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Giacomo Antonio Perti
Giacomo Antonio Perti (6 June 1661 – 10 April 1756) was an Italian composer of the Baroque era. He was mainly active at Bologna, where he was ''Maestro di Cappella'' for sixty years. He was the teacher of Giuseppe Torelli and Giovanni Battista Martini. Life He was born in Bologna, then part of the Papal States, and began studying music early, learning harpsichord and violin there; later he studied counterpoint. By the age of 17 he had already written a mass, a motet, and a setting of the Magnificat; and in 1678 he wrote his first opera and oratorio. During a stay in Parma, where he studied with Giuseppe Corsi da Celano, he formed his sacred music style; most of his psalm settings of the 1680s and 1690s show the influence of Corsi. Later he went to Venice, most likely for a production of one of his operas. In 1690 he was appointed to the post of ''Maestro di Cappella'' at S Pietro, replacing his uncle Lorenzo Perti. In 1696 he became ''Maestro di Cappella'' in another ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Giuseppe Corsi Da Celano
Giuseppe Corsi Evangelisti (Vangelisti) (1631/1632 in County of Celano – after 10 March 1691 in Ancona or Modena)Galliano Ciliberti - Giovanni Tribuzio: ''«Un buon virtuoso, agitato dalla fortuna, dalla quale sortì vari accidenti». Giuseppe Corsi: un maestro marsicano nel Seicento europeo'', in Galliano Ciliberti - Giovanni Tribuzio (edited by): ''«E nostra guida sia la Stravaganza». Giuseppe Corsi da Celano musicista del Seicento'', Bari, Florestano Edizioni, 2014, pp. 3-58. better known as Gioseppe Corso Celani or Giuseppe Corsi da Celano, was an Italian composer of the Baroque era. He was mainly active at Rome, where he was ''Maestro di cappella''. He was the teacher of Giacomo Antonio Perti and Petronio Franceschini. Biography A student in Rome at the Jesuit fathers under the guidance of Giacomo Carissimi, he was active as an outstanding Maestro in Gallese (Altemps family), Città di Castello (Cattedrale di S. Florido), Naples (Montalto family), Rome (Basili ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Motets
In Western classical music, a motet is mainly a vocal musical composition, of highly diverse form and style, from high medieval music to the present. The motet was one of the pre-eminent polyphonic forms of Renaissance music. According to Margaret Bent, "a piece of music in several parts with words" is as precise a definition of the motet as will serve from the 13th to the late 16th century and beyond.Margaret Bent,The Late-Medieval Motet in ''Companion to Medieval & Renaissance Music'', edited by Tess Knighton and David Fallows, 114–19 (Berkeley, California: University of California Press, 1992): 114. . The late 13th-century theorist Johannes de Grocheo believed that the motet was "not to be celebrated in the presence of common people, because they do not notice its subtlety, nor are they delighted in hearing it, but in the presence of the educated and of those who are seeking out subtleties in the arts". Etymology In the early 20th century, it was generally believed the nam ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Basso Continuo
Basso continuo parts, almost universal in the Baroque era (1600–1750), provided the harmonic structure of the music by supplying a bassline and a chord progression. The phrase is often shortened to continuo, and the instrumentalists playing the continuo part are called the ''continuo group''. Forces The composition of the continuo group is often left to the discretion of the performers (or, for a large performance, the conductor), and practice varied enormously within the Baroque period. At least one instrument capable of playing chords must be included, such as a harpsichord, organ, lute, theorbo, guitar, regal, or harp. In addition, any number of instruments that play in the bass register may be included, such as cello, double bass, bass viol, or bassoon. In modern performances of chamber works, the most common combination is harpsichord and cello for instrumental works and secular vocal works, such as operas, and organ and cello for sacred music. A double bass may b ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Countermelody
In music, a counter-melody (often countermelody) is a sequence of notes, perceived as a melody, written to be played simultaneously with a more prominent lead melody. In other words, it is a secondary melody played in counterpoint with the primary melody. A counter-melody performs a subordinate role, and it is typically heard in a texture consisting of a melody plus accompaniment. In marches, the counter-melody is often given to the trombones or horns. American composer David Wallis Reeves is credited with this innovation in 1876. The more formal term countersubject applies to a secondary or subordinate melodic idea in a fugue. A countermelody differs from a harmony part sung by a backup singer in that whereas the harmony part typically lacks its own independent musical line, a countermelody is a distinct melodic line. See also *Nebenstimme *Parallel harmony In music, parallel harmony, also known as harmonic parallelism, harmonic planing or parallel voice leading, is the pa ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Instrumentation (music)
In music, instrumentation is the particular combination of musical instruments employed in a composition, and the properties of those instruments individually. Instrumentation is sometimes used as a synonym for orchestration. This juxtaposition of the two terms was first made in 1843 by Hector Berlioz in his ''Grand traité d'instrumentation et d'orchestration modernes'', and various attempts have since been made to differentiate them. Instrumentation is a more general term referring to an orchestrator's, composer's or arranger's selection of instruments in varying combinations, or even a choice made by the performers for a particular performance, as opposed to the narrower sense of orchestration, which is the act of scoring for orchestra a work originally written for a solo instrument or smaller group of instruments. Instrumental properties Writing for any instrument requires a composer or arranger to know the instrument's properties, such as: * the instrument's particular timbr ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Luigi Rossi
Luigi Rossi (c. 1597 – 20 February 1653) was an Italian Baroque composer. Born in Torremaggiore, a small town near Foggia, in the ancient kingdom of Naples, at an early age he went to Naples where he studied music with the Franco-Flemish composer Jean de Macque, organist of the Santa Casa dell’Annunziata and ''maestro di cappella'' to the Spanish viceroy. Rossi later entered the service of the Caetani, dukes of Traetta. Life Rossi composed two operas: '' Il palazzo incantato'', which was given at Rome in 1642; and ''Orfeo'', written after he was invited by Cardinal Mazarin in 1646 to go to Paris for that purpose and given its premiere there in 1647. Rossi returned to France in 1648 hoping to write another opera, but no production was possible because the court had sought refuge outside Paris. Rossi returned to Rome by 1650 and never attempted anything more for the stage. A collection of cantatas published in 1646 describes him as musician to Cardinal Antonio Barberin ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Antonio Cesti
Pietro Marc'Antonio Cesti () (baptism 5 August 162314 October 1669), known today primarily as an Italian composer of the Baroque era, was also a singer ( tenor), and organist. He was "the most celebrated Italian musician of his generation". Biography He was born at Arezzo, and studied with various local musicians. In 1637 he joined the Order of Friars Minor, or Franciscans, a Roman Catholic religious group founded by Francis of Assisi. While he was in Volterra he turned more toward secular music, perhaps due to the patronage and influence of the powerful Medici family. Here he also came in contact with Salvator Rosa, who wrote libretti for a number of Cesti's cantatas. By 1650 Cesti's calling as a Franciscan friar and his success as a singer and composer for operas was coming into conflict, and he was officially reprimanded. In 1652 he became a member of the court at Innsbruck of Ferdinand Charles, Archduke of Austria. After holding a post somewhere in Florence as ''maestro d ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Francesco Cavalli
Francesco Cavalli (born Pietro Francesco Caletti-Bruni; 14 February 1602 – 14 January 1676) was a Venetian composer, organist and singer of the early Baroque period. He succeeded his teacher Claudio Monteverdi as the dominant and leading opera composer of the mid 17th-century. A central figure of Venetian musical life, Cavalli wrote more than forty operas, almost all of which premiered in the city's theaters. His best known works include '' Ormindo'' (1644), ''Giasone'' (1649) and '' La Calisto'' (1651). Life Cavalli was born at Crema, then an inland province of the Venetian Republic. He became a singer (boy soprano) at St Mark's Basilica in Venice in 1616, where he had the opportunity to work under the tutorship of Claudio Monteverdi. He became second organist in 1639, first organist in 1665, and in 1668 '' maestro di cappella''. He took the name "Cavalli" from his patron, Venetian nobleman Federico Cavalli. Though he wrote prolifically for the church, he is chiefly rememb ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Emperor Charles VI
Charles VI (german: Karl; la, Carolus; 1 October 1685 – 20 October 1740) was Holy Roman Emperor and ruler of the Austrian Habsburg monarchy from 1711 until his death, succeeding his elder brother, Joseph I. He unsuccessfully claimed the throne of Spain following the death of his relative, Charles II. In 1708, he married Elisabeth Christine of Brunswick-Wolfenbüttel, by whom he had his four children: Leopold Johann (who died in infancy), Maria Theresa (the last direct Habsburg sovereign), Maria Anna (Governess of the Austrian Netherlands), and Maria Amalia (who also died in infancy). Four years before the birth of Maria Theresa, faced with his lack of male heirs, Charles provided for a male-line succession failure with the Pragmatic Sanction of 1713. The Emperor favoured his own daughters over those of his elder brother and predecessor, Joseph I, in the succession, ignoring the decree he had signed during the reign of his father, Leopold I. Charles sought the other Europea ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Emperor Leopold I
Leopold I (Leopold Ignaz Joseph Balthasar Franz Felician; hu, I. Lipót; 9 June 1640 – 5 May 1705) was Holy Roman Emperor, King of Hungary, Croatia, and Bohemia. The second son of Ferdinand III, Holy Roman Emperor, by his first wife, Maria Anna of Spain, Leopold became heir apparent in 1654 by the death of his elder brother Ferdinand IV. Elected in 1658, Leopold ruled the Holy Roman Empire until his death in 1705, becoming the second longest-ruling Habsburg emperor (46 years and 9 months). He was both a composer and considerable patron of music. Leopold's reign is known for conflicts with the Ottoman Empire in the Great Turkish War (1683-1699) and rivalry with Louis XIV, a contemporary and first cousin (on the maternal side; fourth cousin on the paternal side), in the west. After more than a decade of warfare, Leopold emerged victorious in the east thanks to the military talents of Prince Eugene of Savoy. By the Treaty of Karlowitz, Leopold recovered almost all of the Kingdo ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Ferdinando (III) De' Medici
Ferdinando de' Medici (9 August 1663 – 31 October 1713) was the eldest son of Cosimo III de' Medici, Grand Duke of Tuscany, and Marguerite Louise d'Orléans. Ferdinando was heir to the Grand Duchy of Tuscany, with the title Grand Prince, from his father's accession in 1670 until his death in 1713. He is remembered today primarily as a patron of music. An excellent musician himself (sometimes called "the Orpheus of princes"), he attracted top musicians to Florence and thus made it an important musical center. Through his patronage of Bartolomeo Cristofori, Ferdinando made possible the invention of the piano. Life Ferdinando was born in the Palazzo Pitti to Cosimo III de' Medici and his wife Marguerite Louise d'Orléans, a granddaughter of Maria de' Medici. When Ferdinando's parents separated in 1675, his mother (who disdained her husband only slightly more than Florence did) returned to Paris, where she was supposed to be confined to a monastery in Montmartre. Ferdinando becam ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
