Marco Antonio Ingegneri: Motets for 12 and 16 voices

Marco Antonio Ingegneri

Motets for 12 and 16 voices

Monuments of Danish Musical History

The Herlufsholm Partbooks

Vol. 7 - The Ingegneri Collection, Part 2

Edited by

Ole Kongsted

Peter Hauge

Harold Thalange

Copenhagen 2024

Edited by Ole Kongsted, Peter Hauge, Harold Thalange

Hosted by Musica Ficta Copenhagen and Bo Holten

Project Administrator: Harold Thalange

Cover design by Tobias Røder

Printed by Edition·S

Published with Support from Augustinus Fonden and Aage og Johanne Louis-Hansens Fond

Copyright © 2024 by Edition·S, Copenhagen

ISBN: 978-87-93750-89-0

General Introduction

Housed in the University Library of Odense (Syddansk Universitetsbibliotek) is an old collection that originally belonged to the famous Herlufsholm school, founded in 1565. A small part of the collection consists of a number of early music prints and, in particular, some very interesting manuscript partbooks dating from the period around 1580 – 1620

Among the items are vocal works by Orlando di Lasso (1532 – 1594), Marc’Antonio Ingenieri (c. 1535 – 1592), Giaches de Wert (1535 – 1596), William Byrd (1543– 1623), Orazio Vecchi (1550 – 1605) and Giovanni Gabrieli (c. 1554 – 1612), and of neglected composers we have Melchior Schramm (1553 – 1619), François Gallet (c. 1555 – 1585), Pietro Lappi (c. 1575 – 1630), Antonio Mortaro (c. 1570 – 1619), and Curtio Valcampi (fl. 1602). The music ranges from sacred motets to secular madrigals for a four-part choir and to large, complex polychoral works such as those performed for example in Venice around that time.

The Herlufsholm music collection is of great importance, as it is the only substantial collection of music in Denmark from around 1600, and it reveals a rich musical life that no other archive or library can match. Despite its significance, it has only received little scholarly attention, probably because the manuscript material is largely incomplete, somewhat disorganised and, not least, because a large number of the works are anonymous. A close study of the material, however, sheds new light on the musical repertoire around 1600, performance and notational practices, and music education. Most crucially, it raises new questions about how and why such a rich and extensive body of material was acquired by a school far from the capital of Copenhagen and the influential royal court. The vocal repertoire of the Herlufsholm school presents a wide array of music from almost all over Europe,

enabling researchers to gain a better understanding of the aspects of cultural transfer – the exchange of cultural goods between countries and the connection between Denmark and the rest of Europe.

But other questions are also important to consider, such as how did Herlufsholm obtain the music? Where did they buy (or borrow) it from? And who were the copyists – were they students, teachers or professional musicians? One theory is that part of the collection may have been copied from music prints or manuscripts acquired on travels through Europe initiated and paid for by the court. On several occasions, musicians were sent from the court to Italy to buy music, instruments, even instrumentalists, as well as to receive further training in Venice. But it is also plausible that at least some of the material was copied from printed anthologies that were popular and widely available throughout Europe at the time or could have been purchased from the Copenhagen booksellers importing books and music from abroad, or even have been bought through agents at the book fairs in Frankfurt or Leipzig.

The aim of this ongoing research project is not only to catalogue and describe the collection, but also to contextualise and interpret it, providing insights into issues of performance practice, musical life and education at Herlufsholm around 1600. One important part of the project is to make the vocal repertoire available in modern, easily accessible performance editions offering ensembles a repertoire of music that is rarely performed today. The project is hosted by the vocal ensemble Music Ficta, allowing a close collaboration between music performance, history and theory.

The research undertaken in this project is gratefully inspired by the work of

Professor Dr John Bergsagel, and his own research into the musical life of Denmark in the Renaissance, in particular his theorised connection between the musical travels of Pedersøn to Italy and Trehou to Denmark, amongst others, with the Herlufsholm collection.

These editions are modernised, including modern clefs, bar lines and accidentals. A short biography of the composer(s) and a description of the source used for the edition are also included. Editorial principles, detailed source descriptions and evaluations, and a list of variants and revisions are available online at: edition-s.dk/sub-editions/monuments

Ole Kongsted

Peter Hauge

Harold Thalange

Copenhagen, December 2023

Marco Antonio Ingegneri c. 1535 – 1592

The first historical reference to Marco Antonio Ingegneri is a census of Verona in May 1541, in which he is mentioned as the five-year-old son of a goldsmith and his wife. Thus he must have been born in 1535 or 1536. In another census dated 1555, he is no longer mentioned as living in his parental home, which could indicate that he had begun, or perhaps even completed, his education at the acolyte school of the Cathedral of Verona. It was here that Ingegneri probably received his first musical training as a choirboy under Jachet de Berchem (c. 1505 – 1567; leader of the cathedral music from 1546) and Giovanni Brevio. It is uncertain whether this apprenticeship continued under the next maestro di cappella, Vincenzo Ruffo (c. 1508 – 1587).

In 1557, after the death of his father, Ingegneri left Verona to take up a position as violinist at the Scuola Grande of San Marco in Venice. Between 1560 and 1565 he seems to have been in close contact with Cipriano de Rore (1515/16 – 1565), the maestro of the court chapel of the Duke of Parma. According to to one of Ingegneri’s books of madrigals, published long after de Rore’s death, he was on friendly terms with the master and ‘received tuition’.

Around 1566 Ingegneri moved to Cremona, where he was first employed by the monastery of S. Abbondio. On the title page of the five-part collection Sacrarum cantionum... liber primus including motets for five voices, Ingegneri names himself ‘Musicis Cathedralis Ecclesia Cremonensis Praefecti’, although the title maestro di cappella does not appear in the accounts before 1580. In 1572 Ingegneri issued his Secondo libro de madrigali a cinque voci, dedicated to the Habsburg emperor Maximilian II (1527 – 1576). Whether this was in fact ‘una tardiva aspirazione a un incarico alla corte imperiale’ (a belated aspiration for a position at the imperial court), as Delfino argues, is unclear. The position of Master of the Imperial Chapel

was held by Jacobus Vaet (c. 1529 – 1567) from 1554 until his death in 1567. In 1568, after about a year of searching for a qualified successor, Philippe de Monte (1521 – 1603) was appointed to the post.

Even after his move to Cremona, Ingegneri sought to maintain and create new relationships with patrons outside the city. This is evidenced by the dedications of his secular works to numerous patrons in Vienna and – closer to Cremona – in Verona, Parma and Milan. With only two exceptions – Liber primus missarum (1573) and Sacrarum cantionum cum quatuor vocibus, liber primus (1576) – Ingegneri composed madrigals only for almost fifteen years, between 1572 and 1586. After 1586 he seems to have lost all interest in secular music, as his compositions from that year and the rest of his life were exclusively sacred. From then until his death in 1592 he published six collections of liturgical music: motets, masses, responsories for Holy Week, lamentations for the Triduum Sacrum; a Liber secundus hymnorum, quatuor vocibus was published posthumously in 1606, revealing the sad fact that a Liber primus has apparently been lost.

As the most prominent musician in Cremona, he was of course the teacher of the city’s most talented young musicians, among them Claudio Monteverdi (1567 – 1643) and perhaps also Benedetto Pallavicino (c. 1551 – 1601). Ingegneri was undoubtedly a good teacher, ‘for Monteverdi’s pieces (that is, the book of motets, 1582) show every sign of proficiency’ (Denis Arnold 1963/1990). With Ingegneri, Monteverdi was taught counterpoint and text-setting in threepart motets, four-part spiritual madrigals, three-part canzonettas and five-part madrigals. Monteverdi also received tuition on string instruments and may have received singing lessons from Ingegneri; in his first five publications from 1582 to 1590, Monteverdi proudly

acknowledged Ingegneri, stating that he was his pupil: Egregii Ingenerii Discipuli.

Ingegneri lived his relatively short life during a very eventful period in the history of music. On the one hand, the demands of the reformers of the Council of Trent on the composition of sacred music and, on the other hand, the evolution of musical composition on the threshold of the new century – a musical stylistic development of which Ingegneri witnessed only the beginning. With roots in the transalpine style of the Netherlanders and Cipriano de Rore, Ingegneri was a master of his time: a transitional figure, perhaps best described as the inspirer of the ‘seconda pratica’ around 1600, which he did not live to see flourish. Ingegneri seems to have been viewed – also by Monteverdi – as a mediator in the evolution from the prima pratica to the seconda pratica

His close friendship with the musicloving Nicolò Sfrondati (1535 – 1591), who was ordained as bishop of the diocese of Cremona in 1560, thus working closely with Ingegneri in connection with the liturgy of the cathedral, had a notable influence on Ingegneri as a church musician. Soon afterwards, in 1561 – 63, Bishop Sfrondati attended the reconvened Council of Trent. After the Council, Sfrondati worked assiduously to put the reform decrees of Trent into full effect. This had a decisive influence on Ingegneri: the most obvious consequence was a slower tempo in the production of madrigals and, from the mid-1580s, an exclusive focus on writing liturgical repertoire. The collection Liber sacrarum cantionum (1589), including works in seven, eight, nine, ten, twelve and sixteen parts, was dedicated to Bishop Sfrondati in honour of his receiving the cardinal’s purple; later he was elected Pope (Gregory XIV) in 1590, however he died after only ten months on the papal throne.

The musical works of Ingegneri issued in the present volume all appeared in his Liber sacrarum cantionum of 1589; some of the works were also published in his Corollarium cantionum sacrarum the following year. In addition, works published under Ingegneri’s own name appear in about a dozen collections published between 1577 and 1595, two of which were issued posthumously. However, the eight-part motet, Duo Seraphim, was also included in the very popular and widely distributed Bodenschatz anthology Florilegium Portense, issued in 1603 and in a new edition in 1618; the motet also appeared in Schadæus’ anthology Promptuarii musici (1613).

In contrast to many of his Italian contemporaries, Ingegneri’s works seem to have been less widely distributed in transalpine Europe. For example, his name does not appear in the seven catalogues of nearly 3,000 works published between 1613 and 1628 by the well-known Augsburg music dealer Kaspar Flurschütz. The Liber sacrarum cantionum of 1589, which was printed in Venice by the Gardano press, contains ten of the eleven motets that appear in the Herlufsholm material. The 1589 publication was available at the time when the first group of Danish musicians travelled to Italy to study with Giovanni Gabrieli, organist at San Marco in Venice. It is therefore reasonable to assume that the group brought the edition of Ingegneri’s motets with them when they returned to Copenhagen.

As contemporary scholarship continues to show, many masters have been forgotten by history. One could certainly argue that Marco Antonio Ingegneri is one of them, even if his music has been known for more than four hundred years and as far away from the scene of the action as Denmark.

Since the rediscovery of Renaissance music in the nineteenth century, the quality of Ingegneri’s oeuvre has called for an Opera Omnia edition, which however, was only initiated in 1994 in Lucca, Italy, with the publication of Serie I, vol. 1 – a cura di Rodobaldo Tibaldi and a scientific committee consisting of M. Caraci Vela, A. Delfino and M. T. R. Barezzani.

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s pa ti - u m - pa e ni - te n - ti - - a e , - s pa ti - u m - pa es pa ti - u m, - q u a e ra - mu s - s pa ti - u m, - pa e -

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c tis - ge n ti - - - bu s : - ga u d e - te -

c tis - ge n ti - - - - - - bu s : - ga u d e - te -

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ga u d e - te - e t e x s u l - ta - te . -

ga u d e - te - e t e x s u l - ta - te . -

ga u d e - te - e t e x s u l - ta - te -

e t e x s u l - ta - te , - e t e xe t e x s u l - ta - te , - e t e xe t e x s u l - ta - te , - e t e x -

C 3 A 3 T 3 B 3

e t e x s u l - ta - te , - e t e xte - e t e x s u l - ta - te , - e t e x -

te - e t e x s u l - ta - te , - e t e

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s i - li - e ns - c o l le s , - - - - - ga u d e - te -

tra n s i - li - e ns - c o l le s , - - - - -

ga u d e - te -

s i - li - e ns - c o l le s , - - - - -

ga u d e - te -

tra n s i - li - e ns - c o l le s , - - - ga u d e - te -

ga u d e - te - e t e x -

ga u d e - te - e t e x s u l - -

ga u d e - te - e t e x s u l - -

ga u d e - te - e t e x s u l - -

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e t iu bi - la - te , - e t iu bi - la - tee t iu bi - la - te , - e t iu bi - la - te . -

e t iu bi - la - te , - e t iu bi - la - te . -

e t iu bi - la - te , - e t iu bi - la - tee t iu bi - la - te - -

C 1 A 1 T 1 B 1

le - lu - ia , - a l le - lu - i a , - a l le - lu - - - -

C 2 A 2 T 2 B 2

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A l le - lu - ia , - a l le - lu - i a , - a l le - lu - ia , - a l -

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A l le - lu - ia , - - a l le - lu - ia , - a l -

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A l le - lu - ia , - - a l le - -

A l le - lu - ia , - a l le - lu - ia , - -

A l le - lu - ia , - - a l le - lu - i a , -

C 1 A 1 T 1 B 1

ia , - a l le - lu - i a , - a l le - lu - ia , - a l le - lu - -

C 2 A 2 T 2 B 2

C 3 A 3 T 3 B 3

i a , - a l le - lu - ia , - - -le - lu - i a , - a l le - lu - ia , - a l le - -i a , - a l le - lu - ia ,le - - lu - ia , - - - a l le - lu - ia ,lu - i a , - a l le - lu - ia , - a l le - lu - i a , - a l le - lu - ia ,a l le - lu - i a , - a l le - lu - ia , - a l le - lu - ia , - a l le - lu -a l le - lu - ia , - - - a l le - lu - -a l le - lu - ia , - - - a l le - lu - -le - lu - ia , - a l le - lu - ia , - a l le - lu - ia , - a l le - lu -ia , - a l le - lu - i a , - a l le - lu - ia , - a lia , - a l le - lu - ia , - a l le - lu - ia , - a l le - lu - -

C 1 A 1 T 1 B 1

i a , - a l le - lu - ia , - a l le - lu - ia , - - -

C 2 A 2 T 2 B 2

C 3 A 3 T 3 B 3

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a l le - lu - i a , - - - a l le - lu - ia , - -lu - i a , - a l le - lu - ia , - a l le - lu - ia , - - a l le -a l le - - - lu - i a , - a l le - lu - ia ,a l le - lu - ia , - - a l le - lu - ia - a l -a l le - lu - i a , - - a l le - lu - ia ,ia , - a l le - lu - i a , - a l le - lu - ia , - - a l le -ia , - a l le - lu - ia , - - a l le - lu - ia , - a li a , - a l le - lu - ia , - a l le - lu - ia , - a lia , - a l le - lu - ia , - a l le - lu - i a , - a l le - lu -le - lu - i a , - a l le - lu - ia , - a l le - lu - ia , - a l le -ia , - a l le - lu - ia , - a l le - lu - ia , - - - a l -

le - lu - ia , - - a l le - lu - ia - -

a l le - lu - ia . - - -

lu - i a , - a l le - lu - ia , - a l le - lu - i a . - - -

le - lu - ia , - a l le - lu - ia -

le - lu - ia , - - - a l le - lu - iaia , - a l le - lu - ia . -

2

2

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vi d i - s p e c i - o - s a m, - s p e c i - -

vi d i - s p e c i - o - s a m, - s p e c i - -

vi d i - s p e c i - o - s a m, - s p e c i - -

vi d i - s p e c i - o - s a m, - s p e c i - -

vi d i - - s p e c i - o - s a m - -

vi d i - s p e c i - o - s a m - -

vi d i - - s p e c i - - o - - - -

vi d i - - s p e c i - o - s a m - - -

vi d i - s p e c i - o - s a m - -

vi d i - - s p e c i - o - s a m - -

s a m, - - - - - - -

vi d i - s p e c i - o -o - s a m, - - - - - - vi d i - s p e c i - o - s a m -

c i - o - s a m, - - - - vi d i - s p e c i - o - -

s a m,

s a m,

d i - s p e c i - o

- s a mo - s a m - -o - s a m -

s ic u t - c o lu m - - ba m, - - - - -

s ic u t - c o lu m - ba m, - - - - - - - -

& & ‹ & ‹ ? & Ú Ú Ú & Ú Ú Ú & Ú Ú Ú & ‹ Ú Ú Ú & ‹ Ú Ú

s a m - s ic u t - c o lu m - ba m, - - - -

s ic u t - c o lu m - ba m, - - - - - - - -

s ic u t - c o lu m - ba m, - - - - -

s ic u t - c o lu m - ba m, - - - -

s a m - s ics ics a m - s ic -

s a m - s ic -

s a m - s ic -

s a m - s ic -

T 1

B 1 C 2

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S 3 A 3 Q 3 T 3

s ic u t - c o lu m - ba m - a s c e n - d e n - te m - d e -

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s ic u t - c o lu m - ba m - a s c e n - d e n - te m - d e -

s ic u t - c o lu m - ba m - a s c e n - d e n - te m - d e -

u t - c o lu m - ba m -

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& ‹

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c u iu s - in a e - s ti - ma - bi - lis -

c u iu s - - in a e - s ti - ma - bi - - -

c u iu s - - in a e - s ti - ma - bi - -

c u iu s - - in a e - s ti - ma - bi - - -

c u iu s - - in a e - s ti - ma - bi - lis -

c u iu s - in a e - s ti - - ma - bi - - - lis -

c u iu s - in a e - s ti - ma - bi - - - lis -

c u iu s - in a e - s ti - ma - bi - lis -

c u iu s - in a e - s ti - ma - bi - - lis -

c u iu s - in a e - s ti - ma - bi - - - lis -

a e - s ti - ma - bi - lis - o d o r -a e - s ti - ma - bi - - lis - o d o r -

a e - s ti - ma - bi - - - lis - o d o r, -

a e - s ti - - ma - bi - lis - o d o r - e -

a e - s ti - ma - bi - lis -

a e - s ti - ma - bi - lis -

o d o r - e ra t - - ni mis - - -

o d o r - e ra t - ni mis - - - -

o d o r - - - e ra t - ni mis - - -

o d o r - - - e ra t - ni mis - - -

o d o r - e ra t - ni mis - - -

o d o r - - e ra t - ni mis - -e ra t - ni mis - - - -

e ra t - ni mis - - -

o d o r - e ra t - ni mis -

ra t - ni mis , - e ra t - ni mis -

ra t - - - ni mis - - -

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in ve s ti - me n - tis - - e - -in ve s ti - me n - tis - e - -

in ve s ti - me n - tis - - - e - - -

in ve s ti - me n - tis - e - -

in ve s ti - me n - tis - - - - e - -in ve s ti - me n - tis - - e - - -

in ve s ti - me n - tis - e iu s . - - -

in ve s ti - me n - tis - e iu s . - - -

in ve s ti - me n - tis - e iu s

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ve s ti - me n - tis - e iu s

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me n - tis - e iu s - - -

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E t s ic u t - d i e s - ve r ni - c ir c u m - -

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E t s ic u t - d i e s - ve r ni - c ir c u m - -

E t s ic u t - d i e s - ve r ni - c ir c u m - d a - -

E t s ic u t - d i e s - ve r ni - c ir c u m - d a - -

E t s ic u t - d i e s - ve r ni - -

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e s - ve r ni - c ir c u m - d a - ba nt - e a m -

e s - ve r ni - c ir c u m - d a - ba nt - e -

e s - ve r ni - c ir c u m - -

e s - ve r ni - c ir c u m - d a - ba nt - e a m, -

e s - ve r ni - c ir c u m - d a - ba nt -

T 1

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c ir c u m - d a - ba nt - e a m - fl o re s , -

c ir c u m - d a - ba nt - e a m - fl o re s , - fl o re s , -

c ir c u m - d a - ba nt - e a m - fl o re s - ro s a - -

c ir c u m - d a - ba nt - e a m - - fl o re s , -

c u m - d a - ba nt - e a m - fl o re s , - fl o re s - ro s a - - -

fl o re s - ro s a - ru m, - flo re s - ro sa - - - - -

a m - fl o re s - ro s a - ru m, - fl o re s - ro s a - ru m, -

d a - ba nt - e a m - fl o re s - ro s a - ru m, - ro s a - - -

c ir c u m - d a - ba nt - e a m - fl o re s - ro -

e a m - fl o re s , - fl o re s - ro s a - - -

c ir c u m - d a - ba nt - e a m - fl o - -

c ir c u m - d a - ba nt - e a m - fl o -

c ir c u m - d a - ba nt - e a m - fl o - -

c ir c u m - d a - ba nt - e a m - fl o re s , -

c ir c u m - d a - ba nt - e a m - -

c ir c u m - d a - ba nt -

T 1

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S 3

A 3

e t li li - a - c o n va l - li - u m, -

e t li li - a - c o n va l - li - u m, - e t

e t li li - a - c o n va l - li - u m, -

e t li li - a - c o n va l - li - u m, -

e t li li - a - c o n va l - li - - u m, - e t li li - a -

e t li li - a - c o n va l - - li - u m, - e t li li - a -

e t li li - a - c o n va l - li - - u m, - e t li li - -

e t li li - a - c o n va l - - li - u m, - e t li li - a -

e t li li - a - c o n va l - li - u m, - e t li li - a - c o n -

e t li li - a - c o n va l - li - - u m, - e t li li - -

ru m - e t li li - a - c o n va l - li - - -

ru m - e t li li - a - c o n va l - li - -

ru m - e t li li - a - c o n va l - li -

ru

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T 1

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S 2

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T 2

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S 3

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Q 3 T 3 B 3

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li li - a - c o n va l - li - u m, -

e t li li - a - c o n va l - li - u m, -

e t li li - a - c o n va l - li - u m, -

c o n va l - li - u m, - e t li li - a - c o n va l - li - - -

c o n va l - li - u m, - e t li li - a - c o n va l - li - -

a - c o n va l - li - u m, -

e t li li - a - c o n va l - li - - -

c o n va l - li - u m, - e t li li - a - c o n va l - li - u m, - e t

va l - li - u m, - e t li li - a - c o n va l - li -a - c o n va l - li - u m, - e t li li - a - c o n va l - li - - -

u m, - e t li li - a - c o n va l - li - u m, - e t

u m, - e t li li - a - c o n va l - li - u m, - e t li -

u m, - e t li li - a - c o n va l - li - u m, -

e t li li - a - c o n v a l - li - - u m, - e t

u m, - e t li li - - a - c o n va l - li - - u m, -

u m, - e t li li - a - c o n va l - li - - u m, - e t li li

1 T 1 B 1 C 2 S 2 A 2 Q 2 T 2 B 2 C 3

S 3 A 3 Q 3

e t li li - a - c o n va l - li - - - - u m -

e t li li - a - c o n va l - li - - u m. -

e t li li - a , - e t li li - a - c o n va l - li - u m -

e t li li - a - c o n va l - li - u m -

u m, - e t li li - a - c o n va l - li - u m. -

u m, - e t li li - a - c o n va l - li - u m -

u m, - e t li li - a - c o n va l - li - - - u m -

li li - a - c o n v a l - li - u m, - e t li li - a - c o n va l - li - u m -

u m, - e t li li - a - c o n va l - li - - u m -

u m, - e t li li - a - c o n va l - - li - u mli li - a , - e t li li - a - c o n va l - li - - u m -

li - a - c o n va l - li - - u m.e t li li - a - c o n va l - li - - u m.

li li - a - c o n va l - li - - u m. -

e t li li - a - c o n va l - li - u m -

a