Gregorio Ballabene's forty-eight-part Mass for twelve choirs (1772):
Neither Spem in alium, the widely acclaimed 'songe of fortie partes' by Thomas Tallis, nor Alessandro Striggio's forty-part Mass is the largest-scale counterpoint work in Western music. The actual winner is Gregorio Ballabene, a relatively unknown Roman maestro di cappella, a contempo...
Gespeichert in:
| 1. Verfasser: | |
|---|---|
| Format: | Buch |
| Sprache: | English |
| Veröffentlicht: |
London ; New York
Routledge, Taylor & Francis Group
[2022]
|
| Schriftenreihe: | Royal Musical Association monographs
no. 38 |
| Schlagworte: | |
| Online-Zugang: | Inhaltsverzeichnis |
| Zusammenfassung: | Neither Spem in alium, the widely acclaimed 'songe of fortie partes' by Thomas Tallis, nor Alessandro Striggio's forty-part Mass is the largest-scale counterpoint work in Western music. The actual winner is Gregorio Ballabene, a relatively unknown Roman maestro di cappella, a contemporary of Giovanni Paisiello, Joseph Haydn and Luigi Boccherini, who composed in forty-eight parts for twelve choirs. His Mass saw only a public rehearsal and was never performed liturgically despite all of Ballabene's efforts to promote it. On closer inspection, however, the work deserves special consideration as a piece of outstanding combinatory creativity -- the product of a talent able to conceive, structure and realise a project of colossal dimensions. It might even be claimed that if Charles Burney had gained knowledge of it, all derogatory comments by nineteenth-century music historians would not have succeeded in extinguishing the interest of later generations. Ballabene's Mass has remained completely unstudied until today, even though the score survives in prominent collections. This study offers, for the first time, a historical and analytical perspective on this overlooked manifestation of a very individual musical intelligence--back cover |
| Beschreibung: | VIII, 120 Seiten Illustrationen, Notenbeispiele |
| ISBN: | 9781032128924 |
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| 505 | 8 | |a Twelve-choir performances -- The presence of a glorious past -- Burney's 'Mass' -- Ballabene and his Mass in Martini's correspondence -- The 'rehearsal' and its outcome -- Consequences for Ballabene's professional advancement -- Martini's approbation -- Important compositional features -- Pitoni's Mass -- Ballabene and the twilight of an era -- Fame and posthumous fame -- The history of the score -- Unfortunate anachronism or accomplishment of the Roman Baroque? | |
| 520 | 3 | |a Neither Spem in alium, the widely acclaimed 'songe of fortie partes' by Thomas Tallis, nor Alessandro Striggio's forty-part Mass is the largest-scale counterpoint work in Western music. The actual winner is Gregorio Ballabene, a relatively unknown Roman maestro di cappella, a contemporary of Giovanni Paisiello, Joseph Haydn and Luigi Boccherini, who composed in forty-eight parts for twelve choirs. His Mass saw only a public rehearsal and was never performed liturgically despite all of Ballabene's efforts to promote it. On closer inspection, however, the work deserves special consideration as a piece of outstanding combinatory creativity -- the product of a talent able to conceive, structure and realise a project of colossal dimensions. It might even be claimed that if Charles Burney had gained knowledge of it, all derogatory comments by nineteenth-century music historians would not have succeeded in extinguishing the interest of later generations. Ballabene's Mass has remained completely unstudied until today, even though the score survives in prominent collections. This study offers, for the first time, a historical and analytical perspective on this overlooked manifestation of a very individual musical intelligence--back cover | |
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Datensatz im Suchindex
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| adam_text |
Contents Introduction 1 1 Twelve-choir performances 3 2 The presence of a glorious past 7 з Burney’s ‘Mass’ 12 4 Ballabene and his Mass in Martini’s correspondence 17 5 The ‘rehearsal’ and its outcome 24 6 Consequences for Ballabene’s professional advancement 31 7 Martini’s approbation 35 8 Important compositional features 42 9 Pitoni’s Mass 56 10 Ballabene and the twilight of an era 59 11 Fame and posthumous fame 65 12 The history of the score 75
viii Contents 13 Unfortunate anachronism or accomplishment of the Roman Baroque? Appendix I: documents (in chronological order) Appendix II: documented copies ofBallabene ’s Mass Bibliography Index 82 87 105 111 118 |
| adam_txt |
Contents Introduction 1 1 Twelve-choir performances 3 2 The presence of a glorious past 7 з Burney’s ‘Mass’ 12 4 Ballabene and his Mass in Martini’s correspondence 17 5 The ‘rehearsal’ and its outcome 24 6 Consequences for Ballabene’s professional advancement 31 7 Martini’s approbation 35 8 Important compositional features 42 9 Pitoni’s Mass 56 10 Ballabene and the twilight of an era 59 11 Fame and posthumous fame 65 12 The history of the score 75
viii Contents 13 Unfortunate anachronism or accomplishment of the Roman Baroque? Appendix I: documents (in chronological order) Appendix II: documented copies ofBallabene ’s Mass Bibliography Index 82 87 105 111 118 |
| any_adam_object | 1 |
| any_adam_object_boolean | 1 |
| author | Bassani, Florian 1972- |
| author_GND | (DE-588)1013455851 |
| author_facet | Bassani, Florian 1972- |
| author_role | aut |
| author_sort | Bassani, Florian 1972- |
| author_variant | f b fb |
| building | Verbundindex |
| bvnumber | BV048600306 |
| classification_rvk | LP 43100 |
| contents | Twelve-choir performances -- The presence of a glorious past -- Burney's 'Mass' -- Ballabene and his Mass in Martini's correspondence -- The 'rehearsal' and its outcome -- Consequences for Ballabene's professional advancement -- Martini's approbation -- Important compositional features -- Pitoni's Mass -- Ballabene and the twilight of an era -- Fame and posthumous fame -- The history of the score -- Unfortunate anachronism or accomplishment of the Roman Baroque? |
| ctrlnum | (OCoLC)1356956521 (DE-599)BVBBV048600306 |
| discipline | Musikwissenschaft |
| discipline_str_mv | Musikwissenschaft |
| era | Geschichte 1772 gnd |
| era_facet | Geschichte 1772 |
| format | Book |
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| illustrated | Illustrated |
| index_date | 2024-07-03T21:09:48Z |
| indexdate | 2024-09-23T14:21:28Z |
| institution | BVB |
| isbn | 9781032128924 |
| language | English |
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| physical | VIII, 120 Seiten Illustrationen, Notenbeispiele |
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| spelling | Bassani, Florian 1972- Verfasser (DE-588)1013455851 aut Gregorio Ballabene's forty-eight-part Mass for twelve choirs (1772) Florian Bassani Ballabene's forty-eight-part Mass for twelve choirs (1772) 48-part London ; New York Routledge, Taylor & Francis Group [2022] VIII, 120 Seiten Illustrationen, Notenbeispiele txt rdacontent n rdamedia nc rdacarrier Royal Musical Association monographs no. 38 Twelve-choir performances -- The presence of a glorious past -- Burney's 'Mass' -- Ballabene and his Mass in Martini's correspondence -- The 'rehearsal' and its outcome -- Consequences for Ballabene's professional advancement -- Martini's approbation -- Important compositional features -- Pitoni's Mass -- Ballabene and the twilight of an era -- Fame and posthumous fame -- The history of the score -- Unfortunate anachronism or accomplishment of the Roman Baroque? Neither Spem in alium, the widely acclaimed 'songe of fortie partes' by Thomas Tallis, nor Alessandro Striggio's forty-part Mass is the largest-scale counterpoint work in Western music. The actual winner is Gregorio Ballabene, a relatively unknown Roman maestro di cappella, a contemporary of Giovanni Paisiello, Joseph Haydn and Luigi Boccherini, who composed in forty-eight parts for twelve choirs. His Mass saw only a public rehearsal and was never performed liturgically despite all of Ballabene's efforts to promote it. On closer inspection, however, the work deserves special consideration as a piece of outstanding combinatory creativity -- the product of a talent able to conceive, structure and realise a project of colossal dimensions. It might even be claimed that if Charles Burney had gained knowledge of it, all derogatory comments by nineteenth-century music historians would not have succeeded in extinguishing the interest of later generations. Ballabene's Mass has remained completely unstudied until today, even though the score survives in prominent collections. This study offers, for the first time, a historical and analytical perspective on this overlooked manifestation of a very individual musical intelligence--back cover Ballabene, Gregorio 1720-1803 (DE-588)1057648906 gnd rswk-swf Geschichte 1772 gnd rswk-swf Messvertonung (DE-588)4129031-8 gnd rswk-swf Ballabene, Gregorio / Criticism and interpretation Choral music / 18th century Musique chorale / 18e siècle Choral music 1700-1799 Criticism, interpretation, etc Ballabene, Gregorio 1720-1803 (DE-588)1057648906 p Messvertonung (DE-588)4129031-8 s Geschichte 1772 z DE-604 Äquivalent Druck-Ausgabe, Paperback 978-1-03-212893-1 Erscheint auch als Online-Ausgabe, ebk 978-1-00-322671-0 Royal Musical Association monographs no. 38 (DE-604)BV000617458 38 Digitalisierung BSB München - ADAM Catalogue Enrichment application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=033975840&sequence=000001&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA Inhaltsverzeichnis |
| spellingShingle | Bassani, Florian 1972- Gregorio Ballabene's forty-eight-part Mass for twelve choirs (1772) Royal Musical Association monographs Twelve-choir performances -- The presence of a glorious past -- Burney's 'Mass' -- Ballabene and his Mass in Martini's correspondence -- The 'rehearsal' and its outcome -- Consequences for Ballabene's professional advancement -- Martini's approbation -- Important compositional features -- Pitoni's Mass -- Ballabene and the twilight of an era -- Fame and posthumous fame -- The history of the score -- Unfortunate anachronism or accomplishment of the Roman Baroque? Ballabene, Gregorio 1720-1803 (DE-588)1057648906 gnd Messvertonung (DE-588)4129031-8 gnd |
| subject_GND | (DE-588)1057648906 (DE-588)4129031-8 |
| title | Gregorio Ballabene's forty-eight-part Mass for twelve choirs (1772) |
| title_alt | Ballabene's forty-eight-part Mass for twelve choirs (1772) 48-part |
| title_auth | Gregorio Ballabene's forty-eight-part Mass for twelve choirs (1772) |
| title_exact_search | Gregorio Ballabene's forty-eight-part Mass for twelve choirs (1772) |
| title_exact_search_txtP | Gregorio Ballabene's forty-eight-part Mass for twelve choirs (1772) |
| title_full | Gregorio Ballabene's forty-eight-part Mass for twelve choirs (1772) Florian Bassani |
| title_fullStr | Gregorio Ballabene's forty-eight-part Mass for twelve choirs (1772) Florian Bassani |
| title_full_unstemmed | Gregorio Ballabene's forty-eight-part Mass for twelve choirs (1772) Florian Bassani |
| title_short | Gregorio Ballabene's forty-eight-part Mass for twelve choirs (1772) |
| title_sort | gregorio ballabene s forty eight part mass for twelve choirs 1772 |
| topic | Ballabene, Gregorio 1720-1803 (DE-588)1057648906 gnd Messvertonung (DE-588)4129031-8 gnd |
| topic_facet | Ballabene, Gregorio 1720-1803 Messvertonung |
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