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    & 2 4b, WL500007 ee? p,Pereg” “Brey. Historical Organ Techniques and Repertoire @ An Historical Survey of Organ Performance Practices and Repertoire General Editor: Wayne Leupold Volume 6 ITALY 1550 - 1650 Edited by Calvert Johnson ‘© Copyright 2002 by Wayne Leupold Editions, In. forall counties. 8510 Triad Drive, Colfax, North Carolina 27235 USA Phone and Fax: 336.996.8445, Internet: ww wayneleupold.com, E-mail: WLeupold@ msn.com Sole USA and Canadian Wholesale Selling Agent: ECS Publishing, 138 Ipswich Strect, Boston, Massachusets 02215 USA Phone: 617-236-1935, Fax: 617-236-0261, Internet: www.cespublishing com, E-mail: office @eespublishing.com International Copyright Secured. All Rights Reserved Including Recording and Public Performance for Profit. Made in the USA. “opying or reproducing this publication in whole or in par by any means violates the Federal Copytight La ITALY: 1550 - 1650 I INTRODUCTION A. HISTORY OF ITALY Until 1860 it was impossible to refer to a nation known as Italy because the Italian peninsula consisted of many small states prior to unification. Most of these had emerged in the late Middle Ages, and were entangled in constantly changing alliances and wars brought about through marriage alliances, conquests, papal grants, and ambitions. Through an anomaly of inheritance, the Hapsburg Charles V inherited the territories of Spain, Austria, and Burgundy, as well as the Holy Roman Emperor's title by 1519. These included almost all of the Italian states with the notable exception of Lombardy, which separated Charles’ northem and Italian possessions. Charles trounced the French (who controlled Milan) in 1525, and captured Florence in 1530. As a result, Spain annexed Milan, and created the numerous hereditary duchies in Italy that would remain in place until the political upheavals of the eighteenth century. ‘Through much of the period studied in this volume, each Italian state made every effort to maintain its independence ‘and unique character. Politically the states were varied, including the republics of Venice, Genoa, and Lucca, the kingdom of Naples, and the hereditary duchies of Milan, Mantua, Modena, Ferrara, Urbino, Florence, Parma, Savoy, and the Papal States. Milan and southern italy were under Spanish domination until 1713 (Treaty of Utrecht, ending the War of Spanish Succession) when they came under Austrian control. Naples (that is, all of southern Italy) became an independent kingdom under the Spanish prince Don Carlos in 1735 (end of the War of Polish Succession), and the city of Naples rapidly became one of the largest and most important cultural cities in all of Europe. As a result of Napoleon’s attacks, much of northem Italy came under French control at the end of the eighteenth century, except for the Venetian territories which were taken by the Austrians (1796). With the end of the Napoleonic Wars in 1815, most of northern Italy was under Austrian control. Traditionally, Venice was very independent of the Catholic hierarchy, maintaining its own brilliant ‘musical style in worship; in fact the Republic was under Papal interdict four times (1284, 1309, 1483, and 1606). Milan, too, maintained its Ambrosian liturgy and music, whereas Rome and the Vatican states were dependent on papal preferences with regard to music. AAs Islam pushed westwards with the Arabs in the Middle Ages and with the Turks later, and as the Atlantic trade lanes became important, the center of European economic power gradually moved northward towards Holland, England ‘and France ~ the major powers in the sixteenth and seventeenth centuries. The Italian states assumed a more marginal role both culturally and politically, eventually becoming political pawns or prizes for their more powerful neighbors, and a playground for northern tourists secking remnants of ancient Rome and the Italian Renaissance. In self-defence the Italian states developed ties with their stronger neighbors, through trade or political marriages. For example, Florence had a close association with France through the marriages in 1589 of the Grand Duke with Christine of Lorraine and in 1600 of Maria de’ Medici with Henri IV of France, but cultivated the Hapsburgs in the marriage in 1608 of Cosimo Medici with Maria Magdalena of Austria, the sister of the King of Spain. Similarly, northerners were widely sought as musicians until around 1600. For example, Ferrara hired Josquin Des Prez, and St. Mark’s, Venice, consistently employed Flemish and French organists and choir masters until the time of the Gabrielis. From around 1600, Italian musicians were in the ascendancy in Italy and elsewhere. Italy provided plentiful employment for composers, singers, and instrumentalists. Churches needed choirmasters, organists, and singers; the courts of the nobility and major clergy required musicians for public ceremonies and private entertainment as well as private chapels; the bourgeoisie (bankers, merchants, manufacturers) used music as a pastime and to display social accomplishment (hiring teachers, commissioning composers, and hosting concerts and entertainment); public opera houses needed composers, singers, and instrumentalists; and leamed academies also employed composers, singers, and instrumentalists. Many of the ruling families were important arts patrons, including the Este of Ferrara, the Medici of Florence, the Gonzaga in Mantua, and the Sforza in Milan. Many family members from these dynasties became Popes, Cardinals, and Bishops who likewise patronized musicians. An important cause of Italian economic decline from the late fifteenth century onwards was the preference of the wealthy to invest in artwork and palaces. ‘There was intense rivalry among these states and patrons to attract the finest composers and performers, perhaps intensified due to the proximity of the various states. Artistic innovation was highly prized and later imitated, as seen in the concerti delle donne (the concerts by incredibly virtuostic sopranos first presented at Ferrara in the 1570s and 1580s, and later hosted at Florence, Mantua, Rome, and other centers) and in the spread of opera (from the Florentine intermedi of 1589 and operas of Peri and Caccini, to Monteverdi's operas in Mantua, 1607-08, the spectacles at Torino, 1620s and 30s, Roman operas of Landi, Vitali, and Mazzocchi in the 1620s, and Venice, 1637 onward). It was in fact precisely at the time of Italian political decline that Italian culture began to dominate all of Europe. Humanist education, the study of ancient Greece and Rome, Italian fashion, manners, and cuisine were widely imitated, as were the new bel canto singing style and instrumental techniques and genres (especially for stringed and keyboard instruments). Thus modem harmonic structure (based on the circle of fifths and ground bass), opera, cantata, toccata, sonata, and symphony spread to Austria, Germany, England, The Netherlands, Spain, and even France from Venice, Rome, and Naples in the seventeenth and eighteenth centuries. 7 B. THE EARLIEST ORGANS IN ITALY It is not known whether any organs survived and were used during the centuries following the overthrow of the Western Roman Empire in 476, The first reference to an organ in the West seems to be a gift to King Pepin of the Franks in 756/7 from the Byzantine Emperor Constantinus. In 826 Holy Roman Emperor Louis the Pious authorized a Venetian presbyter, Georgius, to build an organ in the Byzantine style at the court palace in Aachen, Whether or not organ building ‘was an established industry at Venice is unknown, but a famous organ on the island of Grado in the Venetian Lagoon was built by the Venetian priest Giorgio (the same individual?). The first Medieval reference to the erection of an organ in Italy is in 915 (9502) when Count Ato Adelbert (died 988) donated an organ to a new monastery on the rock of Canosa in the northern Apennines. There may have been an organ at the Abbey of Bobbio c. 982, again in the Apennines on the pilgrimage route to Rome. The consecration in 1092 by Pope Urban II of the pilgrimage church at Cava dei Tirreni, near Salemo, apparently included playing on an organ. The first organ in Florence seems to date from 1259 (SS. Annunziata), built by F. Pierfranco of Bologna. In the fourteenth century, organs became more commonplace throughout Italy, with Venice continuing to take the lead, having an organ in its principal church, San Marco, by 1316. The earliest Italian organbuilder seems to have been one Antonio of Venice, active as early as 1318. An important Venetian composer was known as a blind organist — Francesco Landini. Contracts in 1332 and 1379 (Andrea di Giovanni and Stefano Benicasa) provide many details about a new organ for SS. Annunziata, Florence, and there were other contracts and installations, including San Nicold, Treviso (1347), Torino Cathedral (Giovanni Ferrard, 1350), Padua Cathedral (Magister Laurentis, ‘organist, 1360), the Cathedral Santa Maria dei Fiore of Florence (probably portable in 1357), Siena Cathedral (Domenico degli Armeni, 1372), Orvieto Cathedral (Filippo il Teutonico, 1373), Santa Maria at Genoa (1373), Florence Cathedral (Domenico [degli Armeni] da Siena, permanent installation of 1388), a restoration at Orvieto Cathedral (1388), Genoa Cathedral restoration (Cristoforo da Castelnuovo, 1391), and Milan Cathedral (Martino de’ Stremidi da Concorezzo, 1395.97). A fourteenth-century annunciation play at Padua refers to organ playing during the Te Deum. Larger organs ‘were installed at Arezzo Cathedral in 1454, and at San Petronio in Bologna in 1471-5. C. LITURGICAL USE OF THE ORGAN IN ITALY A sharp distinction is drawn between organ and harpsichord repertoires in Italy in the late sixteenth century — a distinction which was maintained for well over a century. The Council of Trent (1545-1563) attempted to reform church ‘music of secular styles, while recognizing the organ as the instrument most suitable for sacred worship. In the case of organ music, dances were specifically probibited. Although lascivious French chanson texts were also excluded, instrumental transcriptions of the music were not, so canzone francese were allowed, as were strictly instrumental genres such as the toccata. The organ also played works based on Gregorian chant (versets for Mass and Office, as well as {tanscriptions or arrangements of vocal motets). As early as 1529," there is clear documentation of the use of the organ in the liturgy, alternating with the choir in the performance of psalms, hymns, canticles, and the Ordinary of the Mass, which virtually always excluded the organ playing during the Credo (note that the masses of Girolamo Cavazzoni and Adriano Banchieri are very unusual in including Credo versets). However, there was also a tradition of organ music during the Mass Propers (demonstrated by the Bergamo Organ Book), whether accompanying or alternating with the choir or playing independent compositions to fill the time needed for liturgical actions (Introit, Offertory, Elevation, Communion, and Postlude). By the 1580s, it is documented that the organ also played basso continuo in sacred choral music (Palestrina, Pentecost vespers motet Dum complerentur, 1585). ‘The variety of patterns of organ participation in the Mass can be observed in the summaries below: 1. Girolamo Cavazzoni, Mass Versets, libro secondo. Venice, 1547 Kyrie (1, 3,5, 7, 9) Sanctus (2 versets) Gloria (complete alternation) ‘Agnus (I verset) Credo (complete alternation) 2, Bartolomeo Bonifacio, Ceremoniale for St. Mark's, Venice, 1564; Bartolomeo Duramano, updated copy, 1695? Kyrie: organ versets alternating with polyphonic Offertory choir, the organ beginning the series Elevation Gradual Communion Alleluia 3. Pope Clement VIII, Ceeremoniale episcoporum, 1600 Procession up to the Introit Sanctus (alternation with the choir), Kyrie (alternation with the choir) ‘but never during the Benedictus Gloria (alternation with the choir) Elevation (serious, quiet, melodious music) After the Epistle ‘Agnus Dei (alternation with the choir) Never during the Creed ‘Communion antiphon Offertory Postlude " Biagio Rosset, Libelus de rudiments musices, Verona, 1529 2 James H. Moore, “The Liturgical Use ofthe Organ in Sventeenth-Century Italy: New Documents, New Hypotheses,” Frescobaldi Studies edited by Alexander Silbiger (Durham: Duke University, 1987), 351-383. 8 4. Adriano Banchieri, L’Organo Suonarino. Venice, 1605, 1611, 1622, and Conclusioni nel Suono dell’ Organo, Venice, 1609 Introit (at the repetition of the antiphon) Kyrie (alternation with the choir: five of the nine sections) Gloria (alternation withthe choir) Gradual: Short Toccata in Mode I, Ripieno, or Fugue after the Epistle Alleluia: Organ music after the Alleluia Verset (such as the music of the Alleluia response) ‘Credo: (soft music in alternation with the choir during the Credo [in some places the organ played in alternation ifthe choir were few in number]) Offertory: Organ music such as a motet of ricercare Sanctus (organ plays twice, in alternation with the choir) Elevation (sof, solemn music) Agnus (organ plays before the first Agnus) Postcommunio: Canzona or Capriccio After the Mass benediction dismissal Benedicamus Domino (use the Kyrie music for the Deo Gratias) Ripieno as Postlude 5. Girolamo Frescobaldi, Fiori Musicali. Venice, 1635 ‘Toccata before the Mass [Introit} Toccata crommatica at the Elevation Kyrie Versets in alternation with the choir Canzona after Communion {Communion} Canzona after the Epistle [Gradual] Capriccio [Deo Gratias} [Toccata and] Ricercar after the Credo [Offertory] 6. Giovanni Battista Fasolo, Annuale. Venice, 1645 Kyrie (5 versets) Elevation Gloria (complete alternation) Agnus (1 verset) Post-Epistle Music Post-Agnus Music Pre-Offertory Music Deo Gratias: play music based on first Kyrie Sanctus (2 versets) 7. Domenico Zipoli, Sonate d’Intavolature. Rome, 1716 Toccata {before the Mass] Elevation Versets [4, presumably for the Kyrie] Post-Communion Canzona [after the Epistle] astorale [for Christmas] 8. Anonymous manuscripts. Pistoia Cathedral, mid- to late eighteenth century. Verseiti for the Mass Ordinary Elevation (portions not identified) Post-Communion Offertory Ite Missa Est 9. Pietro Gianelli, Dizionario della Musica sacra e profana, 1801, 1830 Kyrie Sanctus Gloria ‘Agnus Dei At the offices, the organist participated in alteration with the choir (psalms, hymns, and canticles, including Magnificat and Te Deum), replacing the chants for the antiphons associated with psalms and canticles, responsories, and performing at the Deo gratias at the conclusion. The most important daily office, Vespers, was also the one with the greatest participation by the organ. Oddly, no source describes the use of altematim performance for the Marian antiphons. 1, Adriano Banchieri, L’Organo Suonarino. Venice, 1605, 1611, 1622, and Conclusioni nel Suono dell’Organo, Venice, 1609: Organ Music at Vespers Ripieno during the Entrance of the priest until he has incensed the altar (until beginning of Deus in adjutorium) ‘After each of the five Psalms as a substitute for the antiphon (including fugue, dialague, capriccio, canzona francese) Collect (except on solemn occasions) ‘Hymns (alternation with the choir, choir beginning and singing both of the last two verses if there is an odd number of verses) ‘Magnificat as a substitute for the antiphon (alternation with the choir, the choir beginning) Canzona francese, capriccio, or motet after the Magnificat, or some other type of composition [Giovanni Battista Fasolo, 1645, also suggests a canzona or fuga sopra gl'obligo] Afier the benediction dismissal Benedicamus Domino (play a short interlude for the Deo Gratias) 2. Bartolomeo Bonifacio, Ceremoniale for St. Mark's, Venice, 1564; Bartolomeo Duramano, updated copy, 1695° Psalms; alteration between polyphonic choir and organ (16* century); alternation between double choir salli ‘spezzati and concertato psalms (17* century); however, on special occasions (e.g., Easter), two choirs might alternate leaving the organ to play only the antiphon 5 James H. Moore, “The Liturgical Use ofthe Organ in Seventeenth-Century Italy: New Documents, New Hypotheses,” Frescobaldi Studies, edited by Alexander Silbiger (Durham: Duke University, 1987), 351-383, Magnificat and Te Deum: alternatim between organ and choir (polyphonic or plainchant), especially on special ‘occasions (Easter, Christmas, Corpus Chris, etc.) Antiphons: organ rather than plainchant, particularly for the final antiphon at the conclusion of a psalm or canticle (as in the Caeremoniale episcoporum of Clement VIII, in use at Venice after 1620) Responsories: organ rather than plainchant Hyrns: alternation between organ and choir (e.g., Matins of Christmas: first four stanzas alternate between choir and organ; fifth stanza omitted; sixth stanza alternates between choir and organ; final stanza sung, Amen played by the organ) Benedicamus Domino—Deo Gratias: organ rather than plainchant for one or the other of these texts 3. Pope Clement VIII, Caeremoniale episcoporum, 1600: Vespers Procession Magnificat Psalms: atthe end of the Psalms Deo Gratias Hymn Procession D. PLAYING WITH GOOD TASTE Although the Council of Trent (1545-1563) attempted to reform Catholic church music, many musicians still committed abuses in worship. Agostino Agazzari (1606) describes correct taste in organ performance as including pla exactly what is written, avoiding runs and passagework, and adding the pedal Contrabassi from time to time. AS the few Italian comments about what constitutes good taste in performance in the seventeenth century, it is appropriate to examine statements from the period 1749-1801, realizing that they reflect attitudes of a later age, and may not fully express earlier viewpoints. Francesco Geminiani discussed cighteenth-century sentiments with regard to good taste in A Treatise of Good Taste in the Art of Musicke (1749): “What is commonly called good Taste in singing and playing, has been thought for some Years past to destroy the true Melody, and the Intention oftheir Composers. Its supposed by many that areal good Taste cannot possibly be acquired by any Rules of Art; it being atpeculiar Gift of Nature, indulged only to those who have naturally a good Ear: and as most flatter themselves to have this Perfection, hence it happens that he who sings or plays, thinks of nothing so much as to make continually some favourite Passages or Graces, believing that by this Means he shall be thought to be a good Performer, not perceiving that playing in good Taste doth not consist of frequent Passages, but in expressing with Strength and Delicacy the Intention of the Composer. This Expression is what every one should endeavour to acquire, Geminiani then proceeds to recommend the study and practice of some fourteen ormaments so “that those who are Lovers of Musick may with more Ease and Certainty arrive at Perfection.” These omaments include various trills and appoggiaturas, the mordent, staccato, dynamics (including crescendo and diminuendo), the anticipation, the separation, and holding the note the proper duration, Geminiani feels that the goal of all musical performance is “to give Meaning and Expression ... raising and soothing the Passions of rational Beings.” Although the presence of a text is the easiest way to accomplish this in music, even an instrumentalist can successfully achieve this goal if he is “first inspired himself, which hhe cannot fail to be if he chooses a Work of Genius, if he makes himself thoroughly acquainted with all its Beauties, and if while his Imagination is warm and glowing he pours the same exalted Spirit into his own Performance.” However, merely applying the ornaments in a mechanical fashion will not achieve the goal because the performer must be aware that “Something must be left to the good Sense of the Professor {performer|; for as the Soul informs the Body, so every Rule and every Principle must be enforced by the Knowledge and Skill of him who puts it in Practice.” Antonio Lorenzoni's (Saggio per ben suonare il flauto traverso, 1779) and Pietro Gianelli's (Dizionario della musica ‘sacra e profana, 1801) nearly identical lists of requirements for playing with good taste include following the intentions of the composer, conforming to the mood and expression of the composition and to the place of the performance (different characteristics are appropriate in church and theatre), pleasing the listeners, performing the pitches and rhythms accurately, not omitting any notes, observing the key signature, time signature, tempo, dynamic markings, and articulations (legato or staccato). Gianelli gives a few hints as to how to determine the mood of the composition: conjunct notes and legato express melancholy and tendemess; disjunct movement and leaps express liveliness and ardor; dotted and sustained notes express seriousness and pathos; mixed rhythmic durations of long and very fast notes express ‘grandeur and sublimity; frequent dissonance indicates sadness and at times fury. Concerning performance, Gianelli writes that it is the action of rendering expression to a musical composition, In ‘order to succeed, one must not only play the notes on the score, but also the correct tempo, the appropriate character, and the intentions of the composer. On the other hand, Francesco Galeazzi (Elementi teorico-pratici de musica, con un saggio sopra Varte di suonare il violino analizzata, 1791) mentions only three things necessary for good expression: diminutions in the proper contexts, good bowing, especially in cantilena passages, and dynamic variations, similar to chiaroscuro (shadow and light) in painting. Organists were permitted to add notes to fill out the harmonies, doubling consonances primarily. Gian-Domenico Cattenacei writes in the preface to his Sonate d’organo (1721) that the consonances may be doubled in his sonatas for the Offertory, of which one is a fugue. Carlo Gervasoni (La Scuola della Musica, 1800) writes that the organist is at liberty to double consonant notes of the harmonies ~ and even some dissonances ~ for all organ music except the Elevation, The purpose is to reinforce the harmony in works for full organ and fugues. He advises the organist to use contrary motion in moving from chord to chord when doubling notes in order to cover up parallel perfect fifths and octaves, 10 E, THE CHURCH MODES ‘The Medieval church modes or tuoni (toni) were still in use during the sixteenth through the eighteenth centuries. The scales of these iuoni are given below, with the double whole note representing the final (“tonic”) and whole notes representing the tenor or “dominant” (generally the fifth note in the scale of the authentic modes, that is those with odd numbers, and a third below the authentic mode's tenor for the plagal modes, that is those with even numbers). Primer Tos00 ‘Secoedo Tuono ‘Terao Tuono Qua Tun Quan Teone Seto Toone Noo Tuono Desimo Toone Undesimo Tosco Duedecine Toone There is a second use for the term twoni in the Italian repertoire: tones for chanting the psalms or canticles. Each one corresponds to the mode. These are given below with one of the possible terminations. Compositions based on psalm tones are, of course, written in the corresponding modes. Although the modal tenor is featured prominently in the psalm tones as a reciting tone, the final may not be because the termination figure is selected from several choices to lead convincingly into an antiphon which will follow the psalm tone. The antiphon will vary from service to service and from cone liturgical day to another. It is not always immediately evident from the title of a liturgical composition whether or not it is based on a psalm tone, because versetti may be used for a setting of any portion of plain chant. Intonation Tenor Flex Tenor Maint ‘Tenor ‘Teination Tons Peeprius (wo tne) nl F, SHORT OCTAVE BASS ‘The lowest octave of the keyboards of Italian organs usually lacked sharps and flats in the sixteenth and seventeenth centuries and on many eighteenth-century organs as well. Known as a short octave bass, the keyboard's lowest two ‘octaves were laid out as follows on instruments beginning on C: Ue Ilustration 1. Short Octave Keyboard On such a keyboard some large intervals can easily be played. Among these are such tenths as E with g#° and D with £#° because the space between these notes on a keyboard with a short octave is the equivalent of an octave. In addition, on a pedalboard with short octave bass, the tonic and dominant pitches of common keys are placed near each other (C and F, D and G, E and A, and G and C). Frequently the short octave was created by adding C, D, and E to an F-compass organ. G. EDITORIAL METHOD ‘The anthology portion of this volume represents a practical performing edition. Modern staff notation with treble and bass clefs is used. Original note values, beamings, bar lines, key signatures, and time signatures have been maintained except where noted. Editorial additions are found in brackets or are placed above the treble clef or below the bass clef (a dotted bar line for editorial additions). All fingerings provided in the anthology are editorial except where noted, including angle brackets to indicate hand distribution. Fingerings for the right hand are placed above or directly below the top staff and those for the left hand are placed below or directly above the bottom staff. When the hands share a staff, right hand fingerings are placed above and left hand fingerings are placed below this staff. In the preface, normal roman type is used for all information that has been paraphrased or quoted from original sources. Paraphrases have often been preferred to direct quotation in order that the presentation might be simple and in parallel fashion when multiple sources were used, Some subjectivity is inevitable in the interpretation of the original sources. Italics are used for all additional editorial elaboration on this information and pedagogical questions by the editor ‘to assist the reader in understanding the concepts when applied to actual composition, etc. Italics are also used for foreign terms and titles of publications. OCTAVE REGISTERS: The system used to designate octave registers in this book assigns c! to “middle C,” c* to “tenor C," C to the C two octaves below middle C, c? to the C an octave above middle C, and s0 on H. RECORDINGS Recordings of interest because of the use of historic organs include: ‘A. &G. Gabrieli, 1534 organ, Arezzo Cathedral. Christopher Stembridge, organist. Sarx SX 013-2. The Art of the Ricercar in 16 Century Italy. Organs of da Prato and Facchetti, San Petronio, Bologna. Liuwe Tamminga, organist, Works of Padovano, G. Cavazzoni, Buus, Rodio, A. Gabrieli, G. Gabrieli, Conforti, Luzzaschi, Brumel Accent ACC 971270. Bernardo Pasquini. Santa Maria del Sasso, Marcote (Switzerland). Lorenzo Ghielmi, organist. Nuova Era DDD 6890. Cavazzoni, Gerolamo: Intavolatura. Antegnati organ, Brescia, Sergio Vartolo, organist. Tactus 510301. 150 Anni di Musica italiana (1550-1700). Rinaldo Alessandrini, organist. Vol. 2 da Gabrieli a Rossi. Opus 111 OPD 30- 119; Vol. 3 da Pasquini a Frescobaldi. Opus 111 OPD 30-125 Consonanze stravaganti: Musica napoletana per organo, cembalo ¢ cembalo cromatico. Christopher Stembridge, organist. Works by de Macque, Stella, Salvatore, Strozzi, Trabaci, Lombardo, da Venosa, Mayone. Ars Musici ARS 1207. Gabrie 9803. Girolamo Frescobaldi. Fioreti det Frescobaldi. Carlo Mancini organ (1753), San Pietro in Twili Sardinia. Arte Nova Classica 74321 59227 2. Girolamo Frescobaldi, Fiori Musicali. Antegnati-Maccarinelli organ of San Giuseppe, Brescia. Luigi Ferdinando Tagliavini, organist. Erato STU 70918-70919 (LP only). Girolamo Frescobaldi, Fiori Musicali(Messa della Domenica) and Il Secondo Libro di Toccate (extracts). Basilica di San Bemardino, L'Aquila. Ton Koopman, organist. Erato. Cavazzoni: Musiche per organo. Basilica dei Frari, Venice. Sergio de Pieri, organist. Musica e Musei CRR 2 Girolamo Frescobaldi, Toccate (Libro II). Organ of Giangiacomo Antegnati, San Maurizio al Monasterio Maggiore, Milan, Lorenzo Ghielmi, organist. Nuova Era DDD 6799. Gti Organi della Basilica di San Petronio in Bologna, Vol. I: Maestre Padani ¢ Fiamminghi. Luigi Ferdinando Tagliavini and Liuwe Tamminga, organists. Works of Adriano Banchieri, Lucio Barbieri, Aurelio Bonelli, Marco Antonio Cavazzoni, Girolamo Cavazzoni, Domenico Ferrabosco, Jacopo Fogliano, Pietro Francese, Girolamo Frescobaldi, Giovanni de Macque, Tarquinio Merula, Ercole Pasquini, Giulio Segni, and Claudio Veggio. Tactus TC 460001 CD. Gli Organi della Basilica di San Petronio in Bologna. Vol. II: Andrea e Giovanni Gabrieli. Luigi Ferdinando Tagliavini and Liuwe Tamminga, organists, Tactus TC 510001 CD. The talian Organ. The Renaissance, vol. 1. Vicentino organ (1524), St. Mary's Cathedral, Spilimbergo. Massimo Nosetti, “organist. Works by Antico, Cavazzoni, Diruta, Gabrieli, Frescobaldi. Syrius 141304, ‘The Italian Organ. The Baroque, vol. 2. Callido organ (1780), Santa Maria Maggiore, Dardago. Massimo Nosetti, organist. Works by A. Scarlatti, D, Scarlatti, Zipoli, Galuppi, Pergolesi, Martini, Rossi. Syrius 141305. Italian Organ Music in the 18th Century. San Antonio, Villa di Tirano. Lorenzo Ghielmi, organist. Works by Catenacci, Piazza, Sammartini, Fiorini, Gonelli, Q. Gasparini, Battistini, Monza, Zucchinetto. Nuova Era DDD 7027. Maestri padani e fiamminghi. Organs of San Petronio, Bologna. Luigi Ferdinando Tagliavini and Liuwe Tamminga, organists. Works by Barbieri, Banchieri, Bonelli, Cavazzoni, Ferrabosco, Fogliano, Macque, Merulo, Segni, Pasquini, Veggio. Tactus 460001 Mayone, Ascanio: Primo e secondo Libro di diversi capricct. Christopher Stembridge, organist. Deutsche Gramaphon 05472 772472 Organa antiqua italica, 4 volumes: Bologna (Colegio di San Cardo di Modena e delle Casse di Risparmio, Pistoia, ‘Accademia di Musica Italiana per Organo), Tuscany (Siena: Palazzo Pubblico; Florence: Badia, Chiesa di Troghi: Pistoia: Santa Maria delle Grazie, Chiesa di Casalguidi, Chiesa di Montagnana), Lombardy (Milan: San Maurizio; Guastella: Cattedrale; Piacenza: Santa Maria del Campagna; Pavia: Santa Maria del Carmine; Trivolzio, Santi Cornelia e Cipriano), Naples and Venice (Pistoia: positive in Cattedrale; Tai di Cadore: San Candide; Candide di Cadore: Santa Maria Assunta; Vicenza: Santa Corone). Luigi Ferdinando Tagliavini, Maurizio Ricci, Andrea Marcon, Liuwe Tamminga, Leo van Doeselaar, Stephen Taylor, Peter van Dijk, Stef Tuinstra, Robert Kohnen, Jos van Immerseel, Joris Verdin, organists, Works by Moretti, G. Gabrieli, Lucchesi, Galuppi, Spergher, M. A. Cavazzoni, Segni, Landini, Guami, Pasquini, Frescobaldi, A. Gabrieli, Merulo, Pescetti, and Anonymous. KK CD 8903-06. Organi storici d'ttalia. Gaetano Callido organ at Feltre Cathedral, Antonio and Agostino Callido organ at San Candido, Tai di Cadore, and da Prato and Malamini organs at San Petronio, Bologna. Umberto Pineschi, Sergio De Pieri, and Liuwe Tamminga, organists. Works by Moretti, A. and G. Gabrieli, Galuppi, Spergher, Lucchesi, Marcantonio Cavazzoni, B. Pasquini, Frescobaldi, Guami, Merulo, Pescetti, and Anonymous. LEMS 8037, Organi Storici del Friuli: Nacchini, Dacci, di Lorenzi organs. Wijnand van de Pol, organist. Works by Valerj, Moretti Bongiovanni GB 50962. Organo Serassi di Colorno. Stefano Innocenti, organist. Frescobaldi, Merulo. Discantica 14. The Organs by Willem Hermans in Pistoia and Colescipoli. Liuwe Tamminga, organist. Works by Anonymous, Merula, B. Pasquini, van Dalem. Accent ACC 98129. Palestrina, De Macque: Organ Works. Organs of San Petronio, Bologna, Liuwe Tamminga, organist. Accent 96115. Pasquini, Bernardo: Organ Works. Ennio Cominetti, organist. MD&G 6060646. Rossi, Michelangelo: Toccate e correnti (parte seconda). 1651 Lucca Neri organ. Francesco Cera, organist. Tactus 601802. Sienese Splendour. The Piffaro organ of the Church of Santa Maria della Scala, Siena. Kimberly Marshall, organist. Frottole arranged by Andrea Antico, dances arranged by Antonio Gardano, and works by Marco Antonio Cavazzoni and Sperindio Bertoldo, Allegro PCD 971. II. TYPES OF COMPOSITIONS A. LITURGICAL COMPOSITIONS Verso, Versetto, a composition for use in alternation with the choir in the Mass and Offices. Some are contrapuntal, some homophonic, and others strictly imitative, whether or not based on a chant. Most Italian Mass versets are played during the Ordinary, however there was some tradition of playing for the Propers as well, especially for the antiphons and responds, Oftfertorio, a work performed during the Offertory of the Mass. Pastorale, a work evoking the bagpipe music and dances of shepherds for use at Christmas to express the mirth and cheerfulness of the shepherds upon hearing about the Messiah’s birth. Usually pastorales feature pedal points or drones and compound meter (6/4 or 6/8 especially); it has a sweet, tender, and natural expression (Bach/Ricci). Some Pastorales have many contrasting movements, B. IMITATIVE Ricerear, Recercar, Ricercate, a sectional work in which each section is based on a different subject; or a monothematic work, each section of which treats the theme in a different way. Most are imitative (motet-like "studies" in counterpoint), but early examples include improvisatory, free passagework. Capriccio, Capriccietto, a piece similar in structure to a ricercar, but based on an unusual idea which is often developed in strange ways. B Canzon, Canzona Franeese, having begun as an imitation of the vocal chanson, this genre features lively movement among the (usually) four voices with repetition of opening notes as well as entire sections. The first subject usually hhas tone repetitions. Typically beginning with a long-short-short rhythm, all the subjects are brief and presented in stretto, The sections usually contrast sharply. The variation canzona is based on one subject treated in many diverse ways. C. FREE FORMS the pitch of a chant; Intonazione, a piece used to consists of block chords connected by fast passagework. Toccata, Tastata, the earliest examples are similar tothe Zntonazione; later ones alternate free sections with ri imitative ones, Featured are curious harmonies, novel figuration (many motives are quite short), and virtuosity. Elevation Toccata, Toccata Cromatica, a slow composition of the seventeenth century for use atthe Elevation with bold modulations, and considerable use of chromaticism, suspensions, and dissonances, often in Phrygian mode. Durezze ¢ Ligature, a late sixteenth and seventeenth century work featuring harmonic dissonance and suspensions, usually in a slow tempo. ar-like Stravaganza, a seventeenth-century piece presenting something extravagant, unusual, and audacious, especially in the ‘harmonic progressions and chromaticism. D. OTHER GENRES Intabulation, a keyboard arrangement of a vocal work (frottola, motet, chanson, or madrigal). Sonata, the earliest are based on a binary dance form or a multisectional contrast canzona with diverse tempi among the sections. Partite, Variationi, a set of variations, including those based on a continuously repeated bass melody, some of which* also have a treble melody (Bergamasca*, Ciacona, Follia*, Passacaglia, Passamezzo ot Passa e mezzo, Romanesca*, Ruggiero). Dance, Ballo, although it was against church policy to allow dances to be performed on church organs, there were some ‘organs in secular settings, on which organists might have played dance music. Alemanda, a slow or moderate dance of the late sixteenth. and a brief upbeat; it has a gay character (Bach/Ricci). Balletto, a seventeenth-century dance in 4/4 with a simple, homophonic style. Ciaccona, a seventeenth and eighteenth century dance in moderate triple meter, often beginning on beat two. Coranto, Corrente, a seventeenth and eighteenth century dance in fast triple meter 6/4, 6/2, 3/4, or 3/8) with dotted rhythms and running figures. Gagliarda, a fast sixteenth-century dance in 6/4 or 6/8 with some hemiola (3/2 or 3/4) measures occasionally. Each of its three phrases is immediately repeated in varied form; if the repetitions are lacking, the organist should supply them, teenth centuries in 4/4, often with short running motives Gavotta, a graceful, lively, or tender and slow seventeenth-eighteenth century dance in duple meter beginning with an upbeat. Giga, a fast dance of the seventeenth and eighteenth centuries with running passagework, usually in 6/4, 6/8, 12/8 or 4/4, with a gay, light character (Bach/Ricci).. Marcia, a military dance in duple meter with a maestoso or largo tempo, marking the strong beats with the Timpano (drum) stop. Minuetto, a dance in moderate triple meter (3/4 or 3/8) of the late seventeenth to the early nineteenth centuries; it has an ‘elegant and noble simplicity (Bact/Ricci). Padoana, Padovana, Piva, if not erroneously used to designate a pavana, the sixteenth-century padoana is a fast dance in 6/4 or 12/8 with four phrases, each immediately repeated in varied form. Ifthe repetitions are lacking, the organist is expected to provide a variation. Passacaglia, Passagallo, a seventeenth and eighteenth century dance almost identical with the Ciaccona except that itis slower, more tender, and usually beginning without an upbeat. Passamezzo, Passo e mezzo, a sixteenth and early seventeenth century slow, processional dance almost identical to the avana in style, but distinguished from it by the use of a bass melody over which continuous variations were performed. The antico and modemo forms differ in the bass. melody used. Pavana, a slow processional dance of the sixteenth century in simple quadruple time (4/4 or 4/2) similar to the passamezzo. Saltarello, a leaping dance of the sixteenth century almost identical to the gagliarda except for the height of the leaps. Sarabanda, a seventeenth-eighteenth century dance in slow triple meter, usually with an accent on beat two; by the late eighteenth century it is recognized as a slow Minuetto, Tedesche, Todesca, a late sixteenth-century dance similar to the early form of the alemanda. Il. THE ORGANS ‘The organ was considered the finest of musical instruments in Italy throughout the period 1550-1830. Diruta (1593) finds it the most excellent instrument because it “contains within itself all other musical instruments” and “their praiseworthy qualities,” even representing the “human voice by combining the functions of breath and hand.” This is why Diruta believes the organ is called the King of Instruments and why its presence in church is justified in order to offer praise and honor to God. Banchieri (1609) offers similar praises of the organ, and adds that its importance over the other instruments is also due to its unique ability to express the wide range of perfect consonances through its registers. Gervasoni (1800) describes the organ as “the most beautiful, the most magnificent, and the most vast of all the instruments” due to the quantity and variety of ranks, which deservedly place it as the king of instruments and as the most suitable for divine worship. ‘The first major school of organ building in Italy appeared in Venice (c.800), but litle is known of these organs. In the Renaissance, however, the Antegnati family dominated in Lombardy (Brescia). The Antegnati's organs were based on a Principal rank and its overtones (unison and fifth-sounding ranks, but not those sounding the third) from the octave to the thirty-third (later to the thirty-sixth), excluding the twelfth, to create a Principal chorus (Ripieno) that was clear, transparent, and brilliant ~ the epitome of Italian organ style. To this basis were added several flutes (but never in unison with the lowest Principal rank) at the octave and twelfth, and a second Principal rank in unison with the lowest one and slightly wider in scale. ‘Various local and regional preferences emerged in the Baroque era. While Naples and the south remained quite ‘conservative of the Renaissance Italian organ, Tuscany led the way with the adoption of many Flemish characteristics introduced by Willem Hermans around 1650. ME conttbtharion iF Iustration 2. Map of Italy (1559-1796). Reprinted with the permission of Cambridge University Press from Christopher Duggan, A Concise History of Italy, (Cambridge: Cambridge University Press, 1994), p. 64. Is A. SPECIFICATIONS AND STOPLISTS ‘Stop names on Italian organs are always given in reference to the lowest Principal. Thus Ortava may mean a Principal 8' on a 16' organ, or 2’ on a 4 organ, The ranks in the stop lists below are given at their actual pitch, but the general ‘comments that follow are given for 8' organs. 1. CLASSICAL RENAISSANCE ITALIAN ORGAN The classical Brescian organ reached its basic form by 1575. Exceptions to its characteristics as summarized below should be considered as such, and most of these were built by foreigners. Similar organs were found throughout Italy, and some areas never deviated much from this design, especially in southern Italy. Brescia: San Giuseppe, Graziadio and Costanzo Antegnati, 1581 Manual Compass: CC (16)-2% lacking gf? and CC#, DD#, FF#, GG# in short octave (originally from FF until 1581), Regist organo Principal basi (CC web) Principal 8 (bass) or Ripe Principle soprani (om Principal 8 (treble) ouava Octave ‘ Decimaquina 15th 2 Devimanoca bin Las Vigesimascconda 2nd r Vigesimasesta 26th 23° Vigesimanona 2th 12 Tiigesimaterca 3rd “ Regist da Concerto auto in ava Fuue * Flauto in dvodecima Flute 2a Flauto in quintaderima Flute z Fiffaro (Voce umana, fromF) Principal’ «=== “Celeste” Pedal pulldowns (original compass uncertain) 1, KEYBOARDS: Usually there was only one keyboard. The top note was almost always a, and the bass might extend as low as c, G, F, C, FF, GG, or CC. Usually missing were g4 and the lowest F# and Gf, and on organs beginning on a C, missing were usually the lowest C# and Dé in the first, short octave. Many early examples of extended compass are the result of adding C, D, and E to an F-compass organ, creating the short octave bass. Sometimes there were half stops, the point of division being variable: b/c’; e/f; a/bb; c#'/d', Only the Principal 8', Ottava 4’, Flutes and Reeds were divided, The typical Antegnati organ was 12' with 50 keys (FF GG AA -g2 a), If there were a second keyboard, it would be the lower one. Its pipes were set Brustwerk-like to the left of the player. This division is called Eco ot di Riposta. In the seventeenth century there are rare examples of three manuals. 2. PEDALS: Pedals were not common in Italy. If present, they were usually pulldowns and consisted of only an octave (short), or two octaves at most, often without some chromatic notes (for example C2). Occasionally there were Contrabassi (open metal or Wood) that were permanently connected; the Contrabassi and Principale were at the same pitch, ie., both at 16' or both at 8 ‘The keys were short and sloped upwards into the organ at about a 45° angle in a configuration similar to a reading ‘desk, Due to their small size, they could only be played with the toes. ‘The pedals were used as a convenience, especially sustaining long notes in Toccatas and at cadences. According to registration lists by Antegnati, pedals were used with the Ripieno and in Dialogues. 3. CASE AND PLACEMENT: The organ had no fixed position in the Italian church, but frequently it was placed in a gallery near the altar (to the right or left). It was in the shape of a large vertical rectangle. It was shallow with a ‘great deal of empty space behind the facade pipes. ‘The facade was flat. There were usually three towers separated by double-tiered flats, the upper tier containing only ‘dummy pipes. Decoration dominated. The best paintings were sometimes on the exterior doors, which were out of ‘view when the organ was open 4. WINDCHEST AND WIND PRESSURE: Larger organs usually had spring chests, and smaller organs had slider chests. ‘The spring chest was located at the level of the footholes of the facade pipes. ‘The windpressure was about 1 3/4 inches (c. 42 mm.).. The pipe racks which support the pipe feet are placed above the mouths of the pipes, unlike all other European schools of organ building. This creates a shallow box (about eight inches high) filled with pipe feet, and subdues the enharmonics and wind noise from the mouths. 16 5. PIPES: Most ranks were Principals, and there were only a few Flute and rare Reed ranks. Both Principals and Flutes normally were open metal pipes with a high lead content and thick walls. The scale was narrow, although Flutes were still wider than the Principals. Mouths were also narrow. ‘The Antegnatis tended to base the scaling of the upper Principal ranks on that of the Orava rather than the Principale (which was slightly wider than the Ortava). Wooden and stopped pipes were generally avoided by Italian builders until they were introduced in Tuscany by Willem Hermans in the seventeenth century. Some organs, however, used only Wooden pipes (the Papal gift organ located in Innsbruck’s Silbemen Kapelle, c. 1550, and the continuo organo di legno used by Monteverdi in Orfeo). This tradition persisted as late as Santa Maria delle Grazie, Montepulciano in the late eighteenth century. Although available at 2-2/3' and 4° pitches, only very seldom were Flutes available at the same pitch level as the lowest Principal on early Italian organs. Frequently the lowest Principal ranks had double pipes (two per note) from the second or third octave. This type of organ persisted in southern Italy through the eighteenth century. Facade pipes were tin. Principal ranks were placed at the front (fagade) of the windchest from the lowest to the highest ranks, with Flutes at the back; thus the lowest Principals were placed closest to the pallet opening, Tuning was some kind of meantone temperament, but pitch varied from instrument to instrument. 6. VOICING: The voicing of the Principals was soft, round, gentle, ively, sweet, silvery, and never aggressive. There was a relatively low cut-up, little chiff, and nicking was used. All ranks broke back an octave upon reaching c? (unison ranks) or f¥2 (fifth-sounding ranks), which produced a preponderance of 2" and 2-2/3' pitches in the upper registers of the Ripieno. The Principale was voiced in such a way that it could support the open Flute 4'. ‘The Flute was voiced to sound like a recorder: warm and round. 7. UNUSUAL STOPS: The Fiffaro or Voce umana is a Principal 8' tuned sharp (or flat in Venice) to undulate with the main Principale, Its use was limited to slow pieces. It was found only in the treble register (from f° orc’). The earliest example at Venice appeared in 1668 (Santa Maria del Giglio). Reeds were rare except in Venice, where the Voce wmana was a regal. Regals were the most common reeds, and were probably used in pastorales. TOY STOPS were sometimes present, including bells, drums, and birds. 8, ACCESSORIES: Accessories included the tremolo and a coupler to the pedal. 9, PITCH AND TUNING: Pitch was variable, depending on local preferences. Meantone tuning was normal, and many organs had split sharps to make available both D# and E> or G# and Ab, and ‘occasionally additional subsemitones. 2. HISTORICAL FIRSTS IN ITALIAN ORGAN DESIGN 1377 Possible independent stops on a positive organ: Florence, Santé Maria Novella 1379 Pedals (pulldown only) and a 41 note manual range (GABe°-

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