REVIEW ARTICLE

https://doi.org/10.5005/jp-journals-11005-0084
Science, Art and Religion
Volume 3 | Issue 3-4 | Year 2024

Cantabo Domino: Musical Liberation through Sacred Musical Notation


Antonija Žarković

University of Zagreb Academy of Music, Zagreb, Croatia

Corresponding Author: Antonija Žarković, Soprano, University of Zagreb Academy of Music, Zagreb, Croatia, e-mail: antonijazarkovic98@gmail.com

Received: 15 June 2024; Accepted: 09 July 2024; Published on: 17 July 2024

ABSTRACT

Cantabo Domino, by Ivan Lukačić, a late Renaissance and early Baroque Croatian composer from Šibenik, is one of Croatian vocal heritage’s most performed baroque monodic motets. Thus, the listener has an opportunity to find a lot of different performances recorded in the last decades. With the popularization of historically informed performance practice that began to flourish in the mid-80s of the last century, it became popular and desirable to recreate the authenticity of the sound of the Baroque period. This paper analyzes the differences in interpretation that occur with the development of historically informed performance practice and the freedoms and limitations it offers. The challenges for a modern-day singer and problems that may occur in the process of learning and artistic development are also noted. In conclusion, the idea of the secular esthetic value of sacred music is further confirmed, which, with its abundance in the Baroque period of Croatian history, enables the strengthening and confirmation of Croatian cultural heritage in the European context.

Keywords: Cantabo Domino, Croatian baroque music, Historically informed performance, Ivan Lukačić

How to cite this article: Žarković A. Cantabo Domino: Musical Liberation through Sacred Musical Notation. Sci Arts Relig 2024;3(3–4):80–83.

Source of support: Nil

Conflict of interest: None

INTRODUCTION

Cantabo Domino (motet from a collection of motets Sacrae Cantiones, 1620), by Ivan Lukačić, a late Renaissance and early Baroque Croatian composer from Šibenik, is one of Croatian vocal heritage’s most performed monodic motets. Thus, the listener can listen to a plurality of performances in the last half century, from historically uninformed performances to historically informed ones. With the popularization of historically informed performance practice that began to flourish in the mid-80s of the last century, it became popular to recreate the authenticity of the sound of the Baroque period.

ESTABLISHING THE BAROQUE SOUND AND STYLE

First, it is necessary to define historically informed performance practice by outlining the main characteristics of the authentic Baroque sound to facilitate differentiation between uninformed and informed performance practices.

As mentioned before, Cantabo Domino is a monodic motet, meaning it was written for one voice and accompanied by instruments, specifically those that play the basso continuo section. Common instruments in the basso continuo (thoroughbass in English, meaning they provide a constant bass line beneath the melody) include lute, theorbo, harp, harpsichord, organ, viola da gamba, and cello, in various combinations.1

The motet begins with the use of whole and half notes and gains vivacity with eighth notes. Composers wrote melisma on the most important words or the words they wanted to emphasize more (here: psalam, quamdium, delectabor, domino); therefore, they do not serve a purely decorative purpose. Melisma later evolves into coloratura, but since Cantabo Domino is a sacred motet from the early Baroque period, it is more accurate to use the term melisma.2 The vivacity should be achieved on the eighth notes according to the rules of historically informed performance practice. The performer’s ability and affinity to sing eighth notes quickly, and even smaller note values if necessary, determine the speed of performance. It is important to note that agile voices are more effective for singing Baroque music, and the execution of the vocal line should be precise, leaving no note behind or unsung. If the vocal line suffers from a lack of notes due to a tempo that is too fast, the tempo needs to be readjusted and slowed down.3

The smaller note values such as eighth notes and sixteenth notes were primarily additions to the main melodic line in the early Baroque period, intended to enrich the musical line, which later evolved into the famous coloratura. The use of diminution became common practice in the Renaissance and later an integral part of the musical language of the early Baroque. The word ”coloratura” means to color or to add color to the music, visually on the sheet music by changing a half note to a quarter note, a quarter note to an eighth note, and so on, as well as audibly in the melodic line.3

In the early Baroque period, there was a greater emphasis on the meaning of the words compared to the late Baroque period, when virtuosity became more prominent. The practice of recitar cantando (acting while singing) was prevalent.3 This is a motet, meaning it has a sacred theme; therefore, it is not intended for acting, but the idea should not be dismissed. Before the music was written, the words existed, inspiring the composer to write the music. This contributes to recitar cantando because the essence of acting lies in the enunciation of words and conveying their meaning. Consequently, the tempo logically originates from the spoken words and their intention.

Improvisation and variation were welcomed in the Baroque period. However, prior to the historically informed performance movement, performers would improvise in a very ”romantic” style, meaning they did not adhere to the rules of Baroque harmony, but rather followed the harmony rules of the Romantic period, which remained popular on concert and theater stages up to the 1980s. In conclusion, improvisation is free as long as it adheres to the rules of Baroque harmony.3

There are approximately four places in the motet where a singer can perform a cadence with variations at the end of each section. This is audibly recognizable as well as visually with the use of eighth notes. The first part, Cantabo Domino In vita mea: psallam Deo meo quamdium sum, the second, Iucundum sit ei eloquium meum: ego vero delectabor in Domino, and the third, Deficiant peccatores a terra, et iniquitas ita ut non sint: benedic anima mea Dominum, which is repeated once more.4 However, the most common places where performers apply variations are within the first and the last cadences. Variation and ornamentation are common Baroque practices, as already mentioned, which peaked in da capo arias of the late Baroque period. In the early Baroque period, da capo was not in use; nevertheless, there is always room for variation in the cadence (Da capo, meaning ”from the top,” establishes the repetition of section ”A” of the AB form, making it a ternary ABA’ form of the aria, with ornamentation of the performer’s choosing in the repetition of section A).5

The most famous ornament of the early Baroque period is trillo and it should not be confused with a trill as we know it today (interchangeable simultaneous performance of the two notes, starting half a step higher from the note that is written). Trillo is the repetition of the same note, that is not staccato and is gradually quickened, it can sometimes be called, between the performers, colloquially, the early baroque trill.3

Another aspect of historically informed performances is the choice of pitch, which is predominantly 415 Hz, commonly known as baroque pitch. During the international conference in London in 1939, it was established that the universal pitch should be 440 Hz, as it is today. Practically speaking, this means that baroque pitch is half a step lower than the pitch of modern instruments. Certain early Baroque composers, like Claudio Monteverdi and Francesco Cavalli, are nowadays still performed at 440 Hz. Scholars believe that 440 Hz is closer to the authentic pitch of Venetian early Baroque composers than 415 Hz.6 Why does this matter? Because historically informed performance practice strives to emulate the authenticity of the Baroque sound as closely as possible.

There is a famous quote: ”Where words fail, music speaks,” sometimes attributed to Franz Liszt and sometimes to Hans Christian Andersen. In any case, the quote holds true. We are encouraged to learn music from scratch without relying solely on recordings, although they are now readily accessible on every streaming platform imaginable. However, music is created to be listened to, so a performer who does not listen to other performers is at a disadvantage. Historical performance practice is not only something that can be studied but also something that can be heard. Recognizing the difference between historically informed and uninformed performances, as well as exploring our preferences, is crucial in a musician’s journey toward finding their own expression.

CHALLENGES FOR A MODERN-DAY SINGER

The use of bar lines is intentionally avoided as a reference because they were not originally written, further emphasizing that tempo in music originates from prosody. There are versions of this motet with written bars, with sporadic bar lines, and the most authentic versions without them. The accompaniment during this period would also not have been fully written out, showcasing the flexibility of basso continuo. Whole notes determine the chord’s placement, with the appropriate codes chosen by continuo performers (typically the harpsichordist and/or organist). In traditional musical education, bar lines provide a sense of security but can also act as confining boxes, particularly limiting in the case of early Baroque music.7

Because of this, the edition of the score plays a crucial role. In earlier editions, for example by Dragan Plamenac, there were bar lines as well as time signatures, sixteenth notes instead of eighth notes, harmonization instead of basso continuo, etc.8 In editions done by Ennio Stipčević, the latest one being from February 2024, there are no bar lines and there are indications of measures that are uncommon to modern classical musicians (for example, 3/1), unless they are familiar with Baroque music. This aims to present everything as authentically as possible.4

Moreover, Davorka Radica mentions in her paper that singers should do different exercises with the intervals of the mode prior to singing the piece, so as not to be distracted by modern-day solfège thinking within the scales of major and minor. From a performer’s point of view, this is very helpful and necessary, as we are taught to think within the tonality rather than on the basis of intervals.

Coloraturas of the Baroque period differ from those of the Belcanto period, which refers to the era of Bellini, Rossini, and Donizetti. This is very important to note. There are often confrontations about what constitutes Baroque singing, Belcanto singing, Wagnerian, Veristic, etc. The truth of the matter is that there is only one singing technique; what differs is the style, meaning the application of certain stylistic choices. Belcanto coloraturas are more connected, while Baroque coloraturas have a sensation of being chopped or poked, very precise, in a stable tempo, and ”discontinued in their continuation.” Famous vocal pedagogue Manuel Garcia divided coloraturas into two categories: coloratura legata (connected coloratura) and coloratura granita (separated coloratura). Coloratura legata is associated with the Belcanto period, and coloratura granita with early music periods. Garcia further divides coloratura granita into picchettata (derived from ”picket”) and martellata (derived from ”martello,” which means ”hammer”). Both of these would be described as detached; however, coloratura picchettata consists of notes that are distinguished as ”chopped” but not equally annunciated, unlike in the case of coloratura martellata. Both types of coloratura granita need to be performed with optimal subglottal pressure to avoid disturbing or straining the voice.9

What difference does the performing frequency make for a singer? Singing half a step lower (415 Hz) than usual shifts and lowers the transition point, or ”break,” between the vocal registers of a singer. The human voice, universally acknowledged, has three registers: high register (head voice), low register (chest voice), and a middle register (mixed voice, a mixture of head and chest voice). The Baroque pitch makes everything lower, which enables the singer to have more clarity when it comes to text. This also changes the timbre of the voice and the overall music, giving it a warmer tonal quality as opposed to the modern brightness. Half a step really does make a difference. It is also important to mention that because there is a shift in the placement of registers, the lowering of the passaggio (meaning ”passage” in Italian) between the low and middle voice and middle and high voice, it is very advisable for a singer to practice at the correct frequency. Otherwise, they risk problems with muscle memory. If they practice half a step higher and then perform half a step lower, the vocal cords might be ”between” intonation while phonating, and the sound will be ”pitchy.” Overall, when one chooses to perform Baroque music, one can’t go wrong by choosing the Baroque pitch.

As mentioned before, a singer, in order to sing Baroque music, needs to have an agile voice. It is equally important to note that Baroque vocal music cannot withstand vocal anomalies. A wide vibrato is not welcomed, as a voice with wide vibrato lacks agility and is susceptible to being classified as a pathological “wobble,” where the fluctuation of the vocal cords is lower than 5 Hz (normal vibrato is 5–7 Hz). A fast vibrato is also an anomaly of the voice, usually called tremolo (the fluttering of the voice) or caprino (literally meaning ”the little goat,” as it is similar to a goat sound), which ranges between 8 and 12 Hz.9 Because the tremolo is a fast vibrato, the performance of trills cannot be distinguished. Needless to say, regardless of the style, the voice needs to be healthy.

THE STRENGTHENING OF CROATIAN CULTURAL HERITAGE IN THE EUROPEAN CONTEXT

This all brings us to the discussion by Croatian musicologist Ennio Stipčević, who argued that the revisions of Croatian Baroque music did not stem from a desire to pay homage but rather to ”fix” the Baroque music, driven by a fear that it was dull and not good enough.10 This idea started losing its validity when historically informed practice demonstrated what it means to perform on historical instruments and with stylistic differences.

Ennio Stipčević mentions in one of his essays that Croatian heritage is still, in the eyes and ears of many, musica incognita. When it comes to the Baroque period, until the last 30 years, these pieces were rarely performed or recognized as equally important as other musical works that were shaped by the idea of Croatian national identity. In the case of Ivan Lukačić, it is evident that, as a Franciscan monk, he composed within the norms of Franciscan esthetics, following the tendencies of the local population and his educational background, which makes him authentic.10 Croatian Baroque composers gained their music education abroad, predominantly in Italy, which makes them equal to their European contemporaries. For example, according to Raffaele Casimiri, a well-known composer Giacomo Finetti was Ivan Lukačić’s teacher, who ensured that Sacrae Cantiones were published.10 Alongside Sacrae Cantiones by Ivan Lukačić, it is important to mention other influential Croatian musical collections from the Baroque period: Parnassia Militia (1622) by Vinko Jelić, Arion primus and secundus (1628) also by Vinko Jelić, and a collection of madrigals Amorosi concetti (1612) by Tomaso Cecchini. The majority of the surviving Croatian Baroque music today is sacred, grounding Croatian culture as European heritage of that time. While no operas have survived due to the turbulent history, there are mentions of performances and spectacles, but no music remains.11

One should not get discouraged, because before the 1930s, and Dragan Plamenac discovering the Sacrae Cantiones, the Croatian public didn’t know of Ivan Lukačić’s existence, yet today his Cantabo Domino is one of the most performed pieces of Croatian Baroque heritage. Perhaps one day a Croatian Baroque opera will be found in some European library, reshaping Croatian musical history.

Croatian musicians must make use of what is now available and promote their own cultural heritage stemming from the Baroque period and earlier. Croatian Baroque composers need to be an integral part of both Croatian and European concert repertoires. The predominantly sacred nature of Croatian Baroque music should be viewed as its characteristic peculiarity, as it certainly deserves.

REFERENCES

1. Generalbas. Leksikografski zavod Miroslava Krleže. 2024.

2. Melizam. Proleksis enciklopedija. 2013.

3. Elliot M. Singing in Style. Yale University; 2006. pp. 1–91.

4. Balić V, Bužić T, Stipčević E. Sacrae Cantiones, 2nd edition. Padova: Centro Studi Antoniani; 2023. pp. 2–4.

5. Arija. Leksikografski zavod Miroslava Krleže. 2024.

6. Peter Holman. Monteverdi: Sacred vocal music - CDA66021. Hyperion records 1981.

7. Balić V, Balta I, Dodig Baučić S, et al. Ivan Lukačić, Maestro di Cappella of the Cathedral of Split: Proceedings of the international scientific-artistic symposium (On the occasion of the 400 Anniversary of the publication of Sacrae cantiones collection). Katolička izdavačka kuća i časopis “Crkva u svijetu”; Katolički bogoslovni fakultet Sveučilišta u Splitu; Umjetnička akademija Sveučilišta u Splitu; 2020. pp. 129–146.

8. Viktorija Badrov. Poletimo pjesmom. Music play Zagreb. 2012. pp. 105–107.

9. Biserka Cvejić, Dušan Cvejić. Umetnost pevanja. Drugo izdanje, IP signature Beograd. 2009. pp. 99–167.

10. Ennio Stipčević. Musica incognita - Ivan Lukačić i njegovo doba. Gradska knjižnica Juraj Šižgorić Šibenik. 1998. pp. 5–116.

11. Ennio Stipčević, et al. Glazbeni barok u Hrvatskoj. Osorske glazbene večeri, Osor. 1989. pp. 41–108.

________________________
© The Author(s). 2024 Open Access. This article is distributed under the terms of the Creative Commons Attribution 4.0 International License (https://creativecommons.org/licenses/by-nc/4.0/), which permits unrestricted use, distribution, and non-commercial reproduction in any medium, provided you give appropriate credit to the original author(s) and the source, provide a link to the Creative Commons license, and indicate if changes were made. The Creative Commons Public Domain Dedication waiver (http://creativecommons.org/publicdomain/zero/1.0/) applies to the data made available in this article, unless otherwise stated.