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Cori Spezzati: Volume 1, The Development of Sacred Polychoral Music to the Time of Schutz, by Anthony F. Carver
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Cori Spezzati deals with polychoral church music from its beginnings in the first few decades of the sixteenth century to its climax in the work of Giovanni Gabrieli and Heinrich Schutz. In polychoral music the singers, sometimes with instrumentalists also, were split into two (or more) groups that often engaged in lively dialogue and joined in majestic tutti climaxes. The book draws on contemporary descriptions of the idiom, especially from the writings of Vicentino and Zarlino, but concentrates in the main on musical analysis, showing how antiphonal chanting (such as that of the psalms), dialogue and canon influenced the phenomenon. Polychoral music has often been considered synonymous not only with Venetian music, but with impressive pomp. Anthony Carver's study shows that it was cultivated by many composers outside Venice - in Rome, all over northern Italy, in Catholic and Protestant areas of Germany, in Spain and the New World - and that it was as capable of quiet devotion or mannerist expressionism as of outgoing pomp. Perhaps most important, music by several major composers about which there is still surprisingly little in the literature is treated in depth: the Gabrielis, Lasso, Palestrina, Victoria, and several German masters. The book is illustrated with many musical examples. A companion volume offers an anthology of seventeen complete pieces, most of which are analysed in the text of Volume I.
- Sales Rank: #6499153 in Books
- Published on: 2009-04-02
- Original language: English
- Number of items: 1
- Dimensions: 9.61" h x .63" w x 6.69" l, 1.06 pounds
- Binding: Paperback
- 300 pages
Most helpful customer reviews
1 of 1 people found the following review helpful.
Top notch resource and guide
By Claude Greenmount
Carver has created an excellent survey of the sacred polychoral repertoire, commenting the well-known composers and pieces and bringing out much less well known examples. Although, as any survey, he must cover a wide topical area he does achieve some real depth. Volume I is the textual survey, volume II is all musical examples-- complete works in most cases, or at least, complete sections. Inevitably, one wishes more examples were included but that is always the case in an anthology. The text can be a bit dense at times, as with any academic effort, but it is unlikely the casual music-lover will pick up this book. However, one does not need a PhD in musicology to appreciate Carver's points, and it is very useful for any experienced choral director who is fortunate enough to have the resources to perform some of this incredible music.
Volume II's examples are given in the original pitch level, in modern clefs (original clefs are indicated at the start of each example). The original part names (Cantus, sextus, bassus secundus, etc) are used with no editorialization on what the modern vocal counterpart is-- this requires anyone examining the music for performance purposes to thoroughly study the example in order to properly assign the sung line, but that is not a bad thing. No transpositions are given, even in cases of 'chiavette" but with the presence of the original clefs this call for transposition is easily determined.
One problem performing this repertoire (multiple choral music of the Renaissance and early Baroque) is that it often calls for several tenor parts, an issue with most modern church and community groups (due to the general shortage of avocational male singers). Even those choral ensembles blessed with singers who have the skill to negotiate this often tricky music may find the need for multiple tenor sections a problem in terms of balance. But for those with the resources to pull it off, the sound is glorious and the reward for performer and audience great indeed.
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