In this essay we have looked at performative aspects of the triumphal entry of Cardinal-Infante Ferdinand into Antwerp (1635), especially music. We were confronted with the paradoxical situation that in the engravings of Pompa Introitus Ferdinandi practically no music is seen or mentioned, but according to the city accounts a considerable amount of money was spent on city musicians and, in particular, on trumpeters, who had to be recruited from other cities. By combining all available data with what we know about music in previous triumphal entries, I tried to establish a picture of the kind of music that would have been performed during Ferdinand’s entry. The city pipers, especially, must have had a busy day.
Although this approach resulted in an overview of the possibilities, we lack sufficient material for a detailed musical reconstruction of the event. Apart from—possibly—the sonnet sung by the orphans, the only piece performed during the entry whose title is known today is Henricus Liberti’s setting of Te Deum. Unfortunately, the music of that composition has been lost. But we do know how trumpets and kettledrums sounded in the first half of the seventeenth century. We know, for example, that the trumpets were natural, or without keys, so that they could play only tones from the harmonic series. And we have musicians, who have succeeded in mastering these baroque trumpets, the high register of which is extremely difficult to play. With this knowledge and using the expertise of these musicians, I have tried to evoke the musical soundscape of Ferdinand's entry on a cd, which accompanies this essay volume.
|Title of host publication
|Art, Music, and Spectacle In the age of Rubens. The Pompa Introitus Ferdinandi
|A.C. Knaap, M. Putnam
|Place of Publication
|London / Turnhout
|Harvey Miller Publishers / Brepols
|Number of pages
|Published - 2013
|Harvey Miller Studies in Baroque Art