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

Robin Rolfhamre

doi:10.15845/emco.v4i1.1513

Abstract

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 performing and understanding 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, 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.

Highlights

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
In his work ‘Caprice de chaconne’, he employs a pattern of symmetry and proportion to create a range of effects designed to appeal to Louis XIV’s sensibilities
His relationship to the French king may be glimpsed in the following remarks in the 1674 edition of the Baroque guitar tablaturecollection La guitarre royalle, translated by Monica Hall: EMCO#4 2018 1 ISSN: 1892-0888

Summary

General proportions and symmetry

The first instance of proportion is found when we count the bars throughout the piece and divide them in two. Working on the hypothesis that the plus viste is designed to make the 33 bar section make up the same amount of time as the 31 bar section, that is, cancelling out the two bar difference, we get a proportional and symmetrical piece of music This is further anchored in the beginning and end of the piece presenting musical movements in an almost mirrored fashion (see Ex. 1 below) where two chords, joined together by melodic successions (a1 and a2), are preceded or succeeded by similar sorts of movements in thirds beginning (b2) or ending (b1) with an ornament: Example 1. Where we in the beginning of the piece find frequent use of upward arches we find downward arches towards the end, all surrounding the more levelled and linear centre strumming section

Structural centre

Communicative aspects

Compositional context

Findings

Works Cited