Issued by A-R Editions in 2018, Arie a voce sola de diversi auttori (Venice, 1656), a collection of secular monodies for voice and basso continuo, complements the edition of the contemporaneous sacred collection Sacra Corona (Venice, 1656), which A-R published in 2015. It contains short arias by various composers, some of whom had also contributed to Sacra Corona.
As in Sacra Corona, distinct Venetian and non-Venetian groups of composers can be identified within Arie a voce sola, and the printers, compilers, and dedicatees of both anthologies occupied similar social and economic milieus.
Arie a voce sola can be seen both as a continuation of the early seventeenth-century vogue for strophic arias, which were published in quantity in booklets during the first two decades of the century, and as the forerunner of the trend toward shorter operatic arias, observable in Venetian operas a few decades later.
Below, Maurizio Cazzati’s Mi serpe nel petto, one of the arias in the collection.
Sacra corona (Venice, 1656) (Middleton: A-R Editions, 2015) is a complete edition of the anthology Sacra corona (Venice: Magni, 1656), comprising solo motets for two and three voices with continuo by some of the foremost Venetian composers of the period and by four composers who worked in the papally controlled states on the Adriatic coast.
A detailed study of contemporary documents reveals possible reasons for this somewhat idiosyncratic choice of composers, finding them in the family history of the publisher, Bartolomeo Magni (descended from a dynasty of Ravennese musicians), and in contemporary political relations between Venice and the Papacy, the former being dependent on the latter for funding in its ongoing military campaign against the Turks.
Above, the cover of the 1656 anthology; below, O bone Jesu by Francesco Cavalli, one of the works preserved in it.
Libreria Musicale Italiana launched the series Monumenta liturgiae et cantus in 2013 with I codici liturgici di Castel Tirolo by Marco Gozzi.
The volume presents facsimiles of sources used in Castel Tirolo, which was the historical seat of the counts of Tirolo and gave the region its name. Discussions of historical and musicological issues are also included.