Partition Introduction to this transcription of pour original parties by Pyrros Bamichas, Letanie e Quattro Antifone dell' Anno

Carlo Donato Cossoni

Description

Découvrez la partition de la musique Letanie e Quattro Antifone dell' Anno Introduction to this transcription of pour original parties by Pyrros Bamichas, composition de Cossoni, Carlo Donato , Op. 11 , Voices:SSAATTBB + Keyboard (Basso Continuo). Partition de style de musique baroque.
La partition enchaine plusieurs mouvements: 6 compositions: 1- Letanie Piene : 2-Alma Redemptoris Mater : 3-Ave Regina Coelorum : 4-Regina Coeli : 5-Salve, Regina : 6-Letanie Concertate et une subtile association d'instruments.
Visualisez de la même façon d'autres musique sur YouScribe, dans la rubrique Partitions de musique baroque.
Rédacteur: Pyrros Bamichas
Edition: Jeko89
Dédicace: Father Ottavio Garutti, Collegiate Theologian in Bologna

Sujets

• Baroque

Informations

• Publié par: COSSONI
• Nombre de lectures: 135
• Licence : En savoir +
  Paternité, pas de modification
• Langue: Latin

Extrait

 
CARLO DONATO COSSONI
Letanie e Quattro Antifone dell’Anno

OPERA UNDECIMA, 1671

Edited by Pyrros Bamichas





August 2011


WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org), WLSCM No. 22

Carlo Donato Cossoni, 2 Litanies and 4 Antiphons, ed. Pyrros Bamichas, August 2011: Introduction p. i
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INTRODUCTION


Although litanies formed a significant part of the sacred repertoire of the seventeenth century––
more than 300 prints containing some 600 settings of litany texts, predominantly of the Litany of
1Loreto, survive ––their presence in modern editions is relatively limited. This first complete
edition of Cossoni’s collection will no doubt contribute to a more comprehensive view of the
music performed in the liturgy associated (mostly) with the cult of the Virgin Mary in Bologna,
and possibly also in Milan. It is this editor’s conviction that the majestic exuberance of these
works will make them attractive for performances in churches and other venues.


The Composer

Carlo Donato Cossoni was born in Gravedona, Lake Como and baptized on 11 November 1623
in the church of S. Maria del Tiglio. Cossoni probably studied at the Jesuit College of Gallio,
Como, and it was there that, on October 14, 1646, he was ordained priest and became active as a
2professional musician. Four years later he was appointed organist of the Basilica of S. Fedele. In
November 1659, he competed unsuccessfully for an organ post at the Milan Cathedral. For some
years he served as organist for several smaller churches in Milan, including S. Maria Segreta and
S. Giuseppe, and became a member of the Accademia dei Faticosi. According to Giuseppe
Ottavio Pitoni’s “Notitia de’ contrapunisti e compositori di musica” (c. 1725), Cossoni had
planned to move to Rome in 1662, but his journey led him first to Bologna, where Maurizio
3Cazzati convinced him to stay. On the third of November of that year Cossoni was appointed as
first organist of S. Petronio, as reported in the official records of the Cappella musicale, and he
remained at that post for over eight years. During his service at the Basilica his annual
4remuneration approached the not insignificant sum of L. 50. Evidently Cossoni was well
regarded as a performer; his salary was markedly higher than that of his predecessors as well as
5of his successors. In late 1667 or 1668, Cossoni became one of the first members of the
6Bolognese Accademia Filarmonica, and was listed as composer. After 1670, Cossoni’s name
ceased to appear among those of the members of S. Petronio’s Cappella musicale. Although he
still appears as “Primo Organista in S. Petronio di Bologna” on the title page of his op. 11 printed

1 For a detailed account of the prints, see David Anthony Blazey, “The Litany in Seventeenth-Century Italy,” 2 vols., (Ph.D. diss.,
University of Durham, 1990) 1: 6–84
2 Timoteo Morresi, “Scheda biografica,” in Claudio Bacciagaluppi and Luigi Collarile, Carlo Donato Cossoni (1623–1700):
Catalogo Tematico. Società Svizzera di Musicologia Serie II–Vol. 51 (Bern: Peter Lang, 2009) 7, and John Whenham, s.v.
“Cossoni, Carlo Donato,” Grove Music Online (accessed August 31, 2011).
3 Morresi, “Scheda biografica,” 8.
4 Timoteo Moressi, “Nuovi dati biografici,” in Carlo Donato Cossoni nella Milano spagnola: Atti del Convegno Internazionale di
Studi, Conservatorio di Como, 11–13 Giugno 2004, ed. by Davide Daolmi (Lucca: Libreria Musicale Italiana, 2007) ,5, and
Osvaldo Gambassi, La Cappella Musicale di S. Petronio: Maestri, Organisti, Cantori, e Strumentisti dal 1436 al 1920 (Florence:
L.S. Olschki, 1987), 140.
5 Gambassi, La Cappella Musicale di S. Petronio, 132, 147.
6 Osvaldo Gambassi, L’ Accademia Filarmonica di Bologna: Fondazione, Statuti e Aggregazioni (Florence: L.S. Olschki, 1992),
432, and Morresi, “Nuovi dati biografici,” 5.


WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org), WLSCM No. 22

Carlo Donato Cossoni, 2 Litanies and 4 Antiphons, ed. Pyrros Bamichas, August 2011: Introduction p. ii
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in 1671, in the dedication of that volume he writes about the esteem that some of his
compositions were enjoying in Milan, and mentions that he was “making music” in the Ducal
7Church of Nostra Signora della Scala. After his dismissal by the Vestry Board of S. Petronio on
January 24, 1671 for reasons unknown, he moved to Milan, and four years later he appears as
choirmaster to Prince Trivulzio. On the title page of his op. 16, Cossoni is listed only as
Canonico. Sometime before 1684 Cossoni was made a canon of the Collegiate Church of S.
Vincenzo in Gravedona, where he appears to have spent a part of each year, and to which he
8ultimately retired. On December 5, 1684, Cossoni was elected maestro di cappella of the Milan
9Cathedral, where he remained until 1693. His election resolved the long-standing dispute
between Archbishop Federico Visconti, who opposed his appointment, and the Fabbrica del
10Duomo and Milanese aristocracy, who favored it. The intervention of Pope Innocent XI in
11favor of Cossoni put an end to the conflict.
Cossoni’s years in Bologna were extremely productive. Eleven books of his music were
published in a period of only six years, while only five appeared during his Milan years between
1672 and 1694. This could either be due to his assuming new duties at the Milanese Cathedral or
to a health problem. The phrase “assuring you that I am not dead,” appearing as an
12“Avvertimento al lettore” (i.e., “Warning to the reader”) in his op. 16, perhaps implies that
Cosssoni was suffering from an illness. He died in Gravedona on March 5, 1700 a few years
13after retiring there.
His output consists mainly of sacred music, the majority of which was published in
14Bologna. Only two of his publications are of secular music. Eleven of the sixteen volumes were
published in Bologna by Giacomo Monti, two were published by Giovanni Battista Beltramino
in Milan (who exclusively published Cossoni’s works), and one other volume, Cossoni’s first
15one, by Francesco Magni detto Gardano in Venice. Cossoni’s dedicatees and patrons were
nobles, such as Alessandro Fechenetti and Vincenzo Maria Carrati, President of the Fabbriceria
16of S. Petronio and founder of the Accademia Filarmonica respectively, or clerics. A
considerable number of Cossoni’s works covered the range of music required for the liturgy in S.
Petronio. Thus, among his Bolognese compositions are hymns, lamentations for the Holy Week,
Vesper psalms, litanies, masses, antiphons, and motets, all written to be performed during the
course of liturgical year. Here it is worth mentioning that in the Tavole included in his books of

7 “La stima, che d’alcune di queste mie Compositioni fà già in Milano, facendo io la Musica nella Chiesa Ducale di Nostra
Signora della Scala ...,” Critical Commentary, i-ii.
8 Moressi, “Scheda biografica,” 11–2, and Whenham, “Cossoni.”
9 Apart from the public performance of a “Messa Pontificale” and a “Vespro” composed by the candidates, the requirements for
the election also included three written tests concerning the realization of two antiphons (i.e., Benedicite Deum, and In virtute
tua) and a psalm (i.e., Qui cogitaverunt). Irene De Ruvo, “‘Carlo Cossonio prete’ maestro di cappella del Duomo di Milano,” in
Carlo Donato Cossoni nella Milano spagnola, 37, 44–6. For a comparison between Cossoni’s and Giulio D’Alessandri’s eight-
part realizations of Benedicite Deum, see Pier Angelo Gobi, “Cossoni e D’Alessandri: le prove, del concorso del 1684,” in Carlo
Donato Cossoni nella Milano spagnola, 57–66.
10 De Ruvo, 48–51.
11 Morresi, “Scheda biografica,” 13, and Whenham, “Cossoni.”
12 “…assicurandoti che non sono ancor posthume, e stà sano.” Bacciagaluppi and Collarile, “Catalogo fonti,” in Carlo Donato
Cossoni (1623–1700): Catalogo Tematico, 325.
13 Morresi, “Nuovi dati biografici,” 9.
14
For a detailed account of his works, see Bacciagaluppi and Collarile, “Catalogo composizioni,” in Carlo Donato Cossoni
(1623–1700): Catalogo Tematico, 113–228.
15 Bacciagaluppi and Collarile, “Catalogo fonti,” 287–326.
16
Bacciagaluppi and Collarile, “Problemi di trasmissione,” in Carlo Donato Cossoni (1623–1700): Catalogo Tematico, 18–9.


WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org), WLSCM No. 22

Carlo Donato Cossoni, 2 Litanies and 4 Antiphons, ed. Pyrros Bamichas, August 2011: Introduction p. iii
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motets (C 4199, C 4201, C 4209, C 4210, C 4212), hymns (C 4204), and lamentations (C 4205),
17Cossoni indicates precisely the liturgical destination of each of the pieces. In addition, many of
18his compositions survive in manuscript form.
Cossoni’s music contains works in both conservative and more progressive styles.
19Angelo Berardi (c. 1636-1