Innocentio Alberti (c.1535-1615) - Pavin of Albart & Gallyard
He came from a family of North Italian musicians that had lived in Treviso since the mid-15th century. His father was the town trumpeter; his uncle and brother were musicians in the courts of Ferrara and Munich respectively. He was one of the three young men brought to the newly founded Accademia degli Elevati in Padua in 1557 as music tutors under Francesco Portinaro. His first published madrigals appeared, together with madrigals by Rore, Portinaro and other members of the group around Rore, in Rore’s fourth book of madrigals for five voices (RISM 155723). In 1560 the Accademia degli Elevati was dissolved and Alberti went to work for the Este court at Ferrara. He remained on the salary rolls there, listed among the instrumentalists as ‘Innocentio del Cornetto’, until the dissolution of the court early in 1598. In 1568 he prepared a manuscript collection of madrigals for Henry, Earl of Arundel. In an autograph letter of 1607 (in I-MOs) Alberti appealed for financial relief to the Duke of Modena; an accompanying letter states that Alberti was ‘very poor and, what is worse, old, weak, and unable to earn his way’.
The perusal of a handful of Alberti’s madrigals from the 1580s indicates that he was a composer of minor importance, whose style was conservative and serious and whose craftsmanship was above average. The final three books of madrigals for four voices, published in the first decade of the 17th century, are almost certainly collections of madrigals written 10 to 30 years earlier. (EinsteinIM; NewcombMF)
Il primo libro de madrigali, 4vv (Venice, 1603)
Il secondo libro de madrigali, 4vv (Venice, 1604)
Terzo libro de madrigali, 4vv (Venice, 1607)
Further madrigals, 4, 5vv, 1557, 1560, 1582, 1586, 1591, 1592
22 madrigals, 1568, GB-Lbl Roy.App.36–40;
4 madrigals, after 1580, I-MOe Mus.F.1358
Canzoni, 5vv, lost; cited in catalogue FEc
Salmi penitenziali armonizzati, libro primo, 6vv (Ferrara, 1594)
Motetti, libro secondo, 6vv (Ferrara, 1594)
Sethus Calvisius (Gorsleben, 21 de febrer de 1556 - 24 de novembre de 1615) va ser un compositor alemany, actiu principalment a Leipzig.
Sethus Calvisius (1556-1615) - Praeter rerum seriem
After attending schools at Frankenhausen and Magdeburg, Calvisius began his studies at the University of Helmstedt in 1579 and continued them from Easter 1580 at the University of Leipzig, where he had matriculated in 1576. In 1581 he became Kantor at the Paulinerkirche, Leipzig, only to move in November 1582, on the recommendation of the Leipzig theologian Nikolaus Selnecker, to Schulpforta as Kantor of the Fürstenschule. He spent 12 fruitful years there not only as an inspiring teacher but also in the study of history, chronology and music theory. In May 1594 he was recalled to Leipzig as Kantor of the Thomaskirche in succession to Valentin Otto. For a short period in about 1605 he also directed the music at the university church. Shortly before this, as a result of a knee injury which confined him to his bed for over a year and left him with a permanent limp, he found the time to complete his Opus chronologicum (1605), his most important non-musical work. Leipzig University rejected his Elenchus Calendarii Gregoriani (1613), but on the strength of his Opus chronologicum he was offered appointments at the universities of Frankfurt an der Oder and Wittenberg, neither of which he took up. He had a wide circle of scholarly friends, including the astronomer Johannes Kepler, Michael Praetorius and the music theorists Abraham Bartolus, Henricus Baryphonus, Nikolaus Gengenbach and Johannes Lippius. His many pupils included Erhard Bodenschatz and Martin Rinckart. He died with the words ‘Domino moriar. Ich will dem Herrn sterben’; at his funeral the choir of the Thomaskirche sang his last composition, the eight-part motet Unser Leben währet siebnzig Jahr. After his death his reputation grew, and as late as 1690 he was enthusiastically admired by W.C. Printz in his Historische Beschreibung der edelen Sing- und Kling-Kunst (xii, 10).
Hymni sacri latini et germanici, 4vv (Erfurt, 1594)
Harmonia cantionum ecclesiasticarum: Kirchengesänge und geistliche Lieder D. Lutheri und anderer frommen Christen, 4vv (Leipzig, 1597)
Der Psalter Davids gesangweis vom Herrn D. Cornelio Beckern … verfertiget, 4vv (Leipzig, 1605)
Bicinia septuaginta ad sententias evangeliorum anniversorum … additi sunt viginti canones, 2vv (Leipzig, 1599, enlarged 2/1612 with 90 works by other composers); 20 from 2nd edn ed. in Benndorf (1901)
Tricinia: ausserlesene teutsche Lieder, 3vv (Leipzig, 1603); ed. G. Trubel (Neuhausen-Stuttgart, 1975)
Der 150. Psalm Davids … auf 3 Chor, 12vv (Leipzig, ?1615) [wedding music for Caspar Anckelmann and Maria Magdalena Heintze]
Unser Leben währet siebnzig Jahr, 8vv (Leipzig, 1616), lost; 1621
9 motets, 1603, 1621; ed. F. Commer, Musica sacra, xxviii (Berlin, 1887); ed. in Geistliche Chormusik, 4th ser: Chorwerk alter Meister, xiii
1 work in J.C. Demantius: Threnodiae, das ist Ausserlesene trostreiche Begräbnüss Gesänge, 4–6vv (Freiberg, 1620)
Joseph, lieber Joseph, 6vv, D-Z; ed. in Arion, iii (London, 1899)
Singet dem Herrn ein neues Lied, 8vv, MÜG; ed. A Tunger (Stuttgart, 1992)
Zion spricht: Der Herr hat mich verlassen, 8vv, Bsb
only those relating to music
Melopoeia sive melodiae condendae ratio, quam vulgo musicam poeticam vocant (Erfurt, 1592) [1582 according to Fétis and Gerber] (2/1630 with H. Baryphonus: Pleiades musicae)
Compendium musicae pro incipientibus (Leipzig, 1594, 3/1612 as simplified version Musicae artis praecepta nova et facilima); 11 examples from 1594 edn ed. A. Allerup, Die Musica practica des J.A. Herbst (diss., U. of Münster, 1931)
Exercitationes musicae duae (Leipzig, 1600)
Exercitatio musica tertia (Leipzig, 1609, 2/1611/R as Exercitationes musicae tres)
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Lodovico Cenci (Arezzo, 1615 - 1648) va ser un compositor italià.
His Madrigali (Rome, 1647), for four and five voices, has a long preface (repr. in VogelB) in which he stoutly defended the a cappella madrigal and deplored the use of the continuo in chamber music for three or more voices, because he felt that voices and instruments do not blend in such ensembles. He did, however, concede the need for it in pieces for one or two voices and its usefulness in performances in large buildings such as churches and theatres. Another aspect of his conservatism is his support of Artusi's views about the treatment of dissonance. According to Fétis he published an earlier collection of madrigals, for three to five voices (Rome, 1644).
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Giovanni Antonio Grossi (Lodi, 1615 - Milano, abril de 1684) va ser un compositor italià, actiu principalment a Crema i a Milà.
He was maestro di cappella at Crema Cathedral from 1635 until at least 1640, and was made priest there in October 1638. He, along with his father and two brothers, received payments from the Consorzio del SS Sacramento, Crema. He worked in Piacenza from 1644, in Novara from 1648 to 1666 and then at S Antonio, Milan. In 1650 he competed for the office of maestro di cappella of Milan Cathedral, but was passed over in favour of M.A. Grancini. After Grancini’s death in 1669 he competed again, together with, among others, Bagatti and Legrenzi. Grossi and Legrenzi were classified as the best; after a new poll Grossi was elected on 28 November 1669 with an annual stipend of 1500 lire, which was increased to 1800 on 11 December 1670. He kept this post until his death. From autograph annotations on some compositions (in I-Mcap) we know that his father, Domenico, was a ‘basso ecclesiastico’ and his brother Giovanni Battista organist at Fontanella in northern Italy.
Grossi was a prolific composer of sacred music. The poetic texts he set are mostly Latin (only some canzoni spirituali are in Italian). Although he had a mastery of polyphonic technique (he often wrote for four or five choirs), he preferred writing for a small number of voices, often in the form of the sacred dialogue. His solo motets, some ‘con eco’, are really spiritual cantatas. His style is unoriginal but agreeably melodic and sometimes pathetic; in his monodic pieces it tends towards arioso.
Messa, et salmi bizarri, con le letanie della Beata Vergine, 4vv, et l’hinno Ave maris stella, 6vv, bc (org), op.1 (1640)
Sacri concenti, 2–4vv, con una messa, 5vv, bc, op.3 (1653)
Orfeo pellegrino ne sacri cantici, 2–4vv, et alcuni, 1, 2vv, 2 vn, bc (org), op.4 (1659)
Celeste tesoro: composto in musica di messe, 5, 8vv, bc (org), con sinfonia, e senza, e motetti, Te Deum, e letanie della SS Vergine Maria, op.5 (1664)
Il terzo libro de concerti ecclesiastici, 2–4vv, bc (org), e d’alcuni con sinfonie, op.7 (1670)
Terzo libro di motetti ecclesiastici, 1v, bc, et una Salve Regina con sinfonia, op.8 (1674)
Libro primo de Magnificat et Pater noster, 4–6vv, bc, per capella secondo il ritto ambrosiano, op.9 (1675)
Quarto libro de concerti ecclesiastici, 2–4vv, bc (org), op.10 (1677)
6 masses, 4vv (n.d.) [title-page missing]
More than 500 sacred works, mostly autograph, I-Mcap:
31 masses, 12 Credo, 4–16vv, 12 Gloria, 5–18vv, 31 Magnificat, litanies, Laudate Dominum, Laudate pueri, Pater noster, 6 psalm collections, 11 motet collections, Concerti a diverse voci, Opera volgare spirituale, 4vv, etc
Other sacred vocal music, incl. Ave suavis delectio, 4vv;
Jubilet aether Ashrani, 2vv, 2 vn;
O sanctissime Jesu, 2vv, 2 vn;
Venite advenae, 4vv: S-Uu
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Arcangelo Lori (Roma, 2 de gener de 1615 - Roma, 16 de gener de 1679) va ser un organista i compositor italià, actiu i molt conegut a Roma.
Arcangelo Lori (1615-1679) - Toccata del Sig. Arcangelo
He spent the whole of his known career in Rome, where he was a leading lutenist in the mid-17th century. He is first heard of, however, as an organist: it was he whom Luigi Rossi succeeded as organist of S Luigi dei Francesi on 1 April 1633. Lori maintained connections with this church, for, at least from 1649 to 1662 and again from 1665 until he was removed in 1667, he participated as a lutenist in the patronal festivals there (on 25 August). From 1655 to 1678 he was second lutenist in Lenten Oratorios performed by the Arciconfraternita del Ss Crocifisso at S Marcello. From 1651, at the latest, he was a member of the Congregazione di S Cecilia; between 1653 and 1657 and in 1664 he was guardiano of its various sections, on 19 November 1664 he was elected one of three almoners, and on 9 July 1665 he was appointed to a commission set up to revise the congregation’s statutes. A series of letters written by Lori in 1665 to the Venetian opera impresario Marco Faustini, and to Faustini’s friend Giovanni Antonio Leffio, reveal that the musician was active as a voice teacher, preparing a number of students for the operatic stage. His few surviving pieces show that he was a competent composer. Most are arias and cantatas for solo voice and continuo (in I-Rc and the Biblioteca Pamphiliana di S Agnese in Agone, Rome); one cantata, Dimmi, Amor (?c1645), whose source is now unknown, is published (ed. F.-A. Gevaert, Les gloires de l’Italie, Paris, 1868, i, and, attributed to ‘Giovanni Francesco del Leuto’, ed. A. Parisotti, Arie antiche, ii, Milan, 1890/R). There is also a motet, Venite, gentes, for soprano, violin, lute and continuo (in I-Bc).
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Alberigo Malvezzi (Firenze, 24 de maig de 1554 - Firenze, 29 de desembre de 1615) va ser un organista i compositor italià, actiu principalment a Florència.
He was the brother of Cristofano Malvezzi, who mentioned him among the musicians who performed in the Florentine intermedi of 1589. Alberigo was organist of S Lorenzo, Florence, from about 1570 until his death, and in 1590 was also appointed organist of Florence Cathedral. He was granted Florentine citizenship on 28 April 1604. The title-page of his Primo libro de madrigali a cinque voci (RISM/159120) describes him as ‘organista della chiesa del serenissimo Gran Duca di Toscana’. The work contains a six-voice setting of Godi flora gentil, celebrating the birth of the grand duke’s son, and the only two known pieces by his father Nicolao Malvezzi.
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Johann Spiridion Nenning (Neustadt, 16 de juliol de 1615 - Bamberg, 21 de novembre de 1685) va ser un compositor i organista alemany.
He entered the Carmelite order at the age of 17 and in 1643 was organist of the Seminario Germanico, Rome. He then spent a few years in Belgium, returning to Germany in 1650. In 1658 he was vicar of the convent at Neustadt an der Saale. In 1660 he was a preacher and ‘adiutor musicorum’ in Prague and in 1664 was transferred to Bamberg. He carried out duties for his order at Fährbrück, near Würzburg, in 1667 and then at Obergriesheim, near Heilbronn, before returning to the monastery at Bamberg in 1670. In his Nova instructio he stated that he had received his musical education from Abbot Francesco of Spezia. His Musica romana is a product of this Italian influence; it is a collective volume including 13 works by Carissimi, Francesco Foggia and Bonifatio Gratiani and a Salve regina of his own. His masses of 1668 are in the concertato style. The Nova instructio pro pulsandis organis, spinettis, manuchordiis (vols.i and ii, Bamberg, 1669–71; vol.iv, Gerbstedt, 1675) is a manual offering important evidence about performing and composing techniques in the second half of the 17th century.
Musica romana, 3vv, 2 vn ad lib, 1665
Musica theo-liturgica … complectens 4 missas, 5vv, 2 vn ad lib (Würzburg, 1668)
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Melchior Vulpius (Wasungen, c.1570 - Weimar, 7 d'agost de 1615) va ser un compositor alemany i un dels més importants escriptors d'himnes luterans del seu temps.
Melchior Vulpius (c.1570-1615) - Ein feste Burg ist unser Gott
Together with one of his brothers, Vulpius latinized the family name, Fuchs, but still occasionally used that form. He was the son of poor parents and as a result was only able to attend the small Lateinschule in his home town, where he was a pupil of Johann Steuerlein. In 1588 he was at Speyer as a fellow pupil of Christoph Thomas Walliser, whom he instructed in the elements of musica poetica, and he was there again in 1589. In that year he was appointed, on the recommendation of the Wasungen preacher A. Scherdiger and in spite of his not having attended a university, to a position as a supernumerary teacher of Latin at the Lateinschule at nearby Schleusingen, the former residence of the counts of Henneberg (who had become extinct in 1583). He was generally referred to, however, as ‘composer’, for he had already distinguished himself as such at Wasungen in the sphere of church music. His salary at Schleusingen was at first extremely modest, and it rose only slightly even after he secured a permanent appointment in the lowest grade of teacher in 1592 and had to assume the duties of Kantor. He was required to write music for the Lutheran service, chiefly motets and hymns. While at Schleusingen he no doubt became acquainted with the three Passions of Jacob Meiland, which survive in manuscripts copied there between 1567 and 1570, for his own St Matthew Passion is influenced by them (see below). From 1596 until his death he was municipal Kantor and a teacher at the Lateinschule at Weimar.
Kirchen Geseng und geistliche Lieder … mehrerntheils auff zwey oder dreyerley art … contrapunctsweise, 4, 5vv (Leipzig, 1604 [incl. 2 melodies attrib. Vulpius]; enlarged 2/1609 as Ein schön geistlich Gesangbuch [incl. 31 melodies attrib. Vulpius])
Erster Theil deutscher sonntäglicher evangelischer Sprüche von Advent biss auff Trinitatis, 4vv (Jena, 1612, repr. 1615, 1619); ed. H. Nitsche and H. Stern (Stuttgart, 1960)
Das Leiden unnd Sterben … Jesu Christi, aus dem heiligen Evangelisten Matthäo, 4 and more vv (Erfurt, 1613); ed. K. Ziebler (Kassel, 1934)
Der ander Theil deutscher sonn-täglicher evangelischer Sprüche von Trinitatis biss auff Advent, 4 and more vv (Jena, 1614, repr. 1617, 1622); ed. H. Nitsche and H. Stern (Stuttgart, 1960)
Complementum unnd dritter Theil fest- und aposteltägiger evangelischer Sprüche, durchs gantze Jahr … nach madrigalischer Manier … componieret und gesetzet, 4–8vv (Erfurt, 1621, repr. 1625)
[Motets] (Erfurt, 1595 or earlier), lost (cited in MGG1)
Pars prima cantionum sacrarum, 6–8 and more vv (Jena, 1602, 2/1610); ed. M. Ehrhorn (Kassel, 1968)
Pars secunda selectissimarum cantionum sacrarum, 6–8 and more vv (Jena, 1603, repr. 1610–11)
Canticum Beatissimae Virginis Mariae, 4–6 and more vv (Jena, 1605)
Opusculum novum selectissimarum cantionum sacrarum, 4–8vv (Erfurt, 1610)
Felicibus connubiis … Schärfii, 8vv (Jena, 1608), lost (cited in EitnerQ)
Coniugii dum sacra paras: auspicatissimis nuptiis … Joh. Poppi, civis Vinariensis … et Mariae … Langii, 6vv (Jena, 1609)
Epigramma quo nuptiis Dn. Joan. Fliegelii … per musicos numeros … congratulabatur Joh. Gebawer, 7vv (Liegnitz, 1609), lost [contrafactum of work from Pars prima cantionum sacrarum, see EitnerQ]
Nuptiis Ebaldo Langianis, 12vv (Jena, 1614), inc.
Christus der ist mein Leben, 4vv, Christliche Leich- Trost- und Ehren-Predigt … bey Begräbnüs des … Herrn Georgii Erffurdii Franckenhusani (Jena, 1618)
Sacred vocal works in 1617, 1618, 1621, 1622, 1627, 1641, D-B, Bds, Dlb, Lr, Us, Z, H-Bn, PL-WRu, S-Uu
Musicae compendium latino germanicum M. Heinrici Fabri … aliquantulum variatum ac dispositum, cum facili brevique de modis tractatu (Jena, 1608, 8/1665)
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