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Composer Biography: Alfonso Ferrabosco the Elder (1543-1588)

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Although much of his life was spent as an ordinary court musician, Alfonso Ferrabosco the Elder had moments of notoriety that quietly upset the proverbial British teakettle. He came from a family of musicians and fathered another great family of musicians, and saw the Vatican from the choir loft, France from the home of the Duke of Savoy, and England from Queen Elizabeth I’s court. He also hung out with England’s most famous musicians, including William Byrd, Thomas Morley, and John Dowland.

Ferrabosco was born in Bologna, the son of Domenico Ferabosco (note spelling difference). Domenico (1513-1574) may be the same person who was dismissed from being maestro of the Papal choir at St. Petronio for being married and who later became maestro at a Roman church. That older Ferabosco published a volume of madrigals in 1542 and contributed others to anthologies. HIs song Io mi son giovinetta was especially popular and Giovanni Pieluigi da Palestrina (c1525-1594), probably the most famous musician and composer of the era, based a Mass on it.

Other composers in the family include Domenico’s cousin’s kids, Constantino (fl c1550-1600) who worked in Nuremburg and published a book of canzonettas, and Matthia (1550-1616) who was Kapellameiser in Graz and composed canzonettas and villanellas.

Alfonso spent part of his early life in Rome with his notorious father, surrounded by music and musicians. As a young adult, he also spent some time in Lorraine (France) as a court musician for Charles of Guise (1524-1574).

Alfonso went to England for the first time in 1562, probably with his uncle, and found employment in Elizabeth I’s court. There he stayed for the next 16 years. But a dark cloud seemed to follow him everywhere. He made frequent trips to Italy, but neither the pope nor the Inquisition approved of his time in England, which was actively at war with Roman Catholic countries. While in England, Alfonso lost his Italian inheritance, and later, when he returned to Italy, he was charged with crimes in England (in absentia), including robbing and killing another foreigner. He returned to clear his name successfully, but left England in 1578 and never returned.

While in England, Alfonso the Elder had a family. There’s no record of a marriage, so it’s possible that his children were illegitimate. One of these kids, Alfonso the Younger, was born in 1578 and lived in England until his death in 1628. He was a lutenist, viol player, and singer, and was employed at court from 1592. He (the Younger) became teacher to Princes Henry and Charles (later Charles I), and was granted a pension and annuity by James I in 1605. Under Charles I, Alfonso the Younger also became Composer of Music to the King. From 1605 until 1611, he worked on the music for seven masques, along with playwright Ben Jonson (c1572-1637) and architect Inigo Jones (1573-1652).

Some of Alfonso the Younger’s works were published in a book of Ayres (1609) along with more conventional lute songs. His vocal music was similar to his father’s music in both somberness and style. His fantasias and In Nomines (for more on this genre of music, see my blog on John Taverner) are distinctive among his instrumental music, which also includes dances for viols and pieces for lute. Alfonso the Younger had three sons who were also musicians, another Alfonso (c1610-1660), a viol and wind player who took over his father’s appointments; Henry (c1615-1658), a singer, wind player, and composer, who was a musician until 1645 and then went off on a military expedition to Jamaica, where he was killed in 1658; and John (1626-1682), who was an organist and composer at Ely Cathedral from 1662 and whose works include several services, anthems, and harpsichord dances.

At any rate, after founding a musical dynasty, Alfonso the Elder left for Rome in 1580. Elizabeth I tried to get him to come back to England so fervently that some sources suggest he was her spy, and that she was so anxious for his return because she needed information (after all, she had William Byrd and Thomas Tallis to write music for her). There isn’t much more than circumstantial evidence of this, though, and he refused to return to England.

Alfonso the Elder wrote “madrigalian” motets and simple Latin hymn settings in a style similar to those of William Byrd. This was a style that had appeared in England in the 1580s when the English mania for all things Italian reached its height. Examples of this mania can also be found in the poetry of Edmund Spenser (c1552-1599) and Philip Sidney (1554-1586).

Italian manuscript collections had reached England with Alfonso the Elder in 1562, but it took a while for tastes to turn to the new style. And although he’s only given tiny little biographies in the music history texts, his music was included in anthologies by the British, Italians, and Frenchmen. Not many can say that. And madrigals soon became the most prevalent type of composition in England. He has to get credit for bringing the madrigal to England.

Alfonso the Elder’s style was more conservative than famed Italian madrigalists Luca Marenzio (c1553-1599) or Luzzasco Luzzaschi (c1545-1607), but it suited the more uptight English tastes. Most of his madrigals were for five or six voices, were light in style, and they ignored the Italian musical developments, such as chromaticism and word painting. They were described by Thomas Morley (c1557-1602) as technically skillful when he published several of Ferrabosco’s works in 1598 (10 years after Ferrabosco’s death).

Alfonso also wrote sacred music, including motets, lamentations, and several anthems, all a capella (without instrumental accompaniment). He also wrote instrumental music, including fantasias, pavans, galliards, In Nomines, and passamezzos for a variety of instrumental combinations, including lute and viols.

While in England, he worked hard to interest English musicians in Italian music, and although his style was conservative, he is the composer most generously represented in Musica Transalpina, a compilation of Italian madrigals translated into English and collected by Nicolas Yonge and published in 1588 by Michael East (c1580-1648).

In total, Ferrabosco wrote more than 60 sacred works, mostly motets and lamentations for five and six voices. Technically, he was most influenced by Orlando de Lassus (c1532-1594, biography to come). In turn, he inspired William Byrd (1543-1623, biography to come) and other English composers. Most of the texts he chose are sad and his melodic lines reflect his preoccupation with plaintive and meditative subjects and emotions. Perhaps he homesick for Italy.

In the larger sense of music history, his work wasn’t as important as that of other Italian madrigalists, although he influenced them with what he’d learned from the English. It certainly also worked the other way, as he was the only Italian madrigalist in England at the time, and without his efforts, Byrd would have had no teacher in the style.

He published two books of five-part secular madrigals in 1587 and wrote 70 more in five or six voices. His style is simple compared to others of his time—he was admired for skill rather than for innovation.

Ferrabosco wrote a few chansons, Latin songs, fantasias, and dances for the lute, and some fantasias and In Nomines for viols.

In the last years of his life, Alfonso was court musician to the Duke of Savoy in Turin. He died in Bologna at the young age of 45.

 

Sources:

“The Norton/Grove Concise Encyclopedia of Music,” edited by Stanley Sadie. W.W. Norton & Company, New York, 1994.

“The Concise Oxford History of Music,” by Gerald Abraham. Oxford University Press, Oxford, 1979.

“A Dictionary of Early Music; from the Troubadours to Monteverdi,” by Jerome & Elizabeth Roche. Oxford University Press, New York, 1981.

“Harvard Concise Dictionary of Music,” by Don Michael Randel. The Belknap Press of Harvard University Press, Cambridge, 1978.

“The New Grove High Renaissance Masters,” by Gustave Reese, Jeremy Noble, Lewis Lockwood, Jessie Ann Owens, James Haar, Joseph Kerman, Robert Stevenson. W.W. Norton & Company, New York, 1984.

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Instrument Biography: The Lute

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The lute is the earliest form of long-necked, fretted, round bellied stringed instrument known to man. It’s a member of the chordophone family, along with lyres, harps, and zithers. Although this plucked string instrument with frets and gut strings, a round back, and a pear-shaped body is one of the most ancient instruments, it’s enjoying another resurgence in popularity. You’ll see what I mean by “another” in a minute.
The lute came to Europe from the Far East in the early Middle Ages. It had four or five strings and was used for solo lines in ensembles and was played with a plectrum. By the later 15th century, the lute had six doubled strings (called courses) and a distinctive way of playing with the fingers on the strings, by plucking instead of using a plectrum, had developed.

By the Renaissance, the plectrum had been completely given up and the lute was played only with the fingers, capable of great delicacy of expression, like a modern guitar. The lute was the most highly regarded of all the instruments. In 1487, music historian Tinctoris mentions earlier lutenists, such as Pietrobono.

Lutenists abounded in the 16th century, and the instrument developed a huge repertoire for solos, both designed for the lute and transcribed from vocal pieces.

A Little Lute History

The earliest evidence of lutes is in Mesopotamia, around 2000 BCE. The instrument had only two strings, but if you considered that music was monophonic (melody only, with no harmonies or accompaniment) against the occasional drone, nothing more was needed.

The lute first appeared in Egypt in the 15th century BCE, where it really came into its own. It’s thought to have come to Egypt through Asia. When the subjugated kings of southwestern Asia sent tributes to Egyptian rulers, they included singing and dancing girls and their accompanying instruments. Egypt’s music underwent a significant change and nearly all of their own ancient native instruments were discarded or adapted in favor of these new ones. The standing harp became larger and gained strings; shrill oboes replaced the softer flutes; and lyres gave way to lutes. Even the delicious drums that seem so indigenous to Egypt’s music came from Asia at around this time. Egypt’s music became noisier and more stimulating as a result.

There’s a mural from the 15th century BCE showing a lute with nine frets. The tomb of Tutankhamen (who ruled c1332-c1323 BCE) contains images of instruments, including the lute, being played by slave girls.

The lute soon began to appear all over. The Egyptians borrowed music and lute technology from Mesopotamia and Syria; the Jews borrowed from the Phoenicians; the Greeks from Crete, Asia Minor, and Phoenicia. The harp, lyre, double oboe, and the hand-beaten drum were all played in Egypt, Palestine, Phoenicia, Syria, Babylonia, Asia Minor, Greece, and Italy, along with the lute.

In India, a group of girls sent to entertain men in the 1st century CE would have been accompanied by harps and drums, as well as lutes, lyres, and double oboes. Lyres and oboes didn’t catch on, as their tuning would have been foreign (Greek modes never made it to India), but the lute was accepted. (You can read more about the Greek modes in my blog Musical Modes, Part 1: Church Modes.)

An Iranian Christian leader called Mani (c215-276 CE) demanded that his adherents make music as part of their worship. The teachings of Manichaeism are found in a collection of liturgical hymns, and for a long time, he was considered the inventor of the modern lute, meaning that after Mani, the number of strings and frets didn’t change (much).

Because music has no place in secular Islamic culture, in the 6th century CE, the prophet Mohammed banned instrumental music as a forbidden pleasure. He specifically mentioned the lute, the harp, and the flute, and also banned the drums as frivolous and morally loose. Surprisingly, he thought drums were okay for social festivities.

Neo-Platonist Ya’qüb ibn Ishäq al-Kindï  (called Alkindus) (c790-c874 CE) mentions the fretted lute and describes sounding intervals of fourths, fifths, octaves, and other intervals simultaneously with the melody (the beginnings of harmony? Or perhaps faux bourdon?). He also described eight rhythmic modes (see my blog Musical Modes, Part 2: Rhythmic Modes for more on this kind of thing).

It’s believed that the lute was introduced to Europe by the Saracens, and there’s an ivory carving dating from 968 CE that provides the oldest piece of evidence of the lute being in Europe.

In the 11th century, jongleurs (a kind of wandering minstrel) in France were expected to play an instrument. These could be a bowed instrument, like the vièle, or a harp, guitar, lute, psaltery, or a small organ. Guiraut de Calanson wrote, in “Conseils aux Jongler” in 1210, that an accomplished jongleur had to play the lute.

In Europe, the lute’s use seems limited to Spain and France until the 13th century. In the 14th century, Juan Ruiz, a Spanish poet known as the archpriest Hita, made a list of all the instruments in Spain, including the lute. By then, the lute was also known in Italy and Germany, and was mentioned by both Dante and Boccaccio, and by Heinrich von Neuenstadt. Even so, it was used sparingly because the mandola (a relative) was preferred. The mandola was also easier to construct and to play.

By the 15th century, the lute pushed the mandola into the background and became one of the most important instruments of the period (resurgence number one). More strings were introduced to the instrument, increasing from five to eleven, with the highest strings reserved for the melody, and the others, arranged in pairs, for the accompaniment.

The lute’s popularity in the 15th and 16th century is probably due to its ability to play chords, which were a new invention. The lute could play a melody and accompany itself at the same time, which meant that a single musician could entertain the crowd.

By the 16th century, the lute was far and away the most influential plucked instrument, much like the piano would be in the 19th and 20th centuries. The lute was an essential part of chamber music, but it was also present in larger ensembles, and was much favored as a solo instrument. It was super popular in the 16th and 17th centuries in France, becoming the central instrument for roving vagabonds, who lived and played outside the law, as had their forebears the Troubadours and Trouvères in the 11th through the 13th century.

By the 17th and 18th centuries, the lute had lost much of its high esteem because music was becoming so complex. In order to adapt, the number of strings increased in the bass, but it still couldn’t compete with the deeper archlute or theorbo (relatives of the lute). By 1727, when E.G. Baron wrote his “Treatise on the Lute,” the instrument was nearly completely out of favor. Lute music stylings were taken over by keyboards, like harpsichordists, organists, and pianists.

Nowadays, no one seems to be composing for the lute. When you hear it played, it’s usually a performance of Renaissance music. But thanks to the uptick of interest in historically informed performance since 1979, lutes are not uncommon at early music concerts (resurgence number two).

Lute Structure

The lute was originally similar to the vièle, which has a pear-shaped body, a shallow bowl, and a neck that comes out of the body without demarcation. The main difference is that the vielle’s strings come from a tailpiece and over a bridge (a 90-degree angle), and the lute has a string-holder that is glued directly to the table (the front face) of the lute (a straight line). The lute’s tuning pegs are at right angles to the neck because the peg box is bent toward the player at a 90-degree angle, making the pegs parallel to the table; the vielle’s tuning pegs are perpendicular to the table (like a guitar). The lute is distinctive in its vaulted back and bent-back peg box that holds the tuning pegs.

Early forms of the lute had a soundbox made from a tortoiseshell with a stretched leather table. Strings were gut on a wooden ridge, and placed in a spreading fan pattern. (It must have been pretty!)

In the 13th century, luthiers began to separate the construction of the body and the neck. They also made the back out of staves rather than a single piece of wood, which made the instrument more resonant. It was at this point that the number of strings increased from six to ten and were tuned in pairs, either identically or in octaves.

To improve the grip of the left hand on the stringboard, gut nooses, now known as frets, were tied around the neck, increasing from four to eight frets in due time. The body became larger as the need for louder music grew. Multiple sound holes on the table merged into one single and fairly large hole, usually carved into a decorative rose.

By the Renaissance, lutes were often made of precious materials such as ivory, ebony, or Brazil-wood.

In the 16th century, lutes were lightly constructed, often with six or seven doubled strings (called courses).

The oldest lutes had three to five strings, usually plucked with a little rod or plectrum, or, rarely, with the fingers. As time progressed, strings were added and finger plucking grew more popular than strumming or plucking. Modern (post-Renaissance) lutes have between 15 and 24 strings, some doubled into courses, and some single strings.

By the 10th century, it was common for the strings to be tuned in fourths like a modern guitar.

Origins of the Name:

In Persian, the name of the instrument is al’ūd, which means “the wood.” This evolved into the “oud,” and then became a lute in English, French, German, Italian, Spanish, etc. The instrument is still commonly used in Arabic music.

The Greeks used the same Sumerian noun for the long-necked lute as the word for “bow.” Sadly, the source that gave me this tidbit didn’t say what that word was. (Does anyone speak Sumerian?)

Giraldus Cambrensis (c1146-c1223) reported that the English were playing the lute. The guitar reached England in the 13th century, before the introduction of the lute, which is kind of backward to the rest of Europe. It doesn’t appear in English carvings or illustrations until the 15th century, but it’s mentioned in the list of instruments at the Feast of Westminster in 1306.

Obviously, the lute made its way to France, Spain, Italy, and Germany. Michael Praetorius, in the 16th and 17th centuries (see Composer Biography: Michael Praetorius (1571-1621) for more on this great musicologist ) describes Recht Chorist or the Alt-Laute as the parent to the contemporary lute. Perhaps in Germany, these were names of earlier instruments, but clearly, it wasn’t invented there.

Descendants of the Lute

The following list is alphabetical rather than chronological.

The angelica was a kind of theorbo with 17 diatonically tuned (do-re-me) strings. It’s also called the Angelique.

The archlute, as the name implies, is a much larger form of lute. It was made as early as the 16th century but only came to importance in the 17th. It had diapason strings, meant to stay open, that ran beside the finger board, and allowed sympathetic-string ringing, like a harp’s unplucked strings. It had 16 or 17 single strings on two peg boxes.

The chitarrone reduced the size of the body but increased the length of the bridge piece that connected the two peg-boxes. The instrument was a monster, being from five to six-feet long.

The colascione was a European long-necked lute with 24 movable frets and three courses of metal strings. Its body was occasionally made partially of parchment. (You may recall that parchment was very thinly tanned animal hides, not a form of paper.)

The long-necked lute was a medieval instrument with strong Moorish associations and might be the same instrument that’s called guiterre moresche. Both are described with a long neck and a small body with a movable bridge, and only three strings.

The mandore and mandola were small lutes with short necks and four doubled strings. These instruments were also called the pandurina, mandurina, Mandüchen, and mandolin. It has the characteristically backward-bending head and five or six pairs of strings, which later became single strings (like in the mandolin).

The pandurina was a small-sized mandora with four or five strings and was played with the fingers or a plectrum. Despite its Italian-sounding name, its use was limited to France.

The theorbo’s had two tuning heads. The main head was only slightly bent and the second peg-box was joined to the first by a short connecting piece.

The theorbo-lute kept the traditional bent-back head of the lute and had an additional peg box beside the main head for additional strings.

Famous Lute Players

You may have heard of the famous English lutenist and composer John Dowland, but there will be others in this list that are more obscure. There’s Francesco de Milano, Michelangelo Galilei (uncle of Galileo), Henry VIII of England, James IV of Scotland, and Pietrobono, mentioned by Tinctoris in his medieval treatise on music.

Current big names in as lutenists are Munir Nurettin Beken, August Denhard, Lutz Kirchhof, Jakob Lindberg, Paul O’Dette, and Marco Pesci.

Famous Composers

There are too many composers for the lute to name even a very small percentage, so I’ll just include the biggest hitters. Guillaume Machaut (see Composer Biography: Guillaume Machaut (c1300-1377)), Franscesco Landini (biography to come), and John Dowland are probably the most famous, with Jacques Champion de Chambonnieres (after 1601-c1671), Francesco di Milano, Albert de Rippe, and Vincenzo Galilei (Galileo’s father) making the list.

One of the greatest innovators was a fellow called Denis Gaultier (c1597-1672), who ranked as the highest official in a French province after the governor himself. Gaultier invented his own nomenclature for modes, where Dorian appeared as D major and Sousdorien as A major. (see Musical Modes, Part 1: Church Modes for more on that sort of thing). Although dance rhythms appear in his works, he named none of them after dances, which was the usual practice of the day.

Happily, people are still making music on lutes, and I hope this little article makes you want to go out and hear a concert or twelve.

You can check out more of my blogs on www.MelanieSpiller.com.

Sources:

“Music in the Middle Ages,” by Gustave Reese. W.W. Norton & Company, New York, 1940.

“Musical Instruments; Their history in Western Culture from the Stone Age to the Present Day,” by Karl Geiringer, translated by Bernard Mill. George Allen & Unwin Ltd., London, 1949 (reprint)

“The Concise Oxford History of Music,” by Gerald Abraham. Oxford University Press, Oxford, 1979.

“A History of Western Music, Eighth Edition” by J. Peter Burkholder, Donald Jay Grout, and Claude V. Palisca. W.W. Norton & Company, New York, 2010

“The Rise of Music in the Ancient World: East and West,” Curt Sachs. Dover Publications, Inc., Mineola, 1943

“A Dictionary of Early Music: From the Troubadours to Monteverdi,” by Jerome and Elizabether Roche. Oxford University Press, New York, 1981

“Music Education in the Middle Ages and the Renaissance,” edited by Russell E. Murray, Jr., Susan Forscher Weiss, and Cynthia J,. Cyrus. Indiana University Press, Bloomington, 2010