Editing and Performance Issues in Oratorio per la Settimana Santa from the Barberini Collection of the Biblioteca Apostolica Vaticana

Persistent Link:
http://hdl.handle.net/10150/194327
Title:
Editing and Performance Issues in Oratorio per la Settimana Santa from the Barberini Collection of the Biblioteca Apostolica Vaticana
Author:
Peterson, Jon Charles
Issue Date:
2010
Publisher:
The University of Arizona.
Rights:
Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author.
Abstract:
Housed among the anonymous manuscripts in the Barberini Collection of the Biblioteca Apostolica Vaticana, Oratorio per la Settimana Santa is a prototypical example of oratorio volgare (Italian-language oratorio) from mid-seventeenth-century Rome. Written in two parts and scored for two violins, continuo, three- and five-part chorus, and soli, this oratorio was once attributed to Luigi Rossi (c.1598-1653) and was believed to be composed during his service to the Barberini family prior to their departure from Rome in 1645, though this attribution has since been called into question. Regardless, Oratorio per la Settimana Santa holds an important place in the development of the Roman oratorio as a genre as well as that of the Passion, specifically the Passion oratorio. The purpose of this study is to demonstrate that Oratorio per la Settimana Santa can be made accessible to modern choral-instrumental ensembles through the creation of an historically informed performance edition of the work that incorporates the latest scholarship on editorial and performing practices of the early Baroque. This document provides the background information that is most relevant to the creation of the edition and an informed performance. As well, it offers a discussion of the editorial practices that were used in the creation of the edition and a presentation of select performance-practice considerations that should be taken into account when producing a performance of the oratorio. The document culminates with a performance edition of Oratorio per la Settimana Santa in its entirety with accompanying edition notes.
Type:
text; Electronic Dissertation
Keywords:
baroque; Luigi Rossi; oratorio; Oratorio per la Settimana Santa; oratorio volgare; Rossi; Luigi
Degree Name:
D.M.A.
Degree Level:
doctoral
Degree Program:
Music; Graduate College
Degree Grantor:
University of Arizona
Advisor:
Chamberlain, Bruce B
Committee Chair:
Chamberlain, Bruce B

Full metadata record

DC FieldValue Language
dc.language.isoENen_US
dc.titleEditing and Performance Issues in Oratorio per la Settimana Santa from the Barberini Collection of the Biblioteca Apostolica Vaticanaen_US
dc.creatorPeterson, Jon Charlesen_US
dc.contributor.authorPeterson, Jon Charlesen_US
dc.date.issued2010en_US
dc.publisherThe University of Arizona.en_US
dc.rightsCopyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author.en_US
dc.description.abstractHoused among the anonymous manuscripts in the Barberini Collection of the Biblioteca Apostolica Vaticana, Oratorio per la Settimana Santa is a prototypical example of oratorio volgare (Italian-language oratorio) from mid-seventeenth-century Rome. Written in two parts and scored for two violins, continuo, three- and five-part chorus, and soli, this oratorio was once attributed to Luigi Rossi (c.1598-1653) and was believed to be composed during his service to the Barberini family prior to their departure from Rome in 1645, though this attribution has since been called into question. Regardless, Oratorio per la Settimana Santa holds an important place in the development of the Roman oratorio as a genre as well as that of the Passion, specifically the Passion oratorio. The purpose of this study is to demonstrate that Oratorio per la Settimana Santa can be made accessible to modern choral-instrumental ensembles through the creation of an historically informed performance edition of the work that incorporates the latest scholarship on editorial and performing practices of the early Baroque. This document provides the background information that is most relevant to the creation of the edition and an informed performance. As well, it offers a discussion of the editorial practices that were used in the creation of the edition and a presentation of select performance-practice considerations that should be taken into account when producing a performance of the oratorio. The document culminates with a performance edition of Oratorio per la Settimana Santa in its entirety with accompanying edition notes.en_US
dc.typetexten_US
dc.typeElectronic Dissertationen_US
dc.subjectbaroqueen_US
dc.subjectLuigi Rossien_US
dc.subjectoratorioen_US
dc.subjectOratorio per la Settimana Santaen_US
dc.subjectoratorio volgareen_US
dc.subjectRossien_US
dc.subjectLuigien_US
thesis.degree.nameD.M.A.en_US
thesis.degree.leveldoctoralen_US
thesis.degree.disciplineMusicen_US
thesis.degree.disciplineGraduate Collegeen_US
thesis.degree.grantorUniversity of Arizonaen_US
dc.contributor.advisorChamberlain, Bruce Ben_US
dc.contributor.chairChamberlain, Bruce Ben_US
dc.contributor.committeememberSchauer, Elizabethen_US
dc.contributor.committeememberHanson, Gregg Ien_US
dc.identifier.proquest10858en_US
dc.identifier.oclc659753765en_US
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