Amadio Freddi: Vespers (1616)
- Submitting institution
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Birmingham City University
- Unit of assessment
- 33 - Music, Drama, Dance, Performing Arts, Film and Screen Studies
- Output identifier
- 33Z_OP_I1057
- Type
- I - Performance
- Venue(s)
- Recorded at St Andrew’s Church, Toddington, 19–21 March 2019
- Open access status
- Out of scope for open access requirements
- Month of first performance
- -
- Year of first performance
- 2019
- URL
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- Supplementary information
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- Request cross-referral to
- -
- Output has been delayed by COVID-19
- No
- COVID-19 affected output statement
- -
- Forensic science
- No
- Criminology
- No
- Interdisciplinary
- No
- Number of additional authors
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- Research group(s)
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- Proposed double-weighted
- Yes
- Double-weighted statement
- This output comprises two closely related elements of a three-year research project investigating Amadio Freddi’s _Vespers_ (1616): a critical edition (98 pages of score plus 24-page preface including biographical essay and critical commentary) and a CD recording (historically-informed performance, world-premiere recording, 58 minutes plus 22-page booklet, 6250 words). These might have been submitted as two single-weighted outputs, but since the research they embody is so closely entwined, each informing the other, they are best considered together.
- Reserve for an output with double weighting
- No
- Additional information
- There are two component parts to this output: a CD recording and critical edition.
The CD (Resonus Classics, 2019) is a world premiere recording of the Vespers music from Amadio Freddi’s _Messa, vespro et compieta_ (Venice, 1616), together with a reconstruction of the hymn ‘Ave maris stella’ from the incomplete surviving partbooks of _Hinni novi concertati_ (1642), and supplementary solo-voice motets from the anthology _Ghirlanda sacra_ (1625). Music by Freddi’s contemporaries Ignazio Donati, Alessandro Grandi, Biagio Marini, Dario Castello, and Giovanni and Andrea Gabrieli provides additional context. Programme curation, performing editions, historical performance research and artistic direction by Jamie Savan, who also plays cornett on the recording. The CD booklet essay corrects biographical (mis)information on Freddi as found in the standard reference works.
The critical edition (Septenary Editions, 2020) includes Freddi’s Vespers music from the 1616 collection, together with the reconstructed ‘Ave maris stella’ (1642). It also includes Donati’s ‘Domine ad adiuvandum’ as an appendix, arranged according to the composer’s own instructions for similar forces to Freddi’s. The introductory essay expands the biographical note of the CD booklet, incorporating additional research and providing further discussion of the music, together with the scholarly apparatus of editorial method and critical commentary.
Together, the CD and critical edition shine new light on a neglected contemporary of Monteverdi, contributing to a broader context for understanding the musical developments of the early 17th century in the transition between late-Renaissance and early-Baroque compositional practices.
The Gonzaga Band was due to give the first modern live performance of the music under Savan’s direction at Royal Birmingham Conservatoire in April 2020. This performance was cancelled due to Covid-19. In the event the first performance was given by the Basler Abendmusiken (Basel, Switzerland), with Savan as musicological adviser and using his edition, 12 July 2020.
- Author contribution statement
- -
- Non-English
- No
- English abstract
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