(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 ...
revised by Noel O’Regan
(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 ...
(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 ...