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The Emergence of the Independent Prologue and Chorus in Jesuit

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The Emergence of the Independent Prologue and Chorus in Jesuit The Emergence of the Independent Prologue and Chorus in Jesuit School Theatre c.1550–c.1700, Derived from a Comparative Analysis of Benedictine, Augustinian and Jesuit School Theatre, Lay Youth Confraternity Theatre and the Oratorio Vespertina of the Congregation of the Oratory 3 Volumes Volume I Elizabeth Anne Dyer PhD University of York Department of Music November, 2010 2 The Emergence of the Independent Prologue and Chorus in Jesuit School Theatre c.1550–c.1700, Derived from a Comparative Analysis of Benedictine, Augustinian and Jesuit School Theatre, Lay Youth Confraternity Theatre and the Oratorio Vespertina of the Congregation of the Oratory Elizabeth Dyer Abstract An examination of the developments in Benedictine, Augustinian and Jesuit school theatre during the sixteenth and seventeenth centuries reveals the Jesuits as leaders in both dramatic and musical innovations. The emergence of seventeenth- century Jesuit theatre innovations in eighteenth-century Benedictine and Augustinian school theatrical productions validates this conclusion and reveals a conduit of influence not previously articulated. While previous comparisons of Jesuit theatre main title dramas and Oratorian oratorios do not reveal a relationship, a comparative examination of the musical prologues and choruses performed within Jesuit theatrical productions and the musical works performed in the services of the Congregation of the Oratory over the period c.1550–c.1660 shows a parallel progression of development; the development of the oratorio in the oratories of the Congregation is a further demonstration of Jesuit influence during this time period. The friendship of Ignatius Loyola and Filippo Neri matured into a close relationship between the musical activities of the Society of Jesus and the Congregation of the Oratory during the sixteenth and early seventeenth centuries. The simultaneous development of the Jesuit school theatre independent prologue and chorus and the Congregation of the Oratory oratorio is one of the results of this relationship. The sacred musical works in Jesuit school theatrical productions and the services of the Congregation follow the same pathway of development and exhibit equivalent characteristics. A formal declaration restricting performance language in the Oratorian services caused the two repertoires to diverge c.1620–c.1630. A comparison of independent Jesuit theatre prologues and choruses and the oratorios performed during the services of the Congregation of the Oratory c.1640–c.1660 reveals that these two bodies of work are distinguishable from each other only by the language of the text. 3 Table of Contents Volume I Abstract.……………………………………………………………………………….2 Table of Contents.……………………………………………………………………..3 List of Illustrations.……………………………………………………………………8 Accompanying Materials.……………………………………………………………24 Acknowledgements.………………………………………………………………….24 Declaration…….……………………………………………………………………..25 Chapter 1 Overview…….……………………………………………………………27 Organisation ……………………………….………………………………...28 Procedures ………………………………………….………………………..29 Terms and Definitions …………………………………………………….…33 Sources and Materials ……………………………….………………………36 Chapter 2 Benedictine School Theatre, c.1500–c.1700 ……………………………..38 A Brief History of the Order of St. Benedictine …………………………….39 Benedictine School Theatrical Productions, c.1500–c.1599 ………………..41 Data Sample …………………………………………………………42 Performance …………………………………………………………43 Production Structure ………………………………………………...43 Dramatic Genres …………………………………………………….45 Dramatic Subjects …………………………………………………...45 Authors ……………………………………………………………...46 Composers …………………………………………………………..46 Summary and Conclusions…………………………………………..46 Benedictine School Theatrical Productions, c.1600–c.1700………………...47 Data Sample………………………………………………………….48 Performance………………………………………………………….50 Production Structure…………………………………………………56 Dramatic Genres……………………………………………………..58 Dramatic Subjects……………………………………………………64 Authors……………………………………………………………….65 Composers…………………………………………………………....67 4 Benedictine School Theatrical Productions, c.1500–c.1700………………...70 Performance………………………………………………………….70 Production Structure…………………………………………………72 Dramatic Genres……………………………………………………..73 Dramatic Subjects……………………………………………………74 Authors………………………………………………………………74 Composers…………………………………………………………...75 Chapter 3 Augustinian School Theatre, c.1500–c.1700……………………………..76 A Brief History of the Austin Friars or Hermits of St. Augustine…………...76 Augustinian School Theatrical Productions, c.1500–c.1599………………...81 Augustinian School Theatrical Productions, c.1600–c.1700………………...81 Data Sample………………………………………………………….82 Performance………………………………………………………….83 Production Structure…………………………………………………89 Dramatic Genres……………………………………………………..93 Dramatic Subjects……………………………………………………95 Authors………………………………………………………………97 Composers…………………………………………………………...98 Augustinian School Theatrical Productions, c.1500–c.1700……………….. 98 Performance………………………………………………………….98 Production Structure…………………………………………………99 Dramatic Genres…………………………………………………….100 Dramatic Subjects…………………………………………………...100 Authors……………………………………………………………...101 Chapter 4 Jesuit School Theatre, c.1535–c.1700…………………………………...102 A Brief History of the Compañía di Gesù or Society of Jesus……………...103 Jesuit School Theatrical Productions, c.1535–c.1599……………………...111 Data Sample………………………………………………………...113 Performance………………………………………………………...114 Production Structure………………………………………………..118 Dramatic Genres……………………………………………………125 Dramatic Subjects…………………………………………………..132 Authors……………………………………………………………..134 Composers………………………………………………………….136 5 Summary and Conclusion…………………………………………..138 Jesuit School Theatrical Productions, c.1600–c.1700……………………...140 Data Sample………………………………………………………...140 Performance………………………………………………………...141 Production Structure………………………………………………..145 Dramatic Genres……………………………………………………165 Dramatic Subjects…………………………………………………..193 Authors……………………………………………………………...202 Composers…………………………………………………………..204 Jesuit School Theatrical Productions, c.1535–c.1700……………………....211 Performance…………………………………………………………211 Production Structure………………………………………………...212 Dramatic Genres…………………………………………………….213 Dramatic Subjects…………………………………………………...214 Authors……………………………………………………………...215 Composers…………………………………………………………..215 Chapter 5 Benedictine, Augustinian and Jesuit School Theatre, c.1500–c.1700…...216 Performance………………………………………………………....216 Production Structure………………………………………………...217 Dramatic Genres…………………………………………………….218 Dramatic Subjects…………………………………………………...223 Authors……………………………………………………………...223 Composers……………………………………………………….….223 Conclusion……………………………………………………….….225 Chapter 6 Prelude to the Jesuit Theatre Prologue and Chorus and the Congregation of the Oratory, c.1550–c.1559 ………………………………………………..226 Society of Jesus, c.1550–c.1559 …………………………………...232 Prelude to the Congregation of the Oratory, c.1550–c.1559 ………236 Comparison, c.1550–c.1559 ……………………………………….238 Chapter 7 Development of Dramatic Elements in the Jesuit Theatre Prologue and Chorus and the Congregation of the Oratory Service Music after the Death of Loyola, c.1560–c.1595 ……………………………………………………..242 Society of Jesus, c.1560–c.1595 …………………………………....242 Congregation of the Oratory, c.1560–c.1595 …………………..…..252 6 Comparison, c.1560–c.1595 ……………………………………….256 Chapter 8 Growth of the Dramatic Dialogue in the Jesuit Theatre Prologue and Chorus and the Congregation of the Oratory Service Music after the Death of Neri, c.1596–c.1619 ……………………………………………………….260 Society of Jesus, c.1596–c.1619 …………………………………..260 Congregation of the Oratory, c.1596–c.1619 ……………………...270 Comparison, c.1596–c.1619 ……………………………………….274 Chapter 9 The Transitional Prologue and Chorus in Jesuit Theatre and the Pre-Oratorio in the Congregation of the Oratory Services, c.1620–c.1640 ……………………………………………………………..278 Society of Jesus, c.1620–c.1640 …………………………………..278 Congregation of the Oratory, c.1620–c.1640 ……………………...287 Comparison, c.1620–c.1640 ……………………………………….294 Chapter 10 Emergence of the Independent Prologue and Chorus in Jesuit Theatre and the Early Oratorio in the Congregation of the Oratory Services, c.1640–c.1660 …………………………………………………………..….299 Society of Jesus, c.1640–c.1660 …………………………………....301 Congregation of the Oratory, c.1640–c.1660 ……………………....307 Comparison, c.1640–c.1660 ………………………………………..309 Chapter 11 The Society of Jesus and the Congregation of the Oratory, c.1550–c.1660 ……………………………………………………………...313 Chapter 12 Conclusion ……………………………………………………………..321 Conclusions ………………………………………………………………...321 Significance of the Study …………………………………………………..322 Future Research ……………………………….…………………………...323 Works Cited ………………………………………………………………………..324 Volume II Table of Contents…………………………………………………………………...358 Chapter 1 Tables and Figures………………………………………………………359 Chapter 2 Tables and Figures………………………………………………………370 Benedictine School Theatrical Productions, c.1500–c.1599……………….370 Benedictine School Theatrical Productions, c.1600–c.1700……………….379 7 Chapter 3 Tables and Figures………………………………………………………405 Augustinian School Theatrical Productions, c.1500–c.1599……………….405 Augustinian School Theatrical Productions, c.1600–c.1700……………….405 Chapter 4 Tables and Figures………………………………………………………419 Jesuit School Theatrical Productions, c.1535–c.1599……………………...419 Jesuit School Theatrical Productions, c.1600–c.1700……………………...449 Chapter 7 Tables and Figures………………………………………………………542 Society of Jesus, c.1560–c.1595……………….…………………………...542 Congregation of the Oratory, c.1560–c.1595…………..………………......545 Chapter 8 Tables and Figures………………………………………………………547
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