![]() He too was very influential, and on his part was clearly influenced by the earlier mentioned Instruccion de Musica by Gaspar Sanz.īoth the tarantelle in the Resumen as in the Saldivar are based on the hypodorico type. Santiago de Murcia was a Spanish guitar player, composer and theorist. Santiago de Murcia – Resumen de accompañar la parte (1714) & Saldivar Codex n.4 (1720) This version is also based on the hypodorico type in 3, sometimes there is a variation of the harmony on the 4th chord! The Oxford dictionary of music calls his Compendio Numeroso the climax of a golden age for the harp. PDF: Tarantella mss anonimo piezas para clave c 1700 bibl nac madridĭiego Fernandez de Huete – Compendio Numeroso de Zifras Armonicas (1702)ĭe Huete was a Spanish harpist, composer, theorist and teacher. This is the earliest Tarantella in 6/8 that I could find. This three-partite form was also already present in the Kircher Hypodorico type. Interestingly we also find the repetition of two chords, generally “I” and “V”, as in the Sanz version above.Īnother typical part of the Cid type is that it is actually three tarantelle. It was widely circulated in a medical treatise by the Spaniard Don Francisco Xavier Cid. This version is based on a hybrid of the Antidotum and the Hypodorico type. Īnonymous manuscript: piezas para clave c 1700 in the Madrid Royal Library It is realised solely in chords: there are some extra harmonic detours. His Instruccion de Musica was the most comprehensive guitar treatise of its time and many guitarists were inspired to publish similar collections. Interestingly, he studied with Caresana in Naples and quite possibly learned about the Tarantella there. Gaspar Sanz was a Spanish guitarist, composer and priest. Gaspar Sanz – Instruccion de Musica (1674) I cannot find it online, Liuwe Tamminga arranged it here: It is definitely worth looking at some of the melodic formulae Caresana uses over this bass though!Ĭaresana also used the Tarantella in an educational duo. Here I have “summarised” the basic form in modern notation. The entire piece can be found here on IMSLP in manuscript form. Also interesting to note is that this Hypodorico type is in 4/4, whereas it is usually in 3. The first is a cantata:Īfter a bit of an introduction we get a Tarantella of the Hypodorico type (with an added bonus of a prolonged cadence at some points). There are two pieces by him that use the Tarantella. His vocal tutors were influential and even reprinted for the Paris conservatoire in 1819! Naples was very close to some of the Tarantella capitals, so Caresana may have witnessed Tarantism with his own ear and eye. An attempt at transcription:Īntidotum_Tarantulae_Kircher variant in Phonurgia NovaĬristofaro Caresana – Cantata La TarantellaĬaresana worked in Naples as a composer organist and singer from 1658 till 1709. Interestingly he does not include the other versions, AND this version doesn’t make any sense rhythmically. Kircher's Tarantellas NameĪntidotum (first half variation on type A)Īthanasius Kircher – Phonurgia Nova (1673)Ībout thirty years later, Kircher publishes a book on acoustics, and in it he talks about Tarantism again, printing another version of the Antidotum Tarantulae. Whereas nowadays we would mostly think of the tarantella as a dance in 6/8. Interestingly, almost all versions are in duple meter, in other words in 4/4 or 2/2. ![]() His discussion of the Tarantella can be found back in the works of several scientists, among which Robert Boyle! His music encyclopedia was found back all over the world, from Latin America to China. One reason for this could also be that Kircher’s works were widely disseminated. In the following 150 years, each Tarantella we can find is based on or related to one of the types in Kircher’s book. Kircher’s is the most extensive discussion of the music used for the Tarantella. However, his biggest discussion of Tarantism is in his book on magnetism (which was one of the few works not to be discredited after his death). He wrote the biggest encyclopedia about music of his time and often combined fiction (for example a cat piano in which cat’s tails got pricked to make the tones) with fact. One book refers to him as “The Last man who knew everything”. We also made a video series so you can learn to improvise on the Tarantella yourself! Click here.Īthanasius Kircher – Magnes, sive de arte magnetica (1641)Īthanasius Kircher was a Jesuit who travelled widely, ending up in Rome in Papal circles. In the 17th and 18th century we find examples of the actual music for the first time! In this post we are discussing all the versions we could find, including audio examples and sheet music for the basic patterns. The Tarantella has spoken to the imagination throughout time.
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