IN

Il passaggio del giovane Händel a Venezia. La vita musicale veneziana nei primi anni del Settecento

In: Venetiana. 11
Abstract

Il passaggio del giovane Händel a Venezia. La vita musicale veneziana nei primi anni del Settecento
Musical organization and practice in early eighteenth-century Venice is permeated by a combination of daily routine, based on the recurrence of similar types of occasions with similar musical repertoires, and tradition – in particular (though by no means exclusively) in the field of church music, which responds to the repetitive and rigidly hierarchical nature of the liturgical calendar. Continuity and inertia in daily musical life and tradition which together give rise to economic stability (guaranteed regular earnings for everyone) but which, at the same time, lead to “unionization” as a means of ensuring equity among participants. This may partially explain the almost complete absence of “outsiders” – among them Handel and Scarlatti – from Venetian documents: these musicians do not have access to the local corporate system but are admitted only to the sphere of private patronage (not well represented in Venetian archives). The dynamics of daily routine and tradition, here examined with particular reference to music at St Mark’s and the many other Venetian churches, are equally applicable to local operatic life and the provision of music for prose theatre