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Salvador Bacarisse Chinoria was a Spanish composer.
Stile antico, is a term describing a manner of musical composition from the sixteenth century onwards that was historically conscious, as opposed to stile moderno, which adhered to more modern trends. Prima pratica refers to early Baroque music which looks more to the style of Palestrina, or the style codified by Gioseffo Zarlino, than to more "modern" styles. It is contrasted with seconda pratica music. These terms are synonymous to stile antico and stile moderno, respectively.
Giacomo Vincenti was an Italian bookseller and music printer from Venice. He also spelled his name Vincenci and Vincenzi. He started printing in 1583. His partner was Ricciardo Amadino, and between 1583 and 1586 they printed about twenty books a year, mostly editions of music. Although their official partnership ended in 1586 they continued to use the same typefaces, collaborated on some editions, and held joint copyrights in others. In 1587, Vincenti published Luca Marenzio's Fourth Book of Madrigals, with the composer's dedication.
Laura Peverara or Peperara was an Italian virtuoso singer who was also a harpist and dancer; born and raised in Mantua. Her father, Vincenzo, was a merchant, an intellectual who tutored princes, leading to Laura being brought up in courtly society. In the 1570s she was singing in Verona.
Ippolito Fiorini was a composer and lutenist, and the maestro di capella at the court of Alfonso II d'Este in Ferrara during its entire existence (1568–1597). As maestro di capella his role was largely an administrative one, however in addition to being involved with the music of the chapel he also was involved with the concerto delle donne. He also played the archlute. He wrote music for the duchesses' balletti to the text of Giovanni Battista Guarini, although none is extant, and probably also wrote for the concerto delle donne. He was in charge of the Accademia della Morte in Ferrara from 1594 to 1597.
Actéon (Actaeon) is a Pastorale in the form of a miniature tragédie en musique in six scenes by Marc-Antoine Charpentier, Opus H.481 & H.481a, based on a Greek myth.
Giovanni Battista Conforti was an Italian composer, born either in Bologna or Parma. In the dedication to his Primo libro de ricercari a quattro voci he says that he "owes much" to Cardinal Niccolò Caetani of Sermoneta, for whom he had probably worked in Rome.
Viola bastarda refers to a highly virtuosic style of composition or extemporaneous performance, as well as to the altered viols created to maximize players' ability to play in this style. In the viola bastarda style, a polyphonic composition is reduced to a single line, while maintaining the same range as the original, and adding divisions, improvisations, and new counterpoint. The style flourished in Italy in the late 16th and early 17th centuries. Francesco Rognoni, a prominent composer of divisions, stated that although works using the bastarda techniques could be played by a number of instruments, including organ, lute, and harp, the "queen" of bastarda technique was the viol because of its agility and large range.
Francesco Rognoni [of] Taeggio was an Italian composer. He was the son of Riccardo Rognoni and brother of Giovanni Domenico Rognoni Taeggio, both prominent Italian composers and musicians. He was active in Milan, but had connections with royalty from as far abroad as Archduke Charles of Austria, and King Sigismund III Vasa of Poland. Rognoni was a Papal Knight and hereditary Palatine Count. He published both collections of his works and treatises. His most famous work was Selva de varii passaggi, on both vocal and violin technique, and on how to ornament.
Ricciardo Amadino was a Venetian printer, specialising in music.
Dame Maroie or Maroie de Dregnau/Dergnau de Lille was a trouvère from Arras, in Artois, France. She was identified as the Maroie de Dregnau de Lille from whom a single strophe of a single chanson remains, "Mout m'abelist quant je voi revenir", along with its music. She debates Dame Margot in a jeu parti, or debate song, "Je vous pri, dame Maroie." This song survives in two manuscripts, which each give separate and unrelated melodies. Dame Maroie is the addressee in a grand chant by Andrieu Contredit d'Arras.
Chest of viols is a term which was used primarily in the 16th and 17th centuries in England for either a consort of viols, or the specialized cabinet made to contain a small consort of viols, usually containing six: two treble, two tenor, and two bass viols, or alternately two treble, three tenor, and one bass viol. According to Thomas Mace, "a good chest of viols" contained "six in number, 2 Basses, 2 Tenors, 2 Trebles, all truly proportionally suited."
Lucia Quinciani was an Italian composer. She is the earliest known published female composer of monody. She is known only by one composition, a setting of "Udite lagrimosi spirti d’Averno, udite", from Giovanni Battista Guarini's Il pastor fido, found in Marcantonio Negri's Affetti amorosi second volume (1611), in which Negri refers to Quinciani as his student. She may have worked in Venice or Verona.
Claudia Francesca Rusca was an Italian composer, singer, and organist.
Orpheus Britannicus is a collection of songs by Henry Purcell, published posthumously in London in two volumes, the first in 1698 and the second in 1702. In the preface to the first volume, Henry Playford, the printer of the volume and the son of John Playford, the famous printer and publisher of music books, extolls Purcell's skill as setter of English texts.
Air à boire is a French term which was used between the mid-17th and mid-18th centuries for a "drinking song". These were generally strophic, syllabic songs to light texts. Its predecessor was chanson pour boire, the difference being mainly that chansons pour boire were for one voice with lute accompaniment, whereas airs à boire are generally for more than one voice.
The Académie de Poésie et de Musique, later renamed the Académie du Palais, was the first Academy in France. It was founded in 1570 under the auspices of Charles IX of France by the poet Jean-Antoine de Baïf and the musician Joachim Thibault de Courville.
Francesco Cellavenia was an Italian composer of the Renaissance, active in Casale Monferrato.
Gioseppe Caimo was an Italian composer and organist of the Renaissance, mainly active in Milan. He was a prolific composer of madrigals and other secular vocal music, and was one of the most prominent musicians in Milan in the 1570s and early 1580s.
Girolamo Conversi was an Italian composer of the late Renaissance. His music, which was popular from the 1570s through the 1590s, was noted for its combination of the light canzone alla napolitana with the literary and musical sophistication of the madrigal. He appears to have written only secular vocal music.
References
- Thomas W. Bridges. "Paola Massarenghi", Grove Music Online , ed. L. Macy (accessed October 22, 2006), grovemusic.com (subscription access).
- Thomas W. Bridges, "Paola Massarenghi" The Norton/Grove Dictionary of Women Composers. Edited by Julie Anne Sadie and Rhian Samuel. W.W. Norton and Company, New York, 1995. ISBN 0-393-03487-9
- Iain Fenlon. "Arcangelo Gherardini", Grove Music Online , ed. L. Macy (accessed October 22, 2006), grovemusic.com (subscription access).
