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Pietro Bembo, O.S.I.H. was an Italian scholar, poet, and literary theorist who also was a member of the Knights Hospitaller, and a cardinal of the Roman Catholic Church. As an intellectual of the Italian Renaissance, Pietro Bembo greatly influenced the development of the Tuscan dialect as a literary language for poetry and prose, which, by later codification into a standard language, became the modern Italian language. In the 16th century, Bembo's poetry, essays and books proved basic to reviving interest in the literary works of Petrarch. In the field of music, Bembo's literary writing techniques helped composers develop the techniques of musical composition that made the madrigal the most important secular music of 16th-century Italy.
Luzzasco Luzzaschi was an Italian composer, organist, and teacher of the late Renaissance. He was born and died in Ferrara, and despite evidence of travels to Rome it is assumed that Luzzaschi spent the majority of his life in his native city. He was a skilled representative of the late Italian madrigal style, along with Palestrina, Wert, Monte, Lassus, Marenzio, Gesualdo and others.
Alessandro Striggio was an Italian composer, instrumentalist and diplomat of the Renaissance. He composed numerous madrigals as well as dramatic music, and by combining the two, became the inventor of madrigal comedy. His son, also named Alessandro Striggio, wrote the libretto for Monteverdi's Orfeo.
Alfonso Fontanelli was an Italian composer, writer, diplomat, courtier, and nobleman of the late Renaissance. He was one of the leading figures in the musically progressive Ferrara school in the late 16th century, and one of the earliest composers in the seconda pratica style at the transition to the Baroque era.
The concerto delle donne was a group of professional female singers in the late Italian Renaissance, primarily in the court of Ferrara, Italy. Renowned for their technical and artistic virtuosity, the ensemble was founded by Alfonso II, Duke of Ferrara, in 1580 and was active until the court was dissolved in 1597. Giacomo Vincenti, a music publisher, praised the women as "virtuose giovani", echoing the sentiments of contemporaneous diarists and commentators.
Lucrezia Bendidio was an Italian singer and noblewoman from Ferrara. She started as a lady-in-waiting for Leonora d'Este in 1561. Many poets wrote of her great skill as a singer, including Torquato Tasso and Giovanni Battista Pigna. She was in fact an early love of Tasso's in 1561, as well as of Cardinal Luigi d'Este and Pigna. Tasso's character "Licori" in his play Aminta was based on her. She was part of the famous Concerto delle donne during its early period. She was later married to Count Baldassare Macchiavelli of Ferrara. With her sister Isabella Bendidio she sang for private court evenings as part of the musica secreta of the court. Another sister, Taddea, married Giovanni Battista Guarini; their daughter Anna Guarini was a singer in the concerto delle donne during the second period.
Giulio Cesare Brancaccio (1515–1586) was a courtier, cavalier, actor, writer, and singer in a number of northern Italian courts throughout the sixteenth century, most notably the court at Ferrara.
Vittorio Baldini was an Italian printer and engraver. He started publishing in Venice, where he was born, and later moved to Ferrara, joining the court of Duke Alfonso II d'Este in mid-to-late 1582, where he was the official ducal music printer. He may have met the duke through Giulio Cesare Brancaccio, whose translation and commentary on Julius Caesar's Commentarii de Bello Gallico Baldini printed in early 1582.
Innocentio Alberti was an Italian Renaissance instrumentalist and composer. He came from a family of musicians from Treviso. His father was a trumpeter and his brother and uncle were also musicians. He was brought to Padua to be a music tutor in the Accademia degli Elevati under Francesco Portinaro in 1557. When the Accademia was dissolved in 1560 Alberti went to work for the Este court in Ferrara, where he remained on the court rolls until the court's dissolution in 1598. He was listed as "Innocentio del Cornetto" under the list of instrumentalists, suggesting that he played the cornett for the court.
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Maistre Jhan was a French composer of the Renaissance, active for most of his career in Ferrara, Italy. An enigmatic figure, of whom little biographical information has yet emerged, he was one of the earliest composers of madrigals as well as a prominent musician at the Este court in the early 16th century.
Giulio Fiesco was an Italian composer of the Renaissance, active in Ferrara, known for his madrigals. He was the first composer to set the poetry of Giovanni Battista Guarini, the most often-set poet by madrigalists of the late 16th century, and was an important court composer for the rich musical establishment of the Este family in Ferrara.
Giovanni Priuli was an Italian composer and organist of the late Renaissance and early Baroque periods. A late member of the Venetian School, and a contemporary of Claudio Monteverdi, he was a prominent musician in Venice in the first decade of the 17th century, departing after the death of his associate Giovanni Gabrieli and ending his career at the Habsburg court in Austria. His music straddled the dividing-line between Renaissance and Baroque idioms.
Benedetto Pallavicino was an Italian composer and organist of the late Renaissance. A prolific composer of madrigals, he was resident at the Gonzaga court of Mantua in the 1590s, where he was a close associate of Giaches de Wert, and a rival of his younger contemporary Claudio Monteverdi.
Ercole Pasquini was an Italian composer and organist.
Alfonso dalla Viola was an Italian composer and instrumentalist of the Renaissance. He was the principal composer at the Este court in Ferrara for about four decades in the middle sixteenth century, and was renowned as a player of several instruments, including the viola d'arco. While much of his incidental music, composed for court entertainments, is lost, several books of his madrigals have survived. His position as court composer in Ferrara paralleled that of Francesco Corteccia in the competing city of Florence.
Giacomo Fogliano was an Italian composer, organist, harpsichordist, and music teacher of the Renaissance, active mainly in Modena in northern Italy. He was a composer of frottole, the popular vocal form ancestral to the madrigal, and later in his career he also wrote madrigals themselves. He also wrote some sacred music and a few instrumental compositions.
Domenico Maria Ferrabosco was an Italian composer and singer of the Renaissance, and the eldest musician in a large prominent family from Bologna. He spent his career both in Bologna and Rome. His surviving music is all vocal, consisting of madrigals and motets, although he is principally known for his madrigals, which musicologist Alfred Einstein compared favorably to those of his renowned contemporary Cipriano de Rore.
Lewis H. Lockwood is an American musicologist whose main fields are the music of the Italian Renaissance and the life and work of Ludwig van Beethoven. Joseph Kerman described him as "a leading musical scholar of the postwar generation, and the leading American authority on Beethoven".
Philip Brett was a British-born American musicologist, musician and conductor. He was particularly known for his scholarly studies on Benjamin Britten and William Byrd and for his contributions to the development of lesbian and gay musicology. At the time of his death, he was Distinguished Professor of Musicology at the University of California, Los Angeles.
References
- ↑ "Anthony Newcomb, noted musicologist, dies at 77". Music. November 20, 2018.
- ↑ Paula Morgan. "Anthony Newcomb", Grove Music Online , ed. L. Macy (accessed August 11, 2006), grovemusic.com (subscription access)
