This article examines the depiction of sexual proposition, the corruption of female virtue and the ambivalent allurements of secular music in a pair of 16th-century Concert paintings by the Venetian artist Bernardino Licinio. It argues that Licinio’s multi-figure concerts, centred on the music-making of young women, both parody and invert the classical elegiac theme of the pauper amans, the impoverished poet-lover who condemns the power of wealth and bestows poetry instead of gold on his beloved, only to be rejected due to her vanity and materialism. The pauper amans theme appears in several 16th-century Venetian strambotti and early madrigals, which are decidedly satiric in tone. In his paintings, Licinio reverses the familiar roles of poet and beloved, and the refined music of the virtuous-seeming young woman is challenged by the dissonant sound of her older male admirer shaking a purse full of coins or by his bold physical advances, which impede her playing. The dissonant and crude gesture of offering her coin payment equates the young woman’s art of music with her sexuality. It alleges not only her corruptibility and low status as a piece of merchandise for sale, but also debases the spiritually elevating art of music, with its noble and abstract figurations of love. The motif of the shaken purse with its ‘music of gold’ first appears in the Venetian dialect comedy La buelsca (c.1514), and is repeated in a series of later songs and poems centred on the subject of the grasping, mercenary prostitute in the 1520s and 30s. Licinio’s paintings play with such popular literary and musical themes but ultimately prefer visual ambiguity and unresolved narrative tension to their frankness and specificity.
{"title":"Will she or won’t she? The ambivalence of female musicianship in two paintings by Bernardino Licinio (1489–1565)","authors":"Chriscinda Henry","doi":"10.1093/em/caac056","DOIUrl":"https://doi.org/10.1093/em/caac056","url":null,"abstract":"\u0000 This article examines the depiction of sexual proposition, the corruption of female virtue and the ambivalent allurements of secular music in a pair of 16th-century Concert paintings by the Venetian artist Bernardino Licinio. It argues that Licinio’s multi-figure concerts, centred on the music-making of young women, both parody and invert the classical elegiac theme of the pauper amans, the impoverished poet-lover who condemns the power of wealth and bestows poetry instead of gold on his beloved, only to be rejected due to her vanity and materialism. The pauper amans theme appears in several 16th-century Venetian strambotti and early madrigals, which are decidedly satiric in tone. In his paintings, Licinio reverses the familiar roles of poet and beloved, and the refined music of the virtuous-seeming young woman is challenged by the dissonant sound of her older male admirer shaking a purse full of coins or by his bold physical advances, which impede her playing. The dissonant and crude gesture of offering her coin payment equates the young woman’s art of music with her sexuality. It alleges not only her corruptibility and low status as a piece of merchandise for sale, but also debases the spiritually elevating art of music, with its noble and abstract figurations of love. The motif of the shaken purse with its ‘music of gold’ first appears in the Venetian dialect comedy La buelsca (c.1514), and is repeated in a series of later songs and poems centred on the subject of the grasping, mercenary prostitute in the 1520s and 30s. Licinio’s paintings play with such popular literary and musical themes but ultimately prefer visual ambiguity and unresolved narrative tension to their frankness and specificity.","PeriodicalId":44771,"journal":{"name":"EARLY MUSIC","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2022-12-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49143756","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Recordings for all seasons","authors":"J. Cunningham","doi":"10.1093/em/caac058","DOIUrl":"https://doi.org/10.1093/em/caac058","url":null,"abstract":"","PeriodicalId":44771,"journal":{"name":"EARLY MUSIC","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2022-12-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42222576","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
In the 16th and 17th centuries, Roman production in the lutherie sector focused almost exclusively on plucked-string instruments: in the numerous workshop inventories that have come down to us, the various members of the viola family are very rare indeed, while violins are almost entirely absent. Again in Rome, the profession of violin-maker (‘violinaro’) starts to appear only in the second quarter of the 18th century; unlike the situation with the luthiers of the two previous centuries, only one workshop inventory has previously been described from this type of maker: that of the ‘violinaro’ Crescenzio Ugar (1791), which unfortunately provides very little information about the maker’s effective production. This article aims to help to fill the gap, which is all the more serious since it concerns a class of instruments that (unlike those of the plucked-string type) was the most valued from the 18th century onwards—not only from a musical point of view, but also from a purely economic perspective. I refer in particular to three previously unpublished inventories of the stock of well-known violinari operating in Rome: Francesco Emiliani (1736), Giulio Cesare Gigli (1794) and Giovanni Maria Valenzano (1826). To these we may add Magno Longo (1704), one of just two guitar-makers (‘chitarrari’) of German origin, from whose workshop we also find documentation concerning the production of violins. I also present a review of the instruments played by several Roman violinists during the 18th and 19th centuries.
在16世纪和17世纪，罗马的鲁特琴生产几乎完全集中在拨弦乐器上:在流传下来的众多车间库存中，中提琴家族的各种成员确实非常罕见，而小提琴几乎完全没有。在罗马，小提琴制造者(violinaro)这个职业直到18世纪下半叶才开始出现;与前两个世纪的制琴师不同的是，只有一个作坊的目录被描述过:“violinaro”Crescenzio Ugar(1791)，不幸的是，它提供了很少关于制造商有效生产的信息。这篇文章旨在帮助填补这一空白，这是更严重的，因为它涉及的一类乐器(不像那些拨弦乐器)从18世纪以来是最有价值的——不仅从音乐的角度来看，而且从纯粹的经济角度来看。我特别提到三个以前未发表的罗马著名小提琴手的存货清单:Francesco Emiliani (1736)， Giulio Cesare Gigli(1794)和Giovanni Maria Valenzano(1826)。除此之外，我们还可以加上Magno Longo(1704年)，他是仅有的两位德国籍吉他制造者(“chitarari”)之一，我们还从他的工作室找到了有关小提琴生产的文献。我也提出了几个罗马小提琴家演奏的乐器在18和19世纪的回顾。
{"title":"Violin-making in Rome, 1700−1830: new archival investigations","authors":"P. Barbieri","doi":"10.1093/em/caac039","DOIUrl":"https://doi.org/10.1093/em/caac039","url":null,"abstract":"\u0000 In the 16th and 17th centuries, Roman production in the lutherie sector focused almost exclusively on plucked-string instruments: in the numerous workshop inventories that have come down to us, the various members of the viola family are very rare indeed, while violins are almost entirely absent. Again in Rome, the profession of violin-maker (‘violinaro’) starts to appear only in the second quarter of the 18th century; unlike the situation with the luthiers of the two previous centuries, only one workshop inventory has previously been described from this type of maker: that of the ‘violinaro’ Crescenzio Ugar (1791), which unfortunately provides very little information about the maker’s effective production.\u0000 This article aims to help to fill the gap, which is all the more serious since it concerns a class of instruments that (unlike those of the plucked-string type) was the most valued from the 18th century onwards—not only from a musical point of view, but also from a purely economic perspective. I refer in particular to three previously unpublished inventories of the stock of well-known violinari operating in Rome: Francesco Emiliani (1736), Giulio Cesare Gigli (1794) and Giovanni Maria Valenzano (1826). To these we may add Magno Longo (1704), one of just two guitar-makers (‘chitarrari’) of German origin, from whose workshop we also find documentation concerning the production of violins. I also present a review of the instruments played by several Roman violinists during the 18th and 19th centuries.","PeriodicalId":44771,"journal":{"name":"EARLY MUSIC","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2022-11-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45744374","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
In common with many military officers at the turn of the 18th century, Joseph Sevin kept a journal that chronicled army life on and off the battlefield. His memoirs, covering the years 1697 to 1713, are of particular interest because they reveal his pleasure in making music with his fellow officers and the women whom he met socially. While boasting of only modest attainments, the Chevalier de Quincy adored his basse de viole and took it everywhere he went in the course of the War of the Spanish Succession, from Paris to the châteaux of Quincy, Versailles and Fontainebleau, to Provence, Flanders and Italy. His descriptions bring to life the musical occasions in which he took part or simply attended. They also mention fellow officers who we know played and enjoyed the viol. Among the many bonds between members of the noblesse militaire, music can at last be counted.
{"title":"The Chevalier de Quincy: an officer and his musical passe-partout","authors":"Julie Anne Sadie Goode","doi":"10.1093/em/caac044","DOIUrl":"https://doi.org/10.1093/em/caac044","url":null,"abstract":"\u0000 In common with many military officers at the turn of the 18th century, Joseph Sevin kept a journal that chronicled army life on and off the battlefield. His memoirs, covering the years 1697 to 1713, are of particular interest because they reveal his pleasure in making music with his fellow officers and the women whom he met socially. While boasting of only modest attainments, the Chevalier de Quincy adored his basse de viole and took it everywhere he went in the course of the War of the Spanish Succession, from Paris to the châteaux of Quincy, Versailles and Fontainebleau, to Provence, Flanders and Italy. His descriptions bring to life the musical occasions in which he took part or simply attended. They also mention fellow officers who we know played and enjoyed the viol. Among the many bonds between members of the noblesse militaire, music can at last be counted.","PeriodicalId":44771,"journal":{"name":"EARLY MUSIC","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2022-11-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46508012","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Listening to the flute","authors":"Fatima Lahham","doi":"10.1093/em/caac033","DOIUrl":"https://doi.org/10.1093/em/caac033","url":null,"abstract":"","PeriodicalId":44771,"journal":{"name":"EARLY MUSIC","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2022-09-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44684868","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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