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Inedite fonti italiane della Passione in notazione ritmico-proporzionale, in Cantus Planus. Papers read at the 16th Meeting
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Intonazioni monodiche della Passione in Italia fra i secoli XIII e XVI
Get PDFThe work of comparing the sources of the Passion composed in the Italian cultural area between the Middle Ages and the Renaissance, which are manuscript records and printed versions found in Italian and foreign archives and libraries, has enabled some fundamental lines of tradition to be detected, which could be the starting point for possible further developments if other notated records come to light.
A first family of intonations is contained in Roman-Franciscan tradition sources, which are the most numerous and the most widely spaced in time: these, rather than passionaries, namely works mainly (or exclusively) devoted to the Gospels of the
Passion, are better described as slim little volumes for use as chant books or liturgical books. Four manuscript chant books, which could be placed in time between the 14th and 15th centuries, contain basic intonation formulae for Christ, the Evangelist and the Multitudes, together with some interesting versions of the so-called “Eli melody”, inspired by Christ’s last words on the Cross. After this, the manuscript tradition was
faithfully carried on in the printed editions of the Roman Cantorinus published by the Giunta printing works in 1513 and reprinted five times during the 16th century until 1566. The intonation formulae contained in the Familiaris clericorum liber, a liturgical book that appeared in 14 editions from 1517 to 1570, may be placed in the same Roman-Franciscan family; some problems in interpretation, however, arise in the first two editions, published by the de Gregori printing shop in 1517 and 1525, with rather a singular intonation.
Another family of intonations, of which there is both manuscript and printed evidence, is constituted by the monastic tradition, especially sources in monasteries traceable to the reformed Italian Benedictine Congregation, the Congregatio Casinensis,
or of St Justine. There are two manuscript documents, which may be placed around the year 1500: the version in the Grey manuscript in Cape Town is rather unusual in that it contains a mensurable intonation in white notation. In this case too, the manuscript tradition carried on into subsequent printed versions that establish its characteristics in an official guise, so to speak: the St Justine intonation is thus to be found in the monastic Cantorinus published by Giunta in 1506 afterwards reprinted twice, and then also in a small 19th century edition. Finally, significant indications of a Camaldoli intonation emerge in the two 16th century editions of a missal, a type of liturgical book
that, apart from the short “Eli melodies” rarely contains formulae with notation for the Passion.
Indeed some of the oldest records of the intonation of the Passion are the short notated melodies connected with Christ’s last words on the Cross, which, in fact, not infrequently also appear with notations in missals. In the light of the particularly
expressive nature of these formulae, a comparison among the various versions is not meaningless, however short they may be. This is how a melismatic Roman-Franciscan melody was found, appearing in many 14th century missals and also in a 13th century Cortona mass-book: this was certainly the most common melody, as it could migrate from one tradition to another, and was perhaps also the most typical Italian melody.
In the panorama of 16th century melodies, the Roman version is one of the most common: it is characterised by the typical notes of Italian tradition (g for Christ, c’ for the Evangelist and f’ for the Multitudes). There is no record of the Roman Passion note,
however, before the middle of the 16th century, so we cannot know whether its relatively sober character (or in any case soberer than the Roman-Franciscan melody) comes from an earlier Roman tradition or if, on the other hand, it is the result of a simplification carried out in about the middle of the 16th century, as Baini maintains, by the precentors of the Papal Chapel. In any case, in view of the type of model adopted by
Roman intonations from 1586 onwards, thanks to Giovan Domenico Guidetti’s Cantus ecclesiasticus Passionis, it seems appropriate to follow its development beyond the chronological limits that have been set right up to after the beginning of the 20th century, when the controversial authenticam ac typicam edition of 1917 appeared, published by the Solesmes monks.
Other significant intonations that are not, however, directly associated with the families or models that have been mentioned are presented afterwards, together with a work from Aosta that does not precisely belong to an Italian tradition but reveals some
interesting points of contact with the 16th century Roman tone. Finally, some of the most interesting and important sources are presented at the end of the paper, namely passionaries with full rhythmic-proportional notations. Apart from the 15th century
manuscript XXIV of the Cividale Archaeological Museum, already known to scholars, a group that stands out is composed of some Passionaries that bear witness to an organic tradition that may have started to spread in the area of the plains of the River Po as early as at the end of the 13th century, judging from a manuscript from Parma, and that was still extant at the beginning of the 15th century, when the unpublished Passionary kept at the Treviso City Library was compiled: this work has not yet been either studied or catalogued.Il lavoro di comparazione delle fonti della Passione redatte in area italiana fra Medioevo e Rinascimento, testimonianze manoscritte ed edizioni a stampa ritrovate in Archivi e Biblioteche italiane e straniere, ha permesso di individuare alcune fondamentali linee di tradizione che potrebbero costituire il punto di partenza per eventuali sviluppi, qualora nuove testimonianze notate dovessero emergere.
Una prima famiglia di intonazioni è contenuta in fonti di tradizione romanofrancescana, le più numerose e distribuite nel tempo: non si tratta in questo caso di Passionari, cioè di opere dedicate principalmente (o esclusivamente) ai Vangeli della
Passione, quanto piuttosto di agili volumetti d’uso come Cantorini e Rituali.
Cronologicamente situabili fra i secoli XIV e XV, quattro Cantorini manoscritti attestano essenziali formule d’intonazione per il Cristo, l’Evangelista e le Turbe, insieme con alcune interessanti redazioni della cosiddetta melodia-Eli, destinata alle
ultime parole di Cristo sulla croce. Di seguito, la tradizione manoscritta venne puntualmente recepita dalle edizioni a stampa del Cantorino romano, uscito dalle officine Giunta nel 1513 e ristampato nel corso del secolo XVI per altre cinque volte,
fino al 1566. All’interno della stessa famiglia romano-rancescana si possono collocare le formule d’intonazione contenute nel Familiaris clericorum liber, un Rituale comparso in 14 edizioni, dal 1517 fino al 1570; qualche problema di interpretazione,
tuttavia, emerge nel caso delle prime due edizioni, pubblicate presso le stamperie de Gregori nel 1517 e nel 1525 con un’intonazione piuttosto singolare.
Un’altra famiglia di intonazioni, documentate sia in manoscritti sia in edizioni, è costituita dalla tradizione monastica, e in particolare dalle fonti che appartennero a monasteri riconducibili alla Congregazione riformata dei Benedettini italiani, la
Congregatio Cassinensis ovvero di Santa Giustina. Due sono le testimonianze manoscritte, cronologicamente collocabili intorno all’anno 1500, di cui piuttosto singolare è quella offerta dal manoscritto Grey di Città del Capo, che contiene un’intonazione di tipo mensurale in notazione bianca. Anche in questo caso la
tradizione manoscritta confluì in opere a stampa successive, che ne fissarono i lineamenti in una veste per così dire ufficiale: l’intonazione cassinese si ritrova dunque nel Cantorino monastico pubblicato da Giunta nel 1506 e poi ristampato altre due volte, ma anche in una piccola edizione ottocentesca. Di un’intonazione camaldolese, infine, sono emersi cenni significativi nelle due edizioni cinquecentesche di un Messale, una tipologia di libro liturgico che, al di là delle brevi melodie-Eli, raramente attesta formule notate per il Passio.
Effettivamente, alcune fra le più antiche testimonianze relative all’intonazione della Passione sono costituite dalle brevi melodie notate in corrispondenza delle ultime parole di Cristo sulla croce, che non di rado, appunto, sono provviste di notazione anche nei Messali. Dato il carattere particolarmente espressivo che queste formule vengono ad assumere, il confronto fra le diverse redazioni non risulta privo di significato, per quanto brevi possano risultare. È stato così possibile isolare una melodia romanofrancescana di carattere melismatico, attestata in molti Messali trecenteschi ma anche in un duecentesco Messale cortonese, che risulta senz’altro la più diffusa, potendo migrare
da una tradizione all’altra, e forse anche la più tipicamente italiana.
Nel panorama delle melodie cinquecentesche, quella romana figura come una fra quelle più comuni, caratterizzate dai toni tipici della tradizione italiana (il Sol per il Cristo, il Do per l’Evangelista e il Fa per le Turbe). Del tono romano di Passione,
tuttavia, non esistono testimonianze anteriori alla metà del sec. XVI, per cui non è possibile sapere se il suo carattere relativamente sobrio (o comunque più sobrio della melodia romano-francescana) derivi da una tradizione romana anteriore o se invece sia frutto di una semplificazione operata intorno alla metà del Cinquecento, come sostiene il Baini, dai cantori della cappella pontificia. In ogni caso, dato il carattere di modello
che l’intonazione romana assunse a partire dal 1586, grazie al Cantus ecclesiasticus Passionis di Giovan Domenico Guidetti, è parso opportuno seguirne il percorso al di là dei limiti cronologici stabiliti, fin oltre le soglie del secolo XX, quando, ad opera dei
monaci di Solesmes, comparve la discussa edizione “authenticam ac typicam” del 1917.
Altre intonazioni significative, ma non direttamente riconducibili alle famiglie o ai modelli individuati, sono presentate di seguito, insieme con una testimonianza di Aosta, che non appartiene propriamente a una tradizione italiana, ma che rivela qualche
suggestivo punto di contatto con il tono romano cinquecentesco. A conclusione del percorso, infine, si collocano alcune fra le fonti più interessanti e significative, e cioè i Passionari interamente provvisti di notazione di tipo ritmico-proporzionale. Al di là del
quattrocentesco ms. XXIV del Museo Archeologico di Cividale, già noto alla comunità degli studiosi, spicca un gruppo di Passionari che attestano una tradizione unitaria, diffusa in area padana forse già alla fine del secolo XIII, come sembra attestare un manoscritto parmense, e ancora viva agli inizi del XV, quando fu compilato l’inedito Passionario conservato presso la Biblioteca Comunale di Treviso, non ancora studiato né catalogato
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