Paolo Ferrarese

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Paolo Ferrarese (also known as Don Paul Ferrariensis , Don Paul Ferraris , Don Paolo Ferrarese , Paolo da Ferrara and Paolo detto da Ferrara cited) was a in Ferrara -born Italian composer and poet , who in the second half of the 16th century in Venice worked . Don Paolo Ferrarese devoted himself to the art of polyphonic music and participated in one of the most typical forms of expression of the Italian Renaissance .


Don Paolo is best known for having composed a number of polyphonic chants for Holy Week . This collection, published in 1565, represents one of the most complete collections of the Catholic liturgy of Holy Week . The reason for the publication of such a broad work is said to be the fact that with the conclusion of the Council of Trent , which took place in the years 1545–1563 , a new liturgy and new musical forms were introduced. Don Paolo's work represents one of the first implementations of this reform. The Council of Trent has had a major impact on music, especially Gregorian chant . Most of the sequences have been abolished; and any trace of secular music was also removed.

The 1565 publication includes 93 chants, including various passions , lamentations , responsoria , miserere, as well as other liturgical chants .

This work by Paolo Ferrarese was published on the special order of Don Benedetto Venetiano (or “Vinitiano”), procurator of the Benedictine congregation of the so-called Cassinesi monks of the monastery of San Giorgio in Venice . The work was printed in four volumes by Girolamo Scotto (Hieronymus Schotus) in Venice. Shortly after its publication, the work of Paolo Ferrarese could be found at the Frankfurt fair , which was sold by the largest Augsburg bookstore Georg Willer (1514–1593).

Other liturgical works were subsequently ascribed to Don Paolo. They are: Psalmi omnes qui ad vesperas , published in 1578; Responsoria hebdomadae sanctae (1592); Letanie della Madonna (1607).

Work and catalogs

  1. Passiones, lamentationes, Responsoria, Benedictus, Miserere, multaque alia devotissima cantica ad Offitium hebdomadae sanctae pertinentia , d. Pauli Ferrariensis, monachi divi Benedicti, Congregationis Cassinensis, Venetijs, apud Hieronymum Scotum, MCXV 
  2. Responsoria hebdomadae sanctae D. Pauli Ferraris Monaci S. Benedicti. - D. Hieronimo Zino Bonon.s Congregationis S. Georgii alga Veneti canonico scribente 1592
  3. Mottetti, madrigali e canzoni a tre, quattro, cinque e sei voci di Costanzo Festa, Marchetto, Tromboncino, Paolo da Ferrara monaco di S. Benedetto; di Josquin, Jo. Mouton, Jachet, P. Molu, Sebast. Gallus, Claudin, Verdelot. - Ms. del secolo XVI in 8 ° obl. Il solo tenore.

Locations of the works

  • Museo Internazionale e Biblioteca della Musica, Bologna, 310. [1]
  • British Library, London, D. 83. [2]

Contents of the collection from 1565

  1. Voces Christi & Judeorum ad passionem Domini secundum Matthaeum
  2. Improperium expectavit cor meum
  3. Adoramus te Jesu Christe
  4. Father si non potest hic calix
  5. Turba in passione Domini secundum Marcum
  6. Et cum iam sero
  7. Adoramus te Jesu Christe
  8. Turba in passione Domini secundum Lucam
  9. Et ecce vir nomine Joseph
  10. Adoramus te Jesu Christe
  11. Incipit lamentatio Hieremiae Prophetae
  12. In monte Oliveti
  13. Hey Facti sunt hostes eius
  14. Tristis est anima mea
  15. Teth. Sondes eius impedibus eius
  16. Ecce vidimus eum non habentem speciem
  17. Amicus meus osculi
  18. Judas mercator pessimus
  19. Unus ex discipulis
  20. Eram quasi agnus innocens
  21. Una hora non potuistis
  22. Seniores populi consilium
  23. Benedictus Dominus Deus Israel
  24. Miserere mei Deus secundum
  25. Christ factus est pro nobis
  26. Dextera Domini fecit virtutem
  27. Adoramus te Christe
  28. Ave verum corpus
  29. Dominus Jesus postquam cenavit
  30. Pangue lingua gloriosi corporis
  31. Pangue lingua
  32. Sacris solemniis
  33. Cum autem venissem
  34. Ecce vidimus eum non habentem speciem
  35. Cum vero venissem
  36. Sepulto Domino
  37. Sepulto Domino
  38. Sepulto Domino
  39. Ubi caritas et amor
  40. Sequitur in lamentatione Hieremiae
  41. Omnes amici mei
  42. Hey Factus es Dominus
  43. Velum templi scissum
  44. Teth. Defixae sunt in terram
  45. Vinea mea electa
  46. Tamquam ad latronem
  47. Tenebrae factae sunt
  48. Animam meam dilectam
  49. Tradiderunt me in manus impiorum
  50. Jesus tradidit impius
  51. Caligaverunt oculi mei
  52. Benedictus Dominus Deus Israel
  53. Miserere mei Deus secundum
  54. Benedictus Dominus Deus Israel. 4. Toni
  55. Miserere mei Deus secundum
  56. Voces Christi et Judeorum in passione Domini secundum Joannem
  57. Stabat iuxta crucem
  58. Pange lingua gloriosi praelium
  59. Stabat mater
  60. Plangent eum
  61. Cum autem venissem
  62. Cum autem venissem
  63. Ave verum corpus
  64. Ave Domine Jesu Christe
  65. Ave Domine Jesu Christe
  66. Sequitur in lamentatione Hieremiae
  67. Sicut ovis ad occisionem
  68. Heth. Denigrata est super carbones
  69. Hierusalem luge & exue te
  70. Incipit oratio Hieremiae prophetae
  71. Incipit oratio Hieremiae prophetae
  72. Plan virtually virgo
  73. Recessit pastor noster
  74. O vos omnes qui transitis
  75. Ecce quomodo moritur
  76. Astiterunt reges terrae
  77. Estimatus sum cum descendentibus
  78. Sepulto Domino signatum est monumentum
  79. Benedictus Dominus Deus Israel
  80. Miserere mei Deus secundum
  81. Benedictus Dominus Deus Israel
  82. Miserere mei Deus secundum
  83. Incipit lamentatio Hieremiae prophetae
  84. Hey Facti sunt hosts
  85. Lamech. O vos omnes qui transitis
  86. Sequitur in lamentatione Hieremiae
  87. Hey Factus est Dominus
  88. Teth. Defixae sunt in terra portae eius
  89. Sequitur in lamentatione Hieremiae
  90. Zai. Candidores Nazarei
  91. Incipit oratio Hieremiae prophetae
  92. Christ natus est nobis. 6. Toni
  93. Christ natus est nobis. 4. Toni

See also


  • Richard J. Agee: The Privilege and Venetian Music Printing in the Sixteenth Century . Ph. D. diss., Princeton University, 1982.
  • Richard J. Agee: The Venetian Privilege and Music-Printing in the Sixteenth Century. In: Early Music History , Volume 3, 1983, pp. 1-42.
  • Jane A. Bernstein: Music Printing in Renaissance Venice: The Scotto Press (1539-1572) . Oxford University Press, 1998.
  • Jane A. Bernstein: Print Culture and Music in Sixteenth-Century Venice . Oxford University Press, 2001.
  • John Bettley: La Compositione lacrimosa: Musical Style and Text Selection in North-Italian Lamentations Settings in the Second Half of the Sixteenth Century. In: Journal of the Royal Musical Association , Vol. CXVIII, No. 2 (1993), pp. 167-202.
  • David Kidger, Adrian Willaert, A Guide to Research , ed.Routledge, 2005.
  • The New Groove Dictionary of Music and Musicians , Macmillan Publishers Limited, 2nd edition, 2001, Volume 8, pp. 711-712.
  • Internationales Quellenlexikon der Musik / Répertoire international des sources musicales  ; Manuscrits de musique polyphonique XVème-XVIème siècles - Italie [RISM], G. Henle Verlag, Munich, 1991, p. 74. [3]

Web links

Footnotes and Notes

  1. ^ Gaspari, Catalogo della Biblioteca del Liceo Musicale di Bologna: II, pp. 286-287
  2. ^ RISM A / I: P-0868
  3. ^ Gaspari, Catalogo della Biblioteca del Liceo Musicale di Bologna: II, p. 286.
  4. ^ Gaspari, Catalogo della Biblioteca del Liceo Musicale di Bologna: II, p. 342.