CAR OF MUSICIANS. TRIUMPH OF MAXIMILIAN
By Albrecht Dürer, about 1518
Florence, Venice and Rome, to say nothing of all the smaller cities, had their operas, ballets and musical-contests. Rome was very active. And, moreover, there was a great musical educator in Rome, whose name was Vergilio Mazzocchi (1593-1646), who was one of Monteverde’s contemporaries. He was maestro di capella in St. John Lateran’s and in St. Peter’s. It will give us an idea of how seriously music was studied in those days if we remember what Mazzocchi required and what extraordinarily proficient pupils he sent out from his school. They could sing, play instruments, compose and write musical dramas and ballets; they could read music at sight and copy it; and they were also well trained in literature. Few of us would care for a day like this:—
In the morning—“an hour to singing difficult exercises; an hour to the study of literature; an hour to practise singing before a mirror so as not to make disgraceful faces. In the evening—half an hour to theory; half an hour to the study of counterpoint; an hour to composition; and an hour to literature.” The rest of the day was devoted to practice on the clavecin, to composing for pleasure, and taking a walk in the open air. Pupils were also sent to the theatre and concerts, so that they could hear and study celebrated singers and performers; and they had to write an account of their impressions! Poor young things! A busy schedule for work and pleasure!
About this time an opera by Stefano Landi was produced in Rome (1632). It was called S. Alessio; and the libretto was written by Giulio Rospigliosi, from the Golden Legend. This work is very important in musical history, not only because it has a double chorus and a double Orchestra, but because the second act opens with a real overture in three movements. It begins with a rapid Fugato in 4-time; then comes a majestic Adagio in 3-time; and then another rapid Fugato in 4-time. The “sinfonia,” or “symphony,” introducing Act I, is in five movements,—a theme treated in fugue and counterpoint; a little piece described as an “echo”; a short, slow number in 3-time; and a rapid Fugato. The orchestral score is written in five instrumental parts: (1)-(3) violins; (4) harps, lutes, theorbos, violoncello and bass viol; and (5), clavicembali.
Music in Rome was kept almost exclusively for the wealthy and aristocratic circles. At the Barberini Theatre, which could easily seat 3,500 persons, only guests were admitted who had invitations. The public was not allowed to see one of these fine operas! Woe betide anyone who tried to get admittance! On one occasion in 1639 the Cardinal Antonio Barberini chased out of the opera-house with his stick a nice-looking and well-dressed young man, because he had not sufficient rank to come there!
In Venice matters were different. The public was not only allowed to attend, but the director of the opera-house would even permit gondoliers to sit in the boxes when the owners were absent. Consequently, the Venetians were very well educated in artistic music. Many beautiful works were given there. And the Venetian Orchestras were of the very best.
Mr. Goldschmidt, who examined the scores of 112 of these old operas in the Library of St. Mark’s, found that the main support of the Orchestra was the clavecin, which usually accompanied the singers; that the violins were in general charge of the ritournelles and the entr’actes; that the trumpets played in the overtures and marches and often with the voices; that the cornets, trombones and bassoons were used for fantastic effects; that horns, drums, and other instruments of percussion were used; and that flutes were not as popular as they were in France.
CAR OF MUSICIANS. TRIUMPH OF MAXIMILIAN