DOCSLIB.ORG

GIULIA GALASSO a Thesis Submitted in Partial Fulfilment of the Requirements of Birmingham City University for the Degree Of

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
GIULIA GALASSO a Thesis Submitted in Partial Fulfilment of the Requirements of Birmingham City University for the Degree Of THE MASS COLLECTION OCTO MISSAE (1663) BY FRANCESCO FOGGIA (1603-1688): AN ANALYTICAL STUDY AND CRITICAL EDITION GIULIA GALASSO A thesis submitted in partial fulfilment of the requirements of Birmingham City University for the degree of Doctor of Philosophy August 2017 Royal Birmingham Conservatoire, The Faculty of Arts, Design and Media, Birmingham City University ABSTRACT Francesco Foggia (1603-1688) was one of the most prominent maestri di cappella of seventeenth-century Rome and an important mass composer. Historically, he has been regarded as one of the last heirs of Palestrina, largely due to the writings of Giuseppe Ottavio Pitoni (1657-1743) and Giovanni Battista Martini (1706-1784). More recently, scholars have reassessed his style in his motets, psalms and oratorios. However, his mass style has received little rigorous scholarly attention. This is partly because of the scarcity of critical editions of his works. The present study presents critical editions of five of the masses from his Octo missae (Rome: Giacomo Fei, 1663). In conjunction with the three masses included in Stephen R. Miller‟s recent edition (2017), the entire volume is now available in full score. This enables an informed reassessment of Foggia‟s mass style. The present study analyses his use of features, such as time signatures, full choir and stile concertato, textures, thematic treatment and borrowing procedures. It compares Foggia‟s mass style with those of his predecessors, mainly Giovanni Pierluigi da Palestrina (c.1525-1594), Ruggero Giovannelli (c.1560-1625), near predecessor Gregorio Allegri (1582-1652) and contemporaries, Bonifatio Gratiani (1604/5-1664), Orazio Benevoli (1605-1672). It argues that Foggia blended the influences of his predecessors and the Roman mass tradition with those of his contemporaries to produce an individual mass style that is very much of his style. To my nephews and niece, Michele, Gabriele, Lorenzo and Marta ACKNOWLEDGEMENTS I would like to thank the Royal Birmingham Conservatoire (part of Birmingham City University), which generously provided a scholarship to fund my PhD, and my supervisors, Dr Carrie Churnside, Dr Shirley Thompson and Professor Graham Sadler, for their help and support throughout my doctoral study. Particular thanks go to Francis Firth and his colleagues at Royal Birmingham Conservatoire Library, who have been very helpful in supporting my research. Professor Stephen R. Miller‟s help was crucial, as he allowed me access to his study material prior to publication and his guidance helped me to shape the structure of the whole thesis. My great thanks go to Jeffrey Skidmore, who conducted the Chamber Choir of Royal Birmingham Conservatoire and Ex Cathedra Consort in the first modern performances of sections of Foggia‟s masses from my edition. Finally, I owe a depth of gratitude to Tiziana Mauro, Cecilia Salacone, Luana Liberatore, Wal Warmington, Paul Grant, Elena Piana and last, but not least, my parents. Their warm support throughout my studies has helped me significantly throughout this journey. ABBREVIATIONS Library and Archival Sigla A-Wgm: Vienna, Gesellschaft der Musikfreunde in Wien, Archiv A-Wnh: Vienna, Österreichische Nationalbibliothek, Sammlung Anthony van Hoboken CZ-Pkřiž: Prague, Rytířský řád křižovníků s červenou hvězdou, hudební sbírka D-B: Berlin, Statsbibliothek zu Berlin – Preußischer Kulturbesitz, Musicabteilung D-Müs Sant: Münster, Santini-Bibliothek, Diözesanbibliothek I-Ac: Assisi, Biblioteca Comunale, Fondo Antico I-Bc: Bologna, Museo Internazionale e Biblioteca della Musica di Bologna I-Bsp: Bologna, Archivio Musicale della Basilica di San Petronio I-Fc: Florence, Conservatorio di Musica Luigi Cherubini, Biblioteca I-Fm: Florence, Biblioteca Marucelliana I-Rsg: Rome, Archivio Musicale della Basilica di San Giovanni in Laterano I-Rsgf: Rome, Archivio dell‟Arciconfraternita di San Giovanni dei Fiorentini I-Rsmt: Rome, Archivio Capitolare della Basilica di Santa Maria in Trastevere I-Rvat: Città del Vaticano, Biblioteca Apostolica Vaticana I-Rvic: Rome, Archivio del Vicariato I-Ls: Lucca, Biblioteca diocesana Mons. Giuliano Agresti I-Pia: Pisa, Archivio di Stato PL-Kj: Cracow, Biblioteka Jagiellońska PL-Wu: Warsaw, Biblioteka Uniwersytecka Part Abbreviations C: Cantus (in the four-voice M. Venite gentes) CI: Cantus I (either first Cantus or Cantus of Choir I in the five- and eight-voice masses respectively) C1I: first Cantus of Choir I in the nine-voice M. Tu es Petrus C2I: second Cantus of Choir I in the nine-voice M. Tu es Petrus CII: Cantus II (either second Cantus or the Cantus of Choir II in the five- and eight-voice masses respectively) Q: Quintus in the Motet Tu es Petrus A: Altus (in the few-voice masses) AI: Altus I (Altus of Choir I in the eight-voice masses) AII: Altus II (Altus of Choir II in the eight-voice masses) T: Tenor (in the few-voice masses) TI: Tenor I (Tenor of Choir I in the eight-voice masses) TII: Tenor II (Tenor of Choir II in the eight-voice masses) S: Sextus in the Motet Tu es Petrus B: Bassus (in the few-voice masses) BI: Bassus I (Bassus of Choir I in the eight-voice masses) BII: Bassus II (Bassus of Choir II in the eight-voice masses) Org: Organum (for all masses) Other Abbreviations M.: Missa vv: voices Op. : Opus CONTENTS VOLUME I ANALYTICAL STUDY CHAPTER 1 1 INTRODUCTION 1 The Demands of the Liturgy 1 Northern Italian and Roman Stylistic Tendencies in the Seventeenth Century 6 Foggia’s Life 14 Octo missae 22 Octo missae and Music Printing 22 Octo missae and Music Notation 33 Critical Reception 40 Secondary Literature 51 Foggia 51 The Mass in Seventeenth-Century Rome and the North 56 Sacred Music in Seventeenth-Century Rome 58 Sixteenth-Century Mass in Rome and Palestrina 62 Aspects of Performance Practice and Notation 65 Transposition 65 Vocal Range 69 Pitch 74 Who Sang Foggia‟s Cantus Parts? 75 Number of Singers per Part 79 Proportional Time Signatures 85 Methodology 92 Overview of the Thesis 96 CHAPTER 2 98 MASS STRUCTURE 98 Scoring 99 Movement Divisions 100 Inner Divisions 101 Mass Text 103 Relative Lengths of the Movements 105 Time Signatures 114 Use of Time Signatures in Other Composers 120 CHAPTER 3 130 SONORITY AND TEXTURE 130 Sonority 131 Terminology 131 Full Choir 134 Reduced Scoring 136 Rapid Movement 138 Soloistic Writing 142 Soloistic Passages and Rapid Movement in Other Composers 147 Textural Types and Text Declamation 153 Homorhythm and Homophony 153 Free Polyphony 156 Near-homophony with Hints of Imitation 157 Textual Patterns 160 Imitative Types and Elements of Manipulation of Melodic and Rhythmic Material 162 Imitation for Four and Eight Voices 162 Paired Imitation 166 Imitative Types in Other Composers 173 Treatment of the Cantus Firmus 175 Hints of Cantus Firmus Accompanying Parallel Thirds 175 Short Cantus Firmus as Part of the Imitation 177 Longer Cantus Firmi 177 Even Longer Cantus Firmus with Voices in Unison – The „Mula‟ Technique 179 Conclusions on the Case Studies 185 CHAPTER 4 194 TREATMENT OF THEMATIC MATERIAL 194 Foggia’s Imitation Masses 195 Analysis of the Themes in the Openings of the Movements 196 Musical Material in the Openings by Other Composers 203 Identical Musical Material at the Same Text-unit within the Movement 204 Other Composers‟ Approach at the Text-unit „Et unam sanctam catholicam et apostolicam Ecclesiam‟ 208 Identical Musical Material across Movements 208 The Use of Identical Musical Material across Movements by Other Composers 212 Elaborations across Movements 213 Complex Reworkings of the Thematic Material across Movements 224 Comparisons with Other Composers 237 CHAPTER 5 241 THE IMITATION MASS TU ES PETRUS 241 Introduction 241 Terminology 247 Parallels between Motet and Mass Text 250 Direct Textual References 250 Indirect Textual References 252 More Indirect Reference to Text Meaning 252 Borrowings according to Verbal Accentuation 252 Comparisons with Benevoli 255 Openings and Endings of the Movements 255 Comparison of the Openings and Endings with Benevoli 261 Borrowing Procedure According to Palestrina’s Techniques of Early Imitation Masses 262 Clear Quotations, Almost Exact Borrowings 263 Clear Quotations, More Varied 267 Clear quotations, Even More Varied 269 Comparisons with Benevoli 271 Borrowing Procedure According to Palestrina’s Late Imitation Masses 272 Musical Material Newly Composed According to Specific Text-units 272 Transposed Themes 275 Soprano-bass Polarity and Tonal Setting 279 Comparisons with Benevoli 282 CONCLUSIONS 285 APPENDIX 291 CASE STUDIES 291 Case study 1: M. Tre pastorelli (Gloria) 293 Case study 2: M. Iste est Ioannes (Credo) 305 VOLUME II CRITICAL EDITION CRITICAL APPARATUS SECTION 1 SOURCE SITUATION 324 SECTION 2 EDITORIAL METHOD 348 SECTION 3 CRITICAL COMMENTARY 359 M. Venite gentes 359 M. La battaglia 362 M. Tre pastorelli 366 M. O quam gloriosum est 372 M. Iste est Ioannes 380 SCORES M. Venite gentes 385 Kyrie 385 Gloria 388 Credo 394 Sanctus 406 Agnus Dei 409 M. La battaglia 412 Kyrie 412 Gloria 418 Credo 433 Sanctus 455 Agnus Dei 460 M. Tre pastorelli 463 Kyrie 463 Gloria 470 Credo 481 Sanctus 503 Agnus Dei 507 M. O quam gloriosum est 509 Kyrie 509 Gloria 522 Credo 544 Sanctus 576 Agnus Dei 582 M. Iste est Ioannes 588 Kyrie 588 Gloria 604 Credo 625 Sanctus 664 Agnus Dei 673 APPENDIX Annotated Scores, Case Studies 681 M. Tre pastorelli, Gloria 681 M. Iste est Ioannes, Credo 689 Annotated Scores, Thematic Entries 706 M. Tre pastorelli, Kyrie I 706 M. Tre pastorelli, Kyrie II 708 M. Tre pastorelli, Gloria, „in gloria Dei Patris. Amen‟ 710 M. Tre pastorelli, Credo, „Et vitam...Amen‟ 711 M. Tre pastorelli, Sanctus, Hosanna 713 M. Tu es Petrus, Christe 715 M. Tu es Petrus, Kyrie II 716 M. Tu es Petrus, Credo, „Amen‟ 720 Palestrina’s Motet Tu es Petrus, Transcription 724 BIBLIOGRAPHY 731 VOLUME I ANALYTICAL STUDY CHAPTER 1 INTRODUCTION Francesco Foggia (1603-1688) was one of the most prominent composers of sacred music in Rome in the seventeenth century.
Load more

Recommended publications
  • Paper for Tivoli
    Edinburgh Research Explorer Giovanni Maria Nanino and the Roman confraternities of his time Citation for published version: O'Regan, N 2008, Giovanni Maria Nanino and the Roman confraternities of his time. in G Monari & F Vizzacarro (eds), Atti e memorie della Società Tibertina di storia e d’arte: Atti della Giornata internazionale di studio, Tivoli, 26 October 2007. vol. 31, Tivoli, pp. 113-127. Link: Link to publication record in Edinburgh Research Explorer Document Version: Peer reviewed version Published In: Atti e memorie della Società Tibertina di storia e d’arte Publisher Rights Statement: © O'Regan, N. (2008). Giovanni Maria Nanino and the Roman confraternities of his time. In G. Monari, & F. Vizzacarro (Eds.), Atti e memorie della Società Tibertina di storia e d’arte: Atti della Giornata internazionale di studio, Tivoli, 26 October 2007. (Vol. 31, pp. 113-127). Tivoli. General rights Copyright for the publications made accessible via the Edinburgh Research Explorer is retained by the author(s) and / or other copyright owners and it is a condition of accessing these publications that users recognise and abide by the legal requirements associated with these rights. Take down policy The University of Edinburgh has made every reasonable effort to ensure that Edinburgh Research Explorer content complies with UK legislation. If you believe that the public display of this file breaches copyright please contact [email protected] providing details, and we will remove access to the work immediately and investigate your claim. Download date: 02. Oct. 2021 GIOVANNI MARIA NANINO AND THE ROMAN CONFRATERNITIES OF HIS TIME NOEL O’REGAN, The University of Edinburgh Giovanni Maria Nanino was employed successively by three of Rome’s major institutions: S.
    [Show full text]
  • Breathtaking-Program-Notes
    PROGRAM NOTES In the 16th and 17th centuries, the cornetto was fabled for its remarkable ability to imitate the human voice. This concert is a celebration of the affinity of the cornetto and the human voice—an exploration of how they combine, converse, and complement each other, whether responding in the manner of a dialogue, or entwining as two equal partners in a musical texture. The cornetto’s bright timbre, its agility, expressive range, dynamic flexibility, and its affinity for crisp articulation seem to mimic a player speaking through his instrument. Our program, which puts voice and cornetto center stage, is called “breathtaking” because both of them make music with the breath, and because we hope the uncanny imitation will take the listener’s breath away. The Bolognese organist Maurizio Cazzati was an important, though controversial and sometimes polemical, figure in the musical life of his city. When he was appointed to the post of maestro di cappella at the basilica of San Petronio in the 1650s, he undertook a sweeping and brutal reform of the chapel, firing en masse all of the cornettists and trombonists, many of whom had given thirty or forty years of faithful service, and replacing them with violinists and cellists. He was able, however, to attract excellent singers as well as string players to the basilica. His Regina coeli, from a collection of Marian antiphons published in 1667, alternates arioso-like sections with expressive accompanied recitatives, and demonstrates a virtuosity of vocal writing that is nearly instrumental in character. We could almost say that the imitation of the voice by the cornetto and the violin alternates with an imitation of instruments by the voice.
    [Show full text]
  • Sum Mer Music
    EX CATHEDRA excathedra.co.uk Mus er ic m m u S by Candlelight CHOIR | CONSORT | ORCHESTRA | EDUCATION ARTISTIC DIRECTOR & CONDUCTOR JEFFREY SKIDMORE Summer Music by Candlelight St Peter’s Church, Wolverhampton Saturday 5 June 2021, 5pm & 8pm Hereford Cathedral Wednesday 9 June 2021, 3pm & 7.30pm St John’s Smith Square, London Thursday 10 June 2021, 5pm & 8pm Symphony Hall, Birmingham Sunday 13 June 2021, 4pm Programme Hymnus Eucharisticus Benjamin Rogers (1614-1698) Iam lucis orto sidere 6th century plainchant The Windhover (Dawn Chorus, 2020) Liz Dilnot Johnson (b.1964) Sumer is icumen in 13th century English Cuckoo! (1936) Benjamin Britten (1913-1976), arr. Jeffrey Skidmore Revecy venir du Printans Claude le Jeune (c.1528/1530-1600) READING - In defense of our overgrown garden - Matthea Harvey (b.1973) The Gallant Weaver (1997) James MacMillan (b.1959) READING - i thank You God most for this - e.e.cummings (1894-1962) Hymn to St Cecilia (1941- 42) Benjamin Britten READING - Gingo Biloba (1819) - Johann Wolfgang von Goethe (1749-1832) Trois Chansons (1914-15) Maurice Ravel (1875-1937) I Nicolette II Trois beaux oiseaux du Paradis III Ronde READING - maggie and milly and molly and may - e.e.cummings La Mer (1943) Charles Trenet (1913-2001), arr. Jeffrey Skidmore Summer Holiday (1963) Bruce Welch (b.1941) and Brian Bennett (b.1940), arr. Jeffrey Skidmore anyone lived in pretty how town (2018) Geoff Haynes (b.1959) READING - The evening sun retreats along the lawn (Summer Requiem 2015) - Vikram Seth (b.1952) Saint Teresa’s Bookmark (2018) Penelope Thwaites (b.1944) Te lucis ante terminum 7th century plainchant Night Prayer (2016) Alec Roth (b.1948) We would like to offer our thanks for their help and support to: - The Rev Preb.
    [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]
  • Download/Autori C/ Rmcastagnetti-Bonifica.Pdf)
    QUELLEN UND FORSCHUNGEN AUS ITALIENISCHEN ARCHIVEN UND BIBLIOTHEKEN BAND 93 QFIAB 93 (2013) QFIAB 93 (2013) QUELLEN UND FORSCHUNGEN AUS ITALIENISCHEN ARCHIVEN UND BIBLIOTHEKEN HERAUSGEGEBEN VOM DEUTSCHEN HISTORISCHEN INSTITUT IN ROM BAND 93 DE GRUYTER QFIAB 93 (2013) Redaktion: Alexander Koller Deutsches Historisches Institut in Rom Via Aurelia Antica 391 00165 Roma Italien http://www.dhi-roma.it ISSN 0079-9068 e-ISSN 1865-8865 Library of Congress Cataloging-in-Publication Data A CIP catalog record for this book has been applied for at the Library of Congress. Bibliografische Information der Deutschen Nationalbibliothek Die Deutsche Nationalbibliothek verzeichnet diese Publikation in der Deutschen Nationalbibliografie; detaillierte bibliografische Daten sind im Internet über http://dnb.dnb.de abrufbar. © 2014 Walter de Gruyter GmbH, Berlin/Boston Druck: Hubert & Co. GmbH & Co. KG, Göttingen ? Gedruckt auf säurefreiem Papier Printed in Germany www.degruyter.com QFIAB 93 (2013) V INHALTSVERZEICHNIS Jahresbericht 2012 .................. VII–LXIII Michael Borgolte, Carlo Magno e la sua colloca- zione nella storia globale . ............... 1–26 Marco Leonardi, Gentile Stefaneschi Romano O. P. (†1303) o Gentile Orsini? Il caso singolare di un Domenicano nel Regnum Siciliae tra ricostruzione storica e trasmissione onomastica .......... 27–48 Brigide Schwarz, Die Karriere Leon Battista Alber- tis in der päpstlichen Kanzlei . .......... 49–103 Christiane Schuchard, Die Rota-Notare aus den Diözesen des deutschen Sprachraums 1471–1527. Ein biographisches Verzeichnis . .......... 104–210 Heinz Schilling, Lutero 2017. Problemi con la sua biografia . ....................... 211–225 Andrea Vanni, Die „zweite“ Gründung des Theati- nerordens . ....................... 226–250 Alessia Ceccarelli, Tra sovranità e imperialità. Genova nell’età delle congiure popolari barocche (1623–1637) ....................... 251–282 Nicola D’Elia, Bottais Bericht an den Duce über seine Deutschlandreise vom September 1933 .
    [Show full text]
  • The Concept of Polymediality
    Marios Joannou Elia The Concept of Polymediality Literary Sources as an Inherent Polymedial Element of Music Veröffentlicht unter der Creative-Commons-Lizenz CC BY-NC-ND 4.0 Marios Joannou Elia The Concept of Polymediality Literary Sources as an Inherent Polymedial Element of Music Coverstreifen: Autosymphonic – Open-air multimedia symphony (2010–11), 360-degree positioning of musical groups Quelle: Marios Joannou Elia, m:con – mannheim:congress GmbH Bibliografische Information der Deutschen Nationalbibliothek Die Deutsche Nationalbibliothek verzeichnet diese Publikation in der Deutschen Nationalbibliografie; detaillierte bibliografische Daten sind im Internet über http://dnb.d-nb.de abrufbar. 978-3-95983-100-0 (Paperback) 978-3-95983-101-7 (Hardcover) © 2017 Schott Music GmbH & Co. KG, Mainz Alle Rechte vorbehalten. Nachdruck in jeder Form sowie die Wiedergabe durch Fernsehen, Rundfunk, Film, Bild- und Tonträger oder Benutzung für Vorträge, auch auszugsweise, nur mit Genehmigung des Verlags. Printed in Germany Abstract The commentary focuses on the predominantly applied extraneous media in my music, especially the inclusion of literary sources. The discourse begins with a succinct description of the concept of polymediali- ty, which involves two dimensions: the work-immanent compositional dimen- sion and polymediality in the process of staging (Chapter I). Chapter II considers literary sources as a constituent component of music’s polymediality. The first part is preoccupied with the implementation of textual elements and vocality in
    [Show full text]
  • Sacred Music Volume 116 Number 2
    Volume 116, Number 2 SACRED MUSIC (Summer) 1989 Lateran Basilica SACRED MUSIC Volume 116, Number 2, Summer 1989 FROM THE EDITORS The Tridentine Mass 3 REVERENCE FOR THE EUCHARIST Most Reverend John R. Keating 5 BAROQUE LITURGY ON TRIAL Fr. Giles Dimock, O.P. 19 NOTES ON A QUEST Monsignor Francis P. Schmitt 25 MUSIC, AN ESSENTIAL PART OF LITURGY Pope John Paul II 29 REVIEWS 30 NEWS 35 CONTRIBUTORS 36 SACRED MUSIC Continuation of Caecilia, published by the Society of St. Caecilia since 1874, and The Catholic Choirmaster, published by the Society of St. Gregory of America since 1915. Published quarterly by the Church Music Association of America. Office of publications: 548 Lafond Avenue, Saint Paul, Minnesota 55103. Editorial Board: Rev. Msgr. Richard J. Schuler, Editor Rev. Ralph S. March, S.O. Cist. Rev. John Buchanan Harold Hughesdon William P. Mahrt Virginia A. Schubert Cal Stepan Rev. Richard M. Hogan Mary Ellen Strapp Judy Labon News: Rev. Msgr. Richard J. Schuler 548 Lafond Avenue, Saint Paul, Minnesota 55103 Music for Review: Paul Salamunovich, 10828 Valley Spring Lane, N. Hollywood, Calif. 91602 Paul Manz, 1700 E. 56th St., Chicago, Illinois 60637 Membership, Circulation and Advertising: 548 Lafond Avenue, Saint Paul, Minnesota 55103 CHURCH MUSIC ASSOCIATION OF AMERICA Officers and Board of Directors President Monsignor Richard J. Schuler Vice-President Gerhard Track General Secretary Virginia A. Schubert Treasurer Earl D. Hogan Directors Rev. Ralph S. March, S.O. Cist. Mrs. Donald G. Vellek William P. Mahrt Rev. Robert A. Skeris Membership in the CMAA includes a subscription to SACRED MUSIC. Voting membership, $12.50 annually; subscription membership, $10.00 annually; student membership, $5.00 annually.
    [Show full text]
  • CRONOS Viroccn:Ro P..:Clll Rivista Cultumlc Dcwagro Cimino CANEPI NA Francesco COI'si SORIANO NEL CIMINO •'
    ~ 'U""'l. Tri_I. di Vo.m.o n" lOiOl! 1u,lio 2008 • ....., 1 n" l OItob<e 2008 ORTE Giancarlo Paslura GALLESE lr;meSlrale Gabnck C.mplQfll VIGNANELLO ViIlCC1tZCl Patti]' VALLERANO CRONOS Viroccn:ro P..:clll rivista cultumlc dcWAgro Cimino CANEPI NA Francesco COI'Si SORIANO NEL CIMINO •'. Anna Zoppo BASSANO IN TEVERINA Ardclio Loppl VASANELLO asi. 'Ull, J>oulo dd Laao laboratorio artigianale di ceramica artistica p.zza della Repubblica, 21 - 01030 Vasanello (VT) te!. 0761.409010 loc. Le Piane, snc - 01030 Vasanello (VT) p.zza del Plebiscito, 3 - 01100 Viterbo te!. 0761.344932 Impalpabile, invisibile, effimero. Impictoso. tuuavia, quale mctronomo che scandisce persino la durata delle stelle. Figurarsi quella delle umane cose. D'altronde quello vero, geologico cioè, si misura per milioni di anni. ... _-------*''- Cronos 1\ il tcmpo !l tempo di capire, voltandoci al passato. quale destino ci auende. Non possiamo feonare il tcmpo, possiamo tU\lavia rallentarlo se gli diamo un senso. Se troviamo la forza di riempire le parentesi oscure cui troppo spesso ci abbandoniamo. E se capiamo, soprattuttO, che dobbiamo consegnare a chi ci seguirà in questO meraviglioso vortice dei sensi eh<: è la vita. un mondo dove esistano le tracce - c perché no i moniti - di chi lo ha preceduto. Poche immagini possono trasmettere tale conccUo come quella che abbiamo $Celio per la prima copenina di C r o n o s: una rara. bellissima fotografia scattata a Pala7.l010 (Vasanello) nel 1912 dall'archeologo inglese Thomas Ashby che racchiude tulla la nostra filosofia. Ecco. noi vorremmo semplicemente impedire che. come accaduto a quei malinconici resti.
    [Show full text]
  • Garlactic Arkestral Orchestra
    Garlactic Arkestral Orchestra Proudly present ALL ITALIAN EARLY MUSIC Cover image from: http://www.ibiblio.org/wm/paint/auth/gris/music/violin- guitar/gris.violin-guitar.jpg Garlactic Arkestral Orchestra Peter Schrödingerus, Music Director John P. Lagrange, Conductor Emeritus Wilhelm Potatoman Conducting Monteverdi Toccata and Prologue from L’Orfeo Corelli Concerto Grosso Op. 6 No. 8 Palestrina Tu es Petrus Kyrie from Missa Tu es Petrus DuFay Nuper rosarum flores Gabrieli Sonata pian e forte a 8 Strozzi Lagrime mie Midori Buffety, soprano Imagine that we ignore any music related to Claudio Monteverdi was about forty years old Italy from the western music history, how much will when his first opera, L’Orfeo, had its premiere in be lost? Perhaps it is easier to ask how much will be Mantua in 1607 to the members of Accademia degli left. The Marriage of Figaro is sung in Italian (also for Invaghiti. By the letter that Francesco Gonzaga, the Don Giovanni and Cosi Fan Tutte). Vivaldi’s Four dedicatee of the opera, sent to his brother about the Seasons will be gone. Can you imagine a classical performance of Feburary 24, we might conclude that music world without Four Seasons? Certainly, Italy the premiere was given in a small room in an has been playing a major role in cultivating the apartment owned by the Duchess of Ferrara— musical tradition since the Medieval. Our standard Margherita. However, in the preface of the score musical notation, though always gradually changing edited by Denis Stevens, the editor pointed out that the with the new inventions in the twentieth century, is letter hinted a little bit about the actual premiere date.
    [Show full text]
  • Contrapuntally Crafted, Harmonically Eloquent : Corelli's Sonatas and the Compositional Process in the Late 17Th Century
    Contrapuntally crafted, harmonically eloquent : Corelli's sonatas and the compositional process in the late 17th century Autor(en): Sanna, Alberto Objekttyp: Article Zeitschrift: Basler Jahrbuch für historische Musikpraxis : eine Veröffentlichung der Schola Cantorum Basiliensis, Lehr- und Forschungsinstitut für Alte Musik an der Musik-Akademie der Stadt Basel Band (Jahr): 37 (2013) PDF erstellt am: 10.10.2021 Persistenter Link: http://doi.org/10.5169/seals-868876 Nutzungsbedingungen Die ETH-Bibliothek ist Anbieterin der digitalisierten Zeitschriften. Sie besitzt keine Urheberrechte an den Inhalten der Zeitschriften. Die Rechte liegen in der Regel bei den Herausgebern. Die auf der Plattform e-periodica veröffentlichten Dokumente stehen für nicht-kommerzielle Zwecke in Lehre und Forschung sowie für die private Nutzung frei zur Verfügung. Einzelne Dateien oder Ausdrucke aus diesem Angebot können zusammen mit diesen Nutzungsbedingungen und den korrekten Herkunftsbezeichnungen weitergegeben werden. Das Veröffentlichen von Bildern in Print- und Online-Publikationen ist nur mit vorheriger Genehmigung der Rechteinhaber erlaubt. Die systematische Speicherung von Teilen des elektronischen Angebots auf anderen Servern bedarf ebenfalls des schriftlichen Einverständnisses der Rechteinhaber. Haftungsausschluss Alle Angaben erfolgen ohne Gewähr für Vollständigkeit oder Richtigkeit. Es wird keine Haftung übernommen für Schäden durch die Verwendung von Informationen aus diesem Online-Angebot oder durch das Fehlen von Informationen. Dies gilt auch für Inhalte
    [Show full text]
  • Editorial Endeavours: Plainchant Revision in Early Modern Italian Printed Graduals
    Plainsong and Medieval Music, 29,1,51–80 © The Author(s) 2020. doi: 10.1017/S0961137120000066 Editorial endeavours: plainchant revision in early modern Italian printed graduals MARIANNE C.E. GILLION* ABSTRACT. The extensive melodic revision of plainchant in editions of the Graduale Romanum published in Italy from the late sixteenth century onward resulted in musically diverse repertoires that could depart widely from earlier chant traditions. The scale of the changes in these sources, both in type and in number, has obscured certain aspects of their editors’ work: their familiarity with the corpus, their aims and techniques, and their approach to the task. Previous analyses concluded that the editors worked on a chant-by-chant basis, and were either unaware of or ignored any shared melodic relationships between pieces of plainchant. An examination of the revisions to the recurrent melody used by the eight Ostende alleluias in three influential Italian printed graduals – Gardano 1591, Giunta 1596 and Medici 1614/15 – provides a different perspective. Analyses of the reshaped chants reveal that the editors pos- sessed knowledge of the repertoire guiding aims, and favoured revision techniques. The combination of these factors, whether intentionally or not, resulted in the chants’ continued structural connection in the midst of increased melodic diversity. The individuation evident the chants did not necessarily signal the editors’ unfamiliarity with the repertoire, but could have been indicative of their intentional rejection of shared elements. Further, the revisions to the Ostende alleluias reveal that the editorial process could be flexible, with the chants approached both as individual entities and as groups.
    [Show full text]
  • Missa Papae Marcelli: a Comparative Analysis of the Kyrie and Gloria Movements of Giovanni Pierluigi Da Palestrina and An
    MISSA PAPAE MARCELLI: A COMPARATIVE ANALYSIS OF THE KYRIE AND GLORIA MOVEMENTS OF GIOVANNI PIERLUIGI DA PALESTRINA AND AN ADAPTATION BY GIOVAN NI FRANCESCO ANERIO Michael J. Moore, B.M.E. Thesis Prepared for the Degree of MASTER OF MUSIC UNIVERSITY OF NORTH TEXAS May 2006 APPROVED: Graham Phipps, Major Professor Frank Heidlberger, Committee Member Thomas Sovik, Committee Member James C. Scott, Dean of the College of Music Sandra L. Terrell, Dean of the Robert B. Toulouse School of Graduate Studies Moore, Michael J., Missa Papae Marcelli: A Comparative Analysis of the Kyrie and Gloria Movements of Giovanni Pierluigi da Palestrina and an Adaptation by Giovanni Francesco Anerio. Master of Music (Music Theory), May 2006, 81 pp., 51 examples, 28 bibliographic references. My comparative analysis of Missa Papae Marcelli includes discussion about the historical significance of Palestrina’s contribution to church music reform with regard to Marcello Cervini’s reforms in church doctrine. The compositional techniques and adherence to clarity of text are important aspects of Palestrina’s music that have earned him the title “savior” of polyphonic music. The comparative analysis will begin with a detailed study of Palestrina’s compositional method including an examination of voice leading, text setting, and cadence types. These compositional techniques will be compared to Anerio’s 1619 adaptation of the Palestrina model. An examination of Anerio’s adaptation illustrates how changes in composition shift from a contrapuntal design with elided phrases to a harmonic design with regular phrase structures. Adaptive techniques include both borrowed and newly composed material. Borrowed material includes introductory statements and closing gestures; however, much of the body of each movement is altered and shortened.
    [Show full text]