{"id":8485,"date":"2026-07-06T15:07:26","date_gmt":"2026-07-06T13:07:26","guid":{"rendered":"https:\/\/www.mdw.ac.at\/mdwpress\/?p=8485"},"modified":"2026-07-06T15:59:03","modified_gmt":"2026-07-06T13:59:03","slug":"mdwp017-013","status":"publish","type":"post","link":"https:\/\/www.mdw.ac.at\/mdwpress\/mdwp017-013\/","title":{"rendered":"A Glimpse into the World of Antonio Valente, cieco Napoletano"},"content":{"rendered":"<h3 class=\"author\"><em>Paola Erdas<\/em><\/h3>\n<p><head><\/p>\n<style>\n        .tsquotation strong {\n            font-weight: bold;\n        }\n        .tsquotation em {\n            font-style: italic !important;\n        }\n.tsquotation {\n line-height: 1.4 !important;   \n}\n        .bibliography {\n            margin-top: -1em !important;\n            padding-left: 22px;\n            text-indent: -22px;\n        }\nfigure {\n            margin: 0;\n }<\/p>\n<p> table {\n      line-height: 1.4;\n    border-collapse: collapse;\n    width: 100%;\nfont-family: 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id=\"zp-ID-8485-4511395-3QZ335K6\" data-zp-author-date='Erdas-2026' data-zp-date-author='2026-Erdas' data-zp-date='2026' data-zp-year='2026' data-zp-itemtype='bookSection' class=\"zp-Entry zpSearchResultsItem\">\n<div class=\"csl-bib-body\" style=\"line-height: 1.35; padding-left: 1em; text-indent:-1em;\">\n  <div class=\"csl-entry\">Erdas, Paola. 2026. \u201cA Glimpse into the World of Antonio Valente, Cieco Napoletano.\u201d In <i>\u2018Per Aures Ad Animum\u2019. The Harpsichord in the Sixteenth Century II: Italy<\/i>, edited by Augusta Campagne and Markus Grassl. mdwPress. <a class='zp-ItemURL' href='https:\/\/doi.org\/10.21939\/harpsichord-italy-16c'>https:\/\/doi.org\/10.21939\/harpsichord-italy-16c<\/a>. <a title='Cite in RIS Format' class='zp-CiteRIS' data-zp-cite='api_user_id=4511395&item_key=3QZ335K6' href='javascript:void(0);'>Cite<\/a> <\/div>\n<\/div>\n\t\t\t\t<\/div><!-- .zp-Entry .zpSearchResultsItem -->\n\t\t\t<\/div><!-- .zp-zp-SEO-Content -->\n\t\t<\/div><!-- .zp-List -->\n\t<\/div><!--.zp-Zotpress-->\n\n\n<\/p><\/div><\/div>\n<div class=\"bdaia-toggle close\"><h4 class=\"bdaia-toggle-head toggle-head-open\"><span class=\"bdaia-sio bdaia-sio-angle-up\"><\/span><span class=\"txt\">Outline<\/span><\/h4><h4 class=\"bdaia-toggle-head toggle-head-close\"><span class=\"bdaia-sio bdaia-sio-angle-down\"><\/span><span class=\"txt\">Outline<\/span><\/h4><div class=\"toggle-content\"><p>\n<a href=\"#1\">Instruments<\/a><br \/>\n<a href=\"#2\">Bibliography and Sitography<\/a><\/p>\n<\/p><\/div><\/div>\n<hr>\n<p><!-- \n\n<p style=\"text-align: right;\">[btn btnlink=\"https:\/\/www.mdw.ac.at\/mdwpress\/wordpress\/wp-content\/uploads\/10.1515_9783839425015-001.pdf\" btnsize=\"medium\" bgcolor=\"#b2b2b2\" txtcolor=\"#000000\" btnnewt=\"1\" nofollow=\"1\"]CHAPTER PDF <img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/www.mdw.ac.at\/mdwpress\/wordpress\/wp-content\/uploads\/download-1459070_1280.png\" style=\"vertical-align: middle\" alt=\"Download-Logo\" width=\"17\" height=\"17\">[\/btn]\n\n --><\/p>\n<p>This article offers a glimpse into the world of Antonio Valente, author of the seminal <em>Intavolatura de cimbalo<\/em>, Naples 1576, as well as on the music he wrote and his innovative and unique notation in the history of music.<span class=\"Hochgestellt_footnote\"><span><a href=\"#fn1\" class=\"footnote-ref\" id=\"fnref1\" role=\"doc-noteref\"><sup>1<\/sup><\/a><\/span><\/span><\/p>\n<p><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Fig.-1-frontespizio-valente.jpg\" alt=\"Title page of an old Italian music book titled \u201cRecercate, Fantasie et Canzoni\u201d by Antonio Valente, printed in Naples in 1576, featuring ornate typography, a decorative crest, and a red wax seal.\" width=\"1106\" height=\"1619\" class=\"alignnone size-full wp-image-8476\" style=\"width:65%; display: block; margin-left: auto; margin-right: auto;\" srcset=\"https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Fig.-1-frontespizio-valente.jpg 1106w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Fig.-1-frontespizio-valente-205x300.jpg 205w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Fig.-1-frontespizio-valente-700x1024.jpg 700w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Fig.-1-frontespizio-valente-102x150.jpg 102w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Fig.-1-frontespizio-valente-768x1124.jpg 768w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Fig.-1-frontespizio-valente-1049x1536.jpg 1049w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Fig.-1-frontespizio-valente-850x1244.jpg 850w\" sizes=\"auto, (max-width: 1106px) 100vw, 1106px\" \/><br \/>\n<span class=\"caption-text\"><b>Figure 1:<\/b> Antonio Valente, <em>Intavolatura de cimbalo<\/em> (Naples, 1576), frontispiece.<\/span><\/p>\n<p>Giulio Cesare Capaccio, Neapolitan gentleman, theologist and erudite scholar, describes the great capital of Southern Italy in <em>Il Forastiero<\/em>, dated 1634:<span class=\"Hochgestellt_footnote\"><span><a href=\"#fn2\" class=\"footnote-ref\" id=\"fnref2\" role=\"doc-noteref\"><sup>2<\/sup><\/a><\/span><\/span><\/p>\n<blockquote>\n<p class=\"tsquotation\">Maravigliosa \u00e8 Napoli per gli molti doni della fortuna, per l\u2019opportunit\u00e0 degli stranieri traffici, per la frequenza dell\u2019innumerabile popolo, per lo splendore dell\u2019antica, e potente nobilt\u00e0.<\/p>\n<p class=\"tsquotation\">(\u2018Naples is wonderful because of fortune\u2019s many blessings, the opportunities of foreign trade, the multitude of people, and the splendour of the ancient and powerful nobility.\u2019 [translation of this and all other quotations from the original sources by the author])<\/p>\n<\/blockquote>\n<p><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Fig.-2-capaccio.jpg\" alt=\"Title page of\u00a0Il Forastiero Dialogi\u00a0by Giulio Cesare Capaccio, printed in Naples in 1634, featuring decorative text, a crest illustration, and publication details at the bottom.\" width=\"988\" height=\"1216\" class=\"size-full wp-image-8477\" style=\"width:75%; display: block; margin-left: auto; margin-right: auto;\" srcset=\"https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Fig.-2-capaccio.jpg 988w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Fig.-2-capaccio-244x300.jpg 244w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Fig.-2-capaccio-832x1024.jpg 832w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Fig.-2-capaccio-122x150.jpg 122w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Fig.-2-capaccio-768x945.jpg 768w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Fig.-2-capaccio-850x1046.jpg 850w\" sizes=\"auto, (max-width: 988px) 100vw, 988px\" \/><br \/>\n<span class=\"caption-text\"><b>Figure 2:<\/b> Giulio Cesare Capaccio, <em>Il Forastiero<\/em> (Naples, 1634), frontispiece.<\/span><\/p>\n<p>This lively and cosmopolitan atmosphere is reflected in Valente\u2019s music and, just as the background noise of the city described in the book is still relevant today, Antonio Valente\u2019s works retain their freshness through the centuries.<\/p>\n<p>Antonio Valente was active in Naples at the end of the 16th century. Naples was the capital of the Kingdom of Naples, an Italian territory that was a dependency of the Kingdom of Spain. At that time Naples was second only to Paris in population density and in commercial traffic, a cultural setting that fostered unusual qualities. Valente was the titular organist of the church of Sant\u2019Angelo a Nilo in piazzetta Nilo, from November 1565 to May 1580. Valente wrote \u2018Sant\u2019Angelo a Nido\u2019 on the frontispiece of his <em>Intavolatura<\/em> instead of \u2018Sant\u2019Angelo a Nilo\u2019, the real name of the church. The most plausible hypothesis for this, is derived from Carlo Celano\u2019s description of Naples, published in 1692:<span class=\"Hochgestellt_footnote\"><span><a href=\"#fn3\" class=\"footnote-ref\" id=\"fnref3\" role=\"doc-noteref\"><sup>3<\/sup><\/a><\/span><\/span><\/p>\n<blockquote>\n<p class=\"tsquotation\">Vogliono molti de\u2019 nostri scrittori che in questo luogo anticamente vi fussero state le scuole letterarie, fundate da Federico imperatore [\u2026] e che anco quivi erano l\u2019habitationi de\u2019 scolari, perloch\u00e9 dicono alcuni che havesse il luogo sortito il titolo di Nido.<\/p>\n<p class=\"tsquotation\">(\u2018Many of our writers think that this place was formerly the site of schools of letters founded by Emperor Federico [\u2026] as well as the living quarters of the students, and thus the place was named Nido [nest].\u2019)<\/p>\n<\/blockquote>\n<p>The book is now in the Biblioteca Nazionale \u2018Vittorio Emanuele&#160;III\u2019, the same library in which Valente\u2019s book is kept, and another copy is in the Biblioteca del Conservatorio di San Pietro a Majella.<\/p>\n<p>Valente\u2019s salary at this church saw regular increases over the years, eventually doubling what he was originally paid. He benefited from the patronage of Don Geronimo Capece, who was a member of one of the most important Neapolitan families, and was a typical example of a nobleman with a keen interest in the arts.<span class=\"Hochgestellt_footnote\"><span><a href=\"#fn4\" class=\"footnote-ref\" id=\"fnref4\" role=\"doc-noteref\"><sup>4<\/sup><\/a><\/span><\/span> Carlo Celano wrote:<\/p>\n<blockquote>\n<p class=\"tsquotation\">Questo cavaliere fu lo splendore de\u2019 nobili del suo tempo, poich\u00e9 \u2013 oltre l\u2019esercitare perfettamente tutte le attioni cavalleresche, e\u2019l farsi conoscere versato nelle scienze della filosofia, della teologia, nelle facolt\u00e0 legali e nelle pulite lettere, e particolarmente della poesia \u2013 sommamente si dilett\u00f2 della musica, toccando maestrevolmente ogni sorte d\u2019istromento musicale; e, vedendo dipingere e scolpire, anch\u2019egli perfettamente dipinse, e scolp\u00ec.<\/p>\n<p class=\"tsquotation\">(\u2018This gentleman was a model of excellence among the nobility. In addition to acts of chivalry and having an aptitude for philosophy, theology, jurisprudence, letters and particularly poetry, he took pleasure in music, playing all kinds of musical instruments, and also learned to paint and sculpt.\u2019)<\/p>\n<\/blockquote>\n<p><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Fig.-3-Celano.png\" alt=\"Title page of\u00a0Notitie del Bello, dell\u2019Antico, e del Curioso della Citt\u00e0 di Napoli\u00a0by Carlo Celano, printed in Naples in 1692, featuring decorative text and dedication to Pope Innocent XII.\" width=\"678\" height=\"1184\" class=\"alignnone size-full wp-image-8478\" style=\"width:75%; display: block; margin-left: auto; margin-right: auto;\" srcset=\"https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Fig.-3-Celano.png 678w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Fig.-3-Celano-172x300.png 172w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Fig.-3-Celano-586x1024.png 586w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Fig.-3-Celano-86x150.png 86w\" sizes=\"auto, (max-width: 678px) 100vw, 678px\" \/><br \/>\n<span class=\"caption-text\"><b>Figure 3:<\/b> Carlo Celano, <em>Notitie del bello, dell\u2019antico e del curioso della citt\u00e0 di Napoli <\/em>(Naples: Giacomo Raillard, 1692),frontispiece.<\/span><\/p>\n<p>Not much information about Valente\u2019s life is known,<span class=\"Hochgestellt_footnote\"><span><a href=\"#fn5\" class=\"footnote-ref\" id=\"fnref5\" role=\"doc-noteref\"><sup>5<\/sup><\/a><\/span><\/span> just some details such as a mention in Scipione Cerreto\u2019s<em> Della prattica musica vocale, et strumentale<\/em> (Naples, 1601), in which Valente is listed as one of the important musicians of the recent past: \u2018Sonatori eccellenti d\u2019Organo, della Citt\u00e0 di Napoli, che oggi non vivono. [\u2026] Antonio Valente per antichit\u00e0 Napolitano\u2019 (\u2018Excellent organ players, of the City of Naples, who are no longer alive: Antonio Valente, Neapolitan by residence<em>\u2019<\/em>).<span class=\"Hochgestellt_footnote\"><span><a href=\"#fn6\" class=\"footnote-ref\" id=\"fnref6\" role=\"doc-noteref\"><sup>6<\/sup><\/a><\/span><\/span> This implies that he was not a Neapolitan by birth, but was adopted by this cosmopolitan city, just as Diego Ortiz of Toledo, or Bartolomeo lo Roy Borgognone of Burgundy.<\/p>\n<p>A further mention appears in a \u2018bancale\u2019, a document issued by a bank which serves as proof of a loan.<span class=\"Hochgestellt_footnote\"><span><a href=\"#fn7\" class=\"footnote-ref\" id=\"fnref7\" role=\"doc-noteref\"><sup>7<\/sup><\/a><\/span><\/span><\/p>\n<blockquote>\n<p class=\"tsquotation\">Ad Antonio Valente ducati 20. E per lui a Gio Antonio Stefanello cimbalaro dissero per il prezzo de uno zimbalo de 50 tasti le ha venduto declamando essere stato pagato integralmente. A lui contanti. 21 febbraio 1579.<\/p>\n<p class=\"tsquotation\">(\u2018To Antonio Valente 20&#160;ducats. And via him to Gio Antonio Stefanello, harpsichord maker, for the price of a 50-key harpsichord, which he has sold, declaring to have received the full payment, given to him in cash. 21 february 1579.\u2019)<\/p>\n<\/blockquote>\n<p>Giovanni Antonio Stefanello or de Stefani or Stefanelli was a very active and rather wealthy harpsichord maker; documents attest to his activity in Naples from 1557 to 1586.<\/p>\n<p>\u2018Antonio Valente Cieco, the Blind.\u2019 In his preface to the collection Frat\u2019Alberto Mazza, a Dominican friar, illustrates a new notational system which was invented by Valente.<span class=\"Hochgestellt_footnote\"><span><a href=\"#fn8\" class=\"footnote-ref\" id=\"fnref8\" role=\"doc-noteref\"><sup>8<\/sup><\/a><\/span><\/span> It consist of a stylised derivation of the Spanish keyboard tablature in which the numbers from 1 to 27 are used to identify the notes. This preface includes an illustration of a keyboard with a short octave (C\/E), with numbers inscribed on each natural key. Additionally, it provides a detailed description that accidental keys are indicated with an X over the numbers. The note values, called <em>bandiere<\/em> (flags), are indicated with the value symbol at the top of the notes in a style analogous to lute tablatures. Notes without any value symbol are a semibreve and are designated as <em>botta<\/em> (beat). Other additional note values, such as dotted notes, are indicated with various symbols. For example, a single dot indicates a double value, two indicate the addition of half the value, three a triple value and so on. The score contains no bars, but only one line that divides the right hand (<em>D: mano drit<\/em>ta) and the left hand (<em>M: mano manca<\/em>). Neither a key signature nor a time signature is present. The end of the composition is marked with the word <em>Finis<\/em> (end).<\/p>\n<p><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Fig.4-S.-370.jpg\" alt=\"An old printed page featuring an illustration of a plucked keyboard instrument, with its lid open. The page contains Italian text, including decorative initials and numerical annotations related to musical instruction.\" width=\"1396\" height=\"2099\" class=\"alignnone size-full wp-image-8479\" style=\"width:75%; display: block; margin-left: auto; margin-right: auto;\" srcset=\"https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Fig.4-S.-370.jpg 1396w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Fig.4-S.-370-200x300.jpg 200w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Fig.4-S.-370-681x1024.jpg 681w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Fig.4-S.-370-100x150.jpg 100w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Fig.4-S.-370-768x1155.jpg 768w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Fig.4-S.-370-1022x1536.jpg 1022w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Fig.4-S.-370-1362x2048.jpg 1362w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Fig.4-S.-370-850x1278.jpg 850w\" sizes=\"auto, (max-width: 1396px) 100vw, 1396px\" \/><br \/>\n<span class=\"caption-text\"><b>Figure 4:<\/b> Antonio Valente, <em>Intavolatura de cimbalo<\/em> (Naples, 1576), from the preface by Frat\u2019Alberto Mazza, p.&#160;iii.<\/span><\/p>\n<p>According to Mazza and Valente, this notation is easier: it could be useful to introduce even the most inexperienced beginner to musical literacy and proficiency in a relatively short time. Valente\u2019s tablature is different from other number tablatures of this time. His system seems to be a visual simplification used by a man who had a serious eyesight deficit. Today he would probably be called \u2018visually impaired\u2019, but in the 16th century he was considered blind. I asked for medical advice on the basis of the score and the two possible diagnoses were <em>retinitis pigmentosa<\/em> or <em>evolved glaucoma<\/em>. Both diseases are genetic and result in a progressive narrowing of the field of vision, down to the so-called \u2018tunnel vision\u2019 (only frontal vision) and then to full blindness.<span class=\"Hochgestellt_footnote\"><span><a href=\"#fn9\" class=\"footnote-ref\" id=\"fnref9\" role=\"doc-noteref\"><sup>9<\/sup><\/a><\/span><\/span><\/p>\n<p>Maybe because of his blindness, Antonio Valente\u2019s next (and last) publication, the <em>Versi spirituali sopra tutte le note<\/em> was published in a more conventional notation, in open score.<span class=\"Hochgestellt_footnote\"><span><a href=\"#fn10\" class=\"footnote-ref\" id=\"fnref10\" role=\"doc-noteref\"><sup>10<\/sup><\/a><\/span><\/span> In modern times the <em>Intavolatura<\/em> was edited by Charles Jacobs (1973)<span class=\"Hochgestellt_footnote\"><span><a href=\"#fn11\" class=\"footnote-ref\" id=\"fnref11\" role=\"doc-noteref\"><sup>11<\/sup><\/a><\/span><\/span> and Bernard Thomas (1981).<span class=\"Hochgestellt_footnote\"><span><a href=\"#fn12\" class=\"footnote-ref\" id=\"fnref12\" role=\"doc-noteref\"><sup>12<\/sup><\/a><\/span><\/span> These remarkable publications, partly published with editorial criteria now perceived as anachronistic, are followed by an exemplary new modern edition by Maria Luisa Baldassari (2021).<span class=\"Hochgestellt_footnote\"><span><a href=\"#fn13\" class=\"footnote-ref\" id=\"fnref13\" role=\"doc-noteref\"><sup>13<\/sup><\/a><\/span><\/span><\/p>\n<p>The <em>Intavolatura<\/em> is a compilation of many kinds of 16th century keyboard compositions: we can find <em>ricercari<\/em>, <em>canzoni desminuite<\/em>, one <em>fantasia<\/em> written in a refined and beautiful counterpoint, and a lot of <em>balli<\/em> and <em>tenori<\/em>: variations upon <em>bassi ostinati<\/em>, developed in a way similar to modern pop music: one hand plays a musical accompaniment (in a <em>chitarra battente<\/em> style) with the plain melody and the variations in the other hand.<span class=\"Hochgestellt_footnote\"><span><a href=\"#fn14\" class=\"footnote-ref\" id=\"fnref14\" role=\"doc-noteref\"><sup>14<\/sup><\/a><\/span><\/span><\/p>\n<p><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Fig.-5-Valente-Romanesca.jpg\" alt=\"A page of early printed musical notation from the Intavolatura de cimbalo (Naples, 1576), showing numeric tablature and symbols arranged in horizontal lines, with sections labeled \u201cLa Romanesca d\u2019Antonio Valente\u201d and \u201cSeconda Mutanza.\u201d\" width=\"1718\" height=\"2420\" class=\"alignnone size-full wp-image-8480\" style=\"width:75%; display: block; margin-left: auto; margin-right: auto;\" srcset=\"https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Fig.-5-Valente-Romanesca.jpg 1718w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Fig.-5-Valente-Romanesca-213x300.jpg 213w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Fig.-5-Valente-Romanesca-727x1024.jpg 727w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Fig.-5-Valente-Romanesca-106x150.jpg 106w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Fig.-5-Valente-Romanesca-768x1082.jpg 768w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Fig.-5-Valente-Romanesca-1090x1536.jpg 1090w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Fig.-5-Valente-Romanesca-1454x2048.jpg 1454w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Fig.-5-Valente-Romanesca-850x1197.jpg 850w\" sizes=\"auto, (max-width: 1718px) 100vw, 1718px\" \/><br \/>\n<span class=\"caption-text\"><b>Figure 5:<\/b> Antonio Valente, <em>Intavolatura de cimbalo<\/em> (Naples, 1576), \u2018La Romanesca con cinque mutanze\u2019, p.&#160;85 [75].<\/span><\/p>\n<p>Valente\u2019s music is also the ideal material for students: the <em>balli<\/em> and the <em>tenori<\/em> are excellent exercises for the left hand to learn to imitate a jaunty and energetic <em>chitarra battente<\/em>; the contrapuntal pieces like the <em>recercate<\/em> help develop the ability to play the different parts vocally; lastly, the <em>desminuiti<\/em> pieces are useful to practice the art of ornamentation. Valente\u2019s music is a good starting point for understanding the Southern Italian School that continues with Mayone and Gesualdo and culminates with Scarlatti.<\/p>\n<p>Valente was a composer who embodies the world of Naples: a diverse, extremely cultured and pleasure-loving capital. His music marks the start of the Baroque era, with a fresh, intriguing style that still has a hint of Renaissance about it. After his death, although his music might have been played rarely, we can read his name in many chronicles, such as in the <em>Memorie dei compositori di musica del Regno di Napoli <\/em>(1840) written by Carlantonio Marchese di Villar\u00f2sa.<span class=\"Hochgestellt_footnote\"><span><a href=\"#fn15\" class=\"footnote-ref\" id=\"fnref15\" role=\"doc-noteref\"><sup>15<\/sup><\/a><\/span><\/span><\/p>\n<p>At the beginning of the 20th century the Sicilian Nino Caravaglios, like Valente Neapolitan by residence, published an essay titled \u2018Una Nuova \u201cIntavolatura de Cimbalo\u201d di Antonio Valente Cieco\u2019 in the the <em>Rivista Musicale Italiana.<\/em><span class=\"Hochgestellt_footnote\"><span><a href=\"#fn16\" class=\"footnote-ref\" id=\"fnref16\" role=\"doc-noteref\"><sup>16<\/sup><\/a><\/span><\/span>Caravaglios was an eclectic musician: the first to conduct in Italy music by Elgar and Mussorgsky, he was also active in the revival of early music. He transcribed the pieces in modern notation in their entirety, hoping that an editor might be interested in publishing them, to no avail.<\/p>\n<h4 id=\"1\">Instruments<\/h4>\n<p>For the recordings made to present the music of Valente with this paper, I was fortunate to be able to use two antiques instruments, the Virginal Rucellai and the Cembalo Sansevero both in Fran\u00e7ois Badoud collection, Neuch\u00e2tel, now in the possession of Mireille Badoud.<\/p>\n<h6><span class=\"Kapitaelchen\">The Virginale Rucellai<\/span><\/h6>\n<p>For more than four centuries the viriginal was kept in the Ruccellai Palace, one of the residences of the homonymous family, which, alongside the Medici, was one of the great dynasties of Florence. In the 1980s the palace became a museum and in those years the instrument was bought by a rich businessman and antiquarian who sold it to Fran\u00e7ois Badoud, a fine harpsichord amateur and collector.<\/p>\n<p>The instrument was incredibly well conserved and, even before the restauration, it still possessed a magical sound: archaic, soft and powerful at the same time, simply perfect for Antonio Valente. This perfect condition as shown by the extraordinarily beautiful three-layered parchment rose, by the fine wreath of white and red ivory buttons that line the whole border of the instrument, by the jackrail and by the finely carved cornucopias on the edges of the keyboard.<\/p>\n<p><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Fig.-6-Rosetta-Virginale-Rucellai.jpg\" alt=\"Close-up of an ornate circular sound hole rosette on a virginal. The intricate design features interlaced geometric and floral patterns carved in delicate detail, below metal strings running vertically across the image.\" width=\"1654\" height=\"1240\" class=\"alignnone size-full wp-image-8481\" srcset=\"https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Fig.-6-Rosetta-Virginale-Rucellai.jpg 1654w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Fig.-6-Rosetta-Virginale-Rucellai-300x225.jpg 300w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Fig.-6-Rosetta-Virginale-Rucellai-1024x768.jpg 1024w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Fig.-6-Rosetta-Virginale-Rucellai-150x112.jpg 150w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Fig.-6-Rosetta-Virginale-Rucellai-768x576.jpg 768w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Fig.-6-Rosetta-Virginale-Rucellai-1536x1152.jpg 1536w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Fig.-6-Rosetta-Virginale-Rucellai-850x637.jpg 850w\" sizes=\"auto, (max-width: 1654px) 100vw, 1654px\" \/><br \/>\n<span class=\"caption-text\"><b>Figure 6:<\/b> <em>Virginale Rucellai<\/em>, rosetta (Photo: P.&#160;Erdas).<\/span><\/p>\n<p><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Fig.-7-Decoration-Virginale-Rucellai.jpg\" alt=\"Close-up of the strings and ivory decoration of a virginal.\" width=\"1417\" height=\"1063\" class=\"alignnone size-full wp-image-8482\" srcset=\"https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Fig.-7-Decoration-Virginale-Rucellai.jpg 1417w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Fig.-7-Decoration-Virginale-Rucellai-300x225.jpg 300w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Fig.-7-Decoration-Virginale-Rucellai-1024x768.jpg 1024w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Fig.-7-Decoration-Virginale-Rucellai-150x113.jpg 150w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Fig.-7-Decoration-Virginale-Rucellai-768x576.jpg 768w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Fig.-7-Decoration-Virginale-Rucellai-850x638.jpg 850w\" sizes=\"auto, (max-width: 1417px) 100vw, 1417px\" \/><\/p>\n<p>The virginal is inserted into a simple cypress outer case with slots on the bottom that suggest the previous existence of a pedalboard, not uncommon at the time. The nameboard, which features an ivory decoration in the middle and is held in place by ivory nails, bears illegible writing on the reverse side, which has resulted in uncertainty regarding the attribution of the instrument even in the present era. Recently, after the comparison of the mouldings and the cornucopias, Augusto Bonza and Thomas Stainer have suggested that the instrument is an anonymous Neapolitan instrument from the late sixteenth century.<\/p>\n<div style=\"width: 850px;\" class=\"wp-video\"><video class=\"wp-video-shortcode\" id=\"video-8485-1\" width=\"850\" height=\"478\" preload=\"metadata\" controls=\"controls\"><source type=\"video\/mp4\" src=\"https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Video-1-Valente-on-Virginale-Rucellai21.mp4?_=1\" \/><a href=\"https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Video-1-Valente-on-Virginale-Rucellai21.mp4\">https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Video-1-Valente-on-Virginale-Rucellai21.mp4<\/a><\/video><\/div>\n<span class=\"caption-text\"><b>Video 1:<\/b> \u2018La Romanesca con cinque mutanze\u2019, from: Antonio Valente, <em>Intavolatura de cimbalo<\/em> (Naples, 1576), pp.&#160;85\u20138 [75\u20138].<\/span><\/p>\n<h3 class=\"ts_heading_3_notoc\"><span class=\"Kapitaelchen\">The Cembalo Sansevero<\/span><\/h3>\n<p><em>DISTICHON. \/ VIVA FUI IN SYLVIS: SUM DIRA EXCISSA SECURI DUM VIXI<\/em><\/p>\n<p><em>TACUI: MORTUA DULCE CANO<\/em><\/p>\n<p><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Fig.-8-Nameboard-RECTO.jpg\" alt=\"Close-up of an antique harpsichord keyboard made of wood, showing black and natural keys with visible wear. Above the keys, an engraved Latin inscription reads \u201cViva fui in sylvis: sum dura excussa securi: dum vixi tacui: mortua dulce cano.\u201d\" width=\"1654\" height=\"1240\" class=\"alignnone size-full wp-image-8483\" srcset=\"https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Fig.-8-Nameboard-RECTO.jpg 1654w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Fig.-8-Nameboard-RECTO-300x225.jpg 300w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Fig.-8-Nameboard-RECTO-1024x768.jpg 1024w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Fig.-8-Nameboard-RECTO-150x112.jpg 150w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Fig.-8-Nameboard-RECTO-768x576.jpg 768w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Fig.-8-Nameboard-RECTO-1536x1152.jpg 1536w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Fig.-8-Nameboard-RECTO-850x637.jpg 850w\" sizes=\"auto, (max-width: 1654px) 100vw, 1654px\" \/><br \/>\n<span class=\"caption-text\"><b>Figure 8:<\/b> <em>Cembalo Sansevero<\/em>, nameboard <em>recto<\/em> (Photo: P.&#160;Erdas)<em>.<\/em><\/span><\/p>\n<p>This inscription, written on the front of nameboard, is evidently spurious: it is not well written and the fonts seem anachronistic. On the reverse side, however, the following is inscribed in pen:<\/p>\n<blockquote>\n<p class=\"tsquotation\"><em>Fatto del celebre Autore Gaetano Carotenuto pegli \u2026 \/ Sigi Prencipe di Sansevero e Principe\u0192sa della [Re]na \/ An D[omi]ni 1619<\/em>.<\/p>\n<\/blockquote>\n<p><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Fig.-9-Nameboard-VERSO.jpg\" alt=\"Close-up of an inscription on the rear side of the nameboard, written in Italian, reading \u201cFatto del celebre Autore Gaetano Carotenuto per Sig. Principe di Sansevero e Principe della c[asa]\u2026 An. Dni 1619,\u201d indicating the instrument was made by the renowned maker Gaetano Carotenuto for the Prince of Sansevero in 1756.\" width=\"1654\" height=\"1240\" class=\"alignnone size-full wp-image-8484\" srcset=\"https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Fig.-9-Nameboard-VERSO.jpg 1654w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Fig.-9-Nameboard-VERSO-300x225.jpg 300w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Fig.-9-Nameboard-VERSO-1024x768.jpg 1024w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Fig.-9-Nameboard-VERSO-150x112.jpg 150w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Fig.-9-Nameboard-VERSO-768x576.jpg 768w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Fig.-9-Nameboard-VERSO-1536x1152.jpg 1536w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Fig.-9-Nameboard-VERSO-850x637.jpg 850w\" sizes=\"auto, (max-width: 1654px) 100vw, 1654px\" \/><br \/>\n<span class=\"caption-text\"><b>Figure 9:<\/b> <em>Cembalo Sansevero<\/em>, nameboard <em>verso <\/em>(Photo: P.&#160;Erdas)<em>.<\/em><\/span><\/p>\n<p>This inscription appears to be executed in a more convincing handwriting but one can see that there are some differences in the two lines, evidently written by two different hands, with different ink. Gaetano Carotenuto was a harpsichord maker active several decades later, from 1688 to 1691.<span class=\"Hochgestellt_footnote\"><span><a href=\"#fn17\" class=\"footnote-ref\" id=\"fnref17\" role=\"doc-noteref\"><sup>17<\/sup><\/a><\/span><\/span> There are two possible reasons for this: either there was another Gaetano Carotenuto active seventy years earlier, or the signature in the top lines is forged, anachronistically attributing it to Gaetano Carotenuto by covering the original name. 1619 is nevertheless a plausible date of construction, or possibly reconstruction.<\/p>\n<p>The instrument is built lightly, with a very acute tail angle and sycamore maple ribs. The removable front board is also made of maple. On either side of the keyboard, there are two blocks made of carved maple each of them representing a cornucopia. The keyboard, of 45 notes, has boxwood key covers for the naturals and walnut for the chromatics. The key arcades of the diatonic keys have not survived; their traces suggest an elaborate carving \u2013 similar to that of the outer part on the crown of the rose \u2013 on a blue background. The current restoration by Augusto Bonza has restored the instrument to its original arrangement of a single 8-foot, which, as we have seen in the bank document, was the most widespread type of harpsichord in 16th-century Naples.<\/p>\n<p>A comparative study made by John Koster<span class=\"Hochgestellt_footnote\"><span><a href=\"#fn18\" class=\"footnote-ref\" id=\"fnref18\" role=\"doc-noteref\"><sup>18<\/sup><\/a><\/span><\/span> of the mouldings suggests that the harpsichord is from the same workshop of the set of instruments known as the <em>maple group<\/em>. This includes an Italian harpsichord in the Metropolitan Museum in New York, an ottavino in National Music Museum South Dakota Vermillion (with the same cornucopia as the Sansevero Harpsichord), the clavichord 1540 in Leipzig and a harpsichord from about 1550 in Boston.<\/p>\n<div style=\"width: 850px;\" class=\"wp-video\"><video class=\"wp-video-shortcode\" id=\"video-8485-2\" width=\"850\" height=\"478\" preload=\"metadata\" controls=\"controls\"><source type=\"video\/mp4\" src=\"https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Video-2-Valente-on-Cembalo-sansevero.mp4?_=2\" \/><a href=\"https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Video-2-Valente-on-Cembalo-sansevero.mp4\">https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Video-2-Valente-on-Cembalo-sansevero.mp4<\/a><\/video><\/div>\n\t\t\t<span class=\"caption-text\"><b>Video 2:<\/b> \u2018Recercata del primo tono\u2019, from: Antonio Valente, <em>Intavolatura de cimbalo<\/em> (Naples, 1576), pp.&#160;11\u201315.<\/span><\/p>\n<p>These two miraculous instruments were absolutely perfect for Valente\u2019s music: from <em>balli<\/em> to <em>recercate<\/em>, the whole palette of sounds and compositional refinements of the Neapolitan blind man were expressed in the best possible way, taking me, and you, back to a time when Naples shone with art and splendour.<\/p>\n<h4>Endnotes<\/h4>\n<hr class=\"HorizontalRule-1\" \/>\n<ol>\n<li id=\"fn1\">\n<p>Antonio Valente, <em>Intavolatura de cimbalo, recercate, fantasie et canzoni francese desminuite con alcuni tenori, balli et varie sorte de contraponti, libro primo<\/em> (Naples: Gioseppe Cacchio dall\u2019Aquila, 1576) (RISM&#160;A\/I V&#160;33), I-Nn BANC.RARI 1. D 12.<a href=\"#fnref1\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn2\">\n<p>Giulio Cesare Capaccio, <em>Il Forastiero, Dialogi di Giulio Cesare Capaccio Academico Otioso<\/em> (Naples: Gio. Domenico Roncagliolo, 1634), dedication letter, fol.&#160;[1<span class=\"Hochgestellt\">v<\/span>], &lt;<a href=\"https:\/\/www.digitale-sammlungen.de\/de\/view\/bsb10052653?page=8,9\"><span class=\"Hyperlink\">https:\/\/www.digitale-&#173;sammlungen.de\/de\/view\/bsb10052653?page=8,9<\/span><\/a>&gt; (accessed on 15&#160;July 2024).<a href=\"#fnref2\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn3\">\n<p>Carlo Celano, <em>Notitie del bello, dell\u2019antico e del curioso della citt\u00e0 di Napoli per i signori forastieri date dal canonico Carlo Celano napoletano, divise in dieci giornate. Giornata terza <\/em>(Naples: Giacomo Raillard, 1692), 147; modern edition: <em>Notitie del bello, dell\u2019antico e del curioso della citt\u00e0 di Napoli<\/em> [\u2026] <em>Giornata Terza<\/em>, eds. Paola Coniglio and Riccardo Prencipe (Naples, 2010), 47, &lt;<span class=\"Hyperlink\">https:\/\/www.memofonte.it\/ricerche\/napoli\/ &#8211; carlo-celano<\/span>&gt; (accessed on 15&#160;July 2024).<a href=\"#fnref3\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn4\">\n<p>Ibid., 123\u20134 (ed., 39).<a href=\"#fnref4\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn5\">\n<p>Cf. the information on Valente in the articles by Matteo Messori, Art. \u2018Valente, Antonio\u2019, in: <em>Dizionario Biografico degli Italiani<\/em>, vol.&#160;97 (2020), &lt;<a href=\"https:\/\/www.treccani.it\/enciclopedia\/antonio-valente_(Dizionario-Biografico)\/?search=VALENTE%2C%20Antonio%2F\"><span class=\"Hyperlink\">https:\/\/www.treccani.it\/enciclopedia\/antonio-valente_(Dizionario-Biografico)\/?search=VALENTE%2C%20Antonio%2F<\/span><\/a>&gt; (accessed on 29&#160;July 2024), Roland Jackson, Art. \u2018Valente, Antonio\u2019, in: <em>Grove Music Online<\/em>, &lt;<a href=\"https:\/\/doi-1org-1004737bz01bb.han.onb.ac.at\/10.1093\/gmo\/9781561592630.article.28910\"><span class=\"Hyperlink\">https:\/\/doi-1org-1004737bz01bb.han.onb.ac.at\/10.1093\/gmo\/9781561592630.article.28910<\/span><\/a>&gt; (accessed on 25&#160;July 2024), and Peter Niederm\u00fcller, Art. \u2018Valente, Antonio\u2019, in: <em>MGG Online<\/em>, &lt;<a href=\"https:\/\/www-1mgg-2online-1com-1004790bz01bc.han.onb.ac.at\/mgg\/stable\/23016\"><span class=\"Hyperlink\">https:\/\/www-1mgg-2online-1com-1004790bz01bc.han.onb.ac.at\/mgg\/stable\/23016<\/span><\/a>&gt; (accessed on 25&#160;July 2024), and furthermore, the comprehensive biographical account in: Diego Cannizzaro, \u2018Legami tra Spagna e Italia meridionale\u2019, in: <em>RdM<\/em> 34 (2011), 185\u2013201, at 193\u20134.<a href=\"#fnref5\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn6\">\n<p>Scipione Cerreto, <em>Della prattica musica vocale, et strumentale<\/em> (Naples: Giovanni Giacomo Carlino, 1601), lib.&#160;iii, p.&#160;159, &lt;<a href=\"https:\/\/imslp.org\/wiki\/Special:ReverseLookup\/463507\"><span class=\"Hyperlink\">https:\/\/imslp.org\/wiki\/Special:ReverseLookup\/463507<\/span><\/a>&gt; (accessed on 15&#160;July 2024).<a href=\"#fnref6\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn7\">\n<p>Francesco Nocerino, \u2018Cembalari a Napoli nel Cinquecento. Nuove fonti e inediti documenti\u2019, in: <em>Recercare <\/em>15 (2003), 173\u201388, at 184\u20135.<a href=\"#fnref7\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn8\">\n<p>On Valente\u2019s notational system and in particular its relation to the Spanish keyboard tablature cf. Andr\u00e9s Cea Gal\u00e1n, \u2018La cifra hispana: m\u00fasica, ta\u00f1edores e instrumentos (siglos XVI-XVIII)\u2019, Doctoral thesis, Universidad Complutense de Madrid, 2014; Cannizzaro, \u2018Legami\u2019 (see n.&#160;5), 194\u20139; Mario Stefano Tonda, \u2018Nuove osservazioni sull\u2019<em>Intavolatura de cimbalo del 1576<\/em> di Antonio Valente\u2019, in: <em>Informazione organistica: Rivista della Fondazione Accademia di Musica Italiana per Organo <\/em>17 (aprile-agosto, 2005), 3\u201321, at 10\u201318.<a href=\"#fnref8\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn9\">\n<p>Cf. Paola Erdas, [Liner notes], in: <em>Antonio Valente (c1520\u2013c1580). Intavolatura de Cimbalo, Napoli 1576<\/em>, Paola Erdas (virginal, harpsichord), CD-recording HITASURA HSP005 (2019).<a href=\"#fnref9\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn10\">\n<p>Antonio Valente, <em>Versi spirituali sopra tutte le note, con diversi canoni spartiti per sonar ne gli organi, messe, vespere, et altri offici divini<\/em> (Naples: Eredi di Mattio Cancer, 1580), &lt;<a href=\"https:\/\/imslp.org\/wiki\/Special:ReverseLookup\/907887\"><span class=\"Hyperlink\">https:\/\/imslp.org\/wiki\/Special:ReverseLookup\/907887<\/span><\/a>&gt; (accessed on 25&#160;July 2024).<a href=\"#fnref10\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn11\">\n<p>Antonio Valente,<em> Intavolatura de Cimbalo (Naples 1576)<\/em>, ed. Charles Jacobs(Oxford, 1973).<a href=\"#fnref11\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn12\">\n<p>Antonio Valente,<em> Ricercars, Chansons and Dances from Intavolatura de Cimbalo 1576<\/em>, ed. Bernard Thomas (London, 1980). In addition, complete transcriptions of the <em>Intavolatura<\/em> can be found in two unpublished theses: Joseph A. Burns, \u2018Neapolitan Keyboard Music from Valente to Frescobaldi\u2019, 2&#160;vols., PhD diss. Harvard University, 1953; Mario Stefano Tonda, \u2018L\u2019intavolatura de cimbalo del 1576 di Antonio Valente e la nuova \u201cnotazione in Abaco\u201d: studio ed edizione\u2019, tesi di laurea, Facolt\u00e0 di musicologia dell\u2019Universit\u00e0 degli studi di Pavia, 2003.<a href=\"#fnref12\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn13\">\n<p>Maria Luisa Baldassarri (ed.), <em>Antonio Valente. Intavolatura de Cimbalo<\/em> (Napoli 1576) (Bologna, 2021).<a href=\"#fnref13\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn14\">\n<p>On the music of the <em>Intavolatura<\/em> cf. Willy Apel, <em>The History of Keyboard Music to 1700<\/em>, trans. and rev. by Hans Tischler (Bloomington, 1972), 125\u20137, Joseph Burns, \u2018Antonio Valente, Neapolitan Keyboard Primitive\u2019, in: <em>JAMS<\/em> 12 (1959), 133\u201343, and the recent publication by Francesco Cera, \u2018L\u2019intavolatura de cimbalo di Antonio Valente, Napoli 1576: Riflessioni per un lavoro interpretativo\u2019, in: <em>Napoli e l\u2019Europa: Gli strumenti, i costruttori e la musica per organo dal XV al XX secolo. Atti del Convegno Internazionale di Studi, Battipaglia, 12\u201314 novembre 2004<\/em>, eds. Luigi Sisto and Emanuele Cardi (Battipaglia, 2005), 235\u201342.<a href=\"#fnref14\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn15\">\n<p>Carlantonio Marchese di Villar\u00f2sa, <em>Memorie dei compositori di musica del Regno di Napoli<\/em> (Naples: Stamperia Reale, 1840).<a href=\"#fnref15\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn16\">\n<p>Nino Caravaglios, \u2018Una Nuova \u201cIntavolatura de Cimbalo\u201d di Antonio Valente Cieco\u2019, in: <em>RMI<\/em> 23 (1916), 491\u2013508.<a href=\"#fnref16\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn17\">\n<p>Francesco Nocerino, \u2018Napoli centro di produzione cembalaria alla luce delle recenti ricerche archivistiche\u2019, in: <em>Fonti d\u2019archivo per la storia della musica e dello spettacolo a Napoli tra il XVI e XVIII secolo<\/em>, ed. Paologiovanni Maione (Naples, 2001), 205\u201326, at 211\u201312, 214\u201315.<a href=\"#fnref17\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn18\">\n<p>John Koster, \u2018A distinctive group of sixteenth-century Italian stringed-keyboard instruments\u2019, paper read at the American Musical Instrument Society\u2019s annual meeting, San Antonio, Texas, May 1992. I would like to thank Augusto Bonza for providing me with information about this paper.<a href=\"#fnref18\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<\/ol>\n<h4 id=\"2\">Bibliography and Sitography<\/h4>\n<p><\/p>\n<p class=\"bibliography\">Willy Apel, <em>The History of Keyboard Music to 1700<\/em>, trans. and rev. by Hans Tischler (Bloomington, 1972)<\/p>\n<p class=\"bibliography\">Joseph Burns, \u2018Antonio Valente, Neapolitan Keyboard Primitive\u2019, in: <em>JAMS<\/em> 12 (1959), 133\u201343<\/p>\n<p class=\"bibliography\">Joseph A. Burns, \u2018Neapolitan Keyboard Music from Valente to Frescobaldi\u2019, 2&#160;vols., PhD diss. Harvard University, 1953<\/p>\n<p class=\"bibliography\">Diego Cannizzaro, \u2018Legami tra Spagna e Italia meridionale\u2019, in: <em>RdM<\/em> 34 (2011), 185\u2013201<\/p>\n<p class=\"bibliography\">Giulio Cesare Capaccio, <em>Il Forastiero, Dialogi di Giulio Cesare Capaccio Academico Otioso<\/em> (Naples: Gio. Domenico Roncagliolo, 1634), &lt;<a href=\"https:\/\/www.digitale-sammlungen.de\/de\/view\/bsb10052653?page=8,9\">https:\/\/www.digitale-sammlungen.de\/de\/view\/bsb10052653?page=8,9<\/a>&gt;<\/p>\n<p class=\"bibliography\">Nino Caravaglios, \u2018Una Nuova \u201cIntavolatura de Cimbalo\u201d di Antonio Valente Cieco\u2019, in: <em>RMI<\/em> 23 (1916), 491\u2013508<\/p>\n<p class=\"bibliography\">Andr\u00e9s Cea Gal\u00e1n, \u2018La cifra hispana: m\u00fasica, ta\u00f1edores e instrumentos (siglos XVI-XVIII)\u2019, Doctoral thesis, Universidad Complutense de Madrid, 2014<\/p>\n<p class=\"bibliography\">Carlo Celano, <em>Notitie del bello, dell\u2019antico e del curioso della citt\u00e0 di Napoli per i signori forastieri date dal canonico Carlo Celano napoletano, divise in dieci giornate. Giornata terza <\/em>(Naples: Giacomo Raillard, 1692); modern edition: <em>Notitie del bello, dell\u2019antico e del curioso della citt\u00e0 di Napoli<\/em> [\u2026] <em>Giornata Terza<\/em>, eds. Paola Coniglio and Riccardo Prencipe (Naples, 2010), &lt;https:\/\/www.memofonte.it\/ricerche\/napoli\/ &#8211; carlo-celano&gt;<\/p>\n<p class=\"bibliography\">Francesco Cera, \u2018L\u2019intavolatura de cimbalo di Antonio Valente, Napoli 1576: Riflessioni per un lavoro interpretativo\u2019, in: <em>Napoli e l\u2019Europa: Gli strumenti, i costruttori e la musica per organo dal XV al XX secolo. Atti del Convegno Internazionale di Studi, Battipaglia, 12\u201314 novembre 2004<\/em>, eds. Luigi Sisto and Emanuele Cardi (Battipaglia, 2005), 235\u201342<\/p>\n<p class=\"bibliography\">Scipione Cerreto, <em>Della Prattica Musica vocale, et strumentale<\/em> (Naples: Giovanni Giacomo Carlino, 1601), &lt;<a href=\"https:\/\/imslp.org\/wiki\/Special:ReverseLookup\/463507\">https:\/\/imslp.org\/wiki\/Special:ReverseLookup\/463507<\/a>&gt;<\/p>\n<p class=\"bibliography\">Roland Jackson, Art. \u2018Valente, Antonio\u2019, in: <em>Grove Music Online<\/em>, &lt;<a href=\"https:\/\/doi-1org-1004737bz01bb.han.onb.ac.at\/10.1093\/gmo\/9781561592630.article.28910\">https:\/\/doi-1org-1004737bz01bb.han.onb.ac.at\/10.1093\/gmo\/9781561592630.article.28910<\/a>&gt;<\/p>\n<p class=\"bibliography\">John Koster, \u2018A distinctive group of sixteenth-century Italian stringed-keyboard instruments\u2019, paper read at the American Musical Instrument Society\u2019s annual meeting, San Antonio, Texas, May 1992<\/p>\n<p class=\"bibliography\">Matteo Messori, Art. \u2018Valente, Antonio\u2019, in: <em>Dizzionari Biografico degli Italiani<\/em>, vol.&#160;97 (2020), &lt;<a href=\"https:\/\/www.treccani.it\/enciclopedia\/antonio-valente_(Dizionario-Biografico)\/?search=VALENTE%2C%20Antonio%2F\">https:\/\/www.treccani.it\/enciclopedia\/antonio-valente_(Dizionario-Biografico)\/?search=VALENTE%2C%20Antonio%2F<\/a>&gt;<\/p>\n<p class=\"bibliography\">Peter Niederm\u00fcller, Art. \u2018Valente, Antonio\u2019, in: <em>MGG Online<\/em>, &lt;<a href=\"https:\/\/www-1mgg-2online-1com-1004790bz01bc.han.onb.ac.at\/mgg\/stable\/23016\">https:\/\/www-1mgg-2online-1com-1004790bz01bc.han.onb.ac.at\/mgg\/stable\/23016<\/a>&gt;<\/p>\n<p class=\"bibliography\">Francesco Nocerino, \u2018Cembalari a Napoli nel Cinquecento. Nuove fonti e inediti documenti\u2019, in: <em>Recercare <\/em>15 (2003), 173\u201388<\/p>\n<p class=\"bibliography\">Francesco Nocerino, \u2018Napoli centro di produzione cembalaria alla luce delle recenti ricerche archivistiche\u2019, in: <em>Fonti d\u2019archivo per la storia della musica e dello spettacolo a Napoli tra il XVI e XVIII secolo<\/em>, ed. Paologiovanni Maione (Naples, 2001), 205\u201326<\/p>\n<p class=\"bibliography\">Mario Stefano Tonda, \u2018L\u2019intavolatura de cimbalo del 1576 di Antonio Valente e la nuova \u201cnotazione in Abaco\u201d: studio ed edizione\u2019, tesi di laurea, Facolt\u00e0 di musicologia dell\u2019Universit\u00e0 degli studi di Pavia, 2003<\/p>\n<p class=\"bibliography\">Mario Stefano Tonda, \u2018Nuove osservazioni sull\u2019<em>Intavolatura de cimbalo del 1576<\/em> di Antonio Valente\u2019, in: <em>Informazione organistica: Rivista della Fondazione Accademia di Musica Italiana per Organo <\/em>17 (aprile-agosto, 2005), 3\u201321<\/p>\n<p class=\"bibliography\">Antonio Valente,<em> Intavolatura de Cimbalo (Naples 1576)<\/em>, ed. Charles Jacobs(Oxford, 1973)<\/p>\n<p class=\"bibliography\">Antonio Valente,<em> Intavolatura de Cimbalo (Napoli 1576)<\/em>, ed. Maria Luisa Baldassarri (Bologna, 2021)<\/p>\n<p class=\"bibliography\">Antonio Valente, <em>Intavolatura de cimbalo, recercate, fantasie et canzoni francese desminuite con alcuni tenori, balli et varie sorte de contraponti, libro primo<\/em> (Naples: Gioseppe Cacchio dall\u2019Aquila, 1576)<\/p>\n<p class=\"bibliography\">Antonio Valente,<em> Ricercars, Chansons and Dances from Intavolatura de Cimbalo 1576<\/em>, ed. Bernard Thomas (London, 1980)<\/p>\n<p class=\"bibliography\">Antonio Valente, <em>Versi spirituali sopra tutte le note, con diversi canoni spartiti per sonar ne gli organi, messe, vespere, et altri offici divini<\/em> (Naples, Eredi di Mattio Cancer, 1580), &lt;<a href=\"https:\/\/imslp.org\/wiki\/Special:ReverseLookup\/907887\">https:\/\/imslp.org\/wiki\/Special:ReverseLookup\/907887<\/a>&gt;<\/p>\n<p class=\"bibliography\">Carlantonio Marchese di Villar\u00f2sa,<em> Memorie dei compositori di musica del Regno di Napoli <\/em>(Naples: Stamperia Reale, 1840<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Paola Erdas &nbsp; This article offers a glimpse into the world of Antonio Valente, author of the seminal Intavolatura de cimbalo, Naples 1576, as well as on the music he wrote and his innovative and unique notation in the history of music.1 Figure 1: Antonio Valente, Intavolatura de cimbalo (Naples, 1576), frontispiece. Giulio Cesare Capaccio, &hellip;<\/p>\n","protected":false},"author":7,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"inline_featured_image":false,"footnotes":""},"categories":[271],"tags":[],"class_list":["post-8485","post","type-post","status-publish","format-standard","hentry","category-harpsichord-in-the-sixteenth-century-2-italy"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v26.9 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>A Glimpse into the World of Antonio Valente, cieco Napoletano &#8211; mdwPress<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.mdw.ac.at\/mdwpress\/mdwp017-013\/\" \/>\n<meta property=\"og:locale\" content=\"de_DE\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"A Glimpse into the World of Antonio Valente, cieco Napoletano &#8211; mdwPress\" \/>\n<meta property=\"og:description\" content=\"Paola Erdas &nbsp; This article offers a glimpse into the world of Antonio Valente, author of the seminal Intavolatura de cimbalo, Naples 1576, as well as on the music he wrote and his innovative and unique notation in the history of music.1 Figure 1: Antonio Valente, Intavolatura de cimbalo (Naples, 1576), frontispiece. 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