In two decades of exploring 17th Century music I have been continually fascinated by the way compositional techniques, modes of expression and ideas of taste and style migrated across Europe. These stylistic journeys most often began in ...
In two decades of exploring 17th Century music I have been continually fascinated by the way compositional techniques, modes of expression and ideas of taste and style migrated across Europe. These stylistic journeys most often began in Italy and travelling northward and refracted into spectrum of national styles of the High Baroque. Perhaps because I have spent time as a foreigner recently, encountering different traditions and cultures and learning new ways of communicating, my awareness of the role that the exchange of ideas plays in the development of art and society has been especially keen. The programs Magnificat will present in 2013-2014 all focus on the exchange of techniques and ideas, the generational transfer and elaboration of tradition and the translation of style from one culture to another.
Few events had a more profound influence on the music of the 17th century than the changing of the guard that took place at the Basilica of San Marco with the death of Giovanni Gabrieli in 1612 and the arrival of Claudio Monteverdi from Mantua the following year. Though they never held the post of maestro di cappella at San Marco, Giovanni and his uncle Andrea nevertheless dominated the musical life of the Serene Republic for three decades. Their brilliant polychoral style was appealing and effective and they pioneered the use of obbligato instruments in the service of what we would now call orchestration to give their concertos color and affect in a way that was imitated across Europe. One of Giovanni’s many students from north of the Alps in his final years was Heinrich Schütz, who studied in Venice for four years and returned to Dresden shortly after his teacher’s death, missing Monteverdi’s arrival by a matter of months. But more on that in the next program.
In his old age Giovanni began to incorporate some of the techniques associated with the ‘secunda prattica’, specifically an independent basso continuo and florid writing for solo voice. This is especially evident in some of the compositions included in his second volume of Symphoniae Sacrae, published posthumously in 1615. Similarly, while Monteverdi is most closely associated with the new music of the new century, he nevertheless took pains to demonstrate his mastery of the old polyphonic techniques, for example in the Missa in illo tempore, published along with his famous Vespers music in 1610 and the stile antico masses in his 1641 collection Selva morale et spirituale.
The blurring of compositional style represented by these two titans of Venetian music is central to Magnificat’s program on the weekend of December 20-22, for which we will join forces with The Whole Noyse in a co-production with the San Francisco Early Music Society. The program is built on a frame provided by the liturgy for the Christmas Mass but the music we will perform was unlikely to have been assembled for any specific event from the time. Rather we will combine the grandeur of Gabrieli with the passion and virtuosity of Monteverdi in a way that displays both the continuity and innovation reflected in the music of Venice at the beginning of the century.
In August 1628, Heinrich Schütz escaped war-ravaged Dresden and travelled to Venice, where he had studied with Gabrieli almost twenty years before. In a letter written after his return in late the next year, Schütz recalled “staying in Venice as the guest of old friends, I learned that the long unchanged art of composition had changed somewhat: the ancient rhythms were partly set aside to tickle the ears of today with fresh devices.” During his visit, he certainly heard such fresh devices in the madrigals and motets of Monteverdi and Grandi and in instrumental sonatas by Biagio Marini and Dario Castello. Marini’s eighth set of sonatas, subtitled “Curiose e Moderne Inventioni,” was published in Venice during Schütz’s stay in Venice, as was the Dresden Kappelmeister’s own collection of motets, his first set of Symphoniæ Sacræ.
The spirit of th
