Nabokov, Nicolas [Nikolay]
Nanino, Giovanni Bernardino
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Nanino, Giovanni Bernardino(b Vallerano, c1560; d Rome, 21 or 26 May 1618). Italian maestro di cappella teacher and composer, brother of Giovanni Maria Nanino. Like his elder brother, he was a boy soprano at Vallerano Cathedral (near Viterbo). From 1591 to 1608 he was maestro di cappella at S Luigi dei Francesi, Rome, a post previously held by his brother. Before his appointment at S Luigi and after the appearance of his first book of madrigals in 1588, he was maestro di cappella first at the Confraternita della SS Trinità dei Pellegrini from May 1585 to October 1586 and then at S Maria de’ Monti. After leaving S Luigi in 1608, he was maestro di cappella at S Lorenzo in Damaso, the small church in the Palazzo della Cancelleria, the residence of Cardinal Montalto, who was one of the richest and most cultured patrons of the early Baroque in Rome. It is now clear that Nanino supervised a great deal of music, both sacred and secular, for Cardinal Montalto from 1608 until his death ten years later (Hill). Although Nanino seems never to have achieved the august reputation enjoyed by his brother, he was nevertheless one of the most important musicians in the Roman school across the turn of the century. During his years as maestro di cappella of S Luigi, his teaching activities (in conjunction with his brother) were especially important. As the tutor of the choirboys at the church, he taught many of the most influential musicians of early 17th-century Rome. Nanino’s earliest published works were secular music. His madrigals from the 16th century show him already a master of the pastoral, brightly coloured, tonally and harmonically clear style of the 1580s and 1590s in Rome. He seems never to have indulged in the experiments in individual expression characteristic of his brother or of Marenzio. From 1610 onwards there appeared an important series of sacred publications, which incorporate the innovations of basso continuo and of the highly ornamented Roman style of accompanied secular song. While in the service of Montalto, he was an important teacher in the distinctive Roman school of solo singing. Further study of Roman music from 1585 to 1625 will doubtless reveal Nanino as a prominent figure at this time. WORKSsacred
secular
BIBLIOGRAPHYA. Cametti: ‘Chi era l’“Hippolita”, cantatrice del cardinal Montalto’, SIMG, xv (1913–14), 111–23 A. Cametti: ‘La scuola dei pueri cantus di S. Luigi dei Francesi in Roma e i suoi principali allievi (1591–1623)’, RMI, xxii (1915), 593–641 A. Cametti: ‘Un contratto d’insegnamento musicale nel secolo XVI’, Musica d’oggi, iv (1922), 39–40 H.-W. Frey: ‘Die Kapellmeister an der französischen Nationalkirche San Luigi dei Francesi in Rom im 16. Jahrhundert’, AMw, xxiii (1966), 32–60 J. Lionnet: ‘La musique à Saint-Louis des Français de Rome au XVII siècle’, Note d’Archivio, new ser., iii (1985), suppl.; iv (1986), suppl. J. Chater: ‘Musical Patronage in Rome at the Turn of the Seventeenth Century: the Case of Cardinal Montalto’, Studi musicali, xvi (1987), 179–227 N. O’Regan: Institutional Patronage in Post-Tridentine Rome: Music at Santissima Trinità dei pellegrini 1550–1650 (London, 1995) J.W. Hill: Roman Monody, Cantata, and Opera from the Circles around Cardinal Montalto (Oxford, 1997) ANTHONY NEWCOMB Nanino, Giovanni Maria(b Tivoli, 1543 or 1544; d Rome, 11 March 1607). Italian teacher, maestro di cappella and composer, brother of Giovanni Bernardino Nanino. He was a boy soprano at Vallerano Cathedral (near Viterbo). He may have studied with Palestrina during the early and mid-1560s, when Palestrina was maestro di cappella at S Maria Maggiore in Rome. The identity of ‘Gaudio Mell’, with whom both Nanino and Palestrina are said by some early sources to have studied, is unresolved (see Schuler, 1963, pp.8–9). Nanino became maestro di cappella at S Maria Maggiore some time between 1567 and 1569, probably in 1567 when Palestrina left the post (according to Schuler, 1963). In April 1575 he became maestro di cappella at S Luigi dei Francesi, a post he held until October 1577, when he was admitted as a tenor to the papal choir. For the rest of his life he retained his position as one of about 25 singers in the papal choir. After 1586 he was elected on several occasions to the post of maestro di cappella, to which musicians were appointed in rotation (until the reforms of September 1586 the maestro di cappella had been an ecclesiastic, not a musician). In November 1586 he was sent to Mantua to thank Duke Guglielmo Gonzaga for a favour on behalf of the papal choir. Although the letters written on this occasion say nothing about music, they do give a good indication of Nanino’s methodical and reliable personality. Nanino remained informally associated with S Luigi dei Francesi after joining the papal choir. His continuing activity as a teacher of the boy sopranos there (four boy sopranos at any given time; each boy stayed for four to eight years) has led several writers to assert that he was the principal teacher in a public music school founded in the last decades of the 16th century in Rome (see Antimo Liberati’s published letter of 1684–5 in GaspariC). In 1591 Nanino’s younger brother, Giovanni Bernardino, became maestro di cappella at S Luigi, and the brothers, living together in a house owned by the church, kept and taught the four choirboys of the school. According to Cametti, such fine 17th-century Roman composers as Gregorio and Domenico Allegri, Vincenzo Ugolino, Antonio Cifra, Domenico Massenzio, and Paolo Agostino passed through this small choir school. Other famous pupils of Nanino were Felice Anerio, who was at S Maria Maggiore as a choirboy from 1569, and Antonio Brunelli. During the late 16th century Nanino was almost certainly the most influential composition teacher in Rome. Evidence of this extensive pedagogical activity remains in manuscript notes of Nanino’s teaching, found in various hands in many of the libraries of Europe (see EitnerQ and GaspariC, i). His reputation as a craftsman is indicated by his being chosen (with Soriano) to uphold the reputation of Roman composers as contrapuntists against the slurs of Sebastián Raval in 1593 (see Casimiri). However, it now seems clear that the 157 counterpoints on ‘La Spagna’, preserved in a 17th century manuscript (I-Bc C36) and attributed to Nanino in many later secondary sources, are in fact 125 counterpoints by Costanzo Festa plus some canonic motets by Nanino (published in 1586) and four otherwise unknown works (Agee). Nanino’s immense prestige in Roman and European musical circles is demonstrated not only by anecdotes and by his numerous pupils, but also by the contents of music prints between 1570 and the date of his death. The first edition of Nanino’s first book for five voices is lost, but the specification of his postion as maestro di cappella at S Maria Maggiore, repeated on later editions, suggests that the book was first published during his tenure at the basilica (1567–75). One poem in the collection (Le strane voci) was once thought to commemorate the victory at Lepanto in October 1571. It is now clear this is not the reference, but more probably an allusion to the temporary victories in the French wars of religion in 1569. Although he seems to have published only three books of madrigals and one of canzonettas, he contributed numerous pieces to anthologies and his madrigals were often reprinted. Scarcely an important anthology appeared in these years without a contribution by him. Nanino was the most often represented composer in anthologies printed between 1555 and 1620 with the single exception of Alessandro Striggio. In this area he surpasses even Marenzio and Palestrina (Piperno, 1985, pp.21–2). Often his pieces were given the place of honour in the print: for example, in Le gioie (RISM 15897), an anthology published as a self-advertisement by the brotherhood of Roman musicians, Nanino’s madrigal is placed first (Palestrina’s is second, and one by Anerio, who was the maestro di cappella of the brotherhood, is third). Title-pages confirm Nanino’s reputation: Anerio and G.B. Nanino proudly proclaimed their position as his students on the title-pages of their early publications; Phalèse, in reprinting Anerio’s first book of madrigals for six voices in 1599, added to the title-page that Anerio was a student of Nanino. In the 15 years before Palestrina’s death, Nanino rivalled him as the most esteemed of Roman composers; in the decade after Palestrina’s death, Nanino was the undisputed head of the large and important Roman school. Despite his prestige with his contemporaries, in modern histories Nanino’s secular music is scarcely discussed, and his sacred music remains eclipsed by Palestrina’s. Nanino deserves better treatment than this. He gets scarcely a passing mention in Einstein’s The Italian Madrigal (EinsteinIM), and is probably the most interesting madrigalist of the late 16th century to remain unstudied. From his first publication, he showed a powerfully individual musical personality, whose model is not to be found in Palestrina. Even the first madrigals of the early 1570s are the work of a musician of great versatility and imagination, who could unite in a single collection the polyphonic, angular and serious Le strane voci; one of the most popular lighter madrigals of the end of the century, Morir non può; and the deftly sketched pastoral narrative of Lasso, ch’il caldo estivo. The widely influential Roman style of the last quarter of the century, mentioned by Giustiniani in his brief history of the madrigal of 1638, finds its roots in pieces like the last two. Such a piece as Dolorosi martir from his 1586 publication shows a greater drive towards personal expression than that of any other Roman musician of the time except Marenzio. His religious music shows a similar variety and versatility within the more restricted spectrum of sacred styles. Although only one book of motets and a few pieces in anthologies of the 1610s were printed, a good deal of sacred music survives in manuscript. WORKSsacred
secular
BIBLIOGRAPHYBertolottiM EinsteinIM EitnerQ GaspariC NewcombMF ReeseMR F.X. Haberl: ‘Giovanni Maria Nanino’, KJb, vi (1891), 81–97 A. Cametti: ‘La scuola dei pueri cantus di S. Luigi dei Francesi in Roma e i suoi principali allievi (1591–1623)’, RMI, xxii (1915), 593–641 R. Casimiri: ‘Sebastián Raval musicista spagnuolo del secolo XVI’, NA, viii (1931), 1–20 H.J. Moser: ‘Vestiva i colli’, AMf, iv (1939), 129–56, 376 only R.J. Schuler: The Life and Liturgical Works of Giovanni Maria Nanino (diss., U. of Minnesota, 1963) H.-W. Frey: ‘Die Gesänge der Sixtinischen Kapelle an den Sonntagen und hohen Kirchenfesten des Jahres 1616’, Mélanges Eugène Tisserant, vi, Studi e testi, ccxxxvi (Vatican City, 1964), 395–437 H.-W. Frey: ‘Die Kapellmeister an der französischen Nationalkirche San Luigi dei Francesi in Rom im 16. Jahrhundert’, AMw, xxii (1965), 272–93; xxiii (1966), 32–60 R.J. Schuler: Preface to Giovanni Maria Nanino: Fourteen Liturgical Works (Madison, WI, 1969) F. Piperno: Gli ‘Eccellentissimi musici della città di Bologna’ con uno studio sull'antologia madrigalistica del cinquecento (Florence, 1985) O. Mischiati: ‘Il manoscritto corsiniano del “Ricercari” di Giovanni Pierluigi da Palestrina’, Studi palestriniani II: Palestrina 1986, 177–201 La musica a Roma attraverso le fonti d'archivio: Rome 1992 N. Pirrotta, ed: I musici di Roma e il madrigale: Dolci affetti (1582) e Le gioie (1589) (Rome, 1993) R.J. Agee: ‘Costanzo Festa's Gradus ad Parnassum’, EMH, xv (1996), 1–60 ANTHONY NEWCOMB Yüklə 10,2 Mb. Dostları ilə paylaş:
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