A Tuscan registration table from 18th century

by Umberto Pineschi The Fondo Venturi of the Biblioteca Comunale (Municipal Library), Montecatini

Terme, province of Pistoia, has a document of particular significance: a preface, consisting in some loose sheets, inserted in a handwritten organ book, containing verses by an unknown composer. Both the preface and the organ book were written around the mid-eighteenth century. Many of the verses in the organ book carry registration instructions, which are clearly inspired by the notes on the loose pages. One of these loose pages is simply an envelope addressed to Cavalier [Sir] Pietro Sermolli, a music lover who collected most of the music of the Fondo Venturi and either wrote or consulted the preface. This preface is divided in three parts: 1. Registration combinations, 2. General rules, 3. General rules for the Mass.

The document is important not only because it has come down to us together with practical examples, but also because it gives unexpected registrations (e.g. Principale, Ottava, Decimaquinta and Flauto) and shows links both with the past (e.g. the use of the Flauto for the Postcommunio) and, in way, with other schools (e.g. Principale, Decimanona, Vigesima seconda and Vigesimasesta, Flauto, very similar to the Antegnati's mezzo ripieno (Principale, Ottava, Flauto in ottava, plus Vigesima seconda and Vigesima sesta or Vigesima nona and Trigesima terza) but called cornetto, a name recalling Antegnati's concerto di cornetti (Ottava, Flauto in ottava, Decimanona and Vigesima seconda di concerto). Also interesting the relationship registrations - liturgical moments in the Mass (the a pieno for the Offertory, given as the only possibility, besides the already mentioned use of the Flauto for the Postcommunio).

The instrument described in the document was fairly common around the mid-seventeenth century. Some of them still exists (a fine example is the organ built by the Pistoiese brothers Antonio and Filippo Tronci for the church of Santa Maria delle Grazie alias del Letto, Pistoia, in 1755 or the organ by Luigi and Benedetto Tronci 1793, now in the Cathedral of Pistoia).

Registration Combinations

Principal together with all other [stops] except Flute Legato and fugato style, or allegro as for an introduction. Principale and Flute Cantabile largo with detached bass and consonant

«blows» (i.e. short cords). Principal,Octave and 15th Florid andantino with detached quaver bass or singing

[andantino]. Principal,I9th, 22nd-26th and Flute Allegro very florid with semiquavers with a singing bass,

like Cornetto. Flute alone Andantino or allegro, with the latter arpeggiato and

pedals at will, or cantabile allegro with detached bass. Principal, Octave, 15th and Flute Andante, that is cantabile serio with answering bass.

Number of stops and names Principale (Principal), Ottava (Octave), Decima quinta (15th), Decimanona (19th) Vigesima seconda (22nd) and Vigesima sesta (26th), Flauto (Flute) and Contrabbassi (Subbass).

General rules The pedal To be used ad libitum and according to the style of the piece, but for the first verse more than the others and [to be used] at the cadences of all pieces. Not important for the middle verses.

Stops If legato style, all first five [stops] and pedal. Cantabile larghetto - all stops except Flauto. Allegro for the Postcommunion or with arpeggio - the Flauto and the first one, i.e. the Principale. Cantabilea a allegretto - with detached quaver bass, the first three [stops] and the last. Pedal Play passages often while performing and try as far as possible not to touch the pedal keys with the bass hand, which must work differently from the foot. At the verses the pedal can be omitted, but only until the cadences, where it must be heard. At the end sustain the pedal a little to let the choir pick up the tones of the organ. The key pedals follow the same rules as the manual keys with the short first octave. Playing and registering To make an introduction and play allegro - work very much in the bass while the violin [i.e. the right] hand plays sustained notes. A pieno pieces-pull out all stops except the Flauto. Style Flauto style - use Flauto and principale alone and do not touch the pedal.. The first verse is to be played with a pieno stops longer than the rest and the middle ones with small mutation stops.

General rules for the Mass Play at the Kyrie and the Gloria in the tone required by the feast. After the Epistle [play] in tone ad libitum, and long or short according to the Mass, if it is parata [litteraly “with vestments”, but with the meaning of a Mass with deacon and subdeacon assisting the priest] or simply sung [i.e. without deacon and subdeacon] and until the Gospel is sung. After the Oremus in the Offertory, play the Offertorio until the Sanctus and in ad libitum tone. At the Sanctus [play] two verses according to the tone of the chant until the Hosanna in excelsis and then the Elevazione starts in ad libitum tone. After the Agnus Dei play the Postcommunio in ad libitum tone, usually with the Flauto stop. After the Ite missa est an a pieno verse ad libitum, if possible in the tone of the chant of the Ite missa est. At the Credo the organ falls silent. The Offertorio is to be played with a pieno stops.