Bolognese School (music)

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The Bolognese School (or: Bolognese School ), Italian Scuola bolognese , was an important Italian composer group of the 17th and 18th centuries. Century.

General

Maurizio Cazzati is considered to be the founder of the Bolognese School , who from 1657 reformed musical life in the Basilica of San Petronio and the entire city by shifting the focus from church music to the development of instrumental music as bandmaster. The composers worked in the northern Italian city of Bologna and its vicinity between 1650 and 1750 and made a decisive contribution to the design of the solo and trio sonata and the solo concert with their instrumental music - especially violin music.

The musical center was next to the chapel of San Petronio , with its band masters Maurizio Cazzati (1657–1671), Giovanni Paolo Colonna (1674–1695), and Giacomo Antonio Perti (1696–1756), the Accademia Filarmonica , founded in 1666 . Until the 18th century it was one of the most important institutions for maintaining the Palestrina style and the Italian oratorio. The latter not only promoted the creation of short concert masses for three voices and strings without cantus firmus , but also played a significant role in establishing the solo concert style within instrumental music.

Characteristics

The solo concert emerged from the four-part orchestral sonata or symphony. Early examples of this are the sonatas for trumpet and strings by Maurizio Cazzati ( op.35 ) and Andrea Grossi (op.3). Soon afterwards, the trumpet as the most important solo instrument of the time - it represented the princely power - began to be replaced by the oboe and violin, especially in concerts with modulating solos. The first violin concerto to be recognized as such comes from Giuseppe Torelli (op. 6, 1698), which made him one of the founders of this special form of the solo concerto, which Antonio Vivaldi made an important genre in instrumental music. In 1702 the cellist Giuseppe Maria Jacchini wrote the first cello concerto (op. 4).

In contrast to the Venetian School , which based their compositions on a design principle, which is characterized by the division of a movement into several parts clearly differentiated by time signature, tempo, scoring or composition technique, the Bolognese school stuck to the uniformity of the movements. The “Bolognese” solo concerto also differs in its sequence of movements from the Venetian model of a slow middle movement and two fast frame movements with a reverse sequence: Adagio-Allegro-Adagio. If the sequence of movements from Venice (Schnell-Slow-Schnell) established itself in the end, the three movements introduced by Torelli prevailed in the solo concerto and concerto grosso .

Those solo concerts from Bologna clearly show the greater proximity to church music (as well as the concerts from Rome) than can be found in the Venetian School. The difference between the two schools may be due to the fact that the Bolognese school used passage notes much more often (especially Torelli), while the composers in Venice (e.g. Albinoni and Vivaldi) increasingly used triad figures in the bass part.

Representative

The representatives of the Bolognese School include the band masters of the basilica, Pietro degli Antonii , his brother Giovanni Battista and Giovanni Battista Vitali in the second generation, as well as Giulio Cesare Arresti , Carlo Donato Cossoni , Petronio Franceschini , Giovanni Battista Bassani , Giorgio Buoni , Bartolomeo Laurenti , Domenico Gabrielli , G. Torelli, Andrea Grossi , GM Jacchini, Francesco Gasparini , Giuseppe Aldrovandini , Pirro Albergati , Giovanni Carlo Clari and Giuseppe Tartini . Some of them also made a contribution to the development of the cantata .

Last but not least, "[Arcangelo Corelli] found numerous and varied models [...] with his teachers, especially the Bolognese school ", which he took to Rome, where he soon became known as one of the leading violinists under the nickname "Il Bolognese" .

Individual evidence

  1. ↑ a b c Riemann : Musiklexikon, p. 117
  2. ↑ a b ibid., P. 182
  3. ↑ ibid., P. 1042
  4. ↑ Apel : Italian Violin Music in the 17th Century, p. 26
  5. ↑ Roeder: Das Konzert, p. 38
  6. ^ Giegling: Giuseppe Torelli, p. 16
  7. ↑ Allsop & Schmidt: Arcangelo and his time, p. 112

literature

  • Peter Allsop: Arcangelo Corelli and his time (= great composers and their time ). Edited by Birgit Schmidt. Laaber, Laaber 2009, ISBN 978-3-89007-250-0 .
  • Willi Apel : Italian violin music in the 17th century (= archive for musicology . Supplement 21). Steiner, Wiesbaden 1983, ISBN 3-515-03786-1 .
  • Alfred Baumgartner: Giorgio Buoni. In: Alfred Baumgartner: The great music guide. Music history in work representations. Volume 2: Baroque Music. Kiesel, Salzburg 1981, ISBN 3-7023-4002-5 , p. 403.
  • Gaetano Gaspari : La Musica in San Petronio. A continuazione delle memorie risguardanti la storia dell'arte musicale in Bologna. sn, Bologna 1870, online .
  • Franz Giegling: Giuseppe Torelli. A contribution to the history of the development of the Italian concert. Dissertation. University of Zurich 1947. Bärenreiter, Kassel et al. 1949.
  • Lew Ginsburg : Giuseppe Tartini. Eulenburg, Zurich 1976, p. 21 ff.
  • Bolognese school. In: Gurlitt, Willibald (Ed.): Riemann -Musik-Lexikon. Volume 3: Section A – Z. 12th completely revised edition in three volumes. Schott, Mainz et al. 1967.
  • Siegfried Mauser (Hrsg.): Handbook of musical genres. Volume 4: Michael Thomas Roeder: The concert. Laaber, Laaber 2000, ISBN 3-89007-127-9 .
  • Francesco Vatielli: Arte e vita musicale a Bologna. Studi e Saggi. Zanichelli, Bologna 1927.