Composers CH 13-17

Lodovico Viadana

(1560-1627) Composer who specialized in the small vocal concerto for church music. Published Cento concerti ecclesiastici (One Hundred Church Concertos), the first volume of sacred vocal music printed with basso continuo.

Girolamo Frescobaldi

(1583-1643) leading composer of toccatas in the 17th century. Was organist at St. Peter's in Rome. Wrote Toccata no. 3. Also wrote organ masses. Later became organist to the Grand Duke of Tuscany in Florence. Wrote Fiori Musicali.

Heinrich Schutz

(1585) German musician who applied Italian style to church music. Studied under Gabrieli. Chapel master for the elector's court in Dresden. Wrote Psalmen Davids, Cantiones sacrae (Sacred Songs) and Symphonie sacrae (Sacred Symphonies), and Saul, was verfolgst du mich. Also composed the first first German opera. Works featured use of musical figures to convey the meaning of the text; also composed historiae and Passions.

Biagio Marini

(1594-1663) composed one the earliest examples of sonatas for solo violin and continuo: Sonata IV per il violino per sonar con due corde. Served for a time as violinist at St. Mark's under Monteverdi.

Giacomo Carissimi

(1605-1674) Composed Jephte which exemplifies the midcentury oratorio and features recitative and stile concitato.

Hidalgo

(1614-1685) collaborated with Spanish dramatist on two operas that inaugurated a distinctively Spanish tradition. Was for Spain what Lully was for France.

Johann Jacob Froberger

(1616-1667) Frescobaldi's most famous student. Organist at the imperial court at Vienna. His toccatas alternate improvisatory passages with sections in imitative counterpoint. Later generations followed his example by merging toccatas and fugue more completely.

Jean-Baptiste Lully

(1632-1687) Louis XIV appointed him court-composer of instrumental music and director of the Petit Violons, later appointed Superintendent of Music for the King's Chamber. Hit his foot with a staff while conducting and developed fatal gangrene from the injury. Developed the unique style featured in French opera. Famous for his overtures. Wrote the opera Armide.

Marc-Antoine Charpentier

(1634-1704) a pupil of Carissimi. Used French-style embellishments and borrowed from the Italian lyric aria style to create highly melodic pieces. Wrote grands motets.

Velasco

(1644-1728) wrote the music for the first opera ever composed in the New World: La purpura de la rosa.

Henry Purcell

(1659-1695) England's leading composer of the 17th century. Best remembered for his dramatic music. Wrote Dido and Aeneas; wrote one of the most moving arias in all opera called "When I am laid in earth."

Elisabeth-Claude Jacquet de la Guerre

(1665-1729) Female composer of the 17th and 18th centuries. Original child prodigy in music. Wrote the first opera written by a French woman (Cephale et Procris).

Giovanni Gabrieli

Italian organist at St. Mark's and composer who represents the bridge from Renaissance to Baroque idioms. A composer that experimented with sound by writing music specifically for performance in St Mark's Basilica. Wrote, In Ecclesiis.

Barbara Strozzi

One o f the most prolific composer of cantatas in the 17th century. she wrote more cantatas than any of her peers. , She wrote, Lagrime mie. Pg. 332

Antonio Cesti

One of the leading venetian opera composers, Monteverdi's successor; styles became increasingly compartmentalized into extended passages of recitative, each leading to a separate, closed aria. The recitative became rapid and not especially melodic. Wrote Orontea. Pg. 326

Claudio Monteverdi

One of the most influential musicians to move music from the Renaissance style to the Baroque style. He wrote 8 books of madrigals In the Baroque (1600+ he wrote several operas) He was a transitional figure from the Renaissance to the Baroque. He wrote, Cruda Amarilli, which is an early example of a madrigal breaking rules of Zarlino's counterpoint for musical reasons.

Barbara Strozzi

Venetian female composer who was the daughter of librettist Giulio Strozzi. Leading composer of cantatas in the late 17th century. Her publications include over one hundred madrigals, arias, cantatas, and motets.