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Masses by Alessandro Grandi, Giovanni Battista Chinelli, Giovanni

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Masses by Alessandro Grandi, Giovanni Battista Chinelli, Giovanni Seventeenth-CenturySeventeenth-Centu~ Italian SacredSacred MusicMusic In Twenty-Five Volumes Volumes GeneralGeneral EditorEditor ANNANNEE SCHNOEBELENSCHNOEBELEN Rice UniversityUniversity This page intentionally left blank VOLUMVOLUME4E 4 Masses by Alessandro GrandiGrandi Giovanni Battista ChinelliChinelli Tarquinio MerulaMenila Giovanni Antonio RigattiRigatti EditedEdited withwith anan IntroductionIntroduction byby ANNEANNE SCHNOEBELENSCHNOEBELEN Routledge I~ ~~o~;~;n~~~upTaylor & Francis Group NewNew YorkYork LondonLondon First published by Garland Publishing, Inc. This edition published 2013 by Routledge Routledge Routledge Taylor & Francis Group Taylor & Francis Group 711 Third Avenue 2 Park Square, Milton Park New York, NY 10017 Abingdon, Oxon OX14 4RN Routledge is an imprint of the Taylor & Francis Group,an informa business Copyright © 1995 by Anne Schnoebelen All rights reserved Library of Congress Cataloging-in-Publication Data Masses / by Alessandro Grandi, Giovani Battista Chinelli, Tarquinio Merula, Giovanni Antonio Rigatti; edited with an introduction by Anne Schnoebelen— (Seventeenth-century Italian sacred music ; v. 4 ISBN: 0-8153-2363-8 Musical scores are "out of scope" at the Library of Congress' Cataloging-in-Publication program. ContentsContents GeneraGenerall IntroductionIntroduction Vllvii EditorialEditorial MethodsMethods ixix IntroductionIntroduction ttoo thisthis VolumeVolume Xlxi 1.1. AlessandrAlessandroo Grandi,Grandi, "Messa"Messa concertata"concertata" fromfrom Raccolta terza terza di di Leonardo Leonardo Simonetti .... .. de messamessa et et salmi salmi del del Sig. Sig. Alessandro Alessandro Grandi Grandi et Gio. et Gio.Croce Croce Chiozotto a a 2.3.4 2.3.4 con con basso basso continuo, continuo, aggiontovi aggiuntovi Ii ripieni li ripieni abeneplacito a beneplacito (Venice:(Venice: StampaStampa deldel Gardano,Gardano, appressoappresso BartolomeBartolomeoo MagniMagni,, 1630)1630) 1 2.2. GiovanniGiovanni BattistaBattista Chinelli,Chinelli, "Messa"Messa concertataconcertata aà 6 vocvocii & 6 instromenti"instromenti" frofromm Messa aàquattro, quattro, cinque, cinque, e ottoe otto voci, voci, parte parte da capella da capella & parte & parteda concerto da concerto con ilil bassobasso continuo continuo per per l'organo, l'organo, con conuna unaposta posta nel fine, nel fine,concertata concertata a6 voci, à 6 voci, & 6 instromentiinstromenti... ... OperaOpera Terza Terza (Venice: (Venice Bartholomeo: Bartholome oMagni, Magni 1634), 1634 ) 838 3 3.3. TarquiniTarquinioo MerulaMerula,, "Messa"Messa concertataconcertata aà 3 soprasopra l'l'AriAria a dedell GraGrann DucaDuca [sic]"[sic]" fromfrom Arpa Davidica con con artificiosa artificiosa inventione inventione composta composta la quale la quale da tre da e tre e quattro vocivoci contraputinzata contraputinzata obIigata obligata ... ...salmi salmi et messa et messa concertati concertati con alcuni con alcuni canonicanoni... .. Opera DecimaDecima Sesta Sesta (Venice: (Venice Alessandro: Alessandr Vincenti,o Vincenti 1640), 1640 ) 21521 5 44.. GiovanniGiovanni AntonioAntonio Rigatti,Rigatti, "Messa"Messa [a[à trtree vocvocii concertati]"concertati]" fromfrom Messa ee salmi ariosiariosi a àtre tre voci voci concertati, concertati, & parte& parte con conIi ripieni li ripieni abeneplacito. à beneplacito. 2nd2nd editionedition (Venice:(Venice: BartholomeoBartholomeo Magni,Magni, 1643)1643) 242455 vV This page intentionally left blank GeneralGeneral IntroductionIntroduction SacredSacred musicmusic constitutesconstitutes thethe largestlargest gapgap inin ourour presentpresent progressingprogressing toto worksworks forfor threethree andand fourfour choirs.choirs. TheThe vol­vol- understandingunderstanding ofof seventeenth-centuryseventeenth-century ItalianItalian music.music. umesumes ofof motetsmotets presentpresent individualindividual worksworks fromfrom thethe mostmost ScholarlyScholarly interestinterest hashas focusedfocused largelylargely onon secularsecular music­music— significantsignificant collectionscollections printedprinted inin thethe firstfirst halfhalf ofof ththee cen­cen- operaopera andand monody-wheremonody—where remarkableremarkable stylisticstylistic innova­innova- tury,tury, arrangedarranged accordingaccording toto composer,composer, withwith specialspecial em­em- tionstions appearedappeared thatthat wouldwould formform thethe foundationfoundation ofof mod­mod- phasisphasis onon thethe motetsmotets ofof AlessandroAlessandro Grandi.Grandi. ernern music.music. WithWith thethe exceptionsexceptions ofof LaurenceLaurence K.K. J.J. Feininger'sFeininger's publicationspublications ofof RomanRoman polychoralpolychoral musicmusic IncludedIncluded inin thisthis seriesseries areare otherother well-knownwell-known composers:composers: (Monumenta andand Documenta Liturgiae Polychoris, 1947-1947- Banchieri,Banchieri, Viadana,Viadana, Grandi,Grandi, Rigatti,Rigatti, Rovetta,Rovetta, Legrenzi,Legrenzi, 1975),1975), andand variousvarious editionseditions ofof Monteverdi'sMonteverdi's sacredsacred music,music, Cavalli,Cavalli, Cazzati,Cazzati, Bassani,Bassani, andand Graziani.Graziarti. AlsoAlso representedrepresented ItalianItalian sacredsacred musicmusic hashas yetyet toto appearappear inin significantsignificant areare lesser-knownlesser-known figures,figures, manymany consideredconsidered majormajor com­com- modemmodern editions.editions. Nevertheless,Nevertheless, itit waswas inin churchchurch musicmusic posersposers byby theirtheir contemporaries,contemporaries, whosewhose namesnames havehave beenbeen thatthat manymany ofof thethe mostmost importantimportant innovationsinnovations inin musicalmusical obscuredobscured byby timetime andand thethe unavailabilityunavailability ofof seventeenth­seventeenth- stylestyle werewere widelywidely adaptedadapted andand disseminated.disseminated. ChurchChurch centurycentury sacredsacred musicmusic inin modemmodern publications.publications. composerscomposers throughoutthroughout ItalyItaly embracedembraced thethe featuresfeatures thatthat definedefine seventeenth-centuryseventeenth-century music:music: concertatoconcertato style,style, reci­reci- TheThe widewide geographicalgeographical distributiondistribution ofof thethe composerscomposers tativetative andand monody,monody, bassobasso continuo,continuo, thethe emphasisemphasis onon solosolo representedrepresented isis oftenoften visiblevisible fromfrom titletitle pagespages oror dedica­dedica- voicesvoices,, virtuosovirtuoso ornamentation,ornamentation, andand coloristiccoloristic combina­combina- tions.tions. TheyThey comecome nonott onlyonly fromfrom majormajor churcheschurches andand tionstions ofof voicesvoices andand instruments.instruments. cathedralscathedrals butbut alsoalso fromfrom smallsmall parishparish churches,churches, monas­monas- teries,teries, convents,convents, andand oratorios,oratorios, mostmost butbut byby nono meansmeans allall ThisThis seriesseries presentspresents a largelarge selectionselection ofof ItalianItalian sacredsacred inin northernnorthern andand centralcentral Italy.Italy. WhilWhilee operaopera andand cantatacantata musicmusic scoredscored fromfrom printedprinted part-books,part-books, worksworks whichwhich havehave werewere directeddirected toto relativelyrelatively smallsmall aristocraticaristocratic andand wealthywealthy notnot beenbeen publishedpublished inin modemmodern editions.editions. ItsIts twenty-fivetwenty-five audiences,audiences, churchchurch musicmusic touchedtouched thethe liveslives ofof allall Italians.Italians. volumevolumess areare divideddivided asas follows:follows: ItIt waswas througthroughh ththee normanormall activitiesactivities ofof worship-liturgy,worship—liturgy, 1-10:1-10: MusicMusic forfor thethe OrdinaryOrdinary ofof thethe Mass,Mass, 1600-1600- devotionaldevotional exercises,exercises, processions,processions, publicpublic ceremonies­ceremonies— 1700,1700, editededited byby AnneAnne Schnoebelen.Schnoebelen. thatthat thethe newnew stylesstyles andand techniquestechniques werewere spreadspread through­through- 11-20:11-20: MusicMusic forfor VespersVespers andand ComplineCompline (psalms,(psalms, outout Italy.Italy. BuButt printedprinted musicmusic alsoalso reflectsreflects thethe olderolder stile canticles,canticles, hymns,hymns, andand antiphons),antiphons), 1600-1700,1600-1700, editededited byby antico, modifiedmodified toto suitsuit contemporarycontemporary taste,taste, whichwhich heldheld a JeffreyJeffrey Kurtzman.Kurtzman. significantsignificant placeplace inin churchchurch musicmusic throughthrough thethe centurycentury andand 21-25:21-25: Motets,Motets, 1600-1650,1600-1650, editededited byby JeromeJerome isis representedrepresented inin thisthis seriesseries asas well.well. RocheRoche andand ElizabethElizabeth Roche.Roche. GenerallyGenerally speaking,speaking, thethe motetmotet waswas thethe firstfirst genregenre inin EachEach seriesseries isis organizedorganized toto displaydisplay itsits genregenre best.best. MassMass whichwhich thethe churchchurch composercomposer experimentedexperimented withwith thethe newnew settingssettings areare presentedpresented inin chronologicalchronological orderorder (with(with ad­ad- styles.styles. MotetMotet texts,texts, thoughthough oftenoften drawndrawn fromfrom liturgicalliturgical justmentjustmentss forfor volumevolume lengths).lengths). TheThe volumesvolumes ofof VesperVesper sources,sources, werewere notnot fixedfixed elementselements inin thethe liturgy.liturgy. ThusThus theythey andand ComplineCompline musicmusic areare arrangedarranged accordingaccording
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