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Coro Spezzato
The Venetian polychoral style was a type of music of the late Renaissance and early Baroque eras which involved spatially separate choirs singing in alternation. It represented a major stylistic shift from the prevailing polyphonic writing of the middle Renaissance, and was one of the major stylistic developments which led directly to the formation of what is now known as the Baroque style. A commonly encountered term for the separated choirs is ''cori spezzati''—literally, "broken choruses" as they were called, added the element of spatial contrast to Venetian music. These included the echo device, so important in the entire baroque tradition; the alternation of two contrasting bodies of sound, such as chorus against chorus, single line versus a full choir, solo voice opposing full choir, instruments pitted against voices and contrasting instrumental groups; the alternation of high and low voices; soft level of sound alternated with a loud one; the fragmentary versus the co ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
San Marco (evening View)
San Marco is one of the six sestiere (Venice), sestieri of Venice, lying in the heart of the city as the main place of Venice. San Marco also includes the island of San Giorgio Maggiore. Although the district includes Piazza San Marco, Saint Mark's Square, that was never administered as part of the sestiere. Overview The small district includes many of Venice's most famous sights, including Piazza San Marco, St Mark's Square, Saint Mark's Basilica, the Doge's Palace, Venice, Doge's Palace, Harry's Bar (Venice), Harry's Bar, the Palazzo Dandolo, Palazzo Corner Contarini dei Cavalli, Palazzo Corner Valmarana, Palazzo D'Anna Viaro Martinengo Volpi di Misurata, Palazzo Cavalli, San Moisè, the La Fenice theatre, the Palazzo Grassi and Palazzo Bellavite, and the Church (building), churches of San Beneto, San Fantin, Santa Maria Zobenigo, Santa Maria del Giglio, San Maurizio (Venice), San Maurizio, San Moisè, Santo Stefano di Venezia, Santo Stefano, San Salvador di Venezia, San Salvad ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Gioseffo Zarlino
Gioseffo Zarlino (31 January or 22 March 1517 – 4 February 1590) was an Italian Music theory, music theorist and composer of the Renaissance music, Renaissance. He made a large contribution to the theory of counterpoint as well as to musical tuning. Life and career Zarlino was born in Chioggia, near Venice. His early education was with the Franciscans, and he later joined the order himself. In 1536 he was a singer at Chioggia Cathedral, and by 1539 he not only became a deacon, but also principal organist. In 1540 he was ordained, and in 1541 went to Venice to study with the famous contrapuntist and ''maestro di cappella'' of San Marco di Venezia, Saint Mark's, Adrian Willaert. In 1565, on the resignation of Cipriano de Rore, Zarlino took over the post of ''maestro di cappella'' of St. Mark's, one of the most prestigious musical positions in Italy, and held it until his death. While ''maestro di cappella'' he taught some of the principal figures of the Venetian School (musi ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Claudio Monteverdi
Claudio Giovanni Antonio Monteverdi (baptized 15 May 1567 – 29 November 1643) was an Italian composer, choirmaster and string instrument, string player. A composer of both Secular music, secular and Church music, sacred music, and a pioneer in the Origins of opera, development of opera, he is considered a crucial Transition from Renaissance to Baroque in instrumental music, transitional figure between the Renaissance music, Renaissance and Baroque music, Baroque periods of music history. Born in Cremona, where he undertook his first musical studies and compositions, Monteverdi developed his career first at the court of Mantua () and then until his death in the Republic of Venice where he was ''maestro di cappella'' at the basilica of St Mark's Basilica, San Marco. His surviving letters give insight into the life of a professional musician in Italy of the period, including problems of income, patronage and politics. Much of List of compositions by Claudio Monteverdi, Monteve ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Andrea Gabrieli
Andrea Gabrieli (1532/1533Bryant, Grove online – August 30, 1585) was an Italian composer and organist of the late Renaissance music, Renaissance. The uncle of the somewhat more famous Giovanni Gabrieli, he was the first internationally renowned member of the Venetian School (music), Venetian School of composers, and was extremely influential in spreading the Venetian style in Italy as well as in Germany. Life Details on Gabrieli's early life are uncertain. He was probably a native of Venice, most likely the parish of S. Geremia. He may have been a pupil of Adrian Willaert at San Marco di Venezia, St. Mark's in Venice at an early age. There is some evidence that he spent time in Verona in the early 1550s, due to a connection with Vincenzo Ruffo, who worked there as ''maestro di cappella'' – Ruffo published one of Gabrieli's madrigals in 1554, and Gabrieli also wrote some music for a Veronese academy. Gabrieli is known to have been organist in Cannaregio between 1555 and 155 ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Claudio Merulo
Claudio Merulo (; 8 April 1533 – 4 May 1604) was an Italian composer, publisher and organist of the late Renaissance period, most famous for his innovative keyboard music and his ensemble music composed in the Venetian polychoral style. He was born in Correggio and died in Parma. Born Claudio Merlotti, he Latinised his surname (meaning little blackbird) when he became famous in Venetian cultural clubs. Life Little is known about his early life except that he studied in Correggio with Tuttovale Menon, a famous madrigalist who also worked in the Ferrara court; he also studied with Girolamo Diruta, an organist. It is likely that he studied with Zarlino at St. Mark's in Venice. While in Venice he became close friends with Costanzo Porta, a friendship which was to endure for his entire life. On 21 October 1556, he was appointed organist at Old Cathedral of Brescia ( Duomo Vecchio), and his skill as an organist must have been impressive, because he became organist at St. Mark' ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Cipriano De Rore
Cipriano de Rore (occasionally Cypriano) (1515 or 1516 – between 11 and 20 September 1565) was a Franco-Flemish composer of the Renaissance, active in Italy. Not only a central representative of the generation of Franco-Flemish composers after Josquin des Prez who went to live and work in Italy, Rore was one of the most prominent composers of madrigals in the middle of the 16th century. His experimental, chromatic, and highly expressive style had a decisive influence on the subsequent development of that secular music form.Owens, Grove Online Life Early years Little is known of Rore's early life. His probable birth years (1515/1516) are known from his age at death (49, recorded on his tombstone in the cathedral in Parma), and his probable birthplace was a small town in Flanders, Ronse (Renaix), on the boundary between the French- and Dutch-speaking areas. Research has established that his parents were Celestinus Rore (died before 1564) and Barbara Van Coppenolle, and he had ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Stile Antico
''Stile antico'' (literally "ancient style", ), is a term describing a manner of musical composition from the sixteenth century onwards that was historically conscious, as opposed to '' stile moderno'', which adhered to more modern trends. ''Prima pratica'' (Italian, 'first practice') refers to early Baroque music which looks more to the style of Palestrina, or the style codified by Gioseffo Zarlino, than to more "modern" styles. It is contrasted with '' seconda pratica'' music. These terms are synonymous to ''stile antico'' and ''stile moderno'', respectively. History ''Stile antico'' has been associated with composers of the high Baroque and early Classical periods of music, in which composers used controlled dissonance and modal effects and avoided overtly instrumental textures and lavish ornamentation, to imitate the compositional style of the late Renaissance. ''Stile antico'' was deemed appropriate in the conservative confines of church music, or as a compositional exerc ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Cantata
A cantata (; ; literally "sung", past participle feminine singular of the Italian language, Italian verb ''cantare'', "to sing") is a vocal music, vocal Musical composition, composition with an musical instrument, instrumental accompaniment, typically in several movement (music), movements, often involving a choir. The meaning of the term changed over time, from the simple single-voice Madrigal (music), madrigal of the early 17th century, to the multi-voice "cantata da camera" and the "cantata da chiesa" of the later part of that century, from the more substantial dramatic forms of the 18th century to the usually sacred-texted 19th-century cantata, which was effectively a type of short oratorio. Cantatas for use in the liturgy of church services are called church cantata or sacred cantatas; other cantatas can be indicated as secular cantatas. Several cantatas were, and still are, written for special occasions, such as Christmas cantatas. Christoph Graupner, Georg Philipp Teleman ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Basso Continuo
Basso continuo parts, almost universal in the Baroque era (1600–1750), provided the harmonic structure of the music by supplying a bassline and a chord progression. The phrase is often shortened to continuo, and the instrumentalists playing the continuo part are called the ''continuo group''. Forces The composition of the continuo group is often left to the discretion of the performers (or, for a large performance, the conductor), and practice varied enormously within the Baroque period. At least one instrument capable of playing chords must be included, such as a harpsichord, organ, lute, theorbo, guitar, regal, or harp. In addition, any number of instruments that play in the bass register may be included, such as cello The violoncello ( , ), commonly abbreviated as cello ( ), is a middle pitched bowed (sometimes pizzicato, plucked and occasionally col legno, hit) string instrument of the violin family. Its four strings are usually intonation (music), tuned i ..., ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Tomás Luis De Victoria
Tomás Luis de Victoria (sometimes Italianised as ''da Vittoria''; ) was the most famous Spanish composer of the Renaissance. He stands with Giovanni Pierluigi da Palestrina and Orlande de Lassus as among the principal composers of the late Renaissance, and was "admired above all for the intensity of some of his motets and of his Offices for the Dead and for Holy Week". His surviving ''oeuvre'', unlike that of his colleagues, is almost exclusively sacred and polyphonic vocal music, set to Latin texts. As a Catholic priest, as well as an accomplished organist and singer, his career spanned both Spain and Italy. However, he preferred the life of a composer to that of a performer. Life and career Family background and early years Tomás Luis de Victoria was born around 1548, most likely in Ávila, the main residence of his family at the time. Victoria’s birthplace has been the subject of debate, and remains unclear since his baptismal record has never been found. The town of ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Polychoral
An antiphon (Greek ἀντίφωνον, ἀντί "opposite" and φωνή "voice") is a short chant in Christian ritual, sung as a refrain. The texts of antiphons are usually taken from the Psalms or Scripture, but may also be freely composed. Their form was favored by St Ambrose and they feature prominently in Ambrosian chant, but they are used widely in Gregorian chant as well. They may be used during Mass, for the Introit, the Offertory or the Communion. They may also be used in the Liturgy of the Hours, typically for Lauds or Vespers. They should not be confused with Marian antiphons or processional antiphons. When a chant consists of alternating verses (usually sung by a cantor) and responses (usually sung by the congregation), a refrain is needed. The looser term antiphony is generally used for any call and response style of singing, such as the kirtan or the sea shanty and other work songs, and songs and worship in African and African-American culture. Antiphonal mu ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Heinrich Schütz
Heinrich Schütz (; 6 November 1672) was a German early Baroque music, Baroque composer and organ (music), organist, generally regarded as the most important German composer before Johann Sebastian Bach and one of the most important composers of the 17th century. He is credited with bringing the Italian style to Germany and continuing its evolution from the Renaissance music, Renaissance into the early Baroque music, Baroque. Most of his surviving music was written for the Lutheran church, primarily for the Augustus, Duke of Saxe-Lauenburg, Electoral Chapel in Dresden. He wrote what is traditionally considered the first German opera, ''Dafne (Opitz-Schütz), Dafne'', performed at Torgau in 1627, the music of which has since been lost, along with nearly all of his ceremonial and theatrical scores. Schütz was a prolific composer, with more than 500 surviving works. He is commemorated as a musician in the Calendar of Saints (Lutheran), Calendar of Saints of some North American Luth ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
