REVIEW ARTICLE |
https://doi.org/10.5005/jp-journals-11005-0084 |
Cantabo Domino: Musical Liberation through Sacred Musical Notation
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.
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.
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