Ricercari 1 – 4
Our edition of these classic pieces comes with two sets of parts, allowing performance on ATTB, SAAT, or for those with C basses, TTBCb.
The eight ricercari sopra li tuoni attributed to Palestrina were included in the first complete edition of that composer’s works by F.X. Haberl, (Leipzig, 1852-1903, vol. xxxii) but no in the more recent edition by Casimiri (Rome, 1939-).
It is not quite clear why Casimiri did not include these works. But, whatever the truth about their composition, they are of a quality that is quite consistent with that of Palestrina’s other music. Each piece treats a succession of themes in imitation with considerable skill.
In this two volume edition nos. 1 and 4-7 have been transposed down a fourth, so that they can all be played on the ATTB combination (ideally with a G instrument on the top) that is best for this kind of music. However, an additional set of parts (labelled “high version”) have been supplied at a pitch a fourth or a fifth higher: these can be used either for SAAT or SSAT, or alternatively an octave lower, for TBBCb/TTBCb/ATBCb
The “tuoni” (church modes) used in these pieces are as follows:
- (volume 1) Primo tuono Dorian (D)
- (volume 1) Secondo tuono Hypodorian (D)
- (volume 1) Terzo tuono Phrygian (E)
- (volume 1) Quarto tuono Hypophrygian (E)
- (volume 2) Quinto tuono Lydian (F)
- (volume 2) Sesto tuono Hypolydian (F)
- (volume 2) Settimo tuono Mixolydian (G)
- (volume 2) Ottavo tuono Hypomixolydian (G)
Obviously the transpositions in the present edition have disturbed the sequence of these modes somewhat, but then the first piece is already in a transposed mode in the original (G with one flat).
There is considerable scope for cadential divisions, especially at the end of pieces.
(Bernard Thomas)
