L’ arpa Barberini L’arpa Barberini Music for harp and soprano in Early Baroque Rome 1 Giovanni Girolamo KAPSBERGER (c 1580-1651) Toccata seconda arpeggiata 2:16 2 Luigi ROSSI (1597-1653) Hor che l´oscuro manto * 6:11 3 Orazio MICHI DELL´ARPA (1594-1641) Spera mi disse amore * 5:29 4 Paolo QUAGLIATI (c 1555-1628) Toccata dell´Ottavo Tuono 3:47 from „Il Transilvano di G. Diruta“ 5 Girolamo FRESCOBALDI (1583-1643) Se l’aura spira tutta vezzosa (instr.) 3:30 6 Orazio MICHI DELL´ARPA Sospiri che uscite dall´arso mio sen * 2:24 7 Girolamo FRESCOBALDI Fantasia 3:22 8 Orazio MICHI DELL´ARPA Dolce frutto Amor compose * 1:47 9 ANONYMOUS Madre non mi far monaca * 0:48 10 Girolamo FRESCOBALDI Parte sopra Lamonicha 6:11 11 ANONYMOUS Balletto from Chigi Manuscript 3:33 12 Orazio MICHI DELL´ARPA Perché cor mio * 3:51 13 Girolamo FRESCOBALDI Toccata Ottava di durezze e ligature 5:03 14 Girolamo FRESCOBALDI Canzona 4:16 15 Luigi ROSSI Passacaille del Seigr. Louigi 3:11 16 Orazio MICHI DELL´ARPA Alma che ti sollevi * 3:38 17 Girolamo FRESCOBALDI Corrente Quinta 1:14 18 Luigi ROSSI Mio ben, teco il tormento più (Lamento di Euridice) * 3:28 Roberta Invernizzi soprano * Margret Köll baroque harp copy of the Barberini-harp by Eric Kleinmann, 2007 Bust of Urban VIII, Gianlorenzo Bernini, 1637-38, Palazzo Barberini Arpa Barberini (c 1620), detail with the bees of the Barberini coat of arms, Museo Nazionale degli Strumenti Musicali Arpa Barberini (detail) ENGLISH ENGLISH bees as a symbol of diligence and prudence, is still the realm of the secular and the spiritual – marked L’ arpa Barberini omnipresent in the cityscape today. The downside of a turning point in the history of European music: Song and harp in Early Baroque Rome this restless striving for power followed closely: af- the monodic style centered on the melodic freedom ter the death of the Pope, an anarchy of sorts broke and understandable lyrics and freed itself from the out in the city, the members of the family were hitherto strict rules of counterpoint. Within a few On the sixth of August of the year 1623, when Car- probably the city with the highest density of cler- forced to flee to France as the national debt had decades, the entire musical repertoire changed, dinal Maffeo Barberini was elected pope in relative ics in the world: for more than 100,000 inhabitants, doubled during the pontificate. first in Italy and then in other European regions. surprise, he did not hesitate in choosing a name and about 5,000 priests and religious members could be The new type of monody, called “stile narrativo” or opted for Urban. The message associated with this counted. In order to be as close to the ecclesiastical Music also benefited from this unique structure of “stile espressivo”, was henceforth applied in a va- decision was obvious: building upon the great tradi- center of power as possible, almost all of the impor- power. Many of the Popes and noble Roman families riety of genres, from the solo aria via the cantata tions of the city of Rome of ancient times and of the tant Italian noble families had moved into palaces in possessed a strong affinity for the arts and tried to to the opera. Renaissance, he wanted to be the „urban“ pope, one the city, attempting to outdo each other in magnifi- engage renowned architects, painters, sculptors and who is in a very special way associated with Rome cence and grandeur and thus to secure a favourable poets but also musicians in particular. Thus Rome Many of the Roman cardinals and aristocratic resi- as a power structure, but also as an important ar- position in the scramble for high curial offices. The gradually became one of the main attractions for dences especially engaged musicians for the perfor- tistic center. The pontificate of Urban VIII lasted for Roman Empire possessed a unique structure: not a conductors, singers, organists and instrumentalists. mance of such chamber music. In the 1630‘s, at the 21 years during the heyday of the Roman Baroque. dynasty, such as the Medici in Florence or the Gon- The Baroque Rome became a resounding city full of court of the powerful Cardinal Francesco Barberini zaga in Mantua, gave power over and over again to extraordinary performances and outstanding musi- – one of Pope Urban VIII‘s nephews – six musicians The artistic wealth of this period was the result of the next generation, but only with the sudden death cians whose concentrated creativity is second to were responsible for the private musical recreation a long historical development. In the late Middle of a Pope did the previously unlimited authority of none in music history. of the princes of the church. Three true stars of the Ages, Rome had suffered heavily from the conse- the respective family die out with him. Among the Roman music scene were among them: the castrato quences of the Western Schism and the exile of the Roman Baroque popes therefore, an eager desire to In addition to the prestigious presentation of pomp- Angelo Ferrotti, who was also a member of the pa- Popes in Avignon; and thus the beginning of the 15th leave as much to posterity as possible during their ous church music and colourful operas played in the pal chapel, the lutenist and composer Giovanni Gi- century marked a new era in the city. Taken aloft time in office could be observed. Roman repertoire of the early 17th century, smaller- rolamo Kapsberger, whose printed publications had by humanism and renaissance spirit, the once again scale chamber music also took on an important role. been performed in all Italy, and the organ virtuoso Rome-based popes bestowed great splendour upon An excellent example of this is the Barberini Pope Its performance did not take place before a large Girolamo Frescobaldi, whose main occupation was the city. Numerous churches and palaces were built Urban VIII, who ensured his family‘s share of power audience but rather in a private setting to entertain being the organist at St. Peter‘s Basilica. The bril- and far-reaching avenues and squares laid out. The soon after his enthronement. One of his brothers the respective regent and his entourage. The Roman liant Antonio Maria Ciacchi came on as of 1634, momentum continued until the 17th century and and two of his nephews were appointed cardinals patrons were interested in the latest musical works; who not only excelled at the lute, but also at the gave the city its incomparable image that is still by him while another nephew became prefect of the the chambers of their palaces resounded mainly harp. In order to create optimal conditions for his fathomable today. city of Rome. With almost reckless zeal, Urban im- with monodies, i.e. compositions for solo voice and musicians, Cardinal Francesco Barberini continu- plemented construction projects but also organised basso continuo, which had been enjoyed a soaring ously expanded his already considerable collection In 1600, Rome was once more one of the largest spectacular festivals and effected internal church popularity in italy since the turn of the 17th century. of instruments. Harpsichords, lutes and several viole cities in the Italian peninsula and at the same time decisions. Its family‘s coat of arms, adorned with The establishment of this musical style – both in da gamba were gladly financed. 6 7 ENGLISH ENGLISH The instrumental showpiece of the Barberini‘s was Giovanni Girolamo Kapsberger (ca. 1580-1651), and served as a model to a number of later compos- cian; Francesco Barberini succeeded in 1634 in win- and is certainly a painstakingly crafted harp, the a native Venetian nobleman of German descent, ers, including Luigi Rossi. ning Frescobaldi from his service with the Medici Arpa Barberini. The instrument was made around established himself as one of the most prominent Since 1574, Paolo Quagliati (ca. 1553-1628) re- and committing him to the Barberini’s. Frescobaldi’s 1620 and has remained almost unchanged until musicians in Rome in the early decades of the 17th sided in Rome, where he pursued various musical numerous instrumental works have been performed today. The appearance of the harp is determined century. His favorite instrument was the chitar- appointments. For several years, he worked as an by him on the organ or the harpsichord, but could by the gilded and richly decorated pillar, which is rone, a large bass lute. Under the patronage of the organist at the Basilica of Santa Maria Maggiore also be played on the harp. This corresponded to crowned by the Barberini coat of arms. The Ro- Barberini, he ensured high musical quality and has and later served at the palace of Cardinal Ludovico the custom of the time according to which harpists man painter Giovanni Lanfranco immortalized the published many of his own works. Ludovisi. With his motets and madrigals, he was also drew their repertoire from the collections for instrument in 1630 in his painting Allegoria della Luigi Rossi (ca. 1598-1653) comes from southern known throughout the city, but he also left some keyboard instruments, as a matter of fact. At times, Musica, which nowadays adorns the collection of Italy and moved from Naples, where he studied, to virtuoso instrumental works. such as in a manuscript of Luigi Rossi, notes can be the Palazzo Barberini. The painting was ordered by Rome in 1620, where he was appointed organist of The outstanding instrumental virtuoso of the time found offering the alternate instrumentation “per Marco Marazzoli, who himself counted among the the church of San Luigi dei Francesi in 1633.