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Canzonetta
In music, a canzonetta (; pl. canzonette, canzonetti or canzonettas) is a popular Italian secular vocal composition that originated around 1560. Earlier versions were somewhat like a madrigal but lighter in style—but by the 18th century, especially as it moved outside of Italy, the term came to mean a song for voice and accompaniment, usually in a light secular style. Origins in Italy In its earliest form, the canzonetta was closely related to a popular Neapolitan form, the villanella. The songs were always secular, and generally involved pastoral, irreverent, or erotic subjects. The rhyme and stanza schemes of the poems varied but always included a final "punch line." Typically the early canzonetta was for three unaccompanied voices, moved quickly, and shunned contrapuntal complexity, though it often involved animated cross-rhythms. It was fun to sing, hugely popular, and quickly caught on throughout Italy, paralleling the madrigal, with which it later began to interact ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Felice Anerio
Felice Anerio (26 or 27 September 1614) was an Italian composer of the late Renaissance and early Baroque eras, and a member of the Roman School of composers. He was the older brother of another important, and somewhat more progressive composer of the same period, Giovanni Francesco Anerio. Life Anerio was born in Rome and lived his entire life there. He sang as a boy soprano at the Julian Chapel (the Cappella Giulia) from 1568 until 1577 (by which time he was an alto) and then he sang at another church until 1580. Around this time, he began to compose, especially madrigals; this was one of the few periods in his life during which he wrote secular music. Likely he was influenced by Luca Marenzio, who was hugely popular at the time and who was in Rome at the same time Anerio began composing. By 1584, Anerio had been appointed '' maestro di cappella'' at the Collegio degli Inglesi; he also seems to have been the choirmaster at another society of Rome's leading musicians calle ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Marianne Sessi
Marianne Sessi Natorp (died 10 March 1847) was an Italian soprano and canzonetta composer. Her birth date is listed as 1770, 1771, 1773, or 1776 in various sources. She was best known as a member of the musical Sessi dynasty and a renowned operatic soprano who performed and composed as Marianne or Marianna Sessi. She toured internationally throughout Europe, and was awarded a gold medal by the Academy of Fine Arts in Florence. Life Sessi was born in Rome to Franziska Lepri and Giovanni Sessi, who were both singers, as were Sessi's four younger sisters Imperatrice, Anna-Maria, Victoria, and Carolina. Sessi studied voice with her father and debuted at the Italian Opera in Vienna during the 1792–93 season. She performed at the Teatro La Fenice opening on 16 May 1792 in Venice, and then sang at court theatre in Vienna in 1793. In 1794, she married Franz Joseph Edler von Natorp, who became a baron in 1801. She stopped performing in 1796, but returned to the stage in 1805 after the co ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Villanella
In music, a villanella (; plural villanelle) is a form of light Neapolitan secular vocal music which originated in the Kingdom of Naples just before the middle of the 16th century. It first appeared in Naples, and influenced the later canzonetta, and from there also influenced the madrigal. The subject matter is generally rustic, comic, and often satirical; frequently the mannerisms of art music, such as the madrigal, are a subject of parody. The rhyme scheme of the verse in the earlier Neapolitan forms of the villanelle is usually , where "R" is a refrain repeated exactly. The villanelle became one of the most popular forms of song in Italy around mid-century. The music of the early villanella (known as the canzone villanesca) is invariably for three unaccompanied voices. The first composers of villanelle were the Neapolitans Giovanni Domenico da Nola and Giovan Tomaso di Maio; later composers, no longer from Naples, included Adrian Willaert, Luca Marenzio, Adriano Banchie ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Madrigal (music)
A madrigal is a form of secular vocal music most typical of the Renaissance music, Renaissance (15th–16th centuries) and early Baroque music, Baroque (1580–1650) periods, although revisited by some later European composers. The Polyphony, polyphonic madrigal is Accompaniment, unaccompanied, and the number of voices varies from two to eight, but the form usually features three to six voices, whilst the Metre (music), metre of the madrigal varies between two or three tercets, followed by one or two couplets. Unlike verse-repeating strophic forms sung to the same music, most madrigals are through-composed, featuring different music for each stanza of lyrics, whereby the composer expresses the emotions contained in each line and in single words of the poem being sung. Madrigals written by Italianized Franco–Flemish composers in the 1520s in music, 1520s partly originated from the three-to-four voice frottola (1470–1530); partly from composers' renewed interest in poetry writt ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Giovanni Maria Nanino
Giovanni Maria Nanino (also Nanini; 1543 or 1544 – 11 March 1607) was an Italian composer and teacher of the late Renaissance. He was a member of the Roman School of composers, and was the most influential music teacher in Rome in the late 16th century. He was the older brother of composer Giovanni Bernardino Nanino. Life Nanino was born in Tivoli, and served as a boy soprano in the cathedral at Viterbo. In the 1560s he probably studied with Palestrina at San Luigi de' Francesi in Rome; at any rate, he became ''maestro di cappella'' there after Palestrina left. In 1577 he joined the papal choir as a tenor, and remained in the choir for the rest of his life, occasionally taking the rotating post of ''maestro di cappella''. During the 1590s he was renowned as a teacher; he and his brother established what is thought to be the first Italian-run public music school in Rome and many future composers studied with him and sang in his choirs, including Felice Anerio, Antonio Bru ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Giovanni Artusi
Giovanni Maria Artusi (c. 154018 August 1613) was an Italian music theory, music theorist, composer, and writer. Artusi fiercely condemned the new musical innovations that defined the early Baroque music, Baroque style developing around 1600 in his treatise ''L'Artusi, overo Delle imperfettioni della moderna musica'' [Artusi, or On the Imperfections of Modern Music]. He was also a scholar and cleric at the Congregation Santissimo Salvatore, Bologna, and remained throughout his life devoted to his teacher Gioseffo Zarlino (the principal music theorist of the late sixteenth century). When Vincenzo Galilei first attacked Zarlino in the ''Dialogo'' of 1581, it provoked Artusi to defend his teacher and the style he represented. In 1600 and 1603, Artusi attacked the "crudities" and "license" shown in the works of a composer he initially refused to name (it was Claudio Monteverdi). Monteverdi replied in the introduction to his fifth book of madrigals (1605) with his discussion of the div ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Orazio Vecchi
Orazio Vecchi (6 December 1550 (baptized) in Modena – 19 February 1605) was an Italian composer of the late Renaissance music, Renaissance. He is most famous for his madrigal comedy, madrigal comedies, particularly ''L'Amfiparnaso''. Life He was born in Modena, and studied with Salvatore Essenga, a Servite friar there. In addition he prepared for holy orders with early education at the Benedictine monastery, and took holy orders sometime before 1577. By the end of the 1570s he was well-connected with the composers of the Venetian School (music), Venetian school (for example Claudio Merulo and Giovanni Gabrieli) since he collaborated with them in writing a sestina for a ducal marriage. During this period he accompanied Count Baldassare Rangoni on his travels, going to Bergamo and Brescia. He was ''maestro di cappella'' (director of music) at the Salò cathedral between 1581 and 1584. Following this, he was the choirmaster at the cathedral of Reggio Emilia, until 1 ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Pietro Cerone
Pietro Cerone (1566–1625) was an Italian music theorist, singer and priest of the late Renaissance. He is most famous for an enormous music treatise he wrote in 1613, which is useful in the studying compositional practices of the 16th century. Life Cerone was born in Bergamo. While Italian, he spent most of his life in Spanish-dominated Naples, Sardinia, and later in Spain: he did most of his writing in Spanish. He was unusual in being an Italian musician in Spain; far more often in the 16th century, Spanish musicians went to Italy, as in the case of Victoria. In 1603 he returned to Naples, where he was a priest and singer until his death. It was in Naples that he wrote his two most famous treatises. Writings The first of these, in Italian, was ''Le regole più necessarie per l'introduzione del canto fermo'', which he published in 1609. It was a didactic and practical work on singing plainsong, which he probably used in his work at the Neapolitan church of Ss Annunziata ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Adriano Banchieri
Adriano Banchieri ( Bologna, 3 September 1568 – Bologna, 1634) was an Italian composer, music theorist, organist and poet of the late Renaissance and early Baroque eras. He founded the Accademia dei Floridi in Bologna. Biography He was born and died in Bologna (then in the Papal States). In 1587 he became a monk of the Benedictine order, taking his vows in 1590, and changing his name to Adriano (from Tommaso). One of his teachers at the monastery was Gioseffo Guami, who had a strong influence on his style. Like Orazio Vecchi he was interested in converting the madrigal to dramatic purposes. Specifically, he was one of the developers of a form called " madrigal comedy" — unstaged but dramatic collections of madrigals which, when sung consecutively, told a story. Formerly, madrigal comedy was considered to be one of the important precursors to opera, but most music scholars now see it as a separate development, part of a general interest in Italy at the time ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Claudio Monteverdi
Claudio Giovanni Antonio Monteverdi (baptized 15 May 1567 – 29 November 1643) was an Italian composer, choirmaster and string instrument, string player. A composer of both Secular music, secular and Church music, sacred music, and a pioneer in the Origins of opera, development of opera, he is considered a crucial Transition from Renaissance to Baroque in instrumental music, transitional figure between the Renaissance music, Renaissance and Baroque music, Baroque periods of music history. Born in Cremona, where he undertook his first musical studies and compositions, Monteverdi developed his career first at the court of Mantua () and then until his death in the Republic of Venice where he was ''maestro di cappella'' at the basilica of St Mark's Basilica, San Marco. His surviving letters give insight into the life of a professional musician in Italy of the period, including problems of income, patronage and politics. Much of List of compositions by Claudio Monteverdi, Monteve ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Hans Leo Hassler
Hans Leo Hassler (in German, Hans Leo Haßler) (baptised 26 October 1564 – 8 June 1612) was a German composer and organist of the late Renaissance and early Baroque eras, elder brother of lesser known composer Jakob Hassler. He was born in Nürnberg and died in Frankfurt. Biography Hassler was born in Nürnberg and baptised on 26 October 1564, receiving his first instruction in music from his father, the organist Isaak Hassler. In 1584, Hassler became the first of many German composers of the time who went to Italy to continue their studies; he arrived in Venice during the peak of activity of the Venetian school, the composers who wrote in the resplendent polychoral style, which was soon to become popular outside its native city. Hassler was already familiar with some of this music, as numerous prints had circulated in Germany due to the interest of Leonhard Lechner, who was associated with Orlandus Lassus in Munich. While in Venice, Hassler became friends with Giova ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
