Page 205 - 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
P. 205
from theatre to church: some remarks about censorship on operatic style ...
It was explicitly prohibited to praise the performance of music, in
Catholic press, not compliant with regulations issued by the Sacra Con-
gregazione dei Riti.22 Polemics were violent, at times resembling more a de-
nunciation than just a mere complaint. Some articles would make it easy to
identify those guilty of having performed an inappropriate repertoire. Here
follows a typical comment on a musical performance during the service:
Frisky-rhythmed ariettas, little duets and trios with Baroque sub-
jects were the ingredients of the whole composition. And as if that
weren’t enough, the organist played his part too, by using the organ
as if it were a piano, performing danceable and secular opera mu-
sic, such as the song from Lucrezia Borgia «Ama tua madre, e tene-
ro etc. etc.» and many other of an all too similar kind, if not even
worse. Choir singers and organist are from Chiarano.23
In certain cases, names of musicians concerned were not overtly stated
but their home town was mentioned, as in the aforementioned case.
Polemic articles often appeared anonymously even in journals such as
the Gazzetta Musicale di Milano, not specifically devoted to sacred music
but with higher impact and relevance at national level. This was not simply
a matter of rejection: it actually turned out to be a true attack against mu-
sical genre that became a direct attack against people, pursued through the
press.
Taking the case of North-East Italy, where such attacks were particu-
larly strong, above all in the Friulian region, tones could be as harsh as:
“[…] due to the fertility of the ground, many qualities of onions thrive,
among them some exotic ones, as well. Indigenous onions are Marzona and
Pecile, whereas Mercadante, Manna, Asioli, Nava and many others are the
exotic ones”.24 One might even view this as just an outburst of a provincial
22 The Congregatio pro sacri ritibus et caeremoniis was founded in 1588 by Pope Sisto
V with the intent of regulating liturgical worship.
23 “Ariette dal ritmo saltellante, duettini, terzettini, con soggetti barocchi, erano il con-
tingente della intera composizione. E come ciò non fosse bastato, vi aggiunse la sua
parte l’organista, toccando l’organo come un pianoforte, eseguendo ballabili e pez-
zi di opera profani, troppo profani come la melodia della Lucrezia Borgia “Ama tua
madre, e tenero ecc. ecc.” e tante altre pur troppo di simil genere se non peggiori.
Cantori ed organista sono di Chiarano.” “La musica nelle chiese,” Il Cittadino Italia-
no, V/66 (20.–21. 3. 1882).
24 “[…] mercè la feracità del suolo, allignano molte qualità di cipolle, tra le quali riesce
benino anche qualcuna esotica. Le cipolle indigene sarebbero il Marzona e il Peci-
le, esotiche il Mercadante, il Manna, l’Asioli, il Nava e tanti altri”, Walther, “Udine.
203
It was explicitly prohibited to praise the performance of music, in
Catholic press, not compliant with regulations issued by the Sacra Con-
gregazione dei Riti.22 Polemics were violent, at times resembling more a de-
nunciation than just a mere complaint. Some articles would make it easy to
identify those guilty of having performed an inappropriate repertoire. Here
follows a typical comment on a musical performance during the service:
Frisky-rhythmed ariettas, little duets and trios with Baroque sub-
jects were the ingredients of the whole composition. And as if that
weren’t enough, the organist played his part too, by using the organ
as if it were a piano, performing danceable and secular opera mu-
sic, such as the song from Lucrezia Borgia «Ama tua madre, e tene-
ro etc. etc.» and many other of an all too similar kind, if not even
worse. Choir singers and organist are from Chiarano.23
In certain cases, names of musicians concerned were not overtly stated
but their home town was mentioned, as in the aforementioned case.
Polemic articles often appeared anonymously even in journals such as
the Gazzetta Musicale di Milano, not specifically devoted to sacred music
but with higher impact and relevance at national level. This was not simply
a matter of rejection: it actually turned out to be a true attack against mu-
sical genre that became a direct attack against people, pursued through the
press.
Taking the case of North-East Italy, where such attacks were particu-
larly strong, above all in the Friulian region, tones could be as harsh as:
“[…] due to the fertility of the ground, many qualities of onions thrive,
among them some exotic ones, as well. Indigenous onions are Marzona and
Pecile, whereas Mercadante, Manna, Asioli, Nava and many others are the
exotic ones”.24 One might even view this as just an outburst of a provincial
22 The Congregatio pro sacri ritibus et caeremoniis was founded in 1588 by Pope Sisto
V with the intent of regulating liturgical worship.
23 “Ariette dal ritmo saltellante, duettini, terzettini, con soggetti barocchi, erano il con-
tingente della intera composizione. E come ciò non fosse bastato, vi aggiunse la sua
parte l’organista, toccando l’organo come un pianoforte, eseguendo ballabili e pez-
zi di opera profani, troppo profani come la melodia della Lucrezia Borgia “Ama tua
madre, e tenero ecc. ecc.” e tante altre pur troppo di simil genere se non peggiori.
Cantori ed organista sono di Chiarano.” “La musica nelle chiese,” Il Cittadino Italia-
no, V/66 (20.–21. 3. 1882).
24 “[…] mercè la feracità del suolo, allignano molte qualità di cipolle, tra le quali riesce
benino anche qualcuna esotica. Le cipolle indigene sarebbero il Marzona e il Peci-
le, esotiche il Mercadante, il Manna, l’Asioli, il Nava e tanti altri”, Walther, “Udine.
203
