
	Where results make sense

Topic: Polychoral

	Cori Spezzati
		That semester we were going to perform a polychoral piece, one which involved the interactions of two separate choruses.
		Polychoral music had a long tradition, it appeared, and Adrian Willaert, the Flemish composer credited with inventing the style in the year 1550, was in fact not the first composer to write for more than one chorus.
		The intent of this paper, therefore, is to provide a brief survey of polychoral works from their first appearance in the 1500s until the gradual decline in their popularity, with particular emphasis on the capacity of pieces to be performed with the choirs separated from each other by some degree of space.
	www.geocities.com /gabs1234/gabs/cori.html (1820 words)

	Musica - Volume 16, Issue 4
		Most of the compositions for this recording come from his Polyhymnia Caduceatrix et Panegyrica (1619) in which he explores all the possibilities of the polychoral composition that was to become the hallmark of the Baroque concertato style (combining and contrasting of instrumental and vocal forces).
		Polychoral music employs two or more choirs of different ensembles that are placed in various locations throughout the church in order to create a stereophonic effect upon the listener.
		The choirs may consist of instruments such as cornetts and trombones, recorders and flutes, or oboes and bassoons; or the choirs may be all high voices, all low voices, mixed high and low voices, or soloists.
	www.credenda.org /issues/16-4musica.php (843 words)

	Antiphon
		Polychoral techniques are a definitive characteristic of the music of the Venetian school, and this music is often known as the Venetian polychoral style.
		The Venetian polychoral style was an important innovation of the late Renaissance, and this style, with its variations as it spread across Europe after 1600, helps to define the beginning of the Baroque era.
		Polychoral music was not limited to Italy in the Renaissance; it was popular in Spain and Germany, and there are examples from the 19th and 20th centuries, from composers as diverse as Hector Berlioz, Igor Stravinsky and Karlheinz Stockhausen.
	www.dejavu.org /cgi-bin/get.cgi?ver=93&url=http://articles.gourt.com/%22http%3A%2F%2Farticles.gourt.com%2F%3Farticle%3DAntiphon (459 words)

	Classical Net Review - Penderecki - Symphony #7
		For the second movement, a contralto sings an atonal passage: "If I forget you, O Jerusalem, may my right hand forget its skill," followed by an ominous repeating ten-note figure suggesting such forgetting would be bad indeed.
		The third movement, a choral passage of dulcet sonority, alternates between a mono- and polychoral structure.
		From the opening tubaphone salvo, through edgy polychoral dialogues and plaintive solos, the sound on this live recording never fails.
	www.classical.net /~music/recs/reviews/w/wer06647a.html (426 words)

	Venetian polychoral style - Definition, explanation
		The Venetian polychoral style was a type of music of the late Renaissance and early Baroque eras which involved spatially separate choirs singing in alternation.
		It represented a major stylistic shift from the prevailing polyphonic writing of the middle Renaissance, and was one of the major stylistic developments which led directly to the formation of what we now know as the Baroque style.
		Germany, in particular, was a region where composers began to work in a locally-modified form of the Venetian style, though polychoral works were also composed elsewhere, such as the many masses written in Spain by Tomás Luis de Victoria;.
	www.calsky.com /lexikon/en/txt/v/ve/venetian_polychoral_style.php (555 words)

	Cori Spezzati - Cambridge University Press (Site not responding. Last check: 2007-10-31)
		Cori spezzati deals with polychoral church music from its beginnings in the first few decades of the sixteenth century to its climax in the work of Giovanni Gabrieli and Heinrich Schiitz.
		In polychoral music the singers, sometimes with instrumentalists also, were split into two (or more) groups which often engaged in lively dialogue and joined in majestic tutti climaxes.
		Polychoral music often has been considered synonymous not only with Venetian music but with impressive pomp.
	www.cambridge.org /uk/catalogue/catalogue.asp?isbn=0521303990 (308 words)

	Hans Leo Hassler: Biography - Classic Cat
		In 1584, like many German composers of the time, he went to Italy to continue his studies; he arrived in Venice during the peak of activity of the Venetian school, the composers who wrote in the resplendent polychoral style, which was soon to become popular outside of its native city.
		While musicians of the stature of Lassus had been working in Germany for years, they represented the older school, the prima pratica, the fully developed and refined Renaissance style of polyphony; in Italy new trends were emerging which were to define what was later called the Baroque era.
		Stylistically, his earlier music is more progressive than his later: he uses polychoral techniques, textural contrasts and occasional chromaticism in the music he wrote after coming back from Italy; but most of his later religious music is conservative, using linear polyphony in the manner of Palestrina.
	www.classiccat.net /hassler_hl/biography.htm (601 words)

	Antiphon
		Polychoral techniques are a definitive characteristic of the music of the
		Polychoral music was not limited to Italy in the Renaissance; it was popular in Spain and Germany, and there are examples from the 19th and 20th centuries, from composers as diverse as
		Disclaimer: Uploading or downloading of copyrighted works without permission or authorization of the copyright holders may be illegal and subject to civil or criminal liability and penalties.
	www.mp3.fm /Antiphon.htm (305 words)

	Venetian polychoral style at AllExperts
		The Venetian polychoral style was a type of music of the late Renaissance and early Baroque eras which involved spatially separate choirs singing in alternation.
		It represented a major stylistic shift from the prevailing polyphonic writing of the middle Renaissance, and was one of the major stylistic developments which led directly to the formation of what we now know as the Baroque style.
		Germany, in particular, was a region where composers began to work in a locally-modified form of the Venetian style, though polychoral works were also composed elsewhere, such as the many masses written in Spain by TomÃ¡s Luis de Victoria.
	en.allexperts.com /e/v/ve/venetian_polychoral_style.htm (635 words)

	Michael Praetorius Summary
		He was organist at the Marienkirche in Frankfurt before working at the court in Wolfenbüttel as organist and (from 1604) Kapellmeister.
		From 1613 to 1616 he worked at the Saxon court at Dresden, where he was exposed to the latest Italian music, including the polychoral works of the Venetian School.
		His subsequent development of the form of the chorale concerto, particularly the polychoral variety, resulted directly from his familiarity with the music of such Venetians as Giovanni Gabrieli.
	www.bookrags.com /Michael_Praetorius (722 words)

	Peter Leech
		Polychoral music from Baroque Portugal - Estevao de Brito, Joao Esteves,
		Polychoral music from Renaissance Spain - Victoria, Vivanco, Lobo
		Polychoral masterpieces from baroque Poland - Zielenski, Gorzycki, Szamotul
	www.cappellafede.com /workshops.html (180 words)

	Opera Today : Cori Spezzati: Venetian Polychoral Music
		Cori Spezzati or, “Divided Chorus” was the method in which this polychoral music was positioned across the chapel to create such a spellbinding effect.
		Performances of pieces by Andrea Gabrieli, who studied under Willaert, provide a link from the Franco-Netherlandish style to a later style typical of Venetian polychoral music, exemplified by his nephew, Giovanni.
		But their presence on this album brings the listener a wider scope and variety of the mid-sixteenth century’s polychoral spectrum.
	www.operatoday.com /content/2007/02/cori_spezzati_v.php (1159 words)

	Literature and Styles in Music I
		I Originally associated with St. Mark's Cathedral in Venice
		Because of its unusual architecture, St. Mark's is known for polychoral (i.e., antiphonal, or "cori spezzati") compositions from the time of Willaert
		II Numerous composers influenced by polychoral style, i.e., the contrasting of bodies of sound through antiphonal effects
	www.uwgb.edu /ogradyt/ls1/venpoly.htm (66 words)

	San Francisco Bach Choir: Jacob Handl: Opus Musicum III
		Pre-Concert Lecture at 3 PM This year’s May concert is again a polychoral, “surround-sound” affair created specifically for the acoustical space of Trinity Church.
		This is one of those true Venetian-style polychoral pieces, with unusually big (six-part) blocks of sound overlapping, colliding, collaborating, and otherwise interacting, with the occasional 24-part utterance.
		This latter piece, Quam gallina, is a comic response of the author to his critics, who objected to the “heaviness” of his polychoral pieces.
	www.sfbach.org /concerts/20050514notes.html (2231 words)

	Letters from Camp Rehoboth - March 9, 2007 - CAMP Sound
		If there ever was a moment where architecture and music became tied to one another, it would be when the polychoral music of the 16th century was tied to St. Mark’s cathedral in Venice.
		Cori Spezzati or, "Divided Chorus" was the method in which this polychoral music was positioned across the chapel to create such an effect.
		Cori Spezzati makes a curious inclusion of three composers from outside of the Venetian school, sent by their kings to study with Giovanni Gabrieli, master his style and return to their respective countries with their own version of the polychoral music of Venice in hand.
	www.camprehoboth.com /issue03_09_07/camp_sound.htm (550 words)

	Emmanuel Music
		Although the style of these works is clearly modeled on his teacher Gabrieli’s polychoral style, the young composer has already found a specificity of language and harmony unknown in his Italian master.
		It is interesting that Schütz seldom returned to the polychoral style after the publication of this gigantic collection.
		It is as if he had said in these great works the last word on the subject.
	www.emmanuelmusic.org /notes_trans/notes03-04/02-29-04_bwv057.htm (322 words)

	API Music
		HandlÂ’s polychoral music represents a summation of an era, a fascinating blend of the styles and techniques of the day.
		He exploited the possibilities of a cappella polychoral idioms as fully as any Venetian and he clearly had an ear for unusual choral sonorities while always avoiding dense, word-obscuring textures.
		Pater Noster by Jacob Handl is a masterpiece of polychoral music writing from the 16th century, a gem in the choral repertoire adapting very well to to wind and string sonorities.
	www.apimusic.org /composersb.cfm?ln=H (3011 words)

	Journal of Seventeenth-Century Music \| Vol. 6 No. 2 \| Review (Site not responding. Last check: 2007-10-31)
		According to Gable, the music for the rededication was probably planned by the Hamburg organist Hieronymus Praetorius (1560—1629), perhaps with assistance from the city cantor, Erasmus Sartorius (1577—1637).
		(The contemporary description is silent on this count.) Given the inclusion of multiple continuo parts for these large-scale polychoral works, however, it is surprising that the edition fails to include a second continuo line for the two-choir works, though admittedly the use of two continuo groups in the double-choir works is not essential.
		In tutti passages, this often means that a continuo line doubles a bass part that is functionally an inner voice rather than the true fondamento or functional bass, resulting, at times, in passages that need to be realized with an astonishing number of 6/4 chords.
	sscm-jscm.press.uiuc.edu /v6/no2/saunders.html (2788 words)

	Comparative Arts: A CyberEd Course: Part 5: Renaissance Music: P.3
		The measure of its religious freedom also predisposed Venice to new developments, and a number of new musical forms and modifications of older ones were the results.
		In vocal music, this meant the development of the madrigal, the modification of the church motet, and the development of the polychoral style that made simultaneous use of two, three, and sometimes four choirs.
		Instrumental music found a new idiom in the organ intonazione, ricercare, and toccata for keyboard solo, and in the sinfonia, and early concertato and concerto form!, for orchestra.
	www.uml.edu /Dept/History/arthistory/compart/5ren3.html (1304 words)

	San Francisco Bach Choir: Psallite! A Candlelight Christmas
		His polychoral works display the influence of Dutch composer Orlando di Lasso and exploit the possibilities of a cappella polychoral idioms as fully as any Venetian.
		It is now clear, and has been for centuries, that he was a pioneer in the polychoral idiom.
		It is interesting to note that Michael Praetorius singled out one of his motets as a notable example of the subtleties that arise from Gallus’s handling of rhythmic notation.
	www.sfbach.org /concerts/20041204notes.html (1749 words)

	Venere Lute Quartet: Palestrina's Lute Program
		The creation of this concert program was inspired by the recent discovery that Palestrina was himself a lutenist and actually used the lute when composing his vocal music.
		Members of the Venere Lute Quartet have taken Palestrina's finest pieces in a variety of genres including his masses, spiritual madrigals, polychoral motets and arranged them for lute quartet.
		Anchored by the complete Missa Brevis and selections from the Song of Songs, this program is a monument both to Palestrina's sublime genius and the magic of the lute ensemble sound.
	www.venerelutequartet.com /programpl.html (2367 words)

	Fondazione Ugo ed Olga Levi - onlus (Site not responding. Last check: 2007-10-31)
		Tomás Luis de Victoria occupies a crucial place in the emergence of the polychoral idiom in Rome in the 1570s.
		He introduced polychoral music to the Collegio Germanico where it was to flourish under his successors: Annibale Stabile, Ruggiero Giovanelli, Asprilio Pacelli, Ottavio Catalani.
		Given Rome’s increasingly dominant position as both examplar and codifier of liturgical practice in Catholic Europe, this Roman polychoral dialect was to spread widely, particularly in the Iberian peninsula.
	www.fondazionelevi.org /pop-up/semi_ott2005_oregan.html (175 words)

	FSU College of Music . In Concert . Ensembles
		The Early Music Ensemble (Jeffery Kite-Powell, director) consists of consorts of homogeneous and mixed instruments that perform music of the Renaissance and Middle Ages.
		This group also serves as a pool of instrumentalists for large-scale polychoral motets and concertos.
		Consorts vary from semester to semester, but there are always a couple of recorder ensembles, a shawm band, and a crumhorn consort; in some semesters there is a curtal or dulcian consort, a sackbut ensemble, and/or a consort of rackets; each consort rehearses twice a week.
	www.fsu.edu /~music/early-ensembles.htm (473 words)

	Venice
		They were generally only called upon to play for the larger celebrations and occasions as, "It is fairly certain that the main purpose of these players was to swell the sound in the sung parts of mass and vespers." Giovanni, p.
		130 It was these pifarri ensembles that performed the polychoral polyphonic music of Giovanni Gabrieli.
		Egon Kenton claims that, "By transmitting the technique of polychoral writing to instrumental ensembles, Giovanni Gabrieli laid the foundation of the modern orchestra!" Kenton, p.
	tiltedworld.com /brenda/Venice.html (3433 words)

	Music: The Art of Listening \| Multiple Choice
		The church of St. Mark in Venice, Italy, designed in the plan of a cross, became the center for the performance of __________ music, festive music performed by several choirs of voices and/or instruments.
		An underlying concept of the Baroque style, the contrasting sonorities of various voices and instruments, was known as the _______________ principle.
		Aware of the ideals of the ancient Greeks, the members of the Florentine Camerata envisioned a style of melody that would approximate the dramatic declamation of a text.
	highered.mcgraw-hill.com /sites/0072491353/student_view0/chapter12/multiple_choice_quiz.html (575 words)

	Literature and Styles in Music I
		application of Baroque "concertato" principle (deriving from Venetian polychoral style) to large, diverse ensembles
		German musicians continue to be greatly influenced by the Italian style
		even the most conservative polyphonic styles (i.e., the polyphonic "Chorale Motets") are influenced by Venetian polychoral style
	www.uwgb.edu /ogradyt/ls1/ebchurch.htm (435 words)

	Millennium of Music
		There he came in touch with the polychoral music in the overwhelming churches of Rome.
		After returning to France, Charpentier immediately started writing his religious music following the Italian, polychoral model.
		Probably the Messe à 8 voix, produced at the beginning of the 1670&Mac226;s, was written for a very festive occasion.
	www.millenniumofmusic.com /playlists/playlist_06-05.php (399 words)

Try your search on: Qwika (all wikis)