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More detailed information about this source – one that is so central to our project – is to they may take up motives from the choral melody, setting them freely, or – as in the Agnus
be found in RISM-OPAC (Répertoire Internationale des Sources Musicales/International Dei Versets of the Missa BMV, with its pastoral-like siciliano – they may be transformed
Inventory of Musical Sources – Online Access Public Catalogue), on the internet under into a character piece.
www.rism.info (library siglum I-Rn).
In addition to the Mass movements, the vocal works that have been recorded here
Both the Missa Beatae Mariae Virginis (Mass of the Blessed Virgin Mary) and the Missa comprise a selection from the divine offices in the manuscript I-Rn Mss Musicali 76. They
in Dominicis et in Festis Simplicibus (Mass for Sundays and Minor Feasts) are alternatim belong liturgically to the canonical hours that were sung in the evening. The two Marian
Masses. Here the organ playing changes to choral singing from verse to verse in the antiphons Salve Regina (Hail, Holy Queen, Mother of Mercy, from the feast of Trinity to
movements of the Mass Ordinary, that is, they “alternate.” In the manuscript for both the end of the church year) and Regina caeli (Queen of Heaven, Rejoice, Alleluia, from Holy
Masses (I-Rn Mss Musicali 76) the part for the solo organ passages, namely, the Versets Saturday to the Saturday after Pentecost) make use of the chant melody, but in a varied
th
(Versi) that replace the sung text verses in the Kyrie, Gloria, Sanctus and Agnus Dei, is version as was frequently found in the 18 century. The corresponding instrumental
notated Partimento. This means that only a richly ornamented, rhythmically structured bass part in our manuscript source supports the homophonic texture with functional
bass part has been written out, to which at times continuo bass figures have been added. harmonies. The organist interprets this part according to the rules for realizing a basso
In any case, this creates a challenge for the organist, who must complete the composition continuo. The hymns Veni Creator Spiritus ( Come Holy Spirit, for Pentecost) as well as
by adding an adequate melody and harmonization. In order to realize a Partimento, basic Custodes hominum (The Guardians of Our Race, Our Angel Guides We Hail, for the feast
knowledge of compositional practice as well as great sensitivity in artistic and aesthetic of the Guardian Angels on 2 October), in the versions presented here, use melodic
matters are required in order to achieve a qualitatively musical end result. Since the motives from their Gregorian chants – quasi as a relic – and otherwise consist of strophic
playing is improvised, the repeated parts can be varied in performance. The melodies of singing with a folk-like structure, comparable to congregational hymn-singing. The organ
the sung text verses are – in accordance with the usual practice of the time – underscored accompaniment again provides harmonious and rhythmical support, following the
with a bass voice in a homophonic texture which the organist must harmonize. In our fundamentals of the notated bass line.
manuscript source, both Masses do not have a notated Credo. This is typical for the time,
since in the Mass liturgy, the Credo – as the central statement of belief – must contain the The Magnificats in the eighth church mode (in d) and in the first church mode (in G)
complete text, either spoken or sung chorally. Such integrated instrumental movements by Girolamo Chiti are again alternatim compositions. The odd numbered verses of the
th
as the Elevazione or Postcommunio were also the rule in earlier times. In the 18 century, Canticum Beatae Mariae Virginis (Mary’s Song of Praise, text: Luke 1:46-55) are sung by
they were played in the Mass during the Transubstantiation or during the final prayer the Cantor or the Schola. An organ verset takes the place of each even numbered verse.
after the Communion. Whether the character is solemn or animated is determined by The versets by Chiti in both Magnificats are freely composed works that suit the tone
the placement of the piece in the liturgy. Versets are varied in their structure. For example, of each church mode in a varied and musically effective manner. They have survived as
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