œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ.

Transcription

1 G. Belli, Canzone: Cornetto o violino e trombone, Conerti elesiastii (1621), ed. F. Piperno, 2015 Canzone a 2: Cornetto o violino e trombone Cornetto o violino B Giulio Belli Edited by Frano Piperno. Trombone Basso per l'organo B Frano Piperno, Œ. #. # 9. Œ. Œ... WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (.ssm-lsm.org)

2 G. Belli, Canzone: Cornetto o violino e trombone, Conerti elesiastii (1621), ed. F. Piperno, Πj j # ΠΠΠWEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (.ssm-lsm.org)

3 G. Belli, Canzone: Cornetto o violino e trombone, Conerti elesiastii (1621), ed. F. Piperno, ΠΠΠ# a.... ΠΠΠWEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (.ssm-lsm.org)

4 G. Belli, Canzone: Cornetto o violino e trombone, Conerti elesiastii (1621), ed. F. Piperno, ΠΠ49 Π# ΠΠWEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (.ssm-lsm.org)

5 G. Belli, Canzone: Cornetto o violino e trombone, Conerti elesiastii (1621), ed. F. Piperno, # Œ. #. # 71. Œ. Œ... WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (.ssm-lsm.org)

6 G. Belli, Canzone: Cornetto o violino e trombone, Conerti elesiastii (1621), ed. F. Piperno, j... j 83 Œ.. 87 # Œ Œ Œ WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (.ssm-lsm.org)

7 G. Belli, Canzone: Cornetto o violino e trombone, Conerti elesiastii (1621), ed. F. Piperno, ΠΠ95 ΠΠΠU a a U U WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (.ssm-lsm.org)

8 G. Belli, Canzona: Cornetto o violino e trombone, Conerti elesiastii (1621), ed. F. Piperno, EDITORIAL REPORT Soures A: Conerti elesiastii a due et a tre voi. Di Giulio Belli, maestro di apella nella athedrale d Imola. Novamente omposti, et dati in lue. All illu.mo et e.mo sig.re il sig.re Niolo Guidi Bagno, marhese di Monte Bello et. In Venetia, aere Bartholomei Magni partbooks: Canto I, Canto II, Basso, Basso per l Organo. A-Wn (ompl.), I-B (ompl.), I-Bsp (ompl.), I-FA (inompl), PL-WRu (inompl). RISM A/I B 1771, BB 1771, Sartori I II 1613b. 1 B: Conerti elesiastii a due et a tre voi. Di Giulio Belli, maestro di apella nella athedrale d Imola. Novamente omposti et dati in lue. Franofurti apud Niolaum Steinium partbooks: Canto I, Canto II, Basso, Basso per l Organo. D-Dl (inompl.), F-Pn (inompl.), PL-Kj (ompl.), 2 PL-Wu (inompl.), US-NYp (inompl.). RISM A/I B 1772, BB 1772, Sartori I 1621i. 3 C: Conerti elesiastii binis et ternis voibus, um basso ontinuo ad organum. Autore Giulio Belli, magistro musiae apellae athedralis elesiae Imolensis. Nun primum in luem editi. Anterpiae. Ex offiina Petri Phalesii ad insigne Davidis regis () partbooks: [Cantus I], [Cantus II], Bassus, [Bassus ad organum]. B-Gu (inompl.). 4 RISM A/I BB 1772a. The only extant omplete exemplar of B, hih is no in the Uniersytet agielloński, Biblioteka agiellońska in Krakó (PL-Kj), is the primary soure for this edition. This exemplar has handritten orretions of some of the misprints in A hih seem to stem from the 17th entury, 5 and it is the most reliable of the existing soures. C is the only extant partbook, Bassus, of the 1622 edition, published in Latin by Pierre Phalèse in Anterpen. This exemplar is no housed in the University Library, Gent. It has been onsulted, beause it has the handritten orretions of B transferred into print. 1. I-FA and P-WRu are not listed in Sartori I-II. 2. Listed neither in Sartori I II nor in RISM A/I. The exemplar listed in Sartori as being in Öffentlihe Wissenshaftlihe Bibliothek, Berlin, (former Preussishe Staatsbibliothek, no Staatsbibliothek zu Berlin Preussisher Kulturbesitz), may be this one hih, as part of the musi olletion in Preussishe Staatsbibliothek after its evauation to Silesia during the Seond World War, ended up in Biblioteka agiellońska, Krakó (see Catalogue of Early Musi Prints from the Colletions of the Former Preuβishe Staatsbibliothek in Berlin, Kept at the agiellonian Library in Crao. Edited by Aleksandra Patalas (Krakó: Musia Iagiellonia, 1999) p. 33, no. 194, and Marek Sroka, The Musi Colletion of the Former Prussian State Library at the agiellonian Library in Krako, Poland: Past, Present, and Future Developments, Library Trends, 55, no. 3 (Winter 2007): ). I am indebted to effrey Kurtzman for having loaned me his mirofilm of this exemplar. 3. D-Dl and US-NYp are not listed in Sartori I-II, hih erroneously has PL-WRu for PL-Wu. 4. Not listed in Sartori I-II. 5. Similar handritten orretions (by the same hand) are knon from exemplars of other ontemporary prints suh as Biagio Marini s opus 8 (1629), see the edition by Maura Zoni, Monumenti musiali italiani, vol. 23 (Milano: Edizioni Suvini Zerboni, 2004), xix-xx, and Giovan Battista Fontana: Sonate (1641), ed. Maura Zoni, Monumenti musiali italiani, vol. 28 (Milano: Edizioni Suvini Zerboni, 2007), ix. WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (.ssm-lsm.org)

9 G. Belli, Canzona: Cornetto o violino e trombone, Conerti elesiastii (1621), ed. F. Piperno, Editorial Remarks Barlines are absent in the soures exept for the ontinuo parts in A and B, here a fe barlines our irregularly. Regular barlines have been introdued by the editor: hole-note barring in the duple meter setions, and three-hole-notes barring in the triple meter setion. The anzona a2 has the mensural sign, i.e., tempus imperfetum non diminutum (semiirolo semplie) or alla semibreve notation, the anzone a3 has the alla breve sign. Of the olletion s 26 voal piees only to are notated in tempus imperfetum non diminutum, all the others have the traditional alla breve sign, hih as to beome old-fashioned in voal hurh musi in the beginning of the seventeenth entury. 6 The note values are the same in the non diminutum and the diminutum anzonas ith no more blak notes (note nere) in the non diminutum piee. The use of the diminutum mensural sign adhered to the onservative (sixteenthentury) pratie to notate masses, motets, and other sared ompositions ith an alla breve sign as opposed to madrigals ith more note nere. During the seventeenth entury the alla semibreve sign beame the far more ommon mensural sign of the to. But ith Belli e are in the transitional period, and if a differene in performane pratie is indiated by the to different mensural signs a suggestion may be that the alla breve sign in the anzone a3 indiates a faster tempo than the hole-note notation in the anzone a2. Then e have a orrespondene in the instrumental piees to the to different notations in the voal piees of the olletion. Support for this suggestion ould be found in Antoni Brunelli s Regole utilissime per li solari (1606) 7 and Adriano Banhieri s Cartella musiale (1614). 8 Both Brunelli and Banhieri state that many omposers noadays use alla semibreve and alla breve signs in the same ay, i.e., ith hole note for one tatus, only that piees in alla breve should be beaten ith a faster tatus (presto) and alla semibreve ith a sloer (adagio). Performane Notes (effrey Kurtzman) The many unfigured ontinuo basses in the musi of the early seventeenth entury reate problems for the ontinuo player. For example, it as standard pratie to onlude the final adene ith a major third in the hord, even if it as not figured (a tiere Piardie). And from several ontemporary theorists, suh as Agostino Agazzari s Del sonare sopra l basso (1607) and Adriano Banhieri s L organo suonarino (1605, 1611, 1638) it is lear that all penultimate hords of adenes, hether final or medial, or even brief passing adenes, required a major third. Medial adenes also often used a major third in their final hord. In Belli s Canzona a2, a major third is required in the organ realization at the beginning of measure 9, in the seond half of measure 37, the beginning of measure 43, the beginning of measure 71, the seond half of measure 87, and the seond half of measure 99. Similar loations already have the major third in one or the other of the instrumental parts (measures 51, 62 and the seond quarter note of measure 87). In measure 77 a major third may also be desirable, reating the effet of an evaded adene at the beginning of measure 78. Although no seventeenth-entury theoretial soure states speifially that there must be a proportional tempo relationship beteen suessive passages in duple meter and triple meter, suh 6. See Ue Wolf, Notation und Aufführungspraxis: Studien zum Wandel von Notenshrift und Notenbild in italienishen Musikdruken der ahre (Kassel: Edition Merseburger, 1992), I: Cf. Putnam Aldrih, Rhythm in Seventeenth-Century Italian Monody (London:. M. Dent and Sons Ltd., 1966), Cf. Clifford Alan Cranna, r., Adriano Banhieri s Cartella musiale (1614): Translation and Commentary (Ph.D. diss., Stanford University,1981), 115. WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (.ssm-lsm.org)

10 G. Belli, Canzona: Cornetto o violino e trombone, Conerti elesiastii (1621), ed. F. Piperno, ontinuity is sometimes implied by the notation and musiians often find it natural to generate some kind of proportional tempo relationship. The hoies are often ompliated by inonsistent ays of notating triple meters not only beteen different omposers, but even ithin the orks of a single omposer. The proportional signature in this anzona is proportio tripla, in hih three hole notes (a dotted breve) under omprise a single tatus (beat) ith the donard motion oupying to of the three hole notes and the upbeat one hole note. In this piee, a tempo relationship may be easily established by making one dotted breve in triple time equal to one hole note under in duple meter (one measure in triple meter equals one measure in duple meter). Therefore, in this piee a proportional relationship may be maintained in measures by not hanging the duration of the entire measure, but by shifting from an even don-up beat for measures of duple time to an uneven (2 +1) don-up beat for measures of triple time, and then bak again to an even beat for the return to duple time. CRITICAL NOTES B: Canto I p. 18: Canto per il Corneto [si] ò violino; Canto II p. 18: A 2. Canto per il Trombone; Basso per l Organo p. 18: A 2. Cornetto e Trombone; Tavola (C. I): Canzone, Cornetto, e Trombone. M. 1, : B has erroneously the mensural sign. M. 8,, nn. 2 3: A has g-sharp f instead of g f-sharp, handritten orretion in B. M. 22,, n. 4: A has quarter note, handritten orretion to eighth note in B. M. 24,, n. 6 m. 25 n. 2: A has d -sharp, handritten orretion to d -sharp in B. M. 37,, n. 1: Sharp is missing in A and B. M. 44,, b. 1: A and B have quarter rest instead of eighth rest. M. 44,, nn. 2 3: A has d d, handritten orretion to f f in B. M. 45,, b. 1: A and B have quarter rest instead of eighth rest. M. 46,, b. 1: A and B have quarter rest instead of eighth rest. M. 46,, n. 2: f is missing in A, added by hand in B. M. 58, : A has breve f, orreted by hand to breve g in B. M. 86,, n. 6 m. 87 n. 2: A has d -sharp, handritten orretion to d -sharp in B. M. 99, and, n. 1: f editorially orreted to f-sharp in keeping ith m. 37. WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (.ssm-lsm.org)