REGISTRATION MATTERS:

ANALYZING ITALIAN RENAISSANCE

REGISTRATION
By Richard Lester

The question of organ registration is a complex subject and one which relies on a number
of important factors. Many composers give helpful advice, others, none at all, but as no two
organs are alike, one's judgment to a great extent is guided by diligent research, experience,
the instrument itself, specification, and the acoustics of the space. A further consideration in
the performance of any Renaissance or Baroque organ music is the question of temperament,
absent for practical reasons from most modern instruments in favour of equal temperament,
but preferable for an "authentic" performance of early music. But what is an authentic
performance?
During the Italian Renaissance, several contemporary writers commented on registration.
The two most prominent contributors were the maker and player, Costanzo Antegnati (1549-
1624; L'arte organica 1608), and Girolamo Diruta (cl544-1610; II Transilvano 1593). Both gave
useful advice on how to register various works. Adriano Banchieri (1568-1634; (Condusioni
nel suono dell'organo 1609 and L'organo suonarino 1605,1611,1622 and 1628) also provided some
information, referred to later.
Costanzo Antegnati, organist of Brescia Cathedral, and arguably Italy's greatest organ maker,
gave the most detailed information and favoured registrations based on the liturgical nature of a
work. Girolamo Diruta, organist of Padua Cathedral and a pupil of Claudio Merulo (1533-1604,
organist at San Marco in Venice), also gave precise instructions recommending stops conceived
in terms of the character of the church modes. As a pupil of Merulo, Diruta undoubtedly took
his advice on registration from his teacher.

The Italian Organ

The typical Italian organ of the sixteenth century was a one manual instrument with a dozen
or so speaking stops and little more than a four octave keyboard compass plus an octave or so
of pedal pull-downs attached to the underside and lower end of the manual keys. The manual
compass either descended to C two octaves below middle C (often a C /E short octave),1or the
F below that. As little organ music exceeded that lower range, greater possibilities were present
with regard to transposition, as works could be played one octave lower than written. This
added greater depth and colour to the texture in larger scale works and also afforded the higher
pitch ranks (4', 2', 1 1 /3 etc.) the same advantage; this subsequently increased the number of
registration permutations.
Before continuing this discussion on Italian organ registration, readers unfamiliar with the
sound of certain stops may find the following information helpful, as no written explanation can
describe fully the beautiful and delicate sound that individual pipes make. My own recordings

A utum n 2016 15
of Frescobaldi's organ works2will help in identifying individual and authentic colours of the
Italian organ in context where registration is clearly identified in the accompanying booklet.
The foundation tone of most Italian organs is the Principale (termed Diapason on English
organs, Principal on German instruments and Montre on French organs; other countries vary in
nomenclature). The Principale 8' is so called because the lowest pipe is around 8' in length. The
fundamental sound of an Italian Principale is soft and delicate with a slight "chiff" as the air,
entering the metal pipe through the foot-hole and passing between the lower lip and languid,
excites the upper lip, producing a sound comparable to blowing a soft "two" into a recorder,
thus stimulating a gentle ictus. On an Italian organ, there are a series of other elemental ranks
of the same scale, or family of pipes above the Principale that sound an octave above (VIII) 4',
two octaves higher (XV) 2', three octaves (XXII)l', (XXIX) 1/2 and (XXXVI) 1/4). Fifth (quint)
sounding ranks add colour and brilliance to the basic Principale 8' rank with (XII) 2 2/3, (XIX) 1
1/3, (XXVI) 2 /3 and (XXXIII) 1/3. Other ranks of flute-like quality (Flauto in VIII, XII and XV)
can be added to the Principale, or used singly as further colourful registrations. All these pipes
are usually made of a composite of tin and lead.
To assist in the understanding of organ registration, the Stop List and nomenclature below
will serve as a guide in the notes concerning Antegnati's and Diruta's suggestions.

Stop List
1. Principale 8'
2. Ottava (VIII) 4'
3. Quintadecima (XV) 2'
4. Decimanona (XIX) 11/3
5. Vigesimaseconda (XXII) V
6. Vigesimasesta (XXVI) 2/3
7. Vigesimanona (XXIX) 1/2
8. Trigisimaterza (XXXIII) 1/3
9. Trigesimasesta (XXXVI) 1/4
10. Flauto in VIII 4'
11. Flauto in XII 2 2/3
12. Flauto in XV 2'
13. Voce Umana or fiffaro
14. Tremulant

On some larger organs, the Principale is of 16' pitch, the Ottava will then be at 8' pitch and
the Quintadecima at 4' and so on. If the instrument is an FF compass, the Principale is of 24'
pitch, the 8' sounding Principale would be labelled 12' and the Ottava 6'.

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 Registration Matters: Analyzing Italian Renaissance Registration

Three Important Genres

Antegnati, in L'Arte Organica, discuses registration in a written dialogue with his son,
focusing attention on Toccati, Canzoni, the accompaniment of motets, and all kinds of other
music with divisions. "Divisions" is a term used to describe florid decoration of a written
melodic line.
The toccata evolved from the Intonazione, in essence a short work usually played at the
beginning of Mass, and designed to introduce the mode of the opening antiphon. There is
also evidence that suggests the genre was greatly influenced by the Recerchari of 1523 by
Marc'Antonio Cavazzoni in their improvisatory style. Antegnati advises that for Intonazioni
and Introiti at the beginning and at the end of Mass when a Toccata may be played, the full
ripieno with pedals should be employed.
The full ripieno would include the following from the stop list above: 1-7, probably with
the addition of 8 and 9 on an FF compass organ if played an octave lower. (Note here that the
4' Flauto rank is not included as it would not have added anything to the fuller and brighter
ripieno.) The mezzo-ripieno was based on 1, 2, 10,7 and 8. A further permutation is 1, 2,10,
5 and 6. (Note that the rule of omitting the 4' Flauto (10) is relaxed here as it would have
enriched the softer ripieno.) Antegnati continues with advice on all kinds of music and for
accompanying motets suggests 1 and 10. (The delicate Italian Principale blends well with the
4' flute producing a gentle and clear timbre for accompanying.)
He then moves on to registration for canzoni, which by their nature are extremely
colourful, often witty, light and quick in tempo; and with divisions. He suggests 1,2 and
11, or 1 and 11: also 1 and 12 for music with divisions, and similarly 1, 2 and 12. All these
colourful registrations are very bright and clear, but Antegnati goes further by omitting the
Principale, in some combinations stating that for music with divisions, canzoni, and all kinds
of "things," 2 and 10, are ideal. Of those higher pitched ranks, 10 alone is also proposed.
On a 12' / FF compass organ these stops are also useful when played an octave lower but
sounding at 8' pitch.
The Principale (1) on its own is recommended for delicate accompaniment or as a
solo during the Elevation of the Host, or during Communion. For Adagio movements
played legato, 1 with 14 is advocated, and 10 with 14; also 2 and 10 with 14. In these latter
registrations, the addition of the Tremulant in music with divisions would sound confusing,
but as already mentioned, I believe that in really slow tempi, tasteful ornamentation would
not be out of place. I should, however point out that in Antegnati's written dialogue, his son
mentions hearing canzoni with divisions played on this combination by many famous men.
Costanzo apologizes for saying that in effect they have little taste, for playing fast while
using these stops causes confusion.
Towards the end of his discourse, Antegnati refers to the Voce Umana 13 which produces
a very sweet sound and is used exclusively with the Principale (1). The Voce Umana is a
separate rank of Principale pipes detuned slightly sharp of the main Principale so that it
beats "out of tune", resulting in an undulating effect. This combination is used for slow
tempi played as legato as possible. One further combination, 2,10,4 and 5 resembles a
consort of cornets.

Autumn 2016 17
 Diruta, who prefers registration to be based on the mode of a work, suggests the following
combinations:

Mode Affect Registration

Mode 1 serious and pleasing 1, 2 ,1 0 , or even with 3
Mode II melancholy 1 with 14
Mode III lamentation 1 and 10
Mode IV sad and sorrowful 1 with 14, or flutes in their natural ranqe
Mode V joyful but modest, and pleasing 2, 3 and 10
Mode VI devout and serious 1 ,2 ,1 0
Mode VII gay and delicate 2, 3 and 5
Mode VIII charming and delightful 10; 2 and 10; 2 and 3
Mode IX happy, gentle and sonorous 1, 3 and 5
ModeX somewhat sad 1 ,2 or 10
Mode IX sweet and lively 10; 10 with 3; 10, 3 and 5
Mode XII sweet and lively 10 and 2; 10

Diruta's choice of high pitch ranks, though, illuminates the happier modes V, VII, VIII, IX,
and XI. Note also that Diruta avoids fifth (quint) sounding ranks.
Diruta advises that "the flute and other similar ranks m ust not be used with the ripieno
as they do not blend well.3The Principales may (in non-ripieno registrations) be used with
various stops including flutes, according to the tonal effect required for the different modes."
He continues that "no set rules may be laid down for these combinations of stops, seeing that
no two organs are alike", adding that "it is useless to play a sad piece on joyful stops and
similarly a joyful piece on sad sounding stops". By joyful stops, Diruta is describing those of
an octave pitch or higher, whereas the Principale with the Tremulant or the Flauto played an
octave lower are more sombre in character and particularly recommended for the Elevation of
the Holy Body and Blood of Our Lord Jesus Christ."4 Both Diruta and Antegnati recommend
changing stops during a piece where the mood and texture change, especially for ricercari,
canzoni, or toccati.
Adriano Banchieri (Conclusioni nel suono dell'organo 1609 and L'organo suonnrino 1605,1611
and 1622) is not as specific as either Antegnati or Diruta and gives modest advice. In response
to the Ceremoniale Episcoporwn, a document issued by Clement VIII in 1600 that appeared
in a variety of handbooks; it concerned the organ's role in replacing parts of the proper and
ordinary of the Mass. Frederick Hammond quoting Stephen Bonta states that "In plainsong
masses the organ interludes comprised a piece for full organ (ripieno) at the repeat of the Introit
(sometimes omitted), a ripieno or short (fuga) after the Epistle, and a motet or ricercar at the
Offertory. At the Elevation of the Host, the Ceremoniale prescribed music "in a graver,
sweeter sound," interpreted by Banchieri as a serious work "that promotes devotion."
A capriccio or aria alia francese, "charming but musical", was performed after the Agnus Dei,
and a short ripieno concluded the service. Specific feasts permitted other interpolations.
At Easter, for example, it was customary to play a battaglia, "decent and fitting to the Holy
Easter Sequence [Victimae Paschali]," with its image of the "wondrous battle between life and
death".5 Banchieri's comments on registration are not at all detailed. As quoted in Hammond,
he marks the closing bars of a Sonata in dialogo "ripieno” (L'organo snonarino, 1605, p.64); another
dialogue bears the indications "principale & Ottaua" and "Leuasi l'Ottaua" (1611, p.32); the
sections of a La battaglia are marked "Ottaua & Flauto," "Giungasi Pricipale adagio," "Presto &
pieno," "Adagio & vuoto," "Ottaua & Flauto; allegre," "Pieno & allegro" (1611, p.38-39).6

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 Registration Matters: Analyzing Italian Renaissance Registration

Pedals on Italian organs (usually one octave or more of pedal pull downs) were used
sparingly (which was just as well owing to their limited range) and confined mainly to
cadence points and to add depth to the texture. An interesting printed edition of Toccate et
Ricercnri d'organo Del Eccellentissimo (1604) by Annibale Padovano (first organist at San Marco
from 1552 to 1565) has capital letters printed (in the same italic typeset as the index) under a
number of bass notes in the opening toccata, most probably indicating that they were to be
played with pedals. I find little evidence that the pedal department on early Italian organs
contained a 16' rank. The Antegnati organ referred to earlier does, but these registers were
probably added in the eighteenth century.
In addition to advice by Antegnati, Diruta and Banchieri, an interesting hand written
document is to be found in the parish archives of Duomo SS Corpo di Cristo in Valvasone,
Italy. The organ there is by Vincenzo Colombi, and it is thought that the document containing
registration suggestions is by him. It gives further evidence for the use of the higher
pitched ranks for inventive tonal colours and includes the Principale (here called Tenori)
and Vigesimanona: Tenori, Vigesimanona and Flauto in XV; Tenori, Vigesimasesta and
Vigesmanona; and Tenori, Vigesmaseconda, Vigesimasesta, and Vigesmanona.
Many of the Italian Renaissance composers left intabulations based on motets and
madrigals. One such intabluation, Andrea Gabrieli's improvsiation on de Rore's "Anchor
chel col partire",7reflects the anguish of parting from a loved one and the immense joy of
reconciliation.8Played on an eight foot flute, the opening sounds particularly good especially
if the flute is of the Gedackt variety with its characteristic "chiff". However, as will be
noted from the stop list, on an FF compass organ the same effect can be achieved if the
more commonly found Flauto in VIII (4' flute) is played an octave lower. Where the music
comes to a natural pause at bar 14, the Flauto in VIII can be played in its normal range, ergo
sounding one octave higher, returning an octave lower at bar 25. An alternative registration
is the Principale alone to the same point, then adding the Tremulant, returning at bar 25 to
the opening registration. The Voce Umana stop is also another most effective stop.
The Ricercar, a primarily contrapuntal work, and not mentioned specifically by either
Antegnati or Diruta, needs a clear registration. The character of ricercar in question
however determines the tempo, and for the slower variety, 1 and 2 or 1 and 10 would be an
appropriate choice, and for faster works, 1, 2, plus 3 would add the brilliance needed, and
especially if divisions were added. 1 and 12 would also be good. Examples of ricercari by
Andrea and Giovanni Gabrieli and Claudio Merulo are all worthy of study.9

Tuning, Temperament and Pitch

The science and mathematics of tuning keyboard instruments using syntonic or Pythagorean
commas is a complex subject. But it is important to understand that in the sixteenth and
seventeenth centuries, modes governed composition: seven sharp keys and seven flat keys
were yet to be established. Over the centuries, temperament was modified to accommodate
the modern key system of equal temperament; consequently, meantone tuning which was
practical in Renaissance times may sound a little unusual on a first hearing. With quarter
comma meantone, fifths are noticeably narrower than equal temperament fifths. There are

Autumn 2016 19
also eight pure or beat-less thirds; A - C#, Bb - D, C - E, D - F#, Eb - G, E - Git, F - A and
G - B. The remaining major thirds in the scale are then unacceptably sharp, but of course are
irrelevant in meantone.
To accommodate increasing experiments in micro-tonality and just-intonation, many
harpsichords and organs with split keys, quite common in Italy up until the 1640s, were
made to facilitate more adventurous modulation; Girolamo Frescobaldi (1583-1643) was
one of the first to experiment with these. In meantone temperament on a normal keyboard
for example, G# (more frequently used than its chromatic counterpart, Ab) is tuned as a
pure major third from E, rendering the Ab unacceptably sharp. As we approach the more
"audacious" works of Frescobaldi, we encounter a G# and an Ab in the same work (Toccata
Undecima, II secondo libro di Toccate, Canzone. Rome, 1627/37). Other works by Frescobaldi also
feature excursions into tonal innovation. A split keyed instrument would allow the front of
the accidental to be tuned as G# and the back as Ab: and believe me, there is a noticeable
difference. Other accidentals were also split, allowing frequent harmonic and melodic
expeditions outside of the modal perimeters.10
No article on the subject would be complete without mention of the arciorgano designed
by Nicola Vicentino and built by Vincenzo Colombo in 1561. Christopher Stembridge refers
to this instrument in the Cambridge Companion to the Organ stating that "This, similar in
construction to Vincentino's archicembalo, has thirty-one notes to the octave and although
only a handful of organs existed, it suggests a serious attempt to secure its importance." 11
Frescobaldi's teacher, Luzzasco Luzzaschi (c.1545-1607) was reputed to be a master on
the instrument. A close look at the keyboard 12demonstrates just what a nightmare it must
have presented.
Jeffrey Kurtzman 13says that "numerous theorists in the late sixteenth and early
seventeenth centuries discussed the necessities for organists to be able to transpose by many
different intervals in order to play in a range comfortable for the singers. Despite fluctuating
and varying pitch standards, enough common standards for instruments seems to have
existed for both Michael Praetorius (1571-1621) and Giovanni Battista Doni to have made
generalizing comparisons about pitch levels in different countries or in different cities. For
example, Doni claimed that "the organ pitches of Naples, Rome, Florence, Lombardy and
Venice form a series ascending in semitones."14"
Praetorius commented that pitch levels were so high that singers were experiencing severe
throat strain and string players had to replace strings that had snapped.15Pitch according to
the theorists varied considerably in Italy and it appears that between Rome, Florence and
Venice, "A" sounded at around 390 Hz and 493Hz — possibly lower and even higher.
The pitch of Venetian organs reached around 493 Hz, approximately one tone above our
normal 440 Hz.
At the beginning of this article I posed the question of an authentic performance. There
is simply no definitive answer. All we can do is express and communicate composers'
intentions through careful and informed historical research available from various treatises
of the period.

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 Registration Matters: Analyzing Italian Renaissance Registration

As the lower accidentals of the bass register were rarely called for, a C/E short octave arrangement became
common throughout the sixteenth and seventeenth centuries and was a characteristic of many keyboard
instruments that not only saved space, but reduced cost. The short octave system meant that the lowest note
on the keyboard appearing as E was tuned to bottom C. The apparent F# was tuned to D, and the G# was
tuned to E; then F, G, A, and B-Flat were in their normal place. Other instruments with split keys enabled those
rarely used accidentals to be played. The arrangement then was that the back of the accidental would be tuned
to the less frequently used accidentals, F#, E-Flat, and G#. A similar arrangement was in evidence for an FF
compass instrument. The C/E arrangement makes real sense when one encounters works where the left hand
appears to be stretched beyond physical capability. There are many examples, but the final chord of Claudio
Merulo’s Toccata Prima (1598) requires a bottom D with its octave, plus an F#. On a C/E short octave, the D of
course is taken by the bottom F#, facilitating a much easier stretch.

Nimbus Records NI5874, recorded on the 1588 Costanzo Antegnati organ in San Nicola, San Salvatore in
Almenn.
Girolamo Diruta, II Transilvano (1593), Part 2, Book 4, 22.

Girolamo Diruta, II Transilvano Part 2, “Discorso sopra II Concertar LI Registri Del' UOrgano", 22 and adapted
from Barbara Owen, The Registration of Baroque Organ Music, (Bloomington, Indiana: Indiana University Press,
1997), 57.
Stephen Bonta, “The uses of the Sonata da Chiesa,” Journal of the American Musicological Society 22 (1969):
n. 62, quoted in Frederick Plammond, Girolamo Frescobaldi, 23. The account of the organist's functions at
Mass is a compendium of Adriano Banchieri, Uorgano suonarino (Venice, 1605; reprinted with additions 1611,
1622, 1638; facsimile, Bologna: Forni, 1969), 2-38; Banchieri, Conclusion! nelsuono dell’organo (Bologna 1609;
facsimile, Bologna: Forni, 1968), 18-19, 22-23; and Fra Bernardino Bottazzi, Choro etorgano (Venice, 1614;
facsimile, Bologna: Forni, 1980), 14-83.

Hammond, 363, note 11.

This was included in the previous article by the author, entitled “Trills and Frills” in Harpsichord & Fortepiano 20/1
(Autumn 2015). Andrea Gabrieli's written out improvisation on Cipriano di Rore’s motet, “Anchor che partire”
appears in Primo libro di madrigali a quattro voci di Perissone Cambio con alcuni di Cipriano Rore, 1547.
Gabrieli’s intabulation was published posthumously by his nephew Giovanni as Ricercari di Andrea Gabrieli
organista in S.Marco di Venetia composti & tabulate per ogni sorte di strumenti da tasti... Libro secondo,
Venezia, Gardano, 1595. The words, “Ancor che col partire io mio sento morire, partir vorrei ogni momenta, tanto
e’il piacer ch’io sento" mean , “Although when I part from you it is a kind of dying, I would be glad to leave you
every hour, every moment so great is my joy.” Text and translation by Mick Swithinbank at the “Choral Public
Domain Library” Online,
< http://www3.cpdl.org/wiki/index.php/Ancor_che_coLpartire_%28Cipriano_de_Rore%29
I have included this particular work in the Nimbus publication Masterworks and Miniatures for keyboard
instruments. (ISMN: 979-0-708129-24-0) and it is also played during Communion, as can be heard in my
recording of Cavazzoni’s Missa Apostolorum (Nl 5909/11) CD 1, Track 11.

Readers can view scores online for free at the International Score Music Library Project.
Andrea Gabrieli at <htto://imslp.ora/wiki/Cateaorv:Gabrieli, Andrea>
and Giovanni Gabrieli at <http://imslp.0rg/wiki/Categ 0ry:Gabrieli,_Giovanni>.

For a demonstration, readers may like to visit <www.youtube.com./watch?v=KhxUgue95ig> and www.voutube.

com/watch?v=3cZRTv5NxFs.
Christopher Stembridge, “Italan organ music to Frescobaldi “, in Nicholas Thistlewaite and Geoffrey Weber, eds,
Cambridge Companion to the Organ (Cambridge : Cambridge University Press, 1998), 155.

https://en.wikiDedia.ora/wiki/File:Tonraum30.11-14 1.jpg has a photo of the instrument. We cannot reproduce it

here as this would not constitute fair free use. A description of this instrument appears at “Archicembalo”,
Wikipedia, Online, 2016, <https://en.wikipedia.org/wiki/Archicembalo>.

Jeffrey Kurtzmann, The Monteverdi Vespers of 1610: music, context, and performance (Oxford : Clarendon
Press, 1998), 406-407.

Giovanni Battista Doni, Annotazioni sopra il compendio de’ generi, e de' modi della musica (Rome, 1640),181 -2.

Michael Praetorius, Syntagma Musicum (Wittenberg & Wolfebuttel: 1614-1620): Parts 1 and 2.

Autumn 2016 21
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