Masses by Maurizio Cazzati Giovanni Antonio Grossi Giovanni Legrenzi
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Seventeenth-Century Italian SacredMusic In Twenty-FiveVolumes GeneralEditor ANNE SCHNOEBELEN Rice University This page intentionally left blank: VOLUME 7 Masses by Maurizio Cazzati Giovanni Antonio Grossi Giovanni Legrenzi Editedwith anintroduction by ANNE SCHNOEBELEN Rice University ~l Routledge i ~ Taylor & Francis Group New York London First publishedby GarlandPublishing, Inc. This edition published2013 by Routledge Routledge Routledge Taylor & FrancisGroup Taylor & FrancisGroup 711 ThirdAvenue 2 ParkSquare, Milton Park New York, NY 10017 Abingdon, Oxon OX14 4RN Routledgeis an imprint ofthe Taylor & Francis Group, an informa business Copyright© 1997by Anne Schnoebelen All rights reserved Library of CongressCataloging-in-Publication Data Massesby Maurizio Cazzati,Giovanni Antonio Grossi,Giovanni Legrenzi; edited with an introductionby Anne Schnoebelen(Seventeenth-century Italian sacredmusic; v. 7) ISBN: 0-8153-2413-8 Musical scoresare "out of scope"of the Library of Congress'sCataloging-in-Publication program. Contents GeneralIntroduction Vll Editorial Methods IX Introductionto This Volume xiii 1. Maurizio Cazzati,IIMissa brevisdetta L' Austriaca," from Messebrevi a otto voci, con una concertataa 4. e suoi ripieni abeneplacito, & una aotto da capella . .. opera vigesimaottava (Bologna:Antonio Pisarri,1662) 1 2. GiovanniAntonio Grossi,liMes sa concertata a 5 voci con 2 violini, e violone," from Celestetesoro. Composto in musicadi messeconcertate a cinque, & otto voci, con sinfonia, & senza,& motetti, Te Deum, & letanie della SantissimaVergine Maria . .. opera quinta (Milan: Giovanni Francesco& Fratelli Camagni,[1664]) 83 3. GiovanniLegrenzi, IIMessa a duechori con strumenti,"from Sacri e festivi concentimessa e salmi adue chori con stromentia beneplacito... opera nona (Venice: FrancescoMagni Gardano,1667) 185 v This page intentionally left blank: General Introduction Sacredmusic constitutesthe largestgap in our present andCompline music are arranged according to thenum- understandingof seventeenth-centuryItalian music. berof principalvoices, chronologically within eachvol- Scholarlyinterest has focused largely on secular music- ume,beginning with worksfor oneand two voices,pro- operaand monody-whereremarkable stylistic inno- gressingto worksfor threeand four choirs.The volumes vations appearedthat would form the foundation of of motetspresent individual works from the most sig- modemmusic. With the exceptionof LaurenceK. J. nificant collectionsprinted in the first half of the cen- Feininger'spublications of Romanpolychoral music tury, arrangedaccording to composer,with specialem- (Monumentaand DocumentaLiturgiae Polychoris, 1947- phasison the motetsof AlessandroGrandi. 1975), andvarious editions of Monteverdi'ssacred mu- sic, Italian sacredmusic has yet to appearin Significant Includedin this seriesare other well-known composers: modemeditions. Nevertheless, it was in churchmusic Banchieri,Viadana, Grandi, Rigatti, Rovetta,Legrenzi, thatmany of themost important innovations in musical Cavalli, Cazzati,Bassani, and Graziani. Also represented style were widely adaptedand disseminated.Church are lesser-knownfigures, manyconsidered major com- composersthroughout Italy embracedthe featuresthat posersby their contemporaries,whose names have been define seventeenth-centurymusic: concertatostyle, obscuredby time andthe unavailability of seventeenth- recitativeand monody, basso continuo, the emphasis on centurysacred music in modempublications. solo voices,virtuoso ornamentation, and coloristic com- binationsof voicesand instruments. The wide geographicaldistribution of the composers representedis often visible from title pagesor dedica- This seriespresents a large selectionof Italian sacred tions. They comenot only from major churchesand ca- musicscored from printedpart-books, works which have thedralsbut alsofrom smallparish churches, monaster- not beenpublished in modemeditions. Its twenty-five ies, convents,and oratorios, mostly but by no meansall volumesare divided asfollows: in northernand centralItaly. While operaand cantata weredirected to relativelysmall aristocratic and wealthy 1-10:Music for theOrdinary of the Mass,1600-1700, audiences,church music touched the lives of all Italians. editedby Anne Schnoebelen. It wasthrough the normal activities of worship-liturgy, 11-20: Music for Vespersand Compline (psalms, devotionalexercies, processions, public ceremonies- canticles,hymns, and antiphons), 1600-1700, edited by thatthe new styles and techniques were spread through- Jeffrey Kurtzman. out Italy. But printed music also reflects the older stile 21-25: Motets, 1600-1650,edited by JeromeRoche antico, modified to suit contemporarytaste, which held andElizabeth Roche. a significantplace in churchmusic through the century andis representedin this seriesas well. Eachseries is organizedto displayits genrebest. Mass settingsare presentedin chronologicalorder (with ad- Generallyspeaking, the motet was the first genrein justmentsfor volume lengths).The volumesof Vesper whichthe church composer experimented with thenew vii styles. Motet texts, though often drawn from liturgical buyersas possible: for example,voices labeled "Canto 0 sources,were not fixed elementsin the liturgy. Thusthey Tenore," or instructionson how to use voices and in- offeredmore scope to thecomposer's imagination, espe- strumentsin variouscombinations. Separate instrumen- cially in the new, more intimatesolo, duet,and trio tex- tal partswere often marked"si placet."Optional vocal tures,which were particularlywell suitedto expressive and instrumentalripienos were offered that could in- words.However, modem compositional techniques also creasethe size of a work, for instance,from threeto seven appearedin Vesperpsalms and Magnificats,especially partsif local resourcesallowed, but would still bemusi- thosepublished in what were principally motet books. cally intactwith fewervoices. Even optional instrumen- The massremained the most conservativeof the three tal sinfoniasappeared, which could be omitted if instru- genres,though by the decade1610 to 1620it too beganto mentswere not available. However, optional instruments showmodem tendencies: use of instruments,few-voiced seemto havedecreased somewhat after mid-century, due textures,and solo-tutti contrasts. to the increasinglyessential role of the instrumental groupin the structureof the work. The works presentedin this seriescan only hint at the immensequantity of sacredmusic published in theyears In its wide rangeof performingresources, this seriesen- 1600to 1700.Though masses and motets were the tradi- compassesthe numerous combinations of voicesand in- tional coreof sacredmusic, it is the repertoryof Vesper strumentsthat characterize sacred music of this period. psalms,already developing by mid-sixteenthcentury, From the few-voicedmotets, psalms, and masses to the that forms the largestnumber of publications.Prints large,many-voiced ceremonial works with instruments, containingVesper psalms and Magnificatswould sur- the repertorypresented here reveals the great variety of passthe numberof publicationsfor massesand motets forms, styles, timbres, and texturesthat Italians heard by thefirst decadeof theseventeenth century. About this on Sundaysand major feasts.With thesevolumes we time it becamecommon for massand Vespers to appear can begin to understandthe important role of sacred in a single print, sometimesincluding motetsas well, musicin the developmentand dissemination of Italian intendedfor liturgical eventsto beperformed on a single Baroquemusical style. festive occasion.Masses were also published in generic collectionsof works by a singlecomposer, or in combi- A final word: wenote here with sorrowthe untimely death nationwith motets,psalms, and concerti ecclesiastici. Oc- of our esteemedcolleague Jerome Roche (1942-1994) of casionally, instrumentalcanzonas or sonataswere in- theUniversity of Durham,whose pioneering work onItal- cludedin printscontaining masses or Vespermusic, un- ian sacredmusic from thefirst half of theseventeenth cen- doubtedlyintended to be insertedinto the liturgy. In tury, andon motets in particular,is seminalto this project. additionto appearingin massand Vesper publications, His passingis aninestimable loss to seventeenth-century motetswere printed in collectionsby a singlecomposer musicscholarship. Fortunately his researchand his con- or in anthologiesof many composers'works. Single- tribution to this seriesare being carried on by Elizabeth composermotet collectionsnot infrequently include a Roche,his wife andcollaborator of manyyears. litany or massat the endof the volume. As the wealth of vocal and instrumentalresources in- Anne Schnoebelen creased,composers and publishers strove to presentflex- ible performancepossibilities in orderto attractas many GeneralEditor viii Editorial Methods This seriesattempts to provide a large repertoryof sev- is possible.In suchcases I havegiven a figure in square enteenth-centuryItalian Office music in clear, modem bracketsindicating the possibility of eitherthe unfigured transcriptionsthat are both practicaland faithful to the root-positionchord or the chordinversion (in a few in- original sources.Original pitch, note values and stancesthe choice is betweenfirst andsecond inversion accidentalsare retained. Flat signsdenoting the natural- triads);the performermay make the choiceas to which izationof sharpsare notated with themodem natural sign. heor sheprefers, just asa seventeenth-centurycontinuo "Key signatures,"mensuration signs and "time