101:, (some in 17 choirs), Priuli, Bernadi, (the mass for consecration of Salzburg Cathedral used 16 choirs), and others. 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 multi-choir texture similar to the effects exploited by
142:
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
121:. 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.
52:. Some attendees of the Council held the unofficial point of view that music should be subservient to text, as idealized and exemplified in the choral music of Palestrina. Some critics held that this was not as achievable in larger choral textures.
89:
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
143:
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.
20:
style is a name which has been coined to describe a number of musical compositions from the 17th and 18th centuries composed in an opulent, magnificent and large-scaled style. Such works frequently make use of
116:
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
25:
techniques and often feature instrumental forces considerably larger than the norm for the
Baroque period. The Colossal Baroque had its roots in Italy, in the resplendent multiple polychoral music of the
75:
97:
In the
Austrian area, multi-part pieces were written for special occasions but not always published. There is a long list of missing and incomplete works by
112:
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
476:
32:
442:
Joseph Dyer, "Roman
Catholic church music, §II: The 16th century in Europe". Grove Music Online, ed. L. Macy (accessed May 15, 2007),
301:
471:
94:, who began his career in Rome, helped spread the style elsewhere, especially across the Brenner Pass into the Austrian lands.
297:
173:
316:
214:
184:
44:, many of which were written long after the Venetian School had vanished. An impetus for this music was the
106:
27:
466:
204:
446:
345:
79:
136:
396:, three motets in 12 part triple choirs. Transcribed and edited by Graham Dixon (Mapa Mundi, 1982).
306:
219:
83:
49:
37:
30:, in the sumptuous, extravagant productions of the Medici court, for example the 40- and 60-voice
349:
325:
252:
179:
98:
271:
199:
144:
335:
313:(Lully conducted a performance with a choir of 300 singers and an orchestra of a similar size)
237:
209:
189:
155:
which included three vocal choirs, 12 cornetti and 18 trumpets. This score is also now lost.
102:
224:
132:
45:
450:
167:
124:
91:
342:(the score for this opera features 8 trumpets, 2 timpanists and two complete orchestras)
128:
118:
460:
261:
194:
70:
41:
163:
Composers of the 17th century who composed works in the colossal style include:
60:
Some of the roots of the
Colossal Baroque style were in the opulent Florentine
279:
61:
22:
291:
148:
408:
Sacred Music at the
Imperial Court of Ferdinand II of Habsburg (1619–1637)
283:
287:
65:
232:
Works which may be considered to be in the "Colossal
Baroque" style
64:
of the 16th century, commissioned and attended by the powerful
443:
332:(this motet features six "choirs" of voices and instruments)
370:
139:, now assigned to Biber and provisionally dated to 1682.
82:, in 1589, featured music for up to seven choirs, by
425:
423:
135:in the celebrated mixup over the authorship of the
352:for solo voices, double choir and double orchestra
330:BuxWV 113 - Benedicam Dominum in omni tempore à 24
385:Marcel Couraud (Paris, Editions Salabert, 1973)
8:
257:In Dulci Jubilo à 12, 16, & 20 cum Tubis
40:, and in the large polychoral works of the
153:Danket dem Herren, denn er ist freundlich
406:Steven Saunders, CROSS, SWORD AND LYRE,
278:(this work features two vocal choirs, 2
419:
7:
390:Exultate omnes, Beata es Virgo Maria
48:, which marked the beginning of the
14:
33:Missa sopra Ecco sì beato giorno
105:and the other composers of the
74:, performed for the wedding of
302:Missa Salisburgensis à 53 voci
298:Heinrich Ignaz Franz von Biber
174:Heinrich Ignaz Franz von Biber
147:composed a musical setting of
1:
493:
477:European court festivities
276:SWV 476 - Domini est terra
317:Marc-Antoine Charpentier
185:Marc-Antoine Charpentier
78:to the French princess,
472:Polychoral compositions
205:Joannes Baptista Dolar
444:(subscription access)
350:Passion after Matthew
346:Johann Sebastian Bach
321:Messe à quatre chœurs
127:became confused with
80:Christine of Lorraine
379:, a 12 in 3 choirs,
248:Magnificat à 33 voci
137:Missa Salisburgensis
76:Ferdinand de' Medici
340:Costanza e Fortezza
307:Jean-Baptiste Lully
246:Giovanni Gabrieli:
220:Jean-Baptiste Lully
84:Cristofano Malvezzi
50:Counter-Reformation
38:Alessandro Striggio
449:2008-05-16 at the
429:Dyer, Grove online
410:(Clarendon, 1995).
388:Vincenzo Ugolini,
326:Dietrich Buxtehude
253:Michael Praetorius
180:Dietrich Buxtehude
99:Giovanni Valentini
86:in Intermedio VI.
375:Orazio Benevoli,
336:Johann Joseph Fux
238:Giovanni Gabrieli
210:Johann Joseph Fux
190:Giovanni Gabrieli
103:Giovanni Gabrieli
484:
430:
427:
401:Books with Music
364:Opera Omnia, ed.
362:Orazio Benevoli
266:Missa à 12 chori
227:(c. 1580 – 1638)
225:Vincenzo Ugolini
133:Stefano Bernardi
46:Council of Trent
18:Colossal Baroque
492:
491:
487:
486:
485:
483:
482:
481:
457:
456:
455:
451:Wayback Machine
438:
433:
428:
421:
417:
403:
359:
272:Heinrich Schütz
234:
200:Heinrich Schütz
168:Orazio Benevoli
161:
145:Heinrich Schütz
125:Orazio Benevoli
107:Venetian School
92:Orazio Benevoli
58:
28:Venetian School
12:
11:
5:
490:
488:
480:
479:
474:
469:
459:
458:
454:
453:
439:
437:
434:
432:
431:
418:
416:
413:
412:
411:
402:
399:
398:
397:
386:
383:
373:
372:(Rome, 1966-).
368:L. Feininger,
366:
358:
357:Music editions
355:
354:
353:
343:
333:
323:
314:
304:
295:
269:
259:
250:
244:
242:Sonata XX à 22
233:
230:
229:
228:
222:
217:
212:
207:
202:
197:
192:
187:
182:
177:
171:
160:
159:Some composers
157:
129:Heinrich Biber
119:speed of sound
114:Exultate Omnes
57:
54:
13:
10:
9:
6:
4:
3:
2:
489:
478:
475:
473:
470:
468:
467:Baroque music
465:
464:
462:
452:
448:
445:
441:
440:
435:
426:
424:
420:
414:
409:
405:
404:
400:
395:
394:Quae est ista
391:
387:
384:
382:
378:
374:
371:
367:
365:
361:
360:
356:
351:
347:
344:
341:
337:
334:
331:
327:
324:
322:
318:
315:
312:
308:
305:
303:
299:
296:
293:
289:
285:
281:
277:
273:
270:
267:
263:
262:Stefano Landi
260:
258:
254:
251:
249:
245:
243:
239:
236:
235:
231:
226:
223:
221:
218:
216:
215:Andreas Hofer
213:
211:
208:
206:
203:
201:
198:
196:
195:Stefano Landi
193:
191:
188:
186:
183:
181:
178:
175:
172:
169:
166:
165:
164:
158:
156:
154:
150:
146:
140:
138:
134:
130:
126:
122:
120:
115:
110:
108:
104:
100:
95:
93:
87:
85:
81:
77:
73:
72:
71:La Pellegrina
67:
63:
55:
53:
51:
47:
43:
39:
35:
34:
29:
24:
19:
407:
393:
389:
380:
376:
369:
363:
339:
329:
320:
310:
275:
268:(music lost)
265:
256:
247:
241:
162:
152:
141:
123:
113:
111:
96:
88:
69:
59:
42:Roman School
31:
17:
15:
176:(1644–1704)
170:(1605–1672)
461:Categories
436:References
280:cornettini
62:Intermedii
56:Background
23:polychoral
292:trombones
149:Psalm 136
68:family.
447:Archived
284:dulcians
377:Christe
311:Te Deum
288:violins
66:Medici
415:Notes
392:and
290:, 4
286:, 2
282:, 5
131:and
16:The
381:ed.
36:by
463::
422:^
348::
338::
328::
319::
309::
300::
274::
264::
255::
240::
151:,
109:.
294:)
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.