Nabokov, Nicolas [Nikolay]
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Niccolini, Giuseppe.See Nicolini, Giuseppe. Niccolò da Perugia [Nicolaus de Perugia, Magister Sere Nicholaus Prepositi de Perugia, Niccolò del Proposto, Ser Nicholo del Proposto](fl Florence, 2nd half of the 14th century). Italian composer. The only firm biographical information is a note referring to him in 1362 as a visitor, together with Ser Gherardello, to the Florentine monastery of Santa Trìnita. The fact that Niccolò set to music several texts by Sacchetti suggests that some of his works must have been composed in Florence between 1354 and 1373. Whether he is identifiable with the Ser Niccolò who was a singer of laude in Florence in 1393 is uncertain (see D’Accone, 1969, and Wilson, 1997). To judge from his name, Niccolò came from Perugia where his father was provost (for an identification, see Di Bacco, 1991). He may well have been acquainted with his contemporary Bartolino da Padova, for they both set the madrigal La fiera testa to music. Despite the allusion in the text of this work to the coat of arms of the Visconti family (i.e. the viper: ‘La fiera testa che d’uman si ciba’), and the quotation of their motto in the last line (‘soffrir m’estoit’), the text is probably directed against the Visconti; the piece may have been composed in Perugia during the period of the hostilities between Florence and Milan between 1397 and 1400. It has been suggested, on somewhat tentative grounds, that Niccolò had a son who was the composer of the ballata Donna, posso io sperare; its musical style and metrical features are certainly very different from the other ballatas, and the manuscript bears the inscription ‘Ser Niccholay prepositi’. Apart from texts by Sacchetti, Niccolo set poems by Soldanieri and Stefano di Cino. The composer’s surviving works are all to be found in Tuscan manuscripts: 36 pieces, of which 23 unica, in the Squarcialupi Codex ( I-Fl 87; see illustration); 13, with four unica, in GB-Lbl Add.29987; six in F-Pn it.568; one in I-Fn 26; two, of which one unicum, in I-La 184. His name was mentioned by Sacchetti in connection with further works – two madrigals and three ballatas – whose music is now lost. Some pieces were referred to by Prudenzani, and some exist (presumably through textual adaption) as laude – both indications of their popularity; several of the texts of his ballatas have also come down to us in manuscripts of poetry. The madrigals and cacce, which are with one exception all two-voice, were directly influenced by the works of Giovanni da Cascia and particularly Jacopo da Bologna. Part-crossing does not occur at all in the madrigals, and isolated examples of imitation are confined mainly to the ritornellos, where a change of mensuration is usually involved. The untexted monophonic link passages that occur between the lines of the madrigal text reveal Jacopo’s influence in particular. A peculiarity of Niccolò’s style is the provision of different music for two madrigal strophes (see Cogliendo per un prato, O giustitia, O sommo specchio, Virtù, loco non ci). In the single three-voice madrigal, there is constant shifting of text between the three parts – a direct contrast to the almost completely simultaneous articulation of syllables in the two-voice pieces. With the exception of Io vegio in gran dolo, I’ son tuo, donna and Molto mi piace, in the two-voice ballatas both voices are supplied with text. The shorter or longer melismas frequently encountered on the first or penultimate syllable of a line are presumably an indication of madrigal influence. Dio mi guardi is an exception to this; it is almost totally syllabic and very similar to a lauda. The ‘minime’ and ‘piccole’ ballatas (ballatas with a one-line ripresa; described by Antonio da Tempo, 1332, and by Gidino da Sommacampagna 1381–4), should be regarded as a speciality of Niccolò. These pieces are short, aphoristic and often with a moralizing content. Donna, posso io sperare is set out in dialogue form; Chiamo, non m’è risposto also contains elements of dialogue, and I’ son tuo, donna is a dialogue from a textual (but not a musical) point of view. The tenor of Il megli’è pur tacere is possibly a folksong-like cantus prius factus. The simple setting of these short ballate and dialogues is evidence of the Florentine ‘gusto borghese’ (Li Gotti) which found particular expression in the work of Niccolò and of Andreas de Florentia. WORKSEditions:Der Squarcialupi-Codex Pal.87 der Biblioteca Medicea Laurenziana zu Florenz, ed. J. Wolf (Lippstadt, 1955) [W]Italian Secular Music, ed. W.T. Marrocco, PMFC, viii (1972) [M] ballatas
madrigals
cacce
lost worksall cited by Sacchetti
BIBLIOGRAPHYS. Debenedetti, ed.: ‘Il “Sollazzo” e il “Saporetto” con altre rime di Simone Prudenzani d’Orvieto’, Giornale storico della letteratura italiana, suppl.xv (Turin, 1913) N. Pirrotta: ‘ Il codice di Lucca, III: il repertorio musicale’, MD, v ( 1951), 115–42, esp. 122 K. von Fischer: Studien zur italienischen Musik des Trecento und frühen Quattrocento (Berne,1956) F.A. D’Accone: ‘Le compagnie dei Laudesi in Firenze durante l’Ars nova’, L’Ars Nova italiana del Trecento: Convegno II: Certaldo and Florence 1969 [L’Ars Nova italiana del Trecento, iii (Certaldo, 1970)], 253–80 G. Corsi, ed.: Poesie musicali del Trecento (Bologna, 1970), xliii, 95–116 F.A. D’Accone: ‘Music and Musicians at the Florentine Monastery of Santa Trinità, 1360–1363’, Quadrivium, xii/1 (1971), 131–51 S.K. Kelly: The Works of Niccolò da Perugia (diss., Ohio State U., 1974) M.T. Brasolin: ‘Proposta per una classificazione metrica delle cacce trecentesche’, La musica al tempo del Boccaccio e i suoi rapporti con la letteratura: Siena and Certaldo 1975 [L’Ars Nova italiana del Trecento, iv (Certaldo, 1978)], 83–105 F.A. Gallo: ‘ The Musical and Literary Tradition of Fourteenth-Century Poetry Set to Music’, Musik und Text in der Mehrstimmigkeit des 14. und 15. Jahrhunderts: Wolfenbüttel 1980, 55–76 A. Mazzantini: ‘Le ballate di Niccolò da Perugia’, L’Ars Nova italiana del Trecento, v, ed. A. Ziino (Palermo, 1985), 179–95 F. Brambilla Ageno, ed.: Franco Sacchetti: Il libro delle rime (Florence and Perth, 1990) G. Di Bacco: ‘ Nuove osservazioni sul codice di Londra (British Library, MS Additional 29987)’, Studi musicali, xx (1991), 181–234 F.A. Gallo, ed.: Il codice Squarcialupi (Florence, 1992) [incl. K. von Fischer: ‘Le biografie’, i, 127–44; N. Pirrotta: ‘Le musiche del codice Squarcialupi’, i, 193–222] G. Carsaniga: ‘ An Additional Look at London Additional 29987’, MD, xlviii (1994), 283–97 B.McD. Wilson: ‘Madrigal, Lauda, and Local Style in Trecento Florence’, JM, xv (1997), 137–77 G. D’Agostino: ‘La tradizione letteraria dei testi poetico-musicali del Trecento’, Studi su Francesco Landini e la musica del suo tempo in memoria di Nino Pirrotta, ed. M.T.R. Barezzani and A. Delfino (Florence, forthcoming) KURT VON FISCHER/GIANLUCA D’AGOSTINO Yüklə 10,2 Mb. Dostları ilə paylaş:
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