Colossal Baroque
Encyclopedia
The Colossal Baroque style is a name which has been coined to describe a number of compositions from the 17th and 18th centuries composed in an opulent, magnificent and large-scaled style. Such works frequently make use of polychoral 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 Venetian School, in the sumptuous, extravagant productions of the Medici court, for example the 40- and 60-voice Missa sopra Ecco sì beato giorno
by Alessandro Striggio
, and in the large polychoral works of the Roman School
, many of which were written long after the Venetian School had vanished. An impetus for this music was the Counter-Reformation
, in which the Council of Trent
had ordered that music should be subservient to text, something which was possible in large homophonic
textures, such as could be achieved with multiple choirs.
of the 16th century, commissioned and attended by the powerful Medici
family. La Pellegrina
, performed for the wedding of Ferdinand de' Medici to the French princess, Christine of Lorraine, in 1589, featured music for up to seven choirs, by Cristofano Malvezzi
in Intermedio VI.
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 Orazio Benevoli
, who began his career in Rome, helped spread the style elsewhere, especially across the Brenner Pass into the Austrian Empire.
In the Austrian Empire, multi-part pieces were written for special occasions but not always published. There is a long list of missing and incomplete works by Giovanni Valentini
, (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 multichoir texture similar to the effects exploited by Giovanni Gabrieli
and the other composers of the Venetian School.
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 Exultate Omnes 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 speed of sound
. 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.
Orazio Benevoli
became confused with Heinrich Biber and Stefano Bernadi in the celebrated mixup over the authorship of the Missa Salisburgensis, now assigned to Biber and provisionally dated to 1682.
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 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. Heinrich Schütz
composed a musical setting of Psalm 136
, Danket dem Herren, denn er ist freundlich which included three vocal choirs, 12 cornetti and 18 trumpets. This score is also now lost.
Missa sopra Ecco sì beato giorno
The Missa sopra Ecco sì beato giorno is a musical setting of the Ordinary of the Mass, for 40 and 60 voices, by Florentine Renaissance composer Alessandro Striggio. It probably dates from 1565–6, during the reign of his employer Cosimo I de' Medici. Lost for more than 400 years, it was recently...
by Alessandro Striggio
Alessandro Striggio
Alessandro Striggio was an Italian composer, instrumentalist and diplomat of the Renaissance. He composed numerous madrigals as well as dramatic music, and by combining the two, became the inventor of madrigal comedy...
, and in the large polychoral works of the Roman School
Roman School
In music history, the Roman School was a group of composers of predominantly church music, in Rome, during the 16th and 17th centuries, therefore spanning the late Renaissance and early Baroque eras. The term also refers to the music they produced...
, many of which were written long after the Venetian School had vanished. An impetus for this music was the Counter-Reformation
Counter-Reformation
The Counter-Reformation was the period of Catholic revival beginning with the Council of Trent and ending at the close of the Thirty Years' War, 1648 as a response to the Protestant Reformation.The Counter-Reformation was a comprehensive effort, composed of four major elements:#Ecclesiastical or...
, in which the Council of Trent
Council of Trent
The Council of Trent was the 16th-century Ecumenical Council of the Roman Catholic Church. It is considered to be one of the Church's most important councils. It convened in Trent between December 13, 1545, and December 4, 1563 in twenty-five sessions for three periods...
had ordered that music should be subservient to text, something which was possible in large homophonic
Homophony
In music, homophony is a texture in which two or more parts move together in harmony, the relationship between them creating chords. This is distinct from polyphony, in which parts move with rhythmic independence, and monophony, in which all parts move in parallel rhythm and pitch. A homophonic...
textures, such as could be achieved with multiple choirs.
Background
Some of the roots of the Colossal Baroque style were in the opulent Florentine IntermediiIntermedio
The intermedio, or intermezzo, in the Italian Renaissance, was a theatrical performance or spectacle with music and often dance which was performed between the acts of a play to celebrate special occasions in Italian courts. It was one of the important predecessors to opera, and an influence on...
of the 16th century, commissioned and attended by the powerful Medici
Medici
The House of Medici or Famiglia de' Medici was a political dynasty, banking family and later royal house that first began to gather prominence under Cosimo de' Medici in the Republic of Florence during the late 14th century. The family originated in the Mugello region of the Tuscan countryside,...
family. La Pellegrina
La Pellegrina
The Pilgrim Woman was a play performed at the Florentine Intermedi of 1592. The play was written by the Italian sixteenth-century playwright and librettist Girolamo Bargagli of Sienna in 1579 but was performed for the first time on 2 May 1589, after the author's death in 1586...
, performed for the wedding of Ferdinand de' Medici to the French princess, Christine of Lorraine, in 1589, featured music for up to seven choirs, by Cristofano Malvezzi
Cristofano Malvezzi
Cristofano Malvezzi was an Italian organist and composer of the late Renaissance. He was one of the most famous composers in the city of Florence during a time of transition to the Baroque style....
in Intermedio VI.
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 Orazio Benevoli
Orazio Benevoli
Orazio Benevoli or Benevolo , was an Italian composer of large scaled polychoral sacred choral works; one work featured 48 vocal and instrumental lines....
, who began his career in Rome, helped spread the style elsewhere, especially across the Brenner Pass into the Austrian Empire.
In the Austrian Empire, multi-part pieces were written for special occasions but not always published. There is a long list of missing and incomplete works by Giovanni Valentini
Giovanni Valentini
Giovanni Valentini was an Italian Baroque composer, poet and keyboard virtuoso. Overshadowed by his contemporaries, Claudio Monteverdi and Heinrich Schütz, Valentini is practically forgotten today, although he occupied one of the most prestigious musical posts of his time...
, (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 multichoir texture similar to the effects exploited by Giovanni Gabrieli
Giovanni Gabrieli
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.-Biography:Gabrieli was born in Venice...
and the other composers of the Venetian School.
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 Exultate Omnes 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 speed of sound
Speed of sound
The speed of sound is the distance travelled during a unit of time by a sound wave propagating through an elastic medium. In dry air at , the speed of sound is . This is , or about one kilometer in three seconds or approximately one mile in five seconds....
. 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.
Orazio Benevoli
Orazio Benevoli
Orazio Benevoli or Benevolo , was an Italian composer of large scaled polychoral sacred choral works; one work featured 48 vocal and instrumental lines....
became confused with Heinrich Biber and Stefano Bernadi in the celebrated mixup over the authorship of the Missa Salisburgensis, now assigned to Biber and provisionally dated to 1682.
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 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. Heinrich Schütz
Heinrich Schütz
Heinrich Schütz was a German composer and organist, generally regarded as the most important German composer before Johann Sebastian Bach and often considered to be one of the most important composers of the 17th century along with Claudio Monteverdi...
composed a musical setting of Psalm 136
Psalm 136
Psalm 136 is the 136th psalm from the Book of Psalms. It is sometimes referred to as "The Great Hallel."-Judaism:*Is recited in its entirety during the Pesukei Dezimra on Shabbat, Yom Tov, and Hoshana Rabbah....
, Danket dem Herren, denn er ist freundlich which included three vocal choirs, 12 cornetti and 18 trumpets. This score is also now lost.
Some composers
Composers of the 17th century who composed works in the colossal style include:- Orazio BenevoliOrazio BenevoliOrazio Benevoli or Benevolo , was an Italian composer of large scaled polychoral sacred choral works; one work featured 48 vocal and instrumental lines....
(1605-1672). - Heinrich Ignaz Franz von Biber (1644-1704).
- Dietrich Buxtehude
- Marc-Antoine CharpentierMarc-Antoine CharpentierMarc-Antoine Charpentier, , was a French composer of the Baroque era.Exceptionally prolific and versatile, he produced compositions of the highest quality in several genres...
- Giovanni GabrieliGiovanni GabrieliGiovanni 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.-Biography:Gabrieli was born in Venice...
- Stefano LandiStefano LandiStefano Landi was an Italian composer and teacher of the early Baroque Roman School. He was an influential early composer of opera, and wrote the earliest opera on a historical subject: Sant'Alessio .-Biography:Landi was born in Rome, the capital of the Papal States.In 1595 he joined the Collegio...
- Heinrich SchützHeinrich SchützHeinrich Schütz was a German composer and organist, generally regarded as the most important German composer before Johann Sebastian Bach and often considered to be one of the most important composers of the 17th century along with Claudio Monteverdi...
- Jan Křtitel TolarJan Krtitel TolarJanez Krstnik Dolar 1673, Vienna) was a composer and contemporary of Heinrich Ignaz Franz von Biber, Johann Heinrich Schmelzer, Andreas Hofer and Pavel Josef Vejvanovský....
- Johann Joseph Fux
- Andreas HoferAndreas Hofer (composer)Andreas Hofer was a German composer of the Baroque age.Hofer was born at Reichenhall. He was a contemporary of Heinrich Ignaz Franz von Biber, whose predecessor he was in Salzburg in his office of Inspector and "Hofkapellmeister", i.e. director of the court orchestra. Like Biber, Hofer was...
- Jean-Baptiste LullyJean-Baptiste LullyJean-Baptiste de Lully was an Italian-born French composer who spent most of his life working in the court of Louis XIV of France. He is considered the chief master of the French Baroque style. Lully disavowed any Italian influence in French music of the period. He became a French subject in...
- Vincenzo UgoliniVincenzo UgoliniVincenzo Ugolini was an Italian composer of the early Baroque eras and of the Roman School.-Life:Born in Perugia, he was first a puer chori at San Luigi dei Francesi in Rome under Giovanni Bernardino Nanino; then he was engaged as a contralto until July 1594 and as a bass from the beginning of...
(ca.1580-1638).
Works which may be considered to be in the "Colossal Baroque" style
- Giovanni Gabrieli: Sonata XX à 22
- Giovanni Gabrieli: 'Magnificat à 33 voci
- Michael Praetorius: In Dulci Jubilo à 12, 16, & 20 cum Tubis
- Stefano Landi: Missa à 12 chori (music lost)
- Heinrich Schütz: Domini est terra SWV 476 (this work features two vocal choirs, 2 cornettini, 5 dulcians, 2 violins, 4 trombones)
- Heinrich Ignaz Franz von Biber: Missa Salisburgensis à 53 vociMissa Salisburgensis à 53 vociThe Missa Salisburgensis à 53 voci is, perhaps, the most large-scale piece of extant sacred Baroque music, an archetypical work of the Colossal Baroque. The author of this work is anonymous, however, recent studies of the work suggest that is almost certainly the work of Heinrich Ignaz Franz von...
- Jean-Baptiste Lully: Te Deum (Lully conducted a performance with a choir of 300 singers and an orchestra of a similar size)
- Marc-Antoine Charpentier: Messe à quatre chœurs
- Dietrich Buxtehude: Benedicam Dominum in omni tempore à 24 (this motet features six "choirs" of voices and instruments)
- Johann Joseph Fux: Costanza e Fortezza (the score for this opera features 8 trumpets, 2 timpanists and two complete orchestras)
Music Editions
- Orazio Benevoli Opera Omnia, ed.
- L. Feininger, Monumenta liturgiae Polychoralis Sanctae Ecclesiae Romane, (Rome,1966-).
- Orazio Benevoli, Christe, a 12 in 3 choirs, ed.
- Marcel Couraud (Paris, Editions Salabert,1973)
- Vincenzo Ugolini, Exultate omnes, Beata es Virgo Maria and Quae est ista, three motets in 12 part triple choirs. Transcribed and edited by Graham Dixon, (Mapa Mundi,1982).
Books with Music
- Steven Saunders, CROSS, SWORD AND LYRE, Sacred Music at the Imperial Court of Ferdinand II of Habsburg (1619-1637),(Clarendon,1995).