music and ceremonial at St Mark's, Venice, perpetuation of musical repertoire , phenomena of longue durée , soundscape and civic ritual, sound and ritual space
Collarile Luigi (2014), La memoria del modello. Riguardo alle ‚citazioni’ nell’Annuale di G.B. Fasolo (1645), in Colzani Alberto, Luppi Andrea, Padoan Maurizio (ed.), Barocco Padano e musici francescani. L’apporto dei maestri francescani conventuali
Collarile Luigi (2014), Musikalische Erlebnisse von St. Galler Benediktinern auf ihrer Grand Tour durch Italien (1699-1749), in Erhart Peter, Kuratli Jakob (ed.), Vedi Napoli e poi muori. Die Grand Tour der Mönche
Collarile Luigi (2013), Ad uso della Cappella Ducale di Venetia. Intorno a due inedite composizioni sacre di Francesco Cavalli, in Addamiano Antonio, Luisi Francesco (ed.), Atti del Congresso Internazionale di Musica Sacra in occasione del centenario di fondazione del PIMS
Collarile Luigi (accepted), Zieleński e il contesto editoriale veneziano nel primo Seicento: questioni e prospettive, in Jeż Tomasz, Przybyszewska-Jarmińska Barbara, Toffetti Marina (ed.), Italian Music in Central-Eastern Europe. Around Mikołaj Zieleński’s Offertoria and Communiones (1611
, Edizioni Fondazione Levi, Venice, 149-170.
Collarile Luigi (accepted), Giovanni Gabrieli and Andrea’s Musical Legacy: Lost Editions, Ghost Editions, Editorial Strategies, in Baroncini Rodolfo, Bryant David, Collarile Luigi (ed.), Giovanni Gabrieli between Past and Future
, Edizioni Ca’ Foscari, Venice.
Collarile Luigi (accepted), Sacri concerti. Studi sul mottetto a Venezia nel secondo Seicento
, Olschki, Firenze.
The present project proposes a study of the choir books of polyphonic music belonging to the music collection of the Venetian ducal chapel of St Mark’s. These sources – 14 manuscripts in folio grande and a fragment – represent a very interesting case study to investigate the specific repertoire of the most important musical institution of Venice. Despite the large number of studies devoted to music at St Mark’s, the existing literature still lacks a comprehensive study on the material history of these manuscripts and the value of the preserved repertoire.
Research carried out as part of my PhD dissertation enabled me to redefine substantially many aspects of the history of this collection. Thanks to the reconstruction of the activity of two scribes, I dated 11 manuscripts to the second half of the seventeenth century, among them a collection of hymns by F. Cavalli (1602-1676) and another of motets by G. Rovetta (1596?-1668), both previously considered anonymous eighteenth-century sources. Further investigation of account-books pertaining to the Procuratoria de supra (the governing body of the ducal chapel) can shed new light on the history of the musical collection of the ducal chapel during the eighteenth century.
More complex is investigation of the preserved musical repertoire. An inventory of the music books of the ducal chapel, written in 1720, lists 66 volumes, 39 of them in folio grande or in folio. These are the large format books used to sing in bigonzo (i.e., in the octagonal pulpit placed in front of the iconostasis (see Canaletto’s drawing of 1766). The 14 choir books and the fragment represent what now survives of this collection. Given the importance of performances in bigonzo (the ‘normal’ position of the cappella, according to the ceremonial-books of St Mark’s), these sources are a significant tool for investigating the ‘sound’ of the ducal chapel. Their analysis can highlight the repertoire most typically performed in St Mark’s. This repertoire – a cappella without instruments – represented for centuries the ‘soundscape’ of the Venetian ducal chapel.
The aim of the present project is to understand how and why the repertoire transmitted in the choir books of St Mark’s became an irreplaceable part of the liturgical ceremonial of the ducal chapel, and to investigate the aesthetic implications of this process with a view to defining the sound of a specific ritual space.
The results of the project will be the subject of a monographic study. In collaboration with Ca’ Foscari University, Venice, and the Procuratoria di S. Marco, Venice, a digital catalogue will be prepared and published on the new online scientific platform: Musica Veneta Online – http://edizionicf.unive.it/index.php/MVO. The 1720 music inventory of the ducal chapel will be made available in the Historical Music Inventories 1500-1800 database, published by RISM Switzerland in collaboration with the University of Fribourg (http://inventories.rism-ch.org/ – SNFS project).