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Spain Jaritoti. Kuwait Jayenkom. Appendix 2 contains a full list of there compositions, including identification of manuscript pieces with printed ma- teriale both extant in Koper and also likely lost from the Koper collection but preserved elsewhere. Also identified are different handwritings within the "Rigatti collection", analysed below. Most of the pieces were apparently first organised and recorded sometime in the 19th century possibly in some kind of handwritten catalogue, now lost according to alphabetical order.

The rather low numbers of most of the recorded pieces may indicate that Rigatti's compositions were among the oldest, and therefore were first to be recorded. The low numbers on the copies from other early prints on compositions by Andrea Mattioli, Gasparo Casati, Orazio Tarditi etc. This ordering or cataloguing was performed by Janez Hfler in the s.

He also compiled an unfinished manuscript catalogue which, unfortunately, remained unpublished and was unknown to the group of re- searchers at the Institute of Musicology until , when the cataloguing project was in its closing stage. The genres are indicative of the entire 17th- century manuscript collection and reflect well the practical usage of music at the Ca- thedral in the second half of the century.

It is preserved incomplete in a reduced score and two slightly different continuo parts, of which one is labelled "Theorbo". It seems that for that occasion violins were also omitted. Since the latter version is preserved only in a reduced score, it is impossi- ble to say whether the work was performed in Koper a 3 or a 8 voci. Not a single mass movement copied or adapted from the print survives complete; all such copies are preserved in reduced scores or else in incomplete sets of parts.


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The remaining four mass movements could not be identified as copies from the known extant prints of Rigatti's music. This Gloria is scored for two sopranos, tenor, bass, two violins and basso continuo.

The texts under the vocal parts are mostly missing. The score of this Gloria is followed by a Chirie a tre voci by Chinelli from p. The second large section of my list is dedicated to Rigatti's psalms. In view of the fact that other early prints were known to be part of the Cathedral's music collection they were re- corded as bought in the book of official expenses but are not now to be found there, and because most of the extant prints were saved only partially in incomplete sets of part-books, it is highly Iikely that Rigatti's compline print was in fact available to the music copyists in the second half of the 17th century.

The print was interestingly enough dedicated to Rigatti's later employer in Venice "Giovanni Francesco Morosini, Patriarca di Venetia, et Primate della Dalmatia", later Doge of Venice, descending from a family with strong Istrian connections. The least numerous section of Appendix 2, motets and antiphons, contains only seven pieces, which are all but two unidentified. Ave regina coelorim a 3 for two tenors or two sopranos, bass and instruments was copied from Rigatti's print of Salmi diversi di Compieta of not preserved in Koper and Florete flores for soprano and basso continuo was copied from Motetti a voce sola of , still extant in Koper.

A certain Andrea Morosini, possibly a relative, was in the podesta of Koper.

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The reason is perhaps that these short compositions were not as carefully labelled with the names of authors, and there are perhaps further Rigatti pieces among the dozens of anonymous manuscript motets in the Koper col- lection dating from the same period and copied by the same scribes. A11 six pieces by Rigatti are—not surprisingly — preserved complete, mostly in score i. Partitura , but also with additional parts for singers and violinists. Although nearly all of Rigatti's prints that were available in Koper for copying were issued in the s, the Koper manuscripts were written later, by the midth century at the earliest, but mostly in the last third of the century.

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I have tried to iden- tify many different handwritings and have compiled a list of seven different hands one is not secure and is indicated by a question mark who copied music by Giovanni Antonio Rigatti in Koper. I will refer to them in the following section as "scribes 1 to 7".

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With the exception of scribe 3, they remain unidentified; however, some of them were probably one or the other of the known maestri di capella or organists Antonio Tutti da Padova, Giovanni Francesco Landi or Christofo Rexais. Scribe 3 was undoubtedly Antonio Tarsia a descendent of a noble family from Koper and a fervent promoter of music at the tum of the century 31 Antonio was re- corded as a singer at the Cathedral already in , at the age of fifteen. As a nobleman he was probably taught music by a private tutor and later also by musicians at the Cathedral.

However, it would seem that he was a largely self- taught composer who learned through copying virtually hundreds of pieces by earlier and contemporary composers Gasparo Casati, Giovanni Rovetta, Giovanni Legrenzi, Natale Monferrato, Carlo Grossi and the late 17th-century composer Giovanni Battista Bassani , absorbing their style. I would date most of his transcriptions of Rigatti's music in the decades between and For Tarsia's early and later handwriting see Illustrations la and b. Personnenteil, vol.

Some- times Tarsia copied parts and left the score to be copied by another scribe. The copies by scribe 1 probably date from the fifth or sixth decades of the century and are, together with those by scribe 6 and especially 7, the earliest copies of Rigatti's music in Koper. Scribe 1 as well as scribe 7 did not use mensural or barlines as was the case with other copyists. Scribe 1 used vertical lines sporadically in the sense of sepa- rators of musical units. His manner of writing the sign for triple metre is also rather typical. On title pages he decorated the title with an ornament that is quite typical, too see examples in Illustrations 2a and b.

Scribe 1 was responsible for the first large quantity of Rigatti's music performed in Koper. Unfortunately the first composition is not preserved complete. Both were mostly copied by scribe 1 earlier , and later by Tarsia, who added missing parts or doubled others see example in Illustrations 3a and b and probably performed both works.

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The earlier set of parts for Laudate pueri by scribe 1 shows signs of heavy usage; the paper is now restored. I assume it was used principally as a reminder to Tarsia as organist. It is perhaps indicative that scribe 1 copied only mass movements and psalms, but no motets. Since the parts copied by scribe 5 are on a thicker and apparently older paper and are nearly all wom out, I believe he worked at some time between the activities of scribe 1 and scribe 3.

The majority of the parts were written by scribe 5 and show signs of practical use. The edges were apparently so worn already in the 17th century that they needed reinforcement with strips from a contemporary or older music print, apparently directly from the printer's shop and not yet cut and bound see example in Illustration 4. The next scribe with a rather distinct and easily recognisable handwriting see ex- amples in Illustrations 5 and 7 is scribe 2. His parts, scores and only fragments are present in 8 works by Rigatti in the Koper collection.