While earlier musicologists assumed continuities between frottola and madrigal, more recent scholarship has refuted this idea: they were two different genres, cultivated in different centers of patronage, by different composers, and for different audiences.
Pesenti, however, composed in both genres thanks to changing professional circumstances. He composed frottole while working in Ferrara, and later, when he secured an appointment at the court of Pope Leo X, he (or someone acting for him) refashioned several of his frottole as madrigals: Textless lower instrumental lines are provided with text, converting a composition for a vocalist with instrumental accompaniment into one for an ensemble of four vocalists.
This pioneering edition of Pesenti’s complete works offers parallel editions of compositions existing in both these forms, as well as compositions for solo voice and instrumental consort that were later arranged for voice and lute. It further seeks to clarify the procedures used in expanding the abbreviated presentation of the frottola’s texts and music into readily performable forms.
Above, a page from an early edition of Pesenti’s Dal lecto me levava; below, a recording of the work.
There are also the little parasites that annoy and explore the desired body. All the animal species are represented in this repertoire: insects, fish and crustaceans, snakes, small mammals and ferocious predators, singing birds, and fantastical beasts.
This according to “Hic sunt leones: Animali e musica nella Sicilia nel Cinque e Seicento” by Giuseppe Collisani, an article included in Res facta nova: Teksty o muzyce współczesnej VI/15  pp. 51–68).
The realization in score of the madrigals has made it possible to bring to light this collection, establishing its musical value and proving the remarkable mastery of madrigal writing of these 24 musicians and offering the opportunity to highlight each one’s different skill as a composer.
The main entrance to the New York Public Library for the Performing Arts’s exhibition Lou Reed: Caught between the twisted stars opens up on Lincoln Plaza, directly adjacent to the The Metropolitan Opera house. On a sunny day, the Met’s … Continue reading →
Seven strings/Сім струн (dedicated to Uncle Michael)* For thee, O Ukraine, O our mother unfortunate, bound, The first string I touch is for thee. The string will vibrate with a quiet yet deep solemn sound, The song from my heart … Continue reading →
Introduction: Dr. Philip Ewell, Associate Professor of Music at Hunter College and the Graduate Center of the City University of New York, posted a series of daily tweets during Black History Month (February 2021) providing information on some under-researched Black … Continue reading →
For it [the Walkman] permits the possibility…of imposing your soundscape on the surrounding aural environment and thereby domesticating the external world: for a moment, it can all be brought under the STOP/START, FAST FOWARD, PAUSE and REWIND buttons. –Iain Chambers, “The … Continue reading →