Program - Fondazione Carlo Gesualdo
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Program
Thursday, 4 July
8.00 a.m. buses from Certaldo to Florence
9.30-11.30: Inaugural session at Palazzo Vecchio, chaired by Luisa Nardini:
Welcoming remarks: Matteo Renzi, sindaco di Firenze; Cristina Scaletti, assessore alla Cultura della Regione Toscana; Andrea Campinoti, sindaco di Certaldo; Rino
Caputo, presidente del Centro Studi sull’Ars Nova Italiana del Trecento; Luisa Nardini, chair del Program Committee
Keynote addresses: Prof. Rino Caputo and Prof. Paolo Emilio Carapezza
11.30-12.30: “Boccaccio and the European Popular Ballads” (Giordano Dall’Armellina, voice and guitar)
12.30-2.00 free
2.00 buses from Florence to Certaldo
Chiesetta Palazzo Pretorio/1 Palazzo Pretorio/2 Palazzo Pretorio/3
3.30-5.00 S1: Boccaccio e la musica S2: Liturgy and chant in late 15th- S3: Italy in the late 16th century 1 S4: Musical instruments and
Chair: Rino Caputo century Spain Chair: Philippe Vendrix instrumentalists
Susan Boynton, ‘The Decameron Chair: Tess Knighton Alceste Innocenzi, ‘“Bolognese, musico Chair: David Catalunya
ballate and lyric insertions in Tess Knighton, ‘Liturgy, politics and di S.M. Cesarea”: sulle tracce di Vilena Vrbanić, ‘Musical
medieval narrative’ music patronage: The commissioning Costantino Ferrabosco’ instruments in Zagreb medieval
Luciano Rossi, ‘Musica e mito of chant books by the Catholic Paola Dessì, ‘Ottavio Vernizzi, musicista chant codices’
nelle “Genealogie” di Giovanni Monarchs’ al tempo di Carlo Gesualdo’ Emily Peppers, ‘An untold story:
Boccaccio: alcune osservazioni’ Juan Ruiz Jiménez, ‘The Catholic Esperanza Rodriguez-García, ‘Scipione Private instrument collections and
Cathy Ann Elias, ‘Imitators of Monarchs and liturgical books: A Dentice’s Motectorum liber primus music-making in 16th-century
Boccaccio: A close reading of Psalterium-himnarium for the (1594) and experimentation’ France’
musical performances and monastery of San Juan de los Reyes’ Lucia Fava, ‘I civici piffari della
entertaining tales’ Mercedes Castillo-Ferreira, ‘The Role città di Ancona nel 500’
of an archbishop in the creation and
patronage of plainchant in the time of
the Catholic Monarchs: Fray Hernando
1de Talavera’
5.00-5.30 coffee break
5.30-7.00 S5: Masses S6: Spain and Portugal in the late S7: Italy in the late 16th century 2 S8: Ars antiqua sources
Chair: Peter Wright 16th and 17th centuries Chair: Massimo Privitera Chair: Catherine Bradley
Antonio Chemotti, ‘I Kyrie di Chair: Noel O’Regan Antonio Cascelli, ‘Metaphor as Nuria Torres and Carmen Julia
Tr93’ Emilio Ros-Fábregas, ‘Two lost and experience: An example from Vincenzo Gutiérrez, ‘The circulation of
David Burn, ‘New light on found manuscript partbooks with music Galilei’s Dialogo della Musica Antica e polyphonic repertoire in 13th-
Conrad Rein’s Missa super Kyrie by Morales, Guerrero, and Ceballos’ della Moderna’ century Spain’
Paschale’ Sergi Zauner, ‘Polyphonic psalmody Jonathan Wild, ‘The sonic world of David Catalunya and Santiago Ruiz,
Zoe Saunders, ‘Sound, structure for Philip II of Spain’ Vicentino’s 31-tone music’ ‘More fragments of medieval
and symbolism in an anonymous Adriano Giardina, ‘Tomás Luis de Paola Besutti, ‘“Ch’all’udir, ch’al mirar polyphony (ca. 1300) recently
Victoria’s motets: Learned versus duo sensi appago”: The “je ne sais quoi” discovered in Spain’
Salve Regina mass (VienNB
functional works’ in the production and reception of music
4810)’
in the 16th and 17th centuries’
7.00-7.30 Book presentation in library of the Casa Boccaccio: Marco Gozzi, Sequenze (vol. 1 of Codici Musicali Trentini del Quattrocento, ed. Marco Gozzi; Rome:
Istituto Italiano per la Storia della Musica – Provincia Autonoma di Trento, 2012). Presented by Alejandro Enrique Planchart
Friday, 5 July
Chiesetta Palazzo Pretorio/1 Palazzo Pretorio/2 Palazzo Pretorio/3
9.00- S9: Brumel the composer 1 S10: John Sheppard S11: Commemoration of Michel Huglo S12: Commemoration of Pierluigi
11.00 Chair and Respondent: David Chair: Magnus Williamson Chant and liturgy in Latin southern Petrobelli
Fallows Kerry McCarthy, ‘Sheppard and the Italy in the Middle Ages 1 Mysterious persons in Trecento music
Sonja Tröster, ‘Brumel’s chansons English psalm-motet’ Chair: Matthew Peattie Chair: Francesco Zimei
and their transmission’ Dana Marsh, ‘Chronology, genre and Alejandro Enrique Planchart, Elena Abramov-van Rijk, ‘Who was
Oliver Korte, ‘Reconstructing style: John Sheppard under Edward ‘Fragments of an eleventh-century Landini’s antagonist in his defence of
Brumel’ VI’ Beneventan Gradual in Ireland and Ockham?’
Stefan Gasch, ‘Brumel’s legacy? David Mateer, ‘Title and structure in Madrid’
Lucia Marchi, ‘Profane or sacred love?
The “Philippe qui videt me” two Sheppard masses’ Thomas Forrest Kelly, ‘The Office of The multiple meanings of an Italian
tradition’ Sue Cole, ‘Terry, Sheppard and the Saint Donatus at Benevento’ caccia’
Thomas Schmidt, ‘Brumel’s Nato politics of the Tudor Church Music Nicola Tangari, ‘Plainchant in Roberta Ocozia, ‘Il mito delle iguane nei
canunt omnia: Texts, tunes and edition’ Beneventan Liturgical Homiliaries’ madrigali del Trecento’
2textures in the motet around 1500’
11.00-11.30 coffee break
11.30- S13: Music, painting, and S14: Learning music S15: Chant and liturgy in Latin S16: Quotations, concordances, and
1.00 literature Chair: Jonathan Wild southern Italy in the Middle Ages 2 the art of memory
chair: Paolo Emilio Carapezza Christian Goursaud, ‘Johannes Chair: Thomas Forrest Kelly Chair: John Nádas
Tim Shephard, ‘Leonardo, the Tinctoris and the Order of the Matthew Peattie, ‘Aural and written Michael Scott Cuthbert, ‘Identifying
Paragone, and music’ Ermine’ modality in the Old Beneventan chant’ quotations and concordances in Ars
Massimo Privitera, ‘Dipingere i Cristina Diego Pacheco, ‘Using the Luisa Nardini, ‘Between St. Peter and Nova music with computational
suoni, suonare i colori: Note right word: What the musical term Santa Sofia: Liturgical Program and methods’
sull’intreccio fra le arti nella prima denotes in the Renaissance’ Notational Features in Benevento, Michail Lopatin, ‘“Seghugi a corta”:
modernità’ Abigail Ballantyne, ‘Learning to Biblioteca Capitolare 39’ Searching for a notational and
Katelijne Schiltz, ‘The globe on a walk before he could crawl? Some Giovanni Varelli, ‘Ransacking the compositional archetype’
crab’s back: Music, emblem and thoughts on Adriano Banchieri’s “toolbox” of 10th-century Italian music Carlo Bosi, ‘Citation and the art of
world view on a broadside from scribes: The cases of Nonantola and memory’
musical education’
Benevento’
Renaissance Prague’
1.00-2.30 lunch
2.30-3.00 free time
3.00- S17: Brumel the composer 2 S18: Music and text before 1400 S19: The effects of music: Sense S20: Performance practice in the
4.30 Chair and Respondent: David Chair: Matteo Nanni perception, diabolic activities, and Iberian peninsula
Fallows magic Chair: Emilio Ros-Fábregas
Warwick Edwards, ‘The rhythms of
Fabrice Fitch, ‘Antoine Brumel: Italian Trecento sung verse: A case Chair: Inga Mai Groote Giuseppe Fiorentino, ‘“Cantar por uso”
Aspects of his musical style’ study in the intersection of oral and Gabriela Currie, ‘Sonic intersections: and “cantar fabordón”: The unlearned
Immanuel Ott, ‘How to compose the literate cultures’ Aristotelian thought experiments and tradition of oral polyphony in
Missa A l’ombre d’ung buissonet’ David Maw, ‘Prolegomena to a new modes of hearing in the fourteenth Renaissance Spain’
edition of Machaut’s music’ century’ João Pedro d’Alvarenga, ‘On
Wolfgang Fuhrmann, ‘A humble
beginning: Brumel and the ut-re-mi- Ascensión Mazuela-Anguita, ‘Women, performance practices in mid- to late
music and witchcraft through 16th-century Portuguese church music:
fa-sol-la tradition’
Renaissance Inquisition records’ The chapel of Évora Cathedral’
Jacomien Prins, ‘Girolamo Cardano and Ed Emery, ‘A fresh approach to the
the decline of Renaissance musical “Arabic hypothesis” in early European
magic’ music’
34.30-5.00 coffee break
5.00- S21: Manuscript transmission S22: Musical Life in Quattrocento S23: From didactic song to the S24: Devotional and liturgical
6.30 Chair: Agostino Ziino Italy: New Findings conductus repertories around the Council of
Chair: Camilla Cavicchi Chair: Susan Boynton Trent
John Nádas and Andreas Janke,
‘New insights into the Florentine Evan Angus MacCarthy, ‘The Jeremy Llewellyn, ‘Poem or proem? Chair: Barbara Eichner
transmission of Zacara’s songs’ English voyage of Pietrobono da Re-assessing the earlier Cambridge Remi Chiu, ‘A songbook for the plague’
Matthew Flynn, ‘Manuscript Burzellis?’ Songs’ Noel O’Regan, ‘Luca Marenzio and a
variations in three works of Leofranc Holford-Strevens, ‘The Gregorio Bevilacqua, ‘“Lutum, later et second post-Tridentine musical reform
Francesco Landini’ duke, the ambassador, the singer, and palea”: Jews in the polyphonic in 1590s Rome’
Ralph Corrigan, ‘Stemmatic the pope’ conductus’ Marianne C. E. Gillion, ‘Revisions to
relationships between the MSS BU, Jacopo Mazzeo, ‘Conducti and “Ostende type” Alleluias in Italian
Giulia Gabrielli, ‘A new source of
Ox, and Q15’ troubadour contrafacta: The art of printed Graduals from the 16th and early
polyphonic music from 15th-century recycling melodies’ 17th centuries’
Bolzano/Bozen: A preliminary
report’
6.30- Book presentation in library of the Casa Boccaccio: L’Ars Nova Italiana del Trecento, vol. VIII (Proceedings of the International Conference ‘Beyond 50 Years
7.00 of Ars Nova Studies at Certaldo, 1959-2009’ (Certaldo, 12-14 June 2009), ed. Marco Gozzi, Agostino Ziino, and Francesco Zimei (Lucca: LIM, 2013). Presented
by Bonnie J. Blackburn
7.00 Concert in the Chiesetta: ‘Il Zabaione musicale’ (Basel): ‘Concerto delle Dame principalissime’
Saturday, 6 July
Chiesetta Palazzo Pretorio/1 Palazzo Pretorio/2 Palazzo Pretorio/3
9.30- S25: Lasso networks 1 S26: Authority, convention and S27: Gesualdo: Chromaticism and S28: Ockeghem and Obrecht
11.00 Chair: Franz Körndle representation in the theory and metaphorical death Chair: Jesse Rodin
practice of 14th-century mensural Chair: Marina Toffetti
Franz Körndle, ‘The origin of the Yossi Maurey, ‘A soldier of great
notation
Prophetiae Sibyllarum’ Daniele Sabaino and Marco Mangani, prowess: St Martin of Tours in a motet
Chair: Leofranc Holford-Strevens ‘Counterpoint and modality in (yet again) attributed to Ockeghem’
Christian Thomas Leitmeir, ‘Design
or disaster? The interplay of Karen M. Cook, ‘Johannes Pipudi’s De Gesualdo’s late madrigals’ Emily Zazulia, ‘“Whatever you do,
images, words and music in the arte cantus: A Reinvestigation’ Joseph Knowles, ‘Chromaticism in don’t sing D”: Notating Obrecht’s Missa
Penitential Psalm codices’ Elina G. Hamilton, ‘Deficere et errare: Gesualdo’s madrigal Mercè grido L’homme armé’
Moritz Kelber, ‘Orlando’s networks The Rise of Notational Corruption and piangendo’ Andrea Horz, ‘The case of Jacob
– the Imperial Diet of Augsburg in its Cure in Medieval England’ Alèxandros Maria Hatzikiriakos, Obrecht, Heinrich Glarean and Erasmus
41566’ Jason Stoessel, ‘The Notational ‘Gesualdo and Tirsi: The evolution of of Rotterdam’
Identity of Late Medieval Composers a metaphor’
and their Scribes’
11.00-11.30 coffee break
11.30- S29: Lasso networks 2 S30: Fourteenth-century France S31: Gesualdo’s influences on vocal S32: Thirteenth-century motets
1.00 Chair: Franz Körndle Chair: David Maw and instrumental traditions Chair: Jeremy Llewellyn
Barbara Eichner, ‘The Mayrhofer Carolann Buff, ‘A more subtle art’? Chair: Antonio Cascelli Catherine A. Bradley, ‘Comparing
codices: Lasso’s music as a Melanie Wald-Fuhrmann, ‘Fumeux Sigrid Harris, ‘“O dolorosa gioia”: compositional process in thirteenth-
diplomatic gift’ fume – the first musical essay in Death as paradox in the late madrigals century Latin and French motets’
Erich Tremmel, ‘Lute and keyboard ingenious melancholy?’ of Carlo Gesualdo’ Monica Roundy, ‘Cum et sine pedibus:
intabulations as indicators of Francesco Saggio, ‘La “Fatica di Genre-bending and the performance of
popularity and the development of a Simone Molinaro”: Stanghette di Ars antiqua motets’
“classical” repertoire’ battuta e altri interventi editoriali nella Rachael Davies, ‘Songs of saints and
Francesco Pezzi, ‘Lasso, Pevernage “partitura” dei madrigali’ sinners: Mystical marriage and clerical
and others: A collection of Bicinia Luigi Sisto, ‘Carlo Gesualdo da corruption in Montpellier Codex motets’
as a mirror of possible musicians’ Venosa e la trasmissione dell’arciliuto
connections’ Napoli e nell’Italia meridionale’
1.00-2.30 lunch
2.30-3.00 Book presentation in library of the Casa Boccaccio: Pedro Memelsdorff, The Codex Faenza 117. Instrumental Polyphony in Late Medieval Italy (Lucca: LIM,
2013). Presented by Margaret Bent
3.00- S33: Josquin S34: Printed music books and their S35: Chant and ecclesiastical S36: Reception
4.30 Chair: Alejandro Enrique Planchart use beyond performance 1 institutions Chair: Andrew Kirkman
Vassiliki Koutsobina, ‘Canons as Chair: Elisabeth Giselbrecht Chair: Luisa Nardini Ed Breen, ‘Keeping Landini off the
orations: The case of Josquin’s Grantley McDonald, ‘Remembering James V. Maiello, ‘Singing streets’
multi-voice chansons’ Hofhaimer’ sophistication: The Alleluia repertory Vincenzo Borghetti, ‘From “Ode to a
Clare Bokulich, ‘Reconsidering Daniel Trocmé-Latter, ‘Catholic music at Pistoia’s cathedral of San Zeno’ screw” to “Les chants de la terre”: Fifty
Josquin’s Ave Maria . . . virgo – Protestant city: The musical mystery Stefania Roncroffi, ‘Musica e liturgia years of early music on record’
serena’ of the Cantiones quinque vocum nel monastero di Matilde di Canossa’ Anne Smith, ‘Ina Lohr (1903–1983): An
Jesse Rodin, ‘Connecting the dots: selectissimae (1539)’ Michael Klaper, ‘Ekkehardus notator unsung pioneer of historically informed
The origins and transmission of Sanna Raninen, ‘From partbooks to et compositor: Ekkehart IV of St. Gall performance practice’
Josquin’s Missa L’homme armé tablebooks: The printing and reading of as commentator and author of
sexti toni’ the chansonniers by Pierre Attaingnant
liturgical chants’
and Jacques Moderne’
54.30-5.00 coffee break
5.00- S37: Round table. Creation S38: Printed music books and their S39: Foreign tones: Coniunctae, S40: Narrative and genre in the
6.30 stories: Obrecht’s Missa de use beyond performance 2 musica ficta, and enharmonicism Trecento
Sancto Donatiano Chair: Thomas Schmidt Chair: Daniele Sabaino Chair: Matteo Nanni
Chair: M. Jennifer Bloxam Michael Meyer, ‘Jacob Paix and music Santiago Galán, ‘Coniunctae and Michele Epifani, ‘Per una definizione
M. Jennifer Bloxam, Introduction history’ counterpoint in Spanish Renaissance della caccia come genere poetico-
Robert Nosow, ‘Jacob Obrecht and Inga Mai Groote, ‘Buy one, get one theory: The case of the tabulae of musicale dell’Ars Nova italiana’
the fall of Bruges, 1490–91’ free: Henning Dedekind’s Domingo Marcos’ Antonio Calvia, ‘Irregolarità formale o
Respondents: Reinhard Strohm and Dodekatonon’ Luca Bruno, ‘Il cantar novo by Ercole portato della tradizione manoscritta?
Birgit Lodes Elisabeth Giselbrecht, ‘Shelf-lives: Bottrigari, or ancient chromaticism Alcuni esempi nella produzione di
Music books as collectors’ items’ adapted to modern polyphony at the Nicolò del Preposto’
turn of the 17th century’ Philemon Jacobsen, ‘Nuove ipotesi sulla
relazione tra testo e musica nella ballata
trecentesca. Due esempi dall’opera di
Andrea da Firenze (1350–1415)’
6.45- Business meeting (all welcome: to discuss future meetings)
7.00
7.15 Concert in the Chiesetta: David Catalunya: performance on the clavisimbalum of music from the Codex Faenza 15th-century tablatures
8.15 Conference dinner: Places are limited and should be reserved on the registration desk on 3th and 4th July
Sunday, 7 July
Chiesetta Palazzo Pretorio/1 Palazzo Pretorio/2 Palazzo Pretorio/3
9.30- S41: Round table. Saint’s Offices S42: Musical life and sources in Central S43: Musical representations S44: New 15th-century sources
11.00 (historiae) of the Middle Ages: Europe Chair: Katelijne Schiltz Chair: Margaret Bent
Research problems and Chair: Christian Leitmeir Jennifer Halton, ‘Performance as social Camilla Cavicchi, ‘D’un
perspectives
Agnieszka Leszczyńska, ‘Italianità in late commentary: Examining the role of frammento inedito con musica di
Chair: David Hiley Renaissance vocal manuscripts from musical dramatics in the 1539 Medici Gilles Binchois’
Steffen Hope, ‘The role of the sung Gdańsk and Elbląg’ festival’ Susana Zapke and Peter Wright,
material in the representation of Scott Edwards, ‘Quodlibets and the Laurie Stras, ‘Music for Giraldi ‘The Weitra fragment: A Central
Edward the Confessor as king and performance of identity in late sixteenth- Cinzio’s Selene: Fixing performance European source of late medieval
saint’ century Central Europe’ through print?’ polyphony’
Danette Brink, ‘Sancta Helena: A Monika Jurić, ‘The role of the Duke’s Daniel K. Donnelly, ‘Three new
6journey through Europe’ chapel in 16th-century Dubrovnik musical greghesche by Antonio Molino and
Roman Hankeln, ‘Sense structures culture’ their place in the genre’
sound? Analysing facets of text–
music interrelation in three chant
cycles for St. Maurice and the
Theban legion (11th–14th centuries)’
Morné Bezuidenhout, ‘Digital
Liudger: Stylistic coherence in the
chant melodies of the Historia Sancti
Ludgeri’
11.00-11.30 coffee break
11.30- S45: The Divine Office: S46: Round Table on Musica S47: Cinquecento madrigals S48: Fifteenth-century motets
1.00 Composition, Transmission, and Rudolphina Chair: Paola Besutti Chair: Thomas Schmidt
Practice Chair: Jan Baťa Zoey Cochran, ‘The Questione della Paul Kolb, ‘Structure and context
Chair: James V. Maiello Michaela Žáčková Rossi, ‘The musical lingua and the early madrigal’ in fifteenth-century bilingual
James Blasina, ‘Reconsidering the kinships at the Court of Rudolph II’ Vanessa Blais-Tremblay, ‘“The Ways” motets’
earliest office for St. Katherine of Jan Baťa, ‘Praga festivans: Music and [“I Modi”] of black-note erotica’ Murray Steib, ‘Martini and
Alexandria, s. 11–13’ festivities in Rudolphine Prague’ Petrarch: Two unrecognized motet
Peter Poulos, ‘Simone Molinaro’s
Miriam Wendling, ‘Layers in the Ferran Escrivà-Llorca, ‘Juan de Borja’s Madrigali a cinque voci and Genoese settings unmasked’
liturgy for St. Katherine of musical activities in Prague’ patrons in Rome’ Serafina Beck, ‘The Palatini
Alexandria’ partbooks (VatP 1976–79) and
Petr Daněk, ‘Die heüser bey und hinder St.
Michelle Urberg, ‘Modeling Thomas khloster’ Anna Selbdritt: Unlocking the
Mariology: The symbolic programme in a motet manuscript
Jiří Kroupa, ‘Per musica ad erotica: Fiction
performance of the feast of Mary’s from the Alamire workshop’
and reality in the social life at the turn of
Compassion at Vadstena Abbey’
the 16th and 17th century’
1.00-2.30 lunch
2.30-3.00 free time
3.00- S49: Devotional and sacred S50: Composing and reconstructing S51: England S52: Re-evaluating sixteenth-
4.30 repertories in Italy music Chair: Kerry McCarthy century sources
Chair: Francesco Zimei Chair: Michael Scott Cuthbert Louise McInnes, ‘“England be glad! Chair: Cathy Ann Elias
Gioia Filocamo, ‘Comforting Alexander Morgan, ‘Testing Tinctoris’ Lift up thy lusty hearts!”: The medieval Geneviève Bazinet, ‘What’s in a
condemned prisoners: The circulation Julie Cumming, ‘Another lesson from carol as a vehicle for political Rubric? Liturgical assignments in
and performance of the lauda Lassus: Quantifying contrapuntal commentary and English nationalism’ Pierre Attaingnant’s motet series’
7collection of the Bolognese repetition in the Duos of 1577’ James Apgar, ‘Rhetoric, decorum, and Jacob Sagrans, ‘The emergence of
Confraternity of S. Maria’ Marina Toffetti, ‘The critical edition and style in Elizabethan England’ single-composer motet prints:
Fañch Thoraval, ‘The frottole the reconstruction of incomplete Sakurako Mishiro, ‘William Bathe, Putting composers before music’
spirituali of Innocentius Dammonis’ polyphony’ Thomas Ravenscroft and Nele Gabriëls, ‘Private musical
Agnese Pavanello, ‘Weerbeke’s unacknowledged “forraine Authors”’ culture represented in three
Rome’ manuscripts from Bruges c.1525–
1560: A context for amateur
composition’
5.00 Concert in the Chiesetta: Vocalia Consort, dir. Marco Berrini, performing Gesualdo madrigals
7.00 Renaissance dance presentation by the Associazione culturale 8cento, diretta da Alessia Branchi, in front of the Casa Boccaccio
POSTER SESSIONS in Palazzo Pretorio/4
Reinier de Valk and Tillman Weyde: Computational Methods for the Recognition of Polyphonic Structure in Sixteenth-Century Lute Tablatures
Ichiro Fujinaga and Andrew Hankinson: Optical Music Recognition of the Salzinnes Antiphonal
Jan Koláček, Debra Lacoste, and Elsa De Luca: CANTUS Index: Building an Online Network of Chant Databases for Mass and Office
Birgit Lodes: Ludwig Senfl – A Catalogue Raisonné of the Works and Sources (www.senflonline.com)
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