André Maugars. Response to an Inquisitive Person on the Italian Feeling about Music, Wrote in Rome on 1st October 1639

Abstract

The essential of the publication is the first full translation into Russian of an important document of the 17th century musical aesthetics, Response faite à un curieux sur le sentiment de la musique en Italie by the French viol player André Maugars. In 1638–39 Maugars lived in Rome, personally took part in the musical life of the city, attended numerous musical meetings and left colorful memories of them. Translation is provided with extensive comments and a large introductory article “A Letter from the Golden Age of Music and Its Author, an Extravagant Frenchman”. The explanations contained in them serve several purposes: (1) to elucidate the rich historiographic material of the letter by means of the present knowledge; (2) to characterize the personality of Maugars and to present his merits for the history of musical art; (3) to set forth possible reasons for Maugars’ residence in Rome and to trace the influence they could have on Maugars’ judgement on Italian and French music presented in the letter; (4) to designate the place of Maugars’ letter in the history of the French musical aesthetics; and 5) to outline the aesthetic nature of the Roman music in the era of Urban VIII.

References

1. Виппер Ю. В. Поэзия Плеяды. Становление литературной школы. М.: Наука, 1976. 432 с.
2. Могар А. Ответ одному любознательному по поводу музыки в Италии (из архива М. В. Иванова-Борецкого) //  Музыкальная эстетика Западной Европы XVII–XVIII веков: сб. переводов / сост. текстов и общая вступ. статья В. П. Шестакова. М.: Музыка, 1971. С. 353–356. (Памятники музыкально-эстетической мысли).
3. Насонов Р. А. Музыкальная жизнь Рима середины XVII века сквозь призму теоретического трактата //  Старинная музыка: Практика. Аранжировка. Реконструкция: материалы научно-практической конференции /  сост. и ред. Р. А. Насонов, М. Л. Насонова. М.: Прест, 1999. С. 157–165.
4. Насонов Р. А. О немецких предках симфониургии // Музыкальные миры Юрия Николаевича Холопова: сб.  статей /  ред. коллегия: К. В. Зенкин, М. И. Катунян, А. С. Соколов. М.: НИЦ «Московская консерватория», 2016. С. 179–201.
5. Шестаков В. П. От этоса к аффекту. История музыкальной эстетики от античности до 18 века. М.: Музыка, 1975. 351 с.
6. Cancellieri F. Il Mercato Il Lago Dell’Acqua Vergine ed Il Palazzo Panfiliano: Nel Circo Agonale Detto volgarmente Piazza Navona <...>. Con un Appendice di XXXII Documenti Ed un Trattato sopra gli Obelischi. Roma: Per Francesco Bourlie, nel MDCCCXI. XV, 189 p.
7. Carter T. Artusi, Monteverdi and the Poetics of Modern Music // Musical Humanism and Its Legacy. Essays in Honor of Claude V. Palisca /  ed. by Nancy Kovaleff Baker and Bárbara Russano Hanning. Stuyvesant, New York: Pendragon, 1992. P. 171–194.
8. Cheney, Stuart G. Dubuisson: A Study of His Music for Solo Bass Viol. M. Mus. Thesis. Denton, Texas: University of North Texas, 1988. X, 162 p.
9. Cheney, Stuart G. The Voyages of André Maugars: New Biographical Data: [Abstract] // Programme and Abstracts of Papers Read at the 18th Biennial International Conference on Baroque Music Crossing Borders: Music, Musicians and Instruments 1550–1750. 
10–15 July 2018. Palazzo Trecchi, Cremona. Teatro Bibiena, Mantua. Università di Pavia, 2018. P. 90–91.
10. Cowart, Georgia J. Controversies over French and Italian Music, 1600–1750: The Origins of Modern Musical Criticism. Ph. D. New Brunswick, New Jersey: Rutgers, The State University of New Jersey, 1980. 
11. Dunn, Thomas D. Introduction // Vittori L. Galatea / ed. by Thomas D. Dunn. Middleton, Wisconsin: A-R Editions, 2002. XLIX, 182 p. (Recent Researches in the Music of the Baroque Era, 119).
12. Ellison, Mary B. The Comparaison de la musique italienne et de la musique françoise of Lecerf de la Viéville: An Annotated Translation of the First Four Dialogues. Ph. D. Coral Gables, Florida: The University of Miami, 1973. XI, 303 p.
13. Freitas R. The Eroticism of Emasculation: Confronting the Baroque Body of the Castrato //  The Journal of Musicology. Vol. 20. No. 2 (Spring 2003). P. 196–249.
14. Grace M. Marco Marazzoli and the Development of the Latin Oratorio: Ph. D. Yale University, 1974. V, 332 p.
15. Halfpenny E. Lyrichord // The Galpin Society Journal. Vol. 3 (March, 1950). P. 46–49.
16. Hammond F. Music and Spectacle in Baroque Rome: Barberini Patronage under Urban VIII. New Haven: Yale University Press, 1994. XXIV, 369 p.
17. Kirnbauer M. ‘Wherein the most complete Harmony was heard’: The Viola da Gamba in Chromatic and Enharmonic Music in Seventeenth-Century Rome // The Italian Viola da Gamba: Proceedings of the International Symposium on the Italian Viola da Gamba: Christophe Coin & Susan Orlando, directors: Magnano, Italy, 29 April-1 May 2000 / ed. by Susan Orlando. Solignac: Ensemble baroque de Limoges; Torino: A. Manzoni, 2002. P. 35–51.
18. Laderchio J. S. Caeciliae virg. et Mart. Acta, et Transtyberina Basilica seculorum singulorum monumentis asserta, ac illustrate a Jacobo Laderchio Congregationis Oratorii Urbis Presbytero <…>. Tomus I: A Jesu Christi Seculo III. ad Seculum XI. Romae: Sumptibus Laurentii, & Thomae Pagliarini Bibliopol., MDCCXXIII. [60], 273 p.
19. Lamothe V. Chr. The Theater of Piety: Sacred Operas for the Barberini Family (Rome, 1632–1643): Ph. D. Chapel Hill: University of North Carolina, 2009. XIV, 356 p.
20. Lavin, Marilyn Aronberg. Seventeenth-Century Barberini Documents and Inventories of Art. New York: New York University Press, 1975. XV, 741 p.
21. Le Cerf de la Viéville, Jean Laurent Comparaison de la musique italienne, et de la musique Franc̨oise. Où, en examinant en détail les avantages des spectacles, & le mérite des compositeurs des deux nations, on montra quelles sont les vrayes beautez 
de la musique. Troisiéme partie. <…> A Bruxelles: Chez Franc̨ois Foppens, 1706. [3], 212, 53 p.
22. Mazzocchi D. All’Emenent.mo e Reverend.mo Signore mio Padron colendissimo IL SIG. CARD. Barberino // Domenico Mazzocchi. Partitura de’ Madrigali a cinque voci E d’altri varij Concerti <…>. In Roma: Francesco Zannetti, M. DC. XXXVIII. P. 3.
23. Mersenne M. F. Marini Mersenni Harmonicorum libri: in quibus agitur de sonorum natura, causis & effectibus: de consonantiis, dissonantiis, rationibus, generibus, modis, cantibus, compositione, orbisque totius harmonicis instrumentis: ad Henricum 
Mommorum: opus utile grammativis, oratoribus, philosophis, iurisconsultis, medicis, mathematicis atque theologis. Lutetiae Parisiorum: Sumptibus G. Baudry, 1636. [12], 184, 168, 4 p.
24. [Maugars A.] Discours sur la musique d’Italie et des opera // Les Malades de belle humeur: ou Lettres divertissantes ecrites de Chaudray. A Lyon: chez Jacques Lion, M. DC. XCVIII. P. 313–347.
25. Murata M. Why the First opera Given in Paris wasn’t Roman // Cambridge Opera Journal. Vol. 7. Issue 02 (July, 1995). P. 87–105.
26. Nestola B. L’Egisto fantasma di Cavalli: nuova luce sulla rappresentazione parigina dell’Egisto ovvero Chi soffre speri di Mazzocchi e Marazzoli (1646) //  Recercare. Vol. 19. No. 1/2 (2007). P. 125–146.
27. Piechocki, Katharina N. Sincerity, Sterility, Scandal: Eroticizing Diplomacy in Early Seventeenth-Century Opera Librettos at the French Embassy in Rome //  Practices of Diplomacy in the Early Modern World c. 1410–1800 / ed. by Tracey A. Sowerby and Jan 
Hennings. Routledge, 2017. P. 114–129. (Routledge Research in Early Modern History).
28. Ronconi F. (a cura di). APPLAUSI POETICI ALLE GLORIE Della Signora LEONORA BARONI. Bracciano: Gio. Batista Cavatta, 1639. [9], 267 p.
29. Rousseau J. Traité de la viole qui contient une dissertation curieuse sur son origine, une démonstration générale de son manche en quatre figures, avec leurs explications, l’explication de ses jeux différents, & particulierement des pièces par accords, & de 
l’accompagnement à fond, des règles certaines <…>. A Paris: Par Christophe Ballard, 1687. [14], 151 p.
30. Smither, Howard E. A History of the Oratorio. Vol. 1: The Oratorio in the Baroque Era: Italy, Vienna, Paris. Chapell Hill: The University of North Carolina Press, 1977. XXVII, 480 p.
31. Tallemant des Réaux G. Maugars, (1) // Les historiettes de Tallemant des Réaux. Mémoires pour servir à l’histoire du XVIIe siècle, pub. sur le manuscrit inédit et autographe; avec des éclaircissemens et des notes <…>. Tome Troisième. Bruxelles: J. P. Meline, 1834. P. 23–30.
32. Thoinan E. [Roquet A. E.] Maugars, Célèbre Joueur de Viole, Musicien du Cardinal de Richelieu <...>: sa biographie, suivie de sa “Response faite à un curieux sur le sentiment de la Musique d’Italie, Escrite à Rome le premier octobre 1639”: Avec notes 
et éclaircissements. Paris: A. Claudin, 1865. 43 p.
33. Witzenmann W. Beitrage der Brüder Mazzocchi zu den musikalischen Akademien Kardinal Francesco Barberinis // Akademie und Musik. Festschrift für Werner Braun zum 65. Geburtstag zugleich Bericht über das Symposium „Der Akademiegedanke in der Geschichte der Musik und Angrenzender Fächer“ (Saarbrücken 1991) / hrsg. von Wolf Frobenius, Nicole Schwindt-Gross und Thomas Sick. Saarbrücken: SDV Saarländische Druckerei und Verlag, 1993. S. 181–214.