Missa cum Tympanis

The Missa cum Tympanis is a sacred work written by Antonio Eros Negri for a decidedly interesting ensemble, both in terms of constitution and choreography. A full ensemble requires a choir of a size commensurate with the number and nature of the instruments involved; it is at the conductor's discretion to use a reduced choral ensemble in some sections. Partial or full solo performance is also possible. The harp and organ parts are coincident. If a positive and a double harp were to be used, the performers would have to divide up the tasks in a similar way to the performance of a seventeenth-century basso continuo, respecting the expressive and structural characteristics of the score, taking into account that the notes not included in the extension of the organ would have to be played by the harp (in any case the nature, state and arrangement of the chords would not be modified). The use of two modern harps will facilitate the problems arising from chromaticism and enhance the tonal peculiarities of the composition. If you have a large organ, take care to favour the non-simultaneous use of wide or medium-sized 8' basses (bordone or flute in the more intimate moments, main as a rule); limit the use of mutations, reeds or fillings to the most appropriate moments. The line called subbass can be played simultaneously by the pedal (not necessarily with the same register) and by one or more contrabass instruments (preferably strings or woodwind). The contrabass clarinet, double bass and contrabassoon are particularly suitable for this purpose. Care should always be taken to plan a varied and articulated use of these instruments, reserving all of them only for the necessary moments. The timpani are used with a wide extension including many sounds; it would be ideal for intonation (and for visual impact) to use a boiler for each sound, but if necessary a smaller number of pedal boilers can be used. If necessary, octave transposition of unavailable sounds should be used. The tubular bells can replace larger instruments, which are difficult to find but have a better sound and choreography. The double reed quartet (oboe, English horn and two bassoons) may be accompanied or, if necessary, replaced by a single reed quartet including two bass clarinets. Care should be taken to arrange the entire ensemble in a polychoral manner, with a good distance between the groups; it is preferable to divide the choir into two or more complete, symmetrical and widely spaced groups. In any case, the maximum reduction of the ensemble should include (in addition to the four voices) harp or organ, timpani and bells.