Page 200 - Weiss, Jernej, ur. 2017. Glasbene migracije: stičišče evropske glasbene raznolikosti - Musical Migrations: Crossroads of European Musical Diversity. Koper/Ljubljana: Založba Univerze na Primorskem in Festival Ljubljana. Studia musicologica Labacensia, 1
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glasbene migracije: stičišče evropske glasbene raznolikosti
ways omitted, the instrumental ensemble consisting of a string quartet
and basso continuo in most cases, with the addition of oboes in a few
cases (possibly substituted by f lutes or clarinets) and horns.
In most cases, the contrafactum maintains the key and tempo
of the original aria. At times, there is an evident rhythmic difference
in the vocal lines, as a result of the different text syllabification. The
original text was replaced by a sacred one written in Latin. The newly
composed Latin texts of the contrafacta may follow the incipit of well-
known liturgical texts and then develop into an autonomous form. But
more often than not, they are centonizations of devotional wordings.3
This practice was largely accepted, lasting for several decades.
According to the same principle, and with reference to the Italian con-
text only, fifty years later collections for organ such as Repertorio ecletti-
co dell’organista were published 4, including pieces taken from operas like
I due Foscari and Il Trovatore by Verdi, or extracts from I martiri or Anna
Bolena by Donizetti, or from Mercadante’s La Vestale. Here, the text in-
tended to be sung according to the original piece was simply omitted, since
the transfer was applied to a single instrument and no voices were featured.
And it is again in Turin that twelve issues of sacred music were printed
by Magrini, which included the Suonate sopra motivi di Mercadante. It’s in-
deed on these issues that Giovanni Battista Candotti5, one of the first in It-
aly to evoke a reform, wrote to Alberto Mazzucato6: “[…] Let alone the fact
that there are entire pieces from operas with the title of Suonate sopra mo-
tivi di Mercadante, I notice that the organ is almost always treated like a pi-
ano, with the exception of few small indications of pedal here and there,
3 On the phenomenon of contrafacta see Nicole Schwindt-Gross, “Parodie um 1800.
Zu den Quellen im deutschsprachigen Raum und ihrer Problematik im Zeitalter des
künstlerischen Autonomie-Gedankens,” Die Musikforschung, 41 (1988), 16–45; Gab-
riella Hanke Knaus, ““Theaterstyl” und “Kirchenstyl”. Zur Kontrafakturpraxis in
den kirchenmusikalischen Zentren der Innerschweiz,” in Musik aus Klöstern des
Alpenraums, Bericht über den Internationalen Kongress an der Universität Freiburg
(Schweiz), 23 bis 24. November 2007, Giuliano Castellani, ed., (Bern: Lang, 2010), 71–
84; Giuliano Castellani and Christoph Riedo, ed., Ferdinando Galimberti, Dies irae,
for soli, choir und orchester (1744) (Adliswil/Zürich: Edition Kunzelmann, 2010),
XXXIV.
4 Repertorio eclettico dell’organista, reductions by Cerruti and Paoletti (Torino: Racca,
1853).
5 Giovanni Battista Candotti (1809–1876), Italian composer and priest, was a precursor
of the Cecilian movement, along with his pupil Jacopo Tomadini. His entire musical
corpus is kept at the Archivio Musicale Capitolare of Cividale del Friuli.
6 Alberto Mazzucato (1813–1877): Italian composer, music teacher and writer. He held
198
ways omitted, the instrumental ensemble consisting of a string quartet
and basso continuo in most cases, with the addition of oboes in a few
cases (possibly substituted by f lutes or clarinets) and horns.
In most cases, the contrafactum maintains the key and tempo
of the original aria. At times, there is an evident rhythmic difference
in the vocal lines, as a result of the different text syllabification. The
original text was replaced by a sacred one written in Latin. The newly
composed Latin texts of the contrafacta may follow the incipit of well-
known liturgical texts and then develop into an autonomous form. But
more often than not, they are centonizations of devotional wordings.3
This practice was largely accepted, lasting for several decades.
According to the same principle, and with reference to the Italian con-
text only, fifty years later collections for organ such as Repertorio ecletti-
co dell’organista were published 4, including pieces taken from operas like
I due Foscari and Il Trovatore by Verdi, or extracts from I martiri or Anna
Bolena by Donizetti, or from Mercadante’s La Vestale. Here, the text in-
tended to be sung according to the original piece was simply omitted, since
the transfer was applied to a single instrument and no voices were featured.
And it is again in Turin that twelve issues of sacred music were printed
by Magrini, which included the Suonate sopra motivi di Mercadante. It’s in-
deed on these issues that Giovanni Battista Candotti5, one of the first in It-
aly to evoke a reform, wrote to Alberto Mazzucato6: “[…] Let alone the fact
that there are entire pieces from operas with the title of Suonate sopra mo-
tivi di Mercadante, I notice that the organ is almost always treated like a pi-
ano, with the exception of few small indications of pedal here and there,
3 On the phenomenon of contrafacta see Nicole Schwindt-Gross, “Parodie um 1800.
Zu den Quellen im deutschsprachigen Raum und ihrer Problematik im Zeitalter des
künstlerischen Autonomie-Gedankens,” Die Musikforschung, 41 (1988), 16–45; Gab-
riella Hanke Knaus, ““Theaterstyl” und “Kirchenstyl”. Zur Kontrafakturpraxis in
den kirchenmusikalischen Zentren der Innerschweiz,” in Musik aus Klöstern des
Alpenraums, Bericht über den Internationalen Kongress an der Universität Freiburg
(Schweiz), 23 bis 24. November 2007, Giuliano Castellani, ed., (Bern: Lang, 2010), 71–
84; Giuliano Castellani and Christoph Riedo, ed., Ferdinando Galimberti, Dies irae,
for soli, choir und orchester (1744) (Adliswil/Zürich: Edition Kunzelmann, 2010),
XXXIV.
4 Repertorio eclettico dell’organista, reductions by Cerruti and Paoletti (Torino: Racca,
1853).
5 Giovanni Battista Candotti (1809–1876), Italian composer and priest, was a precursor
of the Cecilian movement, along with his pupil Jacopo Tomadini. His entire musical
corpus is kept at the Archivio Musicale Capitolare of Cividale del Friuli.
6 Alberto Mazzucato (1813–1877): Italian composer, music teacher and writer. He held
198
