Marenzio


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Marenzio

Luca . 1553--99, Italian composer of madrigals
References in periodicals archive ?
Bach, Marenzio, Rossini, and Monteverdi, as well as still more from Vivaldi, and the sound and performance of each sample is right up there with the best.
03: Early Music Ensemble of San Diego, with works by Monteverdi, Marenzio, Landini, Katholische Kirche.
So, too, were the pieces by Marenzio and Robert Jones.
In items by Marenzio, Palestrina and Lassus, the dynamics ebbed and flowed with subtle power, phrase ends floated with stunning control, dissonance was treated delicately and changes in vocal timbre sensitively conveyed the significance of text.
I have here individual pieces of liturgical choral music and smaller samples of great works: from the sixteenth century two widely arching choruses filling a single melodic breath from Palestrina's [1525-94] Pope Marcillus Mass, the "Sanctus" and the "Benedictus," both sung by the Berlin Cathedral Choir under Rudel; and, sung by the silvery Italian voices of the Casimir Choir, choruses of the two old "Venetians" Marenzio and Viadana, the former full of stimulating freshness, the latter, the beginning of Psalm 33, a most tender rejoicing; finally--the Basilica Choir, the Choir of the Hedwig Church in Berlin--by the great maestro of the north, Lasso, a composition, radiant in glasslike eight voices, of the verses of Psalm 89.
But still, tablatures and the like aside, wherever you go, Machaut through Marenzio, the ideal performance for conventional songs seems to have been again unaccompanied voices, but one on a part and often with, women, girls, or boys on the top line(s).
Agostino della Musica, com'egli lo chiama, cant la parte del Basso, e fu replicato tre volte; dopo se ne cantavono alcuni altri di Luca Marenzio, et uno di Bononcino, e si fini col sublime, e Divino Duetto Saldi Marmi&[.
Always anxious to extend his musical experience, during his early years as a church organist he scored works by Tallis, Byrd, Marenzio and Palestrina.
Late in the 16th century, the Italian madrigal became a vogue throughout Europe; this was especially the case in England, where composers adapted the ideas of such Italians as Luca Marenzio to their own madrigalesque compositions.
The piece was composed by Marenzio during his stay in Poland in his position as the royal choir Kapellmeister of King Zygmunt III Waza.
Early music will include works by Luca Marenzio and Samuel Scheidt, conducted by graduate students Webb Parker and Matt Carey.
In Italy Dowland was so enchanted by the madrigals of Luca Marenzio that he imported their melodiousness and poetics into his own most valuable compositions--his songs with lute accompaniment.