Small Christmas cantata

The Piccola cantata natalizia for soprano and organ by Roberto Mucci, titular organist at the Basilica di S. Maria Maggiore in Bergamo.

NOTES FOR ORGAN RECORDING
When writing the piece, the focus was on a symphonic-eclectic instrument of medium/large size, with three
keyboards (arranged in the Italian tradition, i.e. with the G.O. at the central keyboard), with a discrete
set-up of devices; nevertheless - by means of judicious expedients - the composition can be performed with
good success even on smaller instruments.

For the correct colour interpretation of the page, please note that the variations in the registration are indicated
with the most popular cryptography, where 'G' stands for 'Fixable' followed by a number indicating which
adjustable invoke (these indications are drawn up with a console equipped with five adjustables in mind,
considered to be the most common).

In the case of instruments that are more involuted in terms of the above-mentioned technical possibilities, it will be a matter of rigour to
the assistance of one or two registrants who shall carry out the requested variations in a manner that does not alter
drastically the colouristic effect of the various sections.

For additional dynamic indications, NOT corrected by specifications on registers, three possibilities are given:
- If the effect is sufficient, these variations (crescendo or diminuendo) are to be realised by using
of the expressive box;
- If the above expedient is not sufficient to create a convincing acoustic result, then we
address the addition (in the case of crescendo) or subtraction (in the case of diminuendo) of registers timbrally
homogenous to the current combination, so as to balance the dynamic need in question and the
maintaining the colour-base of the section;
- Where the opportunity arises - i.e. where a gradual dynamic oscillation is required - it is best to opt for
for a combined use of the two aforementioned stratagems.
Additions of registers for crescendo effects may also be made with the graduator (with or without
the contemplative aid of the expressive case), excluding - by means of the cancellers - the
strong reeds of the G.O. (which must never be taken into account throughout the entire composition).
In particular and by way of example:
- the crescendo leading into a fortissimo in bars 60 c ff. 60 c ff. (with superscript in bars 70 c 71) shall not include
that registers 8' and 4' (including the Oboc and possibly some other sweet reeds from the auxiliary manuals):
-the other crescendo (represented, in this case, by 'terraces', which must nevertheless be realised without edges
live) concerning the section opening from bat. 107, may usefully, in the superscript, include some
stuffing registry (as indicated in partitura at bat. 119 ff.), but preferably NOT that of the G.O.. If for
for various reasons the use of this composite register is indispensable, it will be used only for bars 119 and
120, before returning to a less acute colour and leaving the full scene to the singer who resumes at 121).

The registration of the pedal, given a certain dynamic diversity between one manufacturer and another in the association
register/intensity of sound, is to be considered non-exhaustive. Also, more radically, the choice of a capped or a
open will be evaluated in order to obtain a depth in the bass that will hold up well to the rest of the instrumental,
taking only partial account of what is indicated in the table. In general, for this composition, we could
postulate the assumption that the registration of manuals is structural, that of the accidental pedal.
Other specific notes are provided as a commentary on the summary of the adjustments.