Essays on the Origins of Western Music

by

David Whitwell

Essay Nr. 133: On Renaissance Civic Music

There was a tremendous growth in institutionalized civic music during the Renaissance Period, much of it related to the growing sense of identity of the towns themselves. One of the most important manifestations of this civic interest was the birth of concerts of aesthetic music specifically organized for the public, and not, as in the past, just for the nobles.

We will summarize some of this civic music by the countries in which it was most active.

Italy

A growing sense of civic pride, not unrelated to humanism, led to the construction in many towns of the city hall, the Palazzo Comunale, beginning in the late 13th century. The palazzo stood in competition with the cathedral, in pride if not in scope, representing the affairs of today rather than those of the next life. It was such civic pride which resulted in original composition honoring towns, such as Johannes Ciconia’s (1335 - 1411) “O Padua” and “Venetia mundi splendor.”

It is in the 14th century, following the same sense of civic identity, that many Italian towns began to expand their corps of civic musicians. By the end of this century Florence maintained 3 separate ensembles in the service of the city, a shawm ensemble [pifferi] of 3 players on daily call to play in the palazzo, an ensemble of 6 trumpets and a third ensemble called trombadori. Siena had 9 civic players by the beginning of the 14th century and they were held in such jealousy by the city fathers that they were not permitted to associate with former friends or to visit their families. They were, however, housed, fed and educated by the city. Several towns already had uniforms for their civic bands by the 14th century and the musicians of Pisa were subject to a fine if they forgot to wear their official red gowns.

Such civic records as are extant define numerous official duties, primarily of a functional nature (the Bologna pifferi had to perform each day at three o’clock in the morning!), but there were also performances which were genuine concerts. A 14th century contract for the Perugia civic band, for example, after listing various functional duties, says that they must also play in the civic square “for the joy of the public.” A document of Florence dated July, 1333, mentions,

Since in almost every noble city, whether in Lombardy or Tuscany, fine singers are retained for the delight and joy of the citizens.[1]

And even in the relatively small town of Treviso, we read in a document of 1395 that money will be given to Pietro di Bartolomeo Boldrani to buy a trumpet, “for the presence of artists increases the honor of the whole community.”[2]

By the 14th century music had also become part of the curriculum at the universities of Bologna and Padua. The names of a few important teachers who were active in music at Padua are still known, including Antonio Lido, a professor of medicine, whose epitaph begins, “Musicus Artista....”[3] Pietro Vergerio, an important humanist and professor of logic at the university in 1391, wrote a treatise, “De ingenuis moribus,” in which he recommends the study of both the theory and practice of music “as an aid to the inner harmony of the soul.”[4]

The tradition of the civic bands continued to flourish during the 15th century. In Florence, for example, the ensemble now grew to include 3 shawms and 2 trombones. Beginning with the employment of a German shawmist in 1401, German musicians became a distinct preference in Florence throughout the century.

During the 15th century, in addition to a wide variety of performance functions, including horse races and archery contests, there is clear evidence that these civic bands were continuing to perform regular concerts for the public. This was meant in a document of Florence which required the civic band to play every Sunday at the city hall.[5] Similarly, the civic players of Perugia at this time were also required by contract to play “for the enjoyment of the public.”[6] An eyewitness from Turin describes such a concert, an hour long concert from an arcade of the town hall.

Ma che alegrezza se alde tutto il zorno de quel pifari de la signoria che sona in cima a un pergolo del palazzo un’ora de longo.[7]

In Italy, however, is the 15th century when we see the patronage of music shift from the towns to the newly powerful aristocrats -- beginning with the pope, who now had his own wind band, known under the name “i Musici Capitolini e i tamburini del Popolo Romano.”

There are also a number of university documents which refer to musical performance, as for example a document of 1405 reveals that paid trumpeters were available at the University of Bologna to perform in university ceremonies.[8] Another document of 1435 tells us that each academic year began with a sung Mass and that students were no longer allowed to hire trumpets and other instruments to participate in their graduating ceremonies. He could hire instrumentalists to form a procession with him to the cathedral and one such payment mentions 3 shawms and 4 trumpeters.[9] And, we cannot help but notice that a document of 1405 of the University of Bologna bans musical entertainment.[10]

By the 16th century virtually every Italian town of any size had both a civic trumpet ensemble for ceremonial duties and a wind band of shawms, trombones and cornetts, usually referred to as “musica di piffari” or simply “piffari.”[11] A typical description of both ensembles is given by an eyewitness in Bologna, describing a procession of the town council in 1602.

When they appear in public, these Signori are dressed in rich robes of silk, and during the winter they are muffled up with very precious furs as well. They are accompanied by a very respectable household of eight trumpeters, with a drummer or player of the nakers, who with these trumpets play certain Moorish drums. To both the drums and trumpets are attached banners with the arms of liberty; also eight excellent musicians with trombones and cornettos; a herald; a spenditore; nine pages dressed in scarlet cloaks and stockings in the livery of the city -- white and red.[12]

We get some impression of the seriousness of these civic bands in an interesting document relative to the organization and duties of the “Musica di Palazzo” of Lucca in 1557.

Nicolao Dorati is to be the director and head of said musicians, and they must obey him in performing whatever music in whatever manner he may choose. When playing at the city hall, before and after the dinner of the Signoria, Maestro Bernardino de Padova is to play the first soprano, and Vincenzo di Pasquino Bastini the second soprano; but when playing in the hall or the chambers of the Signoria, each one is to play and sing the part assigned to him by said Nicolao, their director. However, outside the city hall, in church, on the public square, at weddings, feasts, serenades, or other events, where they will number at least six, Maestro Giulio is to play the first soprano, Maestro Bernardino, his father, the second, and Maestro Vincenzo the third, that is, contralto. And if by chance, which God forbid, there should arise among them a quarrel, ill-will, or other trouble, Maestro Nicolao is to intervene and restore peace, and if anyone should refuse to listen to reason, he is to be reported to the Signoria in office at the time, so that steps can be taken accordingly. And since beautiful music and perfect harmony are the result of constant practice, there should be assigned to them for this purpose a room...equipped with tables and benches in which they are to meet for practice twice a week for two hours, namely, Wednesdays and Saturdays. From the first of February to the last of September they shall meet in the morning, two hours before dinner, and from the first of October to the last of January, in the afternoon, two hours before supper. In order to enforce these rules, the maestro di casa shall take the attendance, and those who are absent, shall be fined one carlino for each time, except in case of illness or other legitimate excuse.[13]

The aesthetic purpose assigned in this document, “beautiful music,” should not be assumed to be rare. Certainly the evidence we have in the extant wind band library of Girolamo Dalla Casa, the leader of the Venetian Civic Wind Band confirms a high level of art music. For this purpose we find large instrument collections being assembled in many towns. An inventory of the town’s collection in Verona in 1569, for example, lists 66 winds, 5 sets of viols, a lira, a rebechino, 7 lutes, 2 harpsichords and a regal.[14]

For many decades, music history texts and period recordings gave students the impression that 16th century Church music was entirely unaccompanied. Research over the past 30 years, particularly in the area of civic pay documents, has revealed quite a different perspective. This practice was particularly evident in Germany, where civic records clearly document the regular appearance of the civic wind players in the church on Sundays, both in the Protestant and the Catholic areas.

We find this same kind of evidence in Italy as well, as for example in this civic contract in Bergamo, even though this reference is to festival days. The civic wind players were instructed,

to serve on festivals in the choir with their instruments, and in the morning and evening; and further to play without extra pay either in part or altogether at all feasts, solemnities and other public occasions on request.[15]

A civic contract of 1556 for Udine seems to refer to their appearances in the regular Sunday Mass.

To the shawm and crumhorn [?] players in the service of the city, five in number, serving in the choir of the aforementioned church of Udine....[16]

And of course there is the vast literature of instrumental canzoni, and other forms, which were used as functional music in the Italian Church services. We can see this practice very clearly in a catalog kept by the organist, Carlo Milanuzzi, of Venezia, which included such items as,

Canzon a 5 detta la Zorzi per l’Epistola

Concerto a 5 per l’Offertorio

Canzon a 5 detta la Riatelli per li Post Communio[17]

And in this regard, we hardly need mention the extraordinary tradition at St. Mark’s in Venice, presided over by Gabrieli. We will let his student, Heinrich Schutz, speak for us as well:

Ye Immortal God! What a man was that![18]

In Venice also, the religious confraternities contributed the resources for making possible larger scale musical performances for special occasions. In 1515, for example, the Scuola di San Marco provided the church of San Zanipolo on the first Sunday of each month 12 singers, in addition to trumpets, shawms, recorders, cornetts, a lute, harp, viol and organ.[19] The purpose of supplying these larger forces is given in a document of 1530: for “the universal satisfaction of all.”[20] This being the case, the urbane men of the Scuola were quick to criticize their hired performers if they did not meet the artistic expectations, as we can see in a document of 1540.

There is no money of our Scuola that is spent with less result and more shame and disgrace to the ministers than the payment made to the cantadori nouvi, because of their bad manner of singing, without any harmony and sweetness, singing in contempt of all rules, and with great dishonor in general to all; and more so in that they are unprincipled in conduct, behaving as they please and not as they should....[21]

The extraordinary musical heights reached by performances sponsored by the Scuola di San Rocco can be seen in the 1608 recollection by a visiting Englishman. He found a concert he heard there,

so good, so delectable, so rare, so admirable, so superexcellent, that it did even ravish and stupifie all those strangers that never heard the like. But how others were affected with it I know not; for mine owne part I can say this, that I was for the time even rapt up with Saint Paul into the third heaven. Sometimes there sung sixeteene or twenty men together, having their master or moderator to keepe them in order; and when they sung, the instrumentall musitians played also. Sometimes sixeteene played together upon their instruments, ten Sagbuts, foure Cornets, and two Violdegambaes of an extraordinary greatness; sometimes tenne, sixe Sagbuts and foure Cornets....[22]

France

It is in the 14th century that we begin to have extant documents regarding musicians employed by various towns. In most places the medieval “watch” musician was still needed and a Parisian police document of 1372, in hope of guarding against false alarms, made “unofficial” trumpet playing after the curfew hour a crime.

It was on September 14, 1321, that 37 minstrels (male and female!) formed the minstrel guild of Paris, called “Confrerie de St. Julien.” In 1331 they constructed a chapel and a hospital in the rue St. Martin, a building which existed until the late 18th century.[23] The original by-laws of this guild are very informative. They refer to “the science and music of minstrelsy” and have their purpose in limiting public music in Paris to members of the guild. Much of the document deals with the ethics of performance contracts: one may not leave an engagement to take another until the first one is finished; once one is contracted to play a particular job, one may not have another minstrel take his place -- unless he is ill or in prison; and if one is hired to play for a wedding, one can not -- on the side -- also contract to cook or supply food, thus depriving a third person of his commission.