofeach vihuelistsfantasiasgiveninsubsequentchapters, worksareclassifiedaccordingtothepredominant styleormethodofcomposition.Table1.1provides aviewofthebreakdownoftherepertory. Polythematicimitativefantasias(ImP)accountfor sixtypercentofallvihuelafantasias.Theyare 38wardv,p.247. 28 ., theworkswhichmostcloselyresemblethemotet styleofimitativepointwriting.Mostofthemono-thematicimitativefantasias(I1Jl}M)areinasimilar 1 stylebutuseonlyonetheme,oftengivenatthe beginningofthepieceassolmizationsyllables. Theostinatofantasias(Ost)alsouseagivencantus f i r ~ ~ 'whichissubjectedtodifferenttreatment thanintheformergroup.Theparodyfantasias (Par)arethosebuiltuponborrowedpolyphony, usuallymotetsormassmovements,althoughthreeof theexamplesareparodiesoflutericercars.The musicalstyleoftheseworksispredominantlythat ofpolythematicimitation.Inallbutonecase, sorneallusiontothenameorauthoroftheborrowed workissuppliedbythecomposer.39 Asmall proportionoftherepertoryisdedicatedtothrough-composedpolyphonywithnouseofimitationorother devieestounitetheindependentlines(nim).A numberofworksalternatethisnon-imitativestyle withpassagesofimitation(nim+Im).Writingof predominantlyidiomaticinstrumentalinspiration (Id)basedonscales,sequences,chords,and contrapuntalnetworksgivesrisetoanothergroupof corn positions.Otherworkscombinesignificant passagesinboththeidiomaticandimitativestyles (Id+Im),wh ileothersdistributetheidiomaticand non-imitativestylesinequalproportion(Id+nim). 39Narvaez,Fantasia1.seep.130. 29 1 -TABLE1.1 THECOMPOSERSANDCLASSESOFVTHUEL "F'ANTASIAS t 0 s:: ru ..0ruQ) Ills::+l Nru1-1 1-1 ruQ) Q)1-1 1-1 0rlrl s:: 'ru 1-1Q) '0rlrl -ru >ru'0rus::ru.-1 rl 1-1 '0rlIllQ)NE .-1ru::sru.-1::sruru TOTAL% ::E:z::E::>t:4ti.aIl:: ImP301015474318212959 ImM - 2 - - 103- - 157 Ost- - 2- 41 - - 73 Par11- 19-2 - - 2311 nim- 1-431 - - 94 nim+Im - - 362- - - 115 Id9 -4- - - - - 136 Id+Im3- 1- -14- 94 Id+nim1 - 2- - - - - :r- 1 TOTAL441427332651222219 %20712151223101100 30 1 1 ComparativeMethod Thesecondsystemofclassificationdesigned forthisstudyusesastatistica,lprocesstoconvert .t collecteddataoneachfantasiaintoapairof numeralsthatcanbeexpressedonaco-ordinate gra ph.Theaxesofthegraphrepresentthe intellectualandpragmaticelementswhichare combinedinallfantasias.Thesetwoparameters offeracommondenominator;thefundamentalcriteria o fco m pa ri son.Thesystemofgraphsshowsthe differencesbetweenindividualworksfarmoresubtly thananyothermethod,eventhoughitisprimarily offeredasameansofsummarizingamuchlargerbody ofinformation.Therawdataalsoprovidesawealth ofinformationandisincludedintabularformin Chapters2tolfil.Comparisonofthegraphsofeach vihuelist'sfantasiasreadilydemonstratesthe historicaldevelopmentofthegenre.Itattemptsto resolvewhatWardnotedas: animportantproblemin16thcentury instrumentalmusic:namelytowhatextentthe fantasiawasindebtedtovocalpolyphony,not intermsofimmediateborrowing,butmore generallyinmattersofstyle.Theusual textbookreferencetothefantasiaasan instrumentalmotetisopentoserious question,particularlywhennoattempthas beenmadetodifferentiatestylistically withinthelargeandhighlydiversified corpusof16th-centuryfantasias.40 Thenotionofthefantasiaasaninstrumental motetembodiestwoideas.'Motet'alludestothe inclusioninthefantasiaofcertainprocessesand 40wardv,p.237. 31 ., compositionaltechniquesstemmingfromthevocal repertorytypifiedbythemotet.The'instrumental' qualificationgivestothefactthat thereareotherforcesalsohelpingtoshapethe music,derivedfromtheinstrumentonwhichitis performed.Achangeoffunctionisalsocausedwhen amotetistransferredfromvoicestoaninstrument: withouttextthemusicistakentoafurtherlevel ofabstraction.Whilethismayinfluenceawork's structure,itneednotalteritsstylistic characteristics,soithasnotbeenconsidereda significantfactorinthepresentcontext.Thetask ofthis studyistoassesshoweachofthe219works conformstothecentralnotionoftheinstrumental motet,toassessthevar iabi 1 ityw ithinthose parametersandtoseeifanypatternsemergefrom whichvalidgeneralizationscanbedrawn. 'Concept'and'Idiom'serveastermsto representtheideasdelineatedbythe'instrumental motet'descriptionofthefantasia.Asintellectual andpragmaticforces,theyareseparateand interdependent.'Concept'representsthevocally derivedideasandprocessesfoundinfantasias. 'Idiom'representstheinstrumentalresources embodiedinthem.Thetwoforcesarenot polarities.Thecomposer'screativedecisionsdo notinvolveachoicebetweenconceptandidiomwhich requireshimtocompromiseandadoptaposition alongasinglescale.Rather,hiscreativeaction resultsinaworkwhichisidiomatic,becauseitcan 32 1 beaccommodatedontheinstrument,andis simultaneouslyderivedfromanexternalconceptual idea.Theidiomaticoftheinstrument r caninfluencetheconceptintwoways.Ontheone bandtheymayactasashacklewhichrestrictsthe freewanderingoffancyandsetssornekindoflimit ontheconcept,ortheymayprovideaninspiration fromwithintheinstrumentsresourceswhichwill generatemusicofacompletelydifferentorder. Eachfantasiaisauniquemarriageofthesetwo forces. Assessmentofeachparameterofeachwork establishesthedegreetowhichitconformstoa preconceivednotionofthefantasiaasan instrumentalmotet,andformsthebasisofthe comparativemethoddevelopedforthisstudy.The followingdiscussionexplainsthemethodology.The investigationbasbeenconductedasastatistical study,primarilyaimedatpresentingresultsin concisediagrammaticform.Astatisticalapproach providesconsistent, applicable criteriaandnecessitatesthecleardefinitionof allelements .Thesimplicityandmanageabilityof thesystembasalsobeenconsideredinits design, andanawarenessofthedangersofbecoming simplistichasbeenmaintained.Considerable experimentationprecededtheadoptionofthesystem finallychosen.Afarmoreelaboratesystemof greatermathematicalcomplexitywasextensively testedandoverhalftherepertoryassessedbyit 33 ,. 1 beforeitwasrejected.Theconsistencyinresults betweenthatsystemandtheoneusedhereisan encourag ingsignoftherel 1 ityoftheless elaboratemethod. ConceptandIdiomhavebeenassessedseparately ineachwork.Theelementswhichcompriseeach parameterhavebeendelineated.Thepresenceand relativeimportanceofeachelementineachworkhas beenmeasuredandconvertedtoanumericalvalue, whichcanthenbeplottedandusedonacomparative basis.Themaximumpossibleaggregateforeach parameteris thetotalthereforecanbe regardedasapercentagescore.Evenifartificial, itisaconsistentcomparativemeasureandthe readerisdiscouragedfrommisinterpretingthe statisticsinanyabsolutesense.Thetaskisto demonstrateclearlythesimilarities,differences, andgeneraltrendswithinadiverserepertory. TheParameters 1.Concept AssessmentoftheConceptparameterisbasedon anexaminationofthecompositionalprocessesof eachworkandtheresultanttextures.Fivebroad texturalcategorieshavebeenfoundinthe literature:imitativetextures;non-imitative textureswitheachvoicegivenequalstatus; texturesinvolvingacantusfirmus;textureswith onevoicemoreprominentthan,andaccompaniedby theothers;andtextureswhereasinglevoiceis 34 1 ., presentedalone.Eachphraseofeachfantasiahas beenexaminedtoassesstowhichofthesecategories itmaybesaidtobelong.Thel ~ s tthreecategories 1' caneachbedividedintotwo,acordingtotheway inwhichthecomposerhasorganizedhismaterial withinthem.Divisionofthecantusfirmuscategory dependsonwhethertheothervoicesofthetexture arepresentedinrhythmicvaluessimilartothe cantusfirmus,orinshortervalues.Inboththe accompaniedandunaccompaniedmelodietextures, subdivisionisaccordingtowhetherornotmaterial isorganizedwithsequentialrepetition.Th us, eighttextura!categorieshavebeendefinedand rankedaccordingtotheirconformitytovocalprin-ciples.TheyaregiveninTable1.2withthe maximumscorepossibleforeachcategoryinany work. Boththeimitativeandnon-imitativeequal-voicedcategoriesaredefinedsolelybytheprocess usedincomposition.Botharederivedfromvocal practice,butofthetwo,imitationismore fundamentaltosixteenth-centurycomposition. Thesubdivisionofthecantusfirmuscategory isanimportantone.Cantusfirmuswithhomophony oraccompaniedbypartsmovingatasimilarspeed identifieswiththeuseofaparaphrasedcantus f i r ~ ~inthemassormotet.Theuseofshorter, morelivelynotevaluesabovethecantusfirmus derivesmoreimmediatelyfromtherepertoryof ensembledancemusic,especiallythatasociatedwith 35 1 TABLE1.2 CATEGORIESOFCOMPOSITIONALPROCEDURE 1.t' CategoryDescriptionMaximum No.Score 1Imitation90 3Cantusfirmusinequal- 60 voicedpolyphonyor homophony 4Cantusfirmusaccompanied50 byvoice(s)inshorter notevalues 2Equal-voicednon-imitative40 polyphony 5Accompaniedmelody25 -sequential 6Accompaniedmelody-free15 7Singlevoice-sequential6 8Singlevoice-free2 thebassedance.Theconcernhereiswiththeforms ofcantusfirmustechnique.Pre-existenceofthe melodiesusedisimmaterial.Inthefantasia literature,thetextureswhichhavebeencategorized ascantusfirmusincludethoseresemblingcantus firmusdancetextures,andthoseinvolvingostinato themes,exceptwhentheostinatoistreated imitatively. Themethodofdivisionoftheaccompanied melodietexturesintosequentialorfreetreatment 36 1 needsnoexplanation.Themeansbywhichcategories 5and6aredifferentiatedfromtheimitative,and equal-voiced,non-imitativetexturesofcategories1 .t and2doesneed however.The accompaniedtexturesdistinguishthemselvesby havingthepredominantmusicalinterestconcentrated inonevoice.Incaseswhereaphraseormotiveis reiteratedasanascendingordescendingstepwise sequence,thereisnodifficulty.Amoreambiguous typeoftextureisparticularlyprominentinthe musicofMilan,althoughnotexclusivetohim.It isderivedfromtheimitativeideal,butpresented inamodifiedform.Apolyphoniecomplex,a completetexturalunit,isrestatedatdifferent pitchlevelstogivetheeffectofimitation.The uppermostvoiceisathemeormotiveundergoing quasi-imitativetrea tm en t,cradledinatexture whoserelationshiptoitisunchangedinthe transposedrepetitions.Becauseitrepresentsa significantmodificationoftheimitativetechnique, thistypeoftexturehasbeenclassifiedas sequentialaccompaniedmelody.Anotherambigui ty, againmostcommonlyfoundinthemusicofMilan,and usuallyatthebeginningofawork,alsoneeds clarification.Imitativepairsconsistingof dissimilarthemes,wherethesecondvoice-pairis repeatedanoctaveaboveorbelowthefirstpair, havebeenclassifiedasimitativeratherthan sequentialrepetitionbecauseoftheirsimilarityto openingvocaltextures.Aninstanceofthisis 37 ., foundattheopeningofFantasia28byThedistinctionbetweenfreeaccompaniedmelody (Category6), shorternote andthecantus texturewith t values(Category4)alsowarrants clarification.Givenpassageshavebeenadjudgedas belongingtothecantusfirmuscategoryifthe prominentmelodyiseitheraboveanacknowledged ostinatothemeorispredominantlywri tteninnote valuesatleastfourtimessmallerthanthe accompanyingvoice.Otherwise,thetexturehasbeen regardedasaccompaniedmelody. Theinstancesofunaccompaniedsinglevoices arerelativelyinfrequent.Theirclassification intosequentialorfreeisbasedpurelyonthe presenceorabsenceofrepeatedmotivesormelodie cells. NumericalscoresontheConceptparameterare calculatedfromtheproportionofeachfantasiathat fallsintothecategoriesdescr ibedabove.The maximumscoreforeachcategoryisdetermined accordingtoitsrelationshiptomotet-likevocal procedures.Categorieswithhigherscoresshowa closerrelationship.Eachcategoryhasbeen subdividedintobetweenthreeandsevencentile ranks.Theranksareusedtorecordtheapproximate percentageofagivenfantasiafallingintothe categoriesdefined.Categories,ranksandscores aregiveninTable1.3. 4lschradeM,p.217;JacobsM,p.l70. 38 1 1. 2. 3. 4. 5. 6. 7. s. TABLE1.3 CONCEPTPARAMETER:SCORINGSYSTEM .,. CategoryRankCentile Range Im1tat1ona)-90 b80-89 c70-79 d60-69 e50-59 f25-49 g1-24 Non-imitativea~ 7 5 polyphonyb50-74 c25-49 d10-24 e1- 9 Cantusfirmuswitha~ 7 5 homophonyb50-74 c25-49 d10-24 e1- 9 Cantusfirmuswitha~ 7 5 smallernotesb50-74 c25-49 d10-24 e1- 9 Accompaniedmelodya~ 7 5 -sequentialb50-74 c25-49 d10-24 e1- 9 Accompaniedmelodya)50 -freeb25-49 c10-24 d1- 9 Singlevoicea~ 2 5 -sequentialb10-24 c1- 9 Singlevoice-freea)25 b10-24 c1- 9 39 ,. Score !Hl 75 60 45 40 20 10 40 35 25 10 4 60 40 30 16 8 50 35 26 13 5 25 20 15 8 2 15 10 5 2 6 4 1 2 1 fi) Tablesgivingtherankingofeachworkare includedinthediscussionofeachvihuelists fantasias.Examplesofthemethodofscore 10t' ,. calculationaregiveninE'xa mp 1 e1.1,which representsacross-sectionofstyles.Inanygiven fantasia,thenumberofsemibreveunitscomposedin thestylesofthedefinedcategoriesiscalculated. Thesefiguresarethenconvertedtopercentage figuresrepresentingtheproportionoftheworkin eachcategory.Thepercentagefiguresarethen placedwithintheirrespectiveranks.Thescores correspondingtoeachrankaresummedtogivea totalConceptscore. Inasmallnumberofcases,numericalscores havebeenmodifiedinordertoreflectmore adequatelythetruecharacterofawork.Thisisto rectifyoneofthecommondistortionspossiblewith rankedstatistics,butthecompromisehasbeen consideredjustifiableduetotheotheradvantages ofafastandmanageablesystem.Scoremodification hasoccurredwhenthescoreinthemostprominent categoryhasfallenjustoutsidearankwhichwould moreadequatelyreflectthatwork,orwherea similarsituationhasarisenintwolesser categories.Scoreshavebeenbothincreasedand reduced.Forexample,inFantasia12byDaza,the percentagescoreincategory1was78,andin Category2was22,justbelowthemaximumof79and 24possibleintheirrespectiveranks.Inthiscase thetotalscorewasarbitrarilyincreasedbyten. 40 ., Example1.1,ConceptScoreCa1culations. Milan,Fantasia22a length(semibreves):176 category1 totalsemibreves46 proportionofwork(%)26 rankf score20 total:46 Mudarra,Fantasia!Sb length(semibreves):63 category1 totalsemibreves7 proportionofwork(%)11 rankg score10 total:62 Fuenllana,Fantasia15c length(semibreves):212 category1 totalsemibreves128 proportionofwork(%)60 rankd score45 total:72 Daza,Fantasia22d 1ength(semibreves):63 category1 totalsemibreves18 proportionofwork(%)28 rankf score20 total:58 5 82 47 c 15 4 53 84 a 50 2 48 23 d 10 2 21 34 c 25 0,. 6 46 26 b 10 6 3 5 d 2 3 5 3 e 8 5 8 13 d 8 7 2 1 c 1 4 15 7 e 5 6 14 22 c 5 aschradeM,p.l24;bpujolMu,p.39; cJacobsF,p.l67;dGriffithsD,p.42. 41 1 56 97 43 ed 22 8 2 3 c 0 ., Similarly,inFantasia13byFuenllana,percentage scoresof70and25wererecordedinCategories1 and2.Inbothcases,these were1otheminimumscores intheparticularranks,sothetotalscorewas consequentlyreducedbytentoreflecttheworkmore accurately.IninstanceswhereConceptscoretotals havebeenmodified,theunmodifiedscoresforeach categoryhavebeenusedtoconstructthetablesof PolyphonieProcedure(Concept)ineachsubsequent chapter.Thetablesthusshowtruecentile reading s. 2.Idiom Idiomhasbeendefinedasrepresentingthe idiosyncraticinstrumentalresourcesavailablefor useinthefantasia.TheIdiomparameterisa measureoftheextenttowhichtheparticularnature ofthevihuelais anactive agentindeterminingthe musicalstyleofafantasia.Severalfactors combinetoproduceanassessment.Thisinvolves determiningthedegreetowhichthestyleofawork isgeneratedbyidiomaticresources,andtheextent towhichaworkfashionedbynon-idiomaticideasmay haveidiomatictexturesincorporatedintoit.The mindfulnessofthecomposertothetaskof performingtheworkalsodeservesconsideration. ToassesstheIdiomparameter,sevencategories basedonthesethreeprincipleshavebeendevised: 42 ' . 1 textura!density homophony figuration .t' accompaniedmelody arpeggiation easeofexecution idiomaticeffectiveness Thefirstcategorymeasuresthepredominanttexture ofeachfantasia:whetherit is mostlyintwo,three orfourvoices.Fourofthecategoriesmeasurethe incidenceofspecifieidiomatictexturesordeviees intheworks:homophony,figuration,accompanied melodyandarpeggiation.Theeasewithwhicha fantasiamaybeperformedisassessed,whilethe finalcategoryestimatestheidiomaticeffectiveness ofeachwork;thatis,theextenttowhichthework isshapedorenhancedbyspecificallyidiomatic deviees. LikethesystemusedfortheConceptparameter, thecategoriesoftheIdiomparameterhavebeen subdividedintosmallerclasses.UnliketheConcept parameter,however,theIdiomcategoriesarenot mutuallyexclusive,sothescoringrationaleis different.Inthiscase,themaximumaggregate scoreof1 ~ ~isthetotalofthemaximumscore possibleineachcategory.Therelativeweightings havebeenempiricallydeterminedtoproducethemost consistentandbalancedresults.Table1.4gives theranksandscoresofeachcategory. Thintexturesareeasiertoexecuteona 43 t. TABLE1.4 IDIOMPARAMETER SYSTEM ., ,. CategoryRankScore 1.Texturala.varieda4-al25 densityb.>5111%a2--2111 c.>5111%a315 d.>5111%a45 -2.Hornophonya.rnuch(>2111%)lill b.sorne6 c.little3 3.Figurationa.rnuch(>lill%)lill b.little5 4.Accornpanieda.rnuch(>2111%)15 Me lod yb.sornelill c.little5 5.Arpeggiation5 6.Easeofa.extrernelyfacile2111 Executionb.veryfacile15 c.facilelill d.difficultIll 7 ._.Idiornatica.excellent15 Effectivenessb.goodlill c.average5 d.po orIll 44 1 pluckedinstrument,soworkspredominantlyintwo voicesscorehigherthanthree- andfour-voice works.Ineachcaseatleast.f1ftypercentofa fantasiamustbewritteninthetexturaldensity underwhichitisclassed.Becausethisis someti mesnotthecase,afour thrankbasbe en includedforworksofgreattexturalvariability. Worksfallingintothisclassareinvariablyofa highlyidiomaticnature,likeMilan'sfantasiasde consonanciasyredobles.Itisthusthehighest scoringofthefourranks.Itappearsthatwriting inthismannerwasconsideredbythevihueliststo bemoreanextensionofinstrumentalthanvocal style. Category2measurestheamountofchordal writinginanywork.Workswithatleasttwenty percentoftheirlengthtakenupwithhomophonie writingreceivethemaximumscore;smalleramounts receivefewerpoints.InCategory3,figurationis regardedasbeingmusicwritteninonevoicewith notevaluesatleastfourtimessmallerthanthe valuerepresentingthepulseofthemusic.Inmost cases,figurationiswrittenincorcheas Figuraltexturesmayeitherbeaccompaniedor unaccompanied ...Intermsoftherepertory, figurationoccupyingtenpercentofaworkis consideredasignificantamountandthusobtainsthe maximumscoreforthecategory. Accompaniedmelody(Category4)isdefinedin thesamewayasfortheConceptparameter:atexture 45 ,. ., withallvoicesmovingatasimilarspeed,butwith melodieinterestconcentratedinoneofthevoices. Theothervoicesgenerallyp ~ ~ v i d easubservient harmoniebackground.Theproportionofafantasia constitutingahighuseofthistextura!typeis twentypercent. Veryfewvihuelafantasiasmakeuseofthe idiomaticdevieeofarpeggiation.Theyareso infrequentthatnoranksareneededwithinCategory 5. Category6measurestheeaseofexecutionofa workandissubdividedintofourranks.Ranka)is reservedforworksofthegreatesttechnical simplicity,whilerankb)isforworkswhichfall wellunderthehandbutnotwiththesameease. Worksofmoderatedifficulty,thetypicalfantasia, areclassedasrankc).Rankd)isforworks exactinggreaterthanaveragetechnicaldemands. Idiomaticeffectiveness,thequalitymeasured inCategory7,isanes ti mateofthegeneraleffect ofidiomaticthinkingoneachwork.Worksclassed inranka)arethosewhoseessentialconceptionis idiomatic,andwhosemusicalstyleispredominantly generatedbyinherentinstrumentalideas.Worksof predominantlyvocalorpolyphonieconception,made morevariedorinterestingthroughtheinclusionof specifieidiomaticdeviees,orevenonlybyakeen sensitivityonthecomposersparttothe idiosyncrasiesoftheinstrument,havebeenclassed inrankb),althoughsorneexceptionallyeffective 46 ,. ., workshavebeenincludedinranka).Rankc) includesworksofaveragetype;thosebasicallycast inthepolyphoniemould,w i t h o ~ ~ tspecialattraction fromanidiomaticviewpoint,butobviouslycreated withaworkableunderstandingofinstrumental limitations.Worksincludedinrankd)arethoseof pooridiomaticeffectiveness.Inmostcasesthese areworkswhoseconceptualideasarenotadequately realizableonthevihuela,eitherbecoming technicallyunmanageableormadeblandbyover-exploitationoftheinstrument'sresources. Musically,theyaretheleasteffectiveworksof all. Foranygivenfantasia,thescoreontheIdiom scaleisthesumofthescorespertainingtothe relevantrankofeachcategory.InCategories1to 4,thisrequi resana ri thmeticalcalculationofthe proportionofeachtheworkfallingintothegiven category.Categories6and7unavoidablyrequirea subjectiveassessmentwherereliabilitydependson theconsistencyoftheassessor.TablesofTextura! Typesinsubsequentchapterspresenttherankingand scoringofeachvihuelist'sworks.Table1.5 presentstheIdiomcalculationsofthefour fantasiaswhoseConceptscoreswereexaminedin Example1.1.Therankassignedtoeachfantasiain eachcategoryisshawn,togetherwiththescorein parentheses. 47 1 . .. FANTASIA 1 TABLE1.5 IDIOMSCORECALCULATIONS .l' CATEGORY' 2345 rr lfCORE Il 67(total) Mi lan,a( 25)a(llil)a(llil)a(l5)-c(llil)a(l5)85 -No.22 Mudarra,c(l5)c(3)a(lfil)a(l5)- b(l5)b(lfil)68 -No.18 Fuenllana,c(l5)c(3)b(5)- - c(lfil)c(5)38 -No.15 Daza,a(25)c(3)b (5)a(l5)- c(lfil)a(l5)73 -No.22 SummaryTables ThefirsttableincludedinChapters2to9 providesasurveyofeachvihuelist'sfantasiasand givespertinentinformationaboutsorneoftheir charactristics.Thenatureofthatinformation, itsmannerofpresentation,andtheabbreviations usedaregivenhereforreference,accordingtothe columnheadingsinthetables: Fantasia.Eachvihuelist'sfantasiasarenur.tbered consecutively,intheorderinwhichthey appearineachsource.Fantasiasarereferred tobythesenumbersthroughoutthethesis,to accordw iththenumber ingsusedinthemodern scholarlyeditionsofthemusic. 48 ' . ., Work.Eachfantasiaisalsonumberedaccordingto theconsecutiveorderoftheworksineachof thesources.Thesenumbertkaccord\'liththose usedbyBrowninInstrumentalMusicandpermit easycross-reference. Folio.Thefolionumberoftheoriginalsourceis given,showingwhereeachfantasiaislocated. Title.Thetitleofeachworkisgivenasit appearsintherubricatthebeginningofthe piece.Theyareabbreviatedtoshowsalient informationandtopermitidentification. Informationshowninparenthesesisdrawnfrom thetableofcontents,orfromelsewhereinthe source. ~ Eachfantasiaisclassifiedaccordingtothe categoriesdefinedearlierandshowninTable 1.1.Thefollowingabbreviationsareused: ImP ImM Ost Par nim Id polythematic,imitative monothematic,imitative ostinato parody.Anasteriskdenotes thattheparodymodelhasbeen identified,thus:Par*. non-imitative idiomatic Mode.Themodeofeachworkisgivenasindicated bythecomposerexceptwhereitisshownin parentheses,inwhichcaseithasbeen determinedbythepresentwriter. Voices.Thenumberofvoicesusedineachworkis 49 1. ., given.Theoccasionalthickeningofachordor cadenceis nottakenasmeaningtheaddition of voices. 0t' Difficulty.Theperformancedifficultyofthe fantasiasisgivenwherethisisspecifiedby thecomposer.Worksareshowninthetables as easy(E),modera te(M),ordifficult(D).Only Valderrabanousesthreegradesofdifficulty. TheworksofPisador,FuenllanaandDazaare designatedaseithereasyordifficult. Tuning.Vihuelatuningisdescribedinthesources bytheintervalsbetweenthecoursesof strings:ascending4th-4th-major3rd-4th-4th. FromBermudo'slengthydiscussion,itisclear thatthetuningsdescribedbyhimandgivenin therubricsofthepiecesinthevihuelabooks arepurelytheoretical:nocorrelationexisted inpracticebetweenthesoundingpitchofthe instrumentandthetheoreticallydetermined imaginarytunings'. 42Thesetuningsarethose inwhichmusicwasenvisagedandintabulated, andinwhichitisbesttranscribedinmodern editions.43 Accordingtothisflexiblesystem,the final ofanymodecouldbelocatedat anyplace ofthevihuela'sfingerboard,themodethen mappedoutalongit,andtheimaginarytuning 42oeclaraci6n,fols.geV-96;102-10. 43MoredetailedinformationisgiveninWardv, pp.37-53. 50 t 0 ., identifiedbythetheoreticalpitchoftheopen lowestcourse.Itw a ~essentiallyan .t' intabulator'sdeviee,ameansoffindingthe mostidiomaticwayofarrangingmusictosuit theinstrument.Theseimaginarytuningsapply toallthevihuelabooksexceptMilan's!!. MaestrowhichappearstouseA-tuning throughout.Theuseofthesetuningsfor fantasiasbyallvihuelistsexceptMilan suggeststhatthefantasiamayalsohavebeen, insorneinstances,anintabulationofmusicnot composeddirectlyontothevihuela. Thetheoreticaltuningofeachfantasiais giveninthetablesaccordingtothese criteria,expressedasthepitchoftheopen lowestcourse.Thetuningisgivenin parenthesesifitisnotspecifiedinthe sourceandhasbeendeducedbythewriter. Tempoistabulatedonlywhereitis indicatedinthesources.Milingivesaverbal indicationoftempo,whileNarvaez,Mudarra, andValderrabanomakeuseofmensurationsigns forthispurpose.Inthetables,tempois indicatedaseitherfast(F),moderate(M),or slow(S). Length.Thelengthofeachfantasiaisexpressedin termsofthenumberofsemibrevecompaseswhich i tcomprises. 51 ,. .,.t' CHAPTER2 LUISMILAN ThefantasiasofLuisMilanareworksofstrong character.Vitalandextroverted,theircharmis immediateandirresistible.Theyaretheworkofan intelligentValenciancourtier,acultured Renaissancegentleman.Instyle,Milan'sfantasias areunique.Theyarereadilydistinguishablefrom theworksofanyothercomposerofvihuelaorlute music.Astheearliestknownvihuelamusic,they showastylewhichhadalreadyattainedmaturity. TheyreflectMilnsstrongpersonalityand, possibly,therelativemusicalisolationofthe Valenciancourt.WarddescribesMilan'spositionin thehistoryofinstrumentalmusicas"abridge betweentheimprovisatorystyleofthePetrucciand Attaingnantlutenistsandthetechnicallymore maturestyleoftheFrancescodaMilano generation."l SimplicityanddirectnesscharacterizeMilns fantasias.Theyarebuiltfromshortepisodes,each usuallyrevolvingaroundasingletheme,textureor idea.Simplematerialsprovidethebasisforeach lwardv,p.247. 52 ,. 1 episode:shortmelodiemotivesreiteratedbymeans ofimitationorsequence,freepolyphoniecomplexes, homophony,scalepassages,protheridiomatic deviees.Theouterformalshapeofeachfantasiais thusdeterminedbythenatureandnumberof componentepisodes.Thefantasiasareconglomerates sometimesbondedtogetheronlybythedynamic impetusofthemusic,butoftenaidedbymore readilydiscernibletechnicalmeansofcohesion. Sorneappearwaywardorhaphazardwhileothers displayatightlyintegrateddesign.Theabilityto linksectionsorepisodesbasedondisparateideas intoconvincingassociationsisoneoftheprincipal triumphsofMilan'sstyle.Heachievesthisby continuallydifferentmeans.prevailsat alllevelsinhisfantasias. LuisMilanwasprobablyborninthefirst decadeofthesixteenthcentury,andsufficient informationabouthislifehassurvivedtogainsorne impressionofhischaracter.Trend'sbiographical studypaintshisportraitasaflamboyantcourtier, acelebrityattheValenciancourtofGermainede Foix.2Thisimageiscertainlyconsistentwithhis music.Ward'sbiographicalstudycastsdoubton Milansoftenquotedassociationswiththe Portuguesecourt.3 2J .B.Trend, (HumphreyMilford: NothingisknownofMilnslife LuisMilanandtheVihuelistas o.u.P.,1925). 3wardv,pp.371-75. 53 ., afterthepublicationofhisbookE 1Cor tes a no (1561)which"providesanattractivepictureofthe ' socialandculturalambien'Cl'eoftheValencia court."4 TheLibrodeMusicadevihuelademanoIntitu-ladoElMaestro,publishedinValenciain1536, containsfortyfantasiasandfourtentosbyMilan, aswellassixpavanasandnumerousvillancicos, romancesandsonetosforvo i ceaccompaniedby vihuela.Innaminghisbook'theTeacher,Milan advertisedthefactthatitwasadidacticworkas wellasananthologyoforiginalpieces.Inthis respect,hesetatrendemulatedinallsubsequent vihuelabooks.Thedidacticpurposeisconfirmedin thewordsofthetitlepagewhereMilSnstatesthat inthebook" isfoundthesamestyleandorder [ofmusic]thatateacherwouldgivetoabeginning student,showinghimfromthebeginning,inan orderlymanner,allthethingsofwhichhemaybe ignorant,sothathemayunderstandthepresent work,givinghim,atwhateverlevelhemightbe, musicthatfitshisbands."Milanfollowsa systematicapproachbyplacingtheworksin ElMaestroinorderofincreasingdifficulty.He alsoadoptsaparallellayoutforbothofthetwo libroswhichcomprisethework.rwenty-two fantasiasareincludedinthefirstlibro,while eighteenfantasiasandthefourtentosmakeupthe 4charlesJacobs,"Milan,Luisde",NewGrove, 1980. 54 ' . ., twenty-twoabstractworksofthelibrosegundo.In eachlibro,worksoftheimitativekindbeginand endtheg r o u p ,w ithfan ta st'i a sandinarn o r et idiomaticstyleandtentosplacedbetween.Ineach libroeachofthetwotypesofworksproceedonce throughthecycleofmodes.Thearrangementofthe worksisshawninExample2.1. Ex.2.1,OrganizationofthefantasiasinElMaestro. LibreILibroII fantasiamodefantasiamode 123 224 325 4imitative26 51-4271-4 --ff __ j ____________ _!t ___ I_ 12tente1 132 141-8idiomatic31-8 i ~lt, ....... - - - - - t ~ - - - - i ~ - -17....... "'35 _].. ________ ....36 191376-8 20381 ~ ~5 ~ 8imititive~ ~ Itisimpossibletodeterminetheextenttowhich Milancomposedworksspecificallyforinclusionin ElMaestro,orselectedfantasiasfromamongthose hehadalreadycomposed.Asthearderoffantasias issological,andhisstylesodependenton improvisa toryformulae,i tisqui te1 ikelythatthe 55 ., fantasiaspreservedarenotatedrepresentativesofa largelyimprovisatorytradition.Thisis,infact, suggestedbyMilninthe ofElMaestrot whichhedescribesas"abookcomprisingmanyworks whichIhadtakenfromthevihuelaandwritten down."5Inadditiontoitsmusicalcontents,El MaestroisprefacedbyaDeclaracionwhereMiln explainsnecessarypreliminaries:selectingstrings fortheinstrument,tuning,anexplanationofthe contentsofhisE.E...!.merlibro,andadefenceofhis work.6EachworkinElMaestroisalsoprecededby arubricinwhichMilanidentifiesthemodeofthe piece,verballyindicatesthedesiredperformance tempo,andaddsotherremarkswhichhefeelsmaybe pertinenttotheunderstandingorexecutionofthe work.Healwayscoucheshisremarksinfamiliarand friendlylanguage,asateacherspeakingtoa student.TranslationsofthesearegivenbyJacobs, andthecommentspertainingtothefantasiashave beenincorporatedinthefollowingsectionsofthis chapter. 7AttheendofElMaestro,Milanaddeda briefexpositionoftheeightmelodiemodesandthe characteristicsbywhichtheyarerecognized.s 5Fol.Aiii." unlibrohechodemuchasobras: quedelavihuelatenLasacadasyescr1tas " 6Fols.AiiiV-Bi,translatedinJacobsM,pp.ll-23. ?JacobsM,pp.295-313. 8Fol.[Rv]V,translatedinJacobsM,pp.25-26. 56 .. Milnsexplanationofthecontentsofhistwo librosisworthyofquotation.Thelibroprimerais introducedonfol. [A] vi: .t' Contentsofthisfirstbook.Eightcuadernos makeupthisfirstbook.9Thefirstisofthe rationale[intelligencia]ofthesaidbook,and instructions[onplaying].Thesecondand thirdcuadernos[gatheringsBandC],givesyou easymusicindiversemodes,suitableforthe handsofabeginner.Thefourthandfifth cuadernos[gatheringsDandE],giveyoumusic withvariousredoblestobeplayeddedilloand dosdedos,havingmorerespectforthetaner degala[style],thantomuch[other]musicor metre[com.E!,s].Thesixthandseventh cuadernosCgatheringsFandG]giveyoumusic somewhatmo redi ff icul t,andofmorehands [i.e.moredifficulttoplay],withsorne redobles.Theeighthandlastcuaderno [gafh"iTngH]givesyoumusicinorderto sing andplayvillancicosandItalianthings. Mil'nintroducesthesecondlibrobysummarizinghis descriptionofthefirstandaddingthefollowingon fol.HviiiV: Fromhereonwardsbeginsthesecondlibrowith thesameorderwhichthepreviouslibrohad, givingyoumusicbywayoffantas1aswith theirrulesandannotations;givingyouin thissecondbookthesameorderofmusicwhich Iofferedtoyouinthetableofcontentsof thepreviousbook,exceptthattheprevious musicwaseasier,andthiswhichfollows[is] moredifficult. Table2.1presentsasummaryofthefantasias andsorneoftheirfeatures. 9Thesearethealphabeticallynumbered gatheringsaccordingtowhichElMaestroisbound. Thefoliationofthegatherings1stheonlypage referencesystemusedinit.Table2.1identifies whichfantasiasarefoundineachcuaderno. 57 1. TABLE2.1 ., MILAN:SUMMARYOFFANTASIAS ,. "' ~01 "' "' .s::::"' 0(. ~ sos~ F-x x xx 1:: ; >50%a3xx x x x x -xlxlxx:x:xi;.. :xxixx x lx >sosa4x !1 !x HOMOPHONY rnuch{>20%) xx1x x ,x lxx x lxxx ixx !x 1ixxxxixlxxx. sornexxxiX'xx y Y. iIXxxxlxx littlexY. Y. Y. Y.ylv ! : FIGURATIONrnuch(>10%) x xx x x x x x x x xxx x x xx' 1x x xx x x x x x x x. 1ittlexxx X IXIX.!Xx ACCOMPANIEDrnuch(>20%) xx x1x xx x x x x x x x x x x x xx x x x x x x x x x x x x x x ,xx x ,xx x MELODY sorne xxx : --littlex1 ARPEGGIATIONx1l!XX EASEOFextrernelyfacile x x x x xx EXECUTIONveryfacile x xx x xxxx facile xxxx x x x xxx x xx x x x xxxx xxx difficultvv'Xx yy- y IOIOMATICexcellent xx xxx x xx x xx x xxxxxx x x x x x x x-EFFECTIVENESSgoodx xxx xxxxxx x x xxx average xxxx po or TABLE2.3 MILANTEXTURALTYPES(IDIOM) ., seenintheirtexturalclarity,theirminimal relianceuponvocallybased?ounterpoint,and .t' prolificofidiomaticdeviees.Hismusic suggestsastylebasedonimprovisationfroman accumulatedstockofformulae.Theimprovisatory basisofMil6n'sstylehasbeendisaussedbyWard wholikenshimtotheItalian improvisatoriwhoseartlayasmuchinthe mannerofperformanceasinthematter performed.Certainlytheimpressof improvisationisonmanypagesofElMaestro. Thefactthatthemusicdoesnotlackpol1sh andsubstancespeaksbothforMilansnative giftsandfortheartisticsophisticationof thetraditionwithinwhichheworked.[His music]...bespeaksaschoolinginan essentiallyperformanceart.27 Theimprovisatoryandspontaneouscharacterof musicrevealsitselfinseveralways.Itis seenintheconsonanciasandredoblesofthe degalaworks,intheloosestructuresofallhis fantasias,andtheirrapidsuccessionofshort-lived ideas.Therecurrenceofmaterial,often fragmentary,inmanyworksalsoappearsrelatedto improvisation.It wouldseemthatMilanaccumulated astockpileofpolyphoniecomplexes,themesand motives,chord'progressions,cadences,aswellas moreabstractedformulaeforprocessingmelodie material.Thisstockpile,i tappears,providedhim withabasisforimprovisatorycomposition.Milns reservoirofdevieesishighlyindividual, containingformulaewhichbearlittleresemblanceto themusicofanyotherinstrumentalcomposer.Its 27wardv,p.248. 75 ' . ., idiomaticderivationisobvious.Theindividuality ofMilansstockpiledistinguisheshis musicfromthatoftheether whotogether shareacommonstockofthematicideas. Apolypho.niccomplexwhichappearstohavebeen partofMilansstockpileoccursatthebeginningof Fantasia1: Ex.2.4,Milan,Fantasia1(b.1-19). 1 103

13

li JI: 1 J The.samecomplexrecursinparaphrasedformin Fantasia11. Ex.2.5,Milan,Fantasia11(b.80-91). rJ76 ' . ., Example2.4comprisestwocadentiallyseparated phrases:bars1-9and10-19,eachbasedona .t' differentthematiccell sharingthecommon intervaloftheminorthird.Thethirdstatementof thefirstmotiveisdelayedoneinEx.2.5. Thereafter,theformermaterialisabbreviatedand thetwopassagesconcludewithvariantsofthesame cadence.Thedifferencesbetweenthesetwopassages highlightthemannerinwhichthesamematerial couldserveasagerminalideaand,through improvisation,coulddevelopdifferently. Lessvariedthanthecomplexdiscussedarethe cadentialformulaewhichpermeateMilan'sworks. Theytoomustsurelyspringfromastockpile.The mostidiosyncraticofthemisaPhrygiancadence whichMil[melevatestothematicstatusinthe secondofhispavanas. Ex.2.6,Milan,Pavana2(b.1-5) .. - .-....... r----..JJJ1J1J 1 l : 1 . Thisformularecursinseveralfantasias,including nos.2(b.75-78),9(b.ll?-21,124-27),11(b.37-43), 12(b.14-17),and26(b.96-99).Severalotherless distinguishedcadencesrecurthroughout worksinthesameway. Severa!motivicfiguresappearinthefantasias 77 ' . ., ofElMaestrowithgreatfrequency.Thesecanbe safelyattributedtoMilansofdeviees. Mostfrequentarethefigures'::fhowninExample2. 7, aswellastheirmanyvariants.Thevariantforms areusuallybuiltfromthesamerhythmic configurationswithminorpitchdiscrepancies,or areextendedintoslightlylongerforms.Theyare usedinimitation,sequences,orareincorporated intofreepassagework.Theyaretransposedtothe sameinitialpitchintheexample. Ex.2.7,Milan,Recurrentmotives .():c::l "b 1$rrfr llrrrr e lltrBIl a.jjcd rt 1r Ilrt 1 JIlr6 1 n JIlr e1 a r If q1> cJ F4r Ilti rtlIl Q .[, 4Nr u fiJjIlru UJjIl laoc t 0J Ur IlttuIlt flJ Uill Form Milan'sfantasiasareconglomeratestructures. Theyareassemblagescreatedspontaneouslyin 78 ' . ,, performancetime,andhavenopredetermined structuralobligationbesides theirown .t' coherenceandself-sufficiency.;Greatdiversityis exhibitedintheirexternalform,yettheyreveal patternsofconstructionwhichrelatethemtoa centralstructuralmodel. Eachoftheepisodesfromwhichthefantasias areassembledisusuallydevotedtoasingle thematicortexturalidea,andseparatedfromthe nextbyacadence.Theepisodesofthefantasiasof arealsofrequently separatedbyafermataontheclosingconsonance. Episodesnormallyvaryinlengthbetweenfifteenand fortybarsoftablature. MostofMilan'sfantasiasappeartobe conceivedintermsofaloosely-definabletripartite model,whichitselfappearstobeaproductof improvisatorycomposition.Theworksdisplaysorne degreeofconsistencyintheiropening,middle,and closingepisodes.Afterbeg inningw i thattentively consideredthemesandprocesses,thefantasias dissolveincreasinglyintospontaneousimprovisation ofstockformulae,andareterminatedbyanother moreorlessstandardprocedure.Theworksusually unfoldwithdecreasingrelianceonvocallyderived deviees.Themodelisaconstructionalframeworkand itsdivisionsareindependentoftheinnerdramatic tensionswhichgivethemusicits .externalshape. Becauseit isahighlygeneralizedmodel,examples canalsobefoundthatonlypartiallyidentifywith 79 t' ., it.The seexceptiona 1works,however,usually containtwooftheconstituentp ~ r t s .t' Openingepisodesareusuallycomposedas imitationorasidiomaticcomplexeswhichcombinea numberofdeviees.Broadphrasescharacterizethese sections.Campa redw i thotherepisodes,theyshow greaterdistancebetweencadences,aslowerrateof harmoniechangewi thstrongreinforcementoftonie harmony,andaminimaluseofshortrepetitive motives.Centralsectionsareusuallythelongest andmadeupofanumberofshorterepisodes. Episodesarecharacteristicallybuiltfrombrief motivesinimitation,imitativesequenceor sequence.Eachcadentiallydistinctepisodeis usuallybasedonasingletheme.Scalepassages, homophony,andfreecounterpointalsooccurin centralsections,andseveralworksadditionally incorporateepisodesintriplemetre.Final episodesdistinguishthemselvesinthreeways:they areseldomimitative,phrasesarefrequentlylonger thaninmiddleepisodes,andtheentireepisodeis usuallyrepeatedinardertagiveasenseof finality.Ashortcodaisfrequentlyadded.The followingdiscussionexaminesthepropertieswhich characterizetheopeningandclosingepisodesofthe fantasias,theirstructuralorganizationandmeans ofunification.Thediversematerialwhich comprisesthecentralepisodesformsthebasisof thediscussionofMilansmusicallanguage, commencingonpage98.Theyaccountforthe 8 ~ ,. ., largestproportionofthefantasias,andconstitute Milansmosttypicalstyle. firstepisodeofFanfdsia3typifiesthe imitativeopeningsusedby (Example2.8).It isbuiltoftwophrases,bars1-13and13-21.The firstphrasecomprisesfourimitativestatementsof theinitialthemeintheorderS-8-T-S.Theclimax ofthephraseisinbar10wherethesuperius reachesitshighestnote,alsotheupperlimitof mode1range,andisunusua1lyharmonizedwitha majortriad.Thephraseisconcludedbyacadence onthedominant,approachedbyadescendingsuperius accompaniedbychords.Theunusualvoicecrossings ofthecadencearetypicalofMilan.Thesecond phraseisenergeticandsimple;apartlyimitative, two-voicedtextureinshorternotevalueswhich opensouttoathree-voicedcadentialformulaonthe tonie.Thetwophrasesoftheepisodethusdefine modalrangeandtheharmoniepolaritiesoftonieand dominant. Ex.2.8, Fantasia3(b.l-21). 1V g 1,1J 11 J r; J 1i 3la j Il 81 t ., (Ex. 2. 8contd.) TheopeningofFantasia27,inmode3 transposedtoG,showsamoreextendedimitative technique(Example2.9).Fourrepetitionsofan e ight-barphraseinitia tethework.Thephraseis intwovoices,comprisingamelodywitha harmonicallyconceivedaccompaniment.Inthefirst statement,thelowerpartgivestherootnotesof theharmonieformulawhichisitselfadilated Phrygiancadence,andthusstronglypronouncesthe characteristicsofthemode.Thefirsthalfofthe phraseisharmonizedbythefinal,whilethesecond halfisaccompaniedbythecadentialturn.The secondstatementisanoctaverepetitionofthe first.The-thirdandfourthstatementsare repetitionsofthef