Page 211 - Weiss, Jernej, ur. 2017. Glasbene migracije: stičišče evropske glasbene raznolikosti - Musical Migrations: Crossroads of European Musical Diversity. Koper/Ljubljana: Založba Univerze na Primorskem in Festival Ljubljana. Studia musicologica Labacensia, 1
P. 211
from theatre to church: some remarks about censorship on operatic style ...
indeed definitely states the superiority of one style over the others; it means
creating a myth that does not leave much space for other musical expres-
sions. But how many composers actually followed these prescriptions with
good results or how many composers really did intend to abide by such in-
dications?
A part of the clergy believed it was not convenient to impose the new
directives, due to the problems that had arisen with musicians. It must be
borne in mind that for years musicians had been used to performing the
same repertoire, and all at once they found themselves having to discard
that music due to the newly introduced reform, while undertaking to learn
new music at the same time. Another part of the clergy still simply had a
passive attitude regarding operatic repertoire. Commissions for sacred mu-
sic were partly inefficient, due to the high number of members not in agree-
ment with each other. Also for these reasons the process of eradicating op-
eratic repertoire turned out to be a long and difficult one, in Italy more than
in other countries.
Owing to the Cecilian movement, the transfer of so called “ridiculous”
and “vulgar” operatic features suffered a setback, and this migration - if
we may indeed call it this way - definitely came to an end. The point is to
understand if what came later was stylistically and aesthetically adequate
enough to replace such a model.
Bibliography
Angelis, Alberto De. Domenico Mustafà. La Cappella Sistina e la Società Musi-
cale Romana. Bologna: Zanichelli, 1926.
Battista Candotti, Giovanni. “Sul canto ecclesiastico e sulla musica da chie-
sa.” In Giovanni Battista Candotti. Scritti musicali. Edited by Lorenzo
Nassimbeni. Udine: Pizzicato, 2008.
Castellani, Giuliano, Riedo, Christoph, ed.. Ferdinando Galimberti. Dies irae,
for soli, choir und orchester (1744). Adliswil/Zürich: Edition Kunzel-
mann, 2010.
Cinque marcie estratte da opere serie teatrali e ridotte per organo da Giuseppe
Cerruti. Torino: Magrini, s. d..
Repertorio eclettico dell’organista. Reductions by Cerruti and Paoletti. Torino:
Racca, 1853.
resulted in few truly creative works, most of them representing just a sterile imitation
of XVI century polyphony.
209
indeed definitely states the superiority of one style over the others; it means
creating a myth that does not leave much space for other musical expres-
sions. But how many composers actually followed these prescriptions with
good results or how many composers really did intend to abide by such in-
dications?
A part of the clergy believed it was not convenient to impose the new
directives, due to the problems that had arisen with musicians. It must be
borne in mind that for years musicians had been used to performing the
same repertoire, and all at once they found themselves having to discard
that music due to the newly introduced reform, while undertaking to learn
new music at the same time. Another part of the clergy still simply had a
passive attitude regarding operatic repertoire. Commissions for sacred mu-
sic were partly inefficient, due to the high number of members not in agree-
ment with each other. Also for these reasons the process of eradicating op-
eratic repertoire turned out to be a long and difficult one, in Italy more than
in other countries.
Owing to the Cecilian movement, the transfer of so called “ridiculous”
and “vulgar” operatic features suffered a setback, and this migration - if
we may indeed call it this way - definitely came to an end. The point is to
understand if what came later was stylistically and aesthetically adequate
enough to replace such a model.
Bibliography
Angelis, Alberto De. Domenico Mustafà. La Cappella Sistina e la Società Musi-
cale Romana. Bologna: Zanichelli, 1926.
Battista Candotti, Giovanni. “Sul canto ecclesiastico e sulla musica da chie-
sa.” In Giovanni Battista Candotti. Scritti musicali. Edited by Lorenzo
Nassimbeni. Udine: Pizzicato, 2008.
Castellani, Giuliano, Riedo, Christoph, ed.. Ferdinando Galimberti. Dies irae,
for soli, choir und orchester (1744). Adliswil/Zürich: Edition Kunzel-
mann, 2010.
Cinque marcie estratte da opere serie teatrali e ridotte per organo da Giuseppe
Cerruti. Torino: Magrini, s. d..
Repertorio eclettico dell’organista. Reductions by Cerruti and Paoletti. Torino:
Racca, 1853.
resulted in few truly creative works, most of them representing just a sterile imitation
of XVI century polyphony.
209
