Mapping the presence of Paduan repertoire in European anthologies in the first half of the seventeenth century

Source document: Musicologica Brunensia. 2018, vol. 53, iss. 2, pp. 25-40
Extent
25-40
  • ISSN
    1212-0391 (print)
    2336-436X (online)
Type
Article
Language
English
License: Not specified license
Abstract(s)
During their century-old activity, the cappella of the Basilica del Santo and that of the Cathedral of Padua welcomed among their collaborators such outstanding figures as Costanzo Porta, Luigi Balbi, Lelio Bertani, Amadio Freddi, Leandro Gallerano, and many others. Some of their compositions were included, alongside those of other chapel masters working in similar Italian chapels, in several collections printed in various European cities: Heidelberg, Munich, Nuremberg, Frankfurt, Antwerp, and Strasbourg. The aim of the present paper is a mapping the compositions of Paduan composers within the collections printed in Europe during the first half of the 17th century. In particular the attention will focus on the case of Il Trionfo di Dori (Venice, 1592) that was provided with German texts by Johann Lyttich (Nuremberg, 1612–1613) and Martin Rinckart (Leipzig, 1619). Beside that, the paper will investigate the channels that might have allowed these compositions to reach the various cities in which they were printed and the possible reasons for their large diffusion.
Document
References:
[1] BAIN, Susan and VANHULST, Henri. Phalèse in The New Grove Dictionary of Music and Musicians , (ed. Stanley Sadie), London: Oxford University Press, 2 2001, 19, p. 545–549.

[2] CASIMIRI, Raffaele. Musica e musicisti nella cattedrale di Padova nei sec. XIV, XV, XVI. Contributo per una storia. In Note d'archivio per la storia musicale XVIII (1941), p. 28–31, 101–132, 182–214 and XIX (1942), p. 49–92.

[3] GARBELOTTO, Antonio. Un vescovo musicista nel 500: Marco Cornaro . Padova: Società Cooperativa Tipografica, 1954.

[4] GUDEWILL, Kurt. Lyttich, Johann, in Die Musik in Geschichte und Gegenwart. Allgemeine Enzyklopädie der Musik begründet von Friedrich Blume. Zweite, neubearbeitete Ausgabe. Personenteil , (ed. Ludwig Finscher). Kassel: Bärenreiter, 1998–2007, vol. 11, col. 673.

[5] Il trionfo di Dori descritto da diversi et posti in musica, da altretanti autori. A sei voci . Venezia: Angelo Gardano, 1592.

[6] LENNEBERG, Hans. On the Publishing and Dissemination of Music 1500–1850 . Hillsdale: Pendragon Press, 2003, p. 54–73.

[7] LEWIS HAMMOND, Susan. Editing italian music for lutheran Germany . In Orthodoxies and Heterodoxies in Early Modern German Culture. Randolph C. Head - Daniel Christensen (eds.). Leiden: Brill, 2007, p. 117–138.

[8] LEWIS HAMMOND, Susan. Editing Music in Early Modern Germany . Aldershot: Ashgate, 2007.

[9] LEWIS HAMMOND, Susan. Pierre Phalèse as music editor: The Madrigal Anthology Musica divina (1583) . Fontes Artis Musicae, 2004, vol. 51, no. 1, p. 93–110.

[10] LOVATO, Antonio. Il vescovo di Padova Marco II Cornaro (1557–1625) e il theatrum sacrum per il carnevale spirituale . Musica & Figura, 2017, 4, p. 71–97.

[11] LOVATO, Antonio. La musica sacra nell'attività pastorale del vescovo di Padova Marco Corner (1557–1625) , Studia patavina, vol. XXXIV, 1987, p. 29–50.

[12] Musicalische Streitkräntzelein: hiebevorn von den allerfürtrefflichsten unnd berhümtesten Componisten, in welscher Sprach, pro certamine, mit sonderlichem Fleiss, und auffs künnstlichst, mit 6. Stimmen aufgesetzt, und dannenhero Triumphi di Dori oder Dorothea genennet, und in Druck verfertiget, durch Johannen Lyttichium , … Nuremberg: Abraham Wagenmann, 1612.

[13] PADOAN, Maurizio. La musica al Santo di Padova (1580–1650). Dinamiche finanziarie, organici e compiete quaresimali . In Barocco Padano e musici francescani. L'apporto dei maestri conventuali. Atti del XVI Convegno internazionale sul barocco padano (secoli XVII–XVIII). Padua: Centro Studi Antoniani, 2014, p. 17–78.

[14] PASSADORE, Francesco. I musicisti del Santo e della cattedrale di Padova in antologie sacre dei secoli XVI e XVII . In Contributi per la storia della musica sacra a Padova, Fonti e ricerche di storia ecclesiastica padovana XXIV. Giulio Cattin – Antonio Lovato (eds.) Padua: Istituto per la storia ecclesiastica padovana, 1993, p. 191–212.

[15] POWLEY, Harrison (ed.). Il trionfo di Dori . New York: Gaudia music and arts, 1990.

[16] Répertoire International des Sources Musicales . B I: Recueils imprimés XVIe-XVIIe siècles, a cura di François Lesure, München-Duisburg, G. Henle Verlag, 1960.

[17] Rest musicalisches Streitkränzleins: hiebevorn von den allerfürtrefflichsten unnd berhümtesten Componisten, in welscher Sprach, pro certamine, mit sonderlichem Fleiss, und auffs künstlichst, mit 6. Stimmen auffgesetzt, und dannenhero Triomphi di Dori oder de Dorothea genennet. … in Druck gefördert, durch Solomonem Engelhart , … Nuremberg: Balthasar Scherff, 1613.

[18] ROSE, Stephen. The Mechanism of the Music Trade in Central Germany, 1600–40 . Journal of the Royal Musical Association, 2005, vol. 130, part 1, p. 11–37.

[19] ROSE, Stephen. Music in the market-place . In The Cambridge History of seventeenth century music. Tim Carter - John Butt (eds.), Cambridge: University Press, 2005, p. 55–87.

[20] SARTORI, Antonio. Documenti per la storia della musica al Santo e nel Veneto . Fonti e studi per la storia del Santo a Padova, V. Fonti, 4. Vicenza: Neri Pozza, 1977, p. IX–XXI .

[21] Triumphi de Dorothea … geistliches musicalisches Triumph-Cräntzlein . Leipzig: Lorenz Köber, 1619.