Virgilio Mazzocchi Magnificat

from: Psalmi Vespertini

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During his tenure under Pope Urban VIII Virgilio Mazzocchi was among the most renowned musicians of Rome. He directed the Cappella Giulia in St. Peters Basilica for 17 years. He also organized the musical activities at the court of the Pope’s influential nephew, Francesco Barberini. The Psalmi Vespertini, Mazzocchi’s most important sacred work, were published two years after his death. This collection contains two complete vesper cycles for double choir with a basso continuo accompaniment. At the conclusion of the first vesper cycle, in the predominately festive setting of the Magnificat, Mazzocchi displays his artistry in the old and new styles by combining contrapuntal choral sections with concertante passages. The new Carus edition of this work presents a most significant and impressive document of Roman church music in the first half of the 17th century.

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Score Carus 27.202/00, ISMN 979-0-007-04521-0 32 pages, DIN A4, paperback Minimum order quantity: 20 copies

Individual part, organ Carus 27.202/49, ISMN 979-0-007-20098-5 8 pages, 23 x 32 cm, without cover

Individual part digital (download), pdf file, organ Carus 27.202/49-010-000, ISMN 979-0-007-39190-4 8 pages, 23 x 32 cm Provisionally available from 06/2026

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Composer
Virgilio Mazzocchi
| 1597-1646

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Virgilio Mazzocchi: Magnificat

Rom war zu Beginn des 17. Jahrhunderts eine an musikalischen Institutionen reiche Stadt. Unter der schier unüberschaubaren Zahl von Musikern, die in der „ewigen Stadt” in Arbeit und Brot standen, findet sich auch Virgilio Mazzocchi (1597–1646). Von 1629 bis zu seinem Tod hatte er das Amt des Kapellmeisters der Cappella Guilia am Petersdom inne. Im Jahre 1648 erschien in Rom unter dem Titel „Psalmi Vespertini” eine umfangreiche Sammlung mit doppelchöriger Vespermusik von Mazzocchi: 14 Kompositionen zur Sonntags-, Heiligen- und Marienvesper. Das nun beim Carus-Verlag veröffentlichte Magnificat stellt den Abschluss der Vesperae Dominci dar. Neben solistisch besetzten, konzertierenden Abschnitten in bester frühbarocker Manier, finden sich blockhaft oder kontrapunktisch geführte Passagen, die in der Tradition der römischen Vokalpolyphonie stehen. Ein klangprächtiges Werk, problemlos auch nur mit acht Solisten ausführbar, bei dem man bedauert, dass die Vesper in der heutigen Liturgiepraxis auf ein Skelett dessen zusammengeschmolzen ist, was sie im 17. und 18. Jahrhundert einmal war.

Wilfried Rombach
Quelle: Kirchenmusikalische Mitteilungen 10/2004

Scored for double SATB and organ, this was published in Mazzocchi‚s posthumous Psalmi Vespertini (1648). lt only needs eight voices, though there is a clear alternation between the editorially marked solo and tutti sections which allows (though doesn‚t demand) more than one a part in the latter. The editor draws attention to the use of instruments in the Cappella Giulia at St Peter‚s Rome (where Mazzocchi was maestro di cappella from 1629 until his death in 1646). After the d‚India reviewed on page 2, this is refreshingly competent - and more. lt fits modern voice-categories better than most music of the period and should be extremely enjoyable to sing. Try it.

Quelle: Early Music Review, 4/04, S.3

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