Thanks Eloy.
Your comment got me to pull out Rogerio Budasz's dissertation :The
Five-Course Guitar (Viola) in Portugal and Brazil...".
He has several paragraphs on the Capona and Mariona, including an
excerpt from two plays which both fit your reference to the play on
words, one suggesting the names chacona and capona were closely
connected.
Budasz speculates that a regulation from 1615 which forbid certain
"bailes" including the chaconas and zarabandas, may have led to
renaming some dances in order to escape punishment.
He believes Piccinini's posthumous 1639 book contains 2 types of
ciaccona: a chiaccona mariona alla vera Spagnola, and a chiaccona
cappona alla vera Spagnola, the former somtimes called simply mariona
in other sources, and structured around variations on the borrowed
ciaccona harmonic progression. (And mostly in C major / 5o tono)
Piccinini's chiaccona cappona corresponds to capone by Kapsberger,
Carbonchi, and the De Gallot guitar manuscript. These show a
preference for D and G major, and a strong rhythmic drive, "stressed
by the bass line and the dactyl rhythmic figuration". Budasz thinks
it possible that Piccinini or his brothers may have introduced the
capona and mariona to Italy due to family ties to Spain.
The Portuguese manuscripts which Budasz worked with includes one
mariona-type capona, one so-called Spanish capona, and three others
which "do not fit easily in any of these groups, being most likely a
later development".
The only surviving Iberian musical setting are in the Coimbra codex
and generally follow either a I IV(or vi) V I or I V6 vi IV IV V
scheme.
I have added the score "Capona Espagnola" from the De Gallot Ms to my
Ning page. (I tried to also upload one by Valdambrini, but Ning seems
to be stubborn tonight.)
-- R
On Dec 8, 2011, at 5:58 PM, Eloy Cruz wrote:
Dear Stuart, list
This is from Cotarelo y Mori's "Colección":
p. CCXXXVII. Capona (La) (Baile). Dicc. de Autoridades: ³Son ó
baile a modo
de la Mariona; pero más rápido y bullicioso, con el cual y á cuyo
tañido se
cantan varias coplillas².
A very bad English translation could be:
Music and dance in the way of a Mariona, but faster and noisier;
to which
music they use to sing several small coplas.
In a 17th cent. Spanish play, one of the characters says he won't
dance to
that music, because it is "of very bad circumstances", because the
word
capon is used to refer to a man who has been emasculated.
Best wishes
eloy
El [FECHA], "[NOMBRE]" <[DIRECCION]> escribió:
Hi Stuart,
I don't know what capona means, and I don't have the music
handy, but I
enjoyed this. I like your tempo.
Best,
Jocelyn
From: Stuart Walsh <[1]s.wa...@ntlworld.com>
Date: Thu, 8 Dec 2011 20:14:31 +0000
To: Vihuelalist <[2]vihuela@cs.dartmouth.edu>
Subject: [VIHUELA] Capona?
Timo Peedu has edited some Carbonchi pieces (to be found on his
ning
early guitar page). Included are two short and simple but unusual
pieces
with the title 'Capona'.
There are a couple of versions of a very fancy Capona by
Kapsberger
(including one by Rob Mackillop).
Any ideas what Capona means?
Here is a go at the simple ones by Carbonchi. If I have
misunderstood
the timing or the way it should be played, I'd like to know
(preferably
in a polite way!)
[3]http://www.youtube.com/watch?v=WUfrieijW5I
Stuart
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References
1. mailto:s.wa...@ntlworld.com
2. mailto:vihuela@cs.dartmouth.edu
3. http://www.youtube.com/watch?v=WUfrieijW5I
4. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
