L13402

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Lot 543
  • 543

Zacconi, Ludovico

Estimate
3,000 - 5,000 GBP
bidding is closed

Description

  • Zacconi, Ludovico
  • Prattica di musica, utile et necessaria si al compositore per comporre i canti suoi regolatamente, si anco al cantore per assicurarsi in tutte le cose cantabili...ultimamente s'insegna il modo di fiorir una parte con vaghi & moderni accenti, Venice: Bartolomeo Carampello, 1596
  • Paper
second edition, ff.[6] & 218, folio (c.30 x 20.5cm), additional cancel before I2 (f.50), device on title, type-set music examples throughout (ff.61-74 are music), woodcut Guidonian Hand, diagrams, headpieces and initials, nineteenth-century half roan, a few early musical annotations, old repair to title (blank piece removed), some worming (eg in T-X and a few holes elsewhere), slight browning and staining

Literature

Censimento 16 CNCE 23748; Adams Z19; RISM Écrits, p.903; Gregory & Bartlett, i, 219; Hirsch, i 621;

Condition

Condition is described in the main body of the cataloguing, where appropriate
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

Catalogue Note

Scarce.we have traced only one copy at auction in the last twenty years.

Zacconi's treatise was the first comprehensive book to deal with Italian Baroque singing techniques, establishing principles that were to hold for over two centuries (see P.A. Duey, Bel Canto in its Golden Age, New York, 1951, p. 43 and passim). He emphasizes the use of a light and penetrating voice to ensure just intonation, and the importance of breath control and the appearance of the singer himself. He also comments on a large number of quotations from Josquin, Isaac, Palestrina, Senfl and other famous composers.  This is a re-issue of the first edition, published in 1592.