i:hc ©rchcstra at ^an pctronio 

in the JBaroque 2ra 

Eugene Enrico 

SMITHSONIAN INSTITUTION 

SMITHSONIAN STUDIES IN HISTORY AND TECHNOLOGY / NUMBER 35 

WM ©rchcstra at 3an ipctronio 

in the JSaroquc Jra 

Eugene Enrico 

SMITHSONIAN INSTITUTION PRESS 

City of "Washington 

1976 
ABSTRAC T 

Enrico, Eugene. The Orchestra at San Petronio in the Baroque Era. Smithsonian 

Studies in History and Technology, number 35, 64 pages, 33 figures, 13 tables, 

1976.—The church of San Petronio in Bologna was one of the most important 

centers for the performance of instrumental music in the decades around 1700. 

The unique architecture of San Petronio, originally designed to be the largest 

church in Christendom, conditioned the nature of music performed in the church 

in several ways. The acoustics of San Petronio helped to determine both the balance and placement of the orchestra. Moreover, the size and semicircular shape of 

the cantoria, or musicians' gallery, influenced both the number and placement of 

musicians hired for special festival performances. 

Records of payment document the size and instrumentation of both these festival orchestras and the resident ensemble permanently employed by the church. The 

collection of musical manuscripts still preserved in the church archives is perhaps 

the richest treasure of evidence central to the style of instrumental music played 

by the orchestra at San Petronio. 

OFFICIAL PUBLICATION DATE is handstamped in a limited number of initial copies and is 

recorded in the Institution's annual report, Smithsonian Year. 81 PRESS NUMBER 6092. 

COVER: The capella maggiore of San Petronio during the feast of Saint Petronius in 1722. 

(Bologna, Archivio di Stato) 

Library of Congress Cataloging in Publication Data 

Enrico, Eugene 

The orchestra at San Petronio in the baroque era. 

(Smithsonian studies in history and technology; no. 35) 

Supt. of Docs, no.: M 11233.E6 

Bibliography: p. 

""A catalogue of manuscripts at San Petronio, the sources of Torelli's festival compositions 

with trumpet": p. 

1. Orchestra. 2. Bologna. San Petronio (Church) 3. Music — History and criticism — 

I6th—17th centuries. 4. Music — Manuscripts — Italy — Bologna. 

I. Title. II. Series: Smithsonian Institution. Smithsonian studies in history and technology, no. 35. 

ML1233.E6 785'.06'6 75-619249 

For sale by the Superintendent of Documents 

U.S. Goverment Printing Office, Washington, D.C. 20402 Price: $1.55 

Stock Number 047-001-00126-5 
Contents 

Page V Preface 

1 Introduction 

2 The Architecture of San Petronio 

12 Instruments in the Orchestra at San Petronio 

12 Bowed String Instruments 

17 Wind Instruments 

23 Harmonic Continue Instruments 

30 The Size of the Orchestra 

40 The Placement of the Orchestra 

45 Appendix: A Catalogue of Manuscripts at San Petronio, the 

Sources of Torelli's Festival Compositions with Trumpet 

58 Notes 

61 Selected Bibliography 

Preface 

The present study was stimulated by two of the author's research projects. His 

doctoral dissertation, "Giuseppe Torelli's Music for Instrumental Ensemble with 

Trumpet," began his investigation into instrumental performance practice at the 

church of San Petronio in Bologna. Most of the statistics included in this study 

center around those years of Torelli's association with San Petronio and the orchestra there. During 1973, as a Postdoctoral Research Fellow at the Smithsonian Institution, the author directed a series of concerts in which his editions of works by 

Torelli and Alessandro Scarlatti were performed with antique musical instruments. 

The preparation of these concerts heightened the author's appreciation of the stunning achievement at San Petronio around 1700 in reconciling the temperament of 

baroque trumpets and oboes with the relative stability and predictability of the 

strings and organs. 

This study would have been impossible without the help of Sergio Paganelli, 

music archivist at both the Liceo Musicale and the Archivio di San Petronio in 

Bologna; Anne Schnoebelen, who has studied extensively the sacred works of 

Cazzati, Colonna, and Perti; Louise E. Cuyler, who directed the author's dissertation at the University of Michigan; Robert A. Warner, curator of the Stearns Collection of Musical Instruments; Edward J. Soehnlein, who made the photographs of 

San Petronio for this publication; James Weaver, who supervised the author's performance project at the Smithsonian Institution; and Cynthia A. Hoover, who 

guided the preparation of the manuscript. 

ICIic ©rchestra at ^^an petronio 

in the jBaroque £ra 

Eugene Enrico 

Introduction 

During the last decades of the seventeenth century the Italian cities 

most distinguished as centers of musical performance were Venice, 

Rome, Naples, and Bologna. In Venice, the late operas of Claudio Monteverdi stimulated a rush of operatic composition and performance that 

attracted international attention to such composers as Cavalli, Cesti, and 

Legrenzi. Rome not only boasted a distinctive style of cantata and 

opera, employing both spectacle and comedy, but the local Jesuits incubated a new "oratorio" both to stop artistic secularization and to 

monopolize on the growing vogue for operatic style. In Naples the 

young Alessandro Scarlatti was beginning to stylize both cantatas and 

operas into classical patterns that would survive well into the eighteenth 

century. 

Although Bologna was recognized as a regional center for both opera 

and oratorio, the city was widely acclaimed as the principal center for 

Eugene Enrico, Visiting Postdoctoral Research Associate, 197i, Division of 

Musical Instruments, National Museum of History and Technology, Smithsonian 

Institution, Washington, D.C. 20360. 

1 
SMITHSONIAN STUDIES IN HISTORY AND TECHNOLOGY 

instrumental music in Italy. As early as the l660s, such composers as 

Maurizio Cazzati and Giovanni Battista Vitali were composing sonatas 

that set traditions of style and form that endured throughout the 

Baroque era. By the end of the century, such composers as Giacomo 

Perti, Domenico Gabrielli, and especially Giuseppe Torelli were setting 

similar standards for the orchestral concerto, the concerto grosso, and 

the solo concerto. 

All of these pioneer composers of Baroque instrumental music were 

employed as performers or as conductor of the orchestra at the principal church in Bologna, the basilica of San Petronio. The central position 

of San Petronio in the performance of Baroque instrumental music 

makes the church an attractive candidate for a detailed study of instrumental performance practices in the decades around 1700. This illustrated monograph combines a study of the unique architecture of San 

Petronio and the musical implications of its design with an examination of church records, musical manuscripts, pictorial documents, and 

antique musical instruments. Such information should prove useful to 

help recreate the sound of Bolognese instrumental music. 

The Architecture of San Petronio 

The Italian-Gothic basilica of San Petronio (Figures 1 and 2) had 

been the very center of life in Bologna for almost three hundred years 

when the Bolognese school of instrumental music rose to importance 

in the late seventeenth century. Not only did San Petronio provide employment for many of the finest musicians in Italy, but the unique 

architectural and acoustic characteristics of the building conditioned 

the nature of much of the music written by composers serving the 

church. 

On 28 October 1388, Bologna's governing body, the Council of 600, 

proclaimed that construction would begin the following year on a magnificent church dedicated to the Saint Protector of Bologna. The Coun-
NUMBER 3 5 

FIGURE 1.—San Petronio facing the Piazza Maggiore. (Photo by E. J. Soehnlein) 

FIGURE 2.—San Petronio (left) and the skyline of central Bologna. 

(Photo by E. J. Soehnlein) 
SMITHSONIAN STUDIES IN HISTORY AND TECHNOLOGY 

cil approved the demolition of several houses and eight churches to 

make room for the new colossus, and on 26 February 1390, Antonio di 

Vincenzo was finally chosen as architect.^ To keep Mastro Antonio's 

creative energies under control, the Council of 600 appointed the 

esteemed Padre Andrea Manfredi of Faenza as architectural supervisor, 

"so that he might furnish general suggestions as to the form, the plan, 

[and] the arrangement."^ In less than three months Antonio had built 

an impressive model of his design for San Petronio and had presented 

it to the Council. The model surpassed what even Manfredi had envisioned, and the Council decreed that construction begin immediately.' 

Antonio designed what he conceived as the largest church in Christendom, measuring 209-15 meters in length, with a transept extending 

142.40 meters.* Figure 3 is a diagram of Antonio's original plan, drawn 

up from the architect's sketches after his death.^ The octagon at the 

intersection of the transept with the nave was to have been surmounted 

by either a gothic spire or a great dome. Forty-three chapels were to 

adorn the outer walls of the basilica: twenty-two were to open into 

the nave; six were to frame each transept; and nine were to radiate 

from the apse. Not only the nave, but even each transept, was to open 

onto a spacious piazza. The site of honor chosen for San Petronio was 

the very center of Bologna with the nave of the church opening to the 

north onto the Piazza Maggiore. 

After the first stone was laid, on 7 June 1390,*' construction progressed rapidly for the first few years (Figure 4). The north end of the 

nave, up to the second chapel on each side, was completed in two years 

so that Mass could be celebrated in the Cappella di Santa Maria 

de'Rusticani on 4 October 1392.^ In 1401 the building was completed 

up to the fourth chapel on each side and was covered by a temporary 

roof. At this point the first temporary cappella maggiore was added to 

the south end of the construction to serve as an apse.® 

Antonio di Vincenzo died between 1401 and 1402, and on 21 September 1402, Jacopo di Paolo was appointed to revise Antonio's model 

for the church and produce another model that would be less expensive to realize. Although Jacopo altered neither the size nor the basic 
NUMBER 3 5 

FIGURE 3.—Antonio di Vincenzo's original plan for San 

Petronio. (From Gatti, La Basilica Petrononiana, 19,13) 

>»--- l 

cu LLJ 

_ i a: 

—I o 

UJ 1—1 

Q . <J3 

Q . CD 

«=C =C 

K^. ... 

1392 

1401 

1441 

1441-1446 

1468 

FIGURE 4.—Progressive steps in the 

construction of San Petronio. 

design of Antonio's model, he simplified the marble decoration of the 

facade, the windows, and the chapels.^ 

During the next few years, work on the basilica was interrupted not 

only because of the lack of funds, but also because of the bitter politi-
SMITHSONIAN STUDIES IN HISTORY AND TECHNOLOGY 

cal Struggles between the ruling Bentivoglio family and the papacy. 

After the temporary defeat of the Bentivoglio family, the new pope, 

Martin V, issued a bull on 7 June 1419 authorizing the demolition of 

several Bolognese churches. This seemingly outrageous gesture provided 

new funds to continue the construction of San Petronio by funneling 

the tithes once paid by the congregations of the destroyed churches 

into the construction fund of the new church.^" 

Little work was done to extend the central or lateral portions of the 

nave from 1419 to 1440; but in 1441, after the Bentivoglio family 

had regained power, the expansion of the nave was resumed. During 

that year the basilica was expanded southward with the addition of 

two more chapels on each side, and by 1446 the pillars and walls were 

completed as far as the planned transept.^^ 

A second temporary cappella maggiore was constructed in 1468 under 

the direction of Agostino de' Marchi. Agostino constructed a semicircular apse larger than the one first built in 1441, and extended the 

cappella maggiore northward into the nave up to the position of the 

nearest supporting pillars and enclosed the sides of the cappella with 

walls (Figure 4). In 1472 Agostino began to construct the supports for 

two large organs onto both side walls of the cappella. The celebrated 

organ builder Lorenzo Ugolini da Prato had been commissioned to 

build a splendid gothic organ on the supports at the west wall of the 

cappella, and by 1483 the furnishing of the cappella maggiore was 

complete. ^^ 

During the first decade of the sixteenth century, the architect Arduino 

Arriguzzi was chosen to revise again the plans of Antonio di Vincenzo 

for the transept and apse. The renewed construction was continually 

postponed, however, because of the shortage of funds and because of 

the engineering problems of floating such a heavy dome over such a 

wide transept. After several years of consideration, the Roman Curia, 

which had ruled Bologna since 1506, decided not to expand the basilica. 

Their decision became immutable in 1563 when Pius IV approved the 

construction of the Archiginnasio to house the city's famous university 

on the site once intended for the eastern arm of the transept.^^ 
NUMBER 3 5 

In 1596 a new organ was placed opposite the original instrument on 

the supports at the east wall of the cappella maggiore. Baldassare 

Malamini designed the organ especially for ensemble accompaniment, 

and, therefore, voiced it to sound lighter and more brilliant than the 

gothic organ "for greater convenience and service to the choir and to 

the music." ^* 

The final vaulting of the central nave was begun in 1589 by Terribilia, who died in 1604 without finishing the project. Unfortunately, 

the Italian craftsman lived up to his name; his vaulting had to be torn 

down because it was too low to harmonize with the design of the 

basilica.^^ The present stonework vaulting (Figure 5) was installed between 1626 and 1654.^'' Although countless designs for the marble 

fagade were sketched by such artists as Agostino di Duccio, Baldassare 

Peruzzi, and Giulio Romano, the facade was never completed, so that 

much of the red brickwork on the front of the basilica remains naked 

(Figure 6).^^ 

The final step in the construction of San Petronio began in 1669, 

when the cappella maggiore was enlarged and remodeled according to 

the new baroque style.^'^ Figure 7 shows the design of the cappella 

maggiore, the focal area of the basilica where music was performed, 

after the renovation in which the cappella was extended further north 

into the nave of the basilica.^" Because of the extra space, the high 

altar was moved slightly toward the nave and was covered with a larger 

and even more splendid canopy. Not only was the extended section of 

the cappella circumscribed on three sides by a set of five continuous 

steps, but also the iron grille, which had stretched across the entire 

north end of the old cappella, was replaced by a marble railing placed 

at the top of the steps on all three sides. 

One of the greatest shortcomings of the earlier cappella was the lack 

of space for musicians, especially during the major liturgical feasts. For 

several of these feasts, the massing of large musical ensembles had 

necessitated the construction of temporary scaffolding to form musical 

galleries over the passageways at each side of the cappella.''^° When the 

cappella was remodeled during the l660's, however, an elevated can-
SMITHSONIAN STUDIES IN HISTORY AND TECHNOLOGY 

FIGURE 5.—The present 

vaulting inside San Petronio. 

(Photo by E. J. Soehnlein) 
NUMBER 3 5 

FIGURE 6.—The unfinished facade of San Petronio. 

(Photo by E. J. Soehnlein) 

FIGURE 7.—The cappella maggiore 

after the remodeling during the I660's. 
10 SMITHSONIAN STUDIES IN HISTORY AND TECHNOLOGY 

FIGURE 8.—The interior of 

San Petronio with the 

cantoria behind the high altar. 

(Photo by E. J. Soehnlein) 
NUMBER 3 5 11 

9lAKTA DUU^ QilKjSt. /K^SfflT^ pj JU jjgrgg^/o 

^.J'CJ2 £/ir«i n"-,o iLj&of^n. 

_jf <5f,A>4^m^./ •pSjh.' «/'n»^^i 

FIGURE 9.-

-The floor plan of San Petronio in 1695. (From Zanotti, La 

meridiana de tempo di San Petronio, 1779) 

toria was constructed onto the walls behind the high altar to serve as 

a permanent musicians' gallery. This cantoria, which is shown at the 

rear of Figure 8, was a large semicircular balcony, the two sides of 

which spanned the distance between the major structural columns on 

both walls of the cappella, continuing across the rear with a narrow 

section approximately a meter in depth. Behind this rear section was a 

large platform, which was raised slightly above the level of the rest of 

the cantoria, filling the entire south end of the apse. 
12 SMITHSONIAN STUDIES IN HISTORY AND TECHNOLOGY 

The cappella maggiore was complete when the four intersecting ceiling vaults at the rear of the apse were finished in 1670,^^ and the newly 

decorated organ cases were installed in 1686.^^ Figure 9 is a plan of 

San Petronio taken from a book published in 1695 describing the 

meridian or solar calendar, which is shown stretching diagonally across 

the floor of the basilica." This plan clearly depicts at the left the location of the musicians' cantoria and the rear platform. 

Instruments in the Orchestra at 

San Petronio 

An examination of the records of payment to musicians at San 

Petronio, combined with a study of the manuscript sources still preserved in the musical archive at the church, suggests that the following 

instruments were used regularly in the decades around 1700, either in 

the resident ensemble or in the festival orchestras assembled for special 

holidays: violin, viola (or violetta), tenor viola, violoncello, violone, 

trumpet, oboe, cornetto, bassoon, trombone, bissone, organ, and theorbo. 

Except for the two organs in San Petronio, which have been well preserved and are discussed below, the actual instruments that were played 

in the church around 1700 have been lost. An examination of surviving 

instruments that were used elsewhere in the seventeenth and eighteenth 

centuries, however, will offer an insight into the general musical properties of the instruments in the San Petronio orchestra. 

Bowed String Instruments 

The master-craftsmen of the seventeenth and early eighteenth centuries built violins that differed in several respects from those played 

in concerts today. During the last two centuries violinists have gradually demanded more tone from their instruments to fill larger concert 
NUMBER 3 5 13 

halls and to compete as soloists with larger orchestras. Most of the 

surviving examples of baroque violins, therefore, have undergone countless repairs and alterations that adapted them to perform more effectively the new repertoire of nineteenth and twentieth century music. 

Figure 10 shows two photographs of a violin by the Tyrolian master, 

Jacob Stainer (1621-1683). The view on the left shows the instrument as it was acquired by the Smithsonian Institution in 1971 after 

three hundred years of structural evolution. The view on the right 

shows the instrument after restoration to baroque proportions with a 

neck originally made by Stainer. This juxtaposition emphasizes several 

important differences between the modern violin and its baroque 

ancestor. 

The neck of the restored violin is almost parallel to the top plane of 

the instrument, and the wedge-shaped fingerboard is considerably 

shorter. Because the angle of the fingerboard on the restored violin is 

less steep, the bridge is lower and the strings are closer to the belly. 

The bridge is also flatter, and the strings carry less tension. Inside, the 

restored violin has a more delicate soundpost^'* and a bass bar shorter 

and thinner than commonly used on modern violins. The strings are 

tuned, like the modern violin: g d^ a^ e'-, and are made of gut, the g 

overspun with silver.-'' 

Although Cremona was the city most famous for violin making in 

the seventeenth century, several other Italian towns boasted fine local 

craftsmen. Bologna, a principal center of instrument making, was the 

home of the Tononi family, which was widely known for making violins, violas, and cellos. Felice Tononi (fl. 1670-1710) had three sons. 

Carlo (fl. 1689), Giovanni (fl. 1689-1740), and Guido (fl. 1690-

1760), all of whom were violin makers. The Tononis built violins 

according to the pattern of Nicola Amati (1596-1684), with careful 

attention to detail, although the Tononis' instruments usually were 

flatter.-" Figure 11 shows an unrestored violin by Carlo Tononi dated 

1711. Excluding the neck, the body of the instrument is about 35.5 

centimeters (14 in) long, 21 centimeters (S'VK; in) wide in the lower 

bouts, 17 centimeters (SYs in) wide in the upper bouts, 3 centimeters 
14 SMITHSONIAN STUDIES IN HISTORY AND TECHNOLOGY 

'M' 

.V 

i'-aT'I 

FIGURE 10.—Violin by Jacob Stainer (left) as acquired by the Smithsonian 

Institution in 1971 and (right) after restoration to baroque proportions. (Washington, Smithsonian Institution) 

FIGURE ll.—Unrestored violin 

by Carlo Tononi, dated 1711. 

(Courtesy Rembert 

Wurlitzer Inc.) 
NUMBER 3 5 

(1%(3 in) high in the lower bouts, and 2.8 centimeters (lYg in) high 

in the upper bouts.-' 

The bow used during the late seventeenth century was not standardized either in length or in shape. Those used at San Petronio to 

perform sonatas and concertos were probably longer and more elegant 

than those used for dance music in France or England. Figure 12 depicts one style of bow popular in Italy around 1700.-* The design included a screw button at the end of the stick to regulate the tension 

of the hair, as well as a frog designed much like that of the modern 

bow, although the older design was shorter. According to the musicologist David Boyden, "in the best bows of the time . violinists 

must have already possessed advantages comparable to those enjoyed 

by Viotti with a fine Tourte bow a hundred years later." ^^ 

Two sizes of violas were used at San Petronio. The alto viola, frequently called the "violetta' in music composed for the basilica, was 

the size of the modern viola and was tuned: c g d^ a^ Because this 

viola was insufficient in size to obtain the maximum sonority for the 

range of the instrument, the violetta usually was relegated to the subordinate function of completing the inner harmonies in orchestral 

tuttis. But in the middle movement of Giuseppe Torelli's Sinfonia for 

two trumpets and two oboes, which was written for San Petronio and 

is catalogued as D.V1I1.5 in the musical archive at the church, four 

violettas are given a rare opportunity for virtuoso display. The tenor 

viola {viola tenore) was regularly used at San Petronio, and between 

1687 and 1695 Giuseppe Torelli was the resident tenor violist. The 

instrument probably was tuned: F c g d \ and was large enough so that 

it likely was held between the knees. In the music written for the tenor 

viola at San Petronio, the instrument plays the bass line with other 

continue instruments. 

FIGURE 12.-—Design of bow used in Italy around 

1700. (Drawing after an illustration in F. J. Fetis, 

Notice of Anthony Stradavari, page 112) 
16 SMITHSONIAN STUDIES IN HISTORY AND TECHNOLOGY 

The violoncello was given a special prominence at San Petronio. 

Domenico Gabrielli, who was associated with the orchestra before his 

death in 1690, is usually acknowledged as the first composer of solo 

pieces for the cello, which was tuned: C G d a, as it is today. Both 

Felice and Giovanni Tononi were famous for their cellos, which, like 

their violins, followed the pattern of Nicola Amati.^" Figure 13 shows 

an ururestored violoncello by Carlo Tononi dated 1723. 

Almost all of the orchestral music written for San Petronio with extant manuscript parts specifies the use of the violone. This term was 

applied to several different instruments in use around 1700. One type 

of violone, described by Praetorius in 1619, was a member of the violin family, larger than the cello, but smaller than the double bass. 

Praetorius gave the tuning of the five strings as FF C G d a. Praetorius 

also spoke of a "violono" (or "contrabasso da gamba") with six strings 

tuned in fourths from DD to d or from EE to f.^^ In 1703 Sebastien 

Brossard described a violone as twice the size of the violoncello {basse 

de violon) and tuned an octave lower.^^ In 1738 Johann Philippe Eisel 

reported that the term "violone" referred to any one of three different 

instruments: a contrabass gamba tuned: GG C E A d g, an even larger 

gamba tuned: DD GG C E A d, and a contrabass violin tuned: CC GG 

D A or CC FF BB E.-''^ Because the violone parts in the manuscripts at 

San Petronio extend down to DD (written an octave higher), it may 

be assumed that the intended violone was one of the two latter instruments described by Eisel—either a large contrabass gamba, or a contrabass violin. 

Several manuscript compositions have continuo parts designated simply "basso." It is possible that this term was intended to specify either 

a contrabass gamba or a contrabass violin, the same two possibilities 

as for the term violone." If this was the case, "basso" probably desigFIGURE 13.—Unrestored violoncello 

by Carlo Tononi, dated 1723. 

(Courtesy Rembert Wurlitzer Inc.) 
NUMBER 3 5 17 

nated one of the two instruments, "violone" the other. It is also possible that "basso" was merely a general designation for a basso continuo 

part that could have been played by any continuo instrument. 

Wind Instruments 

Three treble wind instruments appear with some regularity in the 

festival orchestras at San Petronio: the trumpet, the oboe, and the 

cornetto. The trumpet used most frequently in the seventeenth and 

early eighteenth centuries was pitched in D and had a sounding length 

of approximately 231 centimeters.•'' Although a large trumpet pitched 

in C was also known in the early seventeenth century, the more common trumpet in D could be lowered to C by adding a separate crook, 

and around 1700, it normally was used to perform music written for 

the C trumpet.^^ The standard trumpet in D also could perform music 

in the key of E with the insertion of a transposing mute in the bell of 

the instrument.^^ 

The following pitches normally could be produced by a natural 

trumpet: C c g c^ e"^ g^ (b^^) c- d- e^ {i") (f#-) g- (a-) (b''-) 

b2 ^3 (^#3) (^3) (^#3) (£3) (£3) ( f#3 ) {g^)_\^ ghOUld bc nOted 

that all of these pitches are relative to the fundamental pitch of C. 

During the seventeenth and eighteenth centuries no international standard of pitch yet existed, so that pitch standards varied greatly among 

the various centers of musical performance. Because of the physical 

peculiarities of the harmonic series, the pitches enclosed in parentheses 

required a skilled trumpeter to adjust the intonation. 

Although published several decades before the golden age of Bolognese instrumental music, Praetorius' Syntagyna musicinn of 1614-1620 

depicts several brass instruments that changed little during the following century. Figure 14 shows the two most prominent shapes of trumpets in the seventeenth and eighteenth centuries. Number 10 illustrates 

the common folded design used for most natural trumpets. If this 

trumpet were pitched in D, the addition of a crook, such as number 
18 SMITHSONIAN STUDIES IN HISTORY AND TECHNOLOGY 

J. 2. Quart-^tjfaunfii. ;. Olcc6tejjfin<iHc>pO|au;i. 4. Ah-'^pofami. 5. Corno/ 

©rogTenor-Cornet. 6. OvecbfS^ergincf. 7. .^(cinDircant^tncf/fotinQu^intlj^bflr. 

8. ©cM&(;r3rn(fmttdniffl?un6f?ucf. 9. ©(ill^incf. /o.'irommcf. n.;^fl3a5tomttKr. 

Ii- •OolinnXxcmmu. /j . ^rumbWad mffiin gain l^oa. 

FIGURE 14.—Plate VIII from the Syntagma musicum, 1619, 

of Michael Praetorius. 
NUMBER 3 5 

FIGURE 15.—Trumpet by J. C. Kodisch, 

dated 1689. (Ann Arbor, Stearns Collection of Musical Instruments) 

FIGURE 16.—Detail of the 

Kodisch trumpet. 

13 in the illustration, between the mouthpiece and the trumpet itself 

would lower the pitch of the instrument. Number 11 shows the tightly 

wound design of the Jager or hunter's trumpet. Without the circular 

crook shown in Praetorius' drawing, the wound trumpet probably also 

was pitched in D and had exactly the same length of tubing as the 

folded trumpet (number 10). In either design the natural trumpet was 

made from brass or silver molded over forms and carefully soldered so 

that the joints were concealed by decorative metal appliques.^' 

Figures 15 and 16 show a trumpet made in 1689 by J. C. Kodisch 

of Nuremberg, the city most famous for the manufacture of outstand-
20 SMITHSONIAN STUDIES IN HISTORY AND TECHNOLOGY 

ing brass instruments during the seventeenth and eighteenth centuries. 

Although the folded trumpet was used most frequently to perform art 

music during the late seventeenth and early eighteenth centuries in 

Germany, it is possible that the wound trumpet was used at San 

Petronio. For, in the early seventeenth century, Girolamo Fantini,^^ 

the virtuoso trumpeter of the Tuscan court, achieved international 

acclaim for his artistry on the wound trumpet. Even though Fantini 

probably was incapable of producing every chromatic pitch, as Fetis 

has reported,^^ he most likely had developed an impressive precision 

in intonation by carefully stopping the bell of the trumpet with his 

hand to correct the tuning of impure harmonics. Another famous trumpeter who has been associated with the Jager trumpet is Gottfried 

Reiche, who was the leading trumpeter during Bach's tenure at Leipzig. 

E. G. Haussmann's famous portrait depicts Reiche with a small musical manuscript in one hand and a wound trumpet in the other.''" Even 

as late as 1795, Johann Altenburg referred to the wound trumpet as 

"the so-called invention or Italian trumpet," and noted that the instrument was played superbly in Italy.*^ 

Probably the most accomplished trumpeter to be employed at San 

Petronio was Giovanni Pellegrino Brandi. His name appears regularly 

between 1680 and 1699 on the lists of musicians hired for the annual 

feast of Saint Petronius. Although the names of two other trumpeters, 

"S. Cardinale" and "Sig. Vincenzo," appear occasionally in the records 

of payment, it is likely that many of Torelli's familiar works for one 

trumpet and orchestra were written for Brandi.*^ 

Many of the festival compositions written for San Petronio are scored 

for pairs of oboes as well as trumpets. In each of these works the oboes 

nearly parallel the trumpets in importance, frequently echoing the 

trumpets with similar thematic material. Three virtuoso oboists who 

were employed occasionally at San Petronio were Ludovico Ertman, 

Pompeo Pierni,*^ and Pietro Bettinozzi.^* 

Around 1700 the oboe had a narrow conical bore with the lower end 

twice the diameter of the upper. The instrument was built in three sections: two body joints and a bell, with tone holes for six fingers. The 
NUMBER 3 5 

range of the instrument was from c^ to d^.''^ The third and fourth 

fingers covered small double finger-holes bored side by side to facilitate 

the production of certain pitches (such as f*^ and g*^) by covering 

one or both of the paired holes. In addition there were three keys: a 

swallow-tail key to produce the c^, and duplicate keys on either side 

for right or left-handed players to produce e''\*® The c#^ was almost impossible to produce, since no additional key was present. Figure 17 (left) shows an oboe made around 1700 by E. Terton, along 

with another (right) made later in the eighteenth century by Grassi 

of Milan with two keys, thereby implying that the player's right hand 

was placed on the lower part of the instrument. Also pictured are 

alternate upper joints for the Grassi oboe, enabling the player to lower 

the general pitch of the instrument. Figure 18 shows an oboe of carved 

ivory made during the first half of the eighteenth century by Anciuti 

of Milan. 

The cornetto was used regularly at San Petronio throughout most 

of the seventeenth century, and continued to be used, though less regularly, into the early eighteenth century. Around 1700, when so much 

of the festival music written for the church featured trumpets, the term 

"cornetto" probably referred to an alto or tenor instrument, since cornetto parts appear in the alto clef, often reinforcing the alto voice in 

tutti sections.'*^ Figure 14 (number 6) pictures a cornetto pitched in 

A that spans the alto range, and a "tenor cornet" pitched in D (number 7) built in the tenor range. This tenor cornetto boasts an S-shaped 

curve as well as a single key to extend the range of the instrument 

down to c. Figure 19 shows such a tenor cornetto made in Italy during 

the seventeenth century. 

Trombones had been included in the orchestra at San Petronio even 

before the seventeenth century. An instrument like those used at San 

Petronio is shown in Figure 14 (number 3). The instrument probably had a fundamental pitch of BB-flat, as it does today, and therefore had the range and most of the capabilities of the modern trombone. The bassoon {bassone or fagotto) was employed less regularly 

at San Petronio. Around 1700 the bassoon had six finger-holes, two 

21 
22 SMITHSONIAN STUDIES IN HISTORY AND TECHNOLOGY 

FIGURE 17.—Oboes by 

E. Terton, ca. 1700 (left). 

and Gra'^si of Milan, mid-18th 

century i right) with two 

alternate upper joints (center) 

for the Grassi oboe. 

(Washington, Smithsonian 

Institution) 

FIGURE 18.—Oboe by 

Anciuti of Milan, early 

18th eenrury. (London, 

Victoria and Albert 

Museum, Crown Copyright) 
NUMBER 3 5 23 

FIGURE 19.—Italian tenor cornetto. 

(Ann Arbor, Stearns Collection of 

Musical Instruments ) 

thumb-holes, two or three keys, and a range of two-and-a-half octaves 

up from BB-flat (three keys) or C (two keys).'*^ Both the trombone 

and the bassoon were used to reinforce the basso continuo at San 

Petronio, especially during tutti sections, although in concerted vocal 

music trombones may have doubled voice parts. Still another continuo 

instrument was the bissone (sometimes spelled "bisone.") Possibly a 

variation of "bassone' (bassoon), this designation may be an example 

of the notorious imprecision in early spelling. It is also possible that 

the designation is derived from the French word "buisine" and therefore specifies a trombone. Using slightly more imagination, "bissone" 

may be a dialect form of "biscione" (a large snake), therefore denoting 

a serpent, the bass form of the cornetto with a cup mouthpiece, six 

finger-holes, and a serpentine shape.*^ 

Harmonic Continuo Instruments 

The theorbo and the organ were the two harmonic continuo instruments used regularly at San Petronio. The theorbo (or tiorba), which 

was used widely in the late seventeenth century as a continuo instrument, was an archlute with a second pegbox constructed above the 

main pegbox at the end of a short extension of the neck. Although the 

extension to the neck of a typicaL theorbo made in Germany around 

1700 normally was diagonal and curved, many Italian makers preferred 

a straight extension, siriiilar in design to the longer-necked chitarrone. 
24 SMITHSONIAN STUDIES IN HISTORY AND TECHNOLOGY 
NUMBER 35 25 

The strings connected to the second pegbox usually were tuned to a 

diatonic scale and did not pass over the frets; those connected to the 

main pegbox did pass over the frets and, except for the top two strings, 

were geminated and tuned either in octaves or in unison. Although the 

number of strings and the tuning varied greatly, a single octave of 

diatonic bass strings often was followed by four pairs of strings and 

two single strings, tuned in fourths with a third in the middle, like a 

lute. A possible tuning,^" therefore, would have been as follows: 

Diatonic Bass Strings Pairs Single 

FF GG AA BB C D E F G c f a d g 

Figure 20 displays an Italian theorbo of the seventeenth century as 

depicted by a follower of Caravaggio, whereas Figure 21 shows a 

theorbo made by Matteo Sellas of Venice in 1737. 

Of the two organs in San Petronio, the older and larger is set at the 

epistle side of the altar on the west wall of the cappella maggiore. Although the organ was begun in 1470 by the famous Tuscan organ 

builder Lorenzo da Prato, the instrument was not finished until 1483 

and Lorenzo was not paid until 1490. The single manual originally had 

a range from AA to c', but had only fifty keys since the highest and 

lowest B-flats were missing. According to the Italian organist Luigi 

Ferdinando Tagliavini, who has studied the instrument carefully, the 

original organ probably had nine ranks, each of which could be drawn 

separately: principale (front prospect) 16 ft, ottava (rear prospect) 8 

ft, decimaquinta 4 ft, fiauto in decimaquinta 4 ft, decimanona IV^ ft, 

vigesimaseconda 2 ft, vigesimasesta \Vi ft, vigesimanona 1 ft, and an 

additional rank doubling one of the preceding. There were probably 

twelve pedals, from AA to A (without BB-flat), and since the pedals 

had no pipes of their own, they were designed mechanically to pull 

FIGURE 20.—"A Musical Group" by a 

follower of Caravaggio, 17th cenmry. 

(Richmond, Virginia Museum of 

Fine Arts) 
26 SMITHSONIAN STUDIES IN HISTORY AND TECHNOLOGY 

FIGURE 21.—Front view 

(left) and rear view (right) 

of a theorbo by Matteo 

Sellas of Venice, dated 

1737. (London, Victoria 

and Albert Museum, 

Crown Copyright) 
NUMBER 3 5 27 

FIGURE 22.—Front view of the organ in San 

Petronio by Lorenzo da Prato, 1483. (Photo 

by E. J. Soehnlein) 

FIGURE 23.—Rear view of the organ in San 

Petronio by Lorenzo da Prato, 1483. (Photo 

by E. J. Soehnlein) 
28 

FIGURE 24.—Console 

of the 1483 organ. 

(Photo by E. J. Soehnlein) 

down keys from the manual above.^^ Figures 22 and 15 show both 

front and rear views of this organ, whereas Figure 24 shows the console of the instrument as it appears today. 

The organ on the east wall, at the Gospel side of the altar, was built 

in 1596 by Baldassare Malanini, and was enlarged in 1641 by Antonio 

del Cor no. Around 1700 this organ had a range from CC to a^, but 

had only fifty-three keys since the lowest part of the keyboard incorporated a "short octave" and the g#^ was missing. According to Tag-
NUMBER 35 29 

FIGURE 25.—Front view of the organ in San 

Petronio by Baldassare Malanini, 1596. It was 

enlarged in 1641. (Photo by E. J. Soehnlein) 

FIGURE 26.—Rear view of the organ in San 

Petronio by Baldassare Malanini, 1596. It was 

enlarged in 1641. (Photo by E. J. Soehnlein) 
30 SMITHSONIAN STUDIES IN HISTORY AND TECHNOLOGY 

liavini, this newer organ probably had ten ranks: principale I (front 

prospect) 16 ft, principale II (rear prospect) 16 ft, ottava 8 ft, decimaquinta 4 ft, decimanona ly^ ft, vigesimaseconda 2 ft, XXVI-XXXVI 

m ft + 1/2 ft, XXIX-XXXIII 1 ft + 2/3 ft, flauto in VIII 8 ft, 

fiauto in XII 5Vi ft. Like the older organ, the pedals pulled keys from 

the manual and had no pipes of their own.^^ The softer and sweeter 

tone of this instrument made it especially suited for concertino sections 

of concertos; whereas the more powerful sound of the older organ 

suited it for ripieno sections. Figures 25 and 26 show front and rear 

views of this concertino organ, as it appears today. 

The organ pipes provide a few elusive clues to the pitch used for 

performances in San Petronio. According to Tagliavini, the pitch was 

lowered several times to the present level of a^ =: 435 cps at 15° 

centigrade. The original pitch of the older organ was about one-and-ahalf tones higher. The evidence of pitch in use around 1700, however, 

is ambiguous. Certain elements indicate a pitch close to the present, 

although other elements suggest a pitch about a semitone higher.^^ 

The Size of the Orchestra 

One of the most significant events in the history of Bolognese 

instrumental music was the hiring of Maurizio Cazzati in 1657 as 

chapel master at San Petronio. Although most of his predecessors had 

been native to Bologna, Cazzati was born in the Duchy of Mantua^* 

and had already published at least two volumes of chamber music when 

he was called to Bologna in 1657." Under Cazzati's persuasive direction the number of instrumentalists employed permanently was significantly increased. Table 1 cites the minimum and maximum number 

of regular employees in Cazzati's chapel from 1657 until his retirement 

in 1671. Cazzati molded the San Petronio orchestra into one of the 

finest instrumental ensembles in Europe, and when he left Bologna 

in 1671 after a heated argument with the organist Giulio Arresti,^^ 
NUMBER 3 5 31 

TARLE 1.—Numbers of regularly employed musicians at San Petronio from 1657 

until 1671 (data from Bologna, "Liste e Ricevute" and "Mandati mensili") 

Instrument 

Treble instruments 

Violin 

Alto Viola 

Basso continuo instruments 

Tenor viola 

Violoncello 

Violone 

Trombone 

Theorbo 

Organ 

Minimum 

2 

1 

2 

Maximum 

5 

2 

2 

1 

1 

2 

2 

2 

Cazzati recommended that he be replaced by Giovanni Legrenzi, the 

brilliant Venetian composer of instrumental music and operas. But 

Cazzati's final advice was not taken and the chapel organist, Giovanni 

Colonna, was promoted to chapel master in 1674. 

Colonna, who had been a pupil of both Benevoli and Carissimi in 

Rome,^' infused the Roman flair for spectacle, achieved by immense 

and frequently divided performing forces, with the native and highly 

developed Bolognese style of instrumental music. Although Colonna 

himself wrote no purely instrumental music,^® his fine orchestra 

attracted a large number of outstanding performers, who also composed instrumental music for use in the church.^^ Among the composers 

whom Colonna initiated into the orchestra, Giuseppe Torelli probably enjoys the most enduring renown. During the present century, 

musical scholars have nominated Torelli as one of the principal figures 

in the genesis of the instrumental concerto. His festival compositions, 

especially those with pairs or quartets of trumpets, as well as his solo 
32 SMITHSONIAN STUDIES IN HISTORY AND TECHNOLOGY 

TABLE 2.—Numbers of regularly employed musicians at San Petronio from 

Instrument 

Treble instruments 

Violin 

Alto viola 

Bassa continuo instruments 

Trombon e 

Violoncello 

Violone 

Theorbo 

Organ 

Organ Tuner 

1686 

2 

1 

2 

1 

1687 

3 

1 

1 

1 

2 

2 

1 

2 

1 

1688 

3 

1 

1 

1 

2 

2 

1 

2 

1 

1689 

2 

1 

1 

1 

2 

2 

0 

2 

1 

1690 

2 

1 

1 

1 

3 

2 

0 

2 

? 

1691 

2 

1 

1 

2 

3 

2 

1 

2 

? 

1692 

3 

1 

1 

2 

3 

2 

1 

2 

? 

1693 

3 

1 

1 

2 

3 

2 

1 

2 

? 

*The rigorous fiscal reforms of Pope Innocent xii, who served from I69I until 

1700, forced a reduction of church funds coupled with an increase of state taxes, 

so that the orchestra had to disband from January I696 until March 1701, except 

for two organists and one organ tuner. 

violin concertos. Op. VIII, set a model of style for such later masters 

as Vivaldi and J. S. Bach. 

Under Colonna the size of the regular orchestra was not altered 

significantly, so that when Torelli was hired to play viola in September 

of 1686 he became one of only eleven regularly employed instrumentalists. When Colonna died in 1696, he was succeeded by Giacomo Perti, 

who had also studied in Rome and who had tutored Giuseppe Torelli 

in musical composition. Although Perti himself was an active composer of instrumental music, the orchestra at San Petronio was soon 

disbanded, primarily because Pope Innocent xii's economic reforms 

would not permit the expenses of a professional resident orchestra. 

Although the members of the orchestra, including Giuseppe Torelli, 

left Bologna to seek other employment, the fame of the orchestral 
NUMBER 35 

1686 until 1709* (data from Bologna, "Liste e Ricevute" and "Mandati mensiU") 

1694 

3 

1 

1 

2 

3 

1 

1 

2 

? 

1695 

3 

1 

1 

2 

1 

1 

1 

2 

1 

1696 

3 

1 

0 

2 

1 

1 

1 

2 

1 

1701 

3 

2 

0 

1 

1 

1 

1 

2 

1 

1702 

3 

2 

0 

1703 

3 

2 

0 

1704 

3 

2 

0 

1705 

3 

2 

0 

1706 

3 

2 

0 

1707 

4 

3 

0 

1708 

4 

3 

0 

1709 

7 

3 

0 

music at San Petronio did not diminish. Instead, the musicians who 

had been scattered throughout Europe disseminated and even increased 

the reputation of the instrumental music at Bologna. In 1701 Perti was 

able to revive the regular orchestra at San Petronio, and several of 

the great Bolognese musicians, including Torelli, returned.®" 

Table 2 lists the maximum number of instrumentalists employed 

annually from 1686 until Torelli's death in 1709. A characteristic again 

obvious in the instrumentation of the regular orchestra at San Petronio 

is that, before the orchestra was disbanded in 1696, the greatest number 

of instruments was used to play the basso continuo; whereas after the 

reorganization of the orchestra in 1701, the proportion of continuo 

instruments steadily decreased. This decrease in the proportion of 

continuo instruments around 1700 was not peculiar to Bologna, but 
34 SMITHSONIAN STUDIES IN HISTORY AND TECHNOLOGY 

was common to orchestras throughout Italy, and may well have been 

the result of an increased preoccupation with the virtuoso potential 

of treble instruments. 

Although the regular orchestra was of a modest size, the number 

of permanent employees was greatly augmented for musical events on 

special feast days. Besides Easter, the most lavish festival in Bologna 

was the feast of Saint Petronius on 4 October. For such special occasions, a large number of extra musicians was hired, many of them 

members of the local Accademia Filarmonica, a combination of musicians' union and honorary fraternity of great prestige. Before the regular 

orchestra was disbanded in 1696, the lists of payment to extra musicians 

did not always specify the instruments played. Although the exact size 

and instrumentation of the orchestras for these special festivals is 

uncertain, the numbers of musicians in Table 3 have been estimated for 

the feasts of Saint Petronius in 1687 and 1694. 

After the regular orchestra was dismissed, however, more accurate 

records were kept. Table 4 gives the total number of performers 

hired for the annual feasts of Saint Petronius from 1701, when the 

regular orchestra was reorganized, until 1708, the last patronal feast 

before Torelli's death. The festival orchestra grew steadily in size from 

46 performers in 1701 to 63 performers in 1708. 

Great expenses were incurred in the production of these festive 

extravaganzas. According to the records of payment, the extra funds 

allocated for the yearly patronal feast increased from approximately 680 

lire to approximately 825 lire in the five years from 1701 to 1706.*^ 

This money was used for such items as wine, the construction of 

decorations, the transportation of two extra positive organs into the 

cantoria,®^ and the payment of musicians. The magnitude of this 

expense can be realized by noting that Giuseppe Torelli's salary for 

the occasion was approximately 2 lire,^^ a typical musician's fee for such 

an event. 

Another method of inferring the size of the orchestra used for 

special occasions at San Petronio is to examine the manuscript parts 

of certain large-scale works written for performance in the church. The 
NUMBER 3 5 35 

TABLE 3.—Instrumentation for special festivals of Saint Petronius (all figures 

estimated; from Schnoebelen, "The Concerted Mass,"' page 315) 

Instrument 

Violin 

Viola 

Tenor Viola 

Violoncello 

Violone 

1687 

10 

4 

1 

4 

3 

1694 

10 

7 

1 

3 

6 

Instrument 

Trombone 

Theorbo 

Cornetto . . 

1687 

7 

4 

4 

3 

1 

1694 

10 

2 

4 

5 

2 

TABLE 4.—Instrumentation for special festivals of Saint Petronius (data from 

Bologna, "Liste e Ricevute" and "Mandati mensili") 

Instrument 

Violin 

Viola 

Violoncello 

Violone 

Trombone 

Theorbo 

Organ 

Trumpet 

Cornetto 

Oboe 

1701 

11 

8 

5 

5 

6 

1 

4 

2 

4 

0 

1702 

14 

10 

5 

5 

6 

1 

4 

2 

3 

1 

1703 

14 

10 

6 

5 

6 

1 

5 

2 

3 

1 

1704 

15 

12 

5 

5 

6 

1 

4 

2 

3 

I 

1705 

14 

12 

6 

5 

6 

1 

4 

2 

3 

1 

1706 

13 

13 

6 

5 

7 

1 

4 

2 

2 

0 

1707 

17 

11 

6 

4 

6 

2 

4 

2 

3 

1 

1708 

19 

14 

6 

5 

6 

2 

4 

2 

4 

1 

appendix that concludes this monograph catalogues the scores and parts 

of certain manuscripts by Torelli still preserved at San Petronio. By 

examining the extant manuscript parts for these festival compositions, 

one may infer the size and instrumentation of the orchestra originally 
36 SMITHSONIAN STUDIES IN HISTORY AND TECHNOLOGY 

used to perform these works. One composition of particular interest 

is Torelli's Sonata for four trumpets and orchestra, catalogued as D.X.16 

in the musical archive at San Petronio. Table 5 enumerates the individual parts for this work. Even if only one player read from each 

part, this composition would require an orchestra of thirty-seven performers, assuming that the usual theorbo and organ were added to 

the continuo. If each of the ripieno string parts were read by two 

performers, as may well have been the practice on some occasions, the 

orchestra would have included sixty-four members. Moreover, the 

grand ensemble would have numbered seventy-one musicians if the 

continuo were augmented to include four organs, two theorbos, and 

six trombones, as the size of some festival orchestras suggests. 

Another interesting festival composition is Torelli's Sinfonia con 

Trombe e due Oboe e quatro Violini Obligati e quatro Violette Obigate 

(Sinfonia with Trumpets and two Oboes and four Obbligato Violins 

and four Obbligato Violas), catalogued as D.VIII.5 in the musical 

archive at San Petronio. Table 6 lists each of the individual parts that 

have survived. Again, if each of the ripieno string parts was read 

by two performers and if the continuo group included two theorbos, 

four organs, and six trombones, the festival orchestra would have 

numbered sixty musicians.®* 

The extant parts of both D.X.16 and D.VIII.5 again suggest festival 

orchestras with high proportions of instruments to play the basso 

continuo: nearly a third in D.X.16, and even more than a third in 

D.V1II.5, according to the above estimates. Both records of payment 

and the surviving manuscript parts show that the continuo bass line 

normally was reinforced by violoncellos, violones, theorbos, trombones, 

one or more organs, and, on certain occasions, bassoons, bissone, and 

even tenor violas. Although the full orchestra including the entire 

complement of continuo instruments resounds in the extended tutti 

sections that permeate almost all of the music composed for San 

Petronio, the performing forces are reduced for certain solo passages. 

The basso continuo section of Torelli's Sonata a 5 con Tromba, 

D.VI.3, for example, includes separate manuscript parts for violoncello. 
NUMBER 3 5 

TABLE 5.—Number of parts for Torelli's Sonata D.X.16 

37 

Part 

Trumpet II 

Trumpet III 

Trumpet IV 

Violin I 

Viohnll 

Viola I 

No. of 

copies 

4 

5 

Part 

Viola II. . 

Violoncello continuo 

Violone. . . 

Trombone. . .. . 

Bisone 

No. of 

copies 

4 

4 

2 

2 

1 

3 

1 

TABLE 6.—Number of parts for Torelli's Sinfonia D. VIII.5 

Part No. of 

copies 

Part No. of 

copies 

Trumpet I 

Trumpet II 

Oboe I 

Oboe II 

Violin I concertino.. 

Violin II concertino. 

Violin III concertino 

Violin IV concertino 

Violin I [ripieno].... 

Violin II [ripieno]. . . 

Viola I concertino. . 

Viola II concertino.. 

Viola III concertino. 

Viola IV concertino. 

Viola I [ripieno] . , 

Viola II [ripieno] . 

Violoncello I 

Violoncello II... . 

Violone 

Violone continuo. 

Trombone 

Trombone I 

Trombone II 

Theorbo continuo 

Organ 

Organ I 

Organ II 
38 SMITHSONIAN STUDIES IN HISTORY AND TECHNOLOGY 

violoncello ripieno, violone, violone ripieno, theorbo, and organ. In 

the trumpet solo that begins the final allegro, however, the continuo 

is reduced to a single cello, violone, theorbo, and organ, preparing for 

an impressive entrance of the ripieno strings at the end of the second 

measure. In the initial Grave of the same composition, Torelli reduces 

the continuo even further by omitting the cello during the opening 

violin solo. 

Certain other works exhibit intricate effects of orchestration, especially in the selective use of continuo instruments. In Torelli's Sinfonia 

a 4, D.IX.l, for example, the extant parts suggest that certain bass 

instruments are used continuously (violoncello, violone, theorbo, and 

organ), certain others are used somewhat more selectively (bassoon and 

violone ripieno), whereas the full bass section (with trombones and 

timpani) is reserved for the spectacular tuttis that punctuate both the 

opening and closing movements. 

Despite such selective use of bass instruments in certain compositions, basso continuo sections in general at San Petronio appear to 

have been extraordinarily large by those proportions normally associated with later baroque orchestral music. This seemingly disproportionate band of lower instruments may well have been an adjustment 

to the acoustics of San Petronio, renowned for immense reverberation, 

both in intensity and in duration. The splendid tapestries and draperies 

that adorned the basilica on such special feast days as that depicted 

on the cover may have been hung as much for acoustic as for artistic 

reasons. The powerful echoes of the church exaggerated the prominence 

of treble instruments, which, therefore, had to be balanced by a 

heavily reinforced bass. 

This explanation is supported in that other Italian churches, also 

famous for acoustic vitality, assembled orchestras with similar proportions. Legrenzi's orchestra at San Marco in Venice, for example, 

included thirty-four instruments in 1685, approximately a third of 

which played the continuo (Table 7). Similarly in Rome, Arcangelo 

Corelli's orchestra at San Lorenzo in Damaso included a comparable 

continuo force in 1692 (Table 8). 
NUMBER 35 39 

TABLE 7.—Number of instruments in Legrenzi's orchestra at San Marco in 1685 

(data from Caffi, Storia delta Musica, vol. 2, page 60) 

Instrument 

Violin 

Violetta [viola] 

Violas da braccio [tenor viola?]. 

No. 

2 

8 

11 

2 

Instrument 

Violone 

Theorbo 

Bassoon 

Trombone 

No. 

3 

4 

1 

3 

TABLE 8.—Number of instruments in Corelli's orchestra at San Lorenzo in Damaso 

in 1692 (data from Schnoebelen, "Performance Practices," page 45) 

Instrument 

Violetta. 

Violone. 

No. 

17 

4 

7 

Instrument 

Lute 

Trumpet 

No. 

4 

3 

2 

The unusual reverberation of San Petronio not only appears to have 

influenced instrumentation, but also may well have influenced the 

practice of embellishment and ornamentation. Many of the slow movements written for the church consist of homorhythmic chords in 

quarter notes or half notes. Such chordal slow movements are not 

only characteristic of Torelli, but also of his coUegues at San Petronio, 

such as Domenico Gabrielli, Giacomo Perti, and Giuseppe Jacchini. 

In locations less reverberant than San Petronio, improvised emellishments may be appropriate in modern performances of such slow movements, especially if a small orchestra is used and if a harpsichord plays 
4 0 SMITHSONIAN STUDIES IN HISTORY AND TECHNOLOGY 

the continuo; but ornamentation may have been omitted during performances in San Petronio as an adjustment to the unusual resonance 

that amplifies the sound of treble instruments. Intricate embellishments probably would have been lost in the extreme reverberation 

of the basilica. 

The Placement of the Orchestra 

A few documents provide valuable information about the placement 

of musicians during performances at San Petronio. One such document, shown in color on the front cover, is a miniature watercolor 

depicting the dispersion of clerics, musicians, and guests in the cappella 

maggiore during the feast of Saint Petronius in 1722. This is one of 

a set of paintings called "insignie" preserved in the Archivio di 

Stato in Bologna. The artist has faithfully shown the two organs and 

the semicircular cantoria, filled with approximately sixty musicians— 

although 141 musicians were actually paid for this particular feast 

according to the church records.®^ One can see singers standing on 

both sides in the cantoria, from the front to slightly beyond the 

organ cases. The instrumentalists seem to be grouped at the rear of 

the cantoria with theorbo players next to the two large columns at 

either end. Two musicians are standing behind the theorbo player at 

the right (Figure 27), with the large violas or cellos projecting over 

their right shoulders. Another violist (or cellist) is shown behind the 

theorbo player at the left (Figure 28). This awkward pose may not 

represent the actual playing position of these instruments, but may well 

be the invention of an artist who was especially anxious to display 

the instruments. At the rear of the cantoria (Figure 29), fifteen 

violinists are clearly depicted, seven on the lower level, and eight above 

them at the front of the large semicircular platform that covers the 

entire rear of the apse. Although few musicians are pictured here, this 

raised platform is large enough to hold comfortably more than fifty 
FIGURE 27.—Detail of cover: musicians 

of the cappella maggiore of San 

Petronio during the feast of Saint 

Petronius in 1722. (Bologna, 

Archivio di Stato) 

FIGURE 28.—Detail of cover. 

FIGURE 29.—Detail of cover. 
42 SMITHSONIAN STUDIES IN HISTORY AND TECHNOLOGY 

instrumentalists. This miniature not only shows that there were two 

organs, but also suggests that several of the other continuo instruments 

were split into two separate groups, placed on opposite sides of the 

cantoria. In the picture, the higher string instruments are grouped 

together at the rear of the cantoria. 

Another important document is a seating chart for musicians at 

San Petronio written in Perti's hand on the back of an otherwise inconsequential letter, dated 24 October 1700. The chart lists two columns 

of names according to several categories: sopranos, contraltos, tenors, 

basses, and instrumentalists. The names in the column at the right 

were probably those to be seated on the west end of the cantoria listed 

in order from front to back; whereas those in the left column were 

probably to be seated on the east.^° Since the following instrumentalists 

or instruments are listed after the singers, the instrumentalists probably 

were placed at the rear of the cantoria: 

FIGURE 30.—A possible 

arrangement of instruments 

according to Perti's seating 

chart. 

Violette 7 

Bergamini (trombone) 

Scarfaglia (trombone) 

Simincini (violoncello) 

Pesci (violone) 

Otto Violini 

Vanti (trombone) 

Bissone 

Jachini (violoncello) 

D. Vincento (violone) 

Figure 30 is a possible graphic representation of Perti's chart with 

the violins and violas on opposite sides of the cantoria and the continuo 

instruments at the rear. One may infer, however, that the seating 

arrangements were probably flexible, in that another document, preserved in the Archivio della Fabbriceria of San Petronio, indicates the 

placement of singers "on the west side near the old organ" with instrumentalists on the east "near the new organ."*''' 

Still other possible arrangements of instruments are suggested by 

the manuscript sources of works composed for San Petronio. Such 

compositions as Torelli's Concerto D.1X.3 (Figure 31) or his Sonata 

D.V1.5 (Figure 32) are set for two separate orchestras. These compositions may well have been performed with the two opposing orchestral 

groups on opposite sides of the cantoria. Several of the other works, 
NUMBER 3 5 43 

[t/rJiw^ *- 2- ^^ ^ c^r»^ •W»»v^L«' 

-*-^#=^ ^ 

.^„.„,..„ ^ •L ';-

psf; 

%,;^df:£=L 

^^^"W^-^^ ttii "*-'Tz;J-—::-^^T v"T^ •' 

"'^^f^ 

o"/-^ i 

FIGURE 31.—The opening of 

Torelli's Concerto, D.IX.3, 

for split orchestra. (Bologna, 

Archivio di San Petronio) 

FlGURE 32.—The opening 

of the Grave of Torelli's 

Sonata, D V1.5, for split 

orchestra. (Bologna, Archivio 

di San Petronio) 
44 SMITHSONIAN STUDIES IN HISTORY AND TECHNOLOGY 

FIGURE 33.—The opening of the second movement of Torelli's Concerto, 

D.VII.7, for two trumpets and orchestra. (Bologna, Archivio di San Petronio) 

set for two trumpets, four trumpets, or two trumpets and two oboes 

with orchestra (see appendix) may have been performed with still 

other variations in instrumental placement. Works with two trumpets, 

such as Torelli's Concerto D.V1I.7 (Figure 33), may have used one 

trumpet on each side of the cantoria; those for four trumpets may well 

have used two on each side. The works with two trumpets and two 

oboes would most likely have been performed with the trumpets on 

one side and the oboes on the other, since the pair of oboes frequently 

imitates the pair of trumpets in an echo effect. An examination of the 

following appendix will once more prove valuable; the manuscript 

sources of Torelli's festival compositions suggest still more possible 

variations in the placement of performers at San Petronio. 
Appendix 

A Catalogue of Manuscripts at San Petronio, 

the Sources of Torelli's Festival 

Compositions with Trumpet 

Of the impressive list of composers employed in the orchestra at 

San Petronio during the Baroque era, Giuseppe Torelli probably has 

enjoyed the most enduring reputation. Of Torelli's music preserved 

in manuscript in the musical archive at San Petronio, more than half 

is scored for an ensemble of strings with one or more trumpets. Since 

trumpeters never were included among the permanent members of the 

resident orchestra, it may be inferred that Torelli's trumpet works were 

intended to be performed at such special festivals as Easter or the 

Feast of Saint Petronius, when trumpeters were added to the ensemble. 

The following catalogue of Torelli's trumpet music is particularly 

interesting in the inferences that may be drawn from the manuscript 

parts about the size and instrumentation of the orchestras intended 

for these works. 

The tables list the manuscripts according to their present catalogue 

numbers in the Archivio di San Petronio."^^ The catalogue number 

for each composition consists of three parts: a capital letter "D," 

which has been chosen in the archive as the symbol for instrumental 

music; a Roman numeral, which indicates the number of the box in 

which the piece is contained; and an arable number, which indicates 

the postion in the box. This three-part catalogue number is shown as 

the first item and is followed by the number (if any) assigned by 

Franz Giegling in his thematic index of Torelli's works.^® 

45 
46 SMITHSONIAN STUDIES IN HISTORY AND TECHNOLOGY 

In the second column, the title of the composition is listed with the 

original spelling and punctuation. The most complete version of the 

title is used, and the name of the part that bears this version is shown 

in parentheses. In the next column, information about the individual 

parts is included. The word "Copyist" or "Autograph'"'" indicates the 

scribe and is followed by the dimensions of the manuscript pages 

to the nearest half centimeter. The first dimension given is the height, 

the second the width, and the individual parts are listed according to 

scribe and dimensions. The Arabic number preceding the abbreviation 

for a part indicates the number of extant copies of that part. The 

Roman numeral following the abbreviation indicates "Primo," 

"Secondo," etc., so that Vn. 1, for example, is "Violino Primo" (First 

Violin). In a final column, similar information is included about the 

score, if any. 

The two pieces that are duplicated in the Dresden Landesbibliothek, 

D.Vl.l (Table A) and D.X.16 (Table C), have been marked with 

an asterisk (*), and parallel information about the Dresden sources is 

included in footnotes. 

The manuscripts are listed according to five categories: works for 

one trumpet and orchestra (Table A); works for two trumpets and 

orchestra (Table B); the work for four trumpets and orchestra (Table 

C ); works for trumpets, oboes, and orchestra (Table D); and works 

with missing parts (Table E). The abbreviations that are used in the 

tables are as follows: 

B.C. 

Bss. 

Cmbl. 

cone. 

cont. 

mvt. 

Ob. 

Org. 

rip. 

Basso Continuo 

Basso 

Cembalo 

concertino 

continuo 

movement 

Oboe 

Organo 

ripieno 

spezz. 

Tr. 

Trb. 

Trmb. 

Va. 

Vc. 

Vn. 

Vne. 

w/o 

spezzato 

Tromba 

Tiorba 

Trombone 

Viola 

Violoncello 

Violin 

Violone 

without 
NUMBER 35 47 

Some of the manuscripts reveal more than one version of instrumentation. For example, only one trumpet is specified in the autograph score of D.VI.7 (Table A), although there is a separate 

autograph part for "2a Tromba ad libitum," which provides a complementary part in homorhythmic relationship to Hie original trumpet 

part. Even though no score is extant for D.VI.8 (Table B), the title, 

Sinfonia Con Tromba e Violini Del Sig.r Gioseppe Torellei, implies 

that the piece originally had only one trumpet part instead of the two 

that are prescribed. This assumption is further supported in that the 

second trumpet part was copied by a different scribe than the one who 

copied most of the other parts. The titles of D.V1.9 {Sinfonia con due 

Trombe . .) and D.VII.l {Sinfonia con 2. Trombe . . .) imply that 

both were originally scored for two trumpets, as shown in Table B. 

In addition to the two separate trumpet parts, however, each work 

has a third part, designated simply "Tromba," which is a condensation 

of the two trumpet parts. Moreover, the condensed Tromba part of 

D.VI.9, which is in Torelli's hand, is smaller in size than the other 

parts, and, therefore, may well have been copied at a different time. 

The autograph score of D.VIll.l (Table D) appears to have been 

scored originally for two trumpets and orchestra, without oboes. 

Throughout the score, however, the two trumpet parts have been 

marked (in a pen stroke lighter than that used originally) with the 

words "Trombe" and "Oboe" to indicate that the parts originally composed for trumpets alone should be assigned to alternating pairs of 

trumpets and oboes. The extant parts for D.VIll.l support this interpretation of the score. The autograph versions of Tromba I and 

Tromba II include all of the music originally assigned to the trumpets, 

whereas the parts for Tromba 1, Tromba II, Oboe I, and Oboe II, 

transcribed by a copyist, correspond to the version for alternating pairs 

of trumpets and oboes. 

The autograph score of D.VIII.2 includes four separate staves for 

the two trumpets and the two oboes. The instrumentation of the score 

is duplicated in the parts for Tromba I and Tromba II and Oboe I and 

Oboe II, which were transcribed by a copyist. Included among the 
4 8 SMITHSONIAN STUDIES IN HISTORY AND TECHNOLOGY 

manuscript parts, however, are autograph parts for Tromba I and 

Tromba II, which appear to be a condensation of the parts for trumpets 

and oboes. The scores of both D.VIll.l and D.V1I1.2 end with a pair 

of brief dance movements, which are not included in any of the parts 

for either work. 

Several movements of the manuscript compositions are not unique, 

but are used in other works of Torelli and his teacher, Giacomo Perti. 

Both the third and fourth movements of D.V.IO (Table A), for example, are used as the second and third movements, respectively, of 

D.V1.4. The first movement of D.V1I.4 (Table B) is an altered version 

of the first movement of the second concerto of Torelli's Opus 5, 

published in 1692. The third movement of D.1X.2 (Table D) duplicates the final movement of D.1X.3; whereas the first two movements 

of D.1X.2 are identical not only to the fifth and second movements, 

respectively, of D.V111.2, but also to the first and second movement of 

a Sinfofzia con 4 Trombe e Stromenti di G. A. Perti (D.X.14 in the 

San Petronio archive). The last movement of Perti's Sinfonia (D.X. 

14) is identical to the final movement of Torelli's D.X. 16 (Table C). 

Two other compositions have movements that are duplicated in the 

works of Perti. The second, fourth, and fifth movements of D.VII.6 

(Table B), for example, are used by Perti as the second, third, and 

fourth movements, respectively, of the prelude to his cantata Sdegno 

Amore (P.66.1 in the San Petronio archive). Moreover, the first movement of D.VIII.5 duplicates the second movement of Perti's Sinfonia 

avanti La Messa a 8 Concta (P. 1.1. in the archive). 
NUMBER 35 49 

Numb 

San 

Petronio 

Cat. No. 

D.V.7 

D.V.8 

D.V.9 

D.V.IO 

D.V.U 

D.Vl.l* 

D.VI.2 

ering 

Giegling 

Index 

No. 

G.4 

G.6 

G.7 

G.l 

G.IO 

G.9 

G.8 

TABLE A.—Works fo 

Title 

(with name of part 

bearing title) 

Sinf. h 4-con Tromba, e Violini 

Unissoni, del Sig. r Giuseppe 

Torelli. 1693. (organo) 

Sonata d 5- con Tromba. Di 

Giuseppe Torelli. (organo) 

Sonata d 5 con Tromba. di 

Giuseppe Torelli. (organo) 

Suonata con Strom.^"^ e Tromba 

di Guiseppe Torelli. 1690. 

(organo) 

Sinfonia con Tromba Di 

Guiseppe Torelli. (organo) 

Sinfonia Con Tromba e Violini 

Unissoni Di Giuseppe Torelli. 

(organo) 

Sinfonia con Tromba. Torelli. 

(organo) 

r one trumpet and orchestra 

Parts 

(dimensions 

in cm) 

Copyist (29X20.5): Tr., 2Vn.I, 2Vn,II, 

2Va., Vc, Vc. spezz., Vne., Org. 

Autograph I (25X17.5): Tr., Vn.I, 

Va., Vc.cont., Vne., Org. 

Copyist (25X17.5): Vn. 11, Va., Vne. 

Autograph I (24.5X17.5): Tr., Vn.I, 

Vn.II, Va„ Vc, Org. (21.5X30): Trb. 

Copyist (24.5X17.5): Va. 

Copyist (25X18): Tr., Vn.I, Vn.II, 

Va., Vc, Org. 

Autograph II (22X30): Tr., Vn.I 

cone, Vn. 11 cone, Va., Bss., 2Bss. 

spezz.. Org. 

Copyist (22X30): 2Vn.I, Vn.II, 5Va., 

Vc. cont. 

Autograph 11 (25X18.5): Vn.I, Va., 

Vc, Vne. 

Copyist (25X18.5): Tr., Vn.I cone, 

Vn. II cone, Vn.II, Va., Org. 

Autograph II (22X30): Tr., Vn.I 

cone, Vn.II cone, Va., Vc.cont., 

Vne.cont., Bss. spezz.. Org. 

Copyist (22X30): 2Vn.I, Vn.II, Va. 

Score 

(dimensions 

in cm) 

None 

None 

None 

None 

None 

None 

None 
50 SMITHSONIAN STUDIES IN HISTORY AND TECHNOLOGY 

TABLE A.—Continued 

Numb 

San 

Petronio 

Cat. No. 

D.VI.3 

ering 

Giegling 

Index 

No. 

G.5 

Title 

(with name of part 

bearing title) 

Sonata d 5 con Tromba. Torelli. 

(organo) 

Parts 

(dimensions 

in cm) 

Autograph I (24X18): Tr., Vn.II, 

Vn.IIrip., 2Va., Vc, Vc.rip., Vne., 

2Vne.rip., Trb., Org. 

Score 

(dimensions 

in cm) 

None 

D.VI.4 

D.VI.5 

G.2 

G.3 

D.VI.6 None 

D.VI.7 G.ll 

Sinfonia con Tromba. (score) 

Sonata i 5 con Tromba. di G: 

Torelli. (score) 

Sonata d 5 con Tromba. Di G: 

Torelli. (Violone Co.) 

Sinfonia Con Tromba. (score) 

Copyist (24X18): Vn.I, Vn.I rip. 

Autograph I (24X18): Vc.cont. Autograph I 

Copyist (24X18): Tr., Vn.I, Vn.I rip., and Copyist 

Vn.II, Vn.II rip., 2Va., Vc rip., (23X31) 

Vne.cont., Vne.rip. 

Copyist (24X17.5): with 2nd mvt. Autograph I and 

divided into 2 choruses: Tr., Vn.I, Autograph II 

Vn.II, Vn.III, Vn.IV, Vn.I rip., (22X30) 

Vn.II rip., Vn.III rip., Vn.IV rip., 

2Va.I, 2Va.2, 4Vc.I, 4Vc.II, 4B.C., 

Org.I, Org.I cont., Org.II. with 2nd 

mvt. in 1 chorus: Tr., Vn.I cone, 

Vn.II cone, Vn.I rip., Vn.II rip., 

2Va., 2Vne., Org. 

Autograph I (25X18): Tr., Vn.I, None 

Vn.II, Vn.III, Vn.IV, 2Va., Vc.cont., 

Vne.cont., Vne.rip., Org.I. 

Copyist (25X18): 2Vn.I rip., 2Va., 

2Vc., Vc.rip., 2 Trmb., 2 Org.II. 

Autograph II (25X18): Tr.II ad 

libitum, Vn.II. 

Copyist (25X18): Tr., 2Vn.I, Vn.II, 

2Va., 4Vne., Org. 

Autograph II 

(23X31) 
NUMBER 3 5 51 

Numbering 

San Giegling 

Petronio Index 

Cat. No. No. 

D.X.12 None 

TABLE A.—Continued 

Title Parts 

(with name of part (dimensions 

bearing title) in cm) 

Sinfonia avanti l'opera con None 

Tromba. (score) 

Score 

(dimensions 

in cm) 

Autograph I 

and Copyist 

(22X30.5) 

*A manuscript copy of this composition is also found in the Dresden Landesbibliothek: 

Cat. No.: Musica Concerto con 2 Violino, 1 Copyist (31X23): Tr., Vn.I, Vn.II, None 

2035 0.2 Trombe, Viola et Cembalo del Va., Cmbl. 

Sing' Torelly. (cembalo) 
52 SMITHSONIAN STUDIES IN HISTORY AND TECHNOLOGY 

TABLE B.—Works for two trumpets and orchestra 

Numb 

San 

Petronio 

Cat. No. 

D.VI.8 

D.VI.9 

D.VII.l 

D.VII.2 

D.VII.3 

ering 

Giegling 

Index 

No. 

G.16 

G.21 

G.22 

G.17 

G.19 

Title 

(with name of part 

bearing title) 

Sinfonia Con Tromba e Violini 

Del Sig. r Gioseppe Torellei. 

(organo) 

Sinfonia con due Trombe et altri 

Stromenti di Giuseppe Torelli. 

(organo) 

Sinfonia con 2. Trombe, e 

Instromenti di Giuseppe 

Torrelli. (organo) 

Sinfonia con due Trombe di G. e 

r. (violoncello) 

Sinfonia-con 2 Trombe, e 

Violini Unissoni. Torelli. 

(score) 

Parts 

(dimensions 

in cm) 

Autograph I (24.5X18.5): Va. (1st p. 

and 1st 2 lines of 2nd p.). 

Copyist (24.5X18.5): Tr., Tr.II, 2Vn.I, 

2Vn.II, 3Va., 4Vne., Org. 

Autograph I (24X18): Tr. (27X19-5): 

Tr.II, Vn.I (only 1st p. is autograph), 

Vn.I rip., Vne.rip. (only 1st p. is 

autograph), Org. 

Copyist (27X19.5) (all headings are 

autograph): Tr.I, Vn.I, 2Vn.II, Vn.I 

rip., 3Vn.II rip., 4Va., 4Va.rip., 

Vc.cont., 3Vc.rip., 3Vne.cont., 

4Vne.rip. 

Copyist (25X18): Tr., Tr.I, Tr.II, Vn., 

Vn.I" ", Vn.II". . .", Vn.II". . . .", 

2Vn.I, 2Vn.II, 4Va.I, 4Va.II, 2Vc.I, 

2Vc.II, Vc.cont., 2Vne.II, 

2Vne.cont., Org., Org.II. 

Copyist (27X19): Tr.I, Tr.II, Vn.I 

cone, 2Vn.I, 5Vn.II, 7Va., Vc , 

6Vc.spezz., 3Vne., Org., Org. II. 

(25X18): Org.II. 

Copyist (25X19): Tr.I, Tr.II, Vn.I 

cone, 6Vn.I, 3Vn.II, 6Va., Vc, 

4Vc.spe2z., 3Vne., Org. 

Score 

(dimensions 

in cm) 

None 

None 

None 

None 

Autograph II 

(22X30) 
NUMBER 3 5 53 

Numbering 

San Giegling 

Petronio Index 

Cat. No. No. 

D.VII.4 G.15 

D.VII.5 G.23 

D.VII.6 G.20 

D.VII.7 G.18 

D.VII.8 None 

TABLE B.—Continued 

Title 

(with name of part 

bearing title) 

Sonata d 5-due Trombe, e V.Vunisoni del Sig. Giuseppe 

Torelli. 1692. (basso 

continuo) 

I:N:D: Sinfonia con due 

Trombe. Torelli. (score) 

Sinfonia con due Trombe e VV. 

di G. e Torelli. (unmarked 

B.C.) 

Concerto con 2 trombe Torelli. 

(score) 

Concerto Con due Trombe e 

Strom.ti Di G. e Torelli. 

(organo) 

Parts 

(dimensions 

in cm) 

Copyist (24.5X18): Tr.I, Tr.II, 2Vn.I, 

2Vn.II, 2Vn.I-rip., 2Vn.II rip., 2Va., 

2Va.rip., Vc.rip., 4"rip"-(Vc.), 

2Vne.cont., Vne. rip., B.C., Trb., 

Org.II. (25.5X19): Org.II. 

Autograph II (22X30): Tr.I, Tr.II, 

Vn.I cone, Vn.II cone, Vn.I rip., 

Va., Va.(only 1st p. is autograph), 

2Vc., Vne., Org. 

Copyist (22X30): 3Vn.I rip., 4Vn.II 

rip., 4Va., 5Vc.spe22., Vne. 

Copyist (25X18.5): Tr.I, Tr.II. 

(26.5X20): Vn.I cone, Vn.II cone, 

4Vn.I, 4Vn.II, 7Va., 2Vc.I, 2Vc.lI, 

2Vne.I, 2Vne.II, Trb., (unmarked) 

B.C. 

None 

Copyist (25X18): Tr.I, Tr.II, Vn.LT", 

Vn.I"B", Vn.r'V", Vn.I"M", 4Vn.I, 

8Va., 3Vc., 2Vne., 2Bss., Org. 

Score 

(dimensions 

in cm) 

None 

Autograph II 

(22X30) 

Autograph II 

(22X30) 

Autograph II 

(22X30) 

None 

*Items in quotation marks are exact designations on the original manuscripts. Their meaning is not certain. 
54 SMITHSONIAN STUDIES IN HISTORY AND TECHNOLOGY 

TABLE C.—Work for four trumpets and orchestra 

Numb 

San 

Petronio 

Cat. No. 

D.X.16* 

ering 

Gieghng 

Index 

No. 

None 

Title 

(with name of part 

bearing title) 

Sonata d 4-Trombe (score) 

Parts 

(dimensions 

in cm) 

Autograph II (26.5X19): Vn.I, Va.II 

Copyist (26.5X19): Tr.I, Tr.II, Tr.III, 

Tr.IV, 4Vn.I, 4Vn.II, Va., 4Va.I, 

3Va.II, Vc, Vc.cont., 4Vc.rip., 

2Vne., Vne.rip., 3Trmb., Bisone 

Score 

(dimensions 

in cm) 

Copyist 

(18.5X25.5) 

*A manuscript copy of the first three movements of this composition is also found in the Dresden Landesbibliothek: 

Cat. No.: Musica Sinfonia VV"' 4 Tromb. Viola Copyist (22.5X30.5 cm.): Tr.I, Tr.II, None 

2035 N.l e Basso. Del Sigr. Torelli Tr.III, Tr.IV, Vn.I, Vn.II, Va., 

(cover) Cmbl. 

TABLE D.—Works for trumpets, oboes, and orchestra 

Numbering 

San 

Petronio 

Cat. No. 

D.VIll.l 

Giegling 

Index 

No. 

G.26 

Title 

(with name of part 

bearing title) 

Sinfonia con Tromba di G. e 

Torelli. (organo) 

Parts 

(dimensions 

in cm) 

Autograph II (27X19): Tr.I, Tr.II, 

Vn.I, 2Vn.II, 2Va., Vc, Vne., Org. 

Copyist (26.5X19): Tr.I, Tr.II, Ob.I, 

Ob.II, Vn.I. (24.5X18): ZVcspezz. 

Score 

(dimensions 

in cm) 

Autograph II 

(23X30.5) 
NUMBER 3 5 55 

Numbering 

San 

Petronio 

Cat. No. 

D.VIII.2 

D.VIII.3 

D.VIII.4 

D.VIII.5 

Giegling 

Index 

No. 

G.27 

G.29 

G.30 

G.31 

TABLE 

Title 

(with name of part 

bearing title) 

Concerto con Trombe, Oboy, e 

Violini-Torelli. "Per jl Sig: 

Co: Cicholini." (score) 

Sinfonia con Trombe Oboe, et 

altri Stromenti per U 

Accademia del 1707. (score) 

Sinfonia con Obois Trombe, e 

Violini Di G. e Torelli. 

(organo) 

Sinfonia con Trombe e due Oboe 

e quatro Violini Obligate e 

quatro Violette Obligate Del 

Sig.r Gioseppe Torelli. 

(organo) 

D.—Continued 

Parts 

(dimensions 

in cm) 

Autograph II (26.5X19): Tr.I, Tr.II, 

Copyist (26.5X19): Tr.I, Tr.II, Ob.I, 

Ob.II, 3Vn.I, Vn.II, 3Va., 2Vc, 

2Vc.rip., 2Vne., Org. 

Autograph II (27X19): Tr.I, Tr.II, 

Ob.l, Ob.II, Vn."obbligato," 2Vn.I, 

3Vn.n, 3Va., Vc.cont., Vne.cont., 

2Vne., Trmb., Bss., Org. 

Copyist (27X19): 3Vn.l, 3Vn.II, 5Va., 

3Trmb., 2Bss., 30rg.II. 

Copyist (22X30.5): Tr.I, Tr.II, Ob.l, 

Ob.II, Vn.I-conc."Torelli", Vn.II 

conc.-"sig:r Girolamo Laurinti," 

2Vn.I rip., 2Vn.II rip., 4Va., Vc.I, 

Veil, Vc.rip., 2Vne.rip., Org. 

Copyist (25X19): Tr.I, Tr.II, Ob.l, 

Ob.II, Vn.I cone, Vn.II cone. 

Vn.III cone, Vn.IV cone, 5 Vn.I, 

4Vn.II, 2Va.l cone, 2Va.II cone, 

Va.III cone, Va.IV cone, Va.I, 

Va.II, 2Vc.I, 2Vc.II, 3Vne., 

3Vne.cont., 2Trmb., 2Trmb.I, 

Trmb.II, Trb.cont., Org., Org.I, 

Org.II. 

Score 

(dimensions 

in cm) 

Autograph II 

(23X30.5) 

(last 2 mvt. 

are not autograph and are 

not included 

in parts) 

Autograph II 

(30X22) 

None 

Autograph II 

(23X30) 
56 SMITHSONIAN STUDIES IN HISTORY AND TECHNOLOGY 

TABLE D.—Continued 

Numbering 

San Gieglinj 

Petronio Index 

Cat. No. No. 

Tide 

(with name of part 

bearing title) 

Parts 

(dimensions 

in cm) 

Score 

(dimensions 

in cm) 

D.IX.l G.33 

D.IX.2 G.28 

D.IX.3 G.32 

Sinfonia d 4 di G. e Torelli. 

(tromba I) 

Concerto Con Trombe, et Oboe di 

G. e Torelli. (tromba I, coro 

I) 

Concerto d 2 Chori con trombe. 

Torelli. (score) 

Autograph II (22.5X30.5): Tr.I (last None 

mvt. only is autograph), Tr.III, 

Tr.IV. 

Copyist (22.5X30.5): Tr.II, Ob.l 

cone, Ob.II cone, Ob.l, Ob.II, 

Vn.conc "per il Sig. Perino," 

Vn.conc. "per il mio Torellino," 

2Vn.I rip., 2Vn.II rip., 4Va., Vc.I, 

Veil, Vne., Vne.rip., Bassoon cone, 

Bassoon rip., Trmb., Timbal, B.C. 

Copyist (26.5X19.5) (Coro I): Tr.I, None 

Tr.II, 3Vn.I, 3Vn.II, 3Va., 2Vc., 

2Vne. (Coro II): 3Vn.I, 3Vn.II, 

3Va., 2Vc., 2Vne. (w/o distinction 

of Coro): 2B.C. 

Copyist (26.5X19) (with 5 mvt.) Autograph II 

(Coro I): Tr.I, Tr.II, Vn.I cone, (22X30.5) 

Vn.II cone, Vn.I rip., Vn.II rip., 

3Va., 2Vc., Org.II. (Coro II): Ob.l, 

Ob.II, Vn.I cone, Vn.II cone, 

Vn.I rip., Vn.II rip., 3Va., 2Vc, 

2Vne., 20rg.III. (w/o distinction of 

Coro): 2Cont., Org. (25X18.5) 

(with 7 mvt.) (Coro I): Vn.I cone, 

Vn.II cone, Va., 2Bss. (Coro II): 

Vn.I cone, Vn.II cone, Va., 2Bss. 
NUMBER 35 57 

TABLE E.—Works with missing parts 

Numbering 

San 

Petronio 

Cat. No. 

D.IX.8 

D.X.I 

D.X.2 

D.X.3 

D.X.9 

Giegling 

Index 

No. 

None 

None 

None 

None 

None 

Title 

(with name of part 

bearing title) 

Sinfonia con Tromba del Sig. 

Giuseppe Torrelli. (organo) 

Sonata d 5 con Tromba di 

Giuseppe Torelli. (organo) 

Sinf" Per L'Accademia 1705 Del 

Sig. G. e Torelli. (viola) 

Sontata Con Tromba et 

instromenti. (viola) 

Concertino con quattro Violini 

Soli che vd in mezzo alia 

sinf.a con trombe. (score) 

Parts 

(dimensions 

in cm) 

Copyist (30X22): 2Vn.II, 2Va., Vc, 

Vc.rip., Vne., Org. 

Autograph I (24X18): Tr., Vn.I rip., 

Vn.II rip., 2Vc., Vc.rip., Vne.rip., 

Org. 

Copyist (31X22): 7Va. 

Copyist (24X17.5): Va. 

Copyist (22X30): Vn.I, Vn.II, Vn.III, 

Vn.IV, Vc, Vne., Org. 

Score 

(dimensions 

in cm) 

None 

None 

None 

None 

Autograph I 

(22X30) 
Notes 

(See "Selected Bibliography" for complete citations) 

' Gatti, La Basilica Petroniana, page 293, document 2A. 

^ Ibid., page 106: " . che egli dovesse fornire suggerimenti generici 

circa la forma, I'ordine, la disposizione." Translation in text by author. 

' Ibid., pages 105-107. 

Mbid., page 47. 

' Ibid., figure 18. 

* Ubertalli, // San Petronio di Bologna, page vi. 

^ Gatti, op. cit., page 296, document 2A. 

" Ibid., page 246. 

"Ibid., pages 120-122. 

"Ibid., pages 64-65. 

" Ibid., pages 66-67. 

" Gatti, op. cit., pages 247-249. Da Prato's organ is discussed later. 

" Ibid., page 79. 

" Hutchings, The Baroque Concerto, page 75. 

^" Gatti, op. cit., pages 84-88. 

^® Ubertalli, op. cit., page xv. 

" See Zucchini, Desegni antichi e moderni. 

^* Gatti, op. cit., page 247. 

'"Ibid., figures 59-60. 

"° Schnoebelen, "Performance Practices at San Petronio," page 38. 

^ Ubertalli, op. cit., page xv. 

"Burns, "The Organs of San Petronio," pages 191-192. 

"''Zanotti, La meridiana de tempio di San Petronio, appendix. 

°'In a manuscript compiled around 1700, James Talbot of Cambridge specified a soundpost with the "thickness {of a] goosequill." See Donnington, "James 

Talbot's Manuscript," page 29. 

•'^ Bessarabolf, Ancient European Musical Instruments, page 306, and Nelson, 

The Violin and Viola, pages 51-71. The following system of pitch notation is 

used throughout this study: 

^ -a-l^vf-*. -a. 

c' y r^ \? C» fc' c* t* c^ 

58 
NUMBER 3 5 

*Jalovec, Italian Violin Makers, pages 395, 396, 404, and Hamma, Meister 

Italienischer Geigenbaukunst, pages 686-695. 

""For comparative dimensions see Hill, Antonio Stradavari, pages 291-295, 

and Nelson, op. cit., page 66. 

^ Roda, Bows for Musical Instruments, page 44, and Fetis, Notice of Anthony 

Stradavari, page 112. 

^ Boyden, The History of Violin Playing, page 211. 

'"Jalovec, op. cit., page 396. 

^Praetorius, Syntagma musicum, volume 2, part 1, pages 25-26. 

'^ Brossard, A Musical Dictionary, page 221. 

^ Eisel, Musicus avrodidakros, pages 47-51. 

** Smithers, The Music and History of the Baroque Trumpet, page 44. 

*^Bate, The Trumpet and Trombone, page 107. 

"Altenburg, Versuch, page 86. 

" Smithers, op. cit., pages 12-1 A. 

^Note Fantini's treatise Modo per imperare. 

''Fetis, Biographie Universelle, volume 3, page 181. 

'"Bate, The Trumpet and Trombone, pages 109-110. 

^^ Altenburg, op. cit., page 12: "die sogenannte Inventions-oder italianische 

trompete." 

" Schnoebelen, "Performance Practices," page 50. 

" Ibid., page 52. 

** Giegling, Giuseppe Torelli, page 7. 

**Bate, The Oboe, page 3. 

" Ibid., pages 47-50. 

*^ Schnoebelen, "Performance Practices," pages 50—51. 

'"Langwill, The Bassoon and Contrabassoon, pages 34—35. 

" Schnoebelen, "Performance Practices," page 48, and Hutchings, op. cit., 

page 85. 

^"Praetorius, op. cit., page 27. 

^Williams, The European Organ, pages 206, 207, 209, and Burns, op. cit., 

pages I9I-I93. This information was confirmed by Luigi Ferdinando Tagliavini 

in a conversation with the author on 21 May 1969. 

^^ This information is taken from a letter from Tagliavini to the author dated 

22 February 1975. 

«Ibid. 

"Damerini, "Maurizio Cazzati," page 941. 

TM Although the opus numbers suggest additional publications, only the following are extant: Canzoni A 3, Doi Violini, e Violone . . . Op. II (Venetia: 

Bartolomeo Magni, 1642), and // Secondo Libro delle Sonate, A Doi, Tre, e 

Quattro . . . Op. VIII (Venetia: Alessandro Vincenti, 1648). 

59 
60 SMITHSONIAN STUDIES IN HISTORY AND TECHNOLOGY 

°* Sartori, "Bologna," page 86. 

°^Paole, "Giovanni Paolo Colonna,'' page 1565. 

='Ibid., pages 1565-1566. 

^^ Hutchings, op. cit., pages 69-73. The orchestra boasted such composers as 

Giovanni Maria Bononcini (1624—1648), Giovanni Bononcini (1670—1755), 

Giovanni Battista Vitali (1644-1692), Tommaso Antonio Vitali (ca. 1655-

after 1711), Pietro degli Antonii (1686-1720), Petronio Franceschini (1650-

1681), Domenico Gabrielli (1655-1690), Giovanni Battista Bassani (1657-

1716), Giuseppe Maria Jacchini (d. 1727), Giuseppe Torelli (1658-1709), 

Giacomo Antonio Perti (1661-1756), Pirro Albergati (1663-1735), and 

Giuseppe Aldrovandini (1665-1707). 

"^ Vatielli, "Bologna; Musica," page 343. 

""^ Exact increases, according to Gaspari, Miscellanea musicale, pages 261, 267, 

were L 680.9.6 and L 823.17.6, respectively. 

"^ Schnoebelen, "Performance Practices," page 41. The mass of these organs 

may be inferred by comparing the cost of lifting the organs into the cantoria 

(about 3 lire) with that of lifting the double basses (about V2 lire). 

"''Gaspari, Miscellanea Musicale, page 261. Torelli's salary was exactly L2.10. 

'^ The parts for the concertino Viola I and II were not likely doubled. 

Although Torelli may well have intended a larger viola ripieno section, the 

extra parts may have been lost. 

°° Schnoebelen, "Performance Practices," page 39-

««Ibid., page 40. 

^'Ibid., page 41. 

°^ A former catalogue number appears at least once on each composition, and 

denotes the old box number where the manuscript was stored until the instrumental music in the archive was rearranged by the archivist, Sergio Paganelli. 

Most of the manuscripts were stored in the boxes numbered L.I.T., L.2.T., L.3.T., 

L.14.A, L.I5.A, and L.16.A. In the old numbering, "T" was used to indicate 

that the composition was originally grouped among the works of Torelli; "A" 

indicated grouping among miscellaneous composers. 

''"Giegling, Giuseppe Torelli, pages 79-83. 

TM Since Torelli's autograph manuscripts exhibit two different musical hands, 

a distinction has been made between "Autograph I" and "Autograph II." Sergio 

Paganelli is preparing a detailed study of the several copyists of music active at 

San Petronio during the time of Torelli. Therefore, individual copyists are not 

distinguished in this table. 
Selected Bibliography 

Ady, Cecilia M. The Bentivoglio of Bologna. London: Oxford University Press, 

1937. 

Altenburg, Johann Ernst. Versuch einer Anleitung zur Trompeter- and PaukerKunst. Halle: J. C. Hendel, 1795. 

Arnold, Denis. "Brass Instruments in the Italian Church Music of the Sixteenth 

and Early Seventeenth Centuries." Brass Quarterly, volume 1 (December 

1957), pages 81-92. 

Baines, Anthony. 'Woodwind Instruments and their History. New York: W. W. 

Norton, 1963. 

Banchieri, Adriano. L'Organo suonarino. Venetia: Alessandro Vincenti, 1611. 

Bate, Philip. The Oboe. London: Ernest Benn Ltd., 1962. 

. The Trumpet and Trombone. London: Ernest Benn Ltd., 1966. 

Berardi, Angelo. Miscellatiea Musicale. Bologna: Giacomo Monti, 1689. 

Berger, Jean. "Notes on Some 17th-Century Compositions for Trumpets and 

Strings in Bologna." Musical Quarterly, volume 37 (July 1951), pages 

354-367. 

BessarabofF, Nicholas. Ancient European Musical Instruments. Cambridge: 

Harvard University Press, 1941. 

Bologna. Archivio della Fabbriceria di San Petronio. "Funzioni straordinarie in 

San Petronio," number 1, 1674-1767. 

. "Liste e Ricevute, Filze di Cassa.' 

. "Mandati mensili." 

. "Memorali di diversi musici della Chiesa di S. Petronio, Suonatori." 

Bonta, Stephen. "The Uses of the Sonata da Chiesa." Journal of the American 

Musicological Society, volume 22 (spring 1969), pages 54-84. 

Boyden, David P. "When Is a Concerto Not a Concerto?" Musical Quarterly, 

volume 43 (April 1957), pages 220-232. 

. The History of Violin Playing. London: Oxford University Press, 

1965. 

Brenzoni, Raffaello. "Giuseppe Torelli musicista Veronese." Note d'Archivio 

per la Storia Musicale, volume 13 (January-April 1936), pages 22-37. 

Brossard, Sebastien. A Musical Dictionary. New York: Broude Brothers, 1966. 

[Facsimile of London 1740 edition.] 

Bukofzer, Manfred F. Music in the Baroque Era. New York: W. W. Norton, 

1947. 

61 
62 SMITHSONIAN STUDIES IN HISTORY AND TECHNOLOGY 

Burns, Joseph A. "The Organs of San Petronio, Bologna.'' The Organ, volume 

40 (April 1961), pages 191-195. 

Busi, Leonida. // Padre G. B. Martini. Bologna: Nicola Zanichelli, 1891. 

Caffi, Francesco. Storia della Musica sacra nella gia Capella Ducale di S. Marco 

in Venezia dal 1387 al 1797. Venezia: G. Antonelli, 1854-1855. 

Cherry, Norman. "A Corelli Sonata for Trumpet, Violins, and Basso Continuo." 

Brass Quarterly, volume 4 (spring 1961), pages 103-120. 

Damerini, Adelmo. "Maurizio Cazzati." Die Musik in Geschichte und Gegenwart, volume 2 (1952), pages 941-944. 

Donnington, Robert. "James Talbot's Manuscript." The Galpin Society Journal, 

volume 3 (March 1950), pages 27-45. 

Eisel, Johann P. Musicus avrodidakros. Erfurt: J. M. Funck, 1738. 

Enrico, Eugene J. "Giuseppe Torelli's Music for Instrumental Ensemble with 

Trumpet." PhD dissertation, University of Michigan, 1970. 

Fantini, Girolamo. Modo per imparare a sonare di tromba tanto di guerra. 

Francofort: D. Vuastch, 1638. 

Fetis, F. J. Biographie universelle des musiciens . . Second edition, 8 volumes. 

Paris: Librairie de Firmin-Didot, 1878. 

— . Notice of Anthony Stradavari. Translated by John Bishop. London: 

Robert Cocks & Co., 1864. 

Frati, Lodovico. "Musicisti e cantanti bolognesi del settecento." Rivista Musicale 

Italiana, volume 21 (1914), pages 189-203. 

. "Per la storia della musica in Bologna del secolo XVII." Rivista 

Musicale Italiana. volume 32 (1925), pages 544-565. 

Gaspari, Gaetano. "Miscellanea musicale, tomo S. Petronio, VV 12*." Manuscript, 

Bologna, Civico Museo Bibliografico Musicale. 

— •—, editor. Catalogo della biblioteca musicale G. B. Martini di Bologna. 

4 volumes. Bologna: A Farni, 1961. 

Gasparini, Guido, editor. "Citta di Bologna, Archivio di S. Petronio." Volume 

2 in series 2 of Catalogo delle opera musicale. Parma: Officina Grafica 

Fresching, 1914-1939. 

Gatti, Angelo. La Basilica Petroniana. Bologna: Paolo Neri, 1913. 

Giegling, Franz. Giuseppe Torelli. Kassel: Barenreiter Verlag, 1949. 

Hamma, Walter. Meister Italienischer Geigenbaukunst. London: Novello and 

Co., 1964. 

Hill, W. H., A. F., and A. E. Antonio Stradavari. New York: Dover Publications, 1963. 

Hutchings, Arthur. The Baroque Concerto. New York: W. W. Norton, 1961. 

Jalovec, Karel. Italian Violin Makers. London: Anglo-Italian Publications Ltd., 

n.d. 
NUMBER 3 5 6 3 

Klenz, William. Giovanni Maria Bonocini of Modena. Durham: Duke University Press, 1962. 

Langwill, Lindsay G. The Bassoon and Contrabassoon. New York: W. W. 

Norton, 1965. 

Lesure, Frangois, editor. Recueils imprimis, XV111° Steele, repertoire international des sources musicales. Munich: G. Henle, 1964. 

Marcuse, Sibyl. Musical Instruments, A Comprehensive Dictionary. Garden City, 

N.Y.: Doubleday and Co., 1964. 

Mishkin, Henry G. "The Italian Concerto before 1700." Bulletin of the American Musicological Society, volume 7 (1943), pages 20-21. 

. "The Solo Violin Sonata of the Bologna School." Musical 

Quarterly, volume 29 (January 1943), pages 92-112. 

Morini, Nestore. La Accademia Filarmonica di Bologna. Bologna: L. Capelli, 

1930. 

Muzzi, Salvatore. Annale della citta di Bologna della sua origine al 1796. 8 

volumes. Bologna: S. Tommaso D'Aquino, 1840-1846. 

Nelson, Sheila M. The Violin and Viola. London: Ernest Benn Ltd., 1972. 

Newman, William S. The Sonata in the Baroque Era. Chapel Hill: University 

of North Carolina Press, 1959. 

Norton, Richard Edward. "The Chamber Music of Giuseppe Torelli." PhD dissertation. Northwestern University, 1967. 

Paole, Rodolfo. "Giovanni Palo Colonna." Die Musik in Geschichte und Gegenwart, volume 2 (1952), pages 1565-1566. 

Praetorius, Michael. Syntagma musicum. Volume 2. Wolfenbuttel: Elias 

Holwein, 1619. 

Quantz, J. J. On Playing the Flute. Translated by Edward R. Reilly. New York: 

The Free Press, 1966. 

Roda, Joseph. Bows for Musical Instruments of the Violin Family. Chicago: 

Wilham Lewis & Sons, 1959. 

Sachs, Curt. The History of Musical Instruments. New York: W. W. Norton, 

1940. 

Sartori, Claudio. Bibliografia della musicale strumentale Italiano. Firenze: 

Leo S. Olschki, 1952. 

. "Bologna." Die Musik in Geschichte und Gegenwart, volume 2 

(1952), pages 85-95. 

Schering, Arnold. Geschichte des Instrumentalkonzerts bis auf die Gegenwart. 

Leipzig: Breitkopf & Hartel, 1905. 

Schlossberg, Arthur. Die italienische Sonata fiir mehrere Instrumente im 17. 

Jahrhundert. Heidelberg: Heidelberger Smdien, 1932. 
64 SMITHSONIAN STUDIES IN HISTORY AND TECHNOLOGY 

Schnoebelen, Anne. "The Concerted Mass at San Petronio in Bologna, ca. 1660— 

1730: A Documentary and Analytical Smdy.'' PhD dissertation. University 

of Illinois, 1966. 

Schnoebelen, Anne. "Performance Practices at San Petronio in the Baroque." 

Acta Musicologica, volume 41 (January-June 1969), pages 37-55. 

Smithers, Don L. The Music and History of the Baroque Trumpet before 1721. 

Syracuse, N.Y.: Syracuse University Press, 1974. 

Speer, Daniel. Unterricht der musicalischen Kunst. Ulm: Georg Wilhelm 

Kuhne, 1697. 

Tosi, Pierfrancesco. Opinioni de' cantori antichi, e moderni. Bologna: L. dalla 

Volpe, 1723. 

Ubertalli, P. Il San Petronio di Bologna. (Volume 16 of L'ltalia Monumentale.) 

Milano: E. Bonomi, 1911. 

Van Nuys, Robert Copeland. "The History and Namre of the Trumpet as 

Applied to the Sonatas of Giuseppe Torelli." DMA dissertation, University 

of Illinois, 1969. 

Vatielli, Francesco. Arte e vita musicale a Bologna. Bologna: Nicola Zanichelli, 

1927. 

. "Bologna, Musica." Enciclopedia Italiana, volume 7 (1930), pages 

341-346. 

Watts, Sanford Earl. "The Stylistic Features of the Bolognese Concerto." PhD 

dissertation, Indiana University, 1974. 

Williams, Peter. The European Organ 1430-1830. London: B. T. Batsford, 

1966. 

Zanotti, Eustachio. La meridiana de tempio di San Petronio: Si aggiunge la 

ristampa del libro pubblicato I'anno 1693. Bologna: Instimto delle Scienze, 

1779. 

Zucchini, Guido. Desegni antichi e moderni per la facciata di S. Petronio di 

Bologna. Bologna: Nicola Zanichelli, 1933. 

•i!i-U.S. GOVERNMENT PRINTING OFFICE: 1976 0—594-070