I T a L Y!!! for Centuries All the Greatest Musicians Throughout Europe (From Josquin Des Prez, Adrian Willaert, Orlando Di Lasso to Wolfgang A

Total Page:16

File Type:pdf, Size:1020Kb

I T a L Y!!! for Centuries All the Greatest Musicians Throughout Europe (From Josquin Des Prez, Adrian Willaert, Orlando Di Lasso to Wolfgang A Richie and Elaine Henzler of COURTLY MUSIC UNLIMITED Lead you on a musical journey through I T A L Y!!! For centuries all the greatest musicians throughout Europe (from Josquin des Prez, Adrian Willaert, Orlando di Lasso to Wolfgang A. Mozart and so many others) would make a pilgrimage to Italy to hear and learn its beautiful music. The focus of the day will be music of the Italian Renaissance and its glorious repertoire of Instrumental and Vocal Music. Adrian Willaert, although from the Netherlands, was the founder of the Venetian School and teacher of Lasso, and both Gabrielis. The great Orlando di Lasso (from Flanders) spent 10 years in Italy working in Ferrara, Mantua, Milan, Naples and Rome where he worked for Cosimo I di Medici, Grand Duke of Tuscany. We’ll also play works by Andrea Gabrieli (uncle of Giovanni). In 1562 Andrea went to Munich to study with Orlando di Lasso who had moved there earlier. Andrea became head of music at St Marks Cathedral in Venice. Giovanni Gabrieli studied at St. Marks with his uncle and in 1562 also went to Munich to study under Lasso. Giovanni’s music became the culmination of the Venetian musical style. Lasso returned to Italy in 1580 to visit Italy and encounter the most modern styles and trends in music. Also featured will be Lodovico Viadana who composed a series of Sinfonias with titles of various Italian cities such as Bologna, Ferrara, Florence, Rome, Padua, Parma, Mantua, Venice and more. These city states are also associated with the delicious food of Italy, some of which we’ll incorporate into the lunch offering. The day will finish with a large ensemble arrangement by Richard Geisler of several movements of Ottorino Respighi’s Suite I Ancient Dances & Arias, 1917. This includes the 2nd movement Gagliarda (c. 1550) originally composed by Vincenzo Galilei, father of his famous son, Galileo. Come join us! It would be wonderful if we could have 30 participants to celebrate th COURTLY MUSIC’s 30 anniversary of music-making. This year our Fall Workshop is kindly sponsored by the Hudson-Mohawk Recorder Society and will be held in the Albany area. We hope this location will enable many more of you to participate. Workshop Fee: $75 by 10/22/17 Late Registration: $85 Light Breakfast & Buffet Lunch included (special dietary needs can be accommodated) When: Sunday Nov.5th from 10am to 5pm Where: CARONDELET HOSPITALITY CENTER 385 Watervliet-Shaker Road Latham, NY 12110 Overnight rooms are available for $60 for those coming some distance. For information & reservations asap to [email protected] COURTLY MUSIC UNLIMITED will have music & instruments for sale To register: Please mail this form with your check (payable to Hudson-Mohawk Chapter ARS) to: Judy Pardee, 3532 E. Lydius St., Schednectady, NY 12303 Or pay online by visiting our website: www.hudsonmohawkrecorder.com Name:________________________________Address:__________________________________________ City:_______________________________State:_______________________Zip:_____________________ Phone:____________________________Email: _______________________________________________ Recorders played & will bring: __ sopranino __soprano __ alto __ tenor __ bass __ great bass __ contra level: ___Lower Intermediate/Intermediate ____Upper Intermediate/Advanced .
Recommended publications
  • Early Fifteenth Century
    CONTENTS CHAPTER I ORIENTAL AND GREEK MUSIC Section Item Number Page Number ORIENTAL MUSIC Ι-6 ... 3 Chinese; Japanese; Siamese; Hindu; Arabian; Jewish GREEK MUSIC 7-8 .... 9 Greek; Byzantine CHAPTER II EARLY MEDIEVAL MUSIC (400-1300) LITURGICAL MONOPHONY 9-16 .... 10 Ambrosian Hymns; Ambrosian Chant; Gregorian Chant; Sequences RELIGIOUS AND SECULAR MONOPHONY 17-24 .... 14 Latin Lyrics; Troubadours; Trouvères; Minnesingers; Laude; Can- tigas; English Songs; Mastersingers EARLY POLYPHONY 25-29 .... 21 Parallel Organum; Free Organum; Melismatic Organum; Benedica- mus Domino: Plainsong, Organa, Clausulae, Motets; Organum THIRTEENTH-CENTURY POLYPHONY . 30-39 .... 30 Clausulae; Organum; Motets; Petrus de Cruce; Adam de la Halle; Trope; Conductus THIRTEENTH-CENTURY DANCES 40-41 .... 42 CHAPTER III LATE MEDIEVAL MUSIC (1300-1400) ENGLISH 42 .... 44 Sumer Is Icumen In FRENCH 43-48,56 . 45,60 Roman de Fauvel; Guillaume de Machaut; Jacopin Selesses; Baude Cordier; Guillaume Legrant ITALIAN 49-55,59 · • · 52.63 Jacopo da Bologna; Giovanni da Florentia; Ghirardello da Firenze; Francesco Landini; Johannes Ciconia; Dances χ Section Item Number Page Number ENGLISH 57-58 .... 61 School o£ Worcester; Organ Estampie GERMAN 60 .... 64 Oswald von Wolkenstein CHAPTER IV EARLY FIFTEENTH CENTURY ENGLISH 61-64 .... 65 John Dunstable; Lionel Power; Damett FRENCH 65-72 .... 70 Guillaume Dufay; Gilles Binchois; Arnold de Lantins; Hugo de Lantins CHAPTER V LATE FIFTEENTH CENTURY FLEMISH 73-78 .... 76 Johannes Ockeghem; Jacob Obrecht FRENCH 79 .... 83 Loyset Compère GERMAN 80-84 . ... 84 Heinrich Finck; Conrad Paumann; Glogauer Liederbuch; Adam Ile- borgh; Buxheim Organ Book; Leonhard Kleber; Hans Kotter ENGLISH 85-86 .... 89 Song; Robert Cornysh; Cooper CHAPTER VI EARLY SIXTEENTH CENTURY VOCAL COMPOSITIONS 87,89-98 ...
    [Show full text]
  • Keyboard Playing and the Mechanization of Polyphony in Italian Music, Circa 1600
    Keyboard Playing and the Mechanization of Polyphony in Italian Music, Circa 1600 By Leon Chisholm A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Music in the Graduate Division of the University of California, Berkeley Committee in charge: Professor Kate van Orden, Co-Chair Professor James Q. Davies, Co-Chair Professor Mary Ann Smart Professor Massimo Mazzotti Summer 2015 Keyboard Playing and the Mechanization of Polyphony in Italian Music, Circa 1600 Copyright 2015 by Leon Chisholm Abstract Keyboard Playing and the Mechanization of Polyphony in Italian Music, Circa 1600 by Leon Chisholm Doctor of Philosophy in Music University of California, Berkeley Professor Kate van Orden, Co-Chair Professor James Q. Davies, Co-Chair Keyboard instruments are ubiquitous in the history of European music. Despite the centrality of keyboards to everyday music making, their influence over the ways in which musicians have conceptualized music and, consequently, the music that they have created has received little attention. This dissertation explores how keyboard playing fits into revolutionary developments in music around 1600 – a period which roughly coincided with the emergence of the keyboard as the multipurpose instrument that has served musicians ever since. During the sixteenth century, keyboard playing became an increasingly common mode of experiencing polyphonic music, challenging the longstanding status of ensemble singing as the paradigmatic vehicle for the art of counterpoint – and ultimately replacing it in the eighteenth century. The competing paradigms differed radically: whereas ensemble singing comprised a group of musicians using their bodies as instruments, keyboard playing involved a lone musician operating a machine with her hands.
    [Show full text]
  • Multiple Choice
    Unit 4: Renaissance Practice Test 1. The Renaissance may be described as an age of A. the “rebirth” of human creativity B. curiosity and individualism C. exploration and adventure D. all of the above 2. The dominant intellectual movement of the Renaissance was called A. paganism B. feudalism C. classicism D. humanism 3. The intellectual movement called humanism A. treated the Madonna as a childlike unearthly creature B. focused on human life and its accomplishments C. condemned any remnant of pagan antiquity D. focused on the afterlife in heaven and hell 4. The Renaissance in music occurred between A. 1000 and 1150 B. 1150 and 1450 C. 1450 and 1600 D. 1600 and 1750 5. Which of the following statements is not true of the Renaissance? A. Musical activity gradually shifted from the church to the court. B. The Catholic church was even more powerful in the Renaissance than during the Middle Ages. C. Every educated person was expected to be trained in music. D. Education was considered a status symbol by aristocrats and the upper middle class. 6. Many prominent Renaissance composers, who held important posts all over Europe, came from an area known at that time as A. England B. Spain C. Flanders D. Scandinavia 7. Which of the following statements is not true of Renaissance music? A. The Renaissance period is sometimes called “the golden age” of a cappella choral music because the music did not need instrumental accompaniment. B. The texture of Renaissance music is chiefly polyphonic. C. Instrumental music became more important than vocal music during the Renaissance.
    [Show full text]
  • BH Program FINAL
    MUSIC BEFORE 1800 Louise Basbas, Director Blue Heron Christmas at the Courts of 15th-Century France & Burgundy Scott Metcalfe, director and harp Jennifer Ashe, Pamela Dellal, Martin Near, Daniela Tosic Michael Barrett, Owen McIntosh, Jason McStoots, Stefan Reed, Mark Sprinkle, Sumner Tompson Cameron Beauchamp, Paul Guttry Laura Jeppesen, vielle and rebec; Charles Weaver, lute and voice Advent O clavis David (O-antiphon for December 20) plainchant Factor orbis Jacob Obrecht (1457/8 - 1505) O virgo virginum (O-antiphon for December 24) plainchant O virgo virginum Josquin Desprez (c. 1455 - 1521) Conditor alme siderum (alternatim hymn for Advent) Guillaume Du Fay (c. 1397 - 1474) Ave Maria gratia dei plena Antoine Brumel (c. 1460 - c. 1512) Christmas O admirabile commercium / Verbum caro factum est Johannes Regis (c. 1425 - 1426) INTERMISSION Christmas Letabundus (Christmas sequence) Guillaume Du Fay Praeter rerum seriem Adrian Willaert (c. 1490 - 1562 New Year’s Day La plus belle et doulce figure Nicolas Grenon (c. 1380 - 1456) Dieu vous doinst bon jour et demy Guillaume Malbecque (c. 1400 - 1465) Dame excellent ou sont bonté, scavoir Baude Cordier (d. 1397/8?) De tous biens playne (instrumental) Johannes Tinctoris (c. 1435 - 1511?) Margarite, fleur de valeur Gilles Binchois (c. 1400 - 1460) Ce jour de l’an voudray joie mener Guillaume Du Fay Christmas Gloria Spiritus et alme Johannes Ciconia (c. 1370 - 1412) Nato canunt omnia Antoine Brumel Tis concert is sponsored, in part, by the Florence Gould Foundation, Music Before 1800’s programs are supported, in part, by public funds from the New York State Council on the Arts with the support of Governor Andrew Cuomo and the New York State Legislature and the New York City Department of Cultural Affairs in partnership with the City Council.
    [Show full text]
  • A Musical Correspondence from the Time of Philip II
    Ignace Bossuyt 0 socii durate A musical correspondence from the time of Philip II ANTOINE Perrenot de Granvelle (1517-86) was painted by, among others, Titian, Antonio Moro one of the most fascinating personalities to have and Leone Leoni. patronized the arts in the second half of the 16th cen- Music, too, meant much to him, as is apparent tury. He played a crucial role both as a prince of the from his contacts with the most prominent com- church and as a politician in the Netherlands under posers of his time. His extensive correspondence the Spanish domination. After studying at the uni- contains a wealth of hitherto unknown musical versities of Leuven (Louvain) and Padua, he became data. A systematic examination of his letters, some Bishop of Arras in 1538, aged 21 years. In 1550 he suc- of which are preserved in the Palacio Real and the ceeded his father, Nicolas Perrenot, as prime minis- Biblioteca Nacional in Madrid,' has yielded particu- ter to Charles V, King of Spain and Holy Roman larly interesting information on his relationship Emperor, and retained this post after Charles's son with two composers of international stature: Adrian Philip II became ruler of the Netherlands in 1555. Willaert (c.1490-1562), who was maestro di cappella Following Philip's return to Spain in 1559 Antoine of St Mark's in Venice between 1527 and 1562, and became first counsellor to Margaret of Parma. Op- Orlande de Lassus (1530/32-1594), a tenor at the position to him increased steadily from 1561, espe- Bavarian court in Munich from September 1556 and cially after his elevation to cardinal and archbishop Kapellmeister there from 1563 until his death in of Malines (Mechelen).
    [Show full text]
  • Carlo GESUALDO Da Venosa Madrigals Book 1 Delitiæ Musicæ • Marco Longhini
    570548 bk Gesualdo US 29/1/10 13:06 Page 12 Carlo GESUALDO da Venosa Madrigals Book 1 Delitiæ Musicæ • Marco Longhini Marco Longhini Photo: Agnes Spaak 8.570548 12 570548 bk Gesualdo US 29/1/10 13:06 Page 2 Carlo * Danzan le ninfe oneste * The honest nymphs and shepherds dance GESUALDO – Seconda parte – Part Two da Venosa (Torquato Tasso) (1566-1613) Danzan le ninfe oneste e i pastorelli The honest nymphs and shepherds dance e i susurranti augelli in fra le fronde and amid the leaves the birds softly sing THE FIRST BOOK OF MADRIGALS, 1594 al mormorar dell’onde e vaghi fiori above the murmuring water, and the Graces IL PRIMO LIBRO DE’ MADRIGALI, 1594 donan le grazie ai pargoletti amori. give pretty flowers to the little cupids. 1 Baci soavi e cari (part 1) (a, b, d, e, f) 3:36 ( Son sì belle le rose ( The roses nature gave you 2 Quanto ha di dolce amore (part 2) (a, b, d, e, f) 3:15 (Livio Celiano) 3 Madonna, io ben vorrei (a, b, c, d, f) 3:35 Son sì belle le rose The roses nature gave you 4 Come esser può ch’io viva? (a, b, c, e, f) 2:41 che in voi natura pose are as beautiful 5 Gelo ha madonna in seno (a, b, c, d, f) 2:39 come quelle che l’arte as those that art 6 Mentre madonna (part 1) (b, c, d, e, f) 2:39 nel vago seno ha sparte. has strewn on your fair breast.
    [Show full text]
  • Universiv Microtlms International 300 N
    INFORMATION TO USERS This reproduction was made from a copy o f a document sent to us for microfilming. While the most advanced technology has been used to photograph and reproduce this document, the quality of the reproduction is heavily dependent upon the quality of the material submitted. The following explanation of techniques is provided to help clarify markings or notations which may appear on this reproduction. 1.The sign or “target” for pages apparently lacking from the document photographed is “ Missing Page(s)” . I f it was possible to obtain the missing page(s) or section, they are spliced into the film along with adjacent pages. This may have necessitated cutting through an image and duplicating adjacent pages to assure complete continuity. 2. When an image on the film is obliterated with a round black mark, it is an indication of either blurred copy because of movement during exposure, duplicate copy, or copyrighted materials that should not have been filmed. For blurred pages, a good image o f the page can be found in the adjacent frame. If copyrighted materials were deleted, a target note w ill appear listing the pages in the adjacent frame. 3. When a map, drawing or chart, etc., is part o f the material being photographed, a definite method of “sectioning” the material has been followed. It is customary to begin film ing at the upper left hand comer o f a large sheet and to continue from left to right in equal sections with small overlaps. I f necessary, sectioning is continued again-beginning below the first row and continuing on until complete.
    [Show full text]
  • Music in the Pavilion: Piffaro: the Renaissance Band
    UNIVERSITY of PENNSYLVANIA LIBRARIES KISLAK CENTER Music in the Pavilion Pifaro: Te Renaissance Band September 23, 2016 Back before Bach http://www.library.upenn.edu/exhibits/music_series.html Back before Bach A Musical Journey German Popular Tunes Hildebranntslied/Es taget/Zart liep Anonymous, German, 16th c. Bagpipes, recorder, guitar, percussion Christ ist erstanden Chant traditional, 11th c. Setting à 3 Glogauer Liederbuch, c. 1480 Setting à 4 Heinrich Isaac (1450-1515) Setting à 5 Stephen Mahu (c.1490 – c.1591) Setting à 3 “auf Bergreihenweis” Johann Walther (1527-1578) Setting à 4 “ad aequales” J. Walther Chorale à 4 Michael Praetorius (1571 – 1621) Chorale BWV 276 Johann Sebastian Bach (1685 – 1750) Shawms, schalmei, sackbuts, dulcians A Jolly Song & Two Dances from Terpsichore Zu Regensburg Anonymous Philou & Ho Herders M. Praetorius Bagpipes, guitar, krumhorns, percussion A solis ortus/Christum will sollen loben schon A solis ortus Anonymous, late 15th c. Motet: Christum wir sollen loben schon à 4 J. Walther Hymnus: Christum wir sollen loben schon à 5 J. Walther Chorale: A solis ortus à 4 M. Praetorius Canzona: A solis ortus à 4 Samuel Scheidt (1587 – 1684) Chorale: Christum wir sollen loben schon à 4 J.S. Bach Recorders, harp Dances from Terpsichore Passameze à 6 M. Praetorius Allemande S. Scheidt Volta M. Praetorius Shawms, sackbuts, dulcian, percussion Intermission Te World of Chromaticism Musica, Dei donum optimi Orlande de Lassus (c.1532 – 1594) Carmina chromatico: Prologue de Lassus Mirabile mysterium Jakob Handl (1550 – 1591) Steht auf, ihr liebe Kinderlein Kile Smith (b. 1956) Shawms, sackbuts, dulcians A Song from Andernach along the Rhine Tander naken Jakob Obrecht (1450 – 1505) Tanndernac Antoine Brumel (c.
    [Show full text]
  • Music for Viols Medieval Music for Recorder
    MUSIC FOR VIOLS MUSIC FOR VIOLS JOHN COPRARIO (c1575-1626) - Fantasia No. 3 in C Major JOHN JENKINS (1592-1678) - Pavan in D Minor - Fantasy No. 6 in F Major HENRY DUMONT (1610-64) – Allemanda Gravis `a 4 violes CLIVE LANE – Air MICHAEL PRAETORIUS (1571-1621) – Terpsichore, Ballet RICHARD MICO (1590-1661) – Fancy No. 6 in F Major CLIVE LANE – Variations on ‘Barbara Allen’s Cruelty’ RENAISSANCE MUSIC FOR RECORDER CONSORT Viol Consort – treble viol - Susan Christie; tenor viol - Clive Lane; ANTHONY HOLBORNE (d 1602) - Pavan – Galliard tenor viol - John Cunningham; bass viol - Jane Grimm; (The Fairie-round) – The Honeysuckle - Galliard theorbo Bernard Williams MEDIEVAL MUSIC FOR RECORDER CONSORT MUSIC BY HENRY PURCELL (1659-95) Trotto (Italian 14th century) – Virgo rosa (Gilles Binchois) – Jongleurs Two in one upon a ground (John Rimmer) alto recorders – Eleanor McIver, Carroll Morgan ground – Annabelle McIver recorders – Susan Christie, Jude Huxtable, Carroll Morgan, Tony Tenney, Anna Vale I CANTARINI RENAISSANCE MUSIC FOR RECORDER CONSORT GIACHES DE WERT (1535-96) – Vessozi augelli WILLIAM BRADE - Almand – A Scottish Dance - Allmand CLAUDIO MONTEVERDI (1574-1643) – Ecco mormorar l’onde ADRIAN WILLAERT (c1490-1562) – Occhi piangete I CANTARINI A. SCARLATTI (1660-1725) – Sdegno la fiamme estinse The Choir PETER PHILLIPS (1561-1628) – Scherza madonna e dice Soprano: Eleanor Gilkes, Samantha Cobcroft, Coralie Le Nevez — REFRESHMENTS — Tenor: Don Nicholson, John Cunningham Bass: Ian Butler, Michael Johnson Theorbo: Bernard Williams — INTERVAL
    [Show full text]
  • MUH 6671, Seminar in Renaissance Music, Spring 2020 T Periods 7 - 9 (1:55–4:55 Pm)
    Jennifer Thomas University of Florida 1 MUH 6671, Seminar in Renaissance Music, Spring 2020 T Periods 7 - 9 (1:55–4:55 pm) The Long Venetian Century ca. 1500-1650 Overview The iconic piazza of San Marco has recently been before us as twenty-first- century Venice threatens to sink into the lagoon from which it arose when refugees fled from invaders, by at least the fifth century. Gentile Bellini - Procession in St. Mark's Square (Galleria dell'Accademia, Venice) Situated at the intersection of East and West, Venice became a military, political, commercial, and cultural power in its own right. Insular by design, Venice experienced a unique Renaissance, marking the early modern world with its own democratic, cosmopolitan perspective. Humanist, technologically-pioneering Venice invented a particular face of modernity, drawing international travelers in the sixteenth-century just as it does today. Music, drama, and ceremony played out in Venice’s piazzas, churches, and courts, and its publishing houses disseminated music more widely than ever before. Musical genres, including madrigal, laude, motet, mass, and opera, hint at Venice’s visual and aural splendor. The seminar will begin with the humanist cultural milieu at the turn of the 16th century, when Petrucci began to print polyphonic music, permanently transforming ideas of ownership and authorship, and conclude with the birth of the new genre of opera in the early 17th century. Canonic composers such as Adrian Willaert, Cipriano de Rore, Claudio Monteverdi, and Alessandro and Giovanni Gabrieli, as well as less- famous contemporaries, allow us to consider ideas about musical style and its change over time and the development of new genres and musical media.
    [Show full text]
  • The Secular Latin-Texted Works of Adrian Willaert
    University of Connecticut OpenCommons@UConn Doctoral Dissertations University of Connecticut Graduate School 5-12-2015 The ecS ular Latin-Texted Works of Adrian Willaert Jonathan Harvey University of Connecticut - Storrs, [email protected] Follow this and additional works at: https://opencommons.uconn.edu/dissertations Recommended Citation Harvey, Jonathan, "The eS cular Latin-Texted Works of Adrian Willaert" (2015). Doctoral Dissertations. 798. https://opencommons.uconn.edu/dissertations/798 The Secular Latin-Texted Works of Adrian Willaert Jonathan Wil Harvey, DMA University of Connecticut, 2015 Abstract In addition to a large body of extant works including masses, hymns, psalm settings, motets, chansons, madrigals, canzone villanesche, and instrumental ricercares, sixteenth-century composer Adrian Willaert (1490 – 1562) also wrote nine settings of secular Latin texts. These nine works can be divided into three categories: five civic motets (Adriacos numero, Haud aliter, Inclite Sfortiadum princeps, Si rore Aonio, and Victor io salve); three settings of excerpts from Virgil’s Aeneid (O socii and two settings of “Dulces exuviae”); and one unique, enigmatic outlier (Flete oculi). These pieces are rarely considered in the existing literature, and many scholars conflate the two “Dulces exuviae” settings as a single work. The texts of six of the nine pieces have never been translated into English before. This study examines these nine pieces through their text, musical material, and cultural-political background in order to determine their function and context. The first chapter of this study consists of a brief summary of Willaert’s life and an examination of the extant sources of his work. In the next chapter, I discuss the genre of the civic motet and examine Willaert’s five contributions to it.
    [Show full text]
  • Polychoral Culture at San Marco in Venice
    SINGING THE REPUBLIC: POLYCHORAL CULTURE AT SAN MARCO IN VENICE (1550-1615) Masataka Yoshioka, B.A., M.A. Dissertation Prepared for the Degree of DOCTOR OF PHILOSOPHY UNIVERSITY OF NORTH TEXAS December 2010 APPROVED: Bernardo Illari, Major Professor Graham Phipps, Minor Professor Margaret Notley, Committee Member Eileen M. Hayes, Chair of the Division of Music History, Theory, and Ethnomusicology Lynn Eustis, Director of Graduate Studies in the College of Music James C. Scott, Dean of the College of Music James D. Meernik, Acting Dean of the Robert B. Toulouse School of Graduate Studies Yoshioka, Masataka. Singing the Republic: Polychoral Culture at San Marco in Venice (1550-1615). Doctor of Philosophy (Musicology), December 2010, 262 pp., 3 tables, 69 examples, appendices, references, 154 titles. During the late sixteenth and early seventeenth centuries, Venetian society and politics could be considered as a “polychoral culture.” The imagination of the republic rested upon a shared set of social attitudes and beliefs. The political structure included several social groups that functioned as identifiable entities; republican ideologies construed them together as parts of a single harmonious whole. Venice furthermore employed notions of the republic to bolster political and religious independence, in particular from Rome. As is well known, music often contributes to the production and transmission of ideology, and polychoral music in Venice was no exception. Multi-choir music often accompanied religious and civic celebrations in the basilica of San Marco and elsewhere that emphasized the so-called “myth of Venice,” the city’s complex of religious beliefs and historical heritage. These myths were shared among Venetians and transformed through annual rituals into communal knowledge of the republic.
    [Show full text]