David Douglas BRYANT

Published:
http://vmo.unive.it/choirbooks/

https://www.academia.edu/43295491/The_Sound_of_St_Marks._A_Digital_Catalogue_of_the_Choirbooks_with_Polyphonic_Music_of_the_Venetian_Ducal_Chapel._Venice_Ca_Foscari_University_2017_2020_Venetian_Music_Online_

Scientific Team: David Bryant, Augusto Celentano, Luigi Collarile, Renzo Orsini, Rafael Brundo Uriarte

Object of study is the collection of choir-books containing the polyphonic repertoire of the Ducal Chapel of St Mark's, now preserved in the Archivio Storico del Patriarcato di Venezia. These music manuscripts – 14 volumes 'in folio' and some fragments – represent the largest nucleus of what remains of the cappella's early repertoire. They transmit the music performed 'a cappella' by the singers (without instrumental accompaniment) from the so-called 'pulpitum magnum', an polygonal structure in the nave of the church to the right of the iconostasis. For centuries, this repertoire represented the basic 'soundscape' of the Ducal Chapel. The manuscripts were declared 'UNESCO World Heritage' in October 2014.
The project represents the completion of a research program begun in 2013 by Luigi Collarile with the financial support of the Swiss National Science Foundation (http://p3.snf.ch/Project-147795), in collaboration with Ca' Foscari University, Venice (2013-2015).

The present project has the following three objectives:

1. the creation of a multimedial digital portal, containing: i) digital reproductions of the entire collection of choir-books with polyphonic music, ii) historical and bibliographical metadata, and iii) a modern critical edition (open-access). In future, it will be possible to enhance the digital platform with audio/visual contents. Project development in collaboration with the Department of Environmental Sciences, Informatics and Statistics of Ca' Foscari University, coordinator Renzo Orsini.

2. open-access publication of a modern critical edition of the choir-books with polyphonic music (64 compositions and some fragments) – the first complete critical edition of this important musical collection, which contains several hitherto unpublished 'unica'. Scientific and editorial work will be carried out by David Bryant and Luigi Collarile.

3. an international conference, in the context of a project promoted by the Venetian Procuratoria di San Marco in collaboration with Italian and foreign institutions, aimed at presenting the restoration and related research to the scientific community and a wider audience.

http://vmo.unive.it

A scientific website dedicated to research on music in Venice and its territories

General Editors:
David Bryant, Luigi Collarile

Supported by
Ca' Foscari University of Venice

DOI: 10.14277/unive/vmo/2016

Printed Sacred Music Database (PSMD), ed. by David Bryant, Luigi Collarile, Jeffrey Kurtzman, Laurent Pugin, Elena Quaranta, Anne Schnoebelen and Luca Zoppelli. Published: 1 February 2014. Last Update: December 2017.

http://printed-sacred-music.org

DOI: 10.5448/RISM-d-lib-001

Gathering extensive information on prints of sacred music has been a wish of the musicological community for many decades. Such information is of paramount importance for the bibliography of music in general, especially in the seventeenth century, when the printing press produced its greatest output in the sacred domain. The scope of the present database is to cover all sacred music printed in Europe, 1500-1800. It comprises the data collected in the 'Bibliografia della musica sacra pubblicata in Italia fra il 1500 e il 1725 circa' (Venice, Fondazione Cini). The editions now preserved with Catholic music published in Switzerland up to 1800, and the editions with comparable repertoire circulated in the Alpine region, are inserted in the database in the course of a research project started in 2010 by the Institute of Musicology of Fribourg University and the Swiss RISM Office, with the support of the Swiss National Science Foundation. The data is compared to existing bibliographical tools, e.g., RISM A/I and B/I. The database is compliant with the RISM cataloguing scheme based on the MARC21 metadata format. It also contains text incipits and music incipits (in DARMS code) of the printed works. In addition to the bibliographical information, it includes preliminary and concluding textual material of the documents (i.e., title pages, dedications, laudatory poems, advice to users, imprimatur, indices, and colophons). The additional information helps to reveal the network of sponsorships and market strategies that connected dedicatees, printers and booksellers, and to cross-check this data with the circulation of the musical repertoire.

Heir to the illustrious tradition of Venetian polyphonic and polychoral music, Giovanni Gabrieli progressively modified his musical language in the direction of the ‘new’ stile concertato with basso continuo and certain features of the new expressive style which developed in the context of Florentine monody and the Mantuan madrigal.
In Venice, this process was not without consequences for the formation of the younger generation of musicians (Venetian and non-Venetian). In the footsteps of his uncle, Andrea Gabrieli, Giovanni had established what was nothing short of a school (with price lists and programmes), populated by a considerable number of young musicians from all over Europe. Gabrieli’s infl uence on his Northern pupils has been partially investigated; less clear and certainly more problematic is his contribution to the formation of a local compositional tradition.
Leaving aside Gabrieli’s unquestionable importance as composer and innovator in the fi eld of instrumental music, the situation is rendered particularly complex by the arrival in Venice of Claudio Monteverdi in 1613. Frequently music historiography has assigned to Monteverdi prime responsability for the processes of innovation characteristic of subsequent Venetian music.
These study sessions aim to shed light on the extent and nature of Gabrieli’s legacy in the hands of his various pupils and followers (G.B. Riccio, G.B. Grillo, G. Priuli, G. Valentini etc.) both in Venice and elsewhere, with reference both to instrumental music and to the sacred and secular vocal repertoires during the fi rst three decades of the seventeenth century. Discussion of Alessandro Grandi’s role in the artistic production of the new generation of composers can be of particular importance in this context.
Other themes regard: Gabrieli and contemporary music publishing; Gabrieli, the madrigal and private patronage in Venice.

See:
Rodolfo Baroncini, David Bryant, Luigi Collarile (eds), Giovanni Gabrieli. Transmission and Reception of a Venetian Musical Tradition. Turnhout: Brepols, 2016 (Venetian Music Studies, 1)

https://www.academia.edu/26871981/Giovanni_Gabrieli._Transmission_and_Reception_of_a_Venetian_Musical_Tradition._Turnhout_Brepols_2016_Venetian_Music_Studies_1_

An investigation of the use of solo voices with instrumental accompaniment in the performance of fifteenth- and sixteenth-century church polyphony in Italy. Reference is less to the greatest institutions (court chapels, cathedrals, important sanctuaries) than to daily and traditional practices in the many parish and monastic churches.

Knowledge and debate in the field of sixteenth- and early seventeenth-century Venetian music has greatly benefitted in recent decades from studies of major institutions, composers, repertories and sources, as also from investigations of the quantitative aspects of musical life in what was one of the largest, richest and most commercially oriented cities on the Italian peninsula: the Venetian musical phenomenon includes, on the one hand, regular or sporadic musical activities in the city’s many churches and private palaces (activities which provided significant earnings for large numbers of musicians, whether or not salaried members of the ducal cappella) and, on the other, the auxiliary trades of music printing and instrument making. The transmission of the musical repertories has also received notable attention: in particular, the contemporary and later reception of Venetian musical repertories in different political, linguistic and/or confessional areas. Central, too, have been questions of ‘sound’, both with regard to the particular interaction between musical composition, the spatial peculiarities and the specific liturgical and ceremonial traditions of the Venetian ducal chapel, and in the context of music-making at large.

This collection of essays on the life, times and works of a composer who ranks among the most outstanding musical personalities of his day variously unites these strands in an albeit partial attempt to interpret Giovanni Gabrieli’s output and activities in their Venetian context and, at the same time, cast light on their broader historiographical significance: on the one hand Gabrieli as point of synthesis of a complex Venetian musical tradition, on the other his interaction with and impact on contemporary musical life, his influence on later generations of composers both at home and abroad, the rediscovery of his achievements by nineteenth- and twentieth-century historians and performers, the revisitations of his music by twentieth-century composers.

Reviews:
– Rivista Italiana di Musicologia 53 (2018), p. 285–291 (Michelangelo Gabbrielli)
– Early Music 46 (2018), p. 167–169 (Eleanor Selfridge-Field); reply: Early Music 46 (2018), p. 367–368
– Renaissance Quarterly 71 (2018), p. 776–777 (Tim Shephard)
– Music & Letters 100 (2019), p. 543–546 (Tim Carter)

The Soundscape of the Venetian Terraferma in the Early Modern Era is an international conference organized by the Accademia Filarmonica of Verona on the occasion of the 475th anniversary of its foundation (23 May 1543), in collaboration with the University of Verona, Ca’ Foscari University of Venice, the University of St Andrews and the Conservatorio “E. F. Dall’Abaco” of Verona. Natural sequel to The Soundscape of Early Modern Venice (Ca’ Foscari University of Venice, 24-27 May 2017 – Visit the Venice conference web section ), this further initiative has the aim of increasing debate on the varied soundscape of the Venetian Terraferma in the early modern period. This territory, which stretched from Bergamo in the west to the Friulian Alps in the north-east and the river Po at the Republic’s southern extremity, formed one of the three subdivisions of the Serenissima; the others were the Dogado (Venice and surrounding area) and the Stato da mar (Venetian possessions in the eastern Adriatic and Mediterranean areas). The articulate system that regulates musical and non-musical sound in the Venetian territories prior to the fall of the Serenissima in 1797 is highly conducive to an interdisciplinary approach which draws on the new perspectives offered by urban history, humanistic geography and historical anthropology. Emblematic, in this sense, are the activities of the Accademia Filarmonica, which have dominated almost five centuries of local musical history.

http://www.accademiafilarmonica.org/filarmonica/en/convegno-internazionale-2018

International Conference
Ca’ Foscari University of Venice, 24–27 May 2017

Organized by
Ca’ Foscari University of Venice
(Department of Philosophy and Cultural Heritage)

in collaboration with
Basilica Cattedrale di San Marco, Venezia
Archivio Storico del Patriarcato di Venezia
Swiss National Science Foundation
Spazio Svizzero (Palazzo Trevisan degli Ulivi, Venice)
Fondazione Svizzera Pro Venezia


On the basis of new perspectives offered by urban history, humanistic geography and historical anthropology, the conference aims to bring together inter- and multidisciplinary approaches to the significance of soundscape in the context of the rich and complex urban system of early modern Venice. As a supreme example of “ceremonial city”, Venice is particularly suitable for investigating how soundscape interacts with urban space in the creation of an elaborate social and cultural identity.

The international conference forms part of The Sound of Eternity. A Digital Platform for the Polyphonic Choir-Books of the Ducal Chapel of St Mark’s, Venice, a research project funded by the Ca’ Foscari University of Venice (in continuation of The Sound of Eternity. Investigating the Choir-Books of the Ducal Chapel of St Mark’s, Venice, funded by the Swiss National Science Foundation).

The official languages of the conference are English and Italian.

Organizing Committee:
David Bryant, Augusto Celentano, Luigi Collarile, Renzo Orsini
Ca’ Foscari University of Venice

Dal 2014 patrimonio UNESCO, i Libri Corali con musica polifonica della Basilica di San Marco rappresentano una straordinaria testimonianza dell’identità sonora della Cappella Ducale. Che tipo di fonti sono? Come venivano adoperati durante le cerimonie a San Marco? Un progetto di ricerca finanziato da Ca’ Foscari in collaborazione con la Swiss National Science Foundation rende accessibile in forma digitale questo straordinario patrimonio storico e musicale. Scopritelo insieme a noi.

http://vmo.unive.it/choirbooks/

This publication contains: i) a complete digital reproduction of volume 18 of the 17th- and 18th-century choirbooks with polyphonic music belonging to the ducal chapel of St Mark’s, Venice: ii) a critical transcription of the music therein; and iii) a digital catalogue of the volume with historical and bibliographical metadata, including call-mark, title, foliation/pagination, materials, dating, copyist, references in historical inventories, bibliography and miscellaneous notes (for the manuscript as object), and captions, textual incipits, composers, folio/page numbers, number of voices, key signatures, liturgical derivations and destinations, complete texts, concordances, bibliography and miscellaneous notes (for individual compositions). Data is linked to the relevant digital reproductions and critical transcriptions, as also to Luigi Collarile’s critical edition of the historical inventory drawn up by Marchio Angeli in 1720 (http://vmo.unive.it/inventory1720/).

Presentions
https://www.unive.it/pag/14024/?tx_news_pi1%5Bnews%5D=9296&cHash=dcb65e6418dd1af2518ad1b47cd71c1b

https://rism.info/de/electronic_resources/2021/06/28/venetian-music-online.html

This collective study aims to explore the dynamics of sound geography of the early modern Italy. They examine various contexts, offering new perspectives on the phenomenology of urban sound, investigated through different typologies of sources and innovative methodological approaches. Particular attention will be given to the sound of the urban ceremonial, to its declinations and local connotations, to its ability to interact with the public and private dimension, to its economic impact, to the social and aesthetic dynamics regulating it, to its contribution to define an image of the city, to the control policies of the urban noise, to its impact on the civic architectural space and the environment.