ZAMPOGNA Mountain bagpipe blooms

THE ZAMPOGNA MOLISANA

EST known until recently as a The centre of zampogna-making is the Roman conquest of the region in 263 BC. picturesque but little understood orange-tiled village of Scapoli that, with its This is a relatively poor part of Italy, unpre- B presence in the traditional south potted geraniums and steep, narrow streets tentiously rooted in the traditions of its rugged Italian Christmas, the zampogna molisana is and terraces, overlooks valleys of olive groves, environment. Life here has made for a hardy making a strengthening emergence from its vineyards and cornfields, across to forests but hospitable rural culture, despite having strongholds in a few little-known mountain where European bears and wolves still roam been weakened by emigration and economic villages: Scapoli, Castelnuova al Volturno in the safety of the 44,000-hectare - vulnerability. and San Polo Matese. and National Park and its At the end of July each year, it plays host to Improvements to the full-sounding, dou- 60,000-hectare extended protection zone. an international bagpiping festival: the Festival ble-chantered bagpipe, growing opportunities Although it is itself perched on a 600- Internazionale della Zampogna, popularly for performances by its players at festivals in metre hilltop, Scapoli is overlooked by the known as the “Scapoli Festival”. Europe, recordings, an expanding repertoire spectacular peaks of the Mainarde range to the Said Umberto Di Fiore, who constitutes and some very deliberate promotion have all north-west and the Matese range to the east the entire police force (Guarda Municipale) begun in various ways to elevate respect for — mountains held sacred by the early Samnite of the village of Scapoli and has been making the instrument. people whose culture held sway here before the zampognas for more than 25 years: “I see a lot

PIPING TODAY • 32 kept their instrument alivekept their instrument and ensured atleast the zampognari an essential, spiritual task that This gave wanted andlikedtohearthepipes.” do thisbecause,forChristmas, peopleneeded, pipersfelttheyhadaresponsibility“The to the impetusforpromotion oftheinstrument: colo dellaZampogna thathaslongprovided the zampognari traditionallyplay. Epiphany, following theirChristmas Novena, festive season withtheirmusic.Again,during by travelling tothecitiesannounce prayer and devotion leadinguptoChristmas anine-daycycle have of traditionally observed Christmas. decline largely through its association with inthearea.”instrument pipe-making andIseeagoodfuture forthe teaching them;theyare approaching the tomakepipesandIamand have started 26 —have afolkgroup, playingzampogna, like mysons—Hectore, 29,andGian Luigi, or five makers. Todaymaking inthisarea. there are onlyfour of the family and the tradition of bagpipe to preserve myfamily’s traditions,thememory learning from myfathernotasabusinessbut years old.Ibegantomakepipes25years ago, time agoby mygrandfather, whenIwas10 toplay,started madealong onaninstrument his grandfather, Benedetto. highly respected zampogna-maker, astoowas more thanbefore.” put onthewall.People are learning toplay… to the zampognaisnotjustaninstrument said Umbertoinstrument,” Di Fiore. “Now, something tohave ascurio butasamusical open thezampognatowiderinterest, notas tion ofpiping. Vecchiona, tocelebrateScapoli’s livingtradi- the village administration’s Mayor, Pasquale form, was heldin1975 at theinstigation of play thezampogna,oftenbetterthanme.” again afterfourorfive years, theyare ableto that, whenthesamepeoplecometoScapoli andthestrangethingis buy theinstrument, from abroad, ofEurope, from otherparts to ofItalyof peoplecomingfrom otherparts and Said AntoniettaCaccia, president oftheCir- The zampognari (pipers) of this region two centuries of The zampogna survived “But there are newyoung peopleinterested, is a family tradition,” he said. “I“This Umberto Di Fiore’s father, Ettore, was a “Surely the Scapoli Festival has helped to The firstfestival, ina relatively modest or fiveyears,theyareabletoplaythezampogna,oftenbetterthanme.” parts ofEurope,tobuytheinstrument,andstrangethingisthat,whensamepeople come toScapoliagainafterfour Umberto DiFioreinhisworkshop…“IseealotofpeoplecomingfromotherpartsItaly and fromabroad,other Nativity scenes. traditional NeapolitanChristmas figures andbackgroundsofthe — whocraftthepopular workshops ofartists—‘figurari’ is crammedwiththestallsand oldsection heart ofthecity’s regionally famousstreetinthe Gregorio AmernoinNaples.The by masterartistsoftheViaSan permanent displaywasmade della ZampognainScapoli.The Nativity sceneattheMuseo detail ofwhatisaroom-sized the upperleftsideinthis THE ZAMPOGNAROisat chanter, on theshorter, higherregister and thumbofhisrighthandare the longerchanter. Thefingers fingers ofsamehandareon back ofthedrone,while additional tuningholesonthe Piero Ricci’slefthandiscovering director. Notethethumbof principal conductorandartistic Franz Albanese,theorchestra’s Regional Orchestraconductedby PIERO RICCIwiththeMolise PIPING TODAY •33 Photos: MikePaterson

COMMUNITYZAMPOGNA ZAMPOGNA

some of the repertoire was handed down orally, troublesome little reeds, and was abandoned with both white and black keys — it allows often from father to son. These are traditions — the hole it occupied was better used as a many more effective chords and a different, that continue to this day. drainage hole. more versatile style of performance. From the 18th century, other olden uses Until very recently, the zampogna and “It means the zampogna can be played as a — such as providing an accompaniment to ciaramella were typically handcrafted on pedal- solo instrument. It gives me a wider range of farm labour and playing a part in the ritual operated lathes. Generally made from local olive notes, so I can play all the notes of the scale and protection of animals — began to fall into a or cherry wood, they show the hand and reflect play with instrumental ensembles and orches- steady decline. the skill of their maker. tra, and play a wider range of music. “The zampogna was used in all kinds of The shorter, right-hand chanter — the “It makes it possible for me to approach celebration, and in rural culture there were ‘canna melodica’ — has a thumb-hole at the new audiences, especially younger people,” many festive days, like the start of spring and at back and four finger holes and two sounding he said. harvest time, and the zampogna was the main holes at the front, giving a six-note range. On The changes also have encouraged new popular instrument in the whole south of Italy. the popular 25-inch model, this will be G, A- composition, and generated new performance The zampogna was played in processions and flat, B-flat, C, D-flat and E-flat. On the same opportunities for zampognari. religious celebrations, and it was used by itin- model, the longer, left hand chanter — the Piero Ricci has made several recordings and erant musicians who travelled as far as Russia, ‘canna ritmica’ —will produce A-flat, B-flat, has performed as a soloist at the La Scala Opera Scandinavia, and even to Scotland,” she said. C, D-flat and E-flat in the lower octave. It has House, Milan, with the La Scala Orchestra “However, from the second half of the 19th four front finger holes, the lowest closed by a directed by Riccardo Muti. He appears regu- century, particularly, it began to be used mainly key. The equivalent drone, which incorporates a larly with the Alessandro Scarlatti Orchestra for Christmas. short tuning slide, produces an E-flat: the same in Naples, the Soloists Orchestra of Aquila “In this region, the accordion was preferred note as the highest note on the left chanter. in Abruzzo and with the Orchestra Regionale for dancing, but the zampognari were irreplace- But makers can produce zampogna-ciara- del Molise. able in the very important role they had for so mella pairings in any of a number of keys, as He sees clear needs to promote a standard many generations played at Christmas. their customers prefer, by varying the length: instrument. “There has, for example, been “Now other people, young people, are start- 20, 23, 25, 28, 30, 32-inch models are all avail- no fixed tuning for the traditional zampogna ing to play, and not only for the Christmas able on order. The length refers to the length of — every zampogna was tuned to its own pitch Novena,” said Antonietta Caccia. the right-hand chanter. and this varies. “And in the festival — for some people it The bag goes under the right arm so the So Piero Ricci is now embarked on a is maybe not a good thing — we try to mix chanters are placed more comfortably, particu- campaign of persuasion, so that a standard modern music with the zampogna and ex- larly for the left hand, which, as on a keyboard, instrument can be produced and marketed with periment with new things to interest young plays the lower register. interchangeable parts. “This makes it possible people, so they get to know the instrument The standard zampogna molisana con chi- to produce a good quality tutor book that is and not just the old stereotypes of rurality and ave (“with key” — a reference to the key on helpful for all learners, and makes it possible Christmas.” the left-hand pipe) is almost invariably played to play zampognas together, in ensemble like a alongside a ciaramella — a nine-holed oboe or pipe band,” he said. THE mouth-blown zampogna molisana has bombarde-like double-reed pipe — that takes He makes his own instruments in hardwoods three sounding pipes, all conically-bored: one the melody line. The zampogna and matching and developed synthetic reeds to produce a drone and two chanters, each fitted with a ciaramella are usually made and sold as a set. In more stable and reliable zampogna. “I can double-bladed reed appropriate to its size and the case of the 25-inch model, its range would play longer without problems developing,” pitch. Reeds are traditionally crafted from cane be from G to high B-flat. he said. — Arundo donax — bound with twine, with In 1996, however, the master player and Franco Izzi is a Scapoli zampogna-maker and blades of different lengths to suit each different maker, teacher and composer Piero Ricci added artist who grew up into the traditional methods pipe. Plastic reeds are now standard, favoured a group of three small thumb-holes to the back but sees the traditional instruments’ limitations for their greater stability. of his drone to extend the instrument’s use. and has been keen to overcome them. The three belled pipes and one false alto “The traditional zampogna is a great and fine “You can produce an instrument that is pure- drone (‘muto’) are fitted into a single stock and instrument,” he said. “It is a harmonic instru- ly traditional and that can perform traditional are played pointing downwards. The small, ment and the two chanters need to be played music or, now, you can start from the musical silent “drone” plugs a hole that allows moisture with the drone to play chords; it allows you to abilities and interests of the player and allow the to be drained from the bag. play contrapunto and make harmonies. But it player to express himself or herself fully. The bag, traditionally made of sheep or goat has a limited range of notes. You can play it in “Usually, zampogna buyers are people skin, is nowadays usually made from half of a the chromatic way,” he said. “But it is a little like intending to play just a few tunes for the Christ- tube for a motorcycle or car tyre. a piano keyboard without the black keys.” mas season — they are not real musicians. The muto once played a note an octave His modified zampogna effectively opens far “But, if you are a musician, you need the higher than the drone. It made the instru- wider possibilities: “it means you can produce zampogna do rather more than that.” He can ment difficult to tune, however, and needed more harmonic chords; it is like a keyboard make, pitch and modify an instrument to meet

PIPING TODAY • 34 ZAMPOGNA

individual needs, and invites musicians who are neously. The zampogna is more like a single interested in the zampogna to discuss their ideal chanter that has been divided into separate requirements with him. pipes for the upper and lower hands. Recently, he has been developing a model He has come to regard Italy as having had that can readily convert between the traditional an early and seminal role in the flourishing of and modern playing styles. Europe’s bagpiping traditions. “The Roman He learned his skills informally. “My father utriculus, ‘utriculus’ being a reference to the was a wood worker, making furniture but never bag, gives us the earliest record of the presence made zampogna,” he said. “But Gerardo Gua- of the bag. It seems to have been the mother of tieri (an esteemed master maker of the previous other bagpipes — prior to that we have pipes generation) was my mother’s godfather and played directly by mouth,” he said. “And, in a when I was a child, I often went to his home bagpipe called the ‘fagotus’, Italy has the first and watched him at work. record of a bellows-blown bagpipe. “No-one in my immediate family was a “The 16th century neapolitan ‘surdalina’ zampogna maker, but Scapoli is not like a city. is basically the most complicated bagpipe Here the time is relaxed and you can spend time known.” Photo: Mike Paterson with people. It is easy to go to a maker and look, MAURO GIOIELLI … “In , where there is a very Today, in terms of its bagpipes, as well as its strong piping tradition, there is the ‘grande zampogna’ that and you learn through friendship, eating with can be two metres or more in length, taller than its player. politics, Italy can be divided into northern and people and spending time with people. In the region of we have four different types of southern regions, he said. “In the north we have zampogna: ‘paro’, ‘surdalina’, ‘moderna’ and ‘palmi’. And in “Without formal instruction, I was able to Molise, as well as the zampogna molisana, there is a small the piva or baghet, depending on the region: make my first zampogna in 1982 but I played cane-pipe zampogna called the ‘scupina’ that is possibly instruments with separate stocks and single for many years more than that.” evidence of older forms.” chanters, more like the Scottish Highland pipes. THE TRADITIONAL And in central-southern Italy there are zampog- MAURO Gioielli, the author of an exhaus- Christmas Novena nas with common stocks and double chanters. for zampognari tive study of Italy’s bagpipe traditions — La is romantically “An exception is the strange ‘zampogna Zampogna: gli aerofoni a sacco in Italia (2005) depicted on this panni’ of Puglia which has a long separate drone 1979 Italian special — has for more than a decade been the artistic issue Christmas topped with a gourd. director of the Festival Internazionale della stamp that “In Sicily, where there is a very strong piping reproduces part of Zampogna. a print by the artist tradition, there is the ‘grande zampogna’ that can He also has been the main contributor to the Image: Oliver Seeler Aldo Raimondi. be two metres or more in length, taller than its Circolo della Zampogna’s quarterly magazine, player. In the region of Calabria we have four Utriculus, which goes to subscribers in 21 coun- different types of zampogna: ‘paro’, ‘surdalina’, tries. “It is important to have the whole, wide ‘moderna’ and ‘palmi’. And in Molise, as well community of bagpipes linked,” said Antonietta as the zampogna molisana, there is a small Caccia, the Circolo’s president. “Utriculus has cane-pipe zampogna called the ‘scupina’ that is an academic value because we have important possibly evidence of older forms.” researchers writing here and it is not confined It is its sound that sets the zampona molisana only to the zampogna. It tries to relate instru- apart: rich, polyphonic and multilayered. The ments to their cultures more widely, which has double reeds and conical chanters ensure its been an important approach for us.” volume, and a good instrument in the hands In 1976, Mauro Gioielli formed the group of a good player is compelling. Il Tratturo that has specialised in a repertoire of traditional Italian Christmas, New Year and THE musical bar was raised dramatically for Epiphany music. Members of the group have the zampognari of Molise in 1998 with the conducted their own research, recovering a rich setting up by Piero Ricci of his group, Archè, repertoire of songs and rediscovering a few early with Gianni Perilli on ciaramella, Ernest Car- traditional instruments. racillo on accordion and Antonello Iannotta It has presented more than 1300 concerts, on percussion. tours in Europe and in the United States and has Archè was founded specifically to promote made a number of national radio and television FRANCO IZZI in his workshop… the musical traditions of the region, although “You can produce an instrument that is broadcasts and released half a dozen albums. purely traditional and that can perform the members of the group are all experienced Mauro Gioielli draws a strong distinction traditional music or, now, you can start performers in a variety of styles, from the musical abilities and interests between the zampogna, with its two diverging of the player and allow the player to Its 2001 album, Terra Nostra, was an unprec- chanters, and double-chantered pipes where the express himself or herself fully.” edented display of the zampogna’s capacities

chanters are side by side and fingered simulta- Photo: Mike Paterson and potential.

PIPING TODAY • 35 ZAMPOGNA

Now, Piero Ricci’s Ecletnica Pagus group is He now teaches Italian bagpipes in the taking the musical sophistication of the zamp- three communities of Scapoli, Villa Latina ogna a step further. and Maranola. The line-up here includes musicians like Also teaching in Scapoli, through the Circolo Maurizio Marino, award-winning professor of della Zampogna, is Ianetta Guido, a fan and oboe at the Avellino Conservatoire, and horn student of Gianni Perilli. player Carlo Torlontano, professor of horn at He gives fortnightly lessons to eight adult the Salerno Conservatoire and former principal learners, teaching as a volunteer to support the and solo horn player with the Italian Radio Tele- tradition. “The first thing we teach is blowing vision Symphony Orchestra and the San Carlo technique. Then we move on according to each Theatre in Naples. The group’s harper is the student’s ability. principal and solo harp player with the Molise In previous years, the Molise Region has Symphony Orchestra, Tiziana Tamasi. funded a venue and materials to enable children Philadelphia-born accordionist, Ernest Car- to be taught free but this year the funding dis- rcillo, and percussionist Antonello Iannotta, a continued. “We have young children who play folk music expert, are musicians of a similar and young pipers who were taught on zampogna calibre. courses that were supported in previous years by This summer, they are reaching general, clas- the Region. But, from last year, this programme sical, folk and even jazz audiences in Italy. was dropped, so courses now require fees to be Another promoter of the zampogna has been paid by pupils — which is a reason why the Ilario Garbani, a school teacher and musician pupils are adults now,” he said.

across the Italian Border in the Swiss-Italian Photo: Mike Paterson Iannetta Guido first played guitar, starting village of Cavigliano, in Locarno. GUIDO IANNETTA…“I have often been deeply moved when he was 14. “I was attracted to the zam- and impressed when I have played for old people for whom After formal musical training in his native it brings back so many memories and who have told me pogna when I was young, though there was no Switzerland, he conducted ethnomusicological stories about the zampognari from other regions as well as tradition in my family,” he said. “Partly, it was Molise who used to play Christmas music and have left the research in the Onsernone Valley. A songbook mark of their presence in the memories of these people. the sound, but also the independence of the resulted in 1992, Canzoniere della Mea d’Ora, instrument: you can go and play wherever you and a musical group of the same name. want without worrying about amplification; it’s But his research also led him to a bagpipe, the a free instrument.” piva ticinese, an instrument that survived only as Growing up in Scapoli, he was able to spend a distant memory in oral tradition and in church time watching zampogna-makers at work in frescos. Ilario Garbani also studied the baghet, their workshops and, after taking a Region- the Bergamo piva with Walter Biella, and is ally-supported course that gave him techniques studying the French bagpipes with Gabriele using more advanced tools and machines, he Coltri in Milan and the Molise zampogna with too became a maker: “but I’m not a profes- Piero Ricci. He often performs in duos with sional maker,” he said. “I have made only 25 other pipers, especially at Christmas time. instruments or so. Most have been made for As the duo Verbanus with Carlo Bava on local orders but some have been made for orders ciaramella, and accompanied by supporting from the U.S.” musicians, he has made a couple of albums that In 1999, Iannetta Guido was invited to play spotlight the zampogna molisana. in Chicago: and people in his audiences placed Archè’s ciaramella player, Gianni Perilli, is orders for instruments. He also has played in a versatile musician, composer, arranger and Israel, Japan, Ireland, Spain and France. teacher who began playing under the direction And, every Christmas he honours the tradi- of his father, Cesare Perlli, then travelled abroad tional Novena music. with blues and rhythm and blues bands and has “I have often been deeply moved and im- played with a number of top Italian groups. pressed when I have played for old people for Since making a return to his musical roots, whom it brings back so many memories and he has performed at numerous international who have told me stories about the zampognari folk and ethnic music festivals and fused his from other regions as well as Molise who used to ciaramella playing with jazz, working with play Christmas music and have left the mark of

Paolo Damiani, Giancarlo Schiaffini and Savio Photo: Mike Paterson their presence in the memories of these people Riccardi. He developed a ciaramella that plays EMANUELE RUFO is a younger player who learned — famous players who travelled from Lazio a chromatic scale, adding keys to a traditional through the Molise Region-funded classes provided by and Frosinone as well as Scapoli and other areas Circolo della Zampogna. He represents a new, younger instrument. generation of zampognari. within Molise to play the Novena.” l

PIPING TODAY • 36