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The Sacred Music of Baldassare Galuppi and the Mutability of Eighteenth- Century Style Keith Knop

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The Sacred Music of Baldassare Galuppi and the Mutability of Eighteenth- Century Style Keith Knop Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2004 From Venice to St. Petersburg and Back Again: The Sacred Music of Baldassare Galuppi and the Mutability of Eighteenth- Century Style Keith Knop Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] THE FLORIDA STATE UNIVERSITY SCHOOL OF MUSIC FROM VENICE TO ST. PETERSBURG AND BACK AGAIN: THE SACRED MUSIC OF BALDASSARE GALUPPI AND THE MUTABILITY OF EIGHTEENTH-CENTURY STYLE By KEITH KNOP A thesis submitted to the School of Music in partial fulfillment of the requirements for the degree of Master of Music Degree Awarded: Summer Semester, 2004 The members of the Committee approve the thesis of Keith Knop defended 24 March 2004. __________________________________ Jeffery Kite-Powell Professor Directing Thesis __________________________________ Douglass Seaton Committee Member __________________________________ Denise Von Glahn Committee Member Approved: ____________________________________ Seth Beckman, Assistant Dean for Academic Affairs, School of Music The Office of Graduate Studies has approved the above named committee members. ii To my parents. iii TABLE OF CONTENTS List of Tables............................................................................................ v List of Musical Examples.......................................................................... vi Abstract...................................................................................................vii Introduction............................................................................................. 1 Biography ................................................................................................ 5 Life ................................................................................................ 5 Works ............................................................................................17 Reputation.....................................................................................21 Latin Works .............................................................................................25 Magnificat......................................................................................26 Regina coeli....................................................................................29 Dixit Dominus................................................................................31 Et incarnatus est ...........................................................................34 Confitebor tibi................................................................................39 Russian Orthodox Works .........................................................................45 Plotiyu usnuv.................................................................................47 Slava Edinorodnyi Syn ...................................................................51 Summary and Conclusions ......................................................................54 Appendix A: Browning’s “A Toccata of Galuppi’s”......................................59 Appendix B: Comparison of Galuppi’s Division of Psalm 110 with the Vulgate...................................................................62 Bibliography ............................................................................................64 Biographical Sketch .................................................................................66 iv LIST OF TABLES Table 2.1: Galuppi, Regina Coeli, diagram of first movement......... 30 Table 2.2: Stylistic comparison of four Galuppi pieces ............. 37 v LIST OF MUSICAL EXAMPLES 2.1: Magnificat Tone V and Galuppi, Magnificat theme............. 27 2.2: Galuppi, Regina Coeli, mm. 1-2 and 10-11 .................. 30 2.3: Galuppi, Regina coeli, third movement, mm. 1-2, 22-27 ........ 32 2.4: Galuppi, Dixit Dominus, mm. 1-3.......................... 33 2.5: Galuppi, Et incarnatus est, mm. 41-45...................... 35 2.6 A: Galuppi, “La pastorella al prato,” mm. 1-12................ 38 2.6 B: Galuppi, Et incarnatus est, mm. 13-21.................... 39 2.7: Galuppi, Confitebor tibi, first movement, mm. 1-6 ............. 40 3.1: Galuppi, Plotiyu usnuv, mm. 13-15........................ 47 3.2: Galuppi, Plotiyu usnuv, mm. 45-53........................ 49 3.3: Galuppi, Slava Edinorodinyi Syn, mm. 33-47................. 53 vi ABSTRACT The Italian composer Baldassare Galuppi (1706-1785) had a profound impact on the development of opera buffa and on Venetian musical life for nearly forty years. Less widely known is the fact that he also exercised considerable influence over the development of Russian Orthodox church music in the latter half of the eighteenth century. The biography presented here pays special attention to his time spent in Russia, as this is often glossed over. Galuppi is also an interesting study because, as a member of the transitional generation that includes composers such as Pergolesi and C. P. E. Bach, his music often displays an amalgam of styles characteristic of both the Baroque and Classic eras. This is especially evident in his sacred music, and is illustrated through analysis and discussion of five Latin and two Russian Orthodox sacred works. vii INTRODUCTION The name of Baldassare Galuppi is one that tends to live in footnotes and marginalia. Although his name appears frequently in discussions of eighteenth-century music (opera in particular), his music is seldom discussed in any depth. He has attracted the attention of many Italian scholars, but the amount of material available in English remains very limited by comparision. He is, however, a far more interesting figure than his present-day status might suggest, not only because of the quality of his music, which is still largely forgotten and infrequently performed, but also because he was widely traveled and worked in so many genres, under widely varying circumstances. He was a performed opera composer at age sixteen; he held the reins of some of Venice's most important musical institutions for forty-five years; he changed the face of Russian Orthodox sacred music. Galuppi makes for a fascinating case study, not only because of his life and his accomplishments, but also because he is in many ways an ideal model of the adaptability that the times required of an eighteenth-century composer able to work in a variety of styles and to adapt to extraordinary situations. The present work will focus mostly on Galuppi's sacred music, excluding the Masses, as they have been discussed in great depth in Anthony Lawrence Chiuminatto's 1959 dissertation for Northwestern University, The Liturgical Works of Baldassare Galuppi.1 In addition to analysis of the liturgical works, Chiuminatto's study contains an extensive, if occasionally episodic, biography of Galuppi, but it also contains much information that is now dated or known to be inaccurate. 1 Anthony L. Chiuminatto, “The Liturgical Works of Baldassare Galuppi” (Ph.D. Diss, Northwestern University, 1959). 1 Several other studies of Galuppi are notable. One of these is Reinhard Wiesend's Studien zur Opera seria von Baldassare Galuppi,2 the subject of which is largely outside the scope of this thesis. It deals mostly with the sources of Galuppi's seria works and with the structure of his arias. Another is the collection Galuppiana 1985, drawn from papers given at a conference commemorating the bicentenary of Galuppi's death.3 The essays, mostly by Italian scholars, tend to focus on Galuppi's life and career in the Ospedali and on his operas. Two other sources of note, though not primarily concerned with Galuppi, are Robert-Aloys Mooser's Annales de musique et des musiciens en Russie au XVIIIme siècle4 and Marika Kuzma's dissertation on Dmitry Bortnyansky,5 both of which provide information on Galuppi's role as maestro di cappella in St. Petersburg. The first chapter of this thesis will provide a biography and examine in brief Galuppi's reputation and influence, as well as contributions to the various genres in which he worked. The second and third chapters will be devoted to an examination of selected works from his Latin and his Slavic sacred pieces, respectively, with an emphasis on the context and the performing forces for which they were written. The final chapter will serve as a 2 Reinhard Wiesend, Studien zur Opera Seria von Baldassare Galuppi (Tutzing: Hans Schneider, 1984). 3 Galuppiana 1985, ed. Maria Teresa Muraro and Franco Rossi (Florence: Leo S. Olschki, 1986). 4 Robert-Aloys Mooser, Annales de la Musique et des Musiciens en Russie au XVIIIme siècle (Geneva: Mont-Blanc, 1948–1951). 5 Marika C. Kuzma, Dmitrii Stepanovich Bortnianskii (1751-1825) (Ph.D. diss., Indiana University 1992). 2 conclusion, examining Galuppi's works in a broader context and considering the degree to which his blending of styles was a product of his time. This study cannot claim to be comprehensive. Rather, it is an attempt to establish, by examination of a sampling of representative works, a new view of Galuppi's place in history as a composer of sacred music and a representative of eighteenth-century sacred music styles. Some attempts at systematic study of Galuppi's operas have been undertaken, particularly of his seria works; Chiuminatto examined the available a cappella sacred music nearly fifty years ago; and William S. Newman, in his The Sonata in the Classic Era,6 conducted at least a superficial survey of his keyboard works, which were collected and edited
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