Jonathan E. Glixon
- Published in print:
- 2003
- Published Online:
- May 2008
- ISBN:
- 9780195134896
- eISBN:
- 9780199868049
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195134896.003.0002
- Subject:
- Music, History, Western
This chapter discusses the religious rituals and ceremonies of the scuole grandi. The ceremonial calendars included the most important religious and civic-religious occasions of the Venetian year, ...
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This chapter discusses the religious rituals and ceremonies of the scuole grandi. The ceremonial calendars included the most important religious and civic-religious occasions of the Venetian year, some of which were celebrated with processions, often to Piazza San Marco. Each of these processions is considered in detail, including the routes taken by the brothers (with some maps). Poor brothers of each scuola were designated to carry candles, banners, and other ceremonial and symbolic objects. Each scuola also celebrated the annual feast day of its patron saint. The scuole also performed a simple mass each Sunday, and a more elaborate one each month. Performing for funerals of their brothers were vital functions performed by the scuole, each of which involved a procession from the home of the deceased to the place of burial.Less
This chapter discusses the religious rituals and ceremonies of the scuole grandi. The ceremonial calendars included the most important religious and civic-religious occasions of the Venetian year, some of which were celebrated with processions, often to Piazza San Marco. Each of these processions is considered in detail, including the routes taken by the brothers (with some maps). Poor brothers of each scuola were designated to carry candles, banners, and other ceremonial and symbolic objects. Each scuola also celebrated the annual feast day of its patron saint. The scuole also performed a simple mass each Sunday, and a more elaborate one each month. Performing for funerals of their brothers were vital functions performed by the scuole, each of which involved a procession from the home of the deceased to the place of burial.
Jonathan E. Glixon
- Published in print:
- 2003
- Published Online:
- May 2008
- ISBN:
- 9780195134896
- eISBN:
- 9780199868049
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195134896.003.0011
- Subject:
- Music, History, Western
This chapter provides a brief final overview of the role of both scuole grandi and scuole piccole in the musical life of Venice.
This chapter provides a brief final overview of the role of both scuole grandi and scuole piccole in the musical life of Venice.
Jonathan E. Glixon
- Published in print:
- 2003
- Published Online:
- May 2008
- ISBN:
- 9780195134896
- eISBN:
- 9780199868049
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195134896.003.0005
- Subject:
- Music, History, Western
This chapter focuses on the salaried musicians of the six scuole grandi during their most active period, 1500-1650. The singers, usually four or five in each ensemble for processions, were ...
More
This chapter focuses on the salaried musicians of the six scuole grandi during their most active period, 1500-1650. The singers, usually four or five in each ensemble for processions, were increasingly drawn from the ducal chapel and important monastic choirs, and were paid an annual salary. Financial considerations and government restrictions sometimes reduced the number and prestige of singers. The scuole also paid lower salaries to groups of lower status singers to sing at funerals. Some scuole briefly employed wind bands for processions, but much more common were ensembles of stringed instruments, at first a mixed ensemble of lute, harp, and lira, and then, from 1530, a homogeneous ensemble of bowed instruments, a violin band, with four to six members. Some of the scuole also built and maintained organs and hired organists, while several employed choirs of priests for liturgical functions.Less
This chapter focuses on the salaried musicians of the six scuole grandi during their most active period, 1500-1650. The singers, usually four or five in each ensemble for processions, were increasingly drawn from the ducal chapel and important monastic choirs, and were paid an annual salary. Financial considerations and government restrictions sometimes reduced the number and prestige of singers. The scuole also paid lower salaries to groups of lower status singers to sing at funerals. Some scuole briefly employed wind bands for processions, but much more common were ensembles of stringed instruments, at first a mixed ensemble of lute, harp, and lira, and then, from 1530, a homogeneous ensemble of bowed instruments, a violin band, with four to six members. Some of the scuole also built and maintained organs and hired organists, while several employed choirs of priests for liturgical functions.
Jonathan E. Glixon
- Published in print:
- 2003
- Published Online:
- May 2008
- ISBN:
- 9780195134896
- eISBN:
- 9780199868049
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195134896.003.0007
- Subject:
- Music, History, Western
This chapter is concerned with the final 150 years in the histories of the scuole grandi, from 1650 to 1807. During this period, for financial and political reasons, the confraternities limited their ...
More
This chapter is concerned with the final 150 years in the histories of the scuole grandi, from 1650 to 1807. During this period, for financial and political reasons, the confraternities limited their expenditures on music. They salaried fewer musicians, or less prestigious ones, or even none at all. Many eliminated ensembles of secular singers entirely, although several continued to employ ensembles of the violin family for processions. Supplying the music for masses and other events were now choirs of priests, in some cases, hired as needed, and in others — notably for the scuole of San Giovanni Evangelista and San Rocco — employed on a salaried basis (as were organists). One new occasion for music during this period was the Exposition of the Holy Sacrament; for which scuole, at times, hired musicians. Within a few years of the conquest of Venice by Napoleon, the scuole grandi were suppressed and their musical histories ended.Less
This chapter is concerned with the final 150 years in the histories of the scuole grandi, from 1650 to 1807. During this period, for financial and political reasons, the confraternities limited their expenditures on music. They salaried fewer musicians, or less prestigious ones, or even none at all. Many eliminated ensembles of secular singers entirely, although several continued to employ ensembles of the violin family for processions. Supplying the music for masses and other events were now choirs of priests, in some cases, hired as needed, and in others — notably for the scuole of San Giovanni Evangelista and San Rocco — employed on a salaried basis (as were organists). One new occasion for music during this period was the Exposition of the Holy Sacrament; for which scuole, at times, hired musicians. Within a few years of the conquest of Venice by Napoleon, the scuole grandi were suppressed and their musical histories ended.
Jonathan E. Glixon
- Published in print:
- 2003
- Published Online:
- May 2008
- ISBN:
- 9780195134896
- eISBN:
- 9780199868049
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195134896.003.0006
- Subject:
- Music, History, Western
The most important musical event for a scuola grande was the annual celebration of the feast day of its patron saint. In the 16th and early 17th centuries, the scuole each hired some of the best ...
More
The most important musical event for a scuola grande was the annual celebration of the feast day of its patron saint. In the 16th and early 17th centuries, the scuole each hired some of the best musicians in the city. In 1553, singers of St. Mark's formed a company to regulate their participation in these and similar feasts. In the first half of the 17th century, the annual celebration at the Scuola di San Rocco became one of the most spectacular musical events in the city. The scuola hired the best choirs, soloists, instrumental ensembles, and virtuoso players, as well as multiple organists, with the participation of such masters as Giovanni Gabrieli, Giovanni Croce, Claudio Monteverdi, and Alessandro Grandi.Less
The most important musical event for a scuola grande was the annual celebration of the feast day of its patron saint. In the 16th and early 17th centuries, the scuole each hired some of the best musicians in the city. In 1553, singers of St. Mark's formed a company to regulate their participation in these and similar feasts. In the first half of the 17th century, the annual celebration at the Scuola di San Rocco became one of the most spectacular musical events in the city. The scuola hired the best choirs, soloists, instrumental ensembles, and virtuoso players, as well as multiple organists, with the participation of such masters as Giovanni Gabrieli, Giovanni Croce, Claudio Monteverdi, and Alessandro Grandi.
Jonathan Glixon
- Published in print:
- 2003
- Published Online:
- May 2008
- ISBN:
- 9780195134896
- eISBN:
- 9780199868049
- Item type:
- book
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195134896.001.0001
- Subject:
- Music, History, Western
This book presents a history of musical activities at Venetian lay confraternities — institutions that were crucial to the cultural and ceremonial life of Venice. It traces musical practices from the ...
More
This book presents a history of musical activities at Venetian lay confraternities — institutions that were crucial to the cultural and ceremonial life of Venice. It traces musical practices from the origins of the earliest confraternities in the mid-13th century to their suppression under the French and Austrian governments in the early 19th century. It first discusses the scuole grandi, the largest and most important of the Venetian confraternities. The scuole grandi hosted some of the most elaborate musical events in the Venetian calendar, including lavish annual festivities for each scuola's patron saint and often enlisting such high-profile musicians as Giovanni Gabrieli and Claudio Monteverdi. They also employed singers, instrumentalists, and organists on a salaried basis for processions and regular religious services. The book places detailed descriptions of these events in the context of the scuole grandi's long histories, as the roles of musicians evolved over the centuries. The book's second part is concerned with the scuole piccole, the numerous smaller confraternities born in churches throughout Venice. These local organizations usually did not employ salaried musicians, but hired singers and players as needed for their annual festivities and other occasions. Detailed appendixes include a calendar of musical events at all Venetian confraternities in the early 18th century and a complete listing of musicians for an important 17th century festival. The book demonstrates the vital role of confraternities in the musical and ceremonial life of Venice.Less
This book presents a history of musical activities at Venetian lay confraternities — institutions that were crucial to the cultural and ceremonial life of Venice. It traces musical practices from the origins of the earliest confraternities in the mid-13th century to their suppression under the French and Austrian governments in the early 19th century. It first discusses the scuole grandi, the largest and most important of the Venetian confraternities. The scuole grandi hosted some of the most elaborate musical events in the Venetian calendar, including lavish annual festivities for each scuola's patron saint and often enlisting such high-profile musicians as Giovanni Gabrieli and Claudio Monteverdi. They also employed singers, instrumentalists, and organists on a salaried basis for processions and regular religious services. The book places detailed descriptions of these events in the context of the scuole grandi's long histories, as the roles of musicians evolved over the centuries. The book's second part is concerned with the scuole piccole, the numerous smaller confraternities born in churches throughout Venice. These local organizations usually did not employ salaried musicians, but hired singers and players as needed for their annual festivities and other occasions. Detailed appendixes include a calendar of musical events at all Venetian confraternities in the early 18th century and a complete listing of musicians for an important 17th century festival. The book demonstrates the vital role of confraternities in the musical and ceremonial life of Venice.
Jonathan E. Glixon
- Published in print:
- 2003
- Published Online:
- May 2008
- ISBN:
- 9780195134896
- eISBN:
- 9780199868049
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195134896.003.0004
- Subject:
- Music, History, Western
This chapter examines the issue of paid singers of polyphony. First used in the middle of the 15th century, these men were also brothers of the scuole grandi for which they sang. They were paid ...
More
This chapter examines the issue of paid singers of polyphony. First used in the middle of the 15th century, these men were also brothers of the scuole grandi for which they sang. They were paid relatively small fees for services at funerals and in processions, where laude were sung (these two tasks were sometimes assigned to different groups). These singers were not especially reliable, and discipline problems were common. In the 1490s, some scuole began to employ, on an occasional basis, professional singers from the chapel of San Marco. The question of repertory and the employment of wind and string instrument players and organists are also addressed.Less
This chapter examines the issue of paid singers of polyphony. First used in the middle of the 15th century, these men were also brothers of the scuole grandi for which they sang. They were paid relatively small fees for services at funerals and in processions, where laude were sung (these two tasks were sometimes assigned to different groups). These singers were not especially reliable, and discipline problems were common. In the 1490s, some scuole began to employ, on an occasional basis, professional singers from the chapel of San Marco. The question of repertory and the employment of wind and string instrument players and organists are also addressed.
Jonathan E. Glixon
- Published in print:
- 2003
- Published Online:
- May 2008
- ISBN:
- 9780195134896
- eISBN:
- 9780199868049
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195134896.003.0003
- Subject:
- Music, History, Western
This chapter treats the beginnings of musical practice at the scuole grandi. It begins with a discussion of the use of chant, in particular a 1365 collection of mass propers and ordinaries for the ...
More
This chapter treats the beginnings of musical practice at the scuole grandi. It begins with a discussion of the use of chant, in particular a 1365 collection of mass propers and ordinaries for the Scuola di Santa Maria della Carità. Also discussed are organs and organists, and the use of brothers of the confraternities to sing laude and at funerals. Finally, the evidence for occasional use of instruments, both winds and strings, in processions is examined.Less
This chapter treats the beginnings of musical practice at the scuole grandi. It begins with a discussion of the use of chant, in particular a 1365 collection of mass propers and ordinaries for the Scuola di Santa Maria della Carità. Also discussed are organs and organists, and the use of brothers of the confraternities to sing laude and at funerals. Finally, the evidence for occasional use of instruments, both winds and strings, in processions is examined.
