THE MUSICAL LIFE OF THE CATHEDRAL OF SAVONA
Proof of musical life of the Cathedral of Savona can be found from the late middle Ages, when the Cathedral was on the Priamar. News about the presence of music and instruments are shown firstly by documents, but also by the impressive portal of the medieval cathedral, now located on the inner lateral door on the left, inside the cathedral. The presence of musical instruments, including an organ, around the Virgin Mary Assumed in Heaven, testifies a real consideration of liturgical musical practice in accordance with the customs of the contemporary cathedrals. The most outstanding proof of the consistency of the subsequent musical presence on Priamar can be presumed from the habits and the initiatives of the two Popes from Savona. Sixtus IV, who reforms and reconstitutes the choir of St. Peter’s in the Vatican that took, from him the name of “Sistine Chapel” (1473). Subsequently he established the Cappella Giulia, from where the voices for the Sistine Chapel were chosen, which was been reformed in 1512 by his nephew Julius II. The diligence demonstrated by Sixtus and Julius to musical life and to the construction of the organs in Avignon, Savona and in the places where they operated, testifies a strong attention and a well-established familiarity to the liturgical music in their city of origin. In fact, historical reports from various personalities of the Renaissance in Savona, testify the extremely high reputation of the polyphonic sung liturgy in the Cathedral of Priamar. Well known for the picturesque location and architecture overlooking the sea, the Cathedral is therefore famous, also for the quality of liturgical music.
THE CHAPEL OF MUSIC “BARTOLOMEO DELLA ROVERE”
The Chapel “Bartolomeo Della Rovere”, sometimes called “Choir” in the documents, has actually experienced the events and the employees of other European musical institutions, gaining orchestral instruments, and counting leading figures in the Italian scenario, both as directors and organists, salaried by the city municipality at the time. Among the personalities who worked in the chapel are Vincenzo Ruffo in the years 1542/43, L. Mariani from Lucca, L. Lamberti and A. Forzano. Passing unchanged through the confiscations of the new-born Unitary State, in 1903 the musical complex lost the orchestral sector as a result of liturgical reforms, and faced a period of uncertainty and crisis. In 1920 the designation of Maestro Attilio Acquarone as the choir director, resulted in a substantial and progressive rebirth of the musical complex, increasing the staff and allowing women’s voices to join the choir; this happened in the context of a general reform of local musical life, characterised by the construction of new organs culminated with the great Mascioni’s organ in the cathedral, built in occasion of the 400th anniversary of the apparition of Our Lady of Mercy.
After the interlude of the 2nd World War, during which choir activity was suspended due to the dramatic nature of the moment, the choir has seen a rebirth able to bring it to European events in Netherlands, Wales and Vienna, representing Italy in the Musikverein Saal Concert of Nations. In the same years (1953-54) the choir stood second (first of the Italian choirs) at the just created Competition of Arezzo.
THE DIOCESAN INSTITUTE OF SACRED MUSIC
The Diocesan Institute of Sacred Music of Savona was founded in 1971 on the initiative of Maestro Don Renzo Tassinari, with the support of Msg. Parodi, the diocesan bishop. Don Renzo Tassinari (1918 – 1978), graduated cum laude from the Pontifical Institute of Sacred Music in Rome, where he studied in the 40s and 50s, under the mentoring of F. Vignanelli, Abbot Suñol, Casimiri, Refice, Ronga. Subsequently he graduated at the Conservatory of Milan with B. Bettinelli; he put into effect the proposals of the Conference of Perugia that he attended in 1969, with the aim of the creation, in the Italian dioceses, of facilities for training operators of the liturgy.
The Institute is placed in the heart of the diocese, in the cloister of the Cathedral and in the Sistine Chapel, and since 1974, has trained numerous organists and choir directors, using qualified teachers such as E. Traverso, associate since 1978, following the death of Maestro Don Tassinari.
Endowed by the founder in 1975, of a valid and functional Mascioni organ, various tools and by the time of his dead, also a rich library and other donations, the Institute has linked its activities with the presence in the Choir “Della Rovere”, in the Cathedral, remarking its importance in the diocese linked to the Cathedral liturgy and to the Bishop.
PAOLO VENTURINO
Director and organist of the Choir “Bartolomeo Della Rovere”.
Paolo Venturino successfully graduated in organ and composition at the Conservatory of Genoa. His musical education ranged from Gregorian to contemporary music, with jazz and rock influences. Since 1985, he is performing in concerts in Italy and abroad as organist, harpsichordist, pianist, voice soloist and conductor.
