University of Virginia Library

Continuo Parts

With the emergence of basso continuo, the continuo part was often
signed last in sequence, as in Examples 9 and 10. (In this context, the
placing of the organ in the sequence of signatures in Example 8 is of interest.)
However, increasingly, it would be signed from A, independently of
the signing of the partbooks, as in Example 54, or the following:

• 57. Zuchino: I Motectorum et Missarum à 4-5. Venice: Giacomo Vincenti,
  1609.

  RISM Z361. Copy at Bologna, Civico Museo Bibliografico Musicale.

  Quarto: [C:] A20; [T:] B20; [A:] C20; [B:] D20; [5:] E10; [Organo:] A18.

• 58. Cifra: Motetti et Psalmi à 8. Venice: Bartolomeo Magni, 1629.

  RISM C2209. Copy at Bologna, Civico Museo Bibliografico Musicale.

  Quarto: Choir I: [C:] A22; [T:] B18; [A:] C20; [B:] D18;

  Choir II: [C:] E14; [T:] F16; [A:] G18; [B:] H14;

  [Partimento:] A-D4 E6.

Sometimes this is simple to handle, for the book can be included in a
general description, using the processes employed above: entries such as
"A:C2v" or "Part:C2v" are enough to indicate which page is intended. But
there are many cases where the Continuo book not only is signed with letters
used elsewhere, but is also different in other ways. Perhaps it is in folio
while the other parts are in quarto; perhaps it has a different treatment of
the direction line; probably it has a different style of pagination; certainly
it is likely to use a different manner of treating the textual incipits, the
dedication, the attributions, details of scoring, and so on. Here is an example:

• 59. G. Belli: Salmi à 5, Op. 20. Venice: Ricciardo Amadino, 1610.

  RISM B1735. Copy at Bologna, Civico Museo Bibliografico Musicale.

  [Parts:]

  • Quarto: [C:] A14; [T:] B14; [A:] C14; [B:] D14; [5:] E14.

  • Signatures:] E2 [$1-7, -A1. D7 signed C7.

  • Abbreviated titles on direction lines: 3r, 5r, 7r of each gathering.

  • Pagination:] [i-ii], 1-25, [26].

  • Music begins on 2r of each part.

  [Parte per l'Organo:]

  • Folio: A-H2

  • Signatures:] C [$1, -A1. B1 signed A2.

  • No text on direction lines.

  • Pagination:] [i], 1-30, [31].

  • Music begins on A1v.

There are enough differences in treatment that the organ part needs to
be listed and discussed separately. The next example is slightly more complicated,
though in fact more typical of many volumes from the seventeenth
century:

• 60. Giacobbi: Litanei e motetti. Venice: Bartolomeo Magni, 1618.

  RISM 16187. Copy at Bologna, Civico Museo Bibliografico Musicale.

  [Parts:]

  • Quarto: Choir I: [C:] A10 Aa2; [T:] B10 Bb2; [A:] C10 Cc2; [B:] D10
    Dd2;

    Choir II: [C:] E10 Ee2; [T:] F8; [A:] G10 Gg2; [B:] H10.

  • Signatures:] $1-5, 1, -F5.

  • Abbreviated titles on direction lines on all folios 3r, and 5r of the
    gatherings in 10.

  • Pagination:] [i-ii], 1-.

  [Per l'Organo:]

  • Folio: I8.

  • Signatures:] $1-4. -A1.

  • Abbreviated title on direction lines on all signed folios.

  • Pagination:] [1], 3, 3, 4-.

  Note. This example is also interesting for suggesting that there was
  some miscalculation in the setting of the vocal parts. A gathering
  of 10 folios, such as the main gathering A of the Cantus,
  implies that 2½ sheets of paper were used. The remaining half
  sheet was used in the small gatherings, such as Aa of the Cantus.
  This may not waste paper, but it is clearly wasteful of effort.

A similar pattern of change can occur between vocal and instrumental
parts. I have already cited Cazzati's Messa e Salmi per li defonti . . . Op. 31
(Example 48) for its unusual pattern of signatures. But is also relevant
here. While the principal voices and the continuo parts were all printed
with normal quarto gatherings, the ripieno voice and instrumental parts
were each printed in one large gathering—still in quarto format, but with
more sheets to the gathering. This may be another example of work being
divided between craftsmen: it is likely though that the simpler nature of the
ripieno and instrumental part-writing allowed a house foreman to cast off
copy more accurately.

Many of Cazzati's editions from Bolognese presses (not least those where
no printer is named) contain bibliographical anomalies of one sort or another.
While some may reflect differing patterns of behaviour within the
printing shops, others suggest that Cazzati's music was not always provided
in a straightforward or timely manner, resulting in changes and problems in
planning the printing of the edition. This lends some credence to the idea
that Cazzati was himself sponsoring many of these editions, and arranging for
their printing.