Publication Date:
2012
abstract:
This article, within a study concerning the library of the
theoretician and composer Franchino Gaffurio (1451-1522,
Choirmaster of the Cathedral of Milan from 1484), presents
two manuscripts preserved in the Biblioteca Comunale
Laudense of Lodi: xxviii. A. 8 and xxviii. A. 9. The
first one contains Bryennius, De harmonia, a translation
commissioned by Franchino Gaffurio to Giovanni
Francesco Burana: it’s an autograph manuscript of 1497.
The second one contains Gaffurio’s De harmonia; it’s not an
autograph, but it has been subjected to considerable revision
by the author, who has intervened heavily in the text
until 1514. The two manuscripts have been studied in relation
to other Gaffurio’s manuscripts (some autographs), as
witnesses of the various stages of the formation of theoretical
thought of Gaffurio while he was in Milan, especially
because at the same time Leonardo da Vinci, Luca
Pacioli and Cesare Cesariano worked there.
theoretician and composer Franchino Gaffurio (1451-1522,
Choirmaster of the Cathedral of Milan from 1484), presents
two manuscripts preserved in the Biblioteca Comunale
Laudense of Lodi: xxviii. A. 8 and xxviii. A. 9. The
first one contains Bryennius, De harmonia, a translation
commissioned by Franchino Gaffurio to Giovanni
Francesco Burana: it’s an autograph manuscript of 1497.
The second one contains Gaffurio’s De harmonia; it’s not an
autograph, but it has been subjected to considerable revision
by the author, who has intervened heavily in the text
until 1514. The two manuscripts have been studied in relation
to other Gaffurio’s manuscripts (some autographs), as
witnesses of the various stages of the formation of theoretical
thought of Gaffurio while he was in Milan, especially
because at the same time Leonardo da Vinci, Luca
Pacioli and Cesare Cesariano worked there.
Iris type:
1.1 Articolo in rivista
Keywords:
manoscritti; storia della biblioteca; paleografia
List of contributors:
Pantarotto, Martina
Published in: