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Giovanni Gabrieli was an Italian composer and organist. He was one of the most influential musicians of his time, and represents the culmination of the style of the Venetian School, at the time of the shift from Renaissance to Baroque idioms.
Heinrich Ignaz Franz Biber was a Bohemian-Austrian composer and violinist. Biber worked in Graz and Kroměříž before he illegally left his employer, Prince-Bishop Karl Liechtenstein-Kastelkorn, and settled in Salzburg. He remained there for the rest of his life, publishing much of his music but apparently seldom, if ever, giving concert tours.
Concertato is a term in early Baroque music referring to either a genre or a style of music in which groups of instruments or voices share a melody, usually in alternation, and almost always over a basso continuo. The term derives from Italian concerto which means "playing together"—hence concertato means "in the style of a concerto." In contemporary usage, the term is almost always used as an adjective, for example "three pieces from the set are in concertato style."
The Venetian polychoral style was a type of music of the late Renaissance and early Baroque eras which involved spatially separate choirs singing in alternation. It represented a major stylistic shift from the prevailing polyphonic writing of the middle Renaissance, and was one of the major stylistic developments which led directly to the formation of what is now known as the Baroque style. A commonly encountered term for the separated choirs is chori spezzati—literally, "broken choruses" as they were called, added the element of spatial contrast to Venetian music. These included the echo device, so important in the entire baroque tradition; the alternation of two contrasting bodies of sound, such as chorus against chorus, single line versus a full choir, solo voice opposing full choir, instruments pitted against voices and contrasting instrumental groups; the alternation of high and low voices; soft level of sound alternated with a loud one; the fragmentary versus the continuous; and blocked chords contrasting with flowing counterpoint.
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.
Hans Leo Hassler was a German composer and organist of the late Renaissance and early Baroque eras, elder brother of less known composer Jakob Hassler. He was born in Nürnberg and died in Frankfurt.
Antonio Cifra was an Italian composer of the Roman School of the Renaissance and early Baroque eras. He was one of the significant transitional figures between the Renaissance and Baroque styles, and produced music in both idioms.
In music, a chorale concerto is a short sacred composition for one or more voices and instruments, principally from the very early German Baroque era. Most examples of the genre were composed between 1600 and 1650.
Vincenzo Bellavere was an Italian composer of the Venetian School. While a fairly minor figure in the Venetian School, he was a competent composer of madrigals and wrote a few works in the grand Venetian polychoral style.
Andreas Hofer was a German composer of the Baroque period.
Orazio Benevoli or Benevolo, was a Franco-Italian composer of large scaled polychoral sacred choral works of the middle Baroque era.
The year 1672 in music involved some significant events.
Francisco Valls or Francesc Valls was a Spanish composer, theorist and mestre de capella. Among his most known works are the mass Missa Scala Aretina and tract Mapa Armónico Práctico.
The Missa Salisburgensis à 53 voci is perhaps the largest-scale piece of extant sacred Baroque music, an archetypal work of the Colossal Baroque that is now universally accepted to be by Heinrich Ignaz Franz Biber. The manuscript score of this Mass was rediscovered in the 1870s in the home of a greengrocer in Salzburg, Austria. It has been said to have narrowly escaped being used to wrap vegetables. In the late 19th century, musicologists, notably August Wilhelm Ambros and Franz Xavier Jelinek, attributed it to Orazio Benevoli, and argued that it had been performed in 1628; however in the mid-1970s, through modern methods of analyzing handwriting, watermarks, and history, Ernst Hintermaier "proved...definitely" that it was not by Benevoli. He also demonstrated that it must have been written for the 1682 commemoration of the 1100th anniversary of the Archbishopric of Salzburg. Hintermaier wrote in 2015 that the evidence rules out both Benevoli and Andreas Hofer, Biber's colleague, and concludes that "... the only possible composer of the Mass and the [companion] motet [for 54 voices, Plaudite Tympana] was Heinrich Ignaz Franz Biber... both the sources and the stylistic analysis clearly point to Biber as the author of the works."
Stefano Rossetto was an Italian composer of the late Renaissance, born in Nice, who worked mainly in Florence for the powerful Medici family, and in Munich.
Vinzenz Fux, (c.1606–1659) was an Austrian musician and composer.
Giovanni Giorgi was a priest and an Italian composer. His style of polychoral church compositions are influenced by earlier Roman School composers such as Orazio Benevoli, but also incorporate later Roman Baroque features and some elements of early Classical style.
Psalmen Davids is a collection of sacred choral music, settings mostly of psalms in German by Heinrich Schütz, who had studied the Venetian polychoral style with Giovanni Gabrieli. Book 1 was printed in Dresden in 1619 as his Opus 2. It comprises 26 individual settings, which were assigned numbers 22 to 47 in the Schütz-Werke-Verzeichnis (SWV). Most of them use the text of a complete psalm in the translation by Martin Luther.
His Majestys Sagbutts & Cornetts (HMSC) is a British early music group founded in 1982. The ensemble presently consists of three cornetts and four sackbuts, with chamber organ or harpsichord. The group frequently collaborates with other instrumentalists and singers, and has an extensive discography on Hyperion Records and other labels.
Jauchzet dem Herren, alle Welt, SWV 36, is a choral setting of Psalm 100 in German for double choir by Heinrich Schütz. It is one of the Psalmen Davids, published in 1619. The psalm setting has been performed and recorded internationally.
References
- Joseph Dyer, "Roman Catholic church music, §II: The 16th century in Europe". Grove Music Online, ed. L. Macy (accessed May 15, 2007), (subscription access) Archived 2008-05-16 at the Wayback Machine