G. B. Riccio, Canzon: Basso e soprano, Il primo libro delle divine lodi (1612), ed. N. M. Jensen, 2015

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1 * * G. Riio, Canzon: Basso e soprano, Il primo liro delle divine lodi (1612), ed. N. M. ensen, 2015 Canzon: Basso e soprano overo alla quarta assa: Flautino e asso Canto Basso. Giovanni Battista Riio Edited y Niels Martin ensen. Basso ontinuo. Niels Martin ensen, n WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (.ssm-lsm.org) Monuments of Seventeenth-Century Musi Vol. 2.4

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10 G. Riio, Canzon: Basso e soprano, Il primo liro delle divine lodi (1612), ed. N. M. ensen, EDITORIAL REPORT Soure Il primo liro delle divine lodi aomodate per antar nell organo. A due voi. Con il suo asso ontinuo. Per Gio. Battista Riio. Novamente reviste, e ristampate. Con l aggiunta in questa ultima impressione d aluni onenti armonii spirituali à una, doi, tre voi. Dell istesso autore. In Venetia appresso Riiardo Amadino partooks: Canto, Basso, Basso ontinuo. I-Ls (ompl.). RISM A/I R 128, Sartori II 1612g. Editorial Remarks Barlines are asent in the soure. Regular arlines have een introdued: hole-note arring in the duple meter setions, and three-hole-notes arring in the triple meter setions. Performane Notes (effrey Kurtzman) In Riio s time a flautino simply meant a reorder and not exlusively a high reorder (sopranino), as the meaning of flautino eame around For the transposition of this piee a fourth donards ( alla quarta assa ) 2 a (desant) reorder in G ould e suitale. The onsisteny of repeated notes in a uniform rhythm suggests a steady eat throughout this piee. The speed of the sixteenth notes near and at the end ill determine the overall tempo. Although no seventeenth-entury theoretial soure states speifially that there must e a proportional tempo relationship eteen suessive passages in duple meter and triple meter, it is a simple matter to estalish suh a relationship in this piee y shifting from an evenly eat tatus for the duple-meter measures to the same tatus, eat unevenly (2 + 1) for the triple-meter (tripla) measures. This produes a quik paing for the passages in triple meter, ut if performers ish to play the triple meter setions at a sloer pae, a ne, sloer tatus an e employed for those, inluding a tatus that equates the half note in duple time ith the hole note in triple time. Most of the internal adenes should onlude, like the final adene, ith hords ith maor thirds (examples not already indiated y Riio are measures 15, 1, 49, 64, 95). Maorthird adenes are suggested y Riio himself y notating the passing adene hord at the eginning of measure 10 ith a maor third in the ontinuo. As alays, the hord immediately preeding the final hord of a adene should also have a maor third, required, for example, at the end of measure 9 even though Riio has not othered to notate a ontinuo sharp. He ould have expeted any ontinuo player to understand that a maor triad is required as the penultimate hord of any adene ithout eing told. Exeptions to the general priniple of adenes onluding on hords ith maor thirds are those in the middle of measures 78 and 81, hih are amiguous. Beause of their position in the middle of a tatus and their immediate ontinuation requiring an F- natural, they are more likely andidates for hords ith minor thirds, or omission of the third of 1. This edition is a reprint of a lost first edition, as might e inferred from the title-pages and the tales of ontents of the partooks, ith some added spiritual onertos (aluni onenti armonii spirituali). Among the additions are the to instrumental anzonas pulished as nos. 4 and 5 in this anthology. 2. The omplete ording inluding assa is found only in the partook for the (f. the Critial Notes), in the other partooks assa is omitted. This has aused the misunderstanding that the piee ould e transposed a fourth upards instead of donards and then e played y a sopranino reorder (see e.g. Chamer Musi of the seventeenth entury. Vol. : Giovanni Battista Riio, To anzonas for reorder, ass instrument and ontinuo. Ed. y Eleanor Selfridge-Field (London: Pro Musia Edition, 1975). Notie also the hiavette lefs (G2 and F). WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (.ssm-lsm.org) Monuments of Seventeenth-Century Musi Vol. 2.4

11 G. Riio, Canzon: Basso e soprano, Il primo liro delle divine lodi (1612), ed. N. M. ensen, the hord altogether, therey not requiring the ontinuo player to make a deision one ay or the other. Players should e advised that a B-flat is required at the end of measure 10, despite the adene-hord ith a B-natural at the eginning of the measure. The transition from measure 59 to measure 60 is rather akard and ould seem to require a B-natural in the final hord of measure 59, ut a minor hord at the end of 59, resulting in a melodi augmented seond in the anto part is also possile in this period. The strongly harmoni harater of this piee suggests a musia fita E-flat in the Canto at the end of measures 18, 4, and 52, CRITICAL NOTES Canto p. 4: Canzon. Basso e soprano overo alla quarta flautino asso; Basso p. 4: Canzon. Basso e soprano overo alla quarta flautino asso; Basso ontinuo p. 6: Partitura. Canzon. Basso e soprano overo alla quarta assa, flautino asso. M. 56, : Soure has the natural as a ontinuo figure attahed to instead of to M. 70,, n. m. 75, n. : Soure damaged, reonstruted y the editor. M. 72,, n. 4: [6] added y analogy ith m. 68, n. 2. M. 95,, n. 1 m. 97, n. 2: Soure damaged, reonstruted y the editor. M , : Tie added. M , : Tie added. WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (.ssm-lsm.org) Monuments of Seventeenth-Century Musi Vol. 2.4