Venice in the History of Music: course description
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Michael Summers, Venice International University
Venice dominated the world of Western sacred and secular music for almost two centuries during the Renaissance and early Baroque periods. The unique political and social conditions of Venice gave rise to conditions that proved a fertile ground for the development of music and other arts. The position of Maestro di Cappella at the Basilica of St. Mark’s, was one of the most prized musical appointments and attracted contendants from all over Europe. In fact, one of the most important contributors to European choral music was Adrian Willaert, who was appointed to St. Mark’s in 1527. He was the greatest exponent of the polychoral style that originated in Venice in the 16th century and which had an enormous influence upon Western musical composition. Many musicians travelled from all over Europe to the Basilica of San Marco to hear church services in which the cori spezzati (antiphonal choirs and orchestras) performed the music of Willaert, Andrea and Giovanni Gabrieli, and other Venetian composers.
Although opera was not invented in Venice it was here that the basic conventions were established. Venice was the first city to build an opera house in 1637 which admitted the general public. The genius of Monteverdi, the first great opera composer, and intense public enthusiasm for this novel entertainment contributed to the predominance of Venice which then became the chief exporter of a phenomenon that became global in its reach.
The course will focus primarily on the music and musicians of the period but it is necessary to place the development of music within the unique political, social and cultural context of Venice. For example, it is impossible to appreciate the innovations of the polychoral style without understanding the architectural characteristics of St.Mark’s, while the rise of opera can only be understood by a knowledge of the commercial nature of Venetian society and the cultural contributions of organisations such as the Accademia degli Ignoti.
Although Venice was an active and innovative agent in the musical life of Europe in the Renaissance and Baroque periods, it became a passive object of its own myth in the Romantic period. The course will look at how Venice became the inspiration for other musicians, particularly as a setting for opera plots by both Italian and foreign composers who emphasise the mysterious and oppressive image of Venice (for example, the plots of Verdi’s ‘I due Foscari’, Ponchiello’s ‘La Giocanda’ and Offenbach’s ‘The Tales of Hoffman’). On the other hand, many composers, beguiled by the aquatic charms and romance of Venice and its great artistic heritage express in song and instrumental music their admiration for this most unique and beautiful of cities.
The lessons will feature the use of both visual and audio recordings and, if possible, visits will be arranged to attend live performances.
At the conclusion of the course the students
• will have heard representative works of Venetian music that gave rise to its pre-eminence
• will have a knowledge of the life and works of the chief protagonists of Venetian music
• will have a basic knowledge of the forms, structures, technical terms and instruments of the music of the period
• will have a knowledge of the historical and cultural forces that operated on the artistic and musical activity of the period.
The ability to read music is preferable but not required. The course is, therefore, available to all VIU students.
Although opera was not invented in Venice it was here that the basic conventions were established. Venice was the first city to build an opera house in 1637 which admitted the general public. The genius of Monteverdi, the first great opera composer, and intense public enthusiasm for this novel entertainment contributed to the predominance of Venice which then became the chief exporter of a phenomenon that became global in its reach.
The course will focus primarily on the music and musicians of the period but it is necessary to place the development of music within the unique political, social and cultural context of Venice. For example, it is impossible to appreciate the innovations of the polychoral style without understanding the architectural characteristics of St.Mark’s, while the rise of opera can only be understood by a knowledge of the commercial nature of Venetian society and the cultural contributions of organisations such as the Accademia degli Ignoti.
Although Venice was an active and innovative agent in the musical life of Europe in the Renaissance and Baroque periods, it became a passive object of its own myth in the Romantic period. The course will look at how Venice became the inspiration for other musicians, particularly as a setting for opera plots by both Italian and foreign composers who emphasise the mysterious and oppressive image of Venice (for example, the plots of Verdi’s ‘I due Foscari’, Ponchiello’s ‘La Giocanda’ and Offenbach’s ‘The Tales of Hoffman’). On the other hand, many composers, beguiled by the aquatic charms and romance of Venice and its great artistic heritage express in song and instrumental music their admiration for this most unique and beautiful of cities.
The lessons will feature the use of both visual and audio recordings and, if possible, visits will be arranged to attend live performances.
At the conclusion of the course the students
• will have heard representative works of Venetian music that gave rise to its pre-eminence
• will have a knowledge of the life and works of the chief protagonists of Venetian music
• will have a basic knowledge of the forms, structures, technical terms and instruments of the music of the period
• will have a knowledge of the historical and cultural forces that operated on the artistic and musical activity of the period.
The ability to read music is preferable but not required. The course is, therefore, available to all VIU students.
