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Per Il Salterio Per il Salterio La Gioia Armonica Margit Übellacker Jürgen Banholzer Programme Ensemble English text German text French text Imprint Per il Salterio Per il Salterio Angelo Conti (fl . 18th century) Sonata for Salterio and B.C. in G major (Sonata per il Saltero con Basso — Genova, Biblioteca del Conservatorio Nicolò Paganini) 1 Vivace assai 3:35 2 Grazioso 2:58 3 Minuetto Variazione 4:27 Carlo Monza (c. 1735–1801) Sonata for Salterio and B.C. in C major (Suonata Saltero con Basso — Genova, Biblioteca del Conservatorio Nicolò Paganini) 4 Allegro 3:08 5 Largo 5:22 6 Minuetto 0:50 Anonymous Sonata for Salterio and B.C. in G major (Sonata per Salterio — Napoli, Biblioteca del Conservatorio San Pietro a Majella) 7 Allegro 3:22 8 Cantabile 2:40 9 Allegro 2:18 Carlo Monza Sonata for Salterio and B.C. in G major (Suonata à Saltèro e Basso — Genova, Biblioteca del Conservatorio Nicolò Paganini) 10 [Andante] 4:50 11 Presto 2:39 4 ^menu Baldassare Galuppi (1706–85) Sonata for Harpsichord in D major (Sonata per Cembalo — Staatsbibliothek zu Berlin / Preußischer Kulturbesitz) 12 Adagio 3:14 13 Allegro 2:43 14 Adagio 6:43 15 Giga Allegro 2:51 Pietro Beretti (fl . 18th century) Sonata for Salterio and B.C. in G major (Sonata per Saltero e Basso — Genova, Biblioteca del Conservatorio Nicolò Paganini) 16 Allegro 4:40 17 Andante 4:25 18 Allegro 2:30 Carlo Monza Sonata for Organ in G major (Sonata per Organo — Milano, Biblioteca del Conservatorio Giuseppe Verdi) 19 Flautino 3:32 Angelo Conti Sonata for Salterio and B.C. in G major (Sonata per Saltero, e Basso — Genova, Biblioteca del Conservatorio Nicolò Paganini) 20 Allegro 3:44 21 Grazioso 5:34 22 Allegrissimo 2:24 Total 78:41 5 ^menu MARGIT ÜBELLACKER JÜRGEN BANHOLZER salterio harpsichord Christian Fuchs, Frankfurt 2017 Bruce Kennedy, Château d’Oex 1985, after Giovanni Antonio Berera, Trento 1745 after Italian models organo di legno www.la-gioia-armonica.de Étienne Fouss, Périgeux 2017 6 ^menu academies for young noblemen throughout Per il Salterio Italy at that time. Most salterii have a small, trapezoidal soundbox, multi-chord brass or Th e salterio is the specifi cally Italian (and iron stringing and dividing bars on a spruce Spanish) expression of a type of instrument soundboard. Th e strings in the playing area to that can still be found today in Eastern Eu- the left of the instrument run over bridges that rope, North and Latin America, North Africa, cause the strings to produce diff erent tones Central Asia, India, Korea and China and has to the left and the right of the bridges. In the an important position in the classical music right-hand playing area, however, the strings of Iran. Many of the names of this type derive can only be made to sound on the left -hand from the Greek psalterion (psallo: to pluck or side of the bridge; these strings can be de- to play on a stringed instrument), others char- scribed as free-swinging. Other versions of the acterise the sound of the instrument (dulce instrument were also known, such as the arpa melos, from which the English term of dulci- distesa with gut strings, allegedly invented by mer) or a technique of striking (e.g. French: a Padre Grazioli in Lodi and then perfected by tympanon, Hungarian: cimbalom, German: Antonio Battaglia (described by Carlo Gerva- Hackbrett). Illustrations of rather plain instru- soni, in his Nuova teoria di musica, 1812), or ments of this type have existed in Europe in versions with only free-swinging strings. One various forms and under various names since of Battaglia’s instruments in Rome has both of the Middle Ages. the above characteristics. References to the salterio can be found Various eff orts were made during the in Italy from before the 18th century, in Au- course of the 18th century to add more and relio Virgiliano (Il Dolcimelo, c. 1600) and more chromatic notes to the originally dia- in Athanasius Kircher (Musurgia universalis, tonically tuned salterii. Th is could be achieved 1650). Original 18th-century examples of either by a device that could alter an individual these instruments can be found in numerous note by a semitone immediately before playing European museums and in Italy in particular. (a technique developed by the Abbot Franciosi Many of these instruments are richly deco- from Florence that seems to have been used rated, allowing us to assume that their former only by him) or by increasing the number of owners were of noble blood; indeed, the salt- string choirs, changing the arrangement of erio seems to have been extremely popular in the strings as well as of the bridges in diff erent 7 pitch ratios. Th e bridges were usually arranged marking battuto; this was probably intended in such a way that the G-major scale could be in this context to tell the player that some played comfortably, but chromatic secondary polyphonic chords are to be struck here in a notes were placed outside the central playing block-like manner, in contrast to a preceding area and made the instrument more compli- passage where notated three-part chords were cated to play. Some of Battaglia’s instruments apparently performed as rhythmic arpeggios employ a diff erent technique, placing chro- according to a previously established pattern matic notes next to the bass bridge on the far with the marking ad libitum. right. Th e usual range is from G to F#''' or E'''. Our recording uses a salterio whose range is Scores in which the salterio is used as almost completely chromatic. a solo or accompanying instrument have survived principally in Italian libraries. As a Th e salterii were either plucked with the solo instrument it appears in sonatas with or fi ngertips, fi ngernails or picks, or were struck without basso continuo and in combination with hammers. Both techniques are described with a small number of other instruments in by Filippo Bonanni in his Gabinetto armonico instrumental chamber works. Its combination (1722). Plucking with the fi ngers can be seen, with the voice seems to have been particularly for example, in a drawing by Pierleone Ghezzi popular, either accompanied only by the basso from 1741. Individual penne de’ ditali, rings continuo — both the harpsichord and the or- with quills that can be placed on the fi ngers, gan were named, but other instruments are of have survived, as have various mallets or bac- course also possible — or by a full orchestra in chette; these last-named can produce diff erent arias with salterio obbligato in oratorio or op- timbres by using diff erent woods or coverings era. If larger orchestral formations were used, for the hammer heads. Th e music that was care was taken not to drown out the delicate composed for these instruments can occasion- sound of the salterio’s solos. A popular style ally provide clues as to which of the techniques of accompaniment was one of pizzicato violins might have been preferred for a particular and violas in unison (Vivaldi’s Il Giustino, piece. None of the extant scores contain spe- 1724); instructions such as senza cembalo cifi c technical instructions, with the exception pizzicando senza fagotto in the continuo part of Nicolò Porpora’s Christmas oratorio Il verbo (Leonardo Vinci’s La contesa dei numi, 1729) nel carne (1747). Here the aria Sospende in con- are also to be found. Solo concertos with or- tro al sole with obbligato salterio contains the chestral accompaniment have also survived. 8 When used as an accompanying instru- that were sometimes by renowned and much- ment it played either colla parte with the fi rst travelled Neapolitan composers. Th e salterio violins or, in the case of two salterii, with the was mainly used in such contexts in composi- second violins as well as can be seen in ritor- tions for Holy Week: the same connection of nelli of solo concertos and obbligato arias; it ideas is also be found elsewhere, one example could also be used for chordal accompani- being the Ex tractatu Sancti Augustini by ment. It may also have been used ad libitum, Giovanni Battista Martini, to be found on our in surviving material where no salterio is CD Conserva me Domine. Th e salterio was also specifi cally indicated. in use in theatres in Rome, Milan and Naples between 1724 and 1791. Th e salterio was used by Girolamo Chiti, maestro di cappella of the Basilica di San Gio- Charles Burney named Carlo Monza as vanni in Laterano in Rome, during the 1720s one of the “two best local theatre composers” and 1730s, whilst a salterio had been pur- in his travelogues from Milan in 1770, the chased for Vivaldi’s famous female orchestra other being Melchiorre Chiesa. Ernst Ludwig in the Ospedale della Pièta in Venice as early Gerber also mentioned Monza in his Lexikon as 1706. Fulgenzio Perotti was engaged there to der Tonkünstler in 1790, describing him as teach the instrument in 1759, and Ferdinando Kapellmeister am Th eatro grande alla Scala. Bertoni used two salterii for a Cantata Pasto- Monza became organist of the cappella ducale rale Esequita dalle Figlie delli quattro Ospitali in 1768 and its maestro di cappella in 1775, the di Venezia Composta, e diretta dal Sig.r Ferdi- successor to Giovanni Battista Sammartini in nando Bertoni, Maestro dell’ Ospitale de’ Men- both posts and quite possibly Sammartini’s dicanti. Bonaventura Furlanetto, Bertoni’s pupil. successor as maestro di cappella at St Mark’s, continued to use the salterio in his oratorios Chosen as maestro di cappella of the until the late 1790s.
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