Marchetto Cara ( Italian: Marchetto Cara, Carra ; c. 1465 , Verona - 1525 , Mantova ) is an Italian composer and singer , famous as one of the most famous (along with his contemporary, Bartolomeo Trombonchino ) writers of frottola .
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Content
Biography
He received his initial education as a cleric at his hometown school (Scuola degli Accoliti). Since the early 1490s (the exact date is unknown; the first known date of 1494) until the end of his life he served in the service of Francesco II Gonzaga , the Marquis of Mantua, and his wife (since 1490) Isabella d'Este , at whose court he combined the duties of a composer, lute player and singer; from 1511 he took the post of court bandmaster - he also retained this position at the court of the successor Francesco II, his son Federico. Cara participated (as a singer and composer) in all the events held at the Mantua court, and at the same time led the music for worship at St. Peter's Basilica .
Cara was known throughout Italy, first of all, as a lute player and songwriter (documents about his "tour" in Verona , Parma , Venice , Milan , Cremona , Pesaro , Padua have been preserved). A prominent Italian music theorist P. Aaron called Cara "cantore al liuto" (in the treatise "Lucidario in musica", 1545), and B. Castiglione (in his widely known treatise "The Court ", 1528) found in his singing "soft harmonies, which, with their calm and full of pity tender sounds, touch and penetrate the soul, arousing in it a pleasant sweet feeling ” [6] . However, aristocrats and hierarchs of the Catholic Church often ordered him music, and the poet Galeotto del Carretto sent him poems to compose music on them. The popularity of the Kara-composer is also evidenced by the repeated publications of his frottol (in 1504-14) in Ottaviano Petrucci and other early printed music collections.
Creativity
With the exception of one motet to the text “ Salve regina ” and seven lauds, Kara’s legacy contains only secular music, the main part of which are frottols (over 100) and barcellets (about 47) [7] . In Kara's later songs (for example, in Doglia che non aguali), stylistic features are found that connect them with the (new) madrigal . The authors of the verses Kara wrote are largely unknown; among the few known - Petrarch , Serafino Aquilano , B. Castiglione ( sonnet "Cantai mentre nel core"); in one case (“A la absentia”), the composer himself acted as a poet.
The storehouse of Kara's polyphonic songs, his researcher William Pryzer calls “homophony animated by polyphonic techniques” ( eng. Polyphonically animated homophony ) [8] . By “ homophony ” an American researcher means monorhythmic polyphony, in this case ensemble syllabic singing using the note-versus-note technique [9] , and by “polyphony” - imitation polyphony .
Researchers note an unusual feature of the ( textual ) form in Kara's barcellettes. In a typical case (for example, by his contemporary B. Trombonchino ) for the two main sections of the form - the refrain ( Italian. Ripresa , letters. “Replay”) and the verse ( Italian. Stanza , letters. “Stanza”) - one is reproduced in the frottol the same music that tells the form monotony. In some of his songs, Kara used different music for the chorus and verse - similar to how it was characteristic (a century and a half before Kara) of the Italian ballate [10] .
The harmony of Kara (and the frottols in general) in musical science is presented as the forerunner of the “monodic” Baroque song style, that is, as an important phase in the development of harmonic tonality [11] . According to this idea, in modern interpretations, Kara's polyphonic songs (written for a vocal ensemble) are performed, as a rule, in an arrangement for voice (upper in the original score) and instrument / instruments, like early baroque homophonic “arias” and canzon.
Notes
- ↑ 1 2 CONOR
- ↑ CERL Thesaurus - A consortium of European science libraries .
- ↑ Musicalics
- ↑ German National Library , Berlin State Library , Bavarian State Library , etc. Record # 118702262 // General regulatory control (GND) - 2012—2016.
- ↑ BNF ID : 2011 Open Data Platform .
- ↑ Original: Né men commove nel suo cantar il nostro Marchetto Cara, ma con piú molle armonia; ché per una via placida e piena di flebile dolcezza intenerisce e penetra le anime imprimendo in esse soavemente una dilettevole passione .
- ↑ Strophic song, a variety of frottola; the barcelletta metric is a four-foot trochae, and the stanza (with obligatory refrain) goes back to the Italian ballate and the French wirele .
- ↑ Prizer WP Marchetto Cara // The New Grove Dictionary of Music and Musicians. London New York, 2001.
- ↑ Such a warehouse in Russian musical science is called shortly “old-homophonic”, so as not to be confused with the “homophonic-harmonic depot” (in Russia it is called “homophonic”), which is inherent in early Baroque music and numerous forms of modern music.
- ↑ And the French virel , from which the Italian ballat emerged.
- ↑ See, for example, the chapter on frottols in the book. C. Dahlhaus “Untersuchungen über die Entstehung der harmonischen Tonalität” (Kassel, 1968).
Literature
- Jeppesen K. La frottola. Århus; Copenhagen, 1968-70.
- Prizer WF Courtly pastimes: the frottole of Marchetto Cara. Ann Arbor, 1980.
- Pirrotta N. Before the madrigal // Journal of Musicology, XII (1994), pp. 237-52.
- Bedush E., Kyuregyan T. S. Renaissance songs. M., 2007.
Links
- Frottola "Hor vendut'ho la speranza" (ensemble "Circa 1500")
- Barcelletta “O mia cieca e dura sorte” (ensemble “Circa 1500”)