When was the Italian composer, string player and choirmaster died who was prominent as a madrigalist like Giovanni Croce?
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Giovanni Croce Giovanni Croce (] ; also Ioanne a Cruce Clodiensis, Zuanne Chiozotto; 1557 – 15 May 1609) was an Italian composer of the late Renaissance, of the Venetian School. He was particularly prominent as a madrigalist, one of the few among the Venetians other than Monteverdi.
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Claudio Monteverdi Claudio Giovanni Antonio Monteverdi (] ; 15 May 1567 (baptized) – 29 November 1643) was an Italian composer, string player and choirmaster. A composer of both secular and sacred music, and a pioneer in the development of opera, he is considered a crucial transitional figure between the Renaissance and the Baroque periods of music history.
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Le nuove musiche Le nuove musiche ("The New Musics") is a collection of monodies and songs for solo voice and basso continuo by the composer Giulio Caccini, published in Florence in July 1602. It is one of the earliest and most significant examples of music written in the early baroque style of the "seconda pratica". It contains 12 madrigals and 10 arias.
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Arturo Cadore Arturo Cadore (15 September 1877 – 25 June 1929) was an Italian composer and organist. Born in Soresina (Province of Cremona), he primarily composed operettas and parlor songs. He is also known for having completed Amilcare Ponchielli's opera "I Mori di Valenza" which had been left unfinished when the composer died in 1886 and was premiered posthumously in 1914. In his later years he was the organist at the Chiesa di San Vittore in Olona (near Varese). Cadore died in Gaggiano at the age of 51.
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Eugenio Cavallini Eugenio Cavallini (16 June 1806 — 11 April 1881) was an Italian conductor, composer, violinist, and violist. In 1833 he became first violinist of the orchestra at La Scala, a post he held through 1855. He also served as a conductor at La Scala, notably leading the world premieres of Gaetano Donizetti's "Lucrezia Borgia" (1833), Donizetti's "Gemma di Vergy" (1834), Donizetti's "Maria Stuarda" (1835), Saverio Mercadante's "Il giuramento" (1837), Mercadante's "Il bravo" (1839), Giuseppe Verdi's "Oberto" (1839), Verdi's "Un giorno di regno" (1840), Donizetti's "Maria Padilla" (1841), Verdi's "Nabucco" (1842), Verdi's "I Lombardi alla prima crociata" (1843), Verdi's "Giovanna d'Arco" (1845), Federico Ricci's "Estella di Murcia" (1846), and Domenico Ronzani's "Salvator Rosa" (1854).
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Giovanni Rovetta Giovanni Rovetta (c. 1595/97–1668) was an Italian Baroque composer and "maestro di capella" of the Capella Marciana at St Mark's Basilica, Venice between Monteverdi and Cavalli.
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Nicola Matteis Nicola Matteis (Matheis) (fl. c. 1670 – after 1713) was the earliest notable Italian Baroque violinist in London, whom Roger North judged in retrospect "to have bin a second to Corelli," and a composer of significant popularity in his time, though he had been utterly forgotten until the later 20th century.
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Stanislao Mattei Stanislao Mattei, O.F.M. Conv. (10 February 1750, Bologna – 17 May 1825, Bologna), was an Italian Conventual Franciscan friar who was a noted composer, musicologist, and music teacher of his era.
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Bernardino Borlasca Bernardino Borlasca (c. 1580-c. 1631) was an Italian composer of the renaissance era, noted for antiphonal choral music.
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Amadio Freddi Amadio Freddi (1570–1634) was an Italian composer. He was Maestro di cappella of the Duomo of Treviso.
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Giovanni Lorenzo Lulier Giovanni Lorenzo Lulier, nicknamed Giovannino del Violone ("Little John of the Violone") (c. 1662 – 29 March 1700) was a Baroque Italian composer, cellist and trombone player of Spanish descent.
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Carlo Donato Cossoni Carlo Donato Cossoni (Gravedona 10 November 1623-1700) was an Italian composer. He was maestro di cappella in Milan Cathedral 1684-1692. A thematic catolgue of his works was published by Claudio Bacciagaluppi and Luigi Collarile in 2009.
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Giovan Tomaso di Maio Giovan Tomaso di Maio (also Majo, Mayo, c. 1490 - after 1548) was an Italian composer. His villanelle, like those of Giovanni Domenico da Nola, were popular throughout Italy.
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Giacomo Puccini Giacomo Antonio Domenico Michele Secondo Maria Puccini (] ; 22 December 1858 29 November 1924) was an Italian opera composer who has been called "the greatest composer of Italian opera after Verdi".
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Nicolò Coccon Nicolò Coccon (10 August 1826 in Venice – 4 August 1903 in Venice) was an Italian composer, conductor, organist and teacher.
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Bartolomeo Tromboncino Bartolomeo Tromboncino (c. 1470 – 1535 or later) was an Italian composer of the middle Renaissance. He is mainly famous as a composer of "frottole"; he is principally infamous for murdering his wife. He was born in Verona and died in or near Venice.
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Giovanni Bottesini Giovanni Bottesini (22 December 1821 – 7 July 1889), was an Italian Romantic composer, conductor, and a double bass virtuoso.
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Bernardo Pasquini Bernardo Pasquini (7 December 163721 November 1710) was an Italian composer of operas, oratorios, cantatas and keyboard music. A renowned virtuoso keyboard player in his day, he was one of the most important Italian composers for harpsichord between Girolamo Frescobaldi and Domenico Scarlatti, having also made substantial contributions to the opera and oratorio.
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Girolamo Conversi Girolamo Conversi (fl. 1572–1575) was an Italian composer of the late Renaissance. His music, which was popular from the 1570s through the 1590s, was noted for its combination of the light "canzone alla napolitana" with the literary and musical sophistication of the madrigal. He appears to have written only secular vocal music.
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Giovanni Maria Ruggieri was a Baroque composer from Italy. His dates of birth and death are uncertain, but he may have been born about 1665 in Verona and died around 1725. He is known to have flourished from 1689–1720.
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Erasmo Marotta Erasmo Marotta (1576–1641) was a Jesuit Sicilian composer of motets and madrigals. He was born in Randazzo and died in Palermo.
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Giandomenico Martoretta Giandomenico Martoretta (Mileto 15151560s?) was an Italian Renaissance composer. Little is known of his life, but the style of the dedication of the "master of theology" Giovanfrancesco di Chara in the second book indicates that Martoretta may have been minor gentry or member of an academy. But the preface to the third book of madrigals reveals that he had made a pilgrimage to the Holy Land and stayed in Cyprus as guest of a certain noble cavaliere, Piero Singlitico. His first book of madrigals was written in the rapid "note nere", black note, style introduced by Constanzo Festa. Theodor Kroyer (1902) believed that Martoretta's madrigals demonstrated chromatic keys.