(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his compositions before the Emperor Joseph I in Vienna; he overstayed his leave and the chapter gave him notice, which was revoked only after the emperor’s direct intervention.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 ...
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 ...
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 ...
(b Paris, Oct 30, 1631; d Paris, early Feb 1705). French dancer, choreographer, composer and conductor. He has been wrongly identified with Charles-Louis Beauchamps. Called the father of all ballet-masters, he codified the five positions of feet and arms, and developed a rational system of dance notation which is now called after Raoul-Auger Feuillet, who published it (in his Chorégraphie, ou L’art de décrire la dance) in 1700.
Beauchamps was Louis XIV’s personal dancing-master and favourite partner in ballets de cour in the 1650s and 60s. Throughout his career he collaborated with Lully, whom he first met as comic dancer in, and later as composer of, ballets de cour. Beauchamps choreographed intermèdes and dances for Molière’s comédies-ballets, beginning with Les fâcheux (1661), for which he also composed the music and conducted the orchestra. He choreographed entrées for Le mariage forcé (1664), Le bourgeois gentilhomme...
(b Mantua, late 16th century; d Assisi, Aug 29, 1642). Italian composer, choirmaster, violinist and singer. He was a member of the Franciscan order. His Mantuan origins are apparent from documents at Bergamo. He was first active at the Gonzaga court in Mantua, where he may have worked under Monteverdi. He was perhaps among the musicians accompanying Princess Eleonora Gonzaga to Vienna for her wedding in 1622 to the Emperor Ferdinand II. From at least 1626 to 1629 he was in Vienna as musicista da camera to the emperor and in that post played an active role in the festivities in Prague for the coronation of the emperor's son, Ferdinand III, as King of Bohemia in 1627. It is likely that he remained in the emperor's service until early 1631, as can again be seen from documents at Bergamo.
On 13 July 1631 he was in Bergamo to take part in a Vespers service at S Maria Maggiore as a trial for an appointment there. He was accepted and on 17 July signed a three-year contract to serve as contralto and violinist at an annual salary of 840 lire – a figure surpassed only by the salaries of the ...
(b ?before 1600; d after 1644). Flemish choirmaster and composer. Two composers of this name were active in the Netherlands in the first half of the 17th century and it is difficult to distinguish between them. One Nicolaus Haccourt was choirmaster of Onze Lieve Vrouwbasiliek, Tongeren, between 12 November 1619 and 8 June 1640. On 26 November of the same year he became a priest. A namesake was active as choirmaster of the Collegiate Church of Our Lady, Maastricht, between 1624 and 1644, although he was suspended in 1628 and between 1630 and 1636 because of misconduct. In 1627 this Haccourt composed vespers for eight voices for the chapter. In 1644 he may have been presented as canon of St Maternus at the cathedral of St Lambert, Liège. The eight-voice vespers included in an inventory of Onze Lieve Vrouwekerk, St Truiden, were probably composed by him.J. Rutten...
(b before 1580; d before Feb 18, 1639). Flemish composer, choirmaster and organist. He may have been the choirboy who was presented to the chapter of St Jean l'Evangéliste, Liège, in 1595. In 1597 he received the tonsure and in 1612 he became choirmaster at the collegiate church of Our Lady, Tongeren. He left Tongeren before 2 May 1616 and from 1617 to 1620 he was perhaps an adult duodenus choirboy at St Lambert's Cathedral, Liège. From 1625 he was second organist, and then choirmaster at St Paul's in the same city. His only extant work is the motet Salve matrona nobillissima Anna ( B-Lc , ed. J. Quitin, Choix d'oeuvres de l'ancienne collégiale Saint-Paul à Liège, de Jean Guyot de Châtelet à Henri Moreau, 1549–1787 (Werbomont, 1986), 29–35) for eight voices and continuo. It shows his skilful craftsmanship in the Venetian double-choir tradition, with a leaning towards counterpoint and rhetoric, and is similar in style to the compositions of Lambert Coolen for Liège Cathedral. An inventory for the collegiate church of Borgloon cites a requiem for eight voices and continuo by Remouchamps (now lost)....