Gentile Bellini, Procession of the True Cross in Piazza San Marco, Venice, 1496 / Galleria dell’academia, Venice, Italy / Wikimedia commons
Venetian Rituals by Gabriele Bella
Monteverdi, Vespro della Beata Vergine (1610), performed by Sir John Eliot Gardiner at the Versailles Chapelle Royale with the Monteverdi Choir, the English Baroque Soloists and the Pages du Centre de musique Baroque de Versailles, Palace of Versailles, 2014:
Example 5.2, 5.3 and Anthology 9 (examples begin at 10:55, 13:50 and 29:38)
Monteverdi, Vespro della Beata Vergine (1610), performed by L’Arpeggiata conducted by Chrisina Pluhar:
Example 5.2, 5.3 and Anthology 9 (examples begin at 13:40, 16:51 and 32:53)
Johann Hermann Schein, “Vom Himmel hoch, da komm Ich her,” performed by Ensemble vision vokal, conducted by Stephan Hoellwerth (This performance includes four different works featuring the chorale. Schein’s four-part harmonization of the tune is heard first; another setting of the chorale, published in 1646 is heard at 1:01. The version published Opella Nova, 1618):
Figure 5.2 and Example 5.3 (example begins at 1:42 and 2:42)
Heinrich Schütz, “Wie lieblich sind deine Wohnungen,” SWV 29, from Psalmen Davids, Op. 2, performed by Dresden Chamber Choir, Dresden Baroque Orchestra, conducted by Hans-Christoph Rademann:
Example 5.4 (example begins at 0:00)
Heinrich Schütz, “Film mi, Absalon” (My son, Absalom) from Symphoniae scare, SWV 269 (Sacred Symphonies, 1629). Performed by Harry van der Kamp (Bass):
Anthology 10
Salamone Rossi, “Barekhú” from Hashirim asher le Sholomo (The Songs of Solomon), performed by Profeti Della Quinta:
Example 5.5 (printed example begins at 0:00)
Giacomo Carissimi, Jepthe, complete performance in three parts, with score, performed by Le Parlement de Musique, directed by Martin Gester:
Anthology 11 (printed example begins at part 3)
Global Resources for Chapter Five
Additional Digital Resources
- Basilica San Marco. This website provides information, virtual tours, and images about the Basilica San Marco in Venice, which was the Doge’s private chapel.
- Scuola Grande di San Rocco. . Explore one of Venice’s most important confraternities, which was an important patron of music and art in Venice, including the famous Tintoretto frescoes.
Further Reading
Baker, Geoffrey “Music at Corpus Christi in Colonial Cuzco.” Early Music 32, no. 3 (August 2004): 355+357–67.http://www.jstor.org/stable/3519336
Baker, Geoffrey, and Tess Knighton, eds. Music and Urban Society in Colonial Latin America. Cambridge: Cambridge University Press, 2011. http://www.worldcat.org/oclc/656771863
Davies, Drew Edward. “Villancicos from Mexico City for the Virgin of Guadalupe.” Early Music 39, no. 2 (May 2011): 229–44. http://www.jstor.org/stable/41262167
Fisher, Alexander. Music and Religious Identity in Counter-Reformation Augsburg, 1580–1630. St. Andrews Studies in Reformation History. Aldershot, Hants, and Burlington, VT: Ashgate, 2004.http://www.worldcat.org/oclc/52554436
Frandsen, Mary E. Crossing Confessional Boundaries: The Patronage of Italian Sacred Music in Seventeenth-Century Dresden. Oxford and New York: Oxford University Press, 2006.http://www.worldcat.org/oclc/59011673
Glixon, Jonathan E. Honoring God and the City: Music at the Venetian Confraternities, 1260-1807. New York: Oxford University Press, 2003. https://global.oup.com/academic/product/honoring-god-and-the-city-9780195134896
Glixon, Jonathan E. Mirrors of Heaven or Worldly Theaters? Venetian Nunneries and Their Music. New York: Oxford University Press, 2017. https://global.oup.com/academic/product/mirrors-of-heaven-or-worldly-theaters-9780190259129
HaCohen, Ruth. The Music Libel Against the Jews. New Haven: Yale University Press, 2011.http://www.worldcat.org/oclc/711045613
Harrán, Don. Salamone Rossi: Jewish Musician in Late Renaissance Mantua. Oxford Monographs on Music. Oxford: Oxford University Press, 1999. http://www.worldcat.org/oclc/39108568
Kendrick, Robert L. “Devotion, Piety and Commemoration: Sacred Songs and Oratorios.” In The Cambridge History of Seventeenth-Century Music, ed. Tim Carter and John Butt. Cambridge History of Music.Cambridge: Cambridge University Press, 2005. http://www.worldcat.org/oclc/57893415
Kurtzman, Jeffrey. The Monteverdi Vespers of 1610: Music, Context, and Performance. Oxford and New York: Oxford University Press, 1999. http://www.worldcat.org/oclc/38557342
Kurtzman, Jeffrey, ed. “The Patronage of Sacred Music in Seventeenth-Century Italy: A Special Issue Dedication to Jean Lionnet.” Journal of Seventeenth-Century Music 6, no. 1 (2000). http://www.sscm-jscm.org/v6no1.html
Kurtzman, Jeffrey, and Linda Maria Koldau. “Trombe, Trombe d’argento, Trombe squarciate, Tromboni, andPifferi in Venetian Processions and Ceremonies of the Sixteenth and Seventeenth Centuries.” Journal of the Society for Seventeenth-Century Music 8, no. 1 (2002). http://www.sscm-jscm.org/v8/no1/kurtzman.html
Leaver, Robin A. Luther’s Liturgical Music: Principles and Implications. Lutheran Quarterly Books. Grand Rapids, MI: William B. Eerdmans Publishing Company, 2007. http://www.worldcat.org/oclc/74915463
Morelli, Arnoldo. “The Chiesa Nuova in Rome around 1600: Music for the Church, Music for the Oratory.”Journal of Seventeenth-Century Music 9, no. 1 (2003). http://www.sscm-jscm.org/v9/no1/morelli.html
Muir, Edward. Civic Ritual in Renaissance Venice. Princeton, NJ: Princeton University Press, 1981.http://www.worldcat.org/oclc/6815331
O’Regan, Noel. “The Church Triumphant: Music in the Liturgy.” In The Cambridge History of Seventeenth-Century Music, ed. Tim Carter and John Butt. Cambridge History of Music. Cambridge: Cambridge University Press, 2005. http://www.worldcat.org/oclc/57893415
Selfridge-Field, Eleanor. Venetian Instrumental Music from Gabrieli to Vivaldi. 3rd rev. ed. New York: Dover Publications, 1994. https://search.worldcat.org/title/777324391
Smallman, Basil. Schütz. Master Musicians series. Oxford and New York: Oxford University Press, 2000.http://www.worldcat.org/oclc/42080191
Spagnoli, Gina. Letters and Documents of Heinrich Schütz: An Annotated Translation. Studies in Music 106. Ann Arbor, MI: UMI Research Press, 1990. http://www.worldcat.org/oclc/20056260
Smither, Howard E. A History of the Oratorio, vol. 1: The Oratorio in the Baroque Era: Italy, Vienna, and Paris. Chapel Hill: University of North Carolina Press, 1977. http://www.worldcat.org/title/history-of-the-oratorio-vol-1-the-oratorio-in-the-baroque-era-italy-vienna-paris/oclc/263566263
Varwig, Bettina, Histories of Heinrich Schütz. Music Performance and Reception. New York: Cambridge University Press, 2011. http://www.worldcat.org/oclc/714111914
Vendrix, Philip, ed. Music and the Renaissance: Renaissance, Reformation and Counter-Reformation. Library of Essays on Renaissance Music. Farnham, Surrey: Ashgate, 2011. http://www.worldcat.org/oclc/733723918
Weaver, Andrew H. Sacred Music as Public Image for Holy Roman Emperor Ferdinand III: Representing the Counter-Reformation Monarch at the End of the Thirty Years’ War. Catholic Christendom, 1300–1700. Aldershot, Hants, and Burlington, VT: Ashgate, 2004. http://www.worldcat.org/oclc/764573821
Weil, Mark. S. “The Devotion of the Forty Hours and Roman Baroque Illusions.” Journal of the Warburg and Courtauld Institutes 37 (1974): 218–48. http://www.jstor.org/stable/750841
