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010 a| 87024909;

020 z| 0521303982 (v. 1);

020 a| 0521361729 (set);

035 a| (Sirsi) o16649188;

035 a| (OCoLC)16649188;

040 a| DLCc| DLCd| EREd| UtOrBLW;

049 a| EREM;

050 00 a| ML2902b| .C27 1988;

082 0 a| 784.12| 19;

100 1 a| Carver, Anthony F.=| ^A228520;

245 10 a| Cori spezzati /c| Anthony F. Carver.;

260 a| Cambridge [Cambridgeshire] ;a| New York :b| Cambridge University Press,c| 1988.;

300 a| 2 volumes :b| illustrations, music ;c| 26 cm;

336 a| text2| rdacontent;

337 a| unmediated2| rdamedia;

338 a| volume2| rdacarrier;

546 a| In English (v. 1); Latin words in the anthology (v. 2).;

504 a| Includes bibliography (v. 1, pages 259-274) and index.;

520 a| This book (volume 1) deals with polychoral church music from its beginnings in the first few decades of the sixteenth century to its climax in the work of Giovanni Gabrieli and Heinrich Schutz. In polychoral music the singers, sometimes with instrumentalists also, were split into two (or more) groups that often engaged in lively dialogue and joined in majestic tutti climaxes. The book draws on contemporary descriptions of the idiom, especially from the writings of Vicentino and Zarlino, but concentrates in the main on musical analysis, showing how antiphonal chanting (such as that of the psalms), dialogue and canon influenced the phenomenon. Polychoral music has often been considered synonymous not only with Venetian music, but with impressive pomp. This study shows that it was cultivated by many composers outside Venice--in Rome, all over northern Italy, in Catholic and Protestant areas of Germany, in Spain and the New World--and that it was as capable of quiet devotion or mannerist expressionism as of outgoing pomp. Perhaps most important, music by several major composers about which there is still surprisingly little in the literature is treated in depth: the Gabrielis, Lasso, Palestrina, Victoria, and several German masters. The book is illustrated with many musical examples. A companion volume 2 offers an anthology of seventeen complete pieces, most of which are analysed in the text of volume 1.;

650 0 a| Choral singingy| 16th century.=| ^A29553;

650 0 a| Choral singingy| 17th century.=| ^A29553;

650 0 a| Church musicy| 16th century.=| ^A40858;

650 0 a| Church musicy| 17th century.=| ^A40858;

650 0 a| Choruses, Sacredy| 16th century.=| ^A91912;

650 0 a| Choruses, Sacredy| 17th century.=| ^A91912;

919 a| BOOK;

596 a| 3;

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999 a| ML2902 .C27 1988 V. 1w| LCc| 1i| 30372004894637d| 7/16/2014e| 3/30/2010f| 4/9/2024g| 4l| MSTm| JMUSICn| 12q| 1r| Ys| Yt| MGESBKu| 7/27/1989x| BOOKz| MCIRCo| .STAFF. enhanced 2/13/23 -jjab;

Cori spezzati / Anthony F. Carver.

Author/creator	Carver, Anthony F.
Format	Book
Publication Info	Cambridge [Cambridgeshire] ; New York : Cambridge University Press, 1988.
Description	2 volumes : illustrations, music ; 26 cm
Subjects	Choral singing--16th century. Choral singing--17th century. Church music--16th century. Church music--17th century. Choruses, Sacred--16th century. Choruses, Sacred--17th century.

Contents	v. 1. The development of sacred polychoral music to the time of Schütz. The origins and development of cori spezzati. Early references in archival and other documents ; The Bavarian royal wedding, 1568 ; Vicentino and Zarlino ; Dialogue, psalmody and voice-pairing ; Developments after 1550 -- The early Italian contribution. The sources: manuscripts (Treviso, Verona, Bergamo, Padua, Bologna), prints (1550, 1564) ; The music: Ruffino d'Assisi, Santacroce, Passetto, Alberti, Portinaro, Willaert -- The Franco-Flemish tradition. Double-choir canon ; The origin of flexible antiphony: Josquin, Brumel ; The emergence of the double-choir motet: Rousee, Phinot -- Dissemination and aggrandisement. The three strands in the Thesaurus musicus ; Pomp and splendour: the Novus thesaurus musicus ; Music for the 1568 Munich wedding -- The polychoral works of Orlando di Lasso. Double-choir music at the Munich court ; The dialogues ; Psalms and psalm-motets ; Canticles ; Other liturgical works ; Motets: secular ; Motets: sacred ; Masses -- Polychoral music in Rome and Spain. Giovanni Animuccia ; Giovanni Pierluigi da Palestrina ; Tomas Luis de Victoria ; Later Roman composers ; Polychoral music in Spain: Rogier ; From Iberia to the New World -- Venice: the grand climax. Andrea Gabrieli: founder of the Venetian style ; Giovanni Gabrieli ; Venetian contemporaries of the Gabrielis: Merulo, Donato, Croce, Bassano ; Polychoral music in Northern Italy outside Venice, 1570-1600: Porta, Chamatero, Asola -- Across the Alps: the German craze. Flemish and Italian influence ; Polychoral music in the Empire: Monte, Handl, large-scale music in Graz ; Augsburg: Hassler ; Some Protestant composers of polychoral music: Hieronymus Praetorius, Michael Praetorius, Schein, Scheidt, Schutz -- Postscript -- Appendix 1. Readings from Vicentino, Zarlino and Troiano ; Appendix 2. Some choirbooks in the Osterreichische National-bibliothek, Vienna: list of contents.
Contents	v. 2. Ps. 133: Ecce nunc benedicite / Francesco Santacroce -- Nostra ut pura / Costanzo Festa -- Regina Caeli / Jean Rousée -- Sancta Trinitas / Dominique Phinot -- Quem vidistis, pastores? / Francisco Bonardo -- Ps. 99: Jubilate Deo / Alexander Utendal -- Agnus Dei from Mass à 24 / Annibale Padovano -- Ps. 125: In convertendo Dominus / Orlando di Lasso -- Epitaphium divi Bernardii mira loquor / Orlando di Lasso -- Osculetor me osculo ; Kyrie from Missa super Osculetor me / Orlando di Lasso -- Videntes stellam Magi / Giovanni Pierluigi da Palestrina -- Magnificat primi toni / Tomás Luis de Victoria -- Quem vidistis, pastores? / Andrea Gabrieli -- Benedicam Dominum / Andrea Gabrieli -- O Domine Jesum Christe / Giovanni Gabrieli -- Hodie completi sunt / Giovanni Gabrieli -- Nun komm der Heyden Heiland / Samuel Scheidt.
Abstract	This book (volume 1) deals with polychoral church music from its beginnings in the first few decades of the sixteenth century to its climax in the work of Giovanni Gabrieli and Heinrich Schutz. In polychoral music the singers, sometimes with instrumentalists also, were split into two (or more) groups that often engaged in lively dialogue and joined in majestic tutti climaxes. The book draws on contemporary descriptions of the idiom, especially from the writings of Vicentino and Zarlino, but concentrates in the main on musical analysis, showing how antiphonal chanting (such as that of the psalms), dialogue and canon influenced the phenomenon. Polychoral music has often been considered synonymous not only with Venetian music, but with impressive pomp. This study shows that it was cultivated by many composers outside Venice--in Rome, all over northern Italy, in Catholic and Protestant areas of Germany, in Spain and the New World--and that it was as capable of quiet devotion or mannerist expressionism as of outgoing pomp. Perhaps most important, music by several major composers about which there is still surprisingly little in the literature is treated in depth: the Gabrielis, Lasso, Palestrina, Victoria, and several German masters. The book is illustrated with many musical examples. A companion volume 2 offers an anthology of seventeen complete pieces, most of which are analysed in the text of volume 1.
Bibliography note	Includes bibliography (v. 1, pages 259-274) and index.
Language	In English (v. 1); Latin words in the anthology (v. 2).
LCCN	87024909
ISBN	0521361729 (set)

Cori spezzati / Anthony F. Carver.

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