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His anthology publications began in 1606 with a selection of 3- and 4-voice madrigals by Luca Marenzio. All the title pages of his anthologies, which also include works by Orazio Vecchi, contain the phrase (or some variant) "welche zuvor mit Italienischen Texten componiert jetzo aber denen so dieselbige Sprach nicht verstehen zu besserm nutz und gebrauch mit Teutschen Weltlichen Texten in Truck gegeben" [which, previously composed to Italian texts, are now printed with German secular texts, to be of better use, and profit, to those who do not understand the Italian language].
The Renaissance (early 15th to early 17th centuries) half of the program will sweep through madrigals, motets, chanconnes, part-songs, one movement of a mass and dance music, mainly from France, Germany, Italy and England by such masters as Guillaume Dufay, Johannes Ockeghem, Josquin Desprez, Claudin de Sermisy, Clement Janequin, Orlando di Lasso, Orazio Vecchi, Luca Marenzio, Giovanni Pierluigi da Palestrina, Hanns Leo Hassler, Orlando Gibbons, Thomas Morley and John Dowland.
(Claudio Merulo and Orazio Vecchi belong to that category.) Unquestionably one of Brescia's proudest distinctions is its being the birthplace (i.e., Coccaglio) of Luca Marenzio. Although Marenzio never practiced his profession in Brescia, it is certain that he received his early training there.
As Ruth DeFord emphasizes in the introduction to her edition, the characteristics of Vecchi's canzonetta style (lively rhythms, short imitative motifs contrasted with homophonic phrases, and the setting of separate syllables to consecutive quavers rather than crotchets) became the archetypal language of the light madrigal, shared by composers such as Luca Marenzio, Ruggiero Giovannelli, Felice Anerio and Alessandro Orologio.
This important anthology, consisting of twenty-eight four-, five-, and six-voice madrigals, twenty-three of which were composed by Luca Marenzio (1553 / 54-1599), played a significant role in making Italian madrigals accessible to English audiences and musicians (the other madrigals include one each by Girolamo Conversi [fl.
Fontanelli also avoids the virtuosic and melismatic vocality associated with the Ferrarese concerto delle donne as well as everything that might have evoked the lightness of the so-called canzonetta-madrigal made popular by Luca Marenzio in the 1580s.
The music is all by contemporaneous Italian composers (numbers in parentheses refer to item numbers in Gumpelzhaimer's inventory in the appendix to this article): Giovanni Francesco Anerio (11), Giovanni Maria Artusi (11), Giovanni Matteo Asola (8, 13), Francesco Bianciardi (2), Giulio Belli (15), Paolo Bozzi (13), Serafino Cantone (10), Gemignano Capilupi (6), Giovanni Croce (1, 11, 12), Ruggiero Giovannelli (11), Marc'Antonio Ingegneri (3), Pietro Lappi (14), Luca Marenzio (11), Antonio Mortaro (9), Romolo Naldi (16), Giovanni Maria Nanino (11), Asprilio Pacelli (5), Giovanni Pierluigi da Palestrina (11), Biagio Pesciolini (7), Cesare Schieti (11), Francesco Soriano (17), and Orazio Vecchi (4, 6).
Holman adds two madrigals by Luca Marenzio and notes as well David Pinto's recent match with a setting from the Penitential Psalms of Orlando di Lasso (Pinto, "Dowland's Tears: Aspects of Lachrimae," The Lute 37 [1997]: 44-75).
Born in Brescia in 1512 or 1513, Giovanni Contino worked in Trent under Cardinal Cristoforo Madruzzo, in Brescia as maestro di cappella (where he may have taught Luca Marenzio), and for Duke Guglielmo Gonzaga in Mantua, where he died in 1574.
Thus, in chapter 3, Pike uses hexachords as a lens through which to examine a network of settings of the Petrarchan texts "Mia benigna fortuna" and "Grudele acerba" by Jacques Arcadelt, Orlande de Lassus, Cipriano de Rore, Giaches de Wert, and Luca Marenzio. Similarly, in chapter 4, he examines settings of Giovanni Battista Guarini's "Cruda Amarilli" (from Il pastor fido) by Wert, Marenzio, Benedetto Pallavicino, and Claudio Monteverdi.
The polyphonic sections of these works are airy in texture, resembling the four-voice madrigals of Luca Marenzio, Giovanni Croce, and their English imitators.
It takes in pieces by Continental composers like Jan Sweelinck and Luca Marenzio found in important British manuscript sources such as the Fitzwilliam Virginal Book.