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Tempesta Di Passaggi Andrea Inghisciano María González

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Tempesta Di Passaggi Andrea Inghisciano María González Solo music for cornetto I Cavalieri del Cornetto Tempesta di passaggi Andrea Inghisciano María González English ⁄ Deutsch ⁄ Italiano ⁄ Tracklist Menu Tempest of passages by Andrea Inghisciano In Italy, the cornett reached the peak of its splendor in the period from around the middle of the 16th century to the middle of the 17th century. During this era, treatises to study the improvisation of passages, or divisions, began to be printed. The first of these was the Opera Intitulata Fontegara by Silvestro Ganassi (Venice, 1535), and the last was the Selva de varii passaggi by Francesco Rognoni (Milan, 1620). These divisions were variations used by instrumentalists and singers to enrich a me- lodic line, most frequently the cantus line, and depending on their quantity and quality, they could simply ornament a song or change it so much that it could have almost been unrecognizable. The ability to improvise was highly requested and there were several cornett players who excelled in this art, for example Girolamo Dalla Casa, who, in his treatise Il vero modo 2 di diminuir (Venice 1584) presents a method which he defines as “mixed divisions”, made of crome, semicrome, triplicate and quadruplicate (8, 16, 24, 32 notes for semibreve), sur- prised by the fact that many musicians would, in fact, omit these last two essential figures: “And indeed was I surprised, and still in my soul there is great astonishment, that so many excellent musicians, who have written, have never dealt with the croma and semicroma, and have never dealt with the other two figures, the treplicate, which are 24 per bar and the quadruplicate, which are 32 per bar, with these being so necessary in the divisions, that you couldn’t do without them: because mixed diminishing is true diminishing, I am referring to the four figures croma, semicroma, treplicate, and quadruplicate”. Dalla Casa also suggests that “in the divisions, it’s better to do few things, but good things”, which contrasts with his earlier indications and with his musical examples that had an abundance of notes, which we tend to define as ”a lot things that are good things”. The fundamental importance of the use of passages in performance practice is shown to us by various authors, like Riccardo Rognoni in his Passaggi per potersi eser- citare nel diminuire (Venice, 1592): English “Thus here is, in the first part, a collection of ricercate for instruments, which we can reasonably say is the seasoning of the sound and the ornament of the music, as if, without this variety of passages, the frequent repetitions would sound tedious to the ear”. Giovanni Battista Bovicelli in Regole, passaggi di musica, madrigali and mottetti passeg- giati (Venice 1594): “To not repeat the same melody over and over again, which could be quite tedious to the listener, it seems to be a great ornament to play passages that use the same notes, but to vary the rhythms. As with writing, reading or listening, if this happens with no color or shape, and the same goes for singing, it will indeed be unpleasant. I mean to say that the passages can sometimes be of notes of the same value and that the same notes may sometimes be changed in such way that though they are the same notes they will appear different for the way they have been played differently”. Luigi Zenobi called “Il Cavaliere del cornetto”, in his letter written probably around 1600, describes the qualities a perfect musician must have: “And then the soprano, which is really the ornament of all the other parts, just as the 3 bass is the foundation. The soprano therefore has the obligation, and given freedom to make passages, joke around and beautify the musical body, but if the soprano does not do this with art, with gracefulness and with proper judgment it will be boring to hear, harsh to digest, and revolting to endure”. “The soprano must always vary good passages in the same canti, it must know how to make passages in every kind of song, be they fast, or chromatic, or plain… Although it sings the same thing over and over again, it must always vary”. We have, moreover, some indications of how to behave, when it would or would not be the case to diminish: Giovanni Battista Bovicelli: “It would be very disgraceful to the writer, if the words are sad, to accompany them with joyful notes, or sad notes with joyful words: so, in the singing, we must imitate the words as much as we can; meaning not to decorate sad words with passages but to accompany them, as we say, with accents, and feeble voice; if the words are joyful, use passages and also give them some livelihood, making note variations, as we see below.” Luigi Zenobi: “(The soprano) must know which works require passages, and which do not…It must know how to sing the canto schietto (straight song), meaning without passages but only with grace, trill, tremolo, ondeggiamento, and exclamation”. — This recording is a result of my passion for the cornett and for the art of diminution. The title is a free interpretation of the song “Tempesta di dolcezza”, contained in the Selva de varii passaggi. I wanted to perform a solo program accompanied by an organ or harpsi- chord, that included vocal and instrumental pieces, some of which had the passages by the ancient authors, others in which I improvised the passages, which is a practice that I consider essential, though it has been almost entirely abandoned: it’s worth underlining 4 that the goal of the treatises dedicated to the passages and divisions were teachings in the form of improvisation. The songs in which I improvised are Canzon Decimaottava (track 5) by Claudio Meru- lo, Il Spiritillo Brando (track 16) by Andrea Falconieri and Oncques amour (track 9) by Thomas Crecquillon: in the last, our keyboardist wrote her own passages inspired by the “mixed divisions” by Girolamo Dalla Casa. Also in Frais et gaillard (track 12) by Jacob Cle- mens non Papa and in La Rose (track 11), allegedly by Adrian Willaert, the keyboard plays characteristic fast triplicate and quadruplicate passages through all the voices, imitating the ones of the cornett composed by Dalla Casa. Vestiva i colli (track 1) by Giovanni Pierluigi da Palestrina, diminished by Francesco Rognoni according to the “how to diminish with various inventions, not according to the cantus”, and Ancor che col partire (track 4) by Cipriano De Rore, diminished by Riccardo Rognoni “to play with all sorts of instruments”, are examples of how a vocal song can become purely instrumental in terms of technical idiomaticity. Also, in these songs by the two Rognonis, the keyboard plays its own diminished versions, always following a stylistic coherence. Menu English Sonata Prima à soprano solo (track 3) and Sonata Seconda à sopran solo (track 10) by Dario Castello, just like Sonata Prima (track 2) and Sonata Quarta (track 14) by Giovanni Battista Fontana, are instrumental songs in which the passages for the canto are written directly by the composer, to which we added other improvised passages at our own discretion. For the realization of the basso continuo in the Sonata quarta by Fontana we used models taken from Nova Instructio (Bamberg 1670-71) by Spiridionis a Monte Carmelo, and I added a “final cadence” for the solo line taken fromSelva de varii passaggi. Then, there are songs written to be diminished with the voice, characterized by a shorter range and by less acrobatic passages than the other pieces in this recording: Ruggiero à un soprano (track 6) by cornettist Annibale Gregori, alternated in the same track with Capriccio Frà Jacopino sopra l’Aria di Ruggiero by Girolamo Frescobaldi, a realization with variations by the author himself; Aura soave (track 13) by Luzzasco Luz- zaschi, also with realization and passages by the author; Angelus ad pastores (track 15) by Cipriano De Rore, diminished by Giovanni Battista Bovicelli. Lastly, we also wanted to include the Ricercata per flauto, cornetto, violino, traversa e simili in Battaglia (track 8), taken from the collection of florid monodic songs “to play vaguely with all sorts of instruments” of Il Dolcimelo by Aurelio Virgiliano, and the Canzon 5 francese detta “Le Bergier” (track 7) by Andrea Gabrieli, from the collection of Canzoni alla francese per sonar sopra istromenti da tasti (Venice 1605), whose songs represent clear examples of the manner to make passages for keyboard. Recenza, Sovicille (Siena), September 2020 Menu Passagengewitter von Andrea Inghisciano Der Zink erfuhr seine Blütezeit in Italien ungefähr zwischen 1550 und 1650, eine Periode, in der zahlreiche Lehrwerke für die Improvisation von Passagen oder „Diminutionen“ ge- druckt wurden, beginnend mit der Opera Intitulata Fontegara von Silvestro Ganassi (Vene- dig, 1535) bis zur Selva de varii passaggi von Francesco Rognoni (Mailand, 1620). Diminutionen waren Variationen, die sowohl Instrumentalisten als auch Sänger benutz- ten, um eine melodische Linie zu bereichern, oft diejenige der Oberstimme. Je nach Aus- mass und Qualität dieser Ausschmückungen konnte ein Werk schlicht verziert oder fast zur Unkenntlichkeit transformiert werden. Die Fähigkeit zu improvisieren war sehr gefragt, und einige Zinkinisten zeichneten sich darin besonders aus, wie etwa Girolamo Dalla Casa, der in seinem Traktat Il vero modo di diminuir (Die wahre Art zu Diminuieren) (Venedig 1584) eine Methode vorstellt, die er als „gemischtes Diminuieren“, bestehend aus crome, semicrome, tri- 6 plicate und quadruplicate (8, 16, 24, und 32 Töne pro ganze Note) definiert. Er wunderte sich, dass viele gute Musiker die letzten zwei unerlässlichen Figuren nicht anwendeten: „Ich habe mich sehr gewundert – und immernoch spüre ich grosses Erstaunen – dass viele exzellente Musiker, die dazu etwas geschrieben haben, nur über die croma und semicroma geschrieben haben, aber nie über die anderen Figuren der triplicate, die aus 24 pro Takt bestehen, oder über die quadruplicate, die 32 pro Takt enthalten.
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