June 2012 Pp. 22-25 .Indd
Inspired by Italy: Encounters with Italian Historical Organs, Their Surroundings, and Their Music Christina Hutten
hat if I told you that there is surviv- Wing Italian organ music as splendid as Giovanni Gabrieli’s In Ecclesiis and as ethereal as Gregorio Allegri’s Miser- ere? A few months ago, I would not have believed it either. In fact, I was under the impression that compared to Italy’s glorious tradition of ensemble music, its organ music was of lesser importance, and its historical organs were pretty but small. On paper, every instrument looked the same—a single manual, one octave of pull-down pedals, and a stop- list consisting of a principal chorus (the Ripieno), a fl ute or two, and perhaps a Voce Umana.1 Three months of studying organ in Italy with Francesco Cera radi- cally changed my mind. I went intend- ing to obtain a more complete picture of early organ music, having already spent time in France, Holland, and Germany. I left in love with a magnifi cent collection of keyboard music. My change of heart began not with the music but with the art and architecture of Italy. The entire country is like a giant Figure 3. The bird stops of the Bonatti open-air museum. Visitors can enter and Figure 1. The domes of San Marco organ in Verona experience the very places where Ga- brieli, Frescobaldi, and so many others An exquisitely crafted Regale with rare made music. That they were inspired by original parchment resonators mounted their surroundings is impossible to con- on a separate windchest like a Brustwerk test. These places are by defi nition inspir- is also playable from the main manual. ing. They were designed by the world’s The second manual controls the Organo greatest architects and fi lled with art by Piccolo, a tiny 4′ echo division situated the greatest sculptors and painters from behind the player. Other special effects anonymous Roman masters to Pinturic- include a chorus of bird stops (Figure 3) chio, Raffaello, Michelangelo, Bernini, and a Tamburo (a stop played by the low- Tintoretto, and many others. Elaborate est pedal note that imitates a drum using organ cases are among the most striking a cluster of bass pipes). The pedals are architectural features of many Italian permanently coupled to the main man- churches and palace chapels. I began to ual, but this organ also includes an inde- realize that such glorious spaces where pendent pedal reed and Contrabassi— the organ had so much visual impor- octave of 16′ wooden pipes. The tone of tance simply must have resounded with the organ is sweet and elegant, thanks in impressive organ playing. part to its comparatively low wind pres- The instruments themselves also pro- sure, a common feature of Italian organs. vided indisputable proof. They were The wind pressure of this Bonatti organ far from boring. Though their stoplists is set at 53–55 mm. By contrast, the wind were similar, their tonal character var- pressure of the comparably sized 1704 ied widely from region to region in a Schnitger organ in Eenum, the Nether- way that perfectly complemented the lands, is set at 62.5 mm. The tonal variety art and architecture of the area. What of and elegance of the Bonatti organ make the music that survived for these instru- it perfect for 18th-century music, includ- ments? At fi rst glance, it seemed simple ing the music of Wolfgang Amadeus Mo- to me, appeared not to require pedals, Figure 2. The keyboard of the Antegnati organ of Santa Barbara zart, who, incidentally, played this instru- and certainly seemed an inappropriate ment while on tour in Italy. choice for performance on modern in- eyes. Appropriately, Venice’s painters— 1577). Its 16′ plenum is glowing rather struments. Fortunately, all of this was Titian, Tintoretto and others—are famed than brilliant, perfect for Cavazzoni’s Music of the Venetian and Emilian only an illusion created by a style of mu- for their use of color and the way that music, which is closely related to choral Schools sical notation that left many crucial inter- light seems to shine from within their polyphony. As was the norm in Italy until The keyboard music of northern Italy pretive decisions to the discretion of the paintings. Of the city’s 114 churches, the the 18th century, the organ is tuned in reached its peak during the Renaissance. performer, who would have been famil- Basilica Cattedrale di San Marco is the mean-tone temperament, but the key- Its focal point was the Basilica di San iar with the contemporary musical style most famous (Figure 1). One of the fi n- board has split keys (Figure 2), allowing Marco in Venice. The splendid polycho- and performance practices. I learned est examples of Byzantine architecture, the player to choose between D# and Eb ral tradition of the basilica profoundly in- why an understanding and appreciation its exterior is covered with inlaid marble and between G# and Ab, thus enabling fl uenced the organ music of the Venetian of historical art, architecture, and instru- and carvings, while its interior glows with one to play in many more tonalities and school. Composers of the Venetian school ments and a knowledge of the surviving gilded mosaics. Besides its breathtaking to better imitate the pure intonation that were responsible for some of the most repertoire and treatises are so crucial for opulence, the sheer size of the cathedral a vocal ensemble is able to achieve. The important developments in keyboard today’s performer. is impressive. Remarkably, at the time of keyboard and pedalboard both have par- composition of both the Renaissance and Early Italian keyboard music is most Claudio Merulo (1533–1604), Andrea ticularly long compasses, the keyboard the Baroque. Marc’Antonio Cavazzoni’s successful when its interpretation is Gabrieli (1533–1585), and the rest of the from C to F5 and the pedalboard from collection, Recerchari, mottetti, canzoni– informed by historical sources and in- illustrious line of musicians who worked C to A2. The music of Marc’Antonio Libro primo, printed in Venice in 1523, spired by the conviction that it is the here, San Marco was not a cathedral, but Cavazzoni (1485–1550), Girolamo’s fa- is one of the most important examples of aural representation of Italy’s breathtak- the private chapel of the Doge of Ven- ther, demands such a compass. This long early 16th-century organ music. Cavaz- ing visual splendor. Italy’s art, architec- ice, and Venice was one of the richest key compass also permits the organist to zoni was born in Bologna, where he ture, and music can be organized into and most important cities in the world! play in different octaves, using the 16′ probably received his musical training at regional schools based in four of Italy’s My impression of Venetian organ music Principale at 8′ pitch, for example. The the Basilica di San Petronio, and likely most historically important cities: Venice changed completely when I examined it winding of this organ is a special treat. knew the famous 1475 Lorenzo da Prato and Florence in the north, Rome in cen- through the lens of Venice’s vibrant color Rather than supplying an electric blow- organ there. Later he moved to Venice tral Italy, and Naples in the south. Allow palette and astounding splendor. er, Giorgio Carli installed an automatic and was an assistant to Adriano Willaert me to share some of the highlights of my bellow lifter to pump the bellows. This at San Marco. Cavazzoni’s recerchari are journey to discover their art, historical Organs of Northern Italy allows the player to experience the won- particularly signifi cant, because they are organs, and keyboard music. The organs of northern Italy are char- derful fl exibility of playing on pumped among the earliest free compositions acterized by their cantabile tone. Some wind without the trouble of hiring a per- for the organ. These recerchari are ma- Venetian Splendor also have much more colorful stoplists son to pump the bellows. jestic pieces written in an improvisatory Today, the city of Venice continues to than organs in other parts of Italy. In Near Mantua, in the Chiesa di San style. Like later toccatas, they investigate exist mainly because of the tourists. Many 2006, Giorgio Carli completed the res- Tommaso Cantuariense in Verona, stands idiomatic keyboard fi guration rather of the locals have moved to the mainland. toration of the 1565 Graziadio Antegnati a well-preserved 18th-century organ built than counterpoint. While his father, Nevertheless, the city’s colorful vibrancy organ of the Basilica di Santa Barbara, by Giuseppe Bonatti in 1716. It is a two- Marc’Antonio, was a pioneer in develop- and the remnants of its former grandeur the private chapel of the duke of Mantua. manual instrument with an unusually ing idiomatic keyboard fi guration, Giro- are very evident. The reds, oranges, and The organ’s case is beautiful. Its richly colorful stoplist and a lavish complement lamo Cavazzoni, organist at Santa Barba- yellows of the houses and shops, the painted doors contrast with the white of special effects. The main manual con- ra in Mantua, was a master of imitating green of the canals, the aquamarine of walls of the chapel. This instrument was trols the Grand Organo—the usual Ripi- vocal polyphony at the keyboard. An 2 the lagoon, and the glistening white of built under the direction of organist and eno plus a Cornetto (in two parts: 4′-2 ⁄3′ understanding of the text of the chants, 3 the church façades are a feast for the composer Girolamo Cavazzoni (1520– and 2′-1 ⁄5′), Trombe reali, and two fl utes. motets, and chansons on which many of
22 THE DIAPASON Figure 4. In Rome, the 2nd-century Pan- theon, its 16th-century fountain, and the nearby 20th-century apartment build- ings coexist Figure 5. The 1509 Montefalco organ his works are based is absolutely crucial naissance works like Michelangelo’s Pietà for a successful interpretation. in St. Peter’s Basilica, the dramatic light- Claudio Merulo and Andrea Gabrieli ing and gestures of Baroque treasures worked together as organists at San Mar- like Caravaggio’s Crucifi xion of Peter in co. Merulo was renowned and infl uen- the Chiesa di Santa Maria del Popolo or tial during his lifetime. Girolamo Diruta Bernini’s Ecstasy of St. Theresa in the dedicated Il Transilvano, one of the most Chiesa di Santa Maria della Vittoria, and important treatises on Italian organ mu- the busy ornamentation of Rococo cre- sic, to him. Merulo’s toccatas were the ations like the organ case of the Werle fi rst to alternate virtuosic and imitative organ in the Basilica di Sant’Eustachio sections, a technique that Frescobaldi are all on display. In the churches, clouds and the North German organ school of angels surround visitors, while the pal- would use later. Also, foreshadowing aces seek to amaze them with marvels of the Baroque, they often use ornamental architecture like Bernini’s and Borro- fi gures as motives. Merulo’s music is full mini’s staircases, which compete for at- of unique written-out trills and diminu- tention in the Barberini palace. For me, tions. Studying it is an excellent way to Rome’s deep appreciation of its long tra- learn how to add ornaments to repertoire dition of artistic excellence is the key to of the 16th and early 17th centuries. In understanding the music written there. comparison, Gabrieli’s music may seem Figure 6. The 1612 Gugliemi organ rather subdued, but, in fact, it only lacks Organs of Central Italy the profusion of notated trills. Presum- Only a few of Rome’s Renaissance and pitch. The grandeur of the Ripieno is en- overlaid with gold.4 The matching case ably, Gabrieli would have added these Baroque organs survive. As in many large hanced by many doubled ranks and by a in the other transept of the church now in performance. His Ricercari ariosi are wealthy European cities, pipe organs trumpet. I was surprised to learn that a contains an 1895 Morettini organ, which particularly beautiful adaptations of the were replaced as fashions changed. Nev- trumpet stop was a common feature of also merits a visit. polychoral style. ertheless, the smaller towns and villages large Roman organs. The 1597 Luca Bla- Eighteenth-century Bolognese com- in central Italy are home to a wealth of si organ of the Basilica di San Giovanni Music of the Roman School poser Giovanni Battista Martini (1706– unique historical organs. It is far beyond in Laterano, for example, also includes Girolamo Frescobaldi (1583–1643) 1784) was highly esteemed during his the scope of this article to describe them a trumpet. Perhaps the most eye-open- grew up in Ferrara, home of the great lifetime, and attracted students from all—the city of Rieti, where I spent much ing aspect of the Guglielmi organ is its d’Este family. While Frescobaldi was around the world. Leopold Mozart even of my Italian sojourn, alone is home to narrow pipe scaling. The organ’s sound young, many notable composers—in- asked his advice concerning the talents 14 historical organs in varying states of is bright, almost nasal, but crystal clear. cluding Claudio Monteverdi, Orlando di of his son. Nevertheless, his surviving playability. Let me begin by describing It is simply impossible to cover up pas- Lasso, Claudio Merulo, and Carlo Gesu- compositions do not seem to justify his one of the oldest organs in Italy. It was sagework even with the densest chordal aldo—visited court. As a child prodigy reputation. They are pleasant but simple built in 1509 by Paolo di Pietro Paolo da accompaniment. The spectacular case of studying with court organist Luzzasco pieces in galant style. Consider them in Montefalco, and is located in the Chiesa this instrument is also noteworthy. It is, Luzzaschi, Frescobaldi absorbed these context, however, and the picture chang- di San Francesco in Trevi, Umbria (Fig- as it were, created using ornamentation, diverse infl uences. In his early twenties, es. The majority of these pieces survive ure 5). This instrument is priceless for including two giant sculptures of an- he decided to seek his fortune in Rome, in manuscripts written in Martini’s own many reasons including its antiquity, its gels, and the entire case is sumptuously and proceeded to write and publish hand. They are predominantly written in proximity to the birthplace of Girolamo two-voice structure, but occasional fi g- Diruta, the way that it documents the ured bass symbols suggest that they were history of organbuilding, and certainly really sketches, and that the organist was also its beauty. Organbuilder Andrea expected to fi ll out the texture by add- Pinchi told me how thrilled he was to A Precious Gift ing chords. Some of Martini’s Sonate per be given the opportunity to restore this l’Elevazione survive in both simple and instrument in 2005, having been con- elaborately ornamented forms, exempli- vinced since he was a teenager that the from the Past fying how he might have actually per- case in the Chiesa di San Francesco held formed them.2 Playing Martini’s music as something very special. When it was fi rst written is a little like stripping a Baroque built, the organ consisted of a fi ve-rank for the Present church down to bare plaster walls. Far Ripieno and a Flauto in ottava.3 In the from being easy and uninspiring, these 17th century, a Flauto in duodecima was pieces are charming examples of Italian added, and in the 18th century the im- and the Future Rococo organ style and exciting vehicles portant Umbrian organbuilder Fedeli for creativity. restored the instrument and added a Supremely beautiful and blendable Voce Umana and Cornetta. Because they tonal color – a Gift from the Venetian Rome’s Legacy refl ect the historical development of the Rome is sometimes called “the Eter- organ, these stops were all preserved in School of organbuilding, a monumental part of our nal City.” It displays its long rich history the restoration. The sound of this organ JUHDWKHULWDJH7KHUHVXOW DYHUVDWLOHDQGÁH[LEOH in an abundance of art and architecture is bright and brilliant. The small Ripi- SDOHWWHWRPDNHSRVVLEOH\RXUÀQHVWZRUN (Figure 4). Romans are proud of their eno easily fi lls the sizable Gothic church. heritage. In the past, Rome’s great noble Like the Antegnati organ in Mantua, this families collected antiquities, display- was an instrument designed to imitate Intriguing? Let us build your dream. ing them in their palaces. The Farnese vocal music. Its extremely sensitive key collection, now on exhibit in the Naples action allows the player to create subtle National Archeological Museum, is par- text-like infl ections by varying attacks ticularly impressive evidence that admi- and releases. ration of antiquity dates back at least to The organs that Frescobaldi played the beginning of the 16th century. Many at St. Peter’s have long disappeared, but of its more than 300 marble sculptures a splendid 17th-century Roman organ were unearthed in archeological excava- does survive to transport Frescobaldi’s tions specifi cally conducted on behalf of sound world to the present day. The Pope Paul III and other members of the 1612 Giovanni Guglielmi organ in the Builders of Fine Pipe Organs to the World Farnese family. These same noble fami- Chiesa di Santa Maria in Vallicella (Fig- lies and the Roman Catholic Church em- ure 6) was restored by Ruffatti in the www.ruffatti.com ployed contemporary artists as well, who year 2000, but it continues to lack the left masterpieces from every historical international attention that it deserves. Via Facciolati, 166 Padova, Italy 35127 [email protected] In the U.S. 330-867-4370 era. The poignant perfection of High Re- It is a large instrument based on 16′
JUNE, 2012 23 Figure 7. The baldacchino over the main Figure 8. The reconstructed console of Figure 10. Inside the case of the 1595 altar in St. Peter’s Basilica the 1595 organ in Teggiano instrument in Teggiano some of the most important music of the that borders on the grotesque. In them, oped over the centuries to include more 17th century and to pass on his skill to extreme virtuosity makes up for contra- Figure 9. The instrument dating from and more performance information. At talented students from all over Europe. puntal simplicity. 1619 in Teggiano fi rst, however, it was simply a memory Frescobaldi’s music is like the city of aid in a musical tradition that was trans- Rome. It glories in tradition while be- Neapolitan Daring and would produce a sound as brilliant mitted orally. Early Italian notation of ing unafraid of innovation. Walking in Drama and audacity are a key part and arresting as the glaring Neapolitan keyboard music gives no information the footsteps of Lasso and Palestrina, of Neapolitan art. For twenty-fi ve cen- sun. In addition, both instruments have about dynamics or registration, and little Frescobaldi composes masterful coun- turies, Naples has brazenly lain in the very narrow cases that would act only as information about tempo or the use of terpoint, but juxtaposes it with fl amboy- shadow of Mount Vesuvius. It is a city of soundboards, and would not mix or soft- pedal. Some composers, like Merulo, ant baroque fi guration, skillfully incorpo- daring and a city of extremes. Emerging en the sound at all (Figure 10). for example, notate trills and other or- rating affect fi gures. In his performance from the strange semi-darkness of the The Neapolitan area was also home to naments, while others notate only the instructions that preface Il primo libro old city’s narrow streets, for example, talented 18th-century organbuilders, in- minimum of ornaments, and still others di capricci of 1624,5 he explains that in one fi nds oneself confronted by the glit- cluding Silverio Carelli. In 1784, Carelli like Martini provide only a skeleton of his music the metrical relationships that tering brilliance of the bay. Neapolitan built a beautiful instrument as a gift for their composition. Both the typesetting were so important in Renaissance music art and architecture express this too. the cathedral of his hometown of Vallo of modern editions as well as the move- are now governed by the mood of the mu- Naples is famous for its seemingly quaint della Lucania. Its tone is sweet and full; able type in use in the 16th and early sic. His sacred music, including the three hand-crafted nativity scenes. Take a several ranks including the Principale 17th centuries make this music appear Masses of Fiori musicali and the two ex- closer look, and you will fi nd them full 8′ are doubled. Its keyboard and ped- rigid. Further, the time signatures and tended elevation toccatas from his Sec- of drama enacted by humorous and gro- alboard are both fully chromatic, also note values common at this time tend to ondo libro di toccate, is deeply spiritual. tesque characters. Behind a most forbid- in the lowest octave. The case is mag- be much larger than we are accustomed Frescobaldi masterfully communicates ding fortress-like block façade, soars the nifi cent (Figure 11). Carelli spared no to today. Quarter notes in the music, for the meaning of the Mass liturgy into his opulent Baroque interior of the Chiesa expense in building this instrument. He example, are often the same speed as settings. His elevation toccatas take the del Gesù Nuovo, with its profusion of even included bagpipes, which could what we would notate as eighth or even listener on a journey through contem- colorful frescoes, inlaid marbles, and be used to play pastorali at Christmas sixteenth notes today. As a result, this plation, sympathy, and ecstasy. Though priceless treasures. Similarly, the famous time—so fi tting in an area famous for its music can appear simple and boring at at fi rst glance Fiori musicali seems like sculptures of the Cappella Sansevero, hand-crafted pastoral scenes. fi rst glance. Performed with a good dose just another book of short pieces, when including Giuseppe Sanmartino’s The of imagination—and, as Trabaci reminds these pieces are considered together Veiled Christ, combine absolute techni- Music of the Neapolitan School us, suffi cient study—however, this mu- they form imposing Mass settings, and it cal perfection with gestures and facial Like the Venetian school of keyboard sic is completely captivating, and its exu- becomes clear that this collection shares expressions so full of pathos that they music, the Neapolitan school fl ourished berance is sure to attract music connois- the monumentality of other early Roman do not just invite an emotional response during the late Renaissance. Its leader seurs and fi rst-time concertgoers alike. Baroque sacred art like the baldacchino from their viewer, they force one. was the Franco-Flemish composer Diruta’s Il Transilvano (1593), Anteg- that Bernini designed for St. Peter’s Ba- Giovanni de Macque (1550–1614). He nati’s L’arte organica (1608), and Adriano silica (Figure 7). Organs of Southern Italy worked for the Gesualdo household Banchieri’s L’organo suonarino (1605), Similarly, Bernardo Pasquini’s (1637– My most memorable experience with and later as maestro di cappella for the along with a good ear, are the best guides 1710) music demonstrates both his ad- southern Italian organs occurred during Spanish viceroy. Giovanni Maria Tra- for choosing registration. In Renaissance miration for the past as well as contem- a trip to the town of Teggiano in the re- baci (1575–1647) and Ascanio Mayone music, a slow tactus permeates the mu- porary tastes. His output is extensive gion of Campania. The south of Italy is (1565–1627) served under De Macque sic, and the relationships among meters and varied, ranging from works like the full of secluded towns and villages and as organists of the royal chapel. Their help to establish a tempo. In Baroque Fantasia la mi fa fa and the Capriccio many undiscovered artistic treasures. music is radical. De Macque’s in particu- music, the tempo is more fl exible and in G, which recall Frescobaldi’s contra- Teggiano is home to several historical in- lar is full of daring harmonies and forbid- governed by the affect of the music, as puntal works, to fi gured bass sonatas and struments, but the two most interesting den intervals. How it must have appalled Frescobaldi discusses in the prefaces to versets, to variations, toccatas, and suites were built around the turn of the 17th proponents of strict Renaissance coun- his Libro primo di capricci and his two in a style similar to that of his friend and century—one in 1595 (Figure 8) and terpoint! But then, it was written in Na- Libri di toccate. Historical Italian organs colleague Arcangelo Corelli, and fore- one in 1619 (Figure 9), only four years ples, not in Rome. As was the Neapolitan are the best source of information re- shadowing the keyboard writing of his after the publication of Giovanni Maria tradition, the music of De Macque, Tra- garding pedaling. With the exception of most famous pupil, Domenico Scarlatti. Trabaci’s Secondo Libro de Ricercate baci, and Mayone is suitable for perfor- some 18th-century organs, Italian organs Michelangelo Rossi’s (1601–1656) et altri varij Capricci. Neapolitan-style mance on keyboard instruments as well have pull-down pedals with no indepen- music shows the other face of the Ro- instruments from this time period are as on harp. It stands to reason that the dent stops, but they are very effective man Baroque—the face that seeks to extremely rare. Neither instrument is composers assumed that the performer for reinforcing a cadence, harmonic se- shock and amaze, especially by break- playable at this time.6 The restoration of would make adjustments idiomatic to quences, or a cantus fi rmus. As Fresco- ing the rules. During his lifetime, Rossi the 1595 instrument is nearly complete, the instruments on which they chose baldi demonstrates in his two toccate so- was best known as a virtuoso violinist. but has been suspended because of a to perform, adding a pedal part on the pra i pedali, the pedals can also be used He also composed at least two operas lack of funding. The 1619 instrument, organ, arpeggiating chords on the harp- to sustain pedal points. Most composers and spent most of his life working as a though magnifi cent, is still a ruin. Nev- sichord, and so on. Unlike Frescobaldi, did not notate these pedal points, though court rather than a church musician. ertheless, they still reveal much about none of the Neapolitan composers wrote their toccatas often feature extended His ten keyboard toccatas are formally Neapolitan organ music from the late prefaces including detailed performance passages decorating a single harmony. similar to Frescobaldi’s toccatas, but are Renaissance time. The pipe scaling used practice instructions, but Trabaci does Adding a pedal point in these passages full of startling effects and chromaticism in these instruments is extremely narrow include an important word of warning in makes the organ sound much fuller and the preface to his Libro primo (1603).7 more impressive. Studying written-out He writes that his music is carefully com- ornaments and examples of diminu- posed, but that study is necessary to dis- tions in treatises like Silvestro Ganassi’s cern the spirit of the music. Should the Opera intitulata Fontegara (1535) will performer neglect to do this study, it will help a performer to develop a repertory be their own fault if they did not succeed of ornaments. Playing from facsimiles of in realizing his intentions. Of course, it music that were published using beauti- is impossible to know today exactly what ful copper engraving, like the toccatas Trabaci meant by this statement, but one of Frescobaldi and Rossi, allows one thing is sure: in order to perform this to avoid the uninspiring straightness of Neapolitan music convincingly, it is cru- modern notation. As Frescobaldi coun- cial to study, determine the affect that sels in the preface to his Fiori musicali, the composer sought to convey, and then contrapuntal music should be studied to do everything possible to communi- in its original open score format. This is cate it as intensely as possible. guaranteed to deliver much more coher- ent counterpoint.8 Conclusions Now is the perfect time to restore early In conclusion, allow me to offer a Italian organ music from its relative ne- few practical suggestions regarding in- glect. Much music that was unavailable terpreting the notation of early Italian outside Italy has recently been released organ music. Musical notation devel- in excellent modern or facsimile edi-
24 THE DIAPASON Vigesima seconda Vigesima sesta Vigesima nona Trigesima terza e Trigesima sesta Flauto in XV (4′) 2 Flauto in XIX (2 ⁄3′) Tromba (8′) Bassi Tromba (8′) Soprani Contrabbassi (16′ pedal) Tiratutti Keyboard: C1–F5, short octave, 5 split keys (2 for D#/Eb, 3 for G#/Ab) Pedalboard: C1–F2, pull-down, short octave Temperament: Quarter-comma meantone Pitch: A = 405 Hz
1595 Anonymous organ, Teggiano This organ is under restoration by Leonardo Perretti, and not yet playable. The details of the specifi cation are still uncer- tain. Keyboard: C1–C5, short octave Pedalboard: C1–C2, pull-down, short octave
1784 Silverio Carelli organ Figure 11. The 1784 Silverio Carelli organ Cattedrale di San Pantaleone, Vallo in Vallo della Lucania della Lucania Christina Hutten at the 1784 Carelli organ in Vallo della Lucania Restored by Tamburini in 1989 tions, formerly unplayable instruments Principale I° (8′) 1565 Graziadio Antegnati organ Decimanona Principale II° are being restored, research has uncov- Basilica di Santa Barbara, Mantua ered helpful performance practice infor- Vigesimaseconda Ottava Restored by Giorgio Carli between 1995 Vigesimasesta XV I° mation, and new recordings of ancient and 2006 Flauto in ottava XV II° instruments are allowing people around Voce umana (added by Fedeli, about 1750) XIX I° ′ 3 ′ the world to experience their beauty for Principale (16 ) Cornetta (from C3 1 ⁄5 , added by Fedeli) XIX II° the fi rst time.9 But, in my opinion, the Fiffaro Flauto in Duodecima (added by an anony- XXII sights and sounds of Italy offer more in- Ottava mous builder, early 17th century) XXVI spiration than any score or treatise. They Decima quinta XXIX provide clues about the spirit of the mu- Decima nona Keyboard: C1–C5, short octave Voce Umana sic, where words and musical notation Vigesima seconda Pedalboard: C1–B1, pull-down, short octave Flauto in VIII ■ Vigesima sesta Temperament: Quarter-comma meantone Flauto in XII fall miserably short. Vigesima nona Pitch: A = 440 Hz Contrabasso (16′ pedal) Trigesima terza Notes Tremolo Trigesima sesta Zampogne (two wooden drone reed pipes) 1. The Voce Umana on historical Italian Flauto in XIX 1612 Giovanni Guglielmi organ organs is a Diapason Celeste, not a Regal. Flauto in VIII Keyboard: B0–C5 (exceptionally starts from 2. Manuscripts HH 76 and HH 35 housed Chiesa di Santa Maria in Vallicalla, Rome contra B), fi rst octave is chromatic in the Civico Museo Bibliografi co Musicale Keyboard: C1–F5, lowest octave is a short oc- Pedalboard: B0–D2, fi rst octave is chromatic in Bologna each contain an example of an or- tave, 7 split keys (4 for D#/Eb, 3 for G#/Ab) Restored by Fratelli Ruffatti between 1999 and 2000 Temperament: Vallotti namented Sonata per l’Elevatione by Padre Pedalboard: C1–A2, pull-down, lowest octave Pitch: A = 440 Hz (originally 415 Hz) Martini. is a short octave 3. Stops on Italian organs are named ac- Principale (16′) Bassi Temperament: Quarter-comma meantone ′ cording to the interval that they sound above Pitch: A = 465 Hz Principale (16 ) Soprani the fundamental pitch of the organ. For exam- Ottava (8′) Bassi ′ ple, an Ottava is a principal rank that sounds Ottava (8 ) Soprani an octave above the fundamental pitch, and is, Decima quinta therefore, an 8′ Principal on a 16′ organ or a 4′ 1716 Giuseppe Bonatti organ Decima nona Principal on an 8′ organ. Chiesa di San Tommaso Cantuariense, 4. For more information about this instru- Verona ment see “When in Rome: A conversation Restored by Barthélémy Formentelli in with Francesco Cera” by Joyce Johnson Rob- 2004 inson, The Diapason, June 2007, pp. 24–26. 5. Girolamo Frescobaldi, Preface to Il Grand organo e Pedali Principale bassi (8′) primo libro di Capricci (Rome: Luca Anto- ′ nio Soldi, 1624), 3, imslp.org/wiki/Capricci_ Principale soprani (8 ) Book_1_(Frescobaldi,_Girolamo) (accessed Ottava October 28, 2011). Duodecima 6. In the village of Salandra, a similar in- Decimaquinta strument from 1580 is restored and playable. Decimanona 7. Giovanni Maria Trabaci, Preface to Li- Vigesimaseconda bro Primo (1603) (Colledara, Italy: Androm- Vigesimasesta eda Editrice, 2004), 3. Vigesimanona 8. An open score edition of Frescobaldi’s Trigesimaterza Trigesimasesta Fiori musicali edited by Christopher Stem- 2 Cornetto primo 4′ and 2 ⁄3′ bridge is now available from Edizioni Arme- ′ 3 ′ lin, and Il primo libro di Capricci edited by Cornetto secondo 2 and 1 ⁄5 Flauto ottava 4′ Etienne Darbellay and Il primo libro delle 2 ′ Fantasie a Quattro edited by Alda Bellasich Flauto duodecima 2 ⁄3 are available from Edizioni Suvini Zerboni. Voce Umana Trombe soprani 8′ 9. For excellent recordings of a wide vari- ′ ety of historical Italian organs, visit the cata- Trombe bassi 8 Regale 8′ bassi logues of La Bottega Discantica
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