I. Vivarino, Sonata quinta, Il primo libro de motetti con otto sonate (1620), ed. N. M. Jensen, 2016

Transcription

1 ! I Vivarino, Sonata quinta, Il primo libro de motetti on otto sonate (1620), ed N M ensen, 2016 Canto Sonata quinta per il violino ó altro simile stromento Innoentio Vivarino Edited by Niels Martin ensen Partitura B # Niels Martin ensen, # # # Ó 11 Ó Œ!! 15 # WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (ssm-lsmorg)

2 !! I Vivarino, Sonata quinta, Il primo libro de motetti on otto sonate (1620), ed N M ensen, # 24 6! # 0 # 5 # WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (ssm-lsmorg)

3 #!!! I Vivarino, Sonata quinta, Il primo libro de motetti on otto sonate (1620), ed N M ensen, # 48 Ó 5 # 58 b # # U b U WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (ssm-lsmorg)

4 I Vivarino, Sonata quinta, Il primo libro de motetti on otto sonate (1620), ed N M ensen, EDITORIAL REPORT Soure Il primo libro de motetti d Innoentio Vivarino, organista nel duomo d Adria, da antarsi a una voe Con otto sonate per il violino ó altro simile stromento Dediati all illustre et molto reverendo signor D Fabritio Boa, gentil huomo d Adria e anonio meritissimo Stampa del Gardano in Venetia, appresso Bartolomeo Magni part-books: Canto, Partitura (to-part sore: C s, ) 1 D-F (ompl) RISM A/I V 2252, Sartori I 1620 The only extant exemplar, no in the holdings of the Universitätsbibliothek ohann Christian Senkenberg (D-F), Frankfurt am Main, is the soure for this edition Editorial Remarks Quarter notes and eighth notes are predominant in the duple-meter setions, half notes and quarter notes predominate in the triple-meter setion Soure has a regular barring in both Canto and Partitura: Barlines mostly at the distane of a double hole note in the duple-meter setions, and barlines at the distane of a perfet hole note (dotted hole note in modern notation) in the triple-meter setion Performane Notes (effrey Kurtzman) Vivarino s title indiation ó altro simile stromento ould have meant in his time prinipally a ornetto, a reorder or a transverse flute This sonata begins both duple-meter setions ith an organ solo, hih is then imitated by the upper part In suh passages, the organ part need not be harmonized until the upper part enters The ontinuo figures in this sonata are sparse, but the savvy organist ill realize that first inversion triads are neessary on many oasions, even though there is only one figure 6 in the entire piee There are to general situations that normally all for first inversion triads: 1) rhythmially strong bass notes that ould be solmized as mi in the Guidonian solmization system (normally the note E or the note B hen it asends by a half-step in measure 5, also the note F-sharp); and 2) a harmony in hih the first note in the bass is the 6th of the hord, hih is immediately folloed by the root of the triad Examples of the first situation are found in measures 5, 8, 18, 22-24, 26, 29, and 4 Examples of the seond are in measures 4, 12, 14-17, 49 and 61 There are other oasions also alling for first inversion triads: the last note of measure 19, the seond quarter note of measure 20, the half note in measure 1 (a 6-5 onfiguration), the last half note in measure (another 6-5 progression), possibly the first beat in measure 47, the seond half-note beats in measures 48, 51, 54, 55 and the first quarter-note beat in measure 57 In measure 9, the half-note beat an be a maor triad as a passing adene in the 1 Partitura omprises to staves: The upper staff, in the Editorial Report abbreviated C s, reprodues the Cantopart, but ith small differenes, all of them being listed in the Critial Notes; the loer staff,, gives the ontinuobass WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (ssm-lsmorg)

5 I Vivarino, Sonata quinta, Il primo libro de motetti on otto sonate (1620), ed N M ensen, phrase leading toard the adenes in measures and The adene in measure 20 should leave an open fifth on the third quarter-note beat in the organ, reating a 5-4 suspension ith the upper part, hih is then resolved by the top part In a ommentary in the index of the print, Vivarino indiates that the organ should play in stritly measured time 2 This strit time suggests not only an evenness of tempo throughout eah setion of the piee, but also a sesquialtera tempo relationship beteen the duple-meter setions and the entral triple-meter setion A sesquialtera relationship means that three quarter notes under are equal to to under C, or three half notes (or to dotted half-notes) in triple time are equal to to half notes in duple time The transition is easily made by maintaining a steady tatus for both meters, but sithing from an even beat in duple time to an uneven beat in triple time and vie versa CRITICAL NOTES Canto p 22: Quinta Tavola p 26: Sonata Quinta Partitura p 46: Quinta Tavola p 54: Sonata Quinta M 19,, n 8: C s has g, has a M 41,, n 1: Coloration is missing in C s M 44, : Coloration is missing in, added after C s 2 Vivarino appends the folloing omment to the index in the Partitura of his print: Hò giunto i Aidenti al Basso ano nelle Sonate per failità dell Organista dovendosi suonare quelle on stretta misura ( I have added the aidentals to the bass even in the sonatas for the onveniene of the organist ho must play them [the sonatas] in strit time ) We are grateful to Gregory Barnett for his onsultation on the interpretation of this sentene WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (ssm-lsmorg)