Francesco Corteccia
Encyclopedia
Francesco Corteccia was an Italian composer, organist, and teacher of the Renaissance
. Not only was he one of the best known of the early composers of madrigal
s, and an important native Italian composer during a period of domination by composers from the Low Countries
, but he was the most prominent musician in Florence
for several decades during the reign of Cosimo I de' Medici
.
, and composition with Bernardo Pisano
. On October 22, 1527, he became chaplain at the baptistry, and in 1531 entered indirectly into the employ of the Medici as both chaplain and organist at the church of San Lorenzo, the Medici family church. From 1535 to 1539 he was organist at San Lorenzo, and from 1540 until his death was maestro di cappella to the court of the Duke of Florence, Cosimo I de' Medici.
During his long tenure as maestro di cappella to the Medici, he gradually rose in position and prominence in Florence. In the chapel, he was successively chaplain, supernumerary canon, and canon; and in addition he held auxiliary positions such as chamberlain and archivist. In the 1560s he was replaced by Alessandro Striggio
as the composer for most of the sumptuous musical productions of the Medici court, but he retained the position of maestro di cappella. Corteccia died in Florence in 1571, at the beginning of a period of musical decline at the Medici court.
The court of the Medici was one of the most opulent in Europe, and the Florentine family was keenly aware of their status and prestige, as shown by the artistic creations they inspired, ordered, or bought. Corteccia served the Medici for most of his life, and helped create some of the Medici's most elaborate entertainments. Later composers for the Medici, such as Alessandro Striggio
, continued in the same vein, creating some of the largest and most extravagant polyphonic compositions of the entire era.
Corteccia wrote most of his music relatively early in his career; his production peaked in the early 1540s. His music is both sacred and secular, and much of it, unusually for a composer prior to the birth of opera, is specifically for the stage. He was also atypical among the first generation of madrigal composers in that he had a complete published collection of his music dedicated only to him: his First Book of Madrigals for Four Voices, published in Venice
in 1544. Some of his madrigals differ from the usual vocal music of the time in having specifically indicated instrumental accompaniment, a result of being composed for theatrical occasions.
s, and many motet
s. While he wrote most of this music early in his career, the bulk of it was not published until 1570 and 1571, in Venice
, possibly due to the lack of publishing capacity in Florence prior to that time. Corteccia wrote a letter for the dedication of the several volumes of motets, and in it indicated that he had been working on them and refining them for 30 years. Many of the modifications he made were in keeping with the liturgical reforms of the Council of Trent
.
The hymn settings are mostly in responsory format, i.e. a verse is sung in plainchant, the next in polyphony
, and then the formula repeats. Corteccia varies the texture in the polyphonic sections from strict imitation to free counterpoint
, with occasional homophonic
interludes, providing variety.
, for various lavish court entertainments and spectacles, which often including weddings. Intermedii
were sung interludes between acts of plays, with the most elaborate being those performed for state occasions. Often these interludes consisted of groups of madrigals, related to the subject matter of the play; in that they are staged, sung, and part of a dramatic production, they are seen as one of the predecessors of opera
. One such intermedio by Corteccia was the set of seven madrigals he wrote for the wedding in June 1539 of Duke Cosimo to Eleonora di Toledo
, descriptions of which survive in some detail. These madrigals, which were written for the play Il commodo by Antonio Landi, were sung in costume, with the singers playing nymphs, shepherds, mermaids, sea nymphs, and sea monsters (the three sea nymphs played flutes; the sea monsters, lutes). The entire performance was elaborately orchestrated, with the singers variously accompanied by harpsichord, nightingale stop on the organ, bass viol, cornett, crumhorns, flutes, violin, violone, and a quartet of trombones; during the finale, 20 bacchantes, mostly drunk and consisting of ladies and satyrs, were to come on stage singing and playing pipe, tabor, violin, harp, cornetts, crumhorns, and tambourine, and the performance closed with entrance and song by the personification of Night, accompanied by four trombones. The madrigals are also notable in that four of them, every alternate one, were the first in note nere
rapid style.
The 1539 performance was one of many, but was one for which a detailed description survived. He also wrote, for example, a set of five madrigals in four voices to be performed between the acts of Francesco d'Ambra's comedy Il furto in 1544. Many of his madrigals are lost, but another surviving set, from 1565, was written in collaboration with Alessandro Striggio
. In this set each composer contributed three madrigals; once again it was for a Medici wedding, and like the previous, was designed for performance between the acts of a play by d'Ambra.
Many of his published madrigals, for four to six voices, give no hint in the score of the extravagance of their original premières. They are full of textural contrast, as befits their dramatic origin. His earlier work shows the influence of the frottola
, and often his style mimics Arcadelt
's. The madrigals he wrote for the Medici weddings are often in a note nere, i.e. "black note" style: choppy rhythms, quick note values, sudden textural contrasts; in addition, they were usually designed for instrumental accompaniment, and consequently the soprano and bass lines often stand out. In this they foreshadow the development of monody
by the Florentine Camerata
later in the century.
Renaissance music
Renaissance music is European music written during the Renaissance. Defining the beginning of the musical era is difficult, given that its defining characteristics were adopted only gradually; musicologists have placed its beginnings from as early as 1300 to as late as the 1470s.Literally meaning...
. Not only was he one of the best known of the early composers of madrigal
Madrigal (music)
A madrigal is a secular vocal music composition, usually a partsong, of the Renaissance and early Baroque eras. Traditionally, polyphonic madrigals are unaccompanied; the number of voices varies from two to eight, and most frequently from three to six....
s, and an important native Italian composer during a period of domination by composers from the Low Countries
Low Countries
The Low Countries are the historical lands around the low-lying delta of the Rhine, Scheldt, and Meuse rivers, including the modern countries of Belgium, the Netherlands, Luxembourg and parts of northern France and western Germany....
, but he was the most prominent musician in Florence
Florence
Florence is the capital city of the Italian region of Tuscany and of the province of Florence. It is the most populous city in Tuscany, with approximately 370,000 inhabitants, expanding to over 1.5 million in the metropolitan area....
for several decades during the reign of Cosimo I de' Medici
Cosimo I de' Medici, Grand Duke of Tuscany
Cosimo I de' Medici was Duke of Florence from 1537 to 1574, reigning as the first Grand Duke of Tuscany from 1569.-Biography:...
.
Life
He was born in Florence. By 1515 he was a choirboy and was enrolled in the cathedral school; around this time he probably studied organ with Bartolomeo degli OrganiBartolomeo degli Organi
Bartolomeo degli Organi was an Italian composer, singer and organist of the Renaissance. Living in Florence, he was closely associated with Lorenzo de' Medici, and was music teacher both to the Florentine composer Francesco de Layolle and Guido Machiavelli, the son of the famous writer.-Life:He...
, and composition with Bernardo Pisano
Bernardo Pisano
Bernardo Pisano was an Italian composer, priest, singer, and scholar of the Renaissance. He was one of the first madrigalists, and the first composer anywhere to have a printed collection of secular music devoted entirely to himself.- Life :He was born in Florence, and may have spent some time...
. On October 22, 1527, he became chaplain at the baptistry, and in 1531 entered indirectly into the employ of the Medici as both chaplain and organist at the church of San Lorenzo, the Medici family church. From 1535 to 1539 he was organist at San Lorenzo, and from 1540 until his death was maestro di cappella to the court of the Duke of Florence, Cosimo I de' Medici.
During his long tenure as maestro di cappella to the Medici, he gradually rose in position and prominence in Florence. In the chapel, he was successively chaplain, supernumerary canon, and canon; and in addition he held auxiliary positions such as chamberlain and archivist. In the 1560s he was replaced by Alessandro Striggio
Alessandro Striggio
Alessandro Striggio was an Italian composer, instrumentalist and diplomat of the Renaissance. He composed numerous madrigals as well as dramatic music, and by combining the two, became the inventor of madrigal comedy...
as the composer for most of the sumptuous musical productions of the Medici court, but he retained the position of maestro di cappella. Corteccia died in Florence in 1571, at the beginning of a period of musical decline at the Medici court.
Music
Alessandro Striggio
Alessandro Striggio was an Italian composer, instrumentalist and diplomat of the Renaissance. He composed numerous madrigals as well as dramatic music, and by combining the two, became the inventor of madrigal comedy...
, continued in the same vein, creating some of the largest and most extravagant polyphonic compositions of the entire era.
Corteccia wrote most of his music relatively early in his career; his production peaked in the early 1540s. His music is both sacred and secular, and much of it, unusually for a composer prior to the birth of opera, is specifically for the stage. He was also atypical among the first generation of madrigal composers in that he had a complete published collection of his music dedicated only to him: his First Book of Madrigals for Four Voices, published in Venice
Venice
Venice is a city in northern Italy which is renowned for the beauty of its setting, its architecture and its artworks. It is the capital of the Veneto region...
in 1544. Some of his madrigals differ from the usual vocal music of the time in having specifically indicated instrumental accompaniment, a result of being composed for theatrical occasions.
Sacred music
Corteccia's sacred music includes settings of the Lamentations of Jeremiah (lost), hymnHymn
A hymn is a type of song, usually religious, specifically written for the purpose of praise, adoration or prayer, and typically addressed to a deity or deities, or to a prominent figure or personification...
s, and many motet
Motet
In classical music, motet is a word that is applied to a number of highly varied choral musical compositions.-Etymology:The name comes either from the Latin movere, or a Latinized version of Old French mot, "word" or "verbal utterance." The Medieval Latin for "motet" is motectum, and the Italian...
s. While he wrote most of this music early in his career, the bulk of it was not published until 1570 and 1571, in Venice
Venice
Venice is a city in northern Italy which is renowned for the beauty of its setting, its architecture and its artworks. It is the capital of the Veneto region...
, possibly due to the lack of publishing capacity in Florence prior to that time. Corteccia wrote a letter for the dedication of the several volumes of motets, and in it indicated that he had been working on them and refining them for 30 years. Many of the modifications he made were in keeping with the liturgical reforms of the Council of Trent
Council of Trent
The Council of Trent was the 16th-century Ecumenical Council of the Roman Catholic Church. It is considered to be one of the Church's most important councils. It convened in Trent between December 13, 1545, and December 4, 1563 in twenty-five sessions for three periods...
.
The hymn settings are mostly in responsory format, i.e. a verse is sung in plainchant, the next in polyphony
Polyphony
In music, polyphony is a texture consisting of two or more independent melodic voices, as opposed to music with just one voice or music with one dominant melodic voice accompanied by chords ....
, and then the formula repeats. Corteccia varies the texture in the polyphonic sections from strict imitation to free counterpoint
Counterpoint
In music, counterpoint is the relationship between two or more voices that are independent in contour and rhythm and are harmonically interdependent . It has been most commonly identified in classical music, developing strongly during the Renaissance and in much of the common practice period,...
, with occasional homophonic
Homophony
In music, homophony is a texture in which two or more parts move together in harmony, the relationship between them creating chords. This is distinct from polyphony, in which parts move with rhythmic independence, and monophony, in which all parts move in parallel rhythm and pitch. A homophonic...
interludes, providing variety.
Intermedii and madrigals
As court composer to Cosimo de Medici, Corteccia was required to write music, often intermediiIntermedio
The intermedio, or intermezzo, in the Italian Renaissance, was a theatrical performance or spectacle with music and often dance which was performed between the acts of a play to celebrate special occasions in Italian courts. It was one of the important predecessors to opera, and an influence on...
, for various lavish court entertainments and spectacles, which often including weddings. Intermedii
Intermedio
The intermedio, or intermezzo, in the Italian Renaissance, was a theatrical performance or spectacle with music and often dance which was performed between the acts of a play to celebrate special occasions in Italian courts. It was one of the important predecessors to opera, and an influence on...
were sung interludes between acts of plays, with the most elaborate being those performed for state occasions. Often these interludes consisted of groups of madrigals, related to the subject matter of the play; in that they are staged, sung, and part of a dramatic production, they are seen as one of the predecessors of opera
Opera
Opera is an art form in which singers and musicians perform a dramatic work combining text and musical score, usually in a theatrical setting. Opera incorporates many of the elements of spoken theatre, such as acting, scenery, and costumes and sometimes includes dance...
. One such intermedio by Corteccia was the set of seven madrigals he wrote for the wedding in June 1539 of Duke Cosimo to Eleonora di Toledo
Eleonora di Toledo
Eleanor of Toledo Eleanor of Toledo Eleanor of Toledo (Italian: Eleonora di Toledo (1522 – 17 December 1562), born Doña Leonor Álvarez de Toledo y Osorio, was a Spanish noblewoman who was Duchess of Florence from 1539. She is credited with being the first modern first lady, or consort...
, descriptions of which survive in some detail. These madrigals, which were written for the play Il commodo by Antonio Landi, were sung in costume, with the singers playing nymphs, shepherds, mermaids, sea nymphs, and sea monsters (the three sea nymphs played flutes; the sea monsters, lutes). The entire performance was elaborately orchestrated, with the singers variously accompanied by harpsichord, nightingale stop on the organ, bass viol, cornett, crumhorns, flutes, violin, violone, and a quartet of trombones; during the finale, 20 bacchantes, mostly drunk and consisting of ladies and satyrs, were to come on stage singing and playing pipe, tabor, violin, harp, cornetts, crumhorns, and tambourine, and the performance closed with entrance and song by the personification of Night, accompanied by four trombones. The madrigals are also notable in that four of them, every alternate one, were the first in note nere
Note nere
Note nere was a style of madrigal composition, which used shorter note values than usual and had more black note-heads.The style was introduced around 1540, and had a short vogue among composers publishing in Venice including Costanzo Festa, Giaches de Wert, Cipriano di Rore and many minor...
rapid style.
The 1539 performance was one of many, but was one for which a detailed description survived. He also wrote, for example, a set of five madrigals in four voices to be performed between the acts of Francesco d'Ambra's comedy Il furto in 1544. Many of his madrigals are lost, but another surviving set, from 1565, was written in collaboration with Alessandro Striggio
Alessandro Striggio
Alessandro Striggio was an Italian composer, instrumentalist and diplomat of the Renaissance. He composed numerous madrigals as well as dramatic music, and by combining the two, became the inventor of madrigal comedy...
. In this set each composer contributed three madrigals; once again it was for a Medici wedding, and like the previous, was designed for performance between the acts of a play by d'Ambra.
Many of his published madrigals, for four to six voices, give no hint in the score of the extravagance of their original premières. They are full of textural contrast, as befits their dramatic origin. His earlier work shows the influence of the frottola
Frottola
The frottola was the predominant type of Italian popular, secular song of the late fifteenth and early sixteenth century. It was the most important and widespread predecessor to the madrigal...
, and often his style mimics Arcadelt
Jacques Arcadelt
Jacques Arcadelt was a Franco-Flemish composer of the Renaissance, active in both Italy and France, and principally known as a composer of secular vocal music...
's. The madrigals he wrote for the Medici weddings are often in a note nere, i.e. "black note" style: choppy rhythms, quick note values, sudden textural contrasts; in addition, they were usually designed for instrumental accompaniment, and consequently the soprano and bass lines often stand out. In this they foreshadow the development of monody
Monody
In poetry, the term monody has become specialized to refer to a poem in which one person laments another's death....
by the Florentine Camerata
Florentine Camerata
The Florentine Camerata was a group of humanists, musicians, poets and intellectuals in late Renaissance Florence who gathered under the patronage of Count Giovanni de' Bardi to discuss and guide trends in the arts, especially music and drama...
later in the century.
Selected Recordings
- Corteccia: Passione secondo Giovanne St. John Passion 1527, sung in Latin, with Evangelist's narrations spoken in Italian following Massimo Fiorentino's version of 1538. Schola Cantorum 'Francesco Coradini', dir. Fosco Corti Archiv. 1975
- Corteccia: Musiche fatte nelle nozze dello ill.ssimo Duca – Firenze 1539 Centre de Musique Ancienne di Ginevra, Studio di Musica Antica Antonio Il Verso di Palermo, Schola Jacopo da Bologna – dir. Gabriel GarridoGabriel GarridoGabriel Garrido is an Argentinian conductor specialising in the recovery of the baroque musical heritage of Latin America.Garrido was born in Buenos Aires, and at the age of 17 Argentine recorder quartet, Pro Arte, undertaking two tours in Europe...
. Tactus, 1995. - Corteccia: Responsories I Cantori Lorenzo, Filippo Maria Bressan, Dynamic. 1999