Vocal embellishment in 18th-century Naples: solfeggio patterns in pre-composed cadenzas in sacred pieces by Gennaro and Gaetano Manna

Abstract

Abstract The last 20 years have been crucial for 18th-century musicology. Robert Gjerdingen’s studies have focused on a key feature of 18th-century music that has completely changed our understanding of the Baroque repertory: schematic thinking. Yet discovering its traces still constitutes a demanding task. This article aims to contribute to and broaden this field of research by analysing a particular group of 18th-century Neapolitan manuscripts of sacred music through the lens of solfeggio. Related scores for the use of individual interpreters include summary annotations of pre-composed vocal cadenzas, perhaps added by the singers themselves. If analysed through solfeggio theory, it appears that these are built over simple solfeggio patterns, suggesting that early 18th-century Neapolitan vocal improvisation was conceived schematically. The article will substantiate this claim through three case studies in the form of sacred compositions by Gennaro and Gaetano Manna: ‘Et vos inferni furiae’, ‘O quam silva’ and the Oratorio a 4 per i morti (1770).