La musica in S. Maria Maggiore a Bergamo nel periodo di Giovanni Cavaccio (1598-1626)

[Autom. eng. transl.] The chapel of S. Maria Maggiore in the first half of the seventeenth century stands as one of the most active centers in Northern Italy. The contribution traces the story in such a limited period, as homogeneous in its structural linearity. A basic homogeneity that must be traced back not only to the industrious and coherent contribution of Cavaccio, but also to a whole series of facts that follow one another in the sign of a gradual transformation where the referents - tradition and modernity, continuity and renewal - are well far from being radically juxtaposed. The survey, which is developed on the basis of a plentiful set of documents identified in about ten years of research, is particularly significant as it overcomes the limits of a purely descriptive approach, to highlight some elements whose scope and whose interest goes far beyond the area considered. These elements refer to the interactive institution-chapel-academy relationship, to the real "space" of liturgical music, to the main festivities of the year, to the dynamics of the staff, to the use of instruments, to the use of pueri cantores, to the repertoire , to the status of the musicians, to the codes relating to the music-cult-institution-public correlation