Sacred Music Of Baldassare Galuppi In The Context Of Eighteenth-Century Venetian Culture, With

703 Pages·2015·8.68 MB·English

by  Keith E. Knop

Florida State University Libraries
Electronic Theses, Treatises and Dissertations The Graduate School
2011
Sacred Music of Baldassare Galuppi in the
Context of Eigtheenth Century Venetian
Culture, with an Emphasis on Music Written
for the Mendicanti and the Incurabili
Keith Eric Knop
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THE FLORIDA STATE UNIVERSITY

COLLEGE OF MUSIC

SACRED MUSIC OF BALDASSARE GALUPPI IN THE CONTEXT OF EIGTHEENTH-
CENTURY VENETIAN CULTURE, WITH AN EMPHASIS ON MUSIC WRITTEN FOR
THE MENDICANTI AND THE INCURABILI

By

KEITH KNOP

A dissertation submitted to the
College of Music
in partial fulfillment of the
requirements for the degree of
Doctor of Philosophy

Degree Awarded:
Summer Semester, 2011
The members of the committee approve the dissertation of Keith Knop defended on May 11,
2011.

_______________________________________
Charles Brewer
Professor Directing Dissertation

_______________________________________
Joseph Kraus
University Representative

_______________________________________
Douglass Seaton
Committee Member

_______________________________________
Denise Von Glahn
Committee Member

The Graduate School hasverified andapproved the above-named committee members.
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To my mother, and in memory of my father.
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ACKNOWLEDGEMENTS

I would first like to thank my parents, without whose support I would not have come so
far. I regret that my father did not live to see the completion of this document.
I must also thank the members of my committee, not only for their contributions to this
document but also for the education that made it possible. I am grateful to Charles Brewer for
the guiding hand that kept this project focused when it could easily have veered off in several
directions, and for his invaluable assistance with Latin, a language with which I have no formal
experience. Joseph Kraus suggested a number of possible analytical approaches at the inception
of this study that have proved highly useful. Douglass Seaton possesses not only an eye for fine
detail but also an uncanny knack for asking inconvenient questions, which have over the years
encouraged careful thought before committing myself to paper. And Denise Von Glahn has so
often encouraged me to write less pithily and more explicitly that occasionally I am successful in
doing so.
I am grateful to my friends and colleages at the Warren D. Allen Music Library, both
current and departed, not only for the occasional bit of material assistance with this project but
also for having made the task of keeping myself fed and sheltered for the past five years less
onerous than it could have been.
Finally, I am very grateful to Vincent Reniel and the staff of the reproduction department
of the Bibliothèque Nationale de France for their patience with me and their generosity in
resupplying scans of numerous manuscripts after the original order vanished into a New York
customs office, never to be seen again.
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TABLE OF CONTENTS
PART I: TEXT

List of Tables................................................................................................................................vii
List of Figures..............................................................................................................................viii
List of Musical Examples .............................................................................................................ix
Abstract..........................................................................................................................................xi
1. GALUPPI IN THE CONTEXT OF VENICE IN DECLINE.................................................2
1.1 Introduction....................................................................................................................2
1.2 Biographical Sketch.......................................................................................................5
1.3 Venice’s Sinking Fortunes.............................................................................................8
2. MUSIC IN VENETIAN LIFE...............................................................................................26
2.1 Overview......................................................................................................................27
2.2 The Oratorio.................................................................................................................32
2.3 The Motet and Other Liturgical Music........................................................................39
3. AUTOGRAPHS AND RELIABLY ATTRIBUTED WORKS............................................46
3.1 About the Autographs..................................................................................................47
3.2 General Characteristics of the Music...........................................................................50
3.3 Galuppi’s Aria Structures............................................................................................57
3.4 Oratorio........................................................................................................................61
3.4.1 Adamo ed Eva..................................................................................................62
3.5 Liturgical Motets..........................................................................................................71
3.5.1 Confitebor a 2 breve........................................................................................73
3.5.2 Laudate pueri/Qui habitare.............................................................................79
4. GALUPPI AND THE PROBLEM OF DON ISEPPO BALDAN........................................88
4.1 The Dresden Solo Motets.............................................................................................97
4.1.1 Sum nimis irata................................................................................................99
4.1.2 Sum offensa....................................................................................................105
4.1.3 Ab unda algente.............................................................................................108
4.1.4 Dum refulget in celo sereno...........................................................................110
4.1.5 Ecce volantem video saggitam.......................................................................112
4.1.6 Quaerenti per fontes......................................................................................113
4.1.7 Non torrentes.................................................................................................115
4.1.8 Sub coelo sereno............................................................................................116
4.2 General Comparisons and Summary.........................................................................119
5. CONCLUSION...................................................................................................................125
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PART II: TRANSCRIPTIONS

6. CRITICAL NOTES.............................................................................................................129
6.1 Editorial Policies........................................................................................................129
6.2 Critical Commentary..................................................................................................130
7. CONFITEBOR A 2 BREVE...............................................................................................136
8. LAUDATE PUERI..............................................................................................................157
9. QUI HABITARE.................................................................................................................247
10. SUM NIMIS IRATA...........................................................................................................288
11. SUM OFFENSA..................................................................................................................338
12. AB UNDA ALGENTE........................................................................................................389
13. DUM REFULGET..............................................................................................................437
14. ECCE VOLANTEM VIDEO SAGGITAM........................................................................484
15. NON TORRENTES............................................................................................................532
16. QUAERENTI PER FONTES..............................................................................................581
17. SUB COELO SERENO......................................................................................................630
APPENDICES.............................................................................................................................666
A. DRESDEN MOTET TEXTS..............................................................................................666
B. RITORNELLO SCHEMATA.............................................................................................674
BIBLIOGRAPHY........................................................................................................................681
BIOGRAPHICAL SKETCH.......................................................................................................691
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LIST OF TABLES
3.1 Brief outline of Adamo ed Eva..............................................................................................63

4.1 Dresden solo motets attributed to Galuppi............................................................................92

4.2 Common ritornello schemata..............................................................................................120

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LIST OF FIGURES
3.1 Autograph markers, Laudate pueri........................................................................................49

3.2 Unsteady beaming, Laudate pueri.........................................................................................49

4.1 Repeat indications, Sum offensa............................................................................................98
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LIST OF MUSICAL EXAMPLES
2.1 Versetti per la Professione alle Virgini, no. 2.......................................................................28

2.2 Vivaldi, Longe mala umbrae terrores...................................................................................44

3.1a Alessandro nell’Indie (1739): “O su gli estivi ardori”..........................................................51

3.1b Judith (1746): “Deus orantes”...............................................................................................51

3.1c Judith (1746): “Dum exuror, ah, puro ardore”......................................................................52

3.1d Adamo ed Eva (1747): “Sente quest’alma oppressa”............................................................52

3.1e Adamo ed Eva (1747): “Quell’affano e quel dolore”............................................................53

3.1f Il mondo alla roversa (1750): “Al bello delle fimmine”.......................................................53

3.1g Confitebore breve (1757)......................................................................................................54

3.1h Ave Regina coelorum (1764): I..............................................................................................54

3.1i Qui habitare (1771?): “Gloria”.............................................................................................54

3.1j Laudate pueri (1771): I.........................................................................................................55

3.1k Nunc dimittis (1772): I...........................................................................................................55

3.2 Adamo ed Eva: “Ahi formidabil suono”................................................................................66

3.3 Adamo ed Eva: “Cara piaggia” and “Si la serena fronte” openings......................................69

3.4 Adamo ed Eva: “Sente quest’alma oppressa” falling motives...............................................70

3.5 Confitebor breve: mm. 18–38................................................................................................76

3.6 Confitebor breve: mm. 69–130..............................................................................................77

3.7 Laudate pueri: I.....................................................................................................................84

4.1 Miserere in C minor: “Sacrificium Dei”...............................................................................96

4.2 Sum nimis irata: I, mm. 1–13..............................................................................................101

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