Virtuosic Venetiann monody from 1625: “O Maria” by Giovanni Rovetta

FOOTNOTES:

1. [02:53] More about ornaments and diminutions see in our episode “The art of Diminution in the 16th century” [link].

2. [03:30] See for example Lorenzo Penna, Li primi albori musicali per li principianti della musica figurata (Bologna, 1672), pp. 28-29, and pp. 53-55 [page numbers refer to the first edition] [Gaspari]. Slightly later also Bartolomeo Bismantova, Compendio musicale (Ferrara, 1677), p. [75] [imslp].

3. [04:12] In our episode “False relations in the late Renaissance” [link] we showed an instance where Monteverdi used a diminished octave in his Lamento d’Arianna [see 13:40].

4. [06:18] We mentioned the 17th-century trio texture in our episode about the Romanesca [link], 12:15.

5. [06:38] See our episode about the Romanesca [link].

6. [07:52] We gave an example of using black notes for the word black in our episode “Early Word Painting” [link], 03:08.

Credits:

Created by Elam Rotem, January 2020.

Soprano: Perrine Devilers

Sound engineer: Karel Valter

Special thanks to the Prof. Thomas Drescher and the Schola Cantorum Basiliensis, Jörg-Andreas Bötticher and the Predigerkirche Basel, Iason Marmaras, and Anne Smith.

Organ builders: Jens Steinhoff (DE - Schwörstadt) and Francesco Zanin (IT - Codroipo, for the „Italian pipes“ used in the video).