Il Chitarrone 'col suono solo' e la sua destinazione 'in seguitare queli che cantano': la riscoperta del 'Libro terzo d'intavolatura di chitarone' di Giovanni Girolamo Kapsberger (Roma, 1626)
Abstract
The recent rediscovery of Giovanni Girolamo Kapsberger's Libro terzo d'intavolatura di Chitarrone, now at Yale, adds a major item to the theorbo solo repertoire. Yet the relevance of the event goes beyond the mere availability of another source. Kapsberger was a unique artist in early 17th-century Rome, and the Libro terzo offers a deeper insight in his instrumental opus. Also, it sheds new light on the development of highly idiomatic musical styles for certain instruments—a process in which lute, and chitarrone in particular, played a relevant role.
When Kapsberger's Libro primo d'intavolatura di Chitarrone (Venice, 1604) appeared, it bore the signs «of flashing modernity» (Orlando Cristoforetti) pre-dating, as it did, stylistic/expressive devices later to be found in Frescobaldi's opus. The Libro terzo, with its tables «per sonar sopra la parte», displays such innovations at a riper stage, their meaning looking clearer as well. First, a continuo part is associated to the tablature—an almost unique occurrence in plucked string music. Secondly, one four-part and one five-part madrigali passeggiati are found in a book for solo instrument, showing that the composer was ready to meet demands and requests from a sophisticated environment—the accademie, always ready to jump on any and every musical novelty. The Libro terzo appeared in 1626, and it is perhaps no coincidence that the Roman première of Monteverdi's Orfeo took place in the same year.
After eight toccatas, a gagliarda partita and two correnti, the Libro terzo has an entire section including «passaggi diversi su le note per sonare sopra la parte», cadenzas in tablature, a rich «tavola per intavolare sopra il Chitarrone, alla Italiana et alla Francese,» and even a «tavola per sonare il chitarrone sopra il basso»—all clearly showing Kapsberger's interest in the new trends. This practical tutorial, meant for chitarrone players, has no equivalent in the theorbo printed literature. It does have some in the contemporary Spanish guitar one—evidence that chitarrone playing reached amateurs as well.
In early 17th century, no updated music-theory concepts were at hand and the rift between composers' practice and orthodox theorists' speculation grew wider. From the tables included in the Libro terzo, we can now gain a clear, direct knowledge of the basic principles of harmonic sequence and combination—a most powerful tool to understand and discuss 17th-century Italian music.
