The church music of Grammatio Metallo, 1602-1613
<p>Grammatio Metallo (1540-1614/15) was <u>maestro di cappella</u> at the Venetian parish church of San Marcuola between 1602 and 1610. His vast output of sacred choral music includes eleven Masses, nineteen Magnificats and over a hundred motets, mainly written in a retrospective l...
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| Format: | Thesis |
| Language: | English |
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1987
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| _version_ | 1826283950436253696 |
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| author | Collyer, J |
| author_facet | Collyer, J |
| author_sort | Collyer, J |
| collection | OXFORD |
| description | <p>Grammatio Metallo (1540-1614/15) was <u>maestro di cappella</u> at the Venetian parish church of San Marcuola between 1602 and 1610. His vast output of sacred choral music includes eleven Masses, nineteen Magnificats and over a hundred motets, mainly written in a retrospective loosely polyphonic style. A selection of works also shows his excursions into <u>concertante</u> and <u>cori spezzati</u> mediums. Despite the frequency with which his works were published his contemporary fame as a composer who specialized in the writing of canons and musical puzzles has dwindled over the last three centuries.</p>
<p>This study includes firstly, an examination of the composer's activities prior to his Venetian appointment, referring in particular to the pedagogical intent expressed in his <u>Ricercari a due voci</u> and secondly, extraction of relevant seventeenth century archival data connected with San Marcuola and comparison of its rites with Metallo's output, in order to determine the motivation behind publication. A discussion follows concerning the liturgical function of the ecclesiastical texts chosen by Metallo,drawing where possible upon original seventeenth century liturgical sources for information. Finally, the musical content of Metallo's work is dealt with, covering the areas of compositional technique, thematic sources, the incidence of canon and puzzle, the use of organ bass and the extent of vocal ranges. Before a conclusion is reached, a short description of missing works and fragments leads to the supposition that there may still be several, as yet, unidentified publications by Metallo which have not come to light. It is concluded that the overall picture now presented of Metallo assists in defining more precisely the activities and commitments of a Venetian parish composer, hitherto much neglected in the shadow cast by the great churches and confraternities of the region. A selected edition of thirteen works forms the second portion of the study.</p> |
| first_indexed | 2024-03-07T01:06:32Z |
| format | Thesis |
| id | oxford-uuid:8b835d35-75d2-40d5-9ee5-49a8eaa1d051 |
| institution | University of Oxford |
| language | English |
| last_indexed | 2024-03-07T01:06:32Z |
| publishDate | 1987 |
| record_format | dspace |
| spelling | oxford-uuid:8b835d35-75d2-40d5-9ee5-49a8eaa1d0512022-03-26T22:38:42ZThe church music of Grammatio Metallo, 1602-1613Thesishttp://purl.org/coar/resource_type/c_bdccuuid:8b835d35-75d2-40d5-9ee5-49a8eaa1d051Metallo, Grammatio, 1540-Church music -- Italy -- 16th centuryEnglishHyrax Deposit1987Collyer, J<p>Grammatio Metallo (1540-1614/15) was <u>maestro di cappella</u> at the Venetian parish church of San Marcuola between 1602 and 1610. His vast output of sacred choral music includes eleven Masses, nineteen Magnificats and over a hundred motets, mainly written in a retrospective loosely polyphonic style. A selection of works also shows his excursions into <u>concertante</u> and <u>cori spezzati</u> mediums. Despite the frequency with which his works were published his contemporary fame as a composer who specialized in the writing of canons and musical puzzles has dwindled over the last three centuries.</p> <p>This study includes firstly, an examination of the composer's activities prior to his Venetian appointment, referring in particular to the pedagogical intent expressed in his <u>Ricercari a due voci</u> and secondly, extraction of relevant seventeenth century archival data connected with San Marcuola and comparison of its rites with Metallo's output, in order to determine the motivation behind publication. A discussion follows concerning the liturgical function of the ecclesiastical texts chosen by Metallo,drawing where possible upon original seventeenth century liturgical sources for information. Finally, the musical content of Metallo's work is dealt with, covering the areas of compositional technique, thematic sources, the incidence of canon and puzzle, the use of organ bass and the extent of vocal ranges. Before a conclusion is reached, a short description of missing works and fragments leads to the supposition that there may still be several, as yet, unidentified publications by Metallo which have not come to light. It is concluded that the overall picture now presented of Metallo assists in defining more precisely the activities and commitments of a Venetian parish composer, hitherto much neglected in the shadow cast by the great churches and confraternities of the region. A selected edition of thirteen works forms the second portion of the study.</p> |
| spellingShingle | Metallo, Grammatio, 1540- Church music -- Italy -- 16th century Collyer, J The church music of Grammatio Metallo, 1602-1613 |
| title | The church music of Grammatio Metallo, 1602-1613 |
| title_full | The church music of Grammatio Metallo, 1602-1613 |
| title_fullStr | The church music of Grammatio Metallo, 1602-1613 |
| title_full_unstemmed | The church music of Grammatio Metallo, 1602-1613 |
| title_short | The church music of Grammatio Metallo, 1602-1613 |
| title_sort | church music of grammatio metallo 1602 1613 |
| topic | Metallo, Grammatio, 1540- Church music -- Italy -- 16th century |
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