Girolamo Fantini, “Quanto musicalmente in Organo…”

Girolamo Fantini (1600-d1675), Quanto musicalmente in Organo…

Igino Conforzi, historical trumpets XVII-XVIII

Claudio Brizi, organ

TIBICINES ensemble
[Quadrivium SCA-030]

The Modo per imparare a sonare DI TROMBA is a fundamental work in the history of the trumpet. At the beginning of the Baroque the trumpet was still relegated to military and ceremonial functions, reflecting a centuries-old tradition, handed down orally for the most part. Fantini contributed greatly to the trumpet’s acceptance in refined music, which in the 16th and 17th centuries experienced considerable changes in instrument construction and playing techniques. Fantini takes up only 14 pages (of a total 80 on music) «dallo stile delli antichi Trombetti» (on the style of the Trumpeters of earlier times).

A “nuova pratica” began with Fantini’s work which brings the trumpet, in a rise lasting well over a century, to the utmost of its technical and expressive possibilities. This new custom was sharply detached from the role of the instrument in the previous centuries. It was therefore divided into two classes, two styles, two distinct executions (which can be heard in the technical and musical choices and in the recording criteria, and can be clearly noticed when listening to the CD). The first was the military function, the «di Guerra» exercises, the traditions and the style of the «antichi Trombetti»: the prominent use of the lower and middle registers, a staccato articulation and great sonority (from being played outside). The second was the execution «Musicalmente in Organo […] e ogn’altro istrumento» (Musically on organ… and all other instruments) «in concerto di voci, o altro» (in a concert of voices, or other) «non più in aria come già si soleva, ma co’l vero fondamento come gli altri strumenti perfetti» (no longer haphazardly, as was previously the custom, but with the real foundation like the other perfect instruments): the first compositions with continuo. Furthermore, with the development of the high register the new art of the clarino, and with it, the use of articulation and the musical phrasing: “that utmost perfection, which until now has never been achived”.