Page 208 - 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. 208
glasbene migracije: stičišče evropske glasbene raznolikosti
Mercadante, Rossi, Pecile, Marzona, Asioli, etc.33 The main implication un-
derlying the presence of frequently repeated regulations issued on the terri-
tory is the fact that the operatic repertoire was difficult to uproot. Most reg-
ulations echoed more or less exactly those issued in previous years.
Most commissions consisted of a president, one or two censors, one
secretary and priests as a majority of members. All members were appoint-
ed directly by the bishop. Each city or village was to be headed by a member
of the commission, who was in charge of eradicating the operatic repertoire
and supervise the production of sacred music in designated areas, in order
to ensure capillary action across the territory. However, not all commission
members had been trained to carry out a serious reform plan. Some mem-
bers couldn’t even distinguish between sacred and secular music – after all,
priests were not allowed to attend the theatre or other worldly places. Many
of them would simply accept what looked uncomplicated and understand-
able at first glance.
If we take a closer look at what one of the presidents of the commis-
sion of Udine sent to the archbishop in 1911, it is clear that not all members
were equipped with strong musical knowledge - to the point that the writ-
er himself was unable to evaluate the music subjected to the commission’s
evaluation: “I don’t understand the art of sounds at all, I am not capable of
reading and judging a score, I just know a little about Gregorian chant, so I
cannot talk about music without talking nonsense and make people laugh
33 “Pel canto figurato, in attesa di un elenco ufficiale, sono permesse intanto tutte le pu-
bblicazioni sacre edite per cura degli editori pontifici Capra di Torino, Pustet di Ra-
tisbona, della «Musica Sacra» Bertarelli di Milano e di Schwann di Düsseldorf. Ogni
altro spartito, stampato o manoscritto, prima di essere usato, deve ottenere il nul-
la osta della Commissione diocesana. Le singole cantorie eliminino senz’altro dal
proprio repertorio tutti gli spartiti, che non rispondano alle prescrizioni (Merca-
dante, Rossi, Pecile, Marzona, Budini [Bodini?], Gioffredi, Asioli, ecc.). Del Candotti
sono permesse le composizioni scritte negli ultimi suoi anni; da eliminarsi quelle più
antiche, da lui stesso riprovate.” (“As for figurative singing, until the official list will
be available, only publications of sacred music edited by pontifical publishers Capra
in Turin, Pustet in Regensburg, «Musica Sacra» Bertarelli in Milan and Schwann in
Düsseldorf are admitted. Any other score, whether printed or in manuscript, must
be approved by the diocesan Commission before being used. Choirs should defini-
tely eliminate any scores from their repertoire that do not abide with the prescripti-
ons (Mercadante, Rossi, Pecile, Marzona, Budini [Bodini?], Gioffredi, Asioli, etc.).
Regarding Candotti, only compositions produced in the later phase are admitted,
whereas those belonging to his early years, which he himself condemned, are not to
be considered”), Regolamento per la Musica Sacra da osservarsi nella Diocesi di Udi-
ne, Udine, 6. 5. 1905.
206
Mercadante, Rossi, Pecile, Marzona, Asioli, etc.33 The main implication un-
derlying the presence of frequently repeated regulations issued on the terri-
tory is the fact that the operatic repertoire was difficult to uproot. Most reg-
ulations echoed more or less exactly those issued in previous years.
Most commissions consisted of a president, one or two censors, one
secretary and priests as a majority of members. All members were appoint-
ed directly by the bishop. Each city or village was to be headed by a member
of the commission, who was in charge of eradicating the operatic repertoire
and supervise the production of sacred music in designated areas, in order
to ensure capillary action across the territory. However, not all commission
members had been trained to carry out a serious reform plan. Some mem-
bers couldn’t even distinguish between sacred and secular music – after all,
priests were not allowed to attend the theatre or other worldly places. Many
of them would simply accept what looked uncomplicated and understand-
able at first glance.
If we take a closer look at what one of the presidents of the commis-
sion of Udine sent to the archbishop in 1911, it is clear that not all members
were equipped with strong musical knowledge - to the point that the writ-
er himself was unable to evaluate the music subjected to the commission’s
evaluation: “I don’t understand the art of sounds at all, I am not capable of
reading and judging a score, I just know a little about Gregorian chant, so I
cannot talk about music without talking nonsense and make people laugh
33 “Pel canto figurato, in attesa di un elenco ufficiale, sono permesse intanto tutte le pu-
bblicazioni sacre edite per cura degli editori pontifici Capra di Torino, Pustet di Ra-
tisbona, della «Musica Sacra» Bertarelli di Milano e di Schwann di Düsseldorf. Ogni
altro spartito, stampato o manoscritto, prima di essere usato, deve ottenere il nul-
la osta della Commissione diocesana. Le singole cantorie eliminino senz’altro dal
proprio repertorio tutti gli spartiti, che non rispondano alle prescrizioni (Merca-
dante, Rossi, Pecile, Marzona, Budini [Bodini?], Gioffredi, Asioli, ecc.). Del Candotti
sono permesse le composizioni scritte negli ultimi suoi anni; da eliminarsi quelle più
antiche, da lui stesso riprovate.” (“As for figurative singing, until the official list will
be available, only publications of sacred music edited by pontifical publishers Capra
in Turin, Pustet in Regensburg, «Musica Sacra» Bertarelli in Milan and Schwann in
Düsseldorf are admitted. Any other score, whether printed or in manuscript, must
be approved by the diocesan Commission before being used. Choirs should defini-
tely eliminate any scores from their repertoire that do not abide with the prescripti-
ons (Mercadante, Rossi, Pecile, Marzona, Budini [Bodini?], Gioffredi, Asioli, etc.).
Regarding Candotti, only compositions produced in the later phase are admitted,
whereas those belonging to his early years, which he himself condemned, are not to
be considered”), Regolamento per la Musica Sacra da osservarsi nella Diocesi di Udi-
ne, Udine, 6. 5. 1905.
206
