In contrast to Merula\u2019s op. 1, of which a great part is recorded here for the first time, his Canzoni, overo sonate concertate per Chiesa e Camera\u2026Libro terzo op. 12, printed in Venice in 1637 by Alessandro Vincenti, have already found their way into the concert repertoire of instrumental music from the first half of the 17th century.
\nThe title underscores the fact that the author did not intend the collection merely for \u201cchamber\u201d situations, but instead at least partially for liturgical and devotional purposes, i.e., \u201cda chiesa\u201d.
\nIt is not clear if Merula was thus anticipating (as many assume) the division which would later appear in Arcangelo Corelli\u2019s music between Sonata da chiesa and Sonata da camera.
\nAt least the three Balli, like the variations on the Basso di Ruggiero and the Chiaccona, derived from dances and thus secular music, would lead one to place them in the realm of chamber music, while the canzonas might be performed in church.
\nIn any case, Merula has consciously overcome such boundaries by including among his published sacred vocal music a Psalm setting of a motet based on the Chiaccona and a Mass on the Ruggiero.<\/p>\n","protected":false},"excerpt":{"rendered":"
In contrast to Merula\u2019s op. 1, of which a great part is recorded here for the first time, his Canzoni, overo sonate concertate per Chiesa e Camera\u2026Libro terzo op. 12, printed in Venice in 1637 by Alessandro Vincenti, have already found their way into the concert repertoire of instrumental music from the first half of […]<\/p>\n","protected":false},"author":5,"featured_media":4923,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[31],"tags":[],"class_list":["post-4921","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-humanism-renaissance"],"yoast_head":"\n