Desperate Measures: The Life And Music Of Antonia Padoani Bembo by Claire Fontijn


9856aa42451ab3f.jpg Author Claire Fontijn
Isbn 9780195135381
File size 6.6 MB
Year 2006
Pages 392
Language English
File format PDF
Category biography



 

Desperate Measures This page intentionally left blank Desperate Measures The Life and Music of Antonia Padoani Bembo Claire Fontijn 1  3 Oxford University Press, Inc., publishes works that further Oxford University’s objective of excellence in research, scholarship, and education. Oxford New York Auckland Cape Town Dar es Salaam Hong Kong Karachi Kuala Lumpur Madrid Melbourne Mexico City Nairobi New Delhi Shanghai Taipei Toronto With offices in Argentina Austria Brazil Chile Czech Republic France Greece Guatemala Hungary Italy Japan Poland Portugal Singapore South Korea Switzerland Thailand Turkey Ukraine Vietnam Copyright ©  by Claire Fontijn Published by Oxford University Press, Inc.  Madison Avenue, New York, New York  www.oup.com Oxford is a registered trademark of Oxford University Press All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without the prior permission of Oxford University Press. Library of Congress Cataloging-in-Publication Data Fontijn, Claire Anne, – Desperate measures : the life and music of Antonia Padoani Bembo / Claire Fontijn. p. cm. ISBN- ---- ISBN --- . Bembo, Antonia, fl. –. . Bembo, Antonia, fl. –— Criticism and interpretation. . Composers—France—th century—Biography. . Women composers—France—th century—Biography. I. Title. ML.BF  .—dc           Printed in the United States of America on acid-free paper For Amica figlia scorta e fonte In the conventual buildings attached to this church [Santa Maria dei Frari] are the state archives of Venice . . . they are said to number millions of documents. “They are the records of centuries of the most watchful, observant, and suspicious government that ever existed—in which everything was written down and nothing spoken out.” They fill nearly three hundred rooms. Among them are manuscripts from the archives of nearly two thousand families, monasteries, and convents. The secret history of Venice for a thousand years is here—its plots, its hidden trials, its assassinations, its commissions of hireling spies and masked bravoes—food, ready to hand, for a world of dark and mysterious romances. —Mark Twain, The Innocents Abroad acknowle dgme nts Many people and institutions have contributed over a rather long period of time to the nascence of this book. I am indebted to the generosity of Wellesley College for all it has supplied in research support over the past decade of my professorship, for providing a substantial publication subvention, and for its libraries and Interlibrary Loan service. By now several members of the Wellesley community are familiar with the name of Bembo and have contributed to this project in ways great and small. In the Music Department, I thank Tamar Barzel, Pamela Bristah, Martin Brody, John Diggins, Marion Dry, Charles Fisk, Emily Kennedy, Julia Pollock, Elise Yun, and Arlene Zallman for their unflagging support and encouragement. I am grateful to the music majors who have helped over the years with the research, musical examples, and proofreading: Rebecca Soderman, Heather Burnett, Joanna Wulfsberg, Alex Swartsel, Brooke Bryant, Krista Kateneva, and Stephanie Kacoyanis. In the Feminist Reading Group, comments offered by Vicki Mistacco, Lidwien Kapteijns, Susan Reverby, Geeta Patel, and Elena Tajima Creef have proven to be most useful. Wellesley colleagues Margaret CézairThompson, Rachel Jacoff, Eleanor De Lorme, Bill Joseph, Steve Harris, and Jamie Goodbinder all offered critical assistance along the way. I am grateful to the Publications Committee of the American Musicological Society whose Dragan Plamenac Fund supported the production of the musical examples as they evolved from manuscripts to modern editions. I acknowledge the Gladys Krieble Delmas Foundation for Research in Venice, which provided funding to support three separate research trips as well as a generous publication subvention. I am obliged to Princeton University, and particularly to Scott Burnham and Paul Lansky, for having welcomed me as a Visiting Scholar during the – year when I began writing up the research. viii    The greater scholarly community of musicologists and Venetianists has inspired much of my work, and I owe a debt of thanks in particular to Adrienne Fried Block, Patricia Fortini Brown, Ersie Burke, Mauro Calcagno, Tim Carter, Catherine Gordon-Seifert, John Hajdu Heyer, Holly Hurlburt, Frederick Ilchman, Anna-Kerstin Källman, Robert Kendrick, Jean-Paul Montagnier, Ardal Powell, Joshua Rifkin, Alexander Silbiger, Judith Tick, Steven Zohn, and the members of the CUNY Music Biography Seminar. John Mayrose of Duke University typeset the musical examples found here. The warm hospitality of Marinella Laini and Stefano Polizzi in Venice and of Philippe Suzanne and Nicole Joyé in Paris contributed in many ways to the joys of research. While in Europe, I benefited from the interest and talent of the following people: in Paris, Catherine Massip of the Bibliothèque Nationale and Fabienne Queyroux of the Institut de France; in Venice, Eduardo Giuffrida, Alessandra Sambo, Claudia Salmini, and Michela dal Borgo of the Archivio di Stato; in Padua, Giovanni Zanovello, Rea Caseracciu, and Emilia Veronese; in Mantua, Anna Maria Lorenzoni and Claudio Gallico; in Trieste, Ivano Cavallini; and, in Bologna, the late Oscar Mischiati. A project such as this one—which deals with music that has long lain forgotten in manuscripts—relies heavily on performers who are willing to experiment with making editions and trying out first-time performances. It has also made a great deal of difference to a scholar working in relative isolation to learn of others’ love of Bembo’s music. I am thankful for the opportunity to work with Laury Gutiérrez and La Donna Musicale—particularly Lydia Heather Knutson, Laura Gulley, Na’ama Lion, Ruth McKay, and Daniela Tosicˇ—on a decade of performances of Bembo’s psalms, portions of the opera, and arias. A collaboration with Maria Jonas helped deepen my familiarity with the gargantuan compilation of Produzioni armoniche. I am grateful to Wolfgang Fürlinger, Conrad Misch, Dorota Cybulska, Ralf Dahler, and the Radio Suisse Romande for sharing with me recordings of their performances of Bembo’s music. It has been a recent delight to work closely with Elena Russo of Bizzarrie Armoniche, Milan, and to discover the magnificent results achieved by singer Roberta Invernizzi. Toby Mountain of Northeastern Digital mastered the accompanying CD. At Oxford University Press, I am grateful for the assiduous production work of Assistant Editor Norm Hirschy, Editor Suzanne Ryan, Senior Production Editor Bob Milks, and also, in the early stages, the assistance of Maribeth Anderson Payne, Maureen Buja, and Ellen Welch. Giovanna Roz, Sergio Parussa, Denis Grélé, Massimo Ossi, Giovanni Zanovello, and Michael Talbot all offered invaluable help with the translations found throughout the book. Indeed my greatest debt of gratitude goes to Professor Talbot, whom I first met in  at the Biennial Conference on Baroque Music in Durham, the month after Antonia Bembo had surfaced at the Archivio di Stato di Venezia. From the start, he could see the project’s in-    ix herent worth and understood the cross-cultural issues and feminist challenges that accompanied it. His comments on the book’s chapters have been indispensable over the course of their developing narrative. It is rare to find a reader at once so encouraging and so discriminating, and surely no one reads more thoroughly and quickly than he. No musicologist in Venice should undertake any project without at some point consulting Beth Glixon and Jonathan Glixon. Their methodology and meticulous knowledge of the Archivio di Stato and the Biblioteca Marciana has provided much of the basis for this biography. I cannot thank them enough for their unstinting gifts of time, documents, and friendly collegiality over the course of the past decade. Finally, I would like to acknowledge the help offered by my friends and family. Effie Papanikolaou, Karen van Dyck, Nelson Moe, Palliath George Mathew, Lenard Milich, and K. V. Lakshmi have all offered intellectual and moral support at crucial times. I am grateful for the interest shown in this project by Francophiles Herbert Fontijn and Annet Fontijn-Davidson as well as by Marie-Louise Desbarats Schönbaum and the late Eduard Schönbaum. From the start of this project, my parents, Sylvia Elvin and Arthur Fontijn, have patiently listened to the “bare bones of research” and have consistently offered intelligent comments testifying to their acute attention. This book is dedicated with profound affection to my daughter, Amica, light of my life and hope for the future. This book has been typeset in the Bembo font. This page intentionally left blank e ditorial policy The goal throughout this book has been to normalize and modernize the notation found in the manuscripts. Likewise, the text has been normalized and modernized in the intercalated musical examples and in appendix , and orthographic mistakes tacitly corrected. By contrast, the texts found in appendix  represent transcriptions that have remained as faithful as possible to the original documents. For the labeling of instrumental and vocal parts, see the abbreviations list. The instruments in use during Bembo’s time were quite different from those found in the modern orchestra. While the violin roughly corresponds to the instrument she called the “violon,” the inner and bass parts contrast with the standard string family of today. The first and second violins are usually called first “dessus” and second “dessus” to indicate their treble range; the same term is employed for the first and second soprano parts. The inner parts correspond to the modern viola in their alto range, but in French performance practice Baroque violas were named variously “haute contre de violon” or “taille de violon.” The vocal parts correspond to the instrumental parts, with “haute contre”—male or female—as a designation referring to the alto or high tenor range. The basso continuo part could be played by the harpsichord, organ, and/or theorbo, along with the viola da gamba, violoncello, and/or bassoon. Bembo called for flutes at several junctures; the final chapters consider to which instruments she may have been referring. For the meaning of abbreviations used in references to documents in the text and notes, see the bibliography. This page intentionally left blank conte nts List of Documents (Appendix ) xv List of Longer Musical Examples (Appendix ) Abbreviations xix Introduction: Uncovering Her Story  PART I. THE LIFE Chapter . Chapter . The Girl Who Sings  Our Lady of Good News  PART II. THE MUSIC Chapter . Harmonic Productions  Chapter . Ties That Bind  Chapter . The United Tastes  Chapter . Penitence  Chapter . Hercules in Love  Postscript: Sunset  Appendix . Documents  Appendix . Longer Musical Examples List of Compact Disc Tracks  Bibliography  Index   xvii This page intentionally left blank list of docume nts (appe ndix 1) . . . . . . . . . . . . . . . F-Pn, Rés.Vm1, Produzioni armoniche, Dedication, ff. r–r I-MAa, Archivio Gonzaga, Carteggi esteri, Carteggi ad inviati (Venezia), Busta  I-MAa, Archivio Gonzaga, Lettere ai Gonzaga Mantova e Paesi (), Busta /VII, carta  I-MAa, Archivio Gonzaga, Lettere ai Gonzaga Mantova e Paesi (), Busta /VII, carta  I-MAa, Archivio Gonzaga, Carteggi esteri, Carteggi ad inviati (Venezia), Busta , Bosso Residente  I-MAa, Archivio Gonzaga, Carteggi esteri, Carteggi ad inviati (Venezia), Busta , Bosso Residente  I-MAa, Archivio Gonzaga, Carteggi esteri, Carteggi ad inviati (Venezia), Busta , Diversi  I-MAa, Archivio Gonzaga, Carteggi esteri, Carteggi ad inviati (Venezia), Busta , Bosso Residente  I-Vas, Notarile, Atti, Pietro Bracchi e Girolamo Brinis, Busta , ff. v– I-Vas, Notarile, Atti, Camillo Lion, Busta , f.  I-Vas, Notarile, Atti, Camillo Lion, Busta , f.  I-Vas, Notarile, Testamenti, Camillo Lion, Busta , no.  ( March ) S. Romanin, Storia documentata di Venezia (Venice: Pietro Naratovich, ), : – I-Vasp, Curia Patriarcale, Sezione antica: Filciae causarum, Busta  (–), f.  I-Vas, Notarile, Atti, Giovanni Antonio Mora, Busta  bis, ff. –v xv xvi     (  ) . . . . . . . . . . . . . . . I-Vas, Corporazioni religiose, San Bernardo di Murano, Busta , Mazzo Q, Plica D I-Vas, Corporazioni religiose, San Bernardo di Murano, Busta , Mazzo Q, Plica D I-Vas, Corporazioni religiose, San Bernardo di Murano, Busta , Mazzo Q, Plica D I-Vas, Notarile, Atti, Vincenzo Vincenti, Busta  (protocollo, ), ff.  r–v I-Vas, Corporazioni religiose, San Bernardo di Murano, Busta , Mazzo Q, Plica D I-Vas, Corporazioni religiose, San Bernardo di Murano, Busta , Mazzo Q, Plica D I-Vas, Capi del Consiglio de’ Dieci, Notatorio, Filza  (–), ff. r–v I-Vas, Consiglio de’ Dieci, Parti Criminali, Filza , f.  I-Vas, Notarile, Atti, Pietro Antonio Ciola, Busta  (minute),  August  F-Pn, Rés.Vm1–, Te Deum and Divertimento, Dedication, ff. –v F-Pn, Rés.Vm1–, Te Deum and Exaudiat te, Dominus, Dedication, ff. –v F-Pn, Rés. Vm1, Les sept Pseaumes, de David, Dedication, ff. v– F-Pn, Rés. Vm1, Les sept Pseaumes, de David, Dedicatory poem, ff. v– F-Pn, Rés. Vm4, L’Ercole amante, Title page, f.  F-Pn, Rés. Vm4, L’Ercole amante, Dedicatory Madrigal, opp. p.  list of longe r musical example s (appe ndix 2) Ex. A.. Ex. A.. Ex. A.. Ex. A.. Ex. A.. Ex. A.. Ex. A.. Ex. A.. Ex. A.. Ex. A.. Ex. A.. F-Pn, Rés. Vm1, Produzioni armoniche, no. , pp. – F-Pn, Rés. Vm1, Produzioni armoniche, no. , pp. – F-Pn, Rés. Vm1, Produzioni armoniche, no. , pp. ‒ F-Pn, Vm7, Ballard, Recueil (), p.  François Couperin, Concert instrumental sous le Titre d’Apotheose, p.  F-Pn, Rés. Vm1, “Menuet,” mm. – Lully, Ballet de la Raillerie, LWV , “Dialogue de la musique italienne et de la musique française” F-Pn, Rés. Vm1, pp. –, mm.  bis– bis F-Pn, Rés. Vm1, pp. –, mm.  bis– bis F-Pn, Rés. Vm4, pp. –, Juno (I, iii) F-Pn, Rés. Vm4, pp. –, Pasithea (II, vi) xvii This page intentionally left blank abbreviations A. anti. B b. bb. b.c. bis Bsn. CD tr. Chorus d.c. doc. doux ff. Fl. fort HC HCV1 HCV2 m., mm. m.v. Ps. rit. a longer musical example found in appendix  antiphonal passage bass busta—a large folder in an Italian archive basso continuo measures appearing in the manuscript and not in the modern edition bassoon tracks on the accompanying compact disc “chœur de voix” (S1, S2, HC, T, B, b.c. with figures) da capo appendix , documents – soft (piano) plural of folio (f.), or of what follows (m.  ff. means the measures after m. ) flute loud (forte) haute-contre (male or female singer in the alto range) haute-contre or taille de violon , corresponding to the modern viola haute-contre or taille de violon , corresponding to the modern viola measure, measures more veneto: the Venetian calendar year starts in March (e.g. January  m.v. = January ) Psalm ritornello xix

Author Claire Fontijn Isbn 9780195135381 File size 6.6 MB Year 2006 Pages 392 Language English File format PDF Category Biography Book Description: FacebookTwitterGoogle+TumblrDiggMySpaceShare In Desperate Measures, Claire Fontijn relates a fascinating account of a young girl’s journey from the Venice of famed composer Francesco Cavalli to Paris at the end of the reign of Louis XIV. Through impeccable research and close attention to a wide variety of documentary gems, Antonia Padoani Bembo’s life and music are presented here in rich detail. This book provides a complete and satisfying portrait of a courageous woman who abandoned her family to follow her muse in a supportive community in France. Fontijn demonstrates that Antonia Bembo deserves to be much better known, not only as a woman composer, but as a significant figure in the history of Baroque music.     Download (6.6 MB) Queen Victoria And The Bonapartes Music Is My Life: Louis Armstrong, Autobiography, and American Jazz Historical Dictionary of Rococo Art Men At The Center: Redemptive Governance Under Louis Ix The Art of Commedia: A Study in the Commedia dell’Arte, 1560-1620, with Special Reference to the Visual Records Load more posts

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