Sinfonia and Ouverture in the Baroque Era: Terminological Aspect
DOI:
https://doi.org/10.21638/spbu15.2021.301Abstract
This article focuses on the use of sinfonia and ouverture as terms in the Baroque era. Its relevance is due to the fact that an objective picture of the Baroque musical culture is impossible without studying authentic terminology, including terms used as names of musical works or their sections. Since there have been no special musicological publications on this topic, information obtained as a result of the study can expand the traditional ideas about what the terms sinfonia and ouverture meant in the 17th and the first half of the 18th century. Sheet music and manuscripts as well as articles from the largest European dictionaries of that time indicate that the terms had different meanings. They were used not only in orchestral, but also in solo and ensemble music and even vocal compositions could be regarded as symphonies. Moreover, musical compositions or their sections, called sinfonias and overtures were intended not only for theatrical and concert practice, but also for performance at court and in even at church. According to the author, the terms sinfonia and ouverture in the Baroque era, in contrast to modern practice, were used as genre names only in regard to so-called Neapolitan opera symphonies and French overtures. Thus, these terms were generally used much more diversely than it follows from those traditional perceptions on which the modern theory of musical genres is largely based.
Keywords:
Baroque era, symphony, overture, suite, instrumental music, opera, musical genre, musical source
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References
Литература
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4. Temperley, Nicolas. “Overture”. In The New Grove Dictionary of Music and Musicians, ed. by Stanley Sadie, vol. 18: 824–6. 2nd ed. London: Macmillan, 2001.
5. LaRue, Jan, and Eugene K. Wolf. “Symphony. § 1. 18th century”. In The New Grove Dictionary of Music and Musicians, ed. by Stanley Sadie, vol. 24: 812–33. 2nd ed. London: Macmillan, 2001.
6. Kunze, Stefan. Die Sinfonie im 18. Jahrhundert. Von der Opernsinfonie zur Konzertsinfonie. Laaber: Laaber-Verlag, 1993. (Handbuch der musikalischen Gattungen, Bd. 1).
7. Morrow, Mary Sue, and Bathia Churgin, eds. The Symphonic Repertoire. Bloomington; London: Indiana University Press, 2012, vol. I: The Eighteenth-Century Symphony.
8. “Symphonia (I)”. In The New Grove Dictionary of Music and Musicians, ed. by Stanley Sadie, vol. 24: 801. 2nd ed. London: Macmillan, 2001.
9. Pöhlman, Egert. “Symphonia. 1. Griechische Antike”. In Die Musik in Geschichte und Gegenwart, hrsg. von Ludwig Finscher. Sachteil, Bd. 9: 12. 2. Auflage. Kassel u. a.: Bärenreiter, 1998.
10. Grassineau, James. A Musical Dictionary <…>. London: J. Wilcox, 1740.
11. Лебедев, Сергей. “Послание Гвидо: знакомый текст о незнакомом распеве”. Научный вестник Московской консерватории, no. 1 (2015): 120–45.
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13. Finscher, Ludwig. “Symphonie”. In Die Musik in Geschichte und Gegenwart, hrsg. von Ludwig Finscher. Sachteil, Bd. 9: 16–53. 2. Auflage. Kassel u. a.: Bärenreiter, 1998.
14. Suzanne G. Cusick, and Jan LaRue. “Sinfonia”. In The New Grove Dictionary of Music and Musicians<-em>, ed. by Stanley Sadie, vol. 23: 419–20. 2nd ed. London: Macmillan, 2001.
15. Furetière, Antoine. Dictionnaire universel, contenant généralement tous les mots françois tant vieux que modernes, et les termes de toutes les sciences et des arts. 2 tomes. La Haye; Rotterdam: Arnout & Reinier Leers, 1690, t. 2.
16. Chambers, Ephraim. Cyclopædia: or, an Universal Dictionary of Arts and Sciences <…>. 2 vols. London: s. n., 1728, vol. 2.
17. Walther, Johann Gottfried. Musicalisches Lexicon oder Musicalische Bibliothec <…>. Leipzig: W. Deer, 1732.
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20. Brossard, Sébastien, de. Dictionaire de musique, contenant une explication des Termes Grecs, Latins, Italiens & François les plus usitez dans la Musique. Paris: Christoph Ballard, 1703.
21. Бочаров, Юрий. “Симфония в контексте музыкальной терминологии XVI — первой половины XVIII века”. Старинная музыка, no. 2/92 (2021): 12–9.
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24. Hell, Helmut. Die neapolitanische Opernsinfonie in der ersten Hälfte des 18. Jahrhunderts <…>. Tutzing: Schneider, 1971. (Münchner Veröffentlichungen zur Musikgeschichte, Bd. 19).
25. Bill, Oswald, und Christoph Grosspietsch, Hrsg. Christoph Graupner: thematisches Verzeichnis der musikalischen Werke: Graupner-Werke-Verzeichnis (GWV), Instrumentalwerke. Stuttgart: Carus, 2005.
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28. Swain, Joseph P. Historical Dictionary of Baroque Music. Lanham: Scarecrow Press, 2013.
29. Sadler, Graham. The Rameau Compendium. Woodbridge: The Boydell Press, 2014.
30. Pont, Graham. “Handel’s Overtures for Harpsichord or Organ: An Unrecognized Genre”. Early Music 11, iss. 3 (1983): 309–22.
31. Брянцева, Вера. Французский клавесинизм. СПб.: Дмитрий Буланин, 2000.
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33. Barnett, Gregory. Bolognese Instrumental Music, 1660–1710. Spiritual Comfort, Courtly Delight, and Commercial Triumph. London; New York: Routledge, 2008.
Нотные издания и источники
I. Simphoniae iucundae arque adeo breves <…>. Vitebergae: Georgium Rhau, 1538.
II. Jehan Matre. Symphonia quatuor modulata vocibus. Venetiis: Apud Hyeronimum Scotum, 1543.
III. Symphonia Angelica. Anversa: Pietro Phalesio & Giouanne Bellero, 1585.
IV. Intermedii et concerti, fatti per la Commedia rappresentata in Firenze nelle nozze del serenissimo Don Ferdinando Medici, e Madama Christiana di Loreno, gran duchi di Toscana. Firenze: Giacomo Vincenti, 1591.
V. Banchieri, Adriano. Ecclesiastiche Sinfonie dette Canzoni in aria Francese, a qvatro voci, per sonare, & cantare, & et sopra vn basso seguente concertare entro l’Organo. Opera sedicesima. Venetia: Ricciardo Amadino, 1607.
VI. Troilo, Antonio. Sinfonie, scherzi, ricercari, caprici et fantasie, a due voci, per cantar & sonar, con ogni sorte di stromenti. Venetia: Ricciardo Amadino, 1608.
VII. Troilo, Antonio. Il primo libro delle canzoni da sonare <…>. Venetia: Ricciardo Amadino, 1606.
VIII. Marini, Biagio. Per ogni sorte di strumento musicale diversi generi di sonate, da chiesa, e da camera, a due, tre, & a quattro. Venetia: Francesco Magni, 1655.
IX. Torelli, Giuseppe. Concerti musicali a quattro. Opera sesta. Augsburg: Lorenz Kroniger & Theophil Göbels Erben; Johann Christoph Wagner, 1698.
X. Albinoni, Tomaso. Sinfonie e Concerti a cinque. Opera seconda. Venetia: Giuseppe Sala, 1700.
XI. Porpora, Nicola. Sinfonie da camera a tre istromenti. London: B. Fortier, 1736.
XII. Rosenmiller, Giovanni. Sonate da camera <…>. Venetia: Alessandro Vincenti, 1667.
XIII. Fux, Joanne Josepho. Concentus musico-instrumentalis in septem partitas <…>. Opus primum. Norimbergae: Typis Hæredum Felseckerianorum, 1701.
XIV. Fux, Johann Josef. Concentus musico-instrumentalis enthaltend sieben partiten und zwar: vier Ouvertüren, zwei Sinfonien, eine Serenade, bearbeited von Heinrich Rietsch. Wien; Leipzig: Artaria & Co; Breitkopf & Härtel, 1916. (Denkmäler der Tonkunst in Österreich, Bd. 47).
XV. Dornel, Louis-Antoine. Livre de simphonies. Paris: l’Auteur; Foucault, 1709.
XVI. Boismortier, Joseph Bodin, de. Actéon: Cantate a voix seule avec simphonie. Paris: Boivin; Le Clerc, 1732.
XVII. Boismortier, Joseph Bodin, de. L’Automne: Cantate de basse taille avec simphonie. Paris: l’Auteur; Mme Boivin; Le Clerc, 1738.
XVIII. Motets de feu Mr. de Lalande. 20 livres. Paris: Boivin, 1729, liv. 1.
XIX. Grandi, Alessandro. Mottetti a una, et due voci con sinfonie di due violini. Venetia: Alessandro Vincenti, 1629, lib. 3.
XX. Banchieri, Adriano. Il Virtuoso ritrovo academico. Venetia: Bortholomeo Magni, 1626.
XXI. Pergolesi, Giovanni Battista. L’Olimpiade: Manuscript, n. d. [c1735]. Germany. München. Bayerische Staatsbibliothek. Mus. MS 42. Accessed February 02, 2021. https://imslp.org/wiki/L’Olimpiade%2C_P. 145_(Pergolesi%2C_Giovanni_Battista).
XXII. “Recüeil // de // Plusieurs Anciens Ballets // Dancez // Sous les Regnes // de // Henry 3. Henry 4. Et Louis 13. // Depuis l’An 1575 Jusqu’à 1641 // Recherchez et mis en ordre // Par // Philidor l’Aisné Ordinaire de la Musique // du Roy en 1690 // Tome 2e. [Musique manuscrite]”. France. Paris. Bibliothèque nationale de France. Centre technique du livre. RES-F-497. Accessed February 02, 2021. https://gallica.bnf.fr/ark:/12148/bpt6k107418q.
XXIII. Telemann, Georg Philipp. VI. Ouverturen nebst zween Folgesätzen bey jedweder <…> fürs Clavier. Nürnberg: Balth. Schmid, 1740.
XXIV. Boismortier, Joseph Bodin de. II sérénades ou simphonies françaises en trois parties pour flûtes, violons et haubois. Oeuvre 39. Paris: l’Auteur; Boivin; Leclerc, 1732.
XXV. Lalande, Michel Richard, de. Les Symphonies de M. de La Lande Surintendant de la Musique du Roy. Qui se joüent ordinairement au souper du Roy: Manuscrit, 1703. Bibliothèque nationale de France. Ancien fonds du Conservatoire. RES-582 (A — D). Accessed February 02, 2021. https://gallica.bnf.fr/ark:/12148/bpt6k4500195t/f1.item.
XXVI. Anglebert, Jean-Henri d’. Pièces de clavessin. Paris: Chez l’Auteur, 1689.
XXVII. Lebègue, Nicolas. Troisième Livre d’Orgue. Paris: le Sieur de Baussen, n. d. [1685].
XXVIII. Six Overtures in Seven Parts for Violins, French-Horns, Hoboys &c. with a Through Bass for the Harpsicord or Violoncello from the Late Operas compos’d by Sigr Hasse, Vinci, Galuppi & Porpora. London: I. Walsh, 1748.
XXIX. Handel, George Frederic. Acis and Galatea: A Mask. As it was Originally Composed. London: I. Walsh, 1743.
References
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2. Bocharov, Yuri. Overture in the Baroque Era. Moscow: Kompozitor Publ., 2005. (In Russian)
3. Fraenov, Viktor. “Overture”. In Muzykal’nyi entsiklopedicheskii slovar’, chief ed. Iurii Keldysh, 560. Moscow: Sovetskaia entsiklopediia Publ., 1990. (In Russian)
4. Temperley, Nicolas. “Overture”. In The New Grove Dictionary of Music and Musicians, ed. by Stanley Sadie, vol. 18: 824–6. 2nd ed. London: Macmillan, 2001.
5. LaRue, Jan, and Eugene K. Wolf. “Symphony. § 1. 18th century”. In The New Grove Dictionary of Music and Musicians, ed. by Stanley Sadie, vol. 24: 812–33. 2nd ed. London: Macmillan, 2001.
6. Kunze, Stefan. Die Sinfonie im 18. Jahrhundert. Von der Opernsinfonie zur Konzertsinfonie. Laaber: Laaber-Verlag, 1993. (Handbuch der musikalischen Gattungen, Bd. 1).
7. Morrow, Mary Sue, and Bathia Churgin, eds. The Symphonic Repertoire. Bloomington; London: Indiana University Press, 2012, vol. I: The Eighteenth-Century Symphony.
8. “Symphonia (I)”. In The New Grove Dictionary of Music and Musicians, ed. by Stanley Sadie, vol. 24: 801. 2nd ed. London: Macmillan, 2001.
9. Pöhlman, Egert. “Symphonia. 1. Griechische Antike”. In Die Musik in Geschichte und Gegenwart, hrsg. von Ludwig Finscher. Sachteil, Bd. 9: 12. 2. Auflage. Kassel u. a.: Bärenreiter, 1998.
10. Grassineau, James. A Musical Dictionary <…>. London: J. Wilcox, 1740.
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12. Brown, Howard Mayer. “Symphonia (II)”. In The New Grove Dictionary of Music and Musicians, ed. by Stanley Sadie, vol. 24: 801. 2nd ed. London: Macmillan, 2001.
13. Finscher, Ludwig. “Symphonie”. In Die Musik in Geschichte und Gegenwart, hrsg. von Ludwig Finscher. Sachteil, Bd. 9: 16–53. 2. Auflage. Kassel u. a.: Bärenreiter, 1998.
14. Suzanne G. Cusick, and Jan LaRue. “Sinfonia”. In The New Grove Dictionary of Music and Musicians, ed. by Stanley Sadie, vol. 23: 419–20. 2nd ed. London: Macmillan, 2001.
15. Furetière, Antoine. Dictionnaire universel contenant généralement tous les mots françois tant vieux que moderne, et les termes de toutes les sciences et des arts. Tome second. La Haye; Rotterdam: Arnout & Reinier Leers, 1690.
16. Chambers, Ephraim. Cyclopædia: Or, An Universal Dictionary of Arts and Sciences <…>. 2 vols. London: s. n., 1728, vol. 2.
17. Walther, Johann Gottfried. Musicalisches Lexicon oder Musicalische Bibliothec <…>. Leipzig: W. Deer, 1732.
18. Scacchi, Marco. Breve discorso sopra la musica moderna <…>.Warszawa: Peter Elert, 1649.
19. Bocharov, Yuri. “Macrostructures in Baroque Instrumental Music”. Starinnaia muzyka, no. 2/88 (2020): 15–25. (In Russian).
20. Brossard, Sébastien, de. Dictionaire de musique, contenant une explication des Termes Grecs, Latins, Italiens & François les plus usitez dans la Musique. Paris: Christoph Ballard, 1703.
21. Bocharov, Yuri. “Symphony in the Context of Musical Terminology from the 16th to the mid–18th Century”. Starinnaia muzyka, no. 2/92 (2021): 12–9.
22. Dratwicki, Benoît. Les Concerts de la reine. Versailles: Centre de musique baroque de Versailles, 2012. (Сahiers Philidor, 39).
23. Bulycheva, Anna. French Music in the First Half of 18th Century. Moscow: NITs “Moskovskaia konservatoriia” Publ., 2018. (In Russian)
24. Hell, Helmut. Die neapolitanische Opernsinfonie in der ersten Hälfte des 18. Jahrhunderts <…>. Tutzing: Schneider, 1971. (Münchner Veröffentlichungen zur Musikgeschichte, Bd. 19).
25. Bill, Oswald, und Christoph Grosspietsch, Hrsg. Christoph Graupner: thematisches Verzeichnis der musikalischen Werke: Graupner-Werke-Verzeichnis (GWV), Instrumentalwerke. Stuttgart: Carus, 2005.
26. Bocharov, Yuri. Genres in Baroque Instrumental Music. Moscow: NITs “Moskovskaia konservatoriia” Publ., 2016. (In Russian)
27. Nouveau dictionnaire de l’Académie françoise dédié au Roy. 2 tomes. Paris: Jean-Baptiste Coignard, 1717–1718, t. 2: [M — Z].
28. Swain, Joseph P. Historical Dictionary of Baroque Music. Lanham: Scarecrow Press, 2013.
29. Sadler, Graham. The Rameau Compendium. Woodbridge: The Boydell Press, 2014.
30. Pont, Graham. “Handel’s Overtures for Harpsichord or Organ: An Unrecognized Genre”. Early Music 11, iss. 3 (1983): 309–22. https://doi.org/10.1093/earlyj/11.3.309.
31. Briantseva, Vera. French Clavecinisme. St. Petersburg: Dmitrii Bulanin Publ., 2000. (In Russian)
32. Bocharov, Yuri. “Suite vs Sonata in the Baroque Era”. Vestnik Sankt-Peterburgskogo Universiteta. Iskusstvovedenie 10, no. 2 (2020): 210–29. https://doi.org/10.21638/spbu15.2020.202. (In Russian)
33. Barnett, Gregory. Bolognese Instrumental Music, 1660–1710. Spiritual Comfort, Courtly Delight, and Commercial Triumph. London; New York: Routledge, 2008. https://doi.org/10.4324/9781315096186.
Musical Editions and Sources
I. Simphoniae iucundae arque adeo breves <…>. Vitebergae: Georgium Rhau, 1538.
II. Jehan Matre. Symphonia quatuor modulata vocibus. Venetiis: Apud Hyeronimum Scotum, 1543.
III. Symphonia Angelica. Anversa: Pietro Phalesio & Giouanne Bellero, 1585.
IV. Intermedii et concerti, fatti per la Commedia rappresentata in Firenze nelle nozze del serenissimo Don Ferdinando Medici, e Madama Christiana di Loreno, gran duchi di Toscana. Firenze: Giacomo Vincenti, 1591.
V. Banchieri, Adriano. Ecclesiastiche Sinfonie dette Canzoni in aria Francese, a qvatro voci, per sonare, & cantare, & et sopra vn basso seguente concertare entro l’Organo. Opera sedicesima. Venetia: Ricciardo Amadino, 1607.
VI. Troilo, Antonio. Sinfonie, scherzi, ricercari, caprici et fantasie, a due voci, per cantar & sonar, con ogni sorte di stromenti. Venetia: Ricciardo Amadino, 1608.
VII. Troilo, Antonio. Il primo libro delle canzoni da sonare <…>. Venetia: Ricciardo Amadino, 1606.
VIII. Marini, Biagio. Per ogni sorte di strumento musicale diversi generi di sonate, da chiesa, e da camera, a due, tre, & a quattro. Venetia: Francesco Magni, 1655.
IX. Torelli, Giuseppe. Concerti musicali a quattro. Opera sesta. Augsburg: Lorenz Kroniger & Theophil Göbels Erben; Johann Christoph Wagner, 1698.
X. Albinoni, Tomaso. Sinfonie e Concerti a cinque. Opera seconda. Venetia: Giuseppe Sala, 1700.
XI. Porpora, Nicola. Sinfonie da camera a tre istromenti. London: B. Fortier, 1736.
XII. Rosenmiller, Giovanni. Sonate da camera <…>. Venetia: Alessandro Vincenti, 1667.
XIII. Fux, Joanne Josepho. Concentus musico-instrumentalis in septem partitas <…>. Opus primum. Norimbergae: Typis Hæredum Felseckerianorum, 1701.
XIV. Fux, Johann Josef. Concentus musico-instrumentalis enthaltend sieben partiten und zwar: vier Ouvertüren, zwei Sinfonien, eine Serenade, bearbeited von Heinrich Rietsch. Wien; Leipzig: Artaria & Co; Breitkopf & Härtel, 1916. (Denkmäler der Tonkunst in Österreich, Bd. 47).
XV. Dornel, Louis-Antoine. Livre de simphonies. Paris: l’Auteur; Foucault, 1709.
XVI. Boismortier, Joseph Bodin, de. Actéon: Cantate a voix seule avec simphonie. Paris: Boivin; Le Clerc, 1732.
XVII. Boismortier, Joseph Bodin, de. L’Automne: Cantate de basse taille avec simphonie. Paris: l’Auteur; Mme Boivin; Le Clerc, 1738.
XVIII. Motets de feu Mr. de Lalande. 20 livres. Paris: Boivin, 1729, liv. 1.
XIX. Grandi, Alessandro. Mottetti a una, et due voci con sinfonie di due violini. Venetia: Alessandro Vincenti, 1629, lib. 3.
XX. Banchieri, Adriano. Il Virtuoso ritrovo academico. Venetia: Bortholomeo Magni, 1626.
XXI. Pergolesi, Giovanni Battista. L’Olimpiade: Manuscript, n. d. [c1735]. Germany. München. Bayerische Staatsbibliothek. Mus. MS 42. Accessed February 02, 2021. https://imslp.org/wiki/L’Olimpiade%2C_P. 145_(Pergolesi%2C_Giovanni_Battista).
XXII. “Recüeil // de // Plusieurs Anciens Ballets // Dancez // Sous les Regnes // de // Henry 3. Henry 4. Et Louis 13. // Depuis l’An 1575 Jusqu’à 1641 // Recherchez et mis en ordre // Par // Philidor l’Aisné Ordinaire de la Musique // du Roy en 1690 // Tome 2e. [Musique manuscrite]”. France. Paris. Bibliothèque nationale de France. Centre technique du livre. RES-F-497. Accessed February 02, 2021. https://gallica.bnf.fr/ark:/12148/bpt6k107418q.
XXIII. Telemann, Georg Philipp. VI. Ouverturen nebst zween Folgesätzen bey jedweder <…> fürs Clavier. Nürnberg: Balth. Schmid, 1740.
XXIV. Boismortier, Joseph Bodin de. II sérénades ou simphonies françaises en trois parties pour flûtes, violons et haubois. Oeuvre 39. Paris: l’Auteur; Boivin; Leclerc, 1732.
XXV. Lalande, Michel Richard, de. Les Symphonies de M. de La Lande Surintendant de la Musique du Roy. Qui se joüent ordinairement au souper du Roy: Manuscrit, 1703. Bibliothèque nationale de France. Ancien fonds du Conservatoire. RES-582 (A — D). Accessed February 02, 2021. https://gallica.bnf.fr/ark:/12148/bpt6k4500195t/f1.item.
XXVI. Anglebert, Jean-Henri d’. Pièces de clavessin. Paris: Chez l’Auteur, 1689.
XXVII. Lebègue, Nicolas. Troisième Livre d’Orgue. Paris: le Sieur de Baussen, n. d. [1685].
XXVIII. Six Overtures in Seven Parts for Violins, French-Horns, Hoboys &c. with a Through Bass for the Harpsicord or Violoncello from the Late Operas compos’d by Sigr Hasse, Vinci, Galuppi & Porpora. London: I. Walsh, 1748.
XXIX. Handel, George Frederic. Acis and Galatea: A Mask. As it was Originally Composed. London: I. Walsh, 1743.
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2021-10-02
How to Cite
Bocharov, Y. S. (2021). Sinfonia and Ouverture in the Baroque Era: Terminological Aspect. Vestnik of Saint Petersburg University. Arts, 11(3), 354–380. https://doi.org/10.21638/spbu15.2021.301
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Articles of "Vestnik of Saint Petersburg University. Arts" are open access distributed under the terms of the License Agreement with Saint Petersburg State University, which permits to the authors unrestricted distribution and self-archiving free of charge.
