----- Original Message -----
From: "Roger E. Blumberg" <[EMAIL PROTECTED]>
To: "Daniel F Heiman" <[EMAIL PROTECTED]>; <[EMAIL PROTECTED]>
Sent: Tuesday, December 14, 2004 8:13 AM
Subject: Re: Key discovery -- two bridge early viola da gamba, pluck and bow
c.1500, Timoteo Viti painting
>
> ----- Original Message -----
> From: "Daniel F Heiman" <[EMAIL PROTECTED]>
> To: <[EMAIL PROTECTED]>
> Cc: <[EMAIL PROTECTED]>
> Sent: Tuesday, December 14, 2004 7:01 AM
> Subject: Re: Key discovery -- two bridge early viola da gamba, pluck and
bow
> c.1500, Timoteo Viti painting
>
>
> >
> > On Tue, 14 Dec 2004 02:28:32 -0800 "Roger E. Blumberg"
> > <[EMAIL PROTECTED]> writes:
> > <snip>
> > >
> > > Ok, so, it turns out a man named "Ephraim Segerman" writes about the
> >
> > Segerman is one of the most prolific authors on the history of stringed
> > instruments. He has quite a large number for articles in the FOMRHI
> > journal, for example, stretching back 30 years or more.
> >
> > <snip>
> > >
> > > I've yet to learn what Woodfield's book (on early viol history) has
> > > to say about the picture.
> >
> > Nothing particularlly interesting or valuable:
> >
> > "Further North, Urbino was also receptive to the new Spanish
> > instruments. Under the rule of the Montefeltro family the Duchy of
Urbino
> > had become one of the most important cultural centers in the Papal
> > States. In 1502, however, the city fell to Cesare Borgia's army after a
> > surprise attack during his campaign to subdue dissident elements in the
> > Papal States. It is surely no coincidence that the viol first appeared
> > in the art of Urbino about the time of the Borgia occupation. Timoteo
> > Viti, for example, included a viol in one of his earliest commissions in
> > that city, a painting of the Madonna and Child completed before c1505
> > (Plate 52). Vasare singled out Viti's young viol player for special
> > praise: 'there is a little child angel sitting on the ground who plays
> > the viol with a truly angelic grace and childlike simplicity' ('dove è
un
> > Angeletto sedente in terra, che suona la viola con grazie veramente
> > angelica e con semplicità fanciullesca'). The continuing popularity of
> > the viol at the court in Urbino is attested to by Castiglione, whose Il
> > Libro del Cortegiano,a wonderfully evocative, if idealized, record of
the
> > life at a Renaissance court, was largely based on his experiences at
> > Urbino. etc...
> >
> > DFH
> >
>
I'll also point out the greater convergence of all three key players via
Woodfield's account;
. . . " It is surely no coincidence that the viol first appeared in the art
of Urbino about the time of the Borgia occupation . . "
- Timoteo Viti was from Urbino
- Raphael was also from Urbino (lived under the same roof with Viti for a
time)
- Borgia was the Valencian Pope who commissioned the Vatican Borgia
apartment frescos which contain that key plucked viola, circa 1493 -- Borgia
having brought his entire court chapel with him from Valencia to Rome in
1492, including his "violists".
http://www.thecipher.com/violasineacrulo_Borgia1493bw.jpg
I love it when a plan comes together ;') I actually think the evolution was
well under way before Borgia enters the picture, both in Spain and Italy,
but there's some kind of crescendo circa 1500. In 1502 was also the "Toledo
Summit", Spanish/Flemish, major cultural exchange and competition among
kingdoms, and no doubt a very probable route for viola da gamba/vihuela
d'arco technology to travel north fast (if it wasn't there already).
liner notes from Orland Consort CD
"An encounter between two powerful dynasties.
The Orlando Consort revisits a fascinating meeting between two musical
cultures. During his 1502 ceremonial visit to Toledo (Spain), Philip the
Fair of Burgundy, and his Royal hosts, Ferdinand and Isabella, vied to
display the artistic achievements of their respective realms. Music was
central to all the festivities: solemn celebrations, worship, courtly
banquets, dances and chivalric entertainments."
Roger
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