Francesco Corteccia

Sources disagree about Corteccia’s birthplace . . . Arezzo or Florence . . . but records show he was baptized in the Baptistry of S Giovanni Battista, Florence in July of 1502, and Florence was his home all his life.  As a madrigalist he would have been exposed to the work of all three of the most prominent early madrigalists–Festa, Verdelot and Arcadeldt–all of whom worked in Florence at some time during their careers.  Florence’s struggle to be an independent republic finally ended when the City capitulated to the forces of the Emperor, Charles V, in 1530.  Corteccia began his professional life as organist at S. Lorenzo, the family church of the returned rulers of Florence, the Medici in 1531.  He was the principle composer of the music at the wedding of Duke Cosimo dei Medici and Eleanora of Toledo in 1539.  Shortly after that Corteccia was made ‘maestro di cappella’ of the Ducal Chapel, where he stayed until his death in 1571.

Much of this biographical material and the musical examples from the entertainments at the wedding of Cosimo I, Grand Duke of Tuscany, and Eleonora of Toledo in 1539, are to be found in ‘A Renaissancs Entertainment” by Andrew C. Minor and Bonner Mitchell (University of Missouri Press).

Bacco, bacco

Closing the celebrations at Cosimo I’s wedding, Corteccia came up with this ridiculous drinking song.performed by 20 bacchantes acting drunk; after which “everyone went home to bed”.

 

Francesco Corteccia "Bacco, bacco"

by Concentus Musicus MN, Arthur Maud, dir. | 'Masques, Mimes' 1979

 

 

Guardane almo Pastore

This six-part madrigal is the entre act between the first and second acts of the play, ‘Il Commodo’, presented at Duke Cosimo I’s wedding festivities.  It was sung and played by 12 “shepherds.  This performance is unaccompanied.

 

Francesco Corteccia "Guardane almo Pastore"

by Concentus Musicus MN, Arthur Maud, dir. | Vocal Ensemble, 'Seven Ages' 1979

 

 

O begli Anni del Oro

This madrigal a4 supplied the third intermedio of Cosimo’s wedding entertainment.  The official account  of the festivities describes the performance of this madrigal as a solo singer accompanying himself on the “violone”, which goes to show how varied the performing forces employed for the madrigal could be.  Here we use a solo voice and three instruments.

Francesco Corteccia "O begli Anni del Oro"

by Concentus Musicus MN, Arthur Maud, dir. | 'Seven Ages' 1979, Paul Orr - tenor

 

 

Sacr’et santo Himeneo

The evening’s entertainment at Cosimo and Eleanora’s wedding began with a long song of welcome by “Apollo” followed by this madrigal a9 sung and played by nine muses. It was performed in the second cortile of the Palazzo Medici after a sumptuous banquet.  It almost seems like Corteccia was trying a little too hard to impress with the turgid nine-part texture and somewhat overwrought soprano repetitions . . . but perhaps also a certain grandeur.

Francesco Corteccia "Sacr'et santo Himeneo"

by Concentus Musicus MN, Arthur Maud, dir. | 'Food of Love' 1991

 

 

Vatten’ almo riposo

This lively madrigal introduces the comedy, “Il commodo’ and represents dawn–a soprano accompanied by several instruments, as described in the account of Cosimo I’s wedding entertainment.

Francesco Corteccia "Vatten' almo riposo"

by Concentus Musicus MN, Arthur Maud, dir. | ''Masques, Mimes' 1979, Mary Earl - soprano

 

 

Vientene almo riposo

This is the last madrigal of Cosimo I’s wedding entertainment, personifying ‘Night’; coming just before the final drinking song, “Bacco, bacco”.  It was sung by a single voice accompanied by four sackbutts.  Not having 4 sackbutts to hand, this performance is by male voices.

Francesco Corteccia "Vientene almo riposo"

by Concentus Musicus MN, Arthur Maud, dir. | 'Male voices,'A Book of Hours' 1984