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Vincenzo Capirola (1474 – after 1548) was an Italian composer, lutenist and nobleman of the Renaissance. His music is preserved in an illuminated manuscript called the Capirola Lutebook, which is considered to be one of the most important sources of lute music of the early 16th century.
He was probably from Brescia, and is known to have lived in that city for several periods of his life, although he was in Venice in 1517 and for some time after that, the period during which the illuminated manuscript was prepared. It is possible that Capirola is the famous Brescian lutenist who visited the court of Henry VIII of England, although his name was not recorded (no other virtuoso lutenists of the period, from Brescia, who were also noblemen, are known).
The so-called Capirola Lutebook is one of the most important sources of early 16th century Italian lute music. It is an illuminated manuscript which comprises the entire surviving output of Vincenzo Capirola.
The Capirola Lutebook was compiled in 1520 by Vitale, a pupil of Capirola. The compositions included probably date from around 1517. There are 42 folios; the manuscript begins with a short note by its creator, one Vitale (Vidal), pupil of Capirola’s. Vitale informs the reader that he adorned the lutebook with paintings to ensure its survival: even owners not interested in musical matters would, by Vitale’s reasoning, keep the lutebook in their collections because of the paintings. This explanation is followed by a substantial text on lute playing technique, ornaments and notation—one of the most important sources on performance practice of the time
The Lutebook contains the earliest known examples of legato and non-legato indications, as well as the earliest known dynamic indications. The pieces vary from simple studies suitable for beginners on the instrument, to immensely demanding virtuoso pieces. There are also 13 ricercars in the book, which alternate passages in brilliant toccata style with passages in three-part counterpoint similar to that of the vocal music of contemporary composers such as Jacob Obrecht.
In addition to music by Capirola (and others — Capirola evidently transcribed several pieces by other composers for the book), the Lutebook contains a preface which is one of the most important primary sources on early 16th century lute-playing. It includes information on how to play legato and tenuto, and how to perform ornaments of various types, how to choose the best fingering for passagework. It also includes very practical details such as how to string and tune the instrument.
Alexander Agricola (ca 1446 – 1506) was a Netherlandish composer of the Renaissance writing in the Franco-Flemish style. A prominent member of the Grande chapelle, the Habsburg musical establishment, he was a renowned composer in the years around 1500, and his music was widely distributed throughout Europe. He composed music in all of the important sacred and secular styles of the time.
Antoine Brumel (ca 1460 – 1512/13) was a French composer. He was one of the first renowned French members of the Franco-Flemish school of the Renaissance, and, after Josquin des Prez, was one of the most influential composers of his generation.
Marchetto Cara (ca 1465 – 1525) was an Italian composer, lutenist and singer of the Renaissance. He was mainly active in Mantua, was well-connected with the Gonzaga and Medici families, and along with Bartolomeo Tromboncino, was well known as a composer of frottolas.
Nicolas Craen (ca 1440/50 – 1507). also Nicolaes, served as Singing master at the Confraternity of the Illustrious Brotherhood of Our Blessed Lady in ‘s-Hertogenbosch.
Antoine de Févin (ca 1470 – late 1511 or early 1512) was a Franco-Flemish composer of the Renaissance. He was active at the same time as Josquin des Prez, and shares many traits with his more famous contemporary. All of Févin’s surviving music is vocal. He wrote masses, motets and chansons.
Johannes Ghiselin (Verbonnet) (fl 1455 – 1511) was a Flemish composer of the Renaissance, active in France, Italy and in the Low Countries. He was a contemporary of Josquin des Prez, and a significant composer of masses, motets, and secular music.
Hayne van Ghizeghem (ca 1445 – from 1472 to 1497) was a Franco-Flemish composer of the early Renaissance Burgundian School. Hayne is principally known as a composer of chansons, and most of these are rondeaux. Two in particular—Allez regrets, and De tous biens plaine—were quite famous.
Jacob Obrecht, also Hobrecht, (ca 1457/8 – 1505) was a Flemish composer of masses, motets and songs. He was the most famous composer of masses in Europe of the late 15th century and was only eclipsed after his death by Josquin des Prez.
Michele Pesenti also known as Michele Vincentino and Don Michele Vincentino (ca 1470 – 1528) was an Italian composer and lutenist who served the House of Este at Ferrara. Pesenti was one of the most lively and inventive of the so-called frottola composers, including Marchetto Cara and Bartolomeo Tromboncino.
Josquin des Prez (ca 1450/5 – 1521) was a composer of High Renaissance music, who is variously described as French or Franco-Flemish. Considered one of the greatest composers of the Renaissance, he developed a complex style of expressive—and often imitative—movement between independent voices (polyphony) which informs much of his work. Josquin was a singer, and his compositions are mainly vocal. They include masses, motets and secular chansons.
Johannes Prioris (ca 1460 – 1514) was a Netherlandish composer of the Renaissance. He was one of the first composers to write a polyphonic setting of the Requiem Mass.
Bartolomeo Tromboncino (ca 1470 – 1535 or later) was an Italian composer of the middle Renaissance. He is mainly famous as a composer of frottole; he is principally infamous for murdering his wife. He was born in Verona and died in or near Venice.
Juan de Urrede (ca 1430 – after 1482) was a Flemish singer and composer active in Spain in the service of the Duke of Alba and King Ferdinand and Queen Isabella. Although he wrote sacred songs, he was better known for courtly songs.
Selection of Pieces for Inclusion in this Book
The Capirola Lutebook was compiled in 1520 by Vitale, a pupil of Capirola. The compositions included probably date from around 1517. There are 43 folios. Vitale informs the reader that he adorned the lutebook with paintings to ensure its survival: even owners not interested in musical matters would, by Vitale’s reasoning, keep the lutebook in their collections because of the paintings. This explanation is followed by a substantial text on lute playing technique, ornaments and notation—one of the most important sources on performance practice of the time. All pieces from The Capirola Lutebook are included in this book of arrangements.
A page from the Capirola Lutebook showing the illustrations in the book.