Masses by Giovanni Francesco Capello, Bentivoglio Lev, and Ercole

Seventeenth-Centur,y Italian Sacred Music In Twenty-Five Volumes General Editor ANNE SCHNOEBELEN Riee University This page intentionally left blank VOLUME 2 Masses by Giovanni Francesco Capello Amadio Freddi Ercole Porta Ignazio Donati Edited with an Introduction by ANNE SCHNOEBELEN First published by Garland Publishing, Ine. This edition published 2013 by Routledge Routledge Routledge Taylor & Franeis Group Taylor & Franeis Group 711 Third Avenue 2 Park Square, Milton Park NewYork, NY 10017 Abingdon, Oxon OXI4 4RN Routledge is an imprint 0/ the Taylor & Francis Group, an informa business Copyright © 1995 by Anne Schnoebelen All rights reserved Library of Congress Cataloging-in-Publication Data Masses / by Giovanni Francesco Capello ... [et al.]; edited with an introduction by Anne Schnoebelen. 1 score. - (Seventeenth-century Italian sacred music ; v. 2) For 3 (1st work), 5 (2nd-3rd works), and 5 or 6 (4th work) voices with instrumental ensemble (1st 3 works) or continuo (4th work). Latin words. Inc1udes bibliographical references. Contents: Missa ad votum: from Motetti et dialoghi a cinque, sei, sette, et otto, con sinfonie, ritomelli et una messa nel fine, il tutto variamente concertato, con voci, & istromenti-opera settima / Giovanni Francesco Capello -Messa a cinque voci : From Messa vespro et compieta a cinque voci col suo basso continuo aggiuntovi un violino, & cometo per le sinfonie, & per li ripieni / Amadio Freddi - Missa secundi toni : from Sacro convito musi cale omato di varie, et diverse vivande spirituali auna, due, tre, quattro, cinque, & sei voci / Ercole Port~ - Messa a5 & a6 in concerto : From Messa a quattro, cinque, et sei voci parte da capella, e da concerto, con il basso per l'organo / Ignazio Donati. ISBN: 0-8153-2167-8 (v. 2) 1. Masses-Scores. I. Capello, Giovanni Francesco, fl. 1610- 1619. II. Schnoebelen, Anne. m. Series. M2010.M39 1995 95-32691 Contents General Introduction vü Editorial Methods 1X Introduction to this Volume Xl 1. Giovanni Francesco Ca.pello, "Missa ad votum" from Motetti et dialoghi acinque, sei, sette, et otto, con sinfonie, ritornelli et una messa nel fine. 11 tutto variamente concertato, con voci, & istromenti . .. .Opera Settima (Venice: Giacomo Vincenti, 1615) 1 2. Amadio Freddi, "Messa a cinque voci" from Messa vespro et compieta acinque voci colsuo basso continuo aggiuntovi un violino, & corneto per le sinfonie, & per li ripieni (Venice: Ricciardo Amadino, 1616) 37 3. Ercole Porta, "Missa secundi toni" from Sacro convito musicale ornato di varie, et diverse vivande spirituali auna, due, tre, quattro, cinque, & sei voci (Venice: Alessandro Vincenti, 1620) 103 4. Ignazio Donati, "Messa a 5. & a 6 in concerto" from Messe aquattro, cinque, et sei voci parte da capella, e da concerto. Con il basso per l'organo (Venice: Alessandro Vincenti, 1622; reprint of 1626) 203 v This page intentionally left blank General Introduction Sacred music constitutes the largest gap in our present progressing to works for three and four choirs. The vol understanding of seventeenth-century Italian music. umes of motets present individual works from the most Scholarly interest has focused largely on secular music significant collections printed in the first half of the cen opera and monody-where remarkable stylistic innova tury, arranged according to composer, with special em tions appeared that would form the foundation of mod phasis on the motets of Alessandro Grandi. ern music. With the exceptions of Laurence K. J. Feininger's publications of Roman polychoral music Included in this series are other weIl-known composers: (Monumenta and Documenta Liturgiae Polychoris, 1947- Banchieri, Viadana, Grandi, Rigatti, Rovetta, Legrenzi, 1975), and various editions ofMonteverdi's sacred music, Cavalli, Cazzati, Bassani, and Graziani. Also represented Italian sacred music has yet to appear in significant are lesser-known figures, many considered major com modem editions. Nevertheless, it was in church music posers by their contemporaries, whose names have been that many of the most important innovations in musical obscured by time and the unavailability of seventeenth style were widely adapted and disseminated. Church century sacred music in modem publications. composers throughout ltaly embraced the features that define seventeenth-century music: concertato style, reci The wide geographical distribution of the composers tative and monody, basso continuo, the emphasis on solo represented is often visible from title pages or dedica voices, virtuoso omamentation, and coloristic combina tions. They come not only from major churches and tions of voices and instruments. cathedrals but also from small parish churches, monas teries, convents, and oratorios, most but by no means all This series presents a large selection of ltalian sacred in northem and central Italy. While opera and cantata music scored from printed part-books, works whichhave were directed to relatively small aristocratic and wealthy not been published in modem editions. Its twenty-five audiences, church music touched the lives of all Italians. volumes are divided as follows: It was through the normal activities of worship-liturgy, 1-10: Music for the Ordinary of the Mass, 1600- devotional exercises, processions, public ceremonies 1700, edited by Anne Schnoebelen. that the new styles and techniques were spread through 11-20: Music for Vespers and Compline (psalms, out ltaly. But printed music also reflects the older stile canticles, hymns, and antiphons), 1600-1700, edited by antico, modified to suit contemporary taste, which held a Jeffrey Kurtzman. significant place in churchmusic through the century and 21-25: Motets, 1600-1650, edited by Jerome is represented in this series as weIl. Roche and Elizabeth Roche. Generally speaking, the motet was the first genre in Each series is organized to display its genre best. Mass which the church composer experimented with the new settings are presented in chronological order (with ad styles. Motet texts, though Often drawn from liturgical justments for volume lengths). The volumes of Vesper sources, were not fixed elements in the liturgy. Thus they and Compline music are arranged according to the num offered more scope to the composer's imagination, espe ber of principal voices, chronologically within each vol cially in the new, more intimate solo, duet, and trio ume, beginning with works for one and two voices, textures, which were particularly weIl suited to expres- vii sive words. However, modem compositional techniques large, many-voiced ceremonial works with instruments, also appeared in Vesper psalms and Magnificats, espe the repertory presented here reveals the great variety of cially those published in what were principally motet forms, styles, timbres, and textures that Italians heard on books. The mass remained the most conservative of the Sundays and major feasts. With these volumes we can three genres, though by the decade 1610 to 1620 it too begin to understand the importantrole of sacred music in began to show modem tendencies: use of instruments, the development and dissemination of Italian Baroque few-voiced textures, and solo-tutti contrasts. musical style. The works presented in this series can only hint at the A final word: we note here with sorrow the untimely immense quantity of sacred music published in the years death of our esteemed colleague Jerome Roche (1942- 1600 to 1700. Though masses and motets were the tradi 1994) of the University of Durham, whose pioneering tional core of sacred music, it is the repertory of Vesper work on ltalian sacred music from the first half of the psalms, already developing by mid-sixteenth century, seventeenth century, and onmotets in particular, is semi that forms the largest number of publications. Prints nal to this project. His passing is an inestimable loss to containing Vesper psalms and Magnificats would sur seventeenth-century music scholarship. Fortunately his pass the numberofpublications formasses andmotets by research and his contribution to this series are being the first decade of the seventeenth century. About this carried on by Elizabeth Roche, his wife and collaborator time it became common for mass and Vespers to appear of many years. in a single print, sometimes including motets as weIl, intended for liturgical events to be performed on a single festive occasion. Masses were also published in generic Anne Schnoebelen collections of works by a single composer, or in combina tion with motets, psalms, and concerti ecclesiastici. Occa General Editor sionally instrumental canzonas or sonatas were included in prints containing masses or Vesper music, undoubt edly intended to be inserted into the liturgy. In addition to appearing in mass and Vesper publications, motets were printed in collections by a single composer or in anthologies of many composers' works. Single-com poser motet collections not infrequently include a litany or mass at the end of the volume. As the wealth of vocal and instrumental resources in creased, composers and publishers strove to present flexible performance possibilities in order to attract as many buyers as possible: for example, voices labeled "Canto 0 Tenore"; instructions on how to use voices and instruments in various combinations. Separate instru mental parts were often marked "si placet." Optional vocal and instrumental ripienos were offered that could increase the size of a work, for instance, from three to seven parts if local resources allowed, but would still be musically

Load more