Cultura Musicale Bresciana. Testimonianze e Reperti di una civiltà

Ateneo di Brescia · Accademia di Scienze, Lettere ed Arti
h 17.00 – 4th May 2018
Salone delle Adunanze – Palazzo Tosio (via Tosio 12, Brescia – Italy)

A new unmissable book about Brescian music and culture is finally out: it was presented in Brescia on May 4, 2018.

Barezzani, Maria Teresa Rosa, and Mariella Sala, eds. Cultura musicale bresciana. Reperti e testimonianze di una civiltà. Annali di storia bresciana, 5 (2017). Brescia: Morcelliana, 2017.

We are very proud our directors Marcello Mazzetti and Livio Ticli collaborated on the book editing. Further, they wrote an interesting chapter, focussing on performance practice of sacred music in Brescia and the relationship between teaching precepts, system of knowledges and music skills of singers, composers and ‘contrapuntisti’ (aka improvisers) in the Renaissance and Early Baroque.
It comes with modern editions of neglected music from Brescia and formulas for improvising over plainchant from 17th-cent. treatises.

The book and the presentation are related to the Conference and Concert “Cultura musicale bresciana” (Brescia, November 2016).

This is the chapter which is possible to freely download below.
Mazzetti, Marcello, and Livio Ticli. “«Quando de quintis terzisque calabat in unam octavam». Per una storia della prassi esecutiva della musica sacra a Brescia nel tardo Cinquecento.” In Cultura musicale bresciana. Reperti e testimonianze di una civiltà, edited by Maria Teresa Rosa Barezzani and Mariella Sala. Annali di storia bresciana, 5 (2017). Brescia: Morcelliana, 2017.

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»DOWNLOAD

  «Quando de quintis terzisque calabat in unam octavam» – Chapter by Mazzetti and Ticli from Annali di storia bresciana

The online version of the whole book is free and downloadable in PDF here:
http://www.ateneo.brescia.it/annali-di-storia-bresciana
[SCROLL DOWN TO THE END OF THE PAGE]

The post Cultura musicale bresciana (Brescia, May 2018) appeared first on Palma Choralis® · Research Group & Early Music Ensemble.

2016/04/16-17
Department of Music & Dance · UMass Amherst, MA (USA)

This recital/paper has been presented at the Italian Madrigal Festival · Scholarly Symposium & Concerts.

We are proud to announce that during their 2016 stay in USA Palma Choralis directors Marcello Mazzetti and Livio Ticli are participating in the Italian Madrigal Festival both presenting this recital/paper and giving some concerts.

Abstract

«In the late sixteenth century – before the practice of basso continuo spread across music prints – the Italian madrigal shows a flowering of styles and compositional techniques resulting from a range of contexts and commissioners.
In light of the well-documented case of the concerto delle donne, we will investigate the skills which performers (frequently singers-players) required at the time. According to coeval treatises about rhetoric, the practice of basso continuo and intabulation, we will illustrate how the exchange between editors and musicians has now the opportunity to recreate a number of multifaceted practices in the performance of late-century polyphonic madrigals».

Live music samples of works by Luzzaschi, Agostini and Rore.

The post What can Luzzasco and Fiorino teach us? · USA 2016 appeared first on Palma Choralis® · Research Group & Early Music Ensemble.

2015/04/17-19
Department of Music · University Park, University of Nottingham (UK)
Palma Choralis® · Research Group
Marcello Mazzetti
Livio Ticli

We presented this paper at the Mapping the Post-Tridentine Motet – Conference.

Abstract

The Canon Regular Floriano Canale (?1541–1st Oct. 1616 Brescia), more known for instrumental works such as Canzoni da sonare (1600), also published three motet-books for four (1581), five (1602) and six (1603) voices respectively, besides several collections that gather music for the Mass and the Office.
Our paper explores the possibility that, after long apprenticeships in Venice (where he was Willaert’s pupil perhaps between 1559-62), Genoa and Gubbio (where he was organist also outside of the Canons Regular Congregation), Canale started setting new trends in Italian printed sacred music, both influencing compositional techniques (as seen in the works by P. Falconio and O. Tigrini) and editorial strategies (as shown in prints’ frontispieces from the 1570-80s). Furthermore, we will argue that Canale’s Sacrae Cantiones of 1581 covered a central position within music publishing in Brescia: indeed, beyond three motet-books by G. Contino (Venice 1560) and two motet-books by C. Antegnati (Venice 1575, Brescia 1581) – these latter unfortunately incomplete, Canale’s collection appears to be the only extant exemplar representing this particular genre in Brescia in the 1580s.
Along these lines, the present paper will present the Sacrae Cantiones (1581) focusing on specific textual choices, stylistic and liturgical peculiarities, the context which produced them (the role of the Canons Regular in relation to patronage, circulation and reception of the repertoire, e.g. in Venice), Canale’s recommendations regarding organ accompaniment and their implications before the ‘invention’ of the bassus pro organo.

This paper has been realized within our project Canons Regular Music and Liturgy (included in the Main Research Area Italian Sacred Music).

The post Canons regular in post-Tridentine musical landscape appeared first on Palma Choralis® · Research Group & Early Music Ensemble.

2014/07/03-06
Department of Music · University of Birmingham (UK)
Palma Choralis® · Research Group
Marcello Mazzetti
Livio Ticli

We presented this paper at the Med-Ren 2014.

Abstract

It has been 30 years since our late lamented Oscar Mischiati highlighted in his studies the importance of carrying on with research on music and musical context of Ss. Salvatore’s Canons Regular. Responding to his invitation, our paper aims to:

1.1) Fill the still existing bio- and bibliographical gap (e.g. the Venetian period of education between 1559 and 1563) about the multifaceted figure of Floriano Canale (1541?-1616) – wrongly considered secondary relative to his contemporaries from Brescia and known almost exclusively from his instrumental work Canzoni da sonare a 4, et 8 voci;

1.2) Analyze F. Canale’s motet-production paying particular attention to textual, stylistic and liturgical peculiarities of Sacrae Cantiones quatuor vocibus decantandae (1581) and performance practice issues with relation to first motet collections with Bassus pro organo.

2) In the light of Canons Regular patronage, so evident in the mid-16th cent. Venice – reconsider the figure of F. Canale and other musicians of the Congregation thanks to a systematic review of their artistic and musical productions through the new Corpus Canonicorum Regularium Ss. Salvatoris: a publishing project under the auspices of the Committee for the Celebration of the 4th Centenary of F. Canale’s death (2016, Brescia, Italy) expecting to arouse intense interest and gathering new contributions among scholars.

This paper has been realized within our project Canons Regular Music and Liturgy (included in the Main Research Area Italian Sacred Music).

The post Reconsidering Floriano Canale’s works appeared first on Palma Choralis® · Research Group & Early Music Ensemble.