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Music and Crisis at Santa Maria Maggiore during the Turbulent 1620s

Published online by Cambridge University Press:  24 January 2024

Jason Rosenholtz-Witt Open the ORCID record for Jason Rosenholtz-Witt [Opens in a new window]
Jason Rosenholtz-Witt*
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Western Kentucky University
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Abstract

During the 1620s, when churches throughout Northern Italy were scaling back musical expenditures due to shrinking coffers, the confraternity Misericordia Maggiore continued to lavishly fund music in Santa Maria Maggiore, Bergamo. In a decade marred by war, austerity, death, famine, and plague, music received robust institutional support. Drawing from new archival research, a picture emerges of the enduring importance of musical life to the Bergamasque community in the face of challenges on multiple fronts. Additionally, Bergamo surfaces as a neglected site of almost unparalleled large-scale musical activity in early Seicento Italy.

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Renaissance Quarterly , Volume 76 , Issue 4 , Winter 2023 , pp. 1389 - 1430
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Copyright
Copyright © The Author(s), 2024. Published by Cambridge University Press on behalf of the Renaissance Society of America

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Footnotes

Research for this article was made possible thanks to a Gladys Krieble Delmas Foundation Grant. I am grateful to Linda Austern, Drew Davies, Gary Towne, and Ed Muir for valuable feedback at various stages of completion, to Jessie Rosenberg for help with translation, and to Marcello Eynard at the Biblioteca Civica Angelo Mai in Bergamo. Special thanks to the two anonymous reviewers of Renaissance Quarterly for their keen attention to detail.

References

BIBLIOGRAPHY

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Flanigan, C. Clifford. “The Moving Subject: Medieval Liturgical Processions in Semiotic and Cultural Perspective.” In Moving Subjects: Processional Performance in the Middle Ages and the Renaissance, ed. Ashley, Kathleen and Hüsken, Wim. Amsterdam: Rodopi, 2001.Google Scholar
Fortune, Nigel. “Italian Secular Monody from 1600 to 1635: An Introductory Survey.” The Musical Quarterly 39.2 (1953): 171–95.CrossRefGoogle Scholar
Gaddi, Mauro, and Zanninni, Andrea, eds. “Venezia non è da guerra”: L'Isontino, la società Friulana e la Serenissima nella Guerra di Gradisca (1615–1617). Udine: Forum, 2008.Google Scholar
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Harper, John. The Forms and Orders of Western Liturgy: From the Tenth to the Eighteenth Century. Oxford: Clarendon Press, 1991.Google Scholar
Horsley, Imogene. “Full and Short Scores in the Accompaniment of Italian Church Music in the Early Baroque.” Journal of the American Musicological Society 30.3 (1977): 466–99.CrossRefGoogle Scholar
Kendrick, Robert L. The Sounds of Milan, 1585–1650. Oxford: Oxford University Press, 2002.CrossRefGoogle Scholar
Kirwan-Mott, Anne. “The Small-Scale Sacred Concerto in the Early Seventeenth Century.” PhD diss., University of Michigan, 1981.Google Scholar
Knox, Giles. “The Unified Church Interior in Baroque Italy: S. Maria Maggiore in Bergamo.” The Art Bulletin 82.4 (2000): 679–701.CrossRefGoogle Scholar
Knox, Giles. “The Colleoni Chapel in Bergamo and the Politics of Urban Space.” Journal of the Society of Architectural Historians 60.3 (2001): 290–309.CrossRefGoogle Scholar
Kokole, Metoda. “Venetian Influence on the Production of Early Baroque Monodic Motets in the Inner-Austrian Provinces.” Musica e storia 8.2 (2000): 477–507.Google Scholar
Kurtzman, Jeffrey. Monteverdi Vespers of 1610: Music, Context, Performance. Oxford: Oxford University Press, 1999.Google Scholar
Kurtzman, Jeffrey. “Resolving the Controversies over the Monteverdi Vespers (1610).” Historical Performance 2 (2020): 91–160.CrossRefGoogle Scholar
Lang, Paul Henry. Music in Western Civilization. New York: W. W. Norton, 1941.Google Scholar
Mallett, M. E., and Hale, J. R.. The Military Organization of a Renaissance State: Venice c. 1400 to 1617. Cambridge: Cambridge University Press, 1984.CrossRefGoogle Scholar
Moore, James H. Vespers at St. Mark's: Music of Alessandro Grandi, Giovanni Rovetta and Francesco Cavalli. 2 vols. Ann Arbor, MI: UMI Research, 1981.Google Scholar
Morucci, Valerio. “Reconsidering ‘Cori Spezzati’: A New Source from Central Italy.” Acta Musicologica 85.1 (2013): 21–41.Google Scholar
Muir, Edward. Civic Ritual in Renaissance Venice. Princeton, NJ: Princeton University Press, 1981.CrossRefGoogle Scholar
Muir, Edward. “The Virgin on the Street Corner: The Place of the Sacred in Italian Cities.” In Religion and Culture in the Renaissance and Reformation, ed. Steven Ozment, 25–40. Kirksville, MO: Sixteenth Century Journal Publishers, 1989.Google Scholar
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Norwich, John Julius. A History of Venice. New York: Alfred A. Knopf, 1982.Google Scholar
Padoan, Maurizio. Musici al Santo di Padova negli anni 1565–1600. Como: A.M.I.S., 2012.Google Scholar
Piccioni, Giovanni. Concerti ecclesiastici. Venezia: Giacomo Vincenti, 1610.Google Scholar
Roche, Jerome. “Music at S. Maria Maggiore, Bergamo, 1614–1643.” Music & Letters 47.4 (1966): 296–312.CrossRefGoogle Scholar
Roche, Jerome. “What Schütz Learnt from Grandi in 1629.” The Musical Times 113.1557 (1972): 1074–75.CrossRefGoogle Scholar
Roche, Jerome. North Italian Church Music in the Age of Monteverdi. Oxford: Clarendon Press, 1984.Google Scholar
Roche, Jerome. “‘Aus den Berühmbsten Italiänischen Autoribus’: Dissemination North of the Alps of the Early Baroque Italian Sacred Repertory through Published Anthologies and Reprints.” In Claudio Monteverdi und die Folgen: Bericht über das Internationale Symposium Detmold 1993, ed. Leopold, Silke and Steinheuer, Joachim, 13–50. Kassel: Bärenreiter, 1998.Google Scholar
Rodrìguez-Garcia, Esperanza, and Filipi, Daniele V.. “The Motet in the Post-Tridentine World: An Introduction.” In Mapping the Motet in the Post-Tridentine Era. New York: Routledge, 2019.Google Scholar
Roncalli, Angelo Giuseppe. Vol. 1 of Gli atti della visita apostolica di S. Carlo Borromeo a Bergamo (1575). Florence: Leo S. Olschki, 1936.Google Scholar
Rosenholtz-Witt, Jason. “Musical Networks in Bergamo and the Borders of the Venetian Republic, 1580–1630.” PhD diss., Northwestern University, 2020.Google Scholar
Rothenberg, Gunther E. “Venice and the Uskoks of Senj: 1537–1618.” The Journal of Modern History 33.2 (1961): 148–56.CrossRefGoogle Scholar
Terzi, Giovanni. Intavolatvra di livtto, accomodata con diversi passaggi per suonar in concerti a duoi liutti, & solo, libro primo, il qual contiene, motetti, contraponti, canzoni italiane, et francese, madrigali, fantasie, et balli di diversi sorti, italiani, francesi, et alemani. Venezia: Amadino, 1593.Google Scholar
Terzi, Giovanni. Il secondo libro de intavolatura di liuto . . . nella quale si contengono fantasie, motetti, canzoni, madrigali, pass'e mezi, et balli di varie, et diverse sorti. Venezia: Vincenti, 1599.Google Scholar
Towne, Gary. “Memorial for a Mysterious Matron: The Funeral Cycle of Gaspar de Albertis.” In Sleuthing the Muse: Essays in Honor of William F. Prizer. Hillsdale, NY: Pendragon Press, 2012.Google Scholar
Viadana, Lodovico. Centum concertum ecclesiasticorum. Frankfurt: N. Stein, 1609.Google Scholar
Viadana, Lodovico. Vol. 1 of Cento concerti ecclesiastici: Opera duodecima 1602. Ed. Gallico, Claudio. Monumenti musicali Mantovani: Opere di Lodovico Viadana 1. Kassel: Bärenreiter, 1964.Google Scholar
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Biblioteca Civica Angelo Mai, Bergamo, Archivio della Misericordia Maggiore (hereafter MIA), Armadio LXI, 1149–1155: Libri Maestri della MIA. Cited as MIA 1149, etc., with the number of the volume and folio.Google Scholar
MIA Armadio LXIII, 1280: Terminazioni del consiglio della MIA, dall'anno 1616 all'anno 1622. Cited as MIA 1280, with the folio number.Google Scholar
MIA Armadio LXXI, 1389: Spese della MIA dall'anno 1594 all'anno 1600. Cited as MIA 1389, with the folio number.Google Scholar
MIA Armadio LXXI, 1391: Spese della MIA dall'anno 1614 all'anno 1630. Cited as MIA 1391, with the folio number.Google Scholar
MIA Armadio LXXIV, 1450–1452: Scritture (Suppliche), dall'anno 1606 all'anno 1631. Cited as MIA 1450, etc., with the folio number.Google Scholar
MIA Armadio LXXXII, 1538: Strumenti e scritture, dall'anno 1611 all'anno 1620. Cited as MIA 1538, with the folio number.Google Scholar
MIA 2285: Capitoli, e oblighi dei Cantori di S. Maria. Cited as MIA 2285, with the folio number.Google Scholar
Arnold, Denis. “Alessandro Grandi, a Disciple of Monteverdi.” Musical Quarterly 43.2 (1957): 171–86.CrossRefGoogle Scholar
Barzman, Karen-edis. The Limits of Identity: Early Modern Venice, Dalmatia, and the Representation of Difference. Leiden: Brill, 2017.CrossRefGoogle Scholar
Benaglio, Marc'Antonio. “Relazione della carestia e della peste di Bergamo e suo territorio negli anni 1629 e 1630.” In Miscellanea storia Italiana, ed. Finazzi, Giovanni, vol. 6. Torino: Stamperia Reale, 1865.Google Scholar
Bianconi, Lorenzo. Music in the Seventeenth Century. Trans. Bryant, David. Cambridge: Cambridge University Press, 1987.CrossRefGoogle Scholar
Biografie di scrittori e artisti musicali bergamaschi nativi od oriundi di Giov. Simone Mayr raccolte e pubblicate con note da Antonio Alessandri: Per le soleni onoranze a Donizetti e Mayr in Bergamo. Settembre 1875. Con aggiunta degli scrittori musicali bergamaschi del P. Vaerini. Bergamo: Pagnoncelli, 1875.Google Scholar
Blackburn, Bonnie J. Music for the Treviso Cathedral in the Late Sixteenth Century: A Reconstruction of the Lost Manuscripts 29 and 30. London: Royal Musical Association, 1987.Google Scholar
Bowd, Stephen D. Venice's Most Loyal City: Civic Identity in Renaissance Brescia. Cambridge, MA: Harvard University Press, 2010.Google Scholar
Bracewell, Catherine Wendy. The Uskoks of Senj: Piracy, Banditry, and Holy War in the Sixteenth-Century Adriatic. Ithaca, NY: Cornell University Press, 1992.Google Scholar
Bradshaw, Murray C. “Performance Practice and the Falsobordone.” Performance Practice Review 10.2 (1997): 224–47.CrossRefGoogle Scholar
Caimmi, Riccardo. La guerra del Friuli 1615–17: Altrimenti nota come Guerra di Gradisca o degli Uscocchi. Gorizia: Leg, 2007.Google Scholar
Carlsmith, Christopher. A Renaissance Education: Schooling in Bergamo and the Venetian Republic, 1500–1650. Toronto: University of Toronto Press, 2010.CrossRefGoogle Scholar
Carter, Tim. Music in Late Renaissance and Early Baroque Italy. Portland, OR: Amadeus Press, 1992.Google Scholar
Cavaccio, Giovanni. Litanie in doi modi con il pange lingua a doi chori. Venetia: Angelo Gardano, 1587.Google Scholar
Cavaccio, Giovanni. Hinni correnti in tutti i tempi dell’ anno secondo il rito romano. Venezia: Giacomo Vincenti, 1605.Google Scholar
Cavaccio, Giovanni. Messe per i defunti parte a quattro, parte a cinque voci, piene & mutate, con alcuni motetti corrispondenti. Milano: l'Her. di Simon Tini, & Filippo Lomazzo, 1611.Google Scholar
Cavaccio, Giovanni. Nuovo giardino di spiritval et harmoniosa ricreatione. Venetia: Alessandro Vincenti, 1620.Google Scholar
Chiu, Remi. “Music for the Times of Pestilence, 1420–1600.” PhD diss., McGill University, 2012.Google Scholar
Chiu, Remi. Plague and Music in the Renaissance. Cambridge: Cambridge University Press, 2017.CrossRefGoogle Scholar
Coreggi, N., Paganoni, N., and Rossi, T.. “La battaglia delle cattedrali (Bergamo, sec. x–XIII).” Tesi di laurea, Politecnico di Milano, 1988.Google Scholar
“Coronavirus, a Milano un trombettista commuove i vicini con ‘O mia bela Madunina.’” Sky Tg 24, 14 March 2020. https://tg24.sky.it/milano/2020/03/14/coronavirus-flash-mob-milano.html.Google Scholar
Cummings, Anthony M. “Toward an Interpretation of the Sixteenth-Century Motet.” Journal of the American Musicological Society 34 (1981): 43–59.CrossRefGoogle Scholar
Einstein, Alfred. The Italian Madrigal. Trans. Krappe, H., Sessions, Roger H., and Strunk, Oliver. 3 vols. Princeton, NJ: Princeton University Press, 1949.Google Scholar
Flanigan, C. Clifford. “The Moving Subject: Medieval Liturgical Processions in Semiotic and Cultural Perspective.” In Moving Subjects: Processional Performance in the Middle Ages and the Renaissance, ed. Ashley, Kathleen and Hüsken, Wim. Amsterdam: Rodopi, 2001.Google Scholar
Fortune, Nigel. “Italian Secular Monody from 1600 to 1635: An Introductory Survey.” The Musical Quarterly 39.2 (1953): 171–95.CrossRefGoogle Scholar
Gaddi, Mauro, and Zanninni, Andrea, eds. “Venezia non è da guerra”: L'Isontino, la società Friulana e la Serenissima nella Guerra di Gradisca (1615–1617). Udine: Forum, 2008.Google Scholar
Ghirardelli, Lorenzo. Il memorando contagio seguito in Bergamo l'anno 1630. Historia scritta d'ordine publico, Libri otto. Bergamo: [G]li Fratelli Sampatori, 1681.Google Scholar
Harper, John. The Forms and Orders of Western Liturgy: From the Tenth to the Eighteenth Century. Oxford: Clarendon Press, 1991.Google Scholar
Horsley, Imogene. “Full and Short Scores in the Accompaniment of Italian Church Music in the Early Baroque.” Journal of the American Musicological Society 30.3 (1977): 466–99.CrossRefGoogle Scholar
Kendrick, Robert L. The Sounds of Milan, 1585–1650. Oxford: Oxford University Press, 2002.CrossRefGoogle Scholar
Kirwan-Mott, Anne. “The Small-Scale Sacred Concerto in the Early Seventeenth Century.” PhD diss., University of Michigan, 1981.Google Scholar
Knox, Giles. “The Unified Church Interior in Baroque Italy: S. Maria Maggiore in Bergamo.” The Art Bulletin 82.4 (2000): 679–701.CrossRefGoogle Scholar
Knox, Giles. “The Colleoni Chapel in Bergamo and the Politics of Urban Space.” Journal of the Society of Architectural Historians 60.3 (2001): 290–309.CrossRefGoogle Scholar
Kokole, Metoda. “Venetian Influence on the Production of Early Baroque Monodic Motets in the Inner-Austrian Provinces.” Musica e storia 8.2 (2000): 477–507.Google Scholar
Kurtzman, Jeffrey. Monteverdi Vespers of 1610: Music, Context, Performance. Oxford: Oxford University Press, 1999.Google Scholar
Kurtzman, Jeffrey. “Resolving the Controversies over the Monteverdi Vespers (1610).” Historical Performance 2 (2020): 91–160.CrossRefGoogle Scholar
Lang, Paul Henry. Music in Western Civilization. New York: W. W. Norton, 1941.Google Scholar
Mallett, M. E., and Hale, J. R.. The Military Organization of a Renaissance State: Venice c. 1400 to 1617. Cambridge: Cambridge University Press, 1984.CrossRefGoogle Scholar
Moore, James H. Vespers at St. Mark's: Music of Alessandro Grandi, Giovanni Rovetta and Francesco Cavalli. 2 vols. Ann Arbor, MI: UMI Research, 1981.Google Scholar
Morucci, Valerio. “Reconsidering ‘Cori Spezzati’: A New Source from Central Italy.” Acta Musicologica 85.1 (2013): 21–41.Google Scholar
Muir, Edward. Civic Ritual in Renaissance Venice. Princeton, NJ: Princeton University Press, 1981.CrossRefGoogle Scholar
Muir, Edward. “The Virgin on the Street Corner: The Place of the Sacred in Italian Cities.” In Religion and Culture in the Renaissance and Reformation, ed. Steven Ozment, 25–40. Kirksville, MO: Sixteenth Century Journal Publishers, 1989.Google Scholar
Ng, Kate. “Coronavirus: Deserted Italian Street Rings out with Song as People Lean out of Windows to Sing Together during Lockdown.” The Independent, 13 March 2020. https://www.independent.co.uk/news/world/europe/coronavirus-italy-siena-song-canto-della-verbena-video-lockdown-a9399176.html.Google Scholar
Norwich, John Julius. A History of Venice. New York: Alfred A. Knopf, 1982.Google Scholar
Padoan, Maurizio. Musici al Santo di Padova negli anni 1565–1600. Como: A.M.I.S., 2012.Google Scholar
Piccioni, Giovanni. Concerti ecclesiastici. Venezia: Giacomo Vincenti, 1610.Google Scholar
Roche, Jerome. “Music at S. Maria Maggiore, Bergamo, 1614–1643.” Music & Letters 47.4 (1966): 296–312.CrossRefGoogle Scholar
Roche, Jerome. “What Schütz Learnt from Grandi in 1629.” The Musical Times 113.1557 (1972): 1074–75.CrossRefGoogle Scholar
Roche, Jerome. North Italian Church Music in the Age of Monteverdi. Oxford: Clarendon Press, 1984.Google Scholar
Roche, Jerome. “‘Aus den Berühmbsten Italiänischen Autoribus’: Dissemination North of the Alps of the Early Baroque Italian Sacred Repertory through Published Anthologies and Reprints.” In Claudio Monteverdi und die Folgen: Bericht über das Internationale Symposium Detmold 1993, ed. Leopold, Silke and Steinheuer, Joachim, 13–50. Kassel: Bärenreiter, 1998.Google Scholar
Rodrìguez-Garcia, Esperanza, and Filipi, Daniele V.. “The Motet in the Post-Tridentine World: An Introduction.” In Mapping the Motet in the Post-Tridentine Era. New York: Routledge, 2019.Google Scholar
Roncalli, Angelo Giuseppe. Vol. 1 of Gli atti della visita apostolica di S. Carlo Borromeo a Bergamo (1575). Florence: Leo S. Olschki, 1936.Google Scholar
Rosenholtz-Witt, Jason. “Musical Networks in Bergamo and the Borders of the Venetian Republic, 1580–1630.” PhD diss., Northwestern University, 2020.Google Scholar
Rothenberg, Gunther E. “Venice and the Uskoks of Senj: 1537–1618.” The Journal of Modern History 33.2 (1961): 148–56.CrossRefGoogle Scholar
Terzi, Giovanni. Intavolatvra di livtto, accomodata con diversi passaggi per suonar in concerti a duoi liutti, & solo, libro primo, il qual contiene, motetti, contraponti, canzoni italiane, et francese, madrigali, fantasie, et balli di diversi sorti, italiani, francesi, et alemani. Venezia: Amadino, 1593.Google Scholar
Terzi, Giovanni. Il secondo libro de intavolatura di liuto . . . nella quale si contengono fantasie, motetti, canzoni, madrigali, pass'e mezi, et balli di varie, et diverse sorti. Venezia: Vincenti, 1599.Google Scholar
Towne, Gary. “Memorial for a Mysterious Matron: The Funeral Cycle of Gaspar de Albertis.” In Sleuthing the Muse: Essays in Honor of William F. Prizer. Hillsdale, NY: Pendragon Press, 2012.Google Scholar
Viadana, Lodovico. Centum concertum ecclesiasticorum. Frankfurt: N. Stein, 1609.Google Scholar
Viadana, Lodovico. Vol. 1 of Cento concerti ecclesiastici: Opera duodecima 1602. Ed. Gallico, Claudio. Monumenti musicali Mantovani: Opere di Lodovico Viadana 1. Kassel: Bärenreiter, 1964.Google Scholar
Zonca, Andrea. “‘Est una matrix ecclesia’: A proposito di due recenti studi sulla chiesa di Bergamo nel medioevo.” Archivio Storico Bergamasco 18–19 (1990): 261–84.Google Scholar