Marchetto Cara
Marchetto Cara (c.
1470 – probably
1525) was an
Italian composer,
lutenist and singer of the
Renaissance. He was mainly active in
Mantua, was well-connected with the
Gonzaga and
Medici families, and along with
Bartolomeo Tromboncino, was well known as a composer of
frottolas.
Next to nothing is known of his early life. By
1494 he was already employed by the Gonzaga court at Mantua, and he evidently stayed there, without interruption except for travel to sing in nearby cities, until his death. Among his duties were directing the singers both in the cathedral of S Pietro, and in the private estate of the Gonzaga family. As lovers and patrons of music, they employed numerous musicians, and Cara was chief among them: he wrote music for weddings, for state occasions, for
intermedi, and for private entertainments, and in so doing created some of the most refined light music of the time. Along with Tromboncino, he was the most famous composer of frottolas, and his compositions continued to be collected and published after his death.
Most likely he died in
1525, since his widow remarried in early
1526, and there was at the time a legal requirement for a widow to wait nine months prior to remarriage. When he died he was a wealthy man, owning two houses in the city and two large country estates: evidently the Gonzaga family paid him well.
Cara was famous not only as a composer, but as a singer and a lutenist. He sang at Mantua, for his employers, but also traveled throughout northern Italy, singing for the Medici, the Bembo family, and other aristocrats in
Verona,
Venice,
Padua,
Pesaro,
Cremona, as well as other cities.
Baldassare Castiglione heard him sing, and wrote of him in his famous
Book of the Courtier (Venice,
1528), in the same paragraph in which he praises
Leonardo da Vinci:
And no lesse doeth our Marchetto Cara move in his singinge, but with a more softe harmonye, that by a delectable waye and full of mourninge swetnesse maketh tender and perceth the mind, and sweetly imprinteth in it a passion full of great delite. (Translated by Sir Thomas Hoby,
1561)
Though predominantly a composer of frottolas, a light secular form and ancestor of the
madrigal, he also wrote a few sacred pieces, including a three-voice
Salve Regina (one of the
Marian Antiphons) as well as seven
laude spirituali. His frottolas are for the most part
homophonic, with short passages of
imitation only at the beginnings of phrases; they are catchy, singable, and often use dance-like rhythms. The poetry for most of his 100 frottolas is anonymous, though the authors of 16 poems have been identified. Most of the poems are in the form of the
barzellette, but there are also
strambotti,
sonnets,
capitoli and
ode. Most everything is in a verse-refrain format.
Some of his later frottolas are more serious in character, and foreshadow the development of the madrigal, which took place in the late
1520s and
1530s, right after his death.
* Article "Marchetto Cara", in
The New Grove Dictionary of Music and Musicians, ed. Stanley Sadie. 20 vol. London, Macmillan Publishers Ltd., 1980. ISBN 1561591742
*
Gustave Reese,
Music in the Renaissance. New York, W.W. Norton & Co., 1954. ISBN 0393095304
