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CMM 108-2      The Gonzaga Masses in the Conservatory Library of Milan Fondo
                       Santa  Barbara, vol. 2: Masses of Giovanni Giacomo Gastoldi,
                       Alessandro Striggio, Giacomo Castrati, and Giulio Bruschi.
                       Edited by Ottavio Beretta.
                       ISBN 978-1-59551-348-9 (2007) xviii+180 pp.     $100.00
                       Available in mid-October 2007

Guglielmo Gonzaga (1538-87) dedicated his life to transforming the duchy of
Mantua into a model Catholic state. A munificent and dedicated patron of
composers and performers, author and champion of the grandiose
artistic-architectonic and liturgical-musical project of the ducal church of
Santa Barbara, he was also a composer of sacred and secular polyphony and a
theoretician of compositional methods. Among the surviving records are
liturgical books that contain the plainchants for the liturgy of the
basilica, chants that were presumably arranged to his specifications. These
chants formed the basis of polyphonic compositions for Santa Barbara.

This third volume published in this series of masses from the Gonzaga court
contains five masses in alternatim, one each by Giovanni Giacomo Gastoldi
(1556-1622), Alessandro Striggio (1536/37-1592), and Giacomo Castrati (16th
cent.), and a further two by Giulio Bruschi (active 1561-69). All are for
five voices and are edited following manuscript and print sources. For the
Gastoldi and Striggio masses, supplementary mass movements from significant
secondary sources are also included.

Contents:
Giovanni Giacomo Gastoldi, Missa in Dominicis diebus
Alessandro Striggio, Missa in Dominicis diebus
Giacomo Castrati, Missa in Dominicis diebus
Giulio Bruschi, Missa in Festis duplicibus minoribus
Giulio Bruschi, Missa in Festis semiduplicibus minoribus

Also available: CMM 108-1, CMM 108-3
 

MISC  5-4      Vol.IV EMILIO DE' CAVALIERI, Rappresentatione de anima, et di corpo (1600).
                        978-1-59551-346-5     xvii + 194 pp., 29 cm (2007) $70.00

Cavalieri’s dramatic setting of the Rappresentatione di Anima, et di Corpo is one of the most important compositions in Western music. Produced in February 1600, in a small room off the right transept of the church of Santa Maria in Vallicella (Rome), Cavalieri called for costuming, staging, scenery, dancing, recitatives, songs, and choruses for his little drama and wanted it all to be sung throughout (except for an introductory dialogue). Cavalieri, in short, composed our first opera, and in an introduction gave invaluable and extensive information for producing such dramas, advice that is as sound and valid for theatrical productions of today as it was back in 1600. This new edition includes all of the music, as well as the libretto with translation, and critical notes.

CMM 1-6  Guillaume Dufay, Opera Omnia, vol. 6: Cantiones. Rev. ed. by David Fallows
                 978-1-59551-347-2  (2006)  [xiii]+119 pp. $68.00

Although the broad judgments made by Heinrich Besseler in his original edition from 1964 represented a major achievement, recent research that has built upon this first edition and sources unknown to Besseler have made it necessary to make adjustments and corrections to nearly all the pieces in the original volume; beyond that, three have been entirely reset (nos. 59, 84, and 93) and four more have been substantially changed (nos. 2, 71, 72, and 88). Despite these revisions, Besseler’s numbering, organization, and layout remain intact. Inevitably the commentary became rather longer than the original one, and it has therefore been published separately as MSD 47.

Please note: This revision by David Fallows of the Dufay, Cantiones, volume was first published in a limited edition that did not reach all subscribers. This new issue of the Fallows revision has minor changes only from the first printing of the Fallows revision, and it is intended for those collections that do not yet have the Fallows revision. It will not be released to all subscribers automatically; to receive this volume, you must order it separately.  A discount on the purchase of this volume is being offered to direct subscribers for a limited time. Contact us for details.

CMM 81-4   Johannes Richafort, Opera omnia, vol. 4: Tres Missae super “Quem
                      dicunt homines” Ed. Harry Elzinga.
                      978-1-59551-349-6  (2006)  xxiv+112 pp.           $76.00

This volume takes a different course from most CMM volumes, in that it explores the parody technique in three newly published masses which take as their point of departure a well-known motet of the primary composer. In his introduction to the volume Elzinga explores not only questions of authorship of the masses, but also how the parody technique is deployed in the new works, giving an analysis that includes motivic details.

MSD 54-1     THEODORE KARP, An Introduction to the Post-Tridentine Mass Proper,
                        Part 1. Text
                        978-1-59551-339-7   viii + 321 pp. + Audio CD  (2005) $80.00 

MSD 54-2     THEODORE KARP, An Introduction to the Post-Tridentine Mass Proper,
                        Part 2. Music Examples
                        978-1-59551-345-8   x + 339 pp.  (2005) $70.00
 

About the volumes:
 

                        The years 1590-1890 comprised a period of intensive activity in the realm of Gregorian chant, marked by two major and opposing series of fundamental changes to the repertoire.  This vitality notwithstanding, only a small handful of studies provide information about chant in this period.  The present monograph and edition seek to remedy this lacuna in our knowledge with respect to chants for the Mass Proper.  It presents the first large-scale account of the various repertoires involved, together with transcriptions from selected primary sources.  It offers also the first extensive listing of our primary printed sources.  Earlier studies have indicated the most basic features of post-Tridentine revisions of chant, but these generalizations remain jejune without access to readings from major sources.  These have largely been lacking.  Inasmuch as no single work can offer both a panorama of the period as a whole and a detailed study of individual sources in their entireties, the author has chosen to focus in the initial and largest part of this book on five complete Mass Propers and a group of individual chants.  In this fashion the reader is brought into touch with the variety of early editorial revisions of chant and also with contemporary sources that sought to adhere to previous medieval traditions.

                        Later chapters deal with the plainchant musical of Nivers, the virtually  unknown repertories of Neo-Gallican chant, aspects of chant during the 18th century, and the major monuments of 19th-century chant that preceded the return to medieval chant sources represented by the editions issued by the Abbey of Solesmes. Issued in two physical pieces, part 1 has text with Audio CD performances of some of the Mass Propers discussed in the book, and part 2 has complete comparative music examples of Mass Propers discussed in the book, examples that detail variations between the various traditions transmitted in the sources.

About the author:

Theodore Karp has contributed to our knowledge of medieval and Renaissance music in the areas of Gregorian chant, secular monophony (especially trouvère chansons), 12th-century polyphony, and polyphony of the late 15th and 16th centuries.  His major works include a two-volume study of The Polyphony of St. Martial and Santiago de Compostela and a series of related essays comprising Aspects of Orality and Formularity in Gregorian Chant. He has served on the faculties of the University of California at Davis and the Northwestern University School of Music, from which he retired as Professor Emeritus in 1996.
 

2007-11-19

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