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"Caprice de chaconne" (1671): Symmetry and proportions in Francesco Corbetta’s work for Baroque guitar

Robin Rolfhamre, University of Agder

For performers of Early Music, there is an everlasting quest to unveil new perspectives on a historically distant repertoire in search of new ways of understanding and performing the music. This is true for all performers of Early Music, including Baroque guitarists. A currently very popular performance piece is Francesco Corbetta’s ‘Caprice de chaconne’ (1671, ff. 72–73), which is to be found in his 1671 Baroque guitar tablature-collection, La guitarre royalle. Displaying advanced technical performance skills, embroidered connections between temporal coordinates that border between fantasy and order, it serves as an excellent display, not only of the performer’s technical skills, but also of Corbetta’s virtuosity both as a performer and composer, and, as we will see, his political participation. In this article I will suggest new perspectives that may provide an extended understanding of how Corbetta’s political wit and musical talent manifest themselves in his ‘Caprice de chaconne.’ By unveiling symmetrical and proportional aspects to this music, I will present a structure that might have an influence on the performance of the piece, situating it within the socio-political context of Louis XIV’s court and the cult of his Sun King persona.

The Italian guitarist and composer Francesco Corbetta (born in Pavia c. 1615 and died in Parisin 1681; also known as Francisque Corbette or Franciscus Corbera) is undeniably a prominent figure among historical guitarists. By promoting an aesthetic based on a rich tonal language and mosaic complexity he distinguished himself from other contemporarycomposers. He was praised among colleagues across Europe; several payed him homage, and others included his pieces in their collections. Gaspar Sanz (1640–1710) called him ‘el mejor de todos’ (the best of all) while François le Cocq (1685–1729) and his copyist J. B. Castillion noted that he was ‘the most talented master to have appeared up to that time’ (Pinnell, 2016)

Corbetta appears to have possessed a special strategic understanding of patronage, which led him to frequent continental courts. According to Grove Music Online,

Corbetta understood patronage and used it to his advantage. His first book went out to middle-class patrons at Bologna, but his work was so remarkable that, according to many contemporary assessments, Corbetta became a major attraction at continental courts. His first court position was for Charles II of Mantua, and the book published for him in 1643 contained Corbetta’s portrait ‘at the age of 28’. Subsequently Corbetta served Philip IV of Spain, Archduke Leopold William of the Low Countries, Christian Louis and his brothers of Hanover, Louis XIV of France, and Charles II of England, and he published a collection of music for each sovereign (that of Hanover is lost). Corbetta thus became a high-ranking diplomat, even better known and travelled than the Dutch statesman Constanjin Huygens, a lutenist who became a guitar aficionado and Corbetta’s advocate in his letters. (Pinnell, 2016)

Read more here - https://boap.uib.no/index.php/emco/article/view/1513/1299

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Introduction to the Baroque Era/Period Music

The Baroque era 1590 - 1750, spanning from the late 16th century to the early 18th century, was a time of artistic grandeur and musical innovation. This period in music history is characterized by its ornate and intricate compositions, elaborate melodies, and the use of various instruments to create a rich and dynamic musical tapestry.

Baroque music is known for its use of dramatic contrasts, ornamentation, and emotional intensity. Composers of the Baroque era aimed to create music that evoked powerful emotions and stimulated the senses. This led to the development of new musical forms and styles, such as the opera, oratorio, and concerto.

The Baroque era brought about significant changes in music composition. Composers began to explore complex harmonies, intricate melodies, and the use of contrasting textures to create depth and expressiveness in their compositions. This era also saw the emergence of virtuosic instrumental music and the establishment of the basso continuo as a standard practice in music composition.

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