Don Lorenzo Perosi

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Monsignor Lorenzo Perosi (21 December 1872 - 12 October 1956) was a once-famous Italian composer of sacred music^[1] and the only member of the Giovane Scuola who did not write opera.^[2] Although less prominent today, he enjoyed international success and a great deal of fame, particularly but not only in Italy, in the late 1890s and early 1900s, chiefly because of his innovative oratorios.^[3] Nobel prize-winner Romain Rolland praised him extensively in print, and he worked for five Popes, including Pope St. Pius X.

Contents 1 Biography 1.1 Early Years and Educaton 1.2 Years in Venice 1.3 Vatican Appointment 1.4 Compositional Style and Popularity 2 Works 2.1 Oratorios 2.2 Masses and mottetti 3 References 4 Biographies

[edit] Biography

[edit] Early Years and Educaton

Lorenzo Perosi was born at Tortona, Piedmont, in Italy. Many sources^[4] give December 20 as Perosi's birthdate but recent scholarship suggests December 21 to be correct.^[5]

Perosi hailed from an extremely musical and religious family. For nearly 200 years before him, all of Lorenzo’s ancestors were church musicians. His father was Giuseppe Perosi (1849-1908), Maestro di Cappella (Choir Director) of Tortona Cathedral and one of Italy’s most prominent church musicians. Giuseppe was the first teacher of Lorenzo as well as his other two sons, Carlo (who became a priest and then a cardinal) and Marziano (who was Maestro di Cappella at the Duomo of Milan from 1930 to 1949). In Milan Lorenzo studied with respected professor Michele Saladino of the Milan Conservatory. Even when he was not enrolled at the Conservatory, Perosi kept up a correspondence course with Saladino.

In 1890, 18 years old and still a student, Perosi obtained his first professional post: organist and “teacher of the piano novices” at the Abbey of Montecassino. He received his diploma from the Milan Conservatory in 1892, following which he spent an influential year of study with Franz Xaver Haberl in Regensburg, at the Kirchenmusikschule that Haberl had founded in 1874. A noted musician and musicologist, Haberl was the pioneering editor of the complete works of Palestrina and Lassus. Perosi’s development was such that Haberl offered him a cattedra (“chair,” or permanent teaching position) in the Kirchenmusikschule. The homesick Perosi politely declined, in favor of a post as teacher and director of sacred music at Imola. As Perosi himself explained, he “desired and prayed at length to the Lord to be able to do something for the music of God in Italy.”^[6] Perosi served in Imola from November 1892, to August 1894.

In 1894 Perosi went to the Abbey of Solesmes to study with the Gregorianists Dom Mocquerau and Dom Pothier. The Renaissance polyphony he learned from Haberl, and the Gregorian chant he studied in Solesmes — these were the two pilars upon which the entire ɶuvre of Perosi rested.

[edit] Years in Venice

From Imola, Perosi obtained a more important post, that of Maestro of the Cappella Marciana at San Marco in Venice. This Venetian appointment resulted from the deep friendship between Perosi and Cardinal Giuseppe Sarto, then Patriarca di Venezia (Patriarch of Venice) but soon to be Pope Pius X (and still later Pope Saint Pius X). Sarto was a profound music-lover who was disturbed by the roughly hundred years (c.1800-1900) that Gregorian Chant was absent from the Church. A more “operatic,” entertaining style of music prevailed, attracting congregants the same way that folk-style music draws American Catholics today. Thus, Perosi found in Sarto not only a friend and kindred spirit, but also a staunch sponsor.

Perosi’s Venetian appointment (1894) unleashed a torrent of music that lasted at least until 1907. He continued to compose prolifically until his death, but this 13-year period produced some of his most substantial work.

In 1895, Perosi became a priest, having been ordained by his good friend Cardinal Sarto himself. It should also be mentioned that St. Luigi Orione was, like Perosi, born in Tortona in 1872. The three men — Orione, Perosi, and Sarto — were all dear friends and mutual inspirers.

[edit] Vatican Appointment

In 1898, Cardinal Sarto used his influence with Pope Leo XIII to get Perosi the prestigious post and Maestro Perpetuo della Cappella Sistina, or Perpetual Director of the Sistine Choir, in Rome. Five years later, Sarto was ordained Pope Pius X. Just months after his coronation, he released a Motu Proprio on sacred music (of which Perosi was a co-writer). The 1903 Motu Proprio was a papal declaration that Gregorian Chant must be immediately reinstated in all Catholic churches around the world. The century of “operatic” church music was officially over. (Incidentally, so was the era of castrati. Pius was against the practice of human castration and decreed that only “whole men” would be allowed to be priests or singers in the Church.)

Perosi remained Maestro Perpetuo till his death over 50 years later, in spite of interruptions in his directorship. After 1907, Perosi began to suffer more intensely from psychological and neurological problems, undoubtedly caused by his problematic (probably breach) birth. These afflictions reached their apex in 1922; many declared him “incurable.” The composer did spend many months in comparative seclusion; some sources suggest he was briefly institutionalized^[7], although recent scholarship suggests that this was not the case, and that he did not change residence in 1922.^[8] In fact, the very next year, 1923, Perosi was already back in action, composing up a storm, and in the last decade of his life, he maintained a busy conducting schedule.^[9]

[edit] Compositional Style and Popularity

Despite the relative obscurity of his name today, Perosi was a prominent member of the Giovane Scuola, of which the most important Verismo composers or Veristi (Puccini, Mascagni, Leoncavallo, Giordano, and Cilea) were all considered members. An entire chapter is dedicated to Perosi in Romain Rolland’s Musiciens d’Aujourd’hui (1899). Perosi was deeply admired not only by Rolland and by the above-named Veristi, but also by Boito, Toscanini, and many other Italian icons. Caruso sang his music, as did Sammarco, Tagliabue, Gigli, and innumerable other great singers from that era, and also quite a few in modern times, such as Fiorenza Cossotto, Mirella Freni, Renato Capecchi, and fellow Tortonese Giuseppe Campora. His French admirers included Debussy, Massenet, Guilmant, and d’Indy, all of whom were impressed by the 1899 French Première of La Risurrezione di Cristo.^[10] Unlike the other members of the Giovane Scuola, Perosi was the only one to be significantly influenced by pre-Classical repertoire. His so-called “eclecticism” was and still is occasionally disparaged by critics, but it was his greatest trait. It was almost with naïveté that Perosi wondered to Romain Rolland, "why it is that composers feel so fettered by time and geography? Why can't music be universal, not shackled by the ephemeral trends or fads of a particular country or century?"^[11]

In his day, Perosi was best known for his oratorios, large-scale works for chorus, soloists, and orchestra based on Latin texts. While the works can seem slow-paced today, at the time they were quite novel not only for their fusion of Renaissance polyphony, Gregorian chant, and lush, Verismo melodies and orchestrations, but also for Perosi’s deep-seated faith in the words that he had set. The oratorio as a genre had been in decline in the preceding centuries, and Perosi's contributions to the canon brought him brief but significant international acclaim.^[12]

In addition to the oratorios and masses for which he is best known, Perosi also wrote secular music — symphonic poems, chamber music, concertos, etc. In his youth, he also wrote useful pieces for organ. According to Perosi scholar Arturo Sacchetti, Perosi wrote a total of three or four thousand compositions.^[13] A great many still await publication; some have not yet been located.

[edit] Works

[edit] Oratorios

• La Passione di Cristo (1897)
• La Trasfigurazione di Cristo (1898)
• La Risurrezione di Lazzaro (1898)
• La Risurrezione di Cristo (1898)
• Il Natale del Redentore (1899)
• La Strage degli Innocenti (1900)
• Il Giudizio Universale (1904)
• Transitus Animae (1907)

[edit] Masses and mottetti

• Missa In Honorem Ss. Gervasii et Protasii (1895)
• Missa "Te Deum Laudamus" (1897)
• Missa Eucharistica (1897)
• Missa [Prima] Pontificalis (1897)
• Messa da Requiem (1897)
• Missa "Benedicamus Domino" (1899)
• Missa Cerviana
• Missa Secunda Pontificalis (1906)
• Numerous mottetti ("melodie sacre")

[edit] References

[edit] Biographies

• Amadori, Andrea (1999). Lorenzo Perosi: Documenti e inediti. ISBN 88-7096-233-4. 
• Bassi, Adriano (1994). Don Lorenzo Perosi: L'uomo, il compositore e il religioso. ISBN 88-7514-708-6. 
• Ciampa, Leonardo (2006). Don Lorenzo Perosi. ISBN 1-4259-3440-4. 
• Damerini, Adelmo. Lorenzo Perosi. 
• Glinski, Matteo (1953). Lorenzo Perosi. 
• Hesse, Helmut (1981, Heft 5, S.343-349.). Lorenzo Perosi. Sein Leben und seine Musik.. 
• Merlatti, Graziella (2006). Lorenzo Perosi, una vita tra genio e follia. ISBN 88-5140-330-9. 

• Onofri, Teodoro (1977). Lorenzo Perosi nei giorni imolesi. 
• Pagano, Sergio (1996). L'epistolario "vaticano" di Lorenzo Perosi (1867-1956). ISBN 88-211-9120-6. 
• Paglialunga, Arcangelo (1952). Lorenzo Perosi. 
• Rinaldi, Mario (1967). Lorenzo Perosi. 
• Sanarica, Marino (1999). Lorenzo Perosi.