PARTITIONS GRATUITES : CONTRE BASSE
- Giovannino

SKU: BT.YE0009

Very little is known about the two sonatas which appear here in their original keys. They were placed in the library of the Music School in Oxford at the end of the seventeenth century in a form convenient for playing (i.e.unbound). The library was catalogued by Hake between 1850 and 1855 and the sonatas were eventually bound in 1855 with other instrumental and vocal manuscripts of the same period, some of which are dated 1698.

The sonatasare both inscribed on the title page Sonata Violone Solo. Col Basso per l'Organo, o Cembalo. A third sonata bears the words Sonata Violino e Violoncino â?¦ di Giovannino del Violone. Giovannino (=Little, or Young John)musthave been a performer, and although the third sonata has been copied by a different hand, it is conceivable that Giovannino is a connecting link between the three. He cannot, however, be assumed to be theirauthor.

The Violone was a six-stringed instrument with frets, and there is evidence to suggest that the Contrabasso of the same period was similar but probably a little larger; the Violoncino (=Little Violone, orVioloncello) must have been smaller. The word 'Violone' was also used as a collective term embracing all members of the Viol family, which means that the sonatas might well have been written for a tenor or a bass Viol, and notnecessarily a Violone as such. Indeed, when they are played on a Violone, or Double Bass the continuo bass line must be played at a lower pitch than the solo instrument, to prevent inversion of the intended harmony. (The use ofa Violone/Double Bass continuo or 16' organ tone would overcome this problem.)

The editor has added no ornaments or embellishments to the solo part as it appears in the original manuscript. It is open to debate whether aViolone player, owing to the very nature of his instrument, would have used any but the simplest melodic decorations. Nevertheless, the performer should acquaint himself thoroughly with those seventeenth century traditions thatare known today (see Dart.

Very little is known about the two sonatas which appear here in their original keys. They were placed in the library of the Music School in Oxford at the end of the seventeenth century in a form convenient for playing (i.e.unbound). The library was catalogued by Hake between 1850 and 1855 and the sonatas were eventually bound in 1855 with other instrumental and vocal manuscripts of the same period, some of which are dated 1698.

Thesonatas are both inscribed on the title page Sonata à Violone Solo. Col Basso per l'Organo, o Cembalo. A third sonata bears the words Sonata à Violino e Violoncino … di Giovannino del Violone.Giovannino(=Littl e, or Young John) must have been a performer, and although the third sonata has been copied by a different hand, it is conceivable that Giovannino is a connecting link between the three. He cannot, however, beassumed to be their author.

The Violone was a six-stringed instrument with frets, and there is evidence to suggest that the Contrabasso of the same period was similar but probably a little larger; the Violoncino(=Little Violone, or Violoncello) must have been smaller. The word 'Violone' was also used as a collective term embracing all members of the Viol family, which means that the sonatas might well have been written for a tenor or abass Viol, and not necessarily a Violone as such. Indeed, when they are played on a Violone, or Double Bass the continuo bass line must be played at a lower pitch than the solo instrument, to prevent inversion of the intendedharmony. (The use of a Violone/Double Bass continuo or 16' organ tone would overcome this problem.)

The editor has added no ornaments or embellishments to the solo part as it appears in the original manuscript. It isopen to debate whether a Violone player, owing to the very nature of his instrument, would have used any but the simplest melodic decorations. Nevertheless, the performer should acquaint himself thoroughly with those seventeenthcentury traditions that

SKU: UT.REM-3

ISBN 9788881091515. 5.83 x 8.26 inches.

Questo libro nasce come apparato critico al CD e alla MC Le tradizioni musicali nel Gargano, vol. 1, La serenata a San Giovanni Rotondo, edito dalla casa discografica Nota di Udine, con la collaborazione del Centro Studi Tradizioni Popolari del Gargano e della Cattedra di Etnomusicologia dell’Università degli Studi di Bologna. I documenti sonori contenuti nel disco sono stati registrati a San Giovanni Rotondo tra il 1966 e il 1995. Con il presente lavoro si intende documentare il repertorio delle serenate, per approfondire lo studio sul canto lirico nella forma ‘strapulèttëà ¢â‚¬â„¢ (il modo locale di cantare a strofetta) e sui canti a distesa ‘alla stesa’; nonché sulle forme e gli strumenti musicali in uso a San Giovanni Rotondo, attraverso i suonatori attivi in questi ventinove anni.
Il comune di San Giovanni Rotondo, in provincia di Foggia, conta circa venticinquemila abitanti ed è situato in prossimità del Monte Calvo (1065 m), la vetta più elevata del Gargano. Legato per secoli a un’economia essenzialmente agricola e pastorale, conosce un rapido sviluppo (rispetto ad altri paesi del Promontorio) dopo la Seconda guerra mondiale, in seguito all’apertura della miniera di bauxite nel 1959, e grazie alla presenza di Padre Pio, frate stigmatizzato in processo di beatificazione, che ha dato avvio alla costruzione dell’imponente struttura ospedaliera ‘Casa Sollievo della Sofferenza’, tuttora una delle più prestigiose del Mezzogiorno.