Venetian School (Cori Spezzati), St. Mark's Basilica (1 janv. 1550 – 1 janv. 1610)

Description:

In music history, the Venetian School was the body and work of composers working in Venice from about 1550 to around 1610, many working in the Venetian polychoral style.

The Venetian polychoral compositions of the late sixteenth century were among the most famous musical works in Europe, and their influence on musical practice in other countries was enormous.

The innovations introduced by the Venetian school, along with the contemporary development of monody and opera in Florence, together define the end of the musical Renaissance and the beginning of the musical Baroque.

CORI SPEZZATI ORIGINS THROUGH THE FIRST HALF OF THE SIXTEENTH CENTURY

• Earliest appearance is late 15th century: Pierre de la Rue, Josquin, Mouton
• Early 16th century: Psalms and canticles for cori spezzati first popular in and around Venice
• Gaspare de Albertis at Bergamo (far north, near Milan), Fra Ruffino at Padua (northeast, close to Venice), Francesco Santacroce at Treviso (also very close to Venice)
• Santacroce: Little imitation, simple chordal style, great clarity for the words
• 1550s: Popular in mid-northern Italy (towns of Gubbio and Loreto)
• Giovanni Domenico (learned cori spezzati from Ruffino), Francesco Lupino (only surviving works are cori spezzati), Didier Lachenet, Dominique Phinot (first Italian motets to use cori spezzati)
• Phinot is different than Willaert: Lack of elaborate counterpoint, more transparent homophony, irregular text repetition (this is more like Ruffino, Santacroce, Lupino)
• 1550: Collection of Willaert's psalms for double choir published (I salmi … a uno et a duoi chori)
• Willaert first to codify tradition with longer phrases, polyphony, and harmonically complete choirs, often Psalms
• 1555: Vicentino's treatise L’antica musica ridotta alla moderna prattica (details spezzati instructions as per Grove below) • In tutti sections the two or three bass lines are always in unisons or octaves, occasionally thirds, never fifths
• A composer must take care first to choose the mode for his setting of the words and then to respect the tone or mode of the composition, which may be composed on a plainchant or on an idea of his own, with or without fugues
• After the first choir is about to conclude its first section, the second choir should begin halfway through the last note of the first choir, with each voice part starting on the unison or octave of the one that preceded it. For variety, the cantus of the second choir may, in contrast with the first cantus, become an altus pitched a unison, third, or fifth below the latter
• 1558: Zarlino's treatise Le istitutioni harmonishe (also includes cori spezzati section)
• Zarlino and Vicentino treatises
• Both theorists studied polychoral technique of Willaert and their rules are derived from his repertoire • These treatises were followed only generally
• First instruction becomes a rule when choirs were separated (which was not not a requirement) • These works lack dialogue, lack contrasting sonorities, lack tutti writing
• Tutti tends to be reserved for the conclusion of the Doxology

SECOND HALF OF SIXTEENTH CENTURY
• Spezzati settings become highly popular in Venice under Willaert, later Andrea Gabrieli, Giovanni Gabrieli
• From 1568, references to double choir after Constanzo Porta appointed MdC in Ravenna (north, Adriatic side)
• 1570s cori spezzati shows up in Rome, adopted by Palestrina (1525-94)

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