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The Colossal Baroque style is a name which has been coined to describe a number of composition from the 17th and 18th centuries composed in an opulent, magnificent and large-scaled style. Such works frequently make use of polychoral techniques and often feature instrumental forces considerably larger than the norm for the Baroque period. This article is about the musical term See Antiphon (person the orator of ancient Greece The Colossal Baroque had its roots in Italy, in the resplendent multiple polychoral music of the Venetian School, in the sumptuous, extravagant productions of the Medici court, for example the 40- and 60-voice Missa sopra Ecco sì beato giorno by Alessandro Striggio, and in the large polychoral works of the Roman School, many of which were written long after the Venetian School had vanished. In music history the Venetian School is a term used to describe the Composers working in Venice from about 1550 to around 1610; it also describes The Missa sopra Ecco sì beato giorno is a musical setting of the Ordinary of the Mass, for 40 and 60 voices by Florentine Renaissance composer Alessandro Striggio (c 1536/1537 – February 29 1592 was an Italian composer instrumentalist and diplomat of the Renaissance. The Roman school is the education system of the Ancient Rome. An impetus for this music was the Counter-Reformation, in which the Council of Trent had ordered that text should be subservient to music, something which was possible in large homophonic textures, such as could be achieved with multiple choirs. The Counter-Reformation (also Catholic Reformation denotes the period of Catholic revival from the pontificate of Pope Pius IV in 1560 to the close of the The Council of Trent was the 19th Ecumenical Council of the Roman Catholic Church. In Music, homophony (hoʊˈmɒfəni from Greek "homófonos" where ομοιο = the same and φωνή = a sound tone is a texture in which two or more

Contents

Background

Some of the roots of the Colossal Baroque style was in the opulent Florentine Intermedii of the 16th century, commissioned and attended by the powerful Medici family. For the film see Intermedio (film. The intermedio, or intermezzo, in the Italian Renaissance, was a theatrical performance La Pellegrina, performed for the wedding of Ferdinand de' Medici to the French princess, Christine of Lorraine, in 1589, featured music for up to seven choirs, by Cristofano Malvezzi in Intermedio VI. The Pilgrim Woman ( La Pellegrina) was a play performed at the Florentine Intermedi of 1592. Cristofano Malvezzi (baptised June 28, 1547 &ndash January 22, 1599) was an Italian Organist and Composer of the late

Yet another city that cultivated large sonorities was Rome. Composers there were not as adventurous with harmony and rhythm as the Venetians, but they had spacious churches with elaborate interiors which demanded music to match. Composers such as Orazio Benevoli, who began his career in Rome, helped spread the style elsewhere, especially across the Brenner Pass into the Austrian Empire. Orazio Benevoli or Benevolo ( April 19 1605 &ndash June 17 1672) was a composer of large scaled Polychoral sacred [1]

In the Austrian Empire, multi-part pieces were written for special occasions but not always published. There is a long list of missing and incomplete works by Giovanni Valentini, (some in 17 choirs), Priuli, Bernadi, (the mass for consecration of Salzburg Cathedral used 16 choirs), and others. Giovanni Valentini (c 1582 &ndash 29/ 30 April 1649) was an Italian Baroque Composer, Poet and keyboard virtuoso Some of Valentini's trumpet parts survive; they have few changes of note, and many rests. It is possible that the brass may have made dovetailed mass volume answering phrases in a multichoir texture similar to the effects exploited by Giovanni Gabrieli and the other composers of the Venetian School. Giovanni Gabrieli (c 1554/1557 &ndash August 12 1612 was an Italian Composer and organist. In music history the Venetian School is a term used to describe the Composers working in Venice from about 1550 to around 1610; it also describes

Pieces were typically in 12 or more parts but there is evidence that the polychoral aspects did not always involve wide spacing. For example, in Ugolini's Exultate Omnes there are trio passages for all the sopranos, tenors and altos from each choir together. This would have been impractical if the singers were widely separated, due to the physical limitation imposed by the speed of sound. Sound is a vibration that travels through an elastic medium as a Wave. On the other hand, some pieces were very likely to have been performed with singers and players distributed widely, in venues such as Salzburg Cathedral; for maximum effect and practicality, much of this music was antiphonal or exploited echo effects.

Orazio Benevoli became confused with Heinrich Biber and Stefano Bernadi in the celebrated mixup over the authorship of the Missa Salisburgensis, now assigned to Biber and provisionally dated to 1682. Orazio Benevoli or Benevolo ( April 19 1605 &ndash June 17 1672) was a composer of large scaled Polychoral sacred Heinrich Ignaz Franz von Biber (August 12 1644 &ndash May 3 1704 was a Bohemian Austrian Composer and Violinist. The Missa Salisburgensis à 53 voci is perhaps the most large-scale piece of extant sacred Baroque music, an archetypical work of the Colossal Baroque. [2]

Works we may consider to be examples of the Colossal Baroque style were frequently ceremonial works, composed for special occasions (coronations, weddings, religious festivals, municipal functions, victory celebrations, et cetera). These works were frequently performed with unusually large musical forces. From time to time the scores of such works may have been presented to the aristocrat hosting or the subject of the event. As a result, many scores of large scale 16th and 17th century works have been lost. Heinrich Schütz composed a musical setting of Psalm 136, Danket dem Herren, denn er ist freundlich which included three vocal choirs, 12 cornetti and 18 trumpets. Heinrich Schütz (October 8 ( JC) 1585 Köstritz - November 6 1672 Dresden) was a German Composer and organist, generally regarded This score is also now lost.

Some composers

Composers of the 17th century who composed works in the colossal style include:

Works which may be considered to be in the "Colossal Baroque" style

Music Editions

Books with Music

References

Notes

  1. ^ Dyer, Grove online
  2. ^ Dyer, Grove online
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