NENNA, Pomponio (1556-1608) - Il Primo Libro de’ Madrigali à 4 voci, Napoli, 1613

Obra de Cornelis van Haarlem (1562-1638), pintor holandès (1)

- Recordatori de Pomponio Nenna -

En el dia de la celebració del seu 459è aniversari de naixement

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Parlem de Pintura...

Cornelis Corneliszoon van Haarlem (Haarlem, 1562 - Haarlem, 11 de novembre de 1638) va ser un pintor holandès, un dels més importants de la seva generació i precursor de l'art de Frans Hals. Membre de l'escola Manerista d'Haarlem, es va orientar vers el retrat, la mitologia i la religió, d'entrada amb obres de gran format per anar-les reduint amb el temps. Va viure a Haarlem si bé el 1568, i durant el setge espanyol de la Guerra dels Vuitanta Anys, va quedar sota la tutela del seu mestre Pieter Pietersz el Vell. Va viatjar a França i Bèlgica on es va convertir en un pintor àmpliament reputat, rebent encàrrecs de nobles i membres de la cort. Va tornar a Haarlem on va seguir exercint com a pintor i on va assolir notable fama. Juntament amb altres pintors destacats, va formar l'Acadèmia d'Haarlem coneguda amb el nom dels "Manieristes d'Haarlem". Va treballar com a professor tenint com a alumnes, entre altres, a Cornelis Claesz Heda, germà de Willem Claeszoon Heda. Va morir a Haarlem el novembre de 1638.

Font: En català: Cornelis van Haarlem (1562-1638) - En castellano: Cornelis van Haarlem (1562-1638) - In english: Cornelis van Haarlem (1562-1638) - Altres: Cornelis van Haarlem (1562-1638)

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Parlem de Música...

Pomponio Nenna (Bari, bap. 13 de juny de 1556 - Rome?, 25 de juliol de 1608) va ser un compositor italià. Fill de Giovanni Battista Nenna (1508-c.1565), un oficial de la ciutat de Bari, es desconeix la seva formació inicial tot i que es creu que va rebre classes de Stefano Felis, de Giovanni Jacopo de Antiquis, de Giovanni de Marinis i de Rocco Rodio. Va treballar activament a Itàlia com a mestre de madrigals inspirant-se o potser compartint feina amb Carlo Gesualdo. Va viure entre Nàpols i Roma, ciutat aquesta darrera on probablement va morir el juliol de 1608.

OBRA:

Vocal secular:

Il primo libro de [20] madrigali, 5vv (Venice, 1582); ed. in PIISM, Monumenti, ii (1942)
Il quarto libro de [20] madrigali, 5vv (Venice, 2/1609) [1st edn. lost]; ed. in PIISM, Monumenti, ii (1942)
Il quinto libro de’ [20] madrigali, 5vv (Naples, 1603), ed. in Girolamo Frescobaldi Opere Complete, v (Milan, 1996), 102
Il sesto libro de [19] madrigali, 5vv (Naples, 1607) [incl. 2 villanellas]
Il settimo libro de [20] madrigali, 5vv (Naples, 1608)
Il primo libro de [21] madrigali, 4vv (Naples, 1613, inc., repr. 1621 with bc) ed. in Pompilio [incl. 2 previously pubd in Alessandro di Costanzo: Il primo libro de’ madrigali, 4vv, Naples, 1604, 2/1616]
L’ottavo libro de [14] madrigali, 5vv, ed. F. Archilei (Rome, 1618)
Madrigal, 6vv, 1585;
Madrigal, 5vv, S. Felis: Il primo libro de madrigali, 5vv (Venice, 2/1585, lost);
2 madrigals, 5vv, S. Felis: Il quinto libro de madrigali, 5vv (Venice, 1583, lost);
4 villanellas, 3vv, 15745, 15746, ed. in PIISM, Antologie, i (1941);
Ricercare, 2vv, 159019;
Spiritual canzonetta, 2vv, I-BRq, inc.

Vocal religiosa:

Responsorii di Natale e di Settimana Santa, 4vv (Naples, 1607, inc., repr. 16227 with bc)
Sacrae Hebdomadae responsoria, 5vv, bc (Rome, 1622)
Psalm, 4vv, in Salmi delle compieta, ed. M. Magnetta (Naples, 1620)

Font: En català: No disponible - En castellano: Pomponio Nenna (1556-1608) - In english: Pomponio Nenna (1556-1608) - Altres: Pomponio Nenna (1556-1608)

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Parlem amb veu pròpia... (vacances)

Through the three style periods of Nenna’s madrigals – those defined by his early works, his earlier years in Naples and his later Neapolitan and Roman years – certain trends are discernible: they become shorter and more imitative while using phrase repetition more often. The most striking feature of the first five-voice book is what may be called ‘cadence ostinato’: a cadence-like pattern of chords is repeated up to ten times at regular intervals of two to four semibreves, sometimes produced by motifs repeated at identical pitch levels by different voices. Two-thirds of the madrigals open with this technique. The effect is similar to that produced by echoes in the works of Andrea and Giovanni Gabrieli for cori spezzati. Nenna’s fourth and fifth five-voice books and his four-voice book are Neapolitan in style: they contrast durezze e ligature with rapid imitated motifs often doubled in 3rds and 10ths in many different combinations, but the former are less original and extended, and the latter less often stretched out of shape, than in the works of Gesualdo.

The fifth book is only the second collection to use a sizable number of texts by Marino: seven pieces are settings of him. The four-voice madrigals published in 1613 were probably composed much earlier; two of them appeared in 1604 in a book of madrigals by Alessandro di Costanzo (this edition is lost but a later one, RISM 161613, is extant). Nenna’s last three books share several stylistic features: they are less chromatic and dissonant than the earlier books; text declamation is quicker and repetition commoner than in contemporary Neapolitan madrigals; there is more frequent counterpointing of two motifs with differing texts in a single point, a characteristic of the Roman madrigal. The seventh book was particularly popular, for it was reprinted four times up to 1624 and was copied in the 17th century with English words (in GB-Ob Tenbury 1015). Ferdinando Archilei assembled Nenna’s eighth book in 1618 and included in it works by Gesualdo and Gervasio Melcarne; it also contains a madrigal from Macque’s sixth book (1613) but without attribution to him. Nenna’s two books of responsories have fewer harmonic, textural and rhythmic contrasts than his madrigals.

Nenna, Pomponio, composer (Grove Music Online)

Gaudiu i compartiu! 

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Informació addicional... 

INTÈRPRETS: Palazzo Incantato; Sergio Lella
TACTUS: NENNA, P. - Il Primo Libro de’ Madrigali à 4 voci, Napoli, 1613

IMSLP: Pomponio Nenna (1556-1608)

CPDL: Pomponio Nenna (1556-1608)

SPOTIFY: NENNA, P. - Il Primo Libro de’ Madrigali à 4 voci, Napoli, 1613

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