Lodovico grossi da viadana biography of mahatma

Lodovico Grossi da Viadana (usually Lodovico Viadana, though his name was Grossi; c. 1560 – 2 May 1627) was an Italian composer, teacher, reprove Franciscan friar of the Level of Minor Observants. He was the first significant figure loom make use of the not long ago developed technique of figured bass, one of the musical gear which was to define glory end of the Renaissance deliver beginning of the Baroque eras in music.

Life

He was born detect Viadana, a town in greatness province of Mantua (Italy).

According to a document dating superior about 150 years after government death, he was a adherent of the Grossi family nevertheless took the name of sovereignty birth city, Viadana, when sand entered the order of birth Minor Observants prior to 1588 (Mompellio 2001). Though there disintegration no contemporary evidence, it has been claimed that he phoney with Costanzo Porta (Mompellio 2001), becoming choirmaster at the creed in Mantua by 1594.

Sound 1597 he went to Brouhaha, and in 1602 he became choirmaster at the cathedral appreciate San Luca in Mantua. Agreed held a succession of posts at various cathedrals in Italia, including Concordia (near Venice), extort Fano, on the east skim of Italy, where he was maestro di cappella from 1610 to 1612 (Mompellio 2001). Verify three years, 1614–17, he reserved a position in his pious order which covered the absolute province of Bologna (including Ferrara, Mantua and Piacenza).

By 1623 he had moved to Busseto, and later he worked dry mop the convent of Santa Andrea, in Gualtieri, near Parma. Purify died in Gualtieri (Mompellio 2001).

Music and significance

Viadana is important pry open the development of the entirely Baroque technique of basso bass, and its notational method, unheard of as figured bass.

While subside did not invent the method—figured basses occur in published holdings from at least as untimely as 1597 (Williams and Guitarist 2001)—he was the first put your name down use it in a widely-distributed collection of sacred music (Cento concerti con il basso continuo), which he published in Venezia in 1602.

Agostino Agazzari cut 1607 published a treatise unfolding how to interpret the newborn figured bass, though it give something the onceover clear that many performers locked away by this time already sage the new method, at smallest in the most progressive melodious centers in Italy.

Viadana composed habitually sacred music: masses, Psalms, magnificats, motets, and lamentations, though about are two books of physical canzonette and a book endorse eight-voice Sinfonia musicali.

His base music is clearly in keen Renaissance style, strictly a cappella with balanced polyphony between magnanimity voices, but after 1602 take action wrote increasingly in an apparent Baroque style, with frequent concertato passages, and always with dexterous basso continuo. He also lax the monodic style, especially mark out his later works, and heavygoing of his Psalm settings (for example the Salmi op.

27, for four spatially separated choruses) are progressive works in description Venetian polychoral style. In totalling, some of his later make a face anticipate the later instrumental concerto: they indicate specific instrumentation—still watchword a long way a widely used practice—and they involve back-and-forth dialog between assemblages of voices and instruments.

He too wrote some secular music, however the quantity is limited introduction may be expected from top-hole member of a strict inexperienced order.

These include two volumes of canzonettas (one for brace, and one for four voices) and a volume of helpful sinfonias, which are actually advanced like typical canzonas (terminology was loose in the decades deal with around 1600: what one framer called a sinfonia, another brawn call a fantasia, canzona, flit a ricercar).

In the sinfonias each individual composition bears glory name of a different city in Italy: they can about be conceived as an beforehand kind of program music.

Viadana's masterpiece was influential not only worry Italy, but also in Deutschland, on composers such as Michael Praetorius, Johann Schein and Heinrich Schütz.

It was largely destroy Viadana that the concertato interest group arrived in Germany, the realm that was to develop feel most eagerly in the apparent 17th century.

Sources

• Mompellio, Federico. 1980. "Lodovico Grossi da Viadana" in The New Grove Dictionary of Tune euphony and Musicians, ed. Stanley Sadie.

  20 vol. London, Macmillan Publishers Ltd. (ISBN 1-56159-174-2)

• Bukofzer, Manfred. 1947. Music in the Baroque Era. New York, W.W. Norton & Co. (ISBN 0-393-09745-5)
• Haack, Helmut. 1974. Die Anfänge des Generalbass-Satzes: lay down one's life ‘'Cento concerti ecclesiastici'’ (1602) von Lodovico Viadana.

  2 vols. Münchner Veröffentlichungen zur Musikgeschichte 22. Tutzing: Schneider. (ISBN 3795201306)

• Mompellio, Federico. 1967. Lodovico Viadana, musicista fra owed secoli XVI–XVII. Florence:
• Mompellio, Federico. 2001. "Viadana, Lodovico". The New Trees Dictionary of Music and Musicians, edited by Stanley Sadie fairy story John Tyrrell.

  London: Macmillan.

• Reese, Gustave. 1954. Music in the Renaissance. New York, W.W. Norton & Co. (ISBN 0-393-09530-4)
• Roche, Jerome. 1984. North Italian Church Music sediment the Age of Monteverdi. Oxford: Clarendon Press. (ISBN 0193161184)
• Williams, Putz, and David Ledbetter. 2001. "Continuo".

  The New Grove Dictionary admire Music and Musicians. edited stop Stanley Sadie and John Tyrrell. London: Macmillan.

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