Pistocchi’s gift: Francesco Traeri’s organ (1719) for S. Filippo Neri in Forlì

Peter Williams, Is music a discrete mode of experience?; PhiliPPe Canguilhem, The ma-drigal en route to Florence (1540-1545); arnaldo morelli, Una nuova fonte per la musica di Ghiselino Danckerts «musico e cantore cappellano della cappella del papa»; renato meuCCi, Alessandro Piccinini e il suo arciliuto; Paolo gozza, La dialet-tica dello strumento musicale nell’età moderna; luigi Ferdinando tagliavini, Fabio da Bologna, virtuoso costruttore di cembali; FranCesCo luisi, Nuovi accertamenti sui quadri e sui violini di Corelli. Storie di collezionismo al tempo di Clemente xi; gianCarlo rostirolla, Il Mondo novo accresciuto. Trenta nuovi disegni di Pier Leone Ghezzi dal Museo dell’Ermitage di San Pietroburgo; huub van der linden, Pistocchi’s gift: Francesco Traeri’s organ (1719) for San Filippo Neri in Forlì

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ISSN 1120-5741ISBN 978-88-7096-598-8

RECERCARE XXI/1-2 2009

Peter WilliamsIs music a discrete mode of experience?

7

Philippe CanguilhemThe madrigal en route to Florence (1540-1545)

35

Arnaldo MorelliUna nuova fonte per la musica di Ghiselino Danckerts«musico e cantore cappellano della cappella del papa»

75

Renato MeucciAlessandro Piccinini e il suo arciliuto

111

Paolo GozzaLa dialettica dello strumento musicale nell’età moderna

135

Luigi Ferdinando TagliaviniFabio da Bologna, virtuoso costruttore di cembali

149

Francesco LuisiNuovi accertamenti sui quadri e sui violini di Corelli.

Storie di collezionismo al tempo di Clemente XI

177

Giancarlo RostirollaIl Mondo novo accresciuto. Trenta nuovi disegni di Pier Leone Ghezzi

dal Museo dell’Ermitage di San Pietroburgo229

Huub van der LindenPistocchi’s gift: Francesco Traeri’s organ (1719)

for San Filippo Neri in Forlì 291

Gli Autori301

Libri ricevuti305

Huub van Der Linden

Pistocchi’s gift: Francesco Traeri’s organ (1719) for San Filippo Neri in Forlì

Per Sara Dieci“Io m’interesso volontieri a servir gli amici”1

In Early Modern Italy, organs made good gifts. They were valuable both in theeconomic and cultural sense. While the costs could prevent a church or congrega-tion from buying an organ themselves, the status of the organ as the ‘king of instru-ments’ made it a prestigious gift, and its subsequent use in the liturgy underlined itsusefulness in worship (and thus the piety of the giver), as well as produce a recur-rent audible reminder of the bond cast between donor and recipient.2 Anecdotalevidence suggests that also within the Congregation of the Oratorio there is a pat-tern of organs being funded by either lay benefactors or members within the con-gregation, although a more comprehensive survey would be needed to confirmthis.3 As for many other things, the Roman Oratorians provided a point of refer-ence for other congregations. Already in 1580, only a few years after the founda-tion of the Congregation of the Oratorio, a benefactor had left 500 scudi to financean organ for the Chiesa Nuova, and other instruments in the church and oratoryfollowed soon.4

1. Francesco Antonio Pistocchi in a letter to Giuseppe Riva, 29 April 1724, Modena, BibliotecaEstense e Universitaria, Autografoteca Campori, ad vocem Pistocchi.

2. The seminal work on gift-giving was MARCEL MAUSS, “Essai sur le don: forme et raison del’échange dans les sociétés archaïques”, Année sociologique, n.s. I, 1923–24, pp. 30–186. For an applica-tion to Early Modern Europe see NATHALIE ZEMON DAVIS, The gift in sixteenth-century France, Oxford,Oxford University Press, 2000.

3. See for other cases e.g. ALVARO MENGARELLI, Origini e sviluppo dell’oratorio perugino di s. Filippo Neri,1613–1715, Perugia, Volumnia, 1975, pp. 179, 182, and REMO CROSATTI, La vita musicale nella Congrega-zione dell’Oratorio di san Filippo Neri di Brescia, Brescia, Starrylink, 2007, p. 362.

4. In the first case, however, papal permission was obtained to use the money otherwise, because

292 HUUB VAN DER LINDEN

Documents originating from the Congregation of the Oratorio in Forlì show asimilar pattern: they twice received an organ for their church as a gift. In 1634,after having turned from a career in law to the priesthood, the local noblemanFabrizio Dell’Aste had started to organise devotional gatherings in Forlì and hadgathered a group of like-minded men around him. In 1643 they became a con-gregation of Oratorians, and in 1646 the bishop of Forlì, Giacomo Theodoli, whowas a fervid supporter of Dell’Aste’s initiative, donated what was in all likelihoodthe first organ in the newly built church.5 An extract from a Breve notizia on thehistory of the Forlivese congregation informs us that in May of that year it wasplaced in the church:6

Essendo l’altar maggiore come habbiam detto posta presso la muraglia divisoria dellachiesa non v’era luogo per il coro; quindi è che li padri si servivano per cantare i lorovesperi della cantoria di sopra alla portella del Sacro Monte, ove anche nel mese dimaggio colocarono l’organo, che in quest’istesso anno [1646] fu donato dalla cortesaliberalità di Monsignor Theodoli alla nostra congregatione, et è l’istesso del quale hora[1693] si [sic] serviamo nelle nostre musiche. Fabricata poscia la casa dell’1650, alcunianni doppo, abandonando questo luogo, trasportarono la musica et il coro all’altracantoria verso della casa, come più comoda per tal funtione.

The right side of the church (cornu epistolae) is flanked by the backside of thesixteenth-century seat of the Monte di Pietà, while the left side (cornu evangelii) wasreferred to by way of the house that the Oratorians built on that side of the churchin the middle of the seventeenth century.7 That the choir and, presumably, theorgan were moved to this side was undoubtedly so that they could be accessed dir-ectly from their house. The two galleries in question are on both sides of the nave,just before the transept (seen from the entrance).

the church was already provided with an organ at this time. On these organs see ARNALDO MORELLI, Iltempio armonico. Musica nell’oratorio dei Filippini in Roma (1575–1705), Laaber, Laaber-Verlag, 1991, pp.99–105.

5. The T(h)eodoli were an old noble family from Forlì. Giacomo Theodoli was archbishop ofAmalfi before becoming bishop of Forlì in 1635. On the Oratorians in Forlì see MARCO VALLICELLI, Fa-brizio Dall’Aste e l’Oratorio a Forlì, Imola, Grafiche Galeati, 1990, and GIORDANO VIROLI, Chiese di Forlì,Bologna, Nuova Alfa Editoriale, 1994, pp. 107–134.

6. Forlì, Archivio di Stato, Brandolini-Dell’Aste, busta 36, Breve notizia delle cose più memorabili dellacongregatione di s. Filippo Neri di Forlì, pp. 81–82. A note at the end of the original first part of this ma-nuscript makes clear it was written in 1693. (“Because the main altar is placed, as we have said, nearthe backwall of the church, there was no place for the choir; that is why for singing their Vespers thefathers made use of the gallery above the door on the side of the Sacro Monte, where in the monthof May they also placed the organ which in this same year was donated to our congregation throughthe gracious liberality of monsignor Theodoli, and it is the same one of which we make use at presentfor our music. After the house had been built in 1650, some years later, abandoning this location, theymoved the music and the choir to the other gallery towards the house, more suited to that function.”)

7. The house was demolished in 1967, see VIROLI, Chiese di Forlì, 110.

PISTOCCHI’S GIFT: FRANCESCO TRAERI’S ORGAN (1719) FOR SAN FILIPPO NERI IN FORLÌ 293

A few clues about the use and maintenance of this older organ can be gleanedfrom the congregation’s Libro de’ decreti. On 19 April 1690, the deputies of the con-gregation decided that, “essendo necessario lo spolverare l’organo et accomodarlo,la casa concorra per la metà alla spesa che vi si farà, e l’altra parte faccia la chiesa”.8

Not surprisingly, then, in 1693, when the first part of the Breve notizia was written,the scribe mentions the organ as being still in use. A few years later, we learn thatsome of the music was sung from the organ gallery, because on 22 February 1697,when the deputees also determined that the chapel master of the cathedral was toprovide the music in their church on the feasts of the Annunciation and of St. Fi-lippo Neri, they decided that “circa a questi preti, che cantano ne’ giorni festivisul’organo se le dia qualche recognitione secondo stimarà il padre [preposito]”.9Presumably it was also the cathedral organist who on these occasions played theorgan.10 Only once, on 18 may 1709, an organist is mentioned, namely when thedeputees decided “che si prenda per organista il sig.r d. Giacomo Zattoni con darglisei scudi l’anno pro interim, accioché si cantino le messe e vespri ne’ giornifestivi”, perhaps because the cathedral organist, Giuseppe Zanelli, was unable orunwilling to perform at their church at this time.11

In all likelihood the organ and how it was used had changed little when in 1718Francesco Antonio Pistocchi (1659–1726) offered to have a new instrument built.Pistocchi, a contralto castrato, is mostly remembered as a singer and voice teacher,but was also a skilled composer. After retiring from his solo career, he continued toteach, and entered the Congregation of the Oratorio. In September 1715 he askedto be admitted to the congregation in Forlì, and on 18 October he was admittedfor his trial period with “il concesso di tre stanze da darglisi nel refectorio percamera della musica”.12 Soon thereafter he took on further musical responsibilities:

8. Forlì, Archivio di Stato, Compagnie religiose soppresse 2542–783, Libro de’ decreti della congregatione, f.70r. (“Because it is necessary to dust off the organ and repair it, the house shall contribute half of theexpenses that will be made, and the other half shall be taken by the church.”)

9. Libro de’ decreti, f. 79r (“with regard to the priests that sing on the organ on feastdays, they shallbe given some remuneration as father [provost] sees fit”). On (the history of) this practice seeARNALDO MORELLI, “Cantare sull’organo: an unrecognized practice”, Recercare, X, 1998, pp. 183–208. It isalso documented in 1675 at the cathedral, see OSVALDO GAMBASSI and LUCA BANDINI, Vita musicale nellacattedrale di Forlì tra XV e XIX secolo: con un’appendice bibliografica sugli oratorii a Forlì nel Settecento, Flo-rence, Olschki, 2003, pp. 63, 122 doc. 14.

10. For a chronological list of chapelmasters and organists see GAMBASSI and BANDINI, Vita musicalenella cattedrale di Forlì, pp. 137–140.

11. Libro de’ decreti, f. 92v (“That sig.r D. Giacomo Zattoni be taken on as organist with six scudi ayear pro interim, so that the Masses and Vespers on feastdays may be sung”).

12. Libro de’ decreti, f. 100r: “fu proposto alla congregatione per essere introdotto il sig. D. FrancescoPistocchi”, and Forlì, Archivio di Stato, Brandolini-Dell’Aste, busta 36, Notae, ingressus, obiitus vel de-sessus patrum fratrumque et eorum promotiones, f. 8r: “Die 16 Octobris 1715. D. Franciscus Pistocchus sa-cerdos Bononiensis annorum 57 circiter et ob id dispensatus venit ad habitandum nobiscum in con-


in November he was apparently composing or preparing works for performance,because it was decided “che si alloggiasse per sette, otto giorni uno copista fattovenire di Bologna dal padre Pistocco, senza però essendosi la congregatione in altroche nella spesa del solo allogio, e questo per questa volta sola, si che non passi inesser più”, and at the next triennial elections of the deputees in January 1718,Pistocchi was chosen as one of the deputees and as Prefect of Music.13 However,the culmination of Pistocchi’s promotion of music in the congregation was his de-cision to pay for a brand new organ. Pistocchi was likely a capable keyboard playerhimself, because at the end of his life he owned two harpsichords.14

Moreover, Pierfrancesco Tosi, a close friend and admirer of Pistocchi’s, advisedsingers to learn to play the harpsichord and accompany themselves.15 In any event,on 2 November 1718, during a chapter meeting, the congregation decided in fa-vour of accepting Pistocchi’s proposal:16

gregatione”. Libro de’ decreti, f. 100r (“the concession of three rooms in the refectory, to be given tohim as music room”).

13. Libro de’ decreti, f. 102r, on 8 November 1717 (“that a copyist from Bologna sent for by fatherPistocco be given lodgings for seven or eight days, but with the congregation taking no other ex-penses than those of the lodging, and this for only this one time, so that it does not happen moreoften”), and Libro de’ decreti, f. 102v for the election on 3 January 1718.

14. Pistocchi’s harpsichords, by Giovanni Celestini and by one of several known builders with thename Trasuntino, are listed in his testament; cf. Bologna, Archivio di Stato, Ufficio del registro, vol. 200,ff. 176r-183v: 179r-v, first traced by LEONIDA BUSI, Il padre G. B. Martini musicista-letterato del secolo XVIII,Bologna, Zanichelli, 1891. On the former instrument see also Gaetano Berenstadt’s letter to GiacomoZamboni dated 21 April 1725, in LOWELL LINDGREN, “Cembalari e compositori per clavicembalo nellacorrispondenza di Giovanni Giacomo Zamboni”, Recercare, I, 1989, pp. 211–222: 214–215, 222.

15. PIERFRANCESCO TOSI, Opinioni de’ cantori antichi, e moderni o sieno osservazioni sopra il canto figurato,Bologna, Lelio dalla Volpe, 1723, p. 53: “Impari d’accompagnarsi s’egli aspira a cantar bene. Invita conaffetto così violento il gravecembalo allo studio, che ne vince la più pertinace negligenza, e illuminasempre più l’intelletto; […] spesse volte accade a chi non sa sonare, che senza l’aiuto altrui non puòfarsi sentire, nè ubbidir talvolta a sovrani comandi con suo gran danno, e maggior confusione”.

16. Libro de’ decreti, f. 103r (“In a closed meeting it was decided to give permission to fatherFrancesco Pistocchi to have a larger organ be made for our church and to leave the old organ to himas we see fit, to have the galleries be adjusted, and to do other things needed for the said organ, whichought to bring greater dignity to our church, and the same father Pistocchi undertakes to cover allthe expenses that occur at his own expense”).


Fig. 1: View of the keyboard and the transmission mechanics of the keys and stops.

Per congregazione secreta si diede licenza al padre Francesco Pistocchi di poter fare unorgano per la nostra chiesa più grande e lasciarli l’organo vecchio a nostro benepla-cito, di far agiustare le cantorie e far altre cose bisognevoli per detto organo, che deveservire per maggiore decoro della nostra chiesa, e tutte le spese che ocorrono s’obligail medesimo padre Pistocchi di farle a sue proprie spese.

A longer description is on a sheet inserted in the Breve notizia. It gives more in-formation on the chronology of the construction of the organ and its specifica-tions. On 1 March work on the new wooden galleries was started, and by mid


April construction of the 10-feet, 10-stop organ, which cost Pistocchi 300 scudi,commenced. The work was completed just a couple of days before the feast of St.Filippo Neri on 26 May, on which day the organ was inaugurated with “musicasolenne con molti musici e stromenti forastieri”, in line with the psalm versewritten in the cartouche on top of it: “Laudate Deum in chordis et organo”. It isalso in this account that the organ is attributed to “Francesco Traier detto il Bres-ciano, organaro famoso abitante in Bologna”, member of a well-known family oforgan builders from Brescia that had settled in Bologna.17 Pistocchi doubtless knewsome of their organs quite well, such as the instrument built by Carlo Traeri for theAccademia Filarmonica in Bologna in 1673 or the instrument at Santa Maria diGalliera, the church of the Oratorians in Bologna; they had commissioned a neworgan from Francesco Traeri in 1692 which was inaugurated in 1697.18 This was aseven-feet organ, with 14-feet basses, and ten stops, not unlike the organ built forForlì. More recently, in 1701, Francesco and Domenico Traeri had provided thechapel of the Madonna del Fuoco in the cathedral of Forlì with an organ, and hadcome back to work on it in 1709.19

Pistocchi’s gift of a new organ to the congregation fits a pattern of donations oforgans, both at the Oratorians in Forlì and within the Congregation at large. Infact, the church’s old organ was given away as well. The decree cited above men-tions that it was left to Pistocchi, something that is repeated by the more extensiveaccount inserted in the Breve notizia. Here it is told that this older organ was soldfor 40 scudi, presumably directly by Pistocchi, to count Paolo Orsi Mangelli, whoon his turn donated it to the Minims of San Francesco di Paola, who had a churchand convent dedicated to that saint in Forlì.20 We also have some clues about thefurther history of the new organ from the Breve notizia. In 1728 the little-knownpainter Giuseppe Carlo Gotti, who specialised in painting illusionistic architecture,was commissioned to decorate the two galleries, the organ case, and paint an “or-

17. (“solemn music with many singers and players from out of town”, “Francesco Traier called ilBresciano, a famous organ builder who lives in Bologna”) On the Traeri see SANDRO PASQUAL, “La bot-tega di Traeri”, Arte organaria e organistica, VI, nr. 29, 1999, pp. 38–41.

18. On the former see MARCO TIELLA, “Documenti sull’organo Traeri 1673 dell’Accademia Filarmo-nica di Bologna”, Informazione organistica, n.s. XIV, nr. 2, 2006, pp. 167–177, and on the latter CARLO

VITALI, “L’oratorio alla Madonna di Galliera: aspetti storico-istituzionali”, in Magnificat dominum musicanostra. Atti della giornata di studio sulla musica sacra nella Bologna d’un tempo dedicata alla memoria di OscarMischiati (1936–2004), a c. di Piero Mioli, Bologna, Pàtron, 2007, pp. 43–52: 48, for the date of thecommission, and MARCO POLI and MANUELA RUBBINI, La chiesa di Santa Maria di Galliera, Bologna, Costa,2002, pp. 53, 70, for the date of the inauguration.

19. This was probably an unfinished instrument left by Giovanni Paolo Colonna after his death in1695 and completed by the Traeri brothers. See GAMBASSI and BANDINI, Vita musicale nella cattedrale diForlì, p. 51.

20. On this church (now Santa Lucia) see VIROLI, Chiese di Forlì, pp. 203–222.


gano finto”, possibly on the right-side gallery (“verso il Monte”).21 Later additionsto the Breve notizia inform us that work was done on the actual organ in 1781 and178822:

Alla metà di agosto in circa dell’1781 si rimodernò l’organo della nostra chiesa, e siridusse come al presente si trova, e fu l’organaro un certo sig. capitano Francesco Va-sconi di Coriano diocesi di Rimino [sic], ed ebbe scudi quindici, e v’impiegò giorniquindici, stando a mangiare e a dormire in casa assieme con un suo compagno,[added later:] e poi nell’agosto 1788 fu riveduto di novo da Giovanni Chienei; ebbescudi 13, da mangiare e da bere per 20 giorni.

Francesco Vasconi was probably called to assess and repair damages resultingfrom the heavy earthquakes that had shaken Forlì on 4 April and 17 July of thatyear, although the phrase implies he also modernised the organ. The reason why sosoon after Vasconi’s work, the Venetian organ builder Giovanni Chianei (orChienei) was asked to do work on the organ is less clear.23

For unknown reasons, Pistocchi left the Oratorians in Forlì in August 1720, notlong after the completion of the organ he had given them.24 He joined the Orator-ians in Bologna, where he would remain until his death six years later. In 1810 theOratorian convent in Forlì was suppressed, but the church was given a new destin-ation and remained open. A decade later the Jesuits took over the church, in 1859it became property of the town of Forlì, and at the beginning of the twentiethcentury it was used for some time as a concert hall. After that, it reopened andclosed for worship several times until the last restorations in the 1990’s.25

Throughout these many changes, however, Pistocchi’s gift has remained in situ,suffering neglect, but, on the other hand, not suffering any radical alterations ormodernisations. Nor the work done by Vasconi and Chianei, nor any later inter-ventions seem to have overhauled its original characteristics much. The organ istherefore a valuable example of early eighteenth-century Italian organ building.

21. On Gotti see the few lines in Saur Algemeines Künstler-Lexikon, vol. LIX, Munich – Leipzig, Saur,2008, p. 257. Possibly this fake organ was the remaining organ case of the old organ.

22. Breve notizia, p. 250 (“In about mid August of 1781 the organ of our church was modernised,and it was made as it is found at present, and the organ builder was a certain sig. captain FrancescoVasconi from Coriano in the diocese of Rimini, and he got fifteen scudi, and worked for fifteen days,staying to eat and sleep in our house together with a companion of his, and then in August 1788 itwas again revised by Giovanni Chienei; he got 13 scudi, and things to eat and drink for 20 days”).

23. Vasconi had built other organs in the region. On Chianei see RENATO LUNELLI, Studi e documentidi storia organaria veneta, Florence, Olschki, 1973, pp. 169–170, and for the contract for the organ inSan Domenico in Ravenna GIULIA MARIA ZAFFAGNINI, “Due contratti d’organo ravennati (B. Malamini1581 - G. Chianei 1777)”, L’organo rivista di cultura organaria e organistica, IV nr. 2, 1963, pp. 209–219.

24. Notae, ingressus, obiitus, f. 8r. “Die 23 Augusti 1720 exivit e congregatione absque ulla causa”.25. VIROLI, Chiese di Forlì, p. 110.


Hopefully, it will soon receive the careful and accurate restoration that it by allmeans deserves, so as to give both Forlì and organists in the region another historicorgan to enjoy.

Fig. 2: View of the console and stool.


APPENDIX

DocumentForlì, Archivio di Stato, Brandolini-Dall’Aste, busta 36, Breve notizia delle cose più memorabili

della congregatione di San Filippo Neri di Forlì, unnumbered folded sheet pasted in betweenpp. 174 and 175.

[…]Avuta licenza il padre Francesco Pistocchi dalla congregatione de padri deputati e gene-

rale di fare di nuovo le due cantorie della chiesa et un organo grande nuovo, il primo gior-no di Marzo 1719 si cominciò la scala nuova di legno e la cantoria dalla parte verso ilMonte, e nel detto mese et anno si proseguì l’altra cantoria verso la casa con valuta di scudi50 fatta dal detto padre Pistocchi. Circa la mettà del mese d’aprile del detto anno 1719 sicominciò a lavorare l’organo nuovo di dieci piedi e dieci registri, e questo fu finito pochigiorni avanti la festa del nostro padre san Filippo Neri, nel quale giorno si fece la musica so-lenne con molti musici e stromenti forastieri. Il detto organo fu fatto dal sig. Francesco Tra-ier [sic] detto il Bresciano organaro famoso abitante in Bologna, e tutto ciò fu fatto a spesedel detto padre Francesco Pistocchi di scudi trecento, e l’organo vecchio donato dalla con-gregazione al detto padre Pistocchi fu comprato dal sig. conte Paolo Orsi Mangelli conprezzo di 40 scudi, e donato alla chiesa de padri di s. Francesco di Paola di Forlì.

[…]Nel principio di giugno dell’anno 1728 furono dipinte le due cantorie con la facciata

dell’organo dal sig. Giuseppe Carlo Gotti da Budrio, e cominciò a dipingere da quella versoil Monte; poi si proseguì l’altra verso la casa. Doppo le sudette due cantorie fu dipinto daldetto sig. Carlo Gotti l’organo finto, che è dalla parte verso il Monte con spesa di scudi 8fatta da varii padri della congregazione.

[…]

Summary description of the organ

The organ is not in working order, so it could not be heard. The registers are taken fromthe tags placed next to the ten drawstops, the typography of which appears to date from thedecades around 1800. Expert inspection and restration of the instrument may reveal theexact nature and extent of the interventions by Vasconi and Chianei.

Keyboard: C/E-c’’’ (45 keys)Pedalboard: C/E-c (9 pedals)


Principal 8 p[iedi] Ottava 4 p[iedi]QuintadecimaDecima 9a Vigesima 2a

Vigesima 6a

Vigesima 9a

Flauto in 8a

Cornetto S[oprano] Voce umana 8Contrabassi

Fig. 3: Forlì, San Filippo Neri, counter-facade: Francesco Traeri’s organ (1719).

Pistocchi’s gift: Francesco Traeri’s organ (1719) for S. Filippo Neri in Forlì

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Transcript of Pistocchi’s gift: Francesco Traeri’s organ (1719) for S. Filippo Neri in Forlì