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S. Patta, Canzon franese, "La Gironda", Sarorum antiorum. Liber seundus (1613), ed. N. M. Jensen, 2016 7 EDITORIAL REPORT Soures [ Cantus/Altus/Tenor/Quintus/Bassus/Bassus pro Organo] Sarorum antiorum 1 una, duabus, tribus, quatuor, et quinque voibus, D. Seraphini Pattae, mediolanensis monahi assinensis, et in elesia Santi Salvatoris Papiae organistae. Liber seundus ui inseruntur antiones quaedam instrumentis tantum aommodatae, um parte infima pro organo. Nun primum in lue aeditum. Venetiis apud Iaobum Vinentium. 1613. 6 partbooks: Cantus, Altus, Tenor, Quintus, Bassus, Bassus pro Organo. I-B (ompl.), I-SPd (inompl). RISM A/I P 1038, Sartori II 1613h. The only omplete exemplar, no in the holdings of the Museo internazionale e bibliotea della musia di Bologna (I-B), is the soure for this edition. Editorial Remarks Half notes, quarter notes and eighth notes are predominant in the duple-meter setions; half notes and quarter notes predominate in the triple-meter setion. Barlines in the soure are present in the ontinuo partbook only. Soure barring in the duple- meter setions is almost onsistently a double-hole-note barring and in the triple-meter setion, notated as 3 in the soure, a (perfet) double-hole-note barring. Performane Notes (Jeffrey Kurtzman) The proportional relationship beteen the setions in duple and triple meter is in this edition interpreted as a sesquialtera relationship aording to the paired grouping of three half notes in the triple-meter setion. This means that three half notes in the triple-meter setion equal to half notes in the duple-meter setions. This interpretation is refleted in the editorial barring, so that one measure in the duple-meter setions is equal to one measure in the triple-meter setion, alloing for a simple, proportional tempo relationship beteen the duple-meter and triple-meter setions. Hoever, there is no requirement in theoretial ritings of the period that suh linear tempo proportions should be maintained, though it is quite natural to many musiians to do so. The soure offers no guidane about instruments to be used in the five anzonas exept for the organ as ontinuo. In all of Patta s five three-part instrumental piees the Cantus does not exeed the range d a, hile the ompass of the Bassus is D. In keeping ith idespread Italian instrumental ad libitum-pratie at the beginning of the entury, the performers may hoose 1. The title on the front pages of the partbooks is in the genitive ase, Sarorum antiorum, beause it is attahed to the designations of the different partbooks, Cantus, Altus, Tenor, Quintus, Bassus, Bassus pro Organo. WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (.ssm-lsm.org) Monuments of Seventeenth-Century Musi Vol. 2.18
S. Patta, Canzon franese, "La Gironda", Sarorum antiorum. Liber seundus (1613), ed. N. M. Jensen, 2016 8 beteen several alternative ind and string instruments for the upper parts; pairing of like melody instruments is typial, though a mixed ensemble is also possible. 2 Although the ontinuo part is designated Bassus pro Organo, and the suggestions belo on ontinuo realization are based on a keyboard, the organ is not the only potential ontinuo instrument. The nomenlature of the organ partbook results from the fat that these anzonas appear at the end of a large book of sared motets, here the organ is the appropriate ontinuo instrument. If these anzonas ere performed in a liturgial servie or an oratory, then the organ ould indeed be the most suitable instrument, though theorbos ere also ommonly used in suh surroundings to play the ontinuo, espeially in orks like these for a small number of parts. But these anzonas ould also be performed in seular environments here a theorbo, lute, harp, harpsihord, ittern, or guitar ere all potential ontinuo instruments. Eah instrument, of ourse, has to make its on idiomati adjustments to playing the underlying harmonies. In La Gironda Patta provides no ontinuo figures other than to sharps. Other sharps in the harmony are revealed through sharps in the Cantus part, mostly, but not exlusively, at adenes. Almost all adenes should onlude ith a major triad: measures 10, 21, 32, 42, 61, 65, 70, 86, 98, 108, 112. None of these adenes has a figured sharp (measures 60 61 and 64 65 require a major triad as the penultimate hord). Several adenes on A proeed ith another halfnote A or a hih ould support either repeat of the major triad or a shift to the minor version: 21, 32, 42, 98, 108. The fat that Patta has repeated the bass note instead of notating a hole note may suggest that he antiipated a hange in the harmony on the seond A. The adene in measures 20 21 and 41 42 may be performed ith a seond inversion triad folloed by a root position hord, ith doubling of the Cantus part, or a sustained open fifth and otave, making a suspension of the a in the Cantus, resolving to the leading tone g -sharp. In measures 101 102, the passing adene requires a major triad in the seond half of measure 101, but the final hord of the adene at the beginning of measure 102 may remain minor in keeping ith the immediate ontinuation of the phrase in the Cantus. Patta does not figure any first inversion triads in this piee, but nevertheless, there are many plaes here first inversion triads are alled for. As in the other anzonas of Patta s print, there are a number of bass motions omprising a drop of a third, usually in quarter notes: measures 13, 15, 25, 28, 33, 35, 37, 75, 82, 99, 101, 103 and 109. In these patterns the first quarter note ould typially be harmonized ith a first inversion triad and the seond ith the same hord in root position (in measures 103 and 109 ith F-sharp through the first half of the measure). Other plaes here first inversion triads are needed are measures 8 (seond half), 17 (seond half), 18 (first half), 23 (last quarter note), 43 (seond quarter note) 45 (first quarter note), 46 (seond quarter note), 47 (first quarter note), 55 (seond quarter-note beat, folloed possibly by seond inversion on third quarter-note beat), 59 (seond quarter-note beat), 79 (seond inversion on third quarter-note beat), 82 (first beat), 106, 109 (third quarter-note beat). A fe plaes offer the performer an option beteen a root position and a first inversion hord: 26 (first half note), 49 2. See Sandra Mangsen, Ad libitum Proedures in Instrumental Duos and Trios, Early Musi, Vol. 19, No. 1 (Febr. 1991), 28 40, and Peter Allsop, The Italian Trio Sonata. From its Origins Until Corelli (Oxford: Clarendon Press, 1992), 24 46. WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (.ssm-lsm.org) Monuments of Seventeenth-Century Musi Vol. 2.18
S. Patta, Canzon franese, "La Gironda", Sarorum antiorum. Liber seundus (1613), ed. N. M. Jensen, 2016 9 (first quarter note), 51 (third quarter-note beat), 55 (seond quarter-note beat), 59 (seond quarternote beat), 60 (third quarter-note beat), 82 (first quarter note), 92 (last half note). Several other plaes in the ontinuo line feature passing tones on even quarter-note beats that require no harmonization at all: 7, 54, 71, 75, 79, and 82 (depending on the hord hosen for the first beat of the measure). There are also a fe plaes here the ontinuo and Bassus begin a to-part fugue hile the Cantus is silent; typially, suh passages remain unharmonized in the ontinuo part. This is the learly the ase in measures 1 2 and 61 64, 70 73, 78 79, and 87 88, but might also be applied to measures 12 13, 17, 28 29 (seond half of 28 and first half of 29), 98 99 and 108 109 as ell as the non-imitative dialogues in measures 42 53. The ontinuo player should be aare that at times, the Bassus part drops ell belo the ontinuo (measures 20, 41, 107 108), but this does not affet the ontinuo player s realization of the harmony. CRITICAL NOTES Cantus: Cantus p. 54: A 2. La Gironda; Bassus: Bassus p. 30: A 2. La Gironda; Bassus pro Organo: Bassus pro Organo p. 51: A due. Canto, e Basso. La Gironda. M. 8,, n. 4: A sharp editorially added in keeping ith m. 19. M. 24,, n. 3: The soure has erroneous hole note e instead of quarter note e. M. 29,, n. 2 4: The soure has erroneous repetition of the eighth notes b a. M. 30,, n. 4: A sharp editorially added in keeping ith m. 19. M. 74,, n. 1: A (preautionary) sharp as ontinuo figure is given in the soure. WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (.ssm-lsm.org) Monuments of Seventeenth-Century Musi Vol. 2.18