On a Continuo Organ Part Attributed to Palestrina

Author(s): Patrizio Barbieri

Source: Early Music, Vol. 22, No. 4, Palestrina Quatercentenary (Nov., 1994), pp. 587-605
Published by: Oxford University Press
Stable URL: http://www.jstor.org/stable/3128191 .
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 PatrizioBarbieri

On a continuo organ part

attributed to Palestrina

he earliest mention of the use of the organ for liturgicalpurposes

in 16th-centuryItaliantreatises is by Biagio Rossetti (1529).Even
N i=?
though Rossetti'sdescription is not always clear, it seems to suggest
IO.A.N 1PE T'R
Mtft I. in ba'filica
that at the time the organist'srole was limited to alternatimperfor-
S.R-etrt oe
'.b'~i.citnt
IS.. cap~pellac mances with the choir.'The first clear examples of bassusad organum
-i .. v rtl .i are found towardsthe end of the century,in works by composers from
. \1

a geographicalarea that encompasses the Veneto and Emilia regions,

1"
K As for the foremost Roman polyphonist, Giovanni Pierluigida Pal-
1 Palestrina, Missarum liberprimus
(Rome: Dorico, 1554), title-page.
The composerpresentshis workto
JuliusIII.
W,."77f"--
PatrizioBarbieri,formerlya professor
of electronics,now teachesmusic
theoryand acousticsat the University
of Lecce.He haspublisheda bookand
about50 articleson topicsrelatedto
ancientkeyboardinstruments,musical
temperament,modaland harmonic
theories.
such as Alessandro Striggio (1587),Giovanni Croce (1594) and Adri-
ano Banchieri (1595).2 To these we must add Ludovico da Viadana, a
musician from the same region, whose Centoconcertiecclesiastici[... ]
con il bassocontinuoper sonar nell'organo,although published in 1602,
were partlycomposed around 1596-7 during a short stay in Rome.3
estrina, the first example of the insertion of a basso continuo part in
his compositions dates from the first decade of the 17th century.4
There is evidence, however,that such a practice was alreadyin use in
Rome, albeit irregularly,at least as early as 1585.5Only the Sistine
Chapel, in its role as the pope's official musical chapel, remained
faithful to purely vocal performances, thus respecting its well estab-
lished tradition. Nevertheless, the organ was heard during the vespri
segreti (private Vespers) performed in the private apartments of the
pope. Jean Lionnet has recently demonstrated that this was surely
happening during the reigns of Paul V (1605-21) and Urban VIII
(1623-44).6 According to the documents that are the subject of the
present article,this practiceshould be shifted back to the vesprisegreti
of Sixtus V (1585-90). Of particular importance in this respect is a
basso continuo part attributedto Palestrina:this valuablepiece of in-
formation has been found in the manuscripts left by Girolamo Chiti
(1679-1759),who from 1726to 1759held the post of maestrodi cappella
at the churchof S. Giovanni in Laterano,Rome'scathedralchurch. Let
us examine the matter in detail.
At the conclusion of a letter of 25 September 1752,addressed to
padre GiambattistaMartini, Chiti announced:
Io poi h6 trovatoun mottettoa 6 del Palestrinaper la Pentecosteconcertato... col

EARLY MUSIC NOVEMBER 1994 587

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 ' fe r
'A,~., .---
...

,-__
-_-wAI-, --
,.-
E
..M.-Moso- I

e fx
..
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.1( its

AA

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588 EARLY MUSIC NOVEMBER 1994

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basso continuofatto dal medesimoPalestrinache l'V uno By a luckycoincidence,just when I was correcting
spavento: Dum complerentur C.A.A.T.T.B. et organo; the proofs of the present article,EleonoraSimi
questol' cosararadel nostroArchivio,e diconoservitoper li Bonini,who collaborated withotherscholarsin re-
vesperisecretidi NostroSignoreSistoVo. Ne riceveria
copia.7
organizingand reclassifyingthe musical manu-
I havealso founda six-voicemotetof Palestrinafor the
feast of Pentecost, concerted ... with a basso continuo
scriptsof S. Giovanniin Laterano,a taskfinished
writtenby Palestrina himselfthatis frightful:Dumcom- about mid-1994,kindly let me know that in the
plerentur C.A.A.T.T.B. andorgan;thisis a rareitemfrom archive of the cathedralshe had recentlyfound-
ourarchive,andtheysaidit wasusedforthe vesperi secreti undatedand in separateparts-a motet that is in
of ourLordSixtusV. Youwillgeta copy. all probabilitythe originalmentionedby Chiti;she
A copy of this motet, in Chiti'shandwritingand alsofounda statementin whichChitistatesthatthe
also dated25 September1752, is at presentin the performanceof this concertatomotettook placein
BibliotecaCorsinianain Rome (illus.2).8In this 1585,underSixtusV, on the occasionof the vespri
for Pentecost.10
manuscriptChiti repeatsthe assertionthat the segreti
motet was taken from an originalfound in the At present,however,the originalsourcethat is
archiveof S. Giovanniin Laterano.In the organ the basis of Chiti'sstatementhas not yet come to
In fact, as far as the years 1585-90 are con-
part-and specificallyat the beginningof the first, light.
secondandthirdsystems-Chiti notes: cerned, the diariesof the pontificalchapel(Diari
sistini)and thoseof PaoloAlaleonede Branca,the
[f.65v]Bassocontinuowrittenby Palestrina
[f.65v]Basso continuo written by Palestrina... motet for
pope's master of ceremonies,mention only the
theprivateVespersof ourLord[thepope] 'firstVespers'publiclyheld in the CappellaSistina
[f.66r] Basso continuo writtenby Palestrina, a rare and the day beforePentecost.(Alaleone'sdiaryis not,
noteworthy thing.9 though, determinantin this matter, since it is
almostexclusively focusedon officialceremonies.)"
As regardsthe chapel'sprivateservicefor the
2 (opposite) Openingbarsof Palestrina's motet Dum
pope in the secondhalfof the 16thcentury,the real
complerentur(Rome, Biblioteca Corsiniana e dell' situationis not
Accademia dei Lincei, Ms. Musica M.14, f.65v). At the yet completelyclear.The Diarisis-
tini showthat fromat least1563the cantoriwould
top of the page GirolamoChiti writes: 'Dum com-
plerenturPraenestinusIn FestoPentecostesAntiphona sing at noon on EasterDay, during or afterthe
a 6./ 1752Chitusstudebatex ArchivioLateranenside- pope's meal; similarduties-extended to Christ-
prompta. Concertato a 2 C. A0.' ('Dum complerenturby mas Day,New Year'sDay,Pentecost,the Feastof
Palestrina,antiphonfor the Feastof the Pentecost,a 6/ St PeterandStPaul,andtheanniversary of theelec-
Chiti studied it in 1752,having taken it from the archive tion of thepope-are alsorecordedin thefollowing
of the Lateran.Concerted,with two choirs.') The years,but only
sporadically, thoughtheywere re-
manuscriptincludesthe basso continuo attributedto ferredto as a 'usual'practice.Wefirstbeginto find
Palestrina,but lacks the first tenor part. About this mentionof the
omissionChitiremarks:'mancail primotenoreripor-
vesprisegretiin the Diari sistiniof
the years 1591and 1596, under Innocent IX (1591)
tato nel libro simile no 95 all'ultimo'('the first tenor
and Clement VIII (1592-1605):the context suggests
part is lacking, [but] it is shown in a similarbook,
thatthis kind of service,whichlookslikea natural
no.95,in the last place').Lateron we also read:'a 6. 25
settembre 1752 hora 15 Hieronijmus Chiti Romae in extension into the afternoonof the dutiesduring
aedibus Canonicis Lateraniscum voluptate studiosa the pope'smeal, was at that time by no meansa
tantiexcell.miAuctorisperitiaecc'. ('a 6. 25September novelty."1 As for the pontificate of Sixtus V, the
1752,at the 15thhour [9.30 p.m.], Girolamo Chiti in the Diari sistinido not even mention the motets during
presbyteryof the Lateran,with pleasurein studyingthe the pope's meals; also, as we have seen, they were a
skillsof suchan excellentcomposer.') normal custom. The private Vespers took place

EARLY MUSIC NOVEMBER 1994 589

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 four times a year-on ChristmasDay, EasterDay,
NEW P A B
Pentecost and the Feast of St Peter and St Paul
and their systematicperformanceisrecordedin the
Diari sistinionly from the beginning of the reign of
PaulV. (It is only from 1605,the yearin which Paul
81~~$
V was elected, that these diariesbegin to be practi-
callycomplete and exhaustive.)On these feast-days
the cantoriof the CappellaSistina,following their
participation in morning Mass, would go to the
pontifical apartments for the customary perfor-
mance of 'motets' ('i soliti mottetti' or 'il solito
mottetto') duringthe pope'sdinner.Afterthe usual
good wishes and 'holy benediction'they remained
there until the late afternoon, waiting for the pon-
tificalprivateVespers;duringthis servicethey sang
'lively motets and short psalms' in a room ('Aula
Apostolorum')communicatingwith the small cap-
The Codex T. im. 2. Turin, Biblioteca Nazionale Univer- pella secretain which PaulV stayedalone.13
sitaria (Boverio Codex). This is all we know of the originsof the pontifical
IntroductorystudyandfacsimileeditionbyAgostinoZiino.English
andItaliantexts.In-4,172pp., 52 colourplates,hardcovers(Ars privateVespers.In the light of these documents we
Nova,3). can only conclude that no evidence has emergedto
NOW AVAILABLE ISBN88-7096-034-X
Lit.220 000 ?. 92.000 US$135.00 contradict Chiti's testimony. Independent confir-
mation is requiredbefore we may be certain that
this arrangementof Dum complerenturis indeed
the earliestknown exampleof bassoper l'organo.At
Jd~il~ any rate, as I shall show below, the bass is stylisti-
cally similarto the bassiseguentiwritten at the end
of the 16th centuryby composers such as Striggio,
Victoria and Rogier.The whole of the first part of
the motet is shown as ex.i.

Intabulations of vocal polyphony and the first

bassiper l'organo
The practiceof intabulatingpolyphonicvocal com-
positions was widespread in the 16th century. It
is logical to assume that the first bassiper l'organo
were simply reductions from these tablatures,
INGEGNERI, II terzo libro dei madrigali
MARC'ANTONIO. a from which one would take 'whichevervoice part
cinque voci. EditedbyMarcoMangani.EnglishandItaliantexts. in the composition happened at the moment to
In-4, Lv-94pp., papercovers (Marc'Antonio
Ingegneri.Opera
omnia.Serie2, Volume3). be the lowest, and therefore the real basis of the
NOW AVAILABLE ISBN88-7096-056-0
Lit.50000 ?. 22.00 US$30.00 harmony'.14 The bass of ex.i followsthis rule:see es-

LIBRERIA MUSICALE

ITALL)IYL'
A
* 1-55100

LUCCAAI
pecially bars 19, 23, 45, 55, 81. Identical procedures
can be found in other sacred compositions dating
from the same period.

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Ex.i Palestrina, Dum complerentur(the first tenor part, lacking in the Chiti manuscript, has been added; see the
remarks in the caption to illus.2). The motet also has a secundapars (Dum ergo essent), where, however, the basso
continuo is notated only for the opening bars.

Dum comrn-ple - ren-tur di - es Pen-te- co - stes,

A. ....

Dum comrn-ple - ren - tur di - es Pen-te - co -stes,

AIle.
Dum com -

T.

Dum corn-pie - ren - tur di - -

es Pen-te-co
-
stes, dum com -

T.II .
.. .-.i1
Dum com -

Dum corn -

B.C.FFO.

IF'IF
e - rant om - nes pa - ri -

I.[i.l
e - rant om - nes pa - ri -

1, Ir. ...I
- pe - ren - tur di - es Pen - te - co - stes, e - rant om - nes pa - ri -
-

-ple - ren-tur di - es Pen-te - co - stes, e - rant om - nes pa - ri-

-ple - ren - tur di - - es Pen - te - co - stes, e - rant om - nes pa - ri -

I d
-......r r i
-ple - ren - tur di - es Pen -te - co - stes, e - rant om - nes pa - ri-

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 15

-ter di-cen - - tes, al - le-lu-ia, al-le - lu - ia,

-ter di- cen - - tes, al - le-lu-ia, al - le -lu - ia,

-ter di - cen - - tes, al - le-lu -ia,

-ter di - cen - - tes, al le -lu-ia, al -le -lu - ia, al-

-terdi - cen - tes, al - le-lu-ia, al - le-lu-

-ter di - cen - - tes, al le-lu - ia,

22

al-le-lu - ia, al -le-lu- ia, al-

al - le-lu-ia, al - le-lu-

I Ir', t ,
-le-lu -ia, al -le-lu - ia, al - le -lu -

- ia, al -le-lu - ia, al-

-I t - lelu l l
a! I-
-
al - le-lu - ia, al- le -lu-

I r 'rr r
al r l-
,ia, ' ' t

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29

I
-le - - lu - - ia, et su -bi- to, et su - bi - to fa-

al - le - lu - - ia, et su - bi-to, et su - bi-to, et su -bi-to

- ia, et su -bi -to, et su - bi-to,

toI-I
- ia, al - le -lu ia, et su- bi-to, et su -bi-to, et su - bi -to
- -

- le-lu ia, et su - bi-to, et su - bi-to, et su-bi-to

- - -

- ia, al le - lu - ia, et su - bi-to, et su- bi-to

iII I

36

- ctus est so - - - nus de coe - - lo, al- le -lu -ia,

Il i. I
1,
fa-ctus est so - - nus, so - - - nus de coe - - lo,

fa-ctus est so - - - nus, so - nus de coe - - lo, al - le-lu-ia,

fa-ctus est so - nus, so - nus de coe - - lo, al- le -lu -ia,

fa-ctus est so nus, so nus de c
coe lo, al le -lu -ia,

fa -ctus est so - - - nus de coe - - lo,

fa - ctus est so - - - - nus de coe - - lo,

EARLY MUSIC NOVEMBER 1994 593

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 43

..I _.-
al-le - - lu - ia, al- le-lu-ia, al - le-lu-ia,

- wI 7,Ii,,w
al-le -lu - - ia, al-le-lu - ia, al - le-lu-ia, al-le - lu-

I =F-
J=il IJ-
-
I I
I; I

al - - le -lu - ia, al-le -lu - ia, al-

al - le - lu - - ia, al - le-lu -ia, al-

I i I i
- tI
al-le-lu -ia, al -le -lu - ia,

al-le-lu - ia, al-le-lu - ia, al - le - lu - ia,

50

al - le-lu - ia, tam-quam spi - ri-tusve-he-

-ia, al-le - lu - - ia, tam -quam spi -ri-tus ve - he-men - tis,

-le - - lu - ia, tam-

-le-lu -ia, al - le - lu - ia, tam- quam spi - ri-tus ve - he-men - tis, tam-quam spi - ri-tus ve -he-

al - le - lu - - ia, tam- quam spi -ri - tus ve-he-men - tis, spi - ri - tus ve -he-

al - le - lu - - ia, tam- quam spi - ri-tus ve he-men - tis,

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57

-men - tis, ve -he-men - tis, et re - pie - - vit to - tam do-mum, to tam

et re - pie - -vit to - - tam do-

-quam spi- ri-tus ve -he-men - tis, et re - pie - - vit to - tam do mum, to

-men tis, ve-he-men - tis,et re - pe - - - vit to - tam do - mum, do-

men tis, et re-ple vit to - tam do- mum, to tam

et re- pie - vit to - tam do mum, to

64

do-
do
-
- al
mum,
mum, al - -
le-
le - - - lu - - ia,
ia,
-

-mum, do - mum, al le lu -ia,

do amum, al le
MEOW -
r ,. . .,I , . -6,, , . . i ! - , . -
-v " - - i - - "- - II , I ' -- . I

-tam do mum, al le

EARLY MUSIC NOVEMBER 1994 595

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 71

al - - le - lu - - ia,

JRJh i - 4.
I
I" I
al - - le -lu - !FT al -
I. Ii- i-4 - ? - - - -
ia, le lu ia,

- lu - - ia, al - - le - lu - ia, al - - le -lu-

r'Rp;-
- - ,- i4
al - - - le - lu - - - ia, al-le - - lu-ia,

S-
lu - -
ia, al - - le - lu-

-
-lu - lu- ia, al -- -- le -lu - al- - ia, ia, - al le-
-- -i le - lu
-
- uia, alleal le-lu-

78

al - - le-lu-ia, al - - - le-lu - - ia.

al - le -lu - ia, al-le - lu - ia, al - - - le - lu - - ia.

OP ia, al le lu - ia.

- ia, al le - lu - - -l a.

lu ia, al -le -lu ia, al le lu - ia.

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1 AlessandroStriggio's4o-voice motet Eccebeatam
lucem(1587)has an additionalvoice part whose title The organandvocalpolyphony
refersexplicitly to this practice: In Rome,as well as in Madrid,the firstuse of the
Bassone cavato dalle parte piu basse del 40, per sonar in organin performancesof polyphonicvocalmusic
mezzodel circolocon un tromboneper sostentamentodella is foundin NorthEuropeanculturalcircles.Indeed,
armoniaper sonarsicon organo,liuto et cimbalio viole.'5 the recordsof the CollegioGermanicoof S. Apol-
Bassparttakenfromthe lowestpartsof the 40, to be linaretell us thaton 6 January1585:
playedinthemiddleofthecirclewithatrombone, tosup- Ad Benedictusfuit organum sonatum sed extraordinarie
porttheharmony thatis to be playedbyorgan,luteand quia aderatM. VictoriacuiusBenedictuscantabatur.'1
harpsichords orviols.
AttheBenedictus theorganwasplayed, but,bywayofex-
2 Between1590and1595PhilippeRogier,the Flem- ception, because Maestro [Tomais Luisde]Victoria,
whose
ish maestroof the royal chapel of Philip II in Benedictus wasbeingsung,waspresent.
Madrid,wrotea three-choirMissaDomineDomi- Also
nusnoster,in whichthe organsupplieseachchoir sungon the samedaywas:
with its own bass part;ex.2 showsthe startof the mottetum pro Deogratias,quoderatSurgeilluminare
musicfor the firstchoir.The workalso includesa Hierusdlem, 8 vocumPrenestini,in organo.19

guion (a leader or general bass), made up of a motetfortheDeogratias-which wasSurgeilluminare

whicheverof the threeorganpartshappensat the Hierusalem foreightvoices,byPalestrina-on theorgan.
momentto be lowest.'6
In discussingthese documentsThomasD. Culley
3 Similarremarkscan be made about the works askswhatcouldbe the exactmeaningof the expres-
publishedby TomiasLuis de Victoriain Madrid sion 'motetsungon the organ',andhe suggeststhat
in 16oo,whichincludea basspartfor the organ.In it 'mayreferto a motetwhichwassungwitha basso
thisrespectthe passagein ex.3,takenfromthe two- continuopart providedby the organ, to one in
choirmotetAveMariagratiaplena,is particularly whichone (or more)of thevoicepartswasdoubled
interesting.'7 by the organ,or to a motetin whichone (or more)

Rogier,MissaDomineDominus
Ex.2 Philippe KyrieI,openingbarsof thefirstchoir.ThisMass
noster(c.159o-95),
is, as faras I know,theearliestexampleof a sacredcomposition
in chiavette,
andprovidedwitha basspartfor
organthatis already transposed (inthiscasea 4thlower).
I
Tiple -AF
L-

Ky - - ri - e e

Alto
-
.
Ky ri - e e - lei - son, (Ky- ri- e

o Tenor

Ky - - ri - e e - lei - - son, e-

Bajo

Ky - - ri - e

Organo Z: I

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Ex.3 TomasLuisde Victoria,AveMariagratiaplena,bars22-8. The organpart was addedto the 16oo Madrid
editionby the composerhimself.

ri-bus, in mu-li - e - ri-bus et be -ne - di - ctus,

- ri- bus, in mu -li-e -ri-bus et be-ne-

- bus, in mu - li - e - - ri- bus et be-ne-di -

in mu li - e - ri-bus et be - ne-di ctus, et

-ri - bus in mu -li - e - ri-bus et be -ne-di - ctus, et be -ne-

six%
II I I "F I IF
in mu - li-e -ri -bus et be -ne-di - ctus,

in mu - li - e - ri -bus et be-ne- di - ctus, et

i-rm i - pn
e - - "-buet be
-1i
in mu - - li - e - ri-bus et be-ne- di -

- r-r"- I I
all i9
6K
il
fj

of the voices was replacedby the organ'.20All three
hypotheses are perfectly plausible: in the original
manuscript of ex.1, for instance, the first tenor is
missing in the vocal score, while it appears occa-
sionally in the continuo part, as in bar 66. It is poss-
ible to conclude that the organ accompaniment
must have been stylisticallysimilar to those found
support indirectly an interesting statement made
by the Flemish Andre de Pape in 1581:
Scimusigiturmagnoscomponistas,cum suas compositiones
cani iuberent,puerisalapas saepededisse,aliosquecantores
sine discrimine ubique diminuentes acriter increpuisse.
malebantenim cantum ipsum, ut erat scriptum,integrum
incorruptumque audire.21

in the intabulations left by Victoria (see ex.3). An We knowthereforethatthe greatcomposers,whenthey

arrangement of this type-in which all voices,
including the high ones, are doubled by the instru-
ment-leads us automaticallyto exclude the possi-
bility that singers might have added extempor-
aneous ornamentations to their parts. This would
hadtheirworkssung,wouldoftenslapthechoirboys,and
wouldscoldbitterlytheothersingers,withoutdistinction,
to
whenevertheyuseddiminutions. Theyin factpreferred
heartheirvocalpiecesaswritten,wholeanduncorrupted.
De Pape's assertions do not, of course, apply

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automatically to the Roman singers, although in respected, but there were some exceptions. As we
the Cappella Sistina the party of the Franco-Flem- can see in ex.2, one of these is Rogier's Missa
ish cantoriwas still very strong in 1583,as shown by Domine Dominus noster,which is, as far as I know,
Giuseppe Baini."2 the oldest example of a sacred composition in chia-
vetteto have a bass part for the organ alreadytrans-
Chiavette posed.
As we can see from ex.1, Palestrina'sDum comple-
continuo
renturuses chiavette(i.e. the bass part in baritone Imitative polyphony and
clef, the two tenors in alto clef, etc.). This implies In the continuo parts we have already examined
that during the performance the organ part was (e.g. ex.2) even the initial subjects of the counter-
transposed. Depending on whether the piece was point were doubled melodically by the organ. As
notated with a B6 or not, contemporary perfor- Peter Williams has remarked, one of the as yet
mance practice prescribed that the transposition unsolved questions in figured bass playing is 'to
occur at the lower 4th or the lower 5th, respectively. know when composers no longer expected con-
Such a rule, which has a rational justification, is tinuo playersto double themes and answersin a fu-
consistently applied in the 16o8Venetian edition of gal exposition'."4 However, at least with regard to
Palestrina's Mottetti a cinque voci. Lib. IV. The Italy,we can say that this practice was still alive in
organ part of all 29 compositions included in this 1766,when Giuseppe Paolucci stated:
print is alreadytransposed 'for the ease of the organ sipubaccompagnare laparte[vocale]acutacon
all'unisono
player'.23 la partedell'organo;cib fine renderpiirsensibilel'en-
e a di
In the late 16th century this rule was generally tratadelsoggetto, e talmododi scriverelapartedell'organo

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da alcuni vien detto scriverein chiavette,cioe servirsidi calledby some 'writingin chiavette',that is using clefs that
chiavi che non son propriedellaparte dell'organo,tantopii are not properly usedin organscores,especially since
che questechiavisi suonanomoltevolte con uno, o con due theseclefsareoftenplayed withonlyoneor twofingers,
diti solamente,senza la riempituradell'accompagnamento withoutthefullness provided by thewholeaccompani-
intiero.25 ment.
one can accompanythe high [vocal] partwith the organat Sucha useof thetermchiavette-whichto us seems
the unison; and this so that the entranceof the subjectwill unusual-is confirmedby the TuscanGiuseppe
be betterheard,and such a way of writingthe organpartis
Becheriniin a brieftreatiseof 1813.26

dioi
3 16th-century positive organbearingthe coat of arms
of the Della Roverefamily(from the catalogueof the
Heyer collection, Cologne, 1913,no.241)
Organsin Rome
A questionof some importancefor the modern
performeris whattype of positiveorganwas used
for the vesprisegretithat took placein the private
pontificalapartments.The answeris definitelynot
simple,sincethe only surviving16th-century posi-
tive organ-likely to be of Romanprovenance-is
that formerlyin the HeyerCollectionin Cologne,
and now in Leipzigin the Musikinstrumenten
Museumof the University(illus.3).The old cata-
logueof thecollectiondatesit c.153o. Eventhoughit
bearsthe armsof the DellaRoverefamily(a family
originallyfrom Savona,famousfor havinggiven
the churchthe popes SixtusIV and JuliusII), the
factthatit camefrom'aconventnearRome'makes
it verylikelythat it is of Romanprovenance.This
instrumentis at 4'pitch,withonly threestops,en-
tirelymadeup of open metalpipes:Principale4',
Ottava2',Quintadecima Accordingto Agazzari
1'.27
(1607),when positivesof this type wereemployed
in the realizationof a continuopart,the 8' pitch
couldalsobe providedby a trombone.28 The range
of the keyboard(F-G-A-Bb ... c"') is perfectly
adequateforthe performance of ex.1.
The next oldestsurvivingpositiveorganis also
built on the classicalthree-partplan,with its cen-
tralpipesin the outwardshapeof a spiral,andis at
8' pitch. Built in 16o8 by Armodio Maccioni,a
famous organ builderwho workedalso for the
papalcourt, it was given the followingsix stops:
Principale8', VIII,XV,XIX,XXII,[Flautoin XII?].
This organ was still in Rome in 1973-4, but its pre-
sent whereaboutsare unknown.29
Apart from instruments of this type, in late 16th-
century Rome there must also have been numerous

600 EARLY MUSIC NOVEMBER 1994

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organs built in a shape similar to that of a small
table.30At any rate, the earliest referencesto such
instruments date from the beginning of the next
??1,1 . I: ii n u ~~AI~PP41L;r~!
century: a 16o8 inventory of instruments from the ii Li II C! e ?rn;?~,g~t;?r~;!~i~~:r

Filippini oratorio of the Vallicellalists an organ 'in ?i;???

:t:
??~r~r~~t,
!~c~I~T,
~?????
5\
i ?(:
the shape of a small table' is listed.3'Even though ~4~
~ ?:'
?";
.y~t? C1~\ ??
the inventory does not provide further details, we C
:?
rnr
ir' I '~
can exclude the possibility that it might refer to ,?
r ?
:?
a regal because two other 17th-centurydocuments .-~t~ r
s~a; "`r? ;??
suggest that-at least in Baroque Rome-this de-
?-' i
?? ,F'4f~1 ???
C?::???
scription was used to identify organs with flue
pipes, which were primarilyused as accompanying
?re ~
instruments.
The first document dates from 1617, and dis-
cusses an instrument built by Francesco Maria
--? 1Iii
Tibaldi for the chapel of the apostolic palace of the F
Quirinale, then in its finishing stages. The Quiri- ?? ..
nale had been the papal residence since the time of
Sixtus V. This 'organ in the shape of a small table' ..., ,,
had five ranks of pipes made of cypresswood, pre-
sumably at 8' pitch: 'Principale ordinario, Princi- 4 Wing-shaped positive organ (late 17th century,
pale flauto, Ottava in flauto, Ottava ordinaria, et Romanschool) with paintedmarblingand grotesque
Quintadecima.'32This document is also important decorations;it was seen in 1970 at the GalleriaAnti-
because it is one of the few to record a flute stop at quariaSangiorgi,Rome.
pitch together with the Principale, a characteristic
that in Rome became standardaround the middle in the showroom of the Roman antique dealerSan-
of the 18thcentury,but only in instrumentsbuilt by giorgi, but whose present whereabouts are not
J. C. Werle. As is generally known, in the classical known.36
Italian organ the flute family traditionally begins
from that 'in ottava'. Registration
The second document is dated 1662, and con- Concerning the registration preferred for these
cerns 'an organ in the shape of a small table',built bassiper l'organo,the earliest Italiansources at our
by Giuseppe Testa for the Pamphili princes, and disposal date from the early 17thcentury:Ludovico
provided with four stops: 'Principale, Ottava, da Viadana (1602), Costanzo Antegnati (16o8),
Quintadecima and Flauto'.33 Claudio Monteverdi(1610o) and ErcolePorta (1620).
A third type of typically Roman instrument that In motets with up to four or five voices the Princi-
should be mentioned is the 'positivo ad ala', so pale is thought to be sufficient,bearing in mind the
called because its pipes are placed in descending fact that the volume can be increased by filling in
order from left to right, thus forming the shape of chords and reinforcingthe bass with the pedals as
a wing. This type of organ is described and praised needed. When the number of voices reachessix-as
in a treatiseof 1652by Antonio Barcotto;34its diffu- in Palestrina'sDum complerentur-one can also
sion is documented only from around 1618-20.35 add the Ottava, and sometimes even the Quinta-
There are very few surviving wing-shaped organs. decima. Monteverdi, for instance, prescribed this
Illus.4 shows an instrument that as late as 1970was combination for his Vespri della Beata Vergine.

EARLY MUSIC NOVEMBER 1994 601

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 A I ' ali
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5 Chiti's transcriptionof Morales's0 sacrumconvivium,which, however,he attributesto Palestrina(Rome,

BibliotecaCorsinianae dei Lincei,Ms. MusicaM.14,f.1o8r)

602 EARLY MUSIC NOVEMBER 1994

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All use subject to JSTOR Terms and Conditions
It might also be acceptableto use Principaleand Flauto in ottava (or century', Early music, xv (1987), PP-4-5.
Lionnet, 'Palestrina e la Cappella
Principale, Ottava and Flauto in ottava), following the registrations pontificia', Atti del II convegno inter-
recommended by Antegnati 'to play all sort of things and to concertare nazionale di studi palestriniani, ed. L.
motets'.37 Bianchi and G. Rostirolla (Palestrina,
1991),p.130o.Lionnet, 'The Borghese
family and music during the first half
A misattribution of the seventeenth century', Music and
letters,lxxiv (1993), PP.519-22.
Finally I should point out that, further on in the manuscript that
includes Palestrina'sDum complerentur,Girolamo Chiti also listed at 7 Bologna, Civico Museo Bibliografico
Musicale, Ms. 1.6.34:G. Chiti (Rome,
a later date a motet, O sacrumconvivium,with the following remarks 1752,'fromthe Lateran')
25September
(illus.5): to G. B. Martini(Bologna).
Mottettoa5 vociconil bassocontinuoadlibitum.Cosiritrovato
benchealloranon 8 Rome, Biblioteca Corsiniana e
usasse:del Sig. Gio.PierLuigida Palestrina.Chitus16 Agosto1753.38 dell'Accademia dei Lincei, Ms. Musica
M.14, ff.65v-67v. An accurate descrip-
Five-voicemotetwith the bassocontinuoad libitum.Found[arranged] this tion of the entire manuscript can be
wayeven thoughthiswas not done
usually in thosetimes;
by Gio.
Sig. PierLuigi found in O. Mischiati, 'Il manoscritto
daPalestrina.
Chitus16August1753. corsiniano dei Ricercaridi Giovanni
Pierluigi da Palestrina', Atti del II con-
Actuallythis motet turns out to be not by Palestrina,but by the Span- vegno internazionaledi studi palestrini-
ani, pp.177-201. The manuscript, as
ish composer Crist6balde Morales (c.1500-53),who from 1535to 1545 Mischiati notes (p.182), dates from the
was a member of the papal chapel.39This basso continuo part presents second half of the 16th century, with
the same characteristicsof that of ex.i. additions in the hand of Girolamo
Chiti in the spaces left blank by the
The manuscript of the BibliotecaCorsinianais also remarkablefor original copyist.
a few compositions-in eight and 12 voices-transcribed by a late
9 'Basso continuo del Palestrina fatto
16th-centurycopyist, which Oscar Mischiati considers valuable evid- da esso./! Basso continuo del Palestrina
ence of the first appearanceof the basso continuo. In this manuscript, fatto da esso ... Mottetto per i vesperi
segreti di Nostro Signore./ Basso
only the first choir of these compositions is transcribedin full score: continuo del Palestrina, cosa assai
for the second and third choirs only the basso continuo parts are rara, e da osservarsi.'
notated, without the text.40 io Eleonora Simia Bonini will present
Translated byGiulioOngaro her findings at the 'Terzo Convegno
internazionale di studi Palestrina e
l'Europa',Palestrina, 6-9 October 1994.
In 1585Pentecost fell on 9 June, just a
1 BiagioRossetti,Libellusde rudimentis Mottetti a cinque voci. Lib. IV (Venice: month and a half after the election of
musices(Verona,1529),fol. nIl. An Raverio, 1608). Sixtus V. By an odd coincidence,
Italiantranslationof this passagecan May-June 1585was the very period
be foundin E. Pagnuzzi,'Medioevo 5 For a summary of the evidence see
G. Dixon, 'The performance of Pal- in which Palestrina tried-unsuccess-
e Rinascimento',La musicaa Verona estrina: some questions, but fewer fully-to be elected magisterof the
(Verona,1976),pp.115-16. Biagio answers', in the present issue of Early pontifical chapel.
Rossettiwasthe organistof the music. As far as the Cappella Giulia is
cathedralin Verona. 11 See Rome, Biblioteca Apostolica
concerned, however, only in the year
Vaticana, Fondo Cappella Sistina,
2 SeeF. T. Arnold,Theartof accompa- 1600 we find we find the first mention
Diari sistini, nos.14 (1585)and 16
nimentfroma thorough-bassasprac- of polyphonic compositions (motets)
(1587-91);see also in the same library,
tisedin theXVIIth& XVIIIthcenturies performed with the organ accompani- Mss. Vat. lat. 12427-12429:Paulus
(London, 1931),pp.6-7; P. Williams, ment: see G. C. Rostirolla, 'La Cappella
Alaleo de Branca [Diaria, 1582-1621].
'Continuo',New Grove,iv, pp.685-99, Giulia in San Pietro negli anni del It is also worth while remarking that
esp.pp.685-6. magistero di Giovanni Pierluigi da these sources tell us absolutely nothing
Palestrina', Atti del Convegnodi studi about Sixtus V's activity on the after-
3 SeewhatViadanahimselfwritesin palestriniani, ed. F. Luisi (Palestrina,
the prefaceto this work,reproducedin noon of Pentecost 1585,thus not
1977),P-137.
Arnold,Theartof accompaniment, p.3. excluding the possibility that the
6 J. Lionnet, 'Performance practice above-mentioned private Vespers
for
4 See, instance, Palestrina's in the papal chapel during the 17th could have been performed.

EARLY MUSIC NOVEMBER 1994 603

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12 See Diari sistini, esp. nos. 7 (Easter
Day 1563:after the meal of Pius IV a
motet was sung, 'ut moris est'), 9 (the
same on Pentecost 1572,the day on
which Gregory XIII was crowned), lo
(Christmas Day 1572:after morning
Mass 'cantavimus motettum in pran-
dio Pontificis'; the same in 1573-6, for
the other main feasts), 11(motet on
Easter Day 1577),16 (31 October 1591,
the eve of All Saints' Day: Vespers were
sung in the 'Cappella secreta' before
Innocent IX; a private Vespers for this
particular feast was not at all usual, but
the explanation for the exception may
be that Innocent IX-who had been
elected two days before-would not
have been officially crowned until 3
November), 19 (1594:'as usual' a motet
was sung during the meal of Clement
VIII, at Easter Day and for the Feast of
St Peter and St Paul), 20 (Easter Day
1596,pope's private Vespers: 'i Signori
Cantori andarono a cantar il mottetto
dal Papa, finito [che fu], perche Nostro
Signore voleva il Vespro, ne fu dato
a desinare in tinello'), 22 (Christmas
Day 1600: Vespers in the 'Cappella
secreta').
13 As for the period under Paul V
see the articles by Lionnet cited in n.6,
as well as the Diari sistini, no.24-40.
Concerning Paul V's Vespers, Alaleo
de Branca, Diaria, on Christmas Day
1620 reports: 'Post prandium fuerunt
cantatae Vesperae privatae in Aula
Apostolorum a Cantoribus Cappellae
Apostolicae, coctis indutis, et Papa
solus stetit intus suam Cappellam
privatam' ('After dinner [at noon] the
singers of the apostolic chapel, wearing
their surplices, sang for the private
Vespers in the Apostle's Room, while
the pope-alone-was staying in his
private chapel').
14 Arnold, The art of accompaniment,
p.6. At any rate, in general we can say
that the old Italian keyboard tablature
notation did not seek to keep indi-
vidual parts separate and recognizable,
as convincingly demonstrated by
A. Silbiger, 'Is the Italian keyboard
intavolaturaa tablature?',Recercare,
iii (1991),pp.81-1o3.
15 On this bass part, see M. Schneider,
Die Anfiingedes Basso Continuo
(Leipzig, 1918),p.67.
16 Philippe Rogier:Opera omnia, ed.
NOVEMBER 1994
All use subject to JSTOR Terms and Conditions
L. Wagner, ii (American Institute of
Musicology, 1976), p.42. The Mass
exists also in a two-choir version, here
each choir has its own bass part for
the organ, to which we must add the
general bass (guion). Philippe Rogier
(c.1561-96) was maestroof the Royal
Chapel of Spain from 1586to his death.
On this subject see Tomas Luis da
Victoria:Opera omnia, ed. F. Pedrell, i
(Leipzig, 1902), pp.ix-xi.
17 Victoria:Opera omnia, i, pp.146-52.
The original edition bears the title:
T. L. da Victoria,Missae, Magnificat,
Motecta, Psalmi [...] Haec omnia sunt
in hoc libro ad pulsandum in organis
(Madrid, 16oo). The organ part of the
motet we are discussing is usually
limited to the first choir; however, in
some passages (see ex.3) it condenses
also the parts of the second choir.
In 1587Victoria (c.1548-1611)had
moved from Rome to Madrid, where
he held the post of maestrodi cappella
in the Monasterio de las Descalzas de
Santa Clara;because of his advanced
age, from 1603 to his death he was
granted his request that his duties
be limited to those of organist.
18 See T. D. Culley, Jesuitsand music, i:
A study of the musicians connectedwith
the German Collegein Rome during the
17thcenturyand their activities in
Northern Europe(Rome, 1970), p.82
and doc.89.
19 Culley, Jesuitsand music, p.82 and
doc.9o.
20 Culley, Jesuitsand music, p.84.
21 Andreas Papius, De consonantiis
seu pro diatessaronlibri duo (Antwerp,
1581), pp.156-7. Andre de Pape (1552-
81) was, in the last years of his brief life,
a canon of the collegiate church of St
Martin in Liege.
22 G. Baini, Memorie storico-critiche
della vita e delle operedi Giovanni
Pierluigi da Palestrina ..., ii (Rome,
1828), p.189.
23 'pro pulsatoris organi commodi-
tate'. See P. Barbieri,'Chiavetteand
modal transposition in Italian practice
(c.1500oo-1837)',Recercare, iii (1991),
PP.39-52.
24 P. Williams, 'Basso seguente', New
Grove.
25 Giuseppe Paolucci, Arte pratica di
contrappunto[...], ii (Venezia, 1766),
P-94.
26 G. Becherini, Cognizionipratiche
della musica (Prato, 1813),chap.13:
'Delle chiavette'. Becherini calls
chiavettethe clefs, other than F4,
usedoccasionallyfor a fewbarsin a
thoroughbass staff in order to avoid
whendoubling
ledgerlines,especially
a solo performedby an uppervoice.
27 See KleinerKatalog der Sammlung
alter Musikinstrumente,verfasstvon
GeorgKinsky:Musikhistorisches
Museum von WilhelmHeyer in Cbln
(Cologne, 1913),PP.42-3 and table 11
(no.241). Another valuable positive-
whose provenance from a hypothetical
'Roman school' of the 16th century is
as yet unproven-is that of the Sil-
berne Kapelle of Innsbruck. As for the
other small chamber organs owned by
Renaissance popes, we have absolutely
no details about their stop-lists: at any
rate all the organs mentioned at that
time were the work of non-Roman
organ builders. See R. Lunelli, L'arte
organariadel Rinascimentoin Roma
[...] (Firenze, 1958), pp.5-8.
28 Agostino Agazzari, Del sonare
sopra'l basso con tutti li stromenti e
dell'uso loro nel conserto(Siena, 1607),
p.3. After saying that wind instruments
are rarely used, Agazzari adds that:
'sometimes the trombone in a small
group can be used as bass, when there
are small organs [playing] at the upper
octave: but it must be well and sweetly
played' ('tal volta il trombone in pic-
ciol conserto, s'adopera per contra-
basso, quando sono organetti all'ottava
alti, ma che sia ben sonato, e dolce').
29 My thanks to Domenico Devenuto
for the information concerning this
organ. Andrea Taiuti, the Roman
antique dealer who sold it in 1973-4
to an unknown German institution,
has kindly informed me that inside this
organ there were very few wooden and
metal pipes left; the diatonic keys were
in ivory, with arcaded key fronts. All
the frontal pipes were still present.
30 See P. Barbieri, 'Organi "in forma
di tavolino" del Seicento romano',
Amici dell'organo[di Roma], 2nd series,
i (1982), pp.8-11. Instruments of this
type remained in use, at least in France,
until the end of the 18th century: see
Dom FranCoisB~dos de Celles, L'art
du facteur d'orgues,iv (Paris, 1778),
pl.bxxxvi-xci, and pp.558-62. Arnaldo
Morelli recently informed me that
Chris topher
an interesting organ of this type is
currently in the Museum of Musical
Instruments of the Akademie ffir
Musik in Basel.
31 See A. Morelli, Il tempio armonico:
Works hops
musica nell'Oratoriodei Filippini in Director. West
Jeremy
Roma (1575-17o05) (Laaber,1991), Cornetts, &Sackbuts
Serpents
pp.o103,181.
32 Barbieri,'Organi "in forma di New on the list:
tavolino"', pp.9-10.
JeremyWestmodel
33 Barbieri, 'Organi "in forma di cornettA = 440 in wood
tavolino"', pp.io-n.1
High Pitch cornett
34 See R. Lunelli, 'Un trattato di Anto- A = 466 in ebony resin
nio Barcotto colma le lacune dell'Arte
organica', Collectaneahistoriae musicae,
Alto cornettin F
i (Florence, 1953),PP.135-55;esp. p.152. English Military
35 On this topic see: R. Giorgetti, 'Alla three key serpent
scoperta di un raro organo ad ala', 47 ChalseyRoad
Strumenti e musica, xl (Jul-Aug 1988), London SE4 1YNEngland
pp.48-9; R. Giorgetti and M. Valentini,
'Organi ad ala in Umbria', Strumenti e
Telephone:(44) 081 692 8321
musica, xliii (Sep 1991),pp.26-3o. In Facsimile:(44) 081 694 8784
this article is mentioned an organ of
this type, built by Armodio Maccioni
around 1618-20 and now in Perugia.
Wv'-"
36 See G. Lizzani, Il mobile romano
(Milan, 1970),
fig.li (pp.xx,
xxviii). In Charles Wells
1965 this organ was seen, at the estab-
lishment of the same antique dealer,
Early Woodwinds
by F. Luccichenti, 'Gli Alari, organari
in Roma', Amici dell'organodi Roma,
2nd series, iii (1984), pp.54-62, esp.
Maker, restorer and
p.60 (n.9).
repairer of early
37 This information comes from A. oodwind instruments
Morelli, '"Alcuni avvertimenti da farsi,
et altri da fugirsi nel suonare l'organo
sopra la parte". La prassi del basso Specialist in woodwinds
continuo all'organo nel XVII secolo', of the baroque and
Ilflauto dolce, x-xi (1984), p.18. A classical periods.
revised and enlarged version of this
article will be published, in English,
in BaslerJahrbuch,xviii (1994).
38 Rome, Biblioteca Corsiniana e -%6?
dell'Accademia dei Lincei, Ms. Musica
M.14, ff.lo8r-lo9v.
39 See Mischiati, 'I1manoscritto
corsiniano', p.192; Crist6balde Morales: SBrochure from:
Forge Cottage, 32 Manor Road.
Opera omnia, ed. H. Anglks, ii
(Barcelona, 1953),PP.115-21.
Hatfield. Doncaster,
outh DN7 6SD.
~.S Yorkshire,
40 Mischiati, 'I1manoscritto corsini- .
?:. Telephone:
(0302) 846492
ano', p.180. :...

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