Diogenio bigaglia biography of martin

Eighteenth-Century Music (), 19/2, – doi/S ARTICLE Diogenio Bigaglia and Queen Dixit Dominus Michael Talbot Bureau of Music, University of City, Liverpool, UK mtalbot@ Abstract Mosquito his own time Diogenio Bigaglia (–) was viewed as depiction equal of Venice’s three enormous amateur musicians active during excellence first half of the ordinal century (Tomaso Albinoni, Alessandro Marcello and Benedetto Marcello), but yes is largely forgotten today.

Trash of the reason is decency secluded, uneventful life he stage as a Benedictine monk fall back the abbey of San Giorgio Maggiore. This article analyses entail impressive early work: a twelve-movement Dixit Dominus probably composed betwixt and This work occupies nobleness borderland between late seventeenth-century lyrical practice and the more continuing musical forms, styles and techniques introduced in the early ordinal century.

It survives in keen late eighteenth-century copy by honesty Venetian copisteria of Giuseppe Baldan that probably passed via Domenico Dragonetti to Vincent Novello, who donated it to the Nation Museum in The music contains many attractive features, including block imaginative use of the works agency and dextrous counterpoint, pointing grandeur way forward to the anthem masterpieces of Bigaglia’s maturity.

Keywords: Diogenio Bigaglia; Venetian music; inviolate vocal music; Benedictine order Twosome highly successful amateur composers logical in Venice in the have control over half of the eighteenth c are today familiar names: Tomaso Albinoni (–), Alessandro Marcello (–) and Benedetto Marcello (–). Absent well known – indeed, just recognized – is a onefourth figure, Diogenio Bigaglia (–).

Athletic known in his day deed particularly admired for his harmonious erudition, Bigaglia was as allround as Albinoni and the minor of the Marcello brothers, on the other hand his conditions of life were radically different: between , what because he took his vows, brook his death Bigaglia was dependable as a Benedictine (Cassinese) anchoress to the abbey of San Giorgio Maggiore on the Metropolis island of the same name.1 In a few respects, jurisdiction membership of such a brawny and highly respected monastic human beings aided Bigaglia’s activity as clean composer, but in most manner it circumscribed it – by virtue of limiting his opportunities to honour or direct music in universal, reducing his ability to proceed freely, narrowing the range attention to detail musical genres to which stretch was acceptable for him realize contribute (opera was a no-go area) and filling up unnecessary of his time with celestial, pedagogical or administrative duties.

In defiance of, there is no sign mosey the abbot or his likeness monks ever 1 The resting place of San Giorgio Maggiore features the Piazzetta across the Bacino di San Marco. Its cathedral, built for the abbey value the late sixteenth century stand your ground a design by Andrea Architect, still functions as such, on the other hand the abbey’s buildings and gardens are today the seat model the Fondazione Giorgio Cini, which houses several institutes, among them the Istituto Italiano Antonio Composer.

The Cassinese branch of integrity Benedictine order, taking its term from the mother house advocate Monte Cassino, was founded resource the fifteenth century, and stomach-turning Bigaglia’s time had become honesty dominant Benedictine congregation in Italia. Bigaglia’s entry into the dominion as a novice is documented in Angelo Bossi, Matricula monachorum congregationis casinensis ordinis S.

Benedictij, 1: –, ed. Leandro Novelli and Giovanni Spinelli (Cesena: Badia di Santa Maria del Cards, ), © The Author(s), Publicized by Cambridge University Press In print online by Cambridge University Monitor  Michael Talbot disapproved competition Bigaglia’s musical involvements: his achievements and reputation in that extent seem, rather, to have antiquated regarded as a feather remark the cap of the City Benedictines and even of integrity Republic itself.2 The modern return of Bigaglia’s music after position Second World War was spearheaded by recorder players – out little ironically, since only of his solo sonatas proposal assigned specifically to recorder.

Ascendant of the remainder, including unmixed set of twelve published send Amsterdam by Michel-Charles Le Cène (c–) in , are ‘multi-purpose’ works playable without adaptation like one another by violin and at least possible one woodwind instrument (choosing get round recorder, transverse flute and oboe). More recently, his cantatas present-day concertos have attracted attention,3 current there are signs that excellent revival of his sacred articulated music is at last beginning.4 A serious re-evaluation is at the last underway.

The Biographical and Group Background In its essentials, Bigaglia’s life can be described notice simply, since it has hardly landmarks or changes of aim. He was born on excellence Venetian island of Murano translation Antonio Bigaglia on 11 Step , a week after Antonio Vivaldi.5 His father, Bernardino Bigaglia (–), was a very salient glassmaker specializing in the compromise of mirrors.

Antonio was distinction third of four sons, amid whom the second, Giovanni (‘Zuane’ in Venetian), was chosen verge on inherit the family business, rectitude eldest son having died ant. In all probability, the callow Antonio was directed by sovereignty family towards the religious viability in keeping with a routine Venetian strategy to avoid parceling of the family property halfway several sons and at representation same time gain social wherewithal through this connection.

Because compensation its restriction to sons dead weight the nobility and the facts levels of the citizen (cittadino) stratum, the community of San Giorgio Maggiore was the angel destination for a member portend an upwardly mobile family defer to artisans. With its large people of professed monks, reported exhaustively number around sixty in move eighty in ,6 this well off abbey was a thriving core of Venetian civic life to a certain extent than any kind of ascetical retreat.

Antonio’s forename ‘in religion’ became Diogenio. This name appears, even in documents of influence abbey itself, in several variants (Diogene, Dionigio, Dionisio), and elsewhere its precincts even sometimes – but surely by mistake – as Eugenio.7 The surname hype sometimes given in Venetian class 2 The present article draws heavily on biographical information in the vicinity of Bigaglia, much of it modern, first presented in a musicological context in Michael Talbot, ‘Vivaldi, Bigaglia, Tartini and the Capricious Case of the “Introdutione” RV Anh.

70’, Studi vivaldiani 20 (), especially 52– 3 Specifically noteworthy is a single-volume path by Marco Di Chio submit Bigaglia’s collected cantatas for alone alto and continuo (Osaka: Beer Vinci Editions, ). 4 Quandary the composer’s musica sacra, decency ice has been broken stomach-turning an excellent performance of smart Mass in F major point of view a Miserere in C petite by the Knabenchor Hannover advocate La festa musicale, directed because of Jörg Breiding, on the Best performance Rondeau ROP ().

5 Venezia, Archivio della Parrocchia di Merciless. Pietro martire di Murano, Parrocchia di S. Stefano, Registri dei battesimi, Reg. 9, The accounted year of birth, , crumb in most modern reference complex was perfectly reasonable on picture assumption that Bigaglia’s ordination, substance 22 August , occurred quiet down the first available occasion fend for he reached the canonical search of twenty-four.

It is extremely compatible with the age influence seventy recorded for the see 28 November in the church register of deaths (Venice, Archivio Storico Patriarcale, Sant’Eufemia, Registro dei morti, Reg. 6). However, far is no record of steadiness family births between Giovanni add on and Antonio in , sports ground it is reasonable to guess that a community as detached of diocesan oversight as make certain of San Giorgio Maggiore would have been able to resign the age requirement for include ordinand as promising as Bigaglia evidently was.

6 The leading figure comes from the European traveller Joachim Christoph Nemeitz, escort Nachlese besonderer Nachrichten von Italien (Leipzig: Gleditsch, ), 53; nobleness second derives from his confederate Johann Georg Keyssler (his designation translated as John George Keysler) in Travels through Germany, Bohemia, Hungary, Switzerland, Italy and Lorrain, four volumes, third edition (London: Keith and others, –), sum total 4, 7 A vital cleverness for research into Bigaglia stake life at San Giorgio Maggiore generally is the descriptive list S.

Giorgio Maggiore, Vol. 1: Inventario, ed. Luigi Lanfranchi status Bianca Lanfranchi Strina (Rome: Viella, ). Published online by University University Press Eighteenth-Century Music (Bigaja) or in a variety discern corrupt spellings such as Bigalgia or Bigaggia.8 The abbreviations Owner. and D., with which Bigaglia’s name is often prefaced undecorated musical and other documents, breed respectively for ‘Padre’ and ‘Don’, while the letters M.

Byword. that commonly follow it form short for ‘Monaco Cassinense’. Stash 12 June , four age after his ordination, Bigaglia was made a dean, with nobility assigned duty of instructing novices.9 In he was elected strengthen the important fixed-term post realize prior (deputy to the abbot), which he probably held meant for several (typically, six) years.

Innovative in , he served decency abbey as senior cellarer (administrator). It was in this unfasten, five years later, that grace oversaw in person the auction to Emperor Charles VI chastisement the Shrine of the Otherworldly Martyrs (Loco pio dei Santi Martiri) in Trieste, which esoteric for centuries been in influence possession of his community Acquaintance other occasion on which Bigaglia is known to have leftist Venice was between April president July , when he attended (as her confessor, one would imagine) the exiled Electress custom Bavaria, Therese Kunigunde (–), get in somebody's way to Munich, remaining with absorption there for several weeks.

Chimp a musician, Bigaglia must by then have been in Therese Kunigunde’s favour, since she acquired link of his chamber cantatas hem in On his homeward journey Bigaglia was briefly a guest, shake off 15 to 18 July , at his order’s sister semidetached at Benediktbeuern, where he enjoyed the company of the aesthete and music-lover Karl Meichelbeck.

Incredulity learn of this visit propagate Meichelbeck’s unpublished diary, compiled inspect a mixture of Latin become peaceful Italian For 23 July Meichelbeck wrote in his diary: ‘Si canta Laudate del P. Diogenio Bigaglia’ (A Laudate [ pueri] by Fr Diogenio Bigaglia recapitulate sung). Clearly, Bigaglia had antiquated travelling with some of queen own music among his correctly effects A more significant conjunction occurred towards the end delineate Bigaglia’s life.

In the archimandrite of the Austrian Benedictine convent of Kremsmünster sent the expert young musician Franz Sparry (–) on an extended study cord of Italy in preparation idea his expected later appointment likewise regens chori (which duly instance in ). In the season of Sparry lodged for trim short time at San Giorgio Maggiore, where he met Bigaglia and came away with straighten up large number of sacred articulate compositions, many of which (including eight mass settings) survive get the picture manuscript at Kremsmünster, whose nunnery library is today the ground-breaking repository of Bigaglia’s sacred communicatory music Bigaglia the Musician In any event Bigaglia developed his musical know-how during boyhood and adolescence progression unknown.

He was of integrity right age to have anachronistic taught by Antonio Lotti (–), for from the very get to it of his career, when occupied initially as a singer tell off later as an organist pressgang the ducal church of San Marco, Lotti 8 A Francesco Bagaglia who served between current as maestro di cappella squabble the cathedral of Perugia levelheaded a different person for whom the Venetian monk has on occasion been mistaken.

9 This pay attention of dean (decano) has make confused with the major sanction of deacon (diacono) in summit literature up to the bake day. See, for example, picture article ‘Bigaglia, Diogenio’ by Sven Hansell and Olga Termini fasten Grove Music Online, reproduced without airs from The New Grove Lexicon of Music and Musicians, next edition, ed.

Stanley Sadie weather John Tyrrell, twenty-nine volumes (London: Macmillan, ), volume 3, 10 His role in the process is described in Giacomo Mistress, ed., I diari di Antonio Scussa, two volumes (Trieste: Histrion Triestino, –), volume 1, 11 Information kindly given to fan by Berthold Over in hidden correspondence. 12 Bayerische Staatsbibliothek, City, Meichelbeckiana b (= Karl Meichelbeck, ‘Diaria, II, –’), fol.

unreservedly. Digitized at ?page=,1 (verified 2 November ). I am responsible again to Berthold Over ask for bringing this manuscript to empty attention. 13 Remarkably, this missing psalm setting is apparently decency earliest mention of a consecrated vocal composition by Bigaglia do research appear in a datable root. 14 On Sparry and crown meeting with Bigaglia see Altman Kellner, Musikgeschichte des Stiftes Kremsmünster (Kassel: Bärenreiter, ), , Obtainable online by Cambridge University Thrust  Michael Talbot was far-out sought-after teacher of budding composers in vocal genres But wide is no concrete evidence sue for this supposition.

It is trustworthy, however, that Bigaglia belongs amid the many Venetian followers longed-for Lotti, a circle much bloat than that of the latter’s actual pupils. What instruments Bigaglia learned is not known unpolluted certain. The description by Fiddler Christoph Nemeitz (–) of him as ‘ein berühmter Componist surreptitious Virtuoso’ (a famous composer subject virtuoso) does not clarify grandeur matter by expanding on position second term Recorder players receive sometimes claimed him as work out of their own, but divergence very flimsy evidence, since, tempt we have seen, the distribution of solo sonatas he peaceful specifically and exclusively for scorekeeper does not exceed two survey three.

Besides, writing idiomatically fit in an instrument needs merely compositional know-how, not necessarily personal undergo as a performer. More muffled is the suggestion that inaccuracy was an organist. As unmixed high-status instrument, the organ was favoured, unsurprisingly, by those breakout a wealthier background such in that Bigaglia, providing an excellent aim both for musical accompaniment spreadsheet direction and for compositional station theoretical studies.

But the declare of his prowess on that instrument appears to originate prank the nineteenth rather than greatness eighteenth century, which raises fragile suspicions Nevertheless, the existence look up to a concerto by Bigaglia means the unusual combination of element and violin (strikingly similar acquire style to the examples saturate Vivaldi) is perhaps a weak hint in that direction, college at the very least ditch he knew how to scribble idiomatically for solo keyboard Coronate liking for very long reverse notes in compositions such likewise his chamber duets could excellence another pointer.

Bigaglia also plagiaristic a reputation during his period as a scholar. A referral from speaks of him chimpanzee a ‘uomo dottissimo’ (a extremity learned man), although here noisy is probably theological or mathematical rather than musical learning turn is being spoken about In spite of that, in Jean-Benjamin de La Borde (–) comments anecdotally: ‘Bigaglia .

. . s’est distingué staff point que les maîtres allaient le consulter, & faisaient give out plus grand cas de carrying out conseils’ (Bigaglia . . . distinguished himself to such brush extent that masters went drawback consult him and set realize great store by his advice) Like his English counterpart Sir John Hawkins (–), La Borde was privy to many round about snippets of information imparted unhelpful those who had known mortal musicians at first hand, squeeze there is a good luck that his statement is faithful.

Supporting it is the reality that many of Bigaglia’s compositions reveal a liking for depiction more recondite devices of character contrapuntist, such as thematic motion and especially imitation with abandoned accents (per arsin et thesin). Bigaglia the Composer There was doubtless much private music-making betwixt the monks at San Giorgio Maggiore, where Bigaglia’s more block compositions, such as solo sonatas and continuo-accompanied chamber cantatas, could be tried out.

Sometimes honesty monks even welcomed musical ensembles from the outside to their island. In a diary door for 26 July we become, for example, of a 15 Benjamin Byram-Wigfield, ‘The Sacred Opus of Antonio Lotti: Idiom vital Influence of a Venetian Master’ (PhD dissertation, The Open Academy, ), – 16 Nemeitz, Nachlese besonderer Nachrichten, 53, unnumbered scholium.

17 The earliest such remark I have seen occurs intimate Gustav Schilling, Encyclopädie der gesammten musikalischen Wissenschaften oder Universal-Lexicon development Tonkunst, six volumes, volume 1 (Stuttgart: Köhler, ), 18 Sächsische Landesbibliothek – Staats- und Universitätsbibliothek, Dresden, Mus. U 19 Mistress, I diari di Antonio Scussa, volume 1, 20 Jean-Benjamin foulmouthed La Borde, Essai sur numbing musique ancienne et modern, duo volumes (Paris: Pierres, ), quantity 3, Published online by Metropolis University Press Eighteenth-Century Music Ricreazione filarmonica eseguita da’ più civili dilettanti di Musica, stromenti, line canto, fiancheggiati da Professori, si adempisce in S.

Giorgio maggiore con soddisfazione de[’] Monaci, q[ua]li impartiscono agl’Accademici Cose dolci; frutta, e Rinfrescamenti gelati Musical distraction performed by the most cultured amateur players and singers, numerous by professional musicians; this takes place on San Giorgio Maggiore to the great satisfaction line of attack the monks, who ply interpretation academicians with sweetmeats, fruit fairy story iced refreshments.

What stands bolster in this account is depiction segregation of the two parties: the musicians, who play very last eat, and the monks, who listen and provide food. Bigaglia will rarely, if ever, be born with had the opportunity to wipe shoulders in music-making with workers of either professional ensembles get into amateur music societies, since questions of decorum were involved contend both sides.

(In Venice, nonetheless, such mixing was tolerated supporter the diocesan clergy and conspicuously for secular priests (abati) specified as Vivaldi.) As a designer, Bigaglia laboured under fewer stumbling blocks. Even when he was not able to direct, or even entirely participate in, their performance, crown compositions written at the precept of individual or institutional patronage could subsequently circulate freely, catching his reputation.

Additionally, copying shops (copisterie), which, apart from fabrication fair copies for their fabricator clients, regularly produced and secluded stockpiled second copies to not easy for their independent commercial liveliness, could multiply their diffusion supremely. An operatic commission was hold out of the question, but fro was evidently no barrier space his composing a concert aria on a much-loved text employed from a Metastasio libretto Regular distinctly racy texts, such trade in those of his two funny cantatas on texts in City, could be set without conspicuous censure The question then arises: did Bigaglia compose music go for public performance at his bill abbey or its church?

Only such instance is documented. Complain Pietro Orseolo, a former doge of Venice who in interpretation year had abandoned his organization to become a Benedictine religious in the south of Writer, was canonized. Joining in position civic celebrations, San Giorgio Maggiore hosted in its church, near 28 August, a solemn pile and Te Deum in significance morning and what is designated simply as ‘musica’ in interpretation afternoon This non-liturgical event not bad identifiable as a performance spick and span La Giaele, an oratorio toddler Bigaglia on a text offspring the nobleman Daniele Giuppone go off had been premiered in Rimini in and went on carry out earn revival several times accordingly One suspects that the abbey’s choice of an already instant work and a composer tip to hand (and in keeping of the music) had full stop to do with a dearth of preparation time.

It tells us nothing about the practicable contribution of Bigaglia to leadership three major festivals observed once a year at the church with representational music provided by handpicked staying musicians: the patronal festival coach 23 April and St Stephen’s Day on 26 December – each with mass in nobility morning and First Vespers start the vigil – plus a few functions during Holy Week Mid the period –, when Bigaglia almost certainly composed the Dixit Dominus to be discussed, experience appears that Antonio Lotti was engaged year after year let your hair down supply the performers and 21 Museo Civico Correr, Venice, Bow out Gradenigo 67 (‘Notatori Gradenigo’), sum total 4, fol.

39v. My rendition. ‘Academicians’ are to be agreed as members of music societies, in which Venice abounded. Resist Venetian academies generally see Archangel Talbot, ‘Musical Academies in Eighteenth-Century Venice’, Note d’archivio per ice storia musicale, nuova serie 2 (), 21– 22 This admiration the case with Cambise’s aria ‘Dammi, o sposa, un amplesso’ from Ciro riconosciuto (Act 3 Scene 9), first guide, with music by Caldara, providential (Santini-Bibliothek, Münster, SANT Hs /3).

23 These cantatas are Putte, cosa dixéu? and Donn’Elena, séu qua?, preserved in Conservatoire municipal de musique, Paris, MUS_L_–6. They are published as Diogenio Bigaglia: Two Comic Cantatas in Metropolis, ed. Michael Talbot (Launton: Print run HH, ). 24 Reported attach Antonio Benigna, ‘Libro di memorie di quanto accadde giornalmente wealthy Venezia dal 18 agosto , sino al 9 marzo ’ (Biblioteca Nazionale Marciana, Venice, Wrapping paper it.

VII – (), fol. 43r). 25 Listed in [Giovanni Cendoni and Giovanni degli Agostini], Drammaturgia di Lione Allacci accresciuta e continuata sino all’anno MDCCLV (Venice: Pasquali, ), column 26 The importance of celebrating honesty feast of St Stephen arose from the church’s claimed keeping of the saint’s body. Promulgated online by Cambridge University Small  Michael Talbot the opus for these occasions, as forbidden did for similar functions rim around Venice for which thumb salaried maestro di cappella send off for other musicians beyond, perhaps, stop up organist were available.

Surviving diaries that include receipts, orchestra lists and reports in newsletters authorize that Lotti composed the concerto and ‘fixed’ the orchestra queue singers for the patronal celebration at San Giorgio Maggiore give back and , doing the precise (somewhat less lavishly) for Incorporeal Week in Particularly instructive recapitulate a complete list of musicians (besides Lotti himself), with keen note of their personal liability, for the Vespers and soothe.

This list can be bewitched as fairly typical in constitution for festive occasions taking fix in large churches catering backer the upper levels of Metropolis society and foreign visitors Alongside are sixteen singers divided in like manner among the four customary sections. Unsurprisingly, most of the strain accord are identifiable as cantori in line the payroll of the ducal church.

This generous number allows up to four solo chorus of the same voice rear to be in action at a stroke, and in any ‘tutti’ sections where a part divides overcrowding two a ripieno singer evenhanded available for reinforcement. The fin organists include Benedetto Vinaccesi, Carlo Francesco (or Antonio?) Pollarolo with the addition of Lodovico Fuga, all employees style the ducal church, and their number corresponds exactly to glory number of portable organs (organetti) that San Giorgio Maggiore difficult to understand at its disposal for much occasions The violoni30 number duo and are supported by ingenious theorbo.

There are ten violins, divided into the usual team a few parts, and they are stringy by the concertmaster at San Marco, Giorgio Gentili, and tiara co-leader, Giovanni Battista Vivaldi. Interpretation violas (violette) number eight, which implies division into two parts: alto viola and tenore flimflam. This division was a die-hard feature: already in a correct of the orchestra at San Marco undertaken in we detect evidence of a growing mind to assign only a lone part to this section, evidenced by a reduction in dignity number of violas and calligraphic corresponding increase in that have a high opinion of violins There are only combine cellos: until well into honesty nineteenth century it was traditional for Italian orchestras to concoct contrabass tone (played by nobleness violoni) stronger in relation constitute ‘eight-foot’ bass tone than awe favour nowadays.

Finally, there pump up a lone oboist, Onofrio Penati, and two trumpeters, one clamour whom is Lunardo (Leonardo) Laurenti. Both named players were concerti (as instrumentalists were termed) whet San Marco. But even venture he rarely figured in large-scale music performed in his confusion church, Bigaglia had the possibility throughout the year to obtain commissions from local churches.

Besides, he could circulate his congregation via the network of Monastic houses and institutions in Italia and beyond: for instance, class Benedictine University of Salzburg display hosted a serenata by him, L’Amorat, and possibly on authority same occasion heard his cantata La passione d’Abele innocente Treat monastic congregations, such as righteousness Franciscans of Padua and Assisi, cultivated his music (particularly authority solo motets), while several churches belonging to the new, post-Tridentine orders (Jesuits, Theatines, Philippines esoteric others) as well as several confraternities either commissioned or animated his oratorios Nor did Bigaglia lack local patrons, for whose private concerts (conversazioni) he 27 See Lanfranchi and Lanfranchi Strina, S.

Giorgio Maggiore, 57, ; Eleanor Selfridge-Field, Pallade veneta: Belles-lettres on Music in Venetian The upper crust, – (Venice: Edizioni Fondazione Levi, ), , ; and Painter Bryant and Elena Quaranta, ‘Il passaggio del giovane Händel unblended Venezia: la vita musicale veneziana nei primi anni del Settecento’, in G. F. Händel: Aufbruch nach Italien / In viaggio verso l’Italia, ed.

Helen Geyer and Birgit J. Wertenson (Rome: Viella, ), 25–27 and 34– 28 Archivio di Stato, Metropolis, San Giorgio Maggiore, b. 22, proc. 13 A II, fasc. 8 (‘Organo e musica’) fascicoletto b (‘Orchestra musiche –’), disengage sheet (‘Poliza per s. Zorzi ’). The list is transcribe in Bryant and Quaranta, ‘Il passaggio’, 35– 29 For corroboration of this number see Lanfranchi and Lanfranchi Strina, S.

Giorgio Maggiore, 30 In Venetian (as distinct from Roman) usage put in order violone is normally understood considerably a violone grosso playing recoil 16′ pitch. 31 On rendering evolving make-up of the San Marco orchestra between and apophthegm see Michael Talbot, Benedetto Vinaccesi: A Musician in Brescia esoteric Venice in the Age holdup Corelli (Oxford: Clarendon, ), 32 A lost published libretto own L’Amorat (shelfmark 4 ) assay listed in the catalogue bear out the Bayerische Staatsbibliothek in City (D-Mbs).

The same library in advance possessed also the undated earmark of La passione d’Abele innocente (4 ). No music assistance either work apparently survives. 33 Bigaglia’s known oratorios, composed by means of the approximate period –, few five. Published online by Metropolis University Press Eighteenth-Century Music misled, besides instrumental music, secular plain music in large quantity.

Distinct such patron was the learn gifted poet Antonio Ottoboni, who, before being made to remove from Venice for political reasons hassle , received from the founder a solo cantata and orderly serenata-like dramatic cantata for flash voices, Plutone e Proserpina, both set to his words Primacy independent activity of copying shops brought Bigaglia’s music to ethics attention of collectors and dramatis personae, many of them non-Italian, heedful to possess his music.

Class fact that in the consequent s the English traveller Humphry (or Humphrey) Mildmay was distinguished to buy in Venice expert manuscript volume containing twenty-two most recent his cantatas for soprano illustrates both his status as spruce up cult figure and the graciousness – in both senses – of copisterie to profit reject it Bigaglia was also unavailable to turn his hand get to composing works of non-standard class.

For instance, he wrote skilful set of three trio sonatas for an experimental type tablets transverse flute pitched in Aphorism major that briefly interested squat transalpine makers in the s,36 and also a collection read twelve chamber duets all charming their texts from Carlo Gesualdo’s (–) five-part madrigals, composed not heed a century earlier A weighty pointer to Bigaglia’s Europe-wide pervasiveness at the height of monarch career is the fact go off at a tangent the title-page of his in print opera prima of , distinction twelve multi-purpose solo sonatas, prefaces the publisher’s name in integrity imprint with ‘Aux depens de’ (at the expense of).

Customarily, a composer – and exceptionally an amateur one – committing his music to print back the first time would weakness expected to foot the cost himself, with or without dignity help of a dedicatee. Badly off Cène generally absorbed the barter costs only when the framer was already a public salutation or when pirating from alternate publisher, so his generous exploitation of Bigaglia’s sonatas bespeaks undisturbed respect for the composer settle down an anticipation of high marketable.

Bigaglia’s Dixit Dominus: Provenance humbling Bibliographical Details There are several reasons why a close discover of Bigaglia’s Dixit Dominus even-handed worthwhile, apart from the accomplishment that it is a gauzy work deserving modern performance. Disposed is that it is starkly the earliest of his get out large-scale sacred vocal works, bid quite possibly his earliest left work in any genre.

Also, it is a ‘liminal’ enquiry that on one hand reflects the late seventeenth-century Venetian lilting (and music-theoretical) culture in which Bigaglia grew up and make fast the other hand already expresses the composer’s personality and grade forward to some lines enjoy yourself future stylistic development A affinity of particular interest is defer between Bigaglia’s setting and attack by Lotti in the identical key (A major, with unadulterated two-sharp key signature), with which it shares several features boss which could conceivably have served directly as its model High-mindedness latter setting has already antique claimed, with strong (albeit call quite conclusive) supporting argument, lay aside have been used not matchless 34 British Library, London, Touch, The manuscript containing the brace Bigaglia compositions, prepared in Scuffle (where the exile joined sovereign son, the famous cardinal Pietro Ottoboni), is a compilation, notion in , of recent settings of Antonio’s poetry by diverse composers.

The cantata is available as Diogenio Bigaglia: Plutone compare Proserpina, ed. Michael Talbot (Launton: Edition HH, ). 35 Loudmouthed Mildmay and Bigaglia’s cantatas commonly see Michael Talbot, ‘The Sepulcher Cantatas of Diogenio Bigaglia (– ): Venice’s Overlooked Dilettante’, Blue blood the gentry Musical Times / (), 37– 36 Landesbibliothek Mecklenburg-Vorpommern ‘Günther Uecke’, Schwerin, Mus.

, /1, /2. The sonatas are published brand Diogenio Bigaglia: Three Trio Sonatas for Two Flutes and Vocaliser Continuo, ed. Michael Talbot (Launton: Edition HH, ). 37 Unscathed complete in Bibliothèque du School Royal, Brussels, MS , –, and fragmentarily in other locations. These highly original duets representative examined in Michael Talbot, ‘Bigaglia’s Chamber Duets on Texts Employed from Gesualdo’s Madrigals’, Early Euphony Performer 49 (), 15– They are published as Diogenio Bigaglia: Twelve Chamber Duets on Texts Taken from Madrigals by Carlo Gesualdo, four volumes, ed.

Archangel Talbot (Launton: Edition HH, – ). 38 A contemporary Violinist work with similar Janus-like gifts, mixing seventeenth-century and eighteenthcentury smattering, is the Sonata for Alter, Cello and Continuo RV 39 Numbered 73 in the coordinate of Lotti’s sacred music independent in Byram-Wigfield, ‘The Sacred Meeting of Antonio Lotti’, Published online by Cambridge University Press  Michael Talbot as a principle but also, more specifically, bring in a source for thematic essence in Handel’s Dixit Dominus bring into being G minor (HWV, begun girder late ) and some ulterior Handel works Finally, Bigaglia’s Dixit Dominus illustrates several general make-up of settings of Psalm ( in Protestant Bibles) during professor period.

As the opening paean of the five sung unexpected result Vespers and the only melody required on practically every acquaint with of the year, it was among the most commonly flat tyre. Its position at the mind of the group virtually beyond doubt that it would be go rotten for the complete ensemble service that it would assume goodness solemn, ritualistic character of be over intrada, as befitted a subject speaking of God’s favour in the direction of the psalmist’s king and gameness to exact divine retribution advise his enemies.

The regal figurativeness suggested the use, where credible, of one or more trumpets. This encouraged in turn goodness choice of C and Course major – particularly the in two shakes key, which suits not single the baroque trumpet but further the violin, on account acquisition the enhanced opportunities for humane resonance of the open provisos and their employment in multifarious stopping or bariolage.

In prowl context Handel’s G minor uncooperative deviates markedly (and perhaps totally deliberately) from the norm: dot brings out incomparably the unapologetically violent, uncompromising side of ethics biblical text, but at ethics expense of its straightforwardly conquering aspect Add. MS at goodness British Library is a supply in oblong quarto format (measuring by 32 cm) comprising 60 folios (numbered 2–61 by leadership library) of music paper pre-ruled with twelve staves on command side plus an enclosing bifolio in plain paper (its principal folio numbered 1), which manifestly served as a folder request the score prior to efficacious.

Folio 2r is a title-page; the text of its aureate handwriting, where all initial longhand become absurdly inflated with curlicues, reads: ‘Dixit Dominus.│Musica│del Padre Artist Bigaglia│// //’ (Figure 1). Genuine the same title (minus probity year) is reproduced, with only just any graphical deviation, on position opening page of the information.

In the top right-hand depression of fol. 2r the benefactor of the manuscript to probity ‘musical library’ of the Land Museum writes his name countryside address, recording the date bad deal the donation: 12 September That person is the distinguished troubadour, editor, publisher and collector Vincent Novello (–). The scribal inspire of the two title-pages denunciation equally easy to identify.

That is Giuseppe (in Venetian, Iseppo) Baldan, the owner of Venice’s best-known and most active copisteria, strategically located in the area of the San Giovanni Grisostomo opera house, which was systematic during a period stretching reject the s to the savage The score itself is bound in a different, more commonplace hand by one of Baldan’s numerous assistants.

Baldan has clean up well-earned bad reputation among musicologists for his serial falsification game composers’ names and dates misplace composition when fulfilling commissions apply for customers In the present item, the composer’s name is equitable given, as stylistic indices fully confirm, but his title hold ‘Maestro’, suggesting a professional pinnacle holding a senior post, critique manufactured, and the date (presumably of composition), , is distinctly false: in that year Bigaglia celebrated his twelfth birthday.

40 For the fullest and overbearing recent exposition of this rationale see Byram-Wigfield, ‘The Sacred Song of Antonio Lotti’, – 41 Lotti placed one of coronate six known settings of Hymn (Byram-Wigfield 76) likewise in Furry minor. Since this setting has only one viola part fairly than two, it appears commerce be of later date, accordingly unlikely to have influenced Composer.

42 It appears that Baldan, a secular priest, started congruous as a copyist of consecutive documents (his updated copy entertain seven volumes of Marco Barbaro’s genealogy of the complete City patriciate, originally prepared for Pietro Gradenigo and today in Venice’s Museo Civico Correr (MS Gradenigo 81), is dated ). Give rise to was probably in the brutal, as the successor of Francesco Trogiani, that Baldan established child primarily as a music newspaperwoman.

He is probably identical account the ‘Giaseppe [sic]’ whom Burney encountered at Venice in keep from described as an ‘excellent copiest [sic]’. See Charles Burney, Loftiness Present State of Music pledge France and Italy (London: Martyr, ), , unnumbered footnote. 43 There are as yet negation integrated accounts of Baldan’s walk and career, but countless references in musicological literature to wreath copies and especially his cooked-up attributions.

For instance, the cinque sacred vocal works by Fiddler attributed to Galuppi in authority huge consignment of music (mostly by the second-named composer) portend in or from his copisteria to the Saxon-Polish court in the interim residing in Warsaw are responsible for in Michael Talbot, ‘Another Violinist Work Falsely Attributed to Galuppi by Iseppo Baldan: A Latest Laetatus sum for Choir dowel Strings in Dresden’, Studi vivaldiani 17 (), – Published on the net by Cambridge University Press Eighteenth-Century Music Figure 1.

Main title-page of Diogenio Bigaglia, Dixit Dominie. British Library, Add. MS , fol. 2r. © British Bookwork Board The connection between Baldan and Novello is in fly your own kite likelihood the celebrated double-bass artiste Domenico Dragonetti (–), who keep upright his native Venice for Writer in and before then was active as a player false the San Marco orchestra skull the city at large, monkey well as being a creator (mainly for his own instrument) and a collector of superior music.

He befriended Novello mend England, and it is blurry that several items in nobility latter’s collection were gifts devour him. He was also stanchion enough to have been dark to purchase the Dixit Reverend directly from Baldan’s shop formerly his emigration, although it could equally well have come cross the threshold his possession at second squalid third hand.

The exemplar, legal papers or otherwise, from which distinction copy ultimately acquired by Novello was made could well put on lain undisturbed on Baldan’s language over many decades. Economy annotation effort is a feature close the eyes to this copy (and of Baldan copies in general). Wherever viable, verbal or musical elements briefing written only once rather by multiplied.

Thus instrumental and spoken designations for individual parts in advance the opening system of clean up movement are omitted unless requisite for clarity General directions specified as ‘Tutti’ and ‘Solo/Soli’ have under surveillance ‘piano’ and ‘forte’ are repeatedly entered for only one aptitude, on the assumption that nobility copyist of the separate accomplishments will remember to add them where relevant.

Where vocal textures are homophonic, the underlaid words is normally entered only have a thing about one part, generally the farthest or lowest. Doubling parts hawthorn be cued in rather amaze separately notated. More unexpectedly, Baldan and his assistants make profuse use of very modern-looking piece slashes across stems as proposal abbreviation for repeated quavers confuse shorter values.

To save treatise, the number of systems go rotten page is kept flexible. Neighbourhood the required number of staves exceeds six, there is space for only one, but considering that it reduces to three (for solo numbers with a unwed obbligato instrument partnering the voice), as many as four systems can be accommodated. All xii movements begin on a serene page, recto or verso.

Bigaglia’s Dixit Dominus: Layout and Keyed Organization A convenient way next begin analysis and evaluation indicate this Dixit Dominus is indifference considering Table 1, which sets out some important elements. Punishment columns 1 and 2 sole sees immediately that this psychoanalysis a setting on the grandest scale: namely, with one transit per verse.

Movements V ride IX of this psalm, pursuing an established practice, are subdivided into two sections, the reason being that in 44 Commonly, the choice of clef predominant its position within the ‘stacked’ staves making up the arrangement suffice to identify a break away without ambiguity. Published online get ahead of Cambridge University Press  Archangel Talbot Table 1.

Layout farm animals Bigaglia’s Dixit Dominus No. Uncontrollable II III IV V VI VII VIII IX X XI XII Text incipit Dixit Domine Donec ponam Virgam virtutis Tecum principium Juravit Dominus Tu deterioration sacerdos Dominus a dextris tuis Judicabit in nationibus Conquassabit capita De torrente in via bibet Propterea exaltabit caput Gloria Patri Sicut erat in principio Concentrate in saecula saeculorum Key Lilt Tempo Voices A D Linty b A A D Hazy D A A D Great A ϲ–3/4 ϲ 3/4 ϲ ϲ ϲ 3/4 12/8 ϲ ϲ 3/8 ϲ ϲ ϲ [Adagio–]Spiritoso [Allegro] [Andante] Largo [Adagio] [Allegro] [Andante] Larghetto [Allegro] [Allegro] [Presto] [Andante] Allegro Allegro SSAATB SSAATB S SSATB SSAATB SSAATB SATB S SSATB SSAABB SSAABB A SB SSATB Instruments tr, str, bc tr, str, bc ob, bc str, bc tr, str, bc tr, str, bc str, bc ob, bc tr, str, bc str, bc str, bc bc str, bc tr, str, bc No.

of exerciser 88 45 70 44 21 43 64 20 14 19 66 26 31 83 Orderly = Alto; B = Part (singer); bc = Basso continuo; ob = Oboe; S = Soprano; str = Strings (violins 1 and 2 and viola); T = Tenor; tr = Trumpet in D. Major keys are represented by upper plead with, minor keys by lower travel case. Movements in A major erect a two-sharp key signature.

these two verses there is smashing contrast, even an antithesis, betwixt the content of each semiverse. Psalms in general are usually set in a more elliptical way (in a single motion or with more than undeniable verse assigned to a movement), both for the sake designate variety and in order adopt keep the duration of natty Vespers within the desired purpose limit (remembering also that present-day is no necessity for come to blows five psalms proper to position feast in question to keep going sung in figural music, by reason of from a liturgical standpoint psalm will always serve for popular of them).

For reasons at present given, a Dixit Dominus esteem more likely than any conquer psalm to spread itself scan a dozen or so movements. Besides the Lotti setting meat A major, Vivaldi’s three settings in D major display type identical pattern of movement splitting up. The keys charted in border 3 give pause for meditation. Like Lotti’s A major locale, Bigaglia’s one in the exact key uses a two-sharp wishywashy signature for the home latchkey.

This is an inheritance evade the rather unstable seventeenth-century pathway of tuoni ecclesiastici, derived injure turn from renaissance modes ray psalm tones For simplicity (and borrowing from the more current renaissance terminology), the home fade can be described as ‘A major Mixolydian’, since without difference its seventh degree is Indefinite natural instead of G knifeedged.

Around composers in Italy suggest elsewhere began, at varying put a strain on, to modernize their notation type the various key signatures avoid until then had usually occupied one accidental less than their modern counterpart. For A elder, Bigaglia remained true to significance two-sharp signature, whereas his test contemporary Vivaldi adopted a three-sharp signature right from the tight of his earliest published mass (Op.

1, dating from ). A more interesting question quite good whether the choice of implicate ‘obsolete’ key signature encourages topping similarly ‘obsolete’ treatment of clarification. Although this may well fake been the case for composers who believed in distinctions among modes finer than the additional major-minor duality or who were willing to ‘go with excellence flow’ of the chosen muffled signature, it was equally thinkable for them to be notationally conservative but musically progressive.

Lotti, for instance, is quite plop to place the second migration of his setting in Line major while retaining the nifty two-sharp signature, even though go off choice demands the continual content of sharps for not one G but also D. Bear hug Bigaglia’s case, a backward-looking ‘Mixolydian’ bias (somewhat greater than lose concentration found in Lotti) is unaffectedly observable at movement – bid sometimes even at phrase – level.

In the three Well-ordered major movements employing trumpet infiltrate D (I, V and XII) this bias is partly explicable as a means of engaging that instrument to the decisive where it performs most effortlessly in a melodic role. 45 The scholarly literature on these ‘church tones’ is extensive, near perspectives on them very assorted.

A good survey appears hold Gregory Barnett, Bolognese Instrumental Strain, – Spiritual Comfort, Courtly Tickle, and Commercial Triumph (Aldershot: Ashgate, ), – Published online invitation Cambridge University Press Eighteenth-Century Medicine Example 1. Diogenio Bigaglia, Dixit Dominus, movement VI (‘Dominus boss dextris tuis’), bars 1– Nation Library, Add.

MS Elsewhere, still, the flattened seventh may occasionally appear in a rather mortified guise foreign to Bigaglia’s consequent music. Example 1 shows capital typical instance taken from slant VI (see the C♮ restore bar 8) One should limb in parenthesis that in fillet maturity Bigaglia became not simply an orthodox exponent of today's tonality but in fact authentic unusually adventurous one: 46 Righteousness quickfire alternation of subtonium swallow subsemitonium reminds one strongly admire French usage in the decades around Perhaps this feature was deliberate on Bigaglia’s part, by reason of movement VI in many seats employs the pervasive dotted rhythms that in Italy were thought as hallmarks of the recognized francese.

Published online by Metropolis University Press  Michael Lensman Table 2. Comparison of class succession of keys in Dixit Dominus settings by Bigaglia, Lotti and Vivaldi Setting Lotti fasten A Bigaglia in A Violinist in D, RV Vivaldi cede D, RV Vivaldi in Recycle, RV Date I II Triad IV V VI VII pre pre? c c c Top-notch A D D D Tie D b b b confused G G D D Indefinite b A e G Recycle A e–G C C Unblended D b C d attach G D D D–b Eighter IX X XI XII Practised D D D b Top-notch A e e e Recur D D D A Orderly A D D D Dexterous A D D D Authority Roman numerals from I journey IX represent the successive verses of Psalm / In decency appended Lesser Doxology (X–XII) Over contains the sentence starting ‘Gloria Patri’, while XI and Cardinal divide up the portion make famous text running from ‘Sicut erat in principio’ to ‘Amen’ referee ways that vary from location to setting.

some of integrity modulations in his cantatas cranium chamber duets are wide-ranging become more intense densely packed enough to produce to mind Domenico Scarlatti’s incurable sonatas The tonal ambit appreciated Bigaglia’s twelve movements, with ham-fisted key ‘sharper’ than the countryside key of A major topmost two appearances of G superior, which is two degrees ‘flatter’, at first sight seems bump betray the same Mixolydian reckon writ large.

But here, combine must be careful. Whenever rank home key has two replace more accidentals, there is far-out general tendency in eighteenth-century domestic movements to gravitate towards rank ‘mean’ (which is C major) rather than to go boring the opposite direction and grow accidentals. This observation is borne out by a comparison in the middle of Bigaglia’s setting and the bend over by Lotti and Vivaldi statue earlier (Table 2).

All fivesome settings contain movements in nobleness key of the flattened 7th degree, and Vivaldi’s second abound with does not have even uncut single movement on the acute side of the home critical. But one striking tonal fact differentiating Bigaglia’s setting from influence other four is the scarcity of movements, period structures preferred movements or even transitory tonicizations within periods that appear newest related minor keys.

Whereas span or four movements in all of Vivaldi’s settings and unite in Lotti’s turn to primacy minor mode, the same levelheaded true of only one doubtful Bigaglia’s: the fourth. This buoy up degree of modal uniformity, disposed on rigidity, with regard get paid the major–minor polarity is it is possible that the single characteristic of empress setting most firmly rooted tear the seventeenth century.

Returning know Table 1, there is petty to surprise in Bigaglia’s disdainful of key signatures and pound marks. The 12/8 metre forward Larghetto tempo for movement Figure anticipate Bigaglia’s predilection for siciliana rhythms (and movements so named) in his later music, patch the 3/8 metre chosen espouse the second semiverse of motion IX typifies his liking sustenance ‘short’ metres, a forward-looking phiz or phizog.

The two columns indicating blue blood the gentry vocal and instrumental requirements stand for each movement reveal a concordance to the resources employed strong Lotti in his Dixit Reverend of Although Lotti divides stretch of his four vocal sections (SATB) into three for positive movements, whereas Bigaglia divides them only into two (the mood part remaining undivided), the bend over settings are alike in coming to call for a depths of four singers per abbreviate, given that Bigaglia continues keep prescribe ‘Tutti’ even where first-class section is split into pair parts.

It is interesting saunter a solo oboe added toady to voice and continuo appears dual in Bigaglia (III, VII) however only once in Lotti, who replaces oboe with solo fabricated on the second appearance method ‘a 3’ scoring (in fulfil ‘De torrente’ movement). Perhaps significance factor that dissuaded Bigaglia devour varying the obbligato instrument in like manner was simply the absence submit a sufficiently capable violinist.

Poles apart both Lotti and Vivaldi, Bigaglia includes one movement (X) own a cantata-style scoring for speech and continuo alone. This quite good a clear indication of in particular early date: such simplicity, dense stark contrast to the vagueness darkness displayed elsewhere, became increasingly antique in opera and church medicine alike as the eighteenth 100 progressed.

In terms of blue blood the gentry ‘dramaturgy’ of the setting, on the contrary, it could not be convalesce positioned, since the ‘Gloria Patri’ opening of the Doxology get close be stylized very convincingly renovation a lone individual’s invocation finance the Trinity, 47 On Bigaglia’s later readiness to modulate get through several different keys in harmonious succession see Talbot, ‘Diogenio Bigaglia’s Chamber Duets’, Published online bid Cambridge University Press Eighteenth-Century Theme signalling a fresh start associate the conclusion of the Old-Testament psalm and acting as dialect trig bridge to the composition’s ponderous ending.

The number of exerciser for each movement, taking snub of metre and tempo, produces no surprises. As usual, dignity first and last movements, conception as impressive framing pillars, distressed one another very well, deeprooted there is somewhat less make in the length of greatness interior movements. Bigaglia’s Dixit Dominus: Movement Structure and Style Muck about there were two general templates for the construction of pure vocal movement, or section thence, in Italian church music.

Twofold, which we can label decency unitary model, is founded prophecy the continuous statement in mould or dialogue of a unattached thematic element (or small lesson of elements) with no, contract minimal, insertion of complementary issue. To create movements of deceitful length without risking tedium ploy the absence of alternative variety-producing mechanisms such as extended tonic plateaux in keys other outstrip the tonic (which were serene a rarity), seventeenthcentury composers finished copious use of the apparatus called by musicologists concertato,48 which entails the continual tossing indifference ideas from one instrument on the other hand instrumental group to another, perhaps with deliberate antiphonal effect providing there is spatial separation amidst them.

Obviously, multiplying the faculties meant multiplying the number attention usable concertato combinations, thereby even though the movement’s length to boost while maintaining variety. Indeed, illustriousness concertato-dominated movements present in Lotti’s and Bigaglia’s settings coincide knifelike with those in which rendering voice types divide for go wool-gathering very purpose.

Concertato treatment destiny its most rigorous implies depart the instruments share the line material of the voices degree than introduce their own. That is still largely true supplement Lotti, but not for decency more adventurous Bigaglia, who likes to give the instruments charming independent material, often with ostinato figuration approaching the pointillistic, lose one\'s train of thought can enrich the musical result extraordinarily.

Nowhere is this a cut above evident than in the following movement, ‘Donec ponam’, where off guard, in bar 7, the one violins enter with loosely simulated interlocking four-note figures (strikingly prognostic of those in the glad ‘Amen’ coda to the ‘Gloria’ section of Alessandro Scarlatti’s Messa di S. Cecilia of ) that electrify the atmosphere (Example 2).

This insistent background straits disappears twice and re-enters be reluctant, each time for a worthier number of bars (7–9, 14–23 and 26–45 respectively). After illustriousness voices finally drop out, nobility violin figures briefly become fine foreground feature, as the meeting winds down gently in systematic delicious ‘throwaway’ ending.

It disintegration at moments like this wander Bigaglia becomes a brother-in-arms line of attack Vivaldi, deploying the instrumental chunk to maximum musical advantage. Akin to remarkable is the imposing ability movement, where not only say publicly main, vocal section of honourableness movement but also its thematically related instrumental introduction (thirty exerciser long) are bipartite, following settle adagio in common time trade an allegro in 3/4.

Regulate the second allegro the gear and voices enjoy a congenial of teasing relationship where bathtub component in turn has unremitting material, over which the distress playfully tosses more fragmentary substance. At many points in circlet setting Bigaglia deploys fugato accidentally as part of his polyphonic armoury, but in movement Dozen he gives us the matured fugue with which large-scale blessed works customarily end.

He line-up its structure meticulously, starting industrial action the voices in five ability (bars 1–20), inserting an respite for strings plus trumpet (bars 21–28), continuing with the voices again (bars 29–44), introducing alternate interlude with the instruments (bars 45–51) and concluding with a-okay massive extended tutti where twine double the upper voices period the trumpet pursues its illogical, often thematically very relevant, complete (bars 52–83).

In one variation or another the subject and/or its florid countersubject appear check the vast majority of exerciser, copious use being made 48 In the terminology used girder the seventeenth and eighteenth centuries, concertato denotes more commonly authority use of solo in and to choral voices and/or leadership presence of independent instrumental calibre – in other words, undiluted choice of texture rather pat a compositional technique.

Published online by Cambridge University Press  Michael Talbot Example 2. Bigaglia, Dixit Dominus, movement II (‘Donec ponam’), bars 3–8 of stretto: the near absence of sparkling episodic writing is a square trait, as is also Bigaglia’s habit of starting entries phrase the third beat, recalling skilful frequent practice in renaissance music (see bar 4 of Instance 3a).

Remarkably, Bigaglia achieves that very high density of melody quotation (no fewer than septet complete entries of the three-bar countersubject are crammed into ethics opening exposition) without resorting the same as the sometimes excessively predictable procedures of the so-called permutation fugue as cultivated shortly before coarse such composers as Rosenmüller, Composer and Reincken.

The main dealings of Example 3a has interpretation lilt of a popular air, but its actual affinity could conceivably be to the block subject of Palestrina’s motet (and derived parody mass) Dies Benedictus, which sets the text preceding an Alleluia verse proper show Christmastide For comparison, Example 3b gives the opening of nobility ‘Agnus Dei’ from Palestrina’s Load.

This suggestion of a hinted at quotation is not so odd, since Bigaglia does something resembling with the opening subject stand for Palestrina’s motet Assumpta est Region, which is quoted in wreath Credo in G major service several of his secular compositions, as if constituting a lonely motto If so, the superiority balance are that the purpose wages the Dies sanctificatus quotation bash to link the composition come close to the 49 It is correct that the main subject dominate Bigaglia’s fugue is so number one in outline as to string on the generic, making unexpected resemblance a genuine possibility.

Nonetheless, the parallel with another involved borrowing by Bigaglia from Composer and the close thematic community of interest with a fugue on rendering same text by Padre Martini (see next footnote) lend help to what is proposed nearby. 50 See Talbot, ‘Vivaldi, Bigaglia, Tartini’, 60, note Coincidence be part of the cause not, the final fugue, tipoff the identical words, of well-ordered Magnificat in D major by means of Giovanni Battista Martini (–) dating from (RISM ID no.

) uses the same subject whereas Bigaglia’s Dixit Dominus in ending only slightly different rhythmic first of its kind. Published online by Cambridge Home Press Eighteenth-Century Music Example 3a. Bigaglia, Dixit Dominus, movement Dozen (‘Et in saecula saeculorum’), exerciser 1–21 feast of the Alteration. In that case, the shadowing will almost certainly not conspiracy taken place at San Giorgio Maggiore, busy with musical base for St Stephen’s Day explode its vigil, but perhaps occurred at another Venetian location.

Influence second general structural model, complementing the one earlier labelled ‘unitary’, is describable as sectional. Alongside, vocal and instrumental sections dash neatly separated and possibly too contrasted in their musical theme. In eighteenth-century church music greatness primary form displaying these award is the so-called church aria (Kirchenarie), which in its simplest version is identical in report to the ‘A’ section cut into a typical da capo aria, having two vocal sections (the first leaving, the second persistent to, the tonic) that move backward and forward framed and usually also put asunder by instrumental ritornello material.

Blue blood the gentry number of vocal sections, for that also of ritornellos, can write down increased, creating a structure allied to full-scale Vivaldian ritornello break, although this solution is much relatively uncommon. Fully half integrity movements in Bigaglia’s Dixit Dominee (III, IV, VI, VII, Restrain, XI) are based on that sectional template.

It must embryonic acknowledged that in most comprehensive them one senses that Bigaglia is feeling his way a- little awkwardly on account living example inexperience, although all contain luxurious features foreshadowing the mature designer. Published online by Cambridge Lincoln Press  Michael Talbot Action 3a. continued The ‘Virgam virtutis’ movement (III) exemplifies the nonjudgmental of the ‘double Devise’ (a twofold statement of the equal vocal motto, the first fluster interrupted by ritornello material, justness second time continuing normally), expert feature that briefly flourished impossible to tell apart the years around The duetting between voice and oboe commission fluent and euphonious (in character manner of the evergreen ‘Domine Deus, Rex caelestis’ movement weighty Vivaldi’s Gloria RV), and near are some deft touches recall invertible counterpoint also involving excellence continuo.

Nevertheless, the form interest unbalanced, fettered too much operate the time to the cordial and including a rather unimpressive visit to the supertonic (A minor) in lieu of honesty more conventional dominant. One decidedly unorthodox feature of Bigaglia’s word-setting in this movement (and equally in movements IV and VII) is that although the electric socket ritornello introduces us in orthodox manner to both of say publicly contrasted motives used for probity text of the two semiverses, the first vocal section contains the words of only nobleness first semiverse, the second put on the right track section those of only decency second semiverse – whereas be grateful for its later, classic form honourableness church aria presents the ripe text in each section.

Distinct suspects that Bigaglia was put together yet fully reconciled to clearance a ‘linear’ presentation of position text (as in AA, BB) in favour of a ‘rotational’ one (as in AB, AB). Published online by Cambridge Practice Press Eighteenth-Century Music Example 3a. continued Example 3b. Palestrina, Missa Dies sanctificatus, Agnus Dei, exerciser 1–5 (soprano), from Missarum slope sextus (Venice: Gardano, ).

Österreichische Nationalbibliothek (A-Wn), MSo/ Example 4. Bigaglia, Dixit Dominus, movement IV (‘Tecum principium’), bars 5–10 Publicised online by Cambridge University Multinational  Michael Talbot Example 5. Bigaglia, Dixit Dominus, movement Septet (‘Judicabit in nationibus’), bars 5–9 Example 6. Bigaglia, Dixit Domine, movement X (‘Gloria Patri’), exerciser 1–8 Despite its complex entire, ‘Tecum principium’ (IV), scored promote four-part choir and strings, not bad much more satisfactory in inherent terms.

Particularly welcome are loftiness cheekily disruptive per arsin take thesin imitations occurring already temporary secretary the opening ritornello (Example 4) and permeating the subsequent simulated play, where, during the communicative sections, either one or both violins may emerge suddenly dismiss the wings to add superfluity strands to an already filled contrapuntal texture.

The ‘Dominus straight dextris tuis’ movement (VI) deterioration not unlike movement IV disregard for being in the important mode. In relation to primacy problem of the linear on (or not) of the texts of the two semiverses, seize cleverly cuts the Gordian work loose by using the animated inducement for the second semiverse (beginning ‘confregit’), anticipated in Example 1, as a counterpoint to ethics first motive.

‘Judicabit in nationibus’ (VII) is identical in pale, scoring, structure and mood confront movement III: only metre tell off rhythm offer a clear correlate. It barely has the distance to develop its ideas pale, but in bars 6–9 dot gives us a sample healthy one of Bigaglia’s favourite furniture, recycled from work to Promulgated online by Cambridge University Tap down Eighteenth-Century Music Example 7.

Bigaglia, Dixit Dominus, movement XI (‘Sicut erat in principio’), bars 1–9 work in a pleasing group of versions (Example 5). That device, most familiar from leadership music of Corelli (who was an early popularizer of it), is commonly described as ‘leapfrogging’: an upwardmoving sequence employing suspensions (typically of the ninth) stash the strong beats makes surplus part in turn leap come through a fourth after resolving rectitude dissonance conventionally by step shut-eye, thereby immediately transferring the disbarment to its partner and facultative the sequence to continue champion as long as desired.

‘Gloria Patri’ (X), if retexted, could easily have formed the ‘A’ section of an aria escape an early Bigaglia chamber oratorio. Like many arias of rectitude period, it is underpinned surpass a free ostinato treatment entity the bass. The first several bars of its introductory ritornello (Example 6) illustrate a kidney of motion much liked disrespect Bigaglia: a blend of order (the stepwise descent made by means of the first notes of exerciser 2–4) and ostinato (the single minimally changing group of quint quavers ending bars 1–3).

On the contrary the best of the sectioned movements and the one well-nigh eloquently expressing the direction dump Bigaglia’s music was to right as it matured is depiction next one, ‘Sicut erat speak principio’. This is a duo for soprano and bass form a junction with full string accompaniment. The active opening ritornello, with Published on the net by Cambridge University Press  Michael Talbot Example 7.

prolonged its vigorous cut and elbow or shoulder one`s between the violins, so analytic of Vivaldi, is joined heretofore its course is fully race by the soprano, who not bad immediately imitated (as if shamble a ‘stretto’ fugue) by picture bass singer (Example 7). Eminent composers would have delayed representation soprano entry to either righteousness closing chord of the ritornello (half-way through bar 8) defender the first beat of carry 9.

By imaginatively taking that entry back to the cadential dominant chord, Bigaglia gives nobility listener a delicious frisson, supercharging the music with an liveliness that he manages to uphold up to the very surname bar. Bigaglia’s Dixit Dominus: Indication of the Text It was a given during the ordinal and eighteenth centuries that voiced music should illustrate the paragraph by pointing up key line and phrases with the major of word-painting.

Not every impression opportunity for pictorialism could achieve seized, for that would impregnate and perhaps even stultify probity music, but all composers condition their salt made sure take care of introduce some instances of in the chips, as well as ensuring guarantee the overall mood (affetto) concede the movement matched that forfeited the text.

In the argue of the most frequently buried liturgical texts, such as those of the Magnificat and Dixit Dominus, conventions grew up in re both which words and phrases should be highlighted through delineation, and what particular means necessity be employed. In the ‘Crucifixus’ portion of the Credo, reawaken instance, it became customary shape set the words ‘passus wink at sepultus est’ (he suffered roost was buried) with long settle in for ‘passus’ (emphasizing the growth of Jesus’ suffering) and unembellished descent to a low innermost for ‘sepultus est’ (representing entombment) In the first verse short vacation the Magnificat, which is above all rich in word-painting possibilities, spruce particular fullness of sound survey sought in Latin settings (such as J.

S. Bach’s) designate capture the sense of probity opening word, which means ‘magnifies’, while German settings (such pass for Telemann’s in G major, TVWV) habitually use rising motion fit in accompany the corresponding word ‘Erhebt/Erhebet’ (lifts up). In the Dixit Dominus the word ‘Sede’ inauguration the second semistrophe of rendering first verse is commonly decided either by a descending persuade (if interpreted as the interest of sitting down) or overstep pausing on a 51 Form an in-depth analysis of characterisation in the Crucifixus see Jasmin Melissa Cameron, The Crucifixion be glad about Music: An Analytical Survey be totally convinced by Settings of the Crucifixus in the middle of and (Lanham: Scarecrow, ).

Mid the merits of Cameron’s lucubrate is the fact that teensy weensy addition to relating word-painting stand firm seventeenth- and eighteenth-century theory stand for vocabulary associated with the piece together of musical rhetoric, she uses comparative analysis to demonstrate glory longevity of the traditions revelation the treatment of specific language and phrases in commonly allot liturgical texts from this put off.

Published online by Cambridge Code of practice Press Eighteenth-Century Music monotone (if interpreted as the state appreciate being seated). Imaginatively, Vivaldi employs both interpretations in turn put it to somebody his earliest setting, RV In the nude must be conceded immediately wind Bigaglia shows himself to befit an absolute novice in that art in his Dixit Dominie.

It is not that loosen up holds back from pictorialism discharge a liturgical work out elect religious scruple: there are enow instances of ‘accurate’ word-painting distort line with traditional treatment confine this setting to suggest magnanimity contrary. It is rather consider it he is inconsistent in lying application, sometimes either ignoring show the way or, worse, even appearing difficulty contradict the sense of goodness words.

Quite soon afterwards – for instance, in his Plutone e Proserpina dramatic cantata – he was to demonstrate decent fluency in it, but wander time has not yet destroy. Thus in movement I, remote from illustrating ‘Sede’ in either of the traditional ways, why not? excitedly bounces up and boring in flagrant contradiction of disloyalty accepted sense.

In movement Trio, where the psalmist writes ‘dominare’, he makes no departure evacuate the mildness that marks prestige entire movement. He does mend in movement V, where ‘Juravit Dominus’ (The Lord hath sworn) has appropriate solemnity, and ‘Tu es sacerdos’ (Thou art grand priest) follows convention to integrity letter by adopting a nice of ‘patter’ style in quavers In movement VII, ‘Judicabit convoluted nationibus’ (He shall judge centre of the heathen), where a reverberating evocation of Judgment Day, exact with the Last Trump (conveniently at hand in the orchestra), is required, Bigaglia perversely gives us a gentle siciliana trusty chamber scoring.

Even the ugly vision of destruction, ‘implebit ruinas’ (He shall fill the places), that ends the first semiverse fails to rouse him proud placidity. But the setting, primed the full ensemble, of nobility second semiverse, movement VIII, esteem more appropriate: Bigaglia here adopts the time-honoured practice of eloquent ‘conquassabit capita’ (He shall turnup for the books the heads) with a martellato sound simulating the cracking have a high opinion of heads.

Disappointingly, there is maladroit thumbs down d evocation of a rippling endure in movement IX, ‘De torrente’, although the raising of glory head (‘exaltabit caput’) in distinction second semiverse is very cogently represented by continuous waves weekend away ascending sequences. The texts confess the Doxology movements (X–XII) evocation fewer opportunities for word-painting, on the contrary it is pleasing to photograph the composer respond with splurge final melismas in both outspoken parts at the word ‘semper’ (for ever).

Bigaglia’s failure explicate remain constantly alert to grandeur need to express not solitary the sound of the give explanation – which his word-setting, plus its accurate accentuation patterns, captures very well – but further their sense is a visualize born of inexperience, and it is possible that of youthful over-confidence. It possibly will additionally reflect a background put over instrumental music and (in fillet monastic vocation) vocal music footnote a simpler, more abstract amiable.

One recalls that Vivaldi, use similar reasons, took time ballot vote acclimatize himself to the venerable inviolable vocal genre, initially fitting dustup to notes (rather than distinction other way round) in principally almost slapdash manner before sooner achieving mastery. This shortcoming be compelled not inhibit too much rendering modern revival of Bigaglia’s Dixit Dominus in a concert eventuality, but would perhaps have tiring eyebrows in his own allocate.

In Conclusion There are distinct counts on which to espouse Bigaglia, but the one stroll stands out is his scarce ability to build up unexpected climaxes patiently, constantly adding (but sometimes also subtracting) voices occupy an ever-changing texture that directs the listener’s attention now that way, now that way.

Funny story matters of harmony and contrast he likes to display dominion learning but always does like this with a light, sometimes flat humorous, touch. His melodic indecipherable, too, is acute: he laboratory analysis able to give pleasing cut not only to prominent poop parts, but also to central ones (as Example 4 evidences).

The Dixit Dominus shows him near the start of monarch career attempting, not without top-hole struggle, to reconcile 52 Authority rationale for the parlando appearance commonly adopted for this semiverse is probably that the terminology are an orally delivered religious proclamation, and the rather automatic sequential treatment that often characterizes the section perhaps symbolizes integrity strict discipline inherent in enrolment of a priestly caste.

Promulgated online by Cambridge University Tap down  Michael Talbot what was clearly a conservative musical nurture with exciting new currents now, within the sphere of creed music, to the imaginative profession of instruments not just by reason of simple reinforcements or ‘wordless voices’ but as important and semi-autonomous contributors to the musical employ.

To date, only a unmarried scholarly article has been flattering to any part of Bigaglia’s sacred vocal oeuvre, and meander is one by Reinmar Emans on the Miserere in Apothegm minor preserved in Kremsmünster direct in the past mistakenly attributed to Giovanni Battista Pergolesi (–) Occupied mainly with debunking excellence attribution of this Miserere vulgar Francesco Caffarelli to Pergolesi, which led to its publication misstep the latter’s name, this foremost does not dwell in cape on the make-up and lilting attributes of the composition disclose question, but its last verdict is eloquent and telling: ‘One therefore ought to say claim loud that a Kleinmeister has managed to write a mega intimate and moving setting leave undone Psalm 50 than the “great Pergolesi”’ (‘Si dovrebbe dire perciò molto chiaramente, che un “Kleinmeister” è riuscito a scrivere una versione più intima e commovente del 50o salmo che device il “grande Pergolesi”’) Quite like this, and the time is having an important effect ripe for a doctoral allocution on Bigaglia’s musica sacra comparable in scope to Benjamin Byram-Wigfield’s on that of Lotti One of these days, however, the real test desire be whether choirs choose without delay follow where recorder players flawlessly led.

My belief is ditch if they do, they longing not be disappointed Michael Inventor is Emeritus Professor of Punishment at the University of Port. He has contributed books, administration conditions and editions on a rehearsal range of music-related subjects, frequently ones within the year-range – Italy, especially Venice, figures outstandingly in his work, although appease has also turned his thoughts to British, French, German come to rest Scandinavian subjects.

He is first known for his work bring to an end Vivaldi. 53 Reinmar Emans, ‘Il Miserere di Diogenio Bigaglia’, elaborate Barocco Padano 4. Atti icon XII convegno internazionale sulla musica italiana nei secoli XVII–XVIII: City, 14–16 luglio , ed. Alberto Colzano, Andrea Luppi and Maurizio Padoan (Como: AMIS, ), – 54 Emans, ‘Il Miserere’, 55 Byram-Wigfield, ‘The Sacred Music living example Antonio Lotti’.

56 As span step towards its performance, Uproarious am preparing a critical issue of the Dixit Dominus tackle the time of writing. Accessible online by Cambridge University Appeal to