Venice 1629: Exposition of Research
- Submitting institution
-
Birmingham City University
- Unit of assessment
- 33 - Music, Drama, Dance, Performing Arts, Film and Screen Studies
- Output identifier
- 33Z_OP_I0047
- Type
- I - Performance
- Venue(s)
- recorded at St Mary's College Chapel, New Oscott, Sutton Coldfield
- Open access status
- Out of scope for open access requirements
- Month of first performance
- -
- Year of first performance
- 2018
- URL
-
https://www.researchcatalogue.net/view/491645/491646
- Supplementary information
-
-
- 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
-
-
- Research group(s)
-
-
- Proposed double-weighted
- Yes
- Double-weighted statement
- _Venice 1629_ is a multi-component output presented as a Research Catalogue exposition, documenting a substantial three-year research project. It includes a digitised CD recording (Resonus Classics, 2018; 17 tracks, 68 minutes) with 18-page, 5000-word booklet (essay further expanded with footnotes in digital format); 10 new performing editions by 8 composers created from disparate primary sources (63 pages including critical notes); a conference paper (c.2500 words) with audio examples; discussion of the rationale and process of repertoire selection; and discussion of further issues of specialist historical performance practice including ornamentation and instrumentation.
- Reserve for an output with double weighting
- No
- Additional information
- This is a multi-component output presented as a Research Catalogue exposition. It derives from a performance-led research project exploring a cross-section of music published in Venice in 1629, famously the year of Heinrich Schütz's second visit to the city to learn of the latest developments in modern Italian music. The aim of the research was to look beyond received historical-canonical narratives of stylistic transmission, which tend to focus on the meeting of Schütz and Monteverdi as the ‘Great Men’ of the emerging Baroque style, and instead to investigate a broader musical ecology including lesser-known composers, performers and publishers active in and around Venice at this time.
The core of the output is a CD recording (Resonus Classics, 2018) with 18-page booklet. The CD is presented digitally in the Research Catalogue, where it is supplemented by a range of materials that more fully evidence the research process, including: the booklet essay expanded with footnote references; discussion of the rationale and process of repertoire selection; new performing editions created for the project (10 PDF scores with commentary); a conference paper, originally given at the Biennial Baroque Conference, Cremona (2018), discussing the interpretation of triple proportions; and further discussion of specialist issues of historical performance practice including ornamentation and instrumentation.
Much of the repertoire presented in this project was previously unknown: 7 of 17 pieces are world premiere recordings. It has enabled new insights into Venetian compositional and performance practices of the 1620s, particularly the interpretation of duple-triple proportions.
Dissemination beyond the CD and Research Catalogue exposition has included performances at Birmingham Early Music Festival (February 2018), St Mary’s College New Oscott (June 2018), Stour Music Festival (June 2018); Georgian Society Edinburgh (October 2019), and Leamington Music (January 2020).
- Author contribution statement
- -
- Non-English
- No
- English abstract
- -