Venezia: Antonio Bortoli, 1706. Small quarto. Original carta rustica with titling in manuscript to spine.
1f. (recto full-page bust-length engraved portrait of the author within oval border, verso blank), 1f. (recto fine engraved title within elaborate border incorporating musical instruments, etc., verso blank), 1f. (dedication "Illustriss. & Eccellentiss. Sig. Sig. e Patron Colendiss" with printed date "Venezia li 7. Settembre 1705"), 1f. ("Sonetto"), 1f. ("Benigno, e Cortese Lettore"), 366 pp. + 1f. (errata), 1f., 1f. (index). With woodcut head- and tailpieces and historiated initials.
Includes numerous typeset musical examples in diamond-head notation, diagrams, and tables and 2 engraved plates of anatomical drawings of the vocal chords, the ear, etc.
With three lines of annotations in ink to verso of front free endpaper indicating that the book was received as a gift from a baron on February 7, 1836.
Binding worn and slightly shaken; original sewing loose; endpapers wormed at gutter; minor paper loss to blank lower margin of front free endpaper. Slightly worn and browned; occasional marginal notes in pencil; "191" in ink to blank upper margin of portrait and title.
Quite a good copy overall.
First (and only) Edition. Cortot, p. 190. Hirsch I, 575. Gregory-Sonneck, p. 268. Eitner Vol. IX, p. 387. RISM BVI, p. 826.
Little is known of Tevo, an Italian composer and theorist. His compositions have not survived. Prior to 1677 he had been in Padua, Venice, and other centers, and later became organist and maestro di capella at Treviso. The present treatise is his only known published work other than some psalms printed by Giuseppe Salas.
Tevo outlines the theories of Boethius, Franchinus, Galilei, Mersenne, Kircher and others in an effort to present an historical survey of music theory.
"Whereas most theoretical writings propound an individual theorist's views on a specific aspect of music, occasionally there appeared a work which summarized a large body of information, with no pretensions of originality. Zaccaria Tevo's Musico testore (1706) borrows profusely from authors both ancient and modern and provides, in under four hundred pages, a rich compendium of the ideas and techniques which formed the basis for early eighteenth century theory. Galilei, Mersenne, and Kircher are among the more recent authorities cited, while Boethius, Glarean, and especially the early seventeenth-century humanist Gregor Reisch are likewise called upon. Topics ranging from basic aspects of notation and intervals to the complex art of counterpoint mingle between the covers of this useful but now neglected volume." Damschroder and Williams: Music Theory from Zarlino to Schenker, p. 354.
"An autograph manuscript [in the Biblioteca universitaria in Padova] of Il musico testore shows that it was written in Treviso over a number of years and was already complete in 1700. In four parts, it is a compendium of theories by Greek, Latin and Italian medieval writers, with a particular predilection for Franciscans. It has an educational aim and the treatment of technical musical questions, accompanied by short musical examples, covers all theoretical areas from acoustics to notation and intervallic theory to counterpoint. It is a broad, organized and clearly written critical anthology of writing on music, and it was praised by many. As a composer Tevo is known to have published two books of motets, only the second of which has survived [in the Biblioteca capitolare, Cividale del Friuli]." Franco Colussi in Grove Music Online. Item #31432
Price: $1,850.00 other currencies