Jeronimo Bassano was an Italian musician in the Republic of Venice who is notable as the patriarch of a family of musicians: five of his sons, Anthony, Alvise, Jasper, John (Giovanni), and Baptista Bassano, moved from Venice to England to serve in the court of King Henry VIII. They performed as a recorder consort. Jacomo Bassano was his only son to keep his primary residence in Venice. Jeronimo Bassano never moved, and he was listed in Venice as a "Maestro of the trumpets and shawms." He is believed to be the maternal grandfather of composer Giovanni Bassano. [1]
Jeronimo was the son of Baptista "Piva" of Bassano del Grappa, a town 35 miles from Venice. Baptista was a musician who played the piva, a small bagpipe. He was the son of Andrea de Crespano, who was from the village of Crespano, about nine miles east of Bassano. Andrea, Baptista, and Jeronimo were all described as musicians and musical instrument makers. [2]
At the beginning of the 16th century, Jeronimo moved from Bassano to Venice, where he was described as "Maestro Hieronimo", a piffero player to the Doge of Venice between 1506 and 1512. [3] The historian A.L. Rowse, in correspondence to The Times in 1973, claimed that the Bassanos were Jewish. [4] Roger Prior claimed in a 1995 book co-authored with Dr. David Lasocki that the family were converted Jews. [5]
But, Giulio M. Ongaro in his "New Documents on the Bassano Family" (1992) in Early Music [6] and Alessio Ruffatti argue that the Bassanos who moved to England might not have been of Jewish origin. [7]
The Ospedale della Pietà was a convent, orphanage, and music school in Venice. Like other Venetian ospedali, the Pietà was first established as a hospice for the needy. A group of Venetian nuns, called the Consorelle di Santa Maria dell’Umiltà, established this charitable institution for orphans and abandoned girls in the fourteenth century.
In music history, the Venetian School was the body and work of composers working in Venice from about 1550 to around 1610, many working in the Venetian polychoral style. The Venetian polychoral compositions of the late sixteenth century were among the most famous musical works in Europe, and their influence on musical practice in other countries was enormous. The innovations introduced by the Venetian school, along with the contemporary development of monody and opera in Florence, together define the end of the musical Renaissance and the beginning of the musical Baroque.
Giovanni Bassano was an Italian composer associated with the Venetian School of composers and a cornettist of the late Renaissance and early Baroque eras. He was a key figure in the development of the instrumental ensemble at the basilica of San Marco di Venezia. His detailed book on instrumental ornamentation has survived. It is a rich resource for research in contemporary performance practice. Bassano was most responsible for the performance of the music of Giovanni Gabrieli, who would emerge as one of the most renowned members of the Venetian School.
Tarquinio Merula was an Italian composer, organist, and violinist of the early Baroque era. Although mainly active in Cremona, stylistically he was a member of the Venetian school. He was one of the most progressive Italian composers of the early 17th century, especially in applying newly developed techniques to sacred music.
Emilia Lanier, néeAemilia Bassano, was an English poet and the first woman in England to assert herself as a professional poet, through her volume Salve Deus Rex Judaeorum. Attempts have been made to equate her with Shakespeare's "Dark Lady".
The Contarini is one of the founding families of Venice and one of the oldest families of the Italian Nobility. In total eight Doges to the Republic of Venice emerged from this family, as well as 44 Procurators of San Marco, numerous ambassadors, diplomats and other notables. Among the ruling families of the republic, they held the most seats in the Great Council of Venice from the period before the Serrata del Maggior Consiglio when Councillors were elected annually to the end of the republic in 1797. The Contarini claimed to be of Roman origin through their patrilineal descendance of the Aurelii Cottae, a branch of the Roman family Aurelia, and traditionally trace their lineage back to Gaius Aurelius Cotta, consul of the Roman Republic in 252 BC and 248 BC.
The bassanello was a Renaissance double reed woodwind instrument which was described in 1619 by Michael Praetorius in his Syntagma Musicum II:
Anthony Bassano was a 16th-century Italian musician.
Events from the year 1613 in art.
Joseph Lupo was an Italian viol player and composer active for 40 years or more at the court of Elizabeth I of England. His brother Peter and their father Ambrose also served as court musicians. Born in Venice to Ambrose and his first wife Lucia, he and his brother first went to Antwerp before moving to England, where Joseph succeeded another Italian, Paul Galliardello, who returned to Venice in May 1563. He married Laura, daughter of Alvise Bassano and granddaughter of the musician Jeronimo Bassano, and played at the funeral of Elizabeth I. His sons Thomas, probably born in London, and Horatio also became court musicians.
Peter Bassano is an English conductor.
Bassano is an Italian surname. Notable people with the surname include:
Mark Anthony Galliardello, probably néAlberti, was a viol player and member of the English Tudor court consort of instruments. Of Italian origin, he settled in London in 1545, remaining in the royal service for the rest of his life. As a conscientious churchwarden who compiled unusually detailed records, he is an important source for scholars of late Tudor church history.
Luigi Fabris was an Italian sculptor and ceramist.
Antonio Foscarini belonged to the Venetian nobility and was Venetian ambassador to Paris and later to London. He was the third son of Nicolò di Alvise of the family branch of San Polo and Maria Barbarigo di Antonio. In 1622 he was sentenced to death for high treason by the Council of Ten and executed.
The Venetian Renaissance had a distinct character compared to the general Italian Renaissance elsewhere. The Republic of Venice was topographically distinct from the rest of the city-states of Renaissance Italy as a result of their geographic location, which isolated the city politically, economically and culturally, allowing the city the leisure to pursue the pleasures of art. The influence of Venetian art did not cease at the end of the Renaissance period. Its practices persisted through the works of art critics and artists proliferating its prominence around Europe to the 19th century.
Robert Henlake or Henlocke was an English maker and tuner of musical instruments who worked for Elizabeth I, James VI and I, and Anne of Denmark.
Sartori is an ancient noble family of Italy. It was founded in 1295 in Vicenza, where they were feudatories attached to the episcopal vassalage. Before 1500, they were admitted to the civic patriciate. The family made their fortune mainly in the logging and timber trade, accumulating a huge financial and land holdings. From the 16th century on, they established their main headquarters in Bassano del Grappa, and launched other branches to other cities in Veneto, Trentino, Austria, and Brazil. The family is very prolific and branched, producing several outstanding members. The different branches of the family held many titles: they were feudal lords in Roana, Foza, Castegnero and Meledo Alto; nobles in Vicenza, Roana, Bassano del Grappa, Belluno and Primiero; patricians in Vicenza, Roana, Asiago, Lusiana, Foza, Asolo, Valstagna, Longarone and Bassano del Grappa. The surname can be spelled as Sartore, Sartor, or Sartorio.
Alvise Sagredo was Venetian aristocrat, ambassador to Turin and Paris, politic and, from 1678 to his death, Patriarch of Venice.