(b ?Pavia; fl 1609–29). Italian music editor and singer. Since he was known as ‘magister et reverendo’ he must have taken orders. He was a bass singer in the choir of Pavia Cathedral from 1609 to 1626. He is of greatest interest as the collector of four noteworthy anthologies of north Italian church music published in Venice (RISM 16214, 1624², 1626³ and 16295); all contain motets except the third, which consists of litanies. The volumes include eight works by Monteverdi, seven of which are found in no other printed sources, and ten unica by Alessandro Grandi (i) and four by Rovetta (his earliest published works). Other prominent north Italians represented are Stefano Bernardi, Banchieri – who dedicated his Gemelli armonici (1622) to Calvi – Ignazio Donati, Ghizzolo, Merula, Orazio Tarditi and Turini. Calvi himself contributed motets to the first two and included pieces by his ...
revised by Giulia Anna Romana Veneziano
(b Florence, July 8, 1638; d Florence, Jan 16, 1703). Italian composer, teacher, music editor, theorist, organist and singer. He spent his entire life as a priest in Florence. On 1 August 1663 he was appointed chaplain at the cathedral, S Maria del Fiore, where he was also active as an organist and singer. He was particularly admired as a teacher, and it was this above all that determined the nature of his publications; the numerous reprints particularly of Il cantore addottrinato and Scolare addottrinato bear witness to the popularity of his methods. In these two manuals he sought to establish rules for the effective composition and performance of church music, contributing, according to his contemporaries, to the codification of the ‘true rule of ecclesiastical singing’. However, he is better remembered for his Corona di sacre canzoni and Colletta di laude spirituali, which have great importance for the final phase in the history of the ...
revised by Graham Dixon
(b Staffolo, nr Ancona, c1570–75; d ?Tivoli, in or after June 1644). Italian music editor, composer and singer, brother of Alessandro Costantini and uncle of Vincenzo Albrici. He served the Bishop of Aquila as a musician from boyhood and sang treble under Palestrina at S Pietro, Rome, where he remained as a tenor until 31 July 1610, having served as a singer at S Luigi dei Francesi in the middle of the decade. In 1610 and 1616 he directed festal music at S Giacomo degli Incurabili. He was maestro di cappella of Orvieto Cathedral from 1610 to 1614 and may have been in Naples when his op.2 was published there in 1615. By then he was in the service of Cardinal Aldobrandini, on whose recommendation he was made maestro di cappella of S Maria in Trastevere, a post he held from October 1615 to some time before ...
(b Veringenstadt, nr Sigmaringen, 1585; d Rottenburg am Neckar, 1654). German music editor, singer, teacher and composer. He studied at the University of Dillingen, one of the main cultural centres of south-west Germany, and in 1610 took a post as singer at St Martin, Rottenburg. This carried with it duties as a schoolteacher: in this capacity he became Rektor of the school in 1622 and in his musical capacity Kapellmeister of the church in 1627.
Donfrid is chiefly interesting as an editor who saw it as his task to propagate in Catholic southern Germany the best and most popular church music by Italian composers of his day. To this end he published five large anthologies at Strasbourg in the 1620s: the tripartite Promptuarii musici, consisting of motets arranged in a liturgical cycle, as had been done by other editors, such as Schadaeus, before him; the Viridarium, devoted to Marian pieces; and the ...
[Sylvestris, Floridus de]
(b Barbarano, nr Vicenza, early 17th century; d Rome, after 1673). Italian anthologist and editor of music, composer, singer and dramatist. He was a priest, who from about 1647 until at least 1654 was a bass in the choir of Santo Spirito in Sassia, Rome. In 1664 he held a similar position at S Giacomo degli Incurabili, Rome (the church in which he is buried). A manuscript inscription, ‘Floridus de Sylvestris à Barbr. [?]civ.s. [?]Bracc.ni. Dulcia cum flore hic Barbara Sylva Canit’, on the title-page of the copy of the alto partbook of Francesco Pasquali’s Madrigali, libro terzo (1627, in I-Bc ) may be of biographical significance; Pasquali’s book includes a madrigal, Fere barbare, for solo bass. Silvestris seems to have been an accomplished singer. The solo motet Aggrediamur iter vitae in one of his anthologies (RISM 1659¹), written for him by an unknown composer, contains virtuoso passage-work and requires a vocal range of over two octaves (...
(b late 16th century; d after 1630). Italian castrato singer and editor. He was a boy soprano in the service of the Graz court in about 1596, remaining there until 9 January 1609, when he resigned. In his later years at Graz he was a pupil of Matthia Ferrabosco. Nothing is then heard of him until 4 January 1613, when he was elected a soprano singer at S Marco, Venice, with a salary of 55 ducats; the minute registering this appointment mentions the fact that he had been singing in the basilica for about a year, presumably on probation. His salary was increased to 70 ducats in 1615 and to 80 in 1626. His name then disappears from the register of S Marco, though he was still in its service in June 1630 when he dedicated his third anthology of sacred music to Alessandro Grandi (i). It seems probable, in view of the fact that his appointment was not renewed at the customary time, that he died in the plague of ...