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O'Regan, Sacred polychoral music in Rome, 1575-1621 (PhD diss.
We first created our Supersize Polyphony programme back in 2007, trying to explore ways that would bring to life for 21st century audiences the extraordinary world of enormous polychoral works from the 16th century," he tells me.
She suggests that this quintessential Schutz polychoral work likely provided a "soundtrack" for two very different events in Dresden: the Reformation jubilee celebrations in the fall of 1617 and a three-week visit by the (Catholic) Hapsburg emperor and his court three months prior.
However, because O'Regan has already done a good deal of work on some of the other confraternities in Rome, particularly surrounding the use of polychoral music, perhaps one could have asked that he provide a more overarching, comprehensive study of the musical life of all the confraternities as well as an elaboration of their rituals and ceremonies.
The third book contains polychoral settings with organ continuo for tones I and VI which are based in part on the settings of these tones in the two earlier publications.
It is Saunders's achievement to show that the admixture of antico, concertato and polychoral idioms (through which Priuli and Valentini imported into Vienna the stylistic self-consciousness of the early and middle Baroque periods) itself reflects the intense and absolutist piety of Ferdinand's Roman Catholicism.
If Maderna in his later compositions and transcriptions referred to the Venetian polychoral tradition in the spatial distribution of voices and instruments, this trait is apparent only indirectly in his Requiem.
A niche element of their repertoire has always remained baroque music, and Saturday's concert took us right to the heart of Venetian polychoral music, with magnificent liturgical settings by Giovanni Gabrieli.
A significant development was the suppression of monasteries and religious congregations that owned music materials: this is how Venice acquired the librettos by Apostolo Zeno from the library of the Domenicani osservanti alle Zattere (also called Gesuati); Turin the codices of the Benedictine Abbey of San Colombano in Bobbio (9th-14th centuries); and Rome most of the 98 books of polychoral and instrumental Roman Renaissance music.
Among these gaps are the Masses of Duarte Lobo and the polychoral output of Francisco Garro (mestre of the royal chapel at the end of the 16th century and during the early 17th century).
Among his northern pupils who absorbed the polychoral idiom and other techniques from him were Heinrich Schutz and Johann Grabbe.
Similar considerations apply to most of the polychoral pieces, which feature a rather strong theatrical component.