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Article

John Bergsagel

revised by Ole Kongsted

[Sistinus, Theodoricus; Malmogiensis, Trudo Haggaei]

(fl 1593–1625). Danish composer and organist. He was appointed organist of Vor Frue Kirke (now the cathedral), Copenhagen, on 23 June 1593 after having ‘pursued and learnt his art during a long period both in Germany and Italy’. He received a number of preferments, such as the free residence formerly set aside for the palace preacher, awarded to him in 1603. He was also on at least two occasions sent on commissions for the king, once to Prague (1600). He published under his latinized name Theodoricus Sistinus a set of secular Cantiones for three voices (Hamburg, 1608; ed. in Dania sonans, ii, 1966), his only known published music. The publication is dedicated to King Christian IV of Denmark, and it may be assumed that it won his approval, for during the period 1609–11 he received payments from the royal treasury in addition to his salary as organist, perhaps for teaching at the court. As early as ...

Article

Robert Strizich

revised by Gary R. Boye

(b Bitonto, nr Bari; d after 1651). Italian composer and guitarist. He is known by four books of pieces for five-course Baroque guitar. They consist mainly of simple battute accompaniments to popular songs and dances of the early 17th century such as the passacaglia, ciaccona, folia, Ruggiero and aria di Fiorenza. The accompaniments are set down in the alphabet system of chord notation (alfabeto) devised by Girolamo Montesardo, in which letters of the alphabet designate fingering positions for various major and minor chords. Each of Abatessa’s books contains instructions concerning the interpretation of the alphabet tablature, the fingering of the chords and the tuning of the guitar; the 1652 book also explains how to tune the guitar with the harp, presumably for the simultaneous playing of continuo parts. The 1627 collection gives instructions regarding the execution of certain kinds of strum such as the trillo and ...

Article

Ian Spink

(b Aberdeenshire, 1653; d ?Cambridge, after 1716). Scottish countertenor, composer and lutenist. The first occurrence of his name in official records is on 1 May 1679, when he was admitted ‘extraordinary’ then ‘in ordinary’ to the Chapel Royal. From the same time he is listed among the musicians of the King’s Private Musick as one of the lutes and voices and also as a violinist, though the latter post was probably a sinecure. Between 1679 and 1688 he received considerable sums of ‘bounty money’ for undisclosed services to the king while travelling abroad. Evelyn recorded (27 January 1682):

After supper came in the famous Trebble, Mr Abel, newly returnd from Italy, & indeed I never heard a more excellent voice, one would have sworne it had been a Womans it was so high, & so well & skillfully manag’d.

He graduated MusB at Cambridge in 1684...

Article

Peter Holman

(bap. ?Watford, Northants., ?Jan 24, 1587; d London, June 29, 1640). English wind player and composer. He was perhaps the Johannes Adson baptized at Watford, Northamptonshire, on 24 Jan 1587, though nothing is known of him for certain before 1604, when he is recorded as a cornett player at the court of Charles III of Lorraine in Nancy. Charles died in 1608, and Adson was back in England by the end of 1613, when he joined the Waits of London. He married Jane Lanerie in about February 1614 and settled in the parish of St Giles Cripplegate. At least two of his sons, Islay (or Islip; bap. 30 May 1615) and Roger (bap. 24 June 1621), became musicians. In November 1633 he became a royal wind musician, and on 18 January 1636 he was paid £4 15s. for a treble cornett and a treble recorder, which presumably were the instruments he played at court. In ...

Article

John Whenham

(b 1623–8; d Bologna, 1699, before 28 Jan). Italian singer, composer and instrument maker. He was an Augustinian monk who was employed from about 1649 as a soprano castrato at the Este court at Modena. On 13 November 1660 he was appointed to the choir of S Petronio, Bologna, with a stipend of 50 lire a month; he was discharged on 24 April 1662 but rejoined on 25 July 1663. In October 1665 he returned to Modena, where he succeeded Marco Uccellini as choirmaster of the cathedral. He vacated this post in November 1673 and by early 1674 was again living at Bologna. Between 1677 and 1681 he served as a singer in the cappella of Duke Francesco II of Modena. In 1685 he was made a member of the Accademia Filarmonica, Bologna, and seems to have spent his last years in or near that city. He wrote to the Duke of Modena in ...

Article

(fl 1684–1706). English violinist and composer. Someone of this name was living in the parish of St Giles-in-the-Fields, London, in 1686. He is listed among the king's musicians between 1687 and 1691, in which year he was in the party that accompanied King William to Holland. Thereafter he does not appear in the Lord Chamberlain’s records, but he was admitted a wait of the City of London in 1695. The following year John Blow wrote to Sir Joseph Williamson recommending him as one of his entourage for the Treaty of Ryswick (1697): he was described as ‘a fit person on several accounts, for his understanding French and Italian, and a good scholar’. Blow mentions that he had been one of the Stewards of the Festival of the Sons of the Clergy the year after Williamson, though in fact it was the year before, in 1687. Apparently in ...

Article

Keith A. Larson

(fl Naples, 1601–16). Italian composer and musician. He was mentioned by Cerreto (Della prattica musica vocale et strumentale, Naples, 1601/R) as one of a number of singers and instrumentalists in Naples. He published two volumes of music at Naples in 1616. The first, Il primo libro di canzoni, e madrigaletti, for three and four voices (RISM 1616¹¹), includes settings of texts by Tasso, Marino and Francesco degl’Atti. The canzoni – in fact canzonettas – usually have four-line stanzas and use triple metre occasionally. The tenor parts can be omitted. The five madrigalettos (one of which is by Scipione Dentice) are longer and avoid triple metre but are similar in style to the canzonettas. Albano recommended that lute, harp or harpsichord accompaniment be used, that the tempo be a little rushed and that, whereas intermediate cadences must be sung in strict time, final cadences could be drawn out a little. His second published volume, ...

Article

Sergio Durante

[‘Il Luigino’ ]

( fl 1692–1706). Italian contralto castrato . His name first appears in a libretto in 1692 as Silandro in Pausania (composer unknown) at Crema, and he sang frequently thereafter in the principal Italian centres in lead and second-lead male parts. In Venice he appeared at S Giovanni Grisostomo in operas by C. F. Pollarolo (Tito Manlio, Marzio Coriolano, La fortuna per dote and Il Dafni). Galliard (1743), in the notes to his translation of Tosi’s treatise, indicated that he was a pupil of Pistocchi in the service of Emperor Josef I, but there is no record of such service. He served the Duke of Modena from 1694. Tosi cites him as Pistocchi’s successor only in terms of style. He was one of the best representatives of the generation of castratos after Pistocchi.

P. F. Tosi: Opinioni de’ cantori antichi e moderni (Bologna, 1723; Eng. trans. by ...

Article

Theophil Antonicek

(b ?Milan, c1644; d Vienna, Sept 22, 1685). Italian composer and musician. He is first heard of in a letter of 6 September 1671 in which the Prince-Bishop of Olomouc, Karl Liechtenstein-Kastelkorn, told J.H. Schmelzer that he need not have apologized for some apparent bad behaviour on Albertini’s part, since he himself in any case had a good opinion of him. At the time of his death (he was murdered) Albertini was chamber musician in Vienna to the dowager Empress Eleonora. He himself prepared for publication his printed collection of sonatas and signed the dedication to Leopold I, but it did not appear until seven years after his death (the delay may have been due to the cost of engraving, towards which the emperor had granted a subsidy as early as 1686). The 12 sonatas have no regular pattern or number of movements. Most of the opening and closing movements are adagios; two sonatas begin with a separate movement marked ‘Praeludium’ characterized by figuration over a supporting bass. The form of each movement stems as a rule from freely varied development of phrases – usually, but not always, the initial one – which reappear in new guises and thus with a fresh impulse. Larger sections are never repeated literally. In a few of the sonatas there are thematic connections between several (though never between all) movements. Sonata no.9 is a passacaglia whose theme is presented at the beginning and end as a canon at the 5th and whose formal sections sometimes overlap with the statements of the ostinato theme. Double stopping appears conspicuously in the last sonata, which consists entirely of imitative movements....

Article

Jiří Sehnal

(b c1660; d Olomouc, Oct 3, 1735). German composer. After 1690 he came to Olomouc from Vienna and entered the services of the Olomouc chapter; in 1691 he became musical director at the cathedral. In 1696 he married Magdalena Cecilie Zindel, daughter of the cathedral organist. Although his salary was raised from 100 to 300 florins by 1702, Albertini complained throughout his life of the low pay and engaged in continual battles with the chapter, which refused to meet his demands and blamed him for the decline of music in the cathedral. In 1708 Albertini requested special leave to perform his compositions before the Emperor Joseph I in Vienna; he overstayed his leave and the chapter gave him notice, which was revoked only after the emperor’s direct intervention. In spite of perpetually strained relations with the chapter Albertini remained in his post until his death. He was probably related to the Ignaz Albertini who applied for a musical post in Olomouc as early as ...

Article

Gloria Rose

revised by Mary E. Frandsen

(b ?Rome, [c1635]; d ?London, after 1688). Italian keyboard player and composer, brother of Vincenzo Albrici. He is listed in January 1650 as a soprano at the Cappella Giulia of S Pietro, Rome. The same list includes his great-uncle Alessandro Costantini, an organist. According to Rossi, Bartolomeo travelled with his father and brother to Lombardy, then to Germany, Flanders and Sweden. All three were employed, with 13 other Italian musicians, at the Swedish court of Queen Christina from 30 November 1652 to 1 March 1653; some stayed on until the queen’s abdication in 1654. From August 1655 to early 1656 Bartolomeo served as court musician in Stuttgart, and from September 1656 he appears in Dresden court documents as an organist in Prince Johann Georg II’s musical ensemble. He was also active as a composer in Dresden; court diaries report that he contributed masses and psalm settings to the repertoire of the court chapel. He left Dresden with his brother Vincenzo in ...

Article

Jerome Roche

revised by Noel O’Regan

(b Rome, 1582; d Rome, Feb 7, 1652). Italian composer and singer, brother of Domenico Allegri. From 1591 to 1596 he was a boy chorister and from 1601 to 1604 a tenor at S Luigi dei Francesi, Rome, where the maestro di cappella was G.B. Nanino. According to Allegri’s obituary he studied with G.M. Nanino (see Lionnet). He was active as a singer and composer at the cathedrals of Fermo (1607–21) and Tivoli, and by August 1628 he was maestro di cappella of Santo Spirito in Sassia, Rome. He joined the papal choir as an alto on 6 December 1629, under Urban VIII, and was elected its maestro di cappella for the jubilee year of 1650. In 1640 his fellow singers elected him to revise Palestrina’s hymns (necessitated by Urban VIII’s revision of the texts), which were published in Antwerp in 1644. His contemporaries clearly saw him as a worthy successor to Palestrina and a guardian of the ...

Article

Edmond Strainchamps

(b Florence, Nov 16, 1567; d Florence, July 15, 1648). Italian composer and lutenist. Cesare Tinghi, the Medici court diarist, called him (in Solerti) ‘Lorenzo [or Lorenzino] todesco del liuto’, which has encouraged the notion that he may have been German, but his baptismal record confirms that he was from Florence. He entered the ranks of salaried musicians at the Medici court on 15 April 1604 as a lutenist; during the period 1636–7 he was referred to as maestro di liuto. In January 1622 he was appointed guardaroba della musica, and in due course he was also placed in charge of the pages who played, sang and danced in court entertainments. He continued to serve the court until his death. He seems chiefly to have written instrumental music. Only two vocal pieces by him are known: Tu piangi, a madrigal for solo voice and continuo published in Antonio Brunelli's ...

Article

Colin Timms

(b Bologna, ?1660–70; d after 1719). Italian composer and instrumentalist. He was a pupil of G.P. Colonna and is described in his Cantate a voce sola da camera op.1 (Bologna, 1687; one ed. H. Riemann: Ausgewählte Kammer-Kantaten, Leipzig, [1911]) as a musician in the service of Marquis Guido Rangoni. Alveri also published Arie italiane amorose e lamentabili for solo voice and continuo (Antwerp, 1690), and two operas by him (Il re pastore, overo il Basilio in Arcadia and L'Isione) were performed at the court of Wolfenbüttel in 1691. The libretto of Il re pastore describes him as a ‘virtuoso’ of the duke there and as a member of the Accademia Filarmonica di Bologna. His name appears in a list of instrumentalists who were at Parma Cathedral on 10 August 1719. According to Schmitz, his cantatas are mostly fairly conservative in form although not without interesting features. Seven motets by him survive (...

Article

Lowell Lindgren

[‘Pippo del Violoncello’]

(b Rome, c1665; d London, c1725). Italian cellist and composer. He was mistakenly named ‘Filippo Mattei’ in Mattheson’s Critica musica (January 1723). He played at Rome in concerts and religious functions sponsored by Cardinal Pamphili (1685–1708), the church of S Luigi dei Francesi (1686–1711), Cardinal Ottoboni (1690–99), the Accademia del Disegno di S Luca (1702–11), Prince Ruspoli (1708–11) and the church of S Giacomo degli Spagnoli (1707–13). He joined the musicians’ Accademia di Santo Cecilia on 25 September 1690, was the organist at S Spirito in 1694 and a trombonist in the Concerto del Campidoglio beginning in 1702. He is called ‘Roman’ in the libretto for his oratorio Aman delusus (1699) and that of La stella de’ magi (1702) identifies him as a ‘virtuoso’ of Cardinal Ottoboni. He served as ...

Article

Hans Joachim Marx

(b c1670; d after 1730). Italian composer. He is not to be confused with Giovanni Tedeschi, ‘detto Amadori’ (d c1780). Giuseppe Amadori was active in Rome between 1690 and 1709. In 1690 he was in the service of Cardinal Pietro Ottoboni as organist and harpsichordist. His oratorio Il martirio di S Adriano was performed in the Chiesa Nuova in 1702, and in 1707 and 1709 he was active in the Accademia del Disegno. An autograph Pange lingua for soprano and continuo and an aria with instrumental accompaniment are in the St Sulpitiuskerk, Diest (according to Eitner); two manuscript arias for soprano and continuo are in the Schlosskirche at Sondershausen and the Giuseppe Verdi Conservatory, Milan, and a cantata and other church music are in the Santini Collection ( D-MÜp ). Instrumental movements by him are included in two anthologies published in London, A Second Collection of Toccatas, Vollentarys and Fugues...

Article

Craig H. Russell

revised by Monica Hall

[Carles y Amat, Joan]

(b Monistrol de Montserrat, c1572; d Monistrol de Montserrat, Feb 10, 1642). Catalan theorist, guitarist and physician. Biographical information about Amat is drawn mainly from research carried out in 1918 by José Vilar (Revista Ilustrada Jorba, 1925, and Pujol, 1950). Although baptismal records are missing, Vilar placed Amat’s birth at around 1572, and this date is confirmed by a letter included in some editions of Amat’s treatise, which states that Amat was 67 in 1639. Amat himself said that he was born in Monistrol, naming his parents as Joan Carles and Joanna Amat. Amat received the doctorate in medicine at the University of Valencia, probably in 1595, and may have spent some time in Lérida. In 1600 he married Mónica Ubach Casanovas; they had no children. He was made municipal physician at Monistrol in 1618, performed a similar function at the nearby monastery of Montserrat, and occupied several other municipal offices. At the time of his death he had just started a period as mayor....

Article

Paolo Emilio Carapezza and Giuseppe Collisani

(b Ciminna, nr Palermo, Jan 5, 1629; d Palermo, July 29, 1670). Italian composer. His family were connected with the princely houses of Ventimiglia and Gambacurta. His younger brother Paolo, author of Teatro marmoreo della marina (Palermo, 1682), was one of the greatest Italian architects. His sister or cousin Eleonora was the mother of Alessandro Scarlatti; deputizing for the parish priest of S Antonio Abate, Palermo, Amato personally baptized her daughters. He spent his life at Palermo. Entering the Seminario dei Chierici in adolescence, he obtained a degree in theology and took holy orders. From 1652 he directed music at the church of S Maria del Carmine and from 1665 until his death he was maestro di cappella at the cathedral. He was commissioned by S Maria del Carmine to compose two Passions (one according to St Matthew, the other according to St John). These are not oratorio Passions but liturgical works; recitatives and ...

Article

Denise Launay

revised by James R. Anthony

(b Burgundy, late 16th century; d Rouen, July 6, 1637). French composer. All that is known of his life is that in 1626 he was procureur of the Compagnie de Jésus at Rouen. He left only musical works, from which we may infer that he was director of music of one of the colleges of his order. His Octonarium sacrum (1634) is a set of five-part verses for the Magnificat, using all eight tones; they are fugal and closely resemble similar pieces by Formé. Two years later he published his Harmonia sacra in two complementary volumes for four and six voices respectively. It includes works for double choir in a distinctly modern style originating in Italy that had already been adopted in France by several composers, Du Caurroy and Le Jeune notable among them; each volume also contains several masses and motets for a single choir. The double-choir works are for liturgical use and comprise psalms, motets and hymns. In his preface d'Ambleville states that they may be performed according to the forces available, for example by two groups – one of four soloists, the other a six-part chorus – by a soprano and bass duet from each choir or by a solo soprano, the missing voices being replaced by instruments or, failing them, by organ alone. He normally wrote either in fauxbourdon style (which he also called ‘musica simplex’) or contrapuntally, including fugal textures (‘musica figurata’), which he handled skilfully. Apart from these Latin works he was also, according to Gastoué (p.264), the composer of the music published in ...

Article

Rudolf A. Rasch

(b Oberweissbach, Thuringia, 1657; d Amsterdam, bur. March 14, 1714). Dutch composer, organist, violinist and carillonneur of German origin. He settled at Amsterdam and became organist at the Lutheran church in 1683, but was dismissed for bad behaviour and drunkenness in 1694; he was frequently asked for advice about organs and bells and was also a musician at the city theatre. He seems to have played an important part in zangspelen (Singspiele), along with such composers as Johannes Schenk and Servaas de Konink. These zangspelen, with texts by contemporary Dutch poets including Dirck Buysero and Cornelis Sweerts, are short, light, spoken plays interspersed with sung stanzas. Nothing is known about their performance and no complete scores have survived, though a number of items are extant in songbooks. These are in binary form and either French or Italian in style. Anders’s two books of instrumental music were possibly intended for use as incidental music in the theatre. His op.1 is rather in the French idiom; the other book is modelled on Italian examples....