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Scan 925
The new encyclopedia of music and musicians, 1929
56 lines. Read by computer on 16 September 2026. Printed page 881. See the scan on archive.org.
1Phinot, Dominicus. Probably of Lyons; works from 1547. G.
2Piéton, Loyst. Works, 1531–45.
3Ronsard, Pierre de (1524–85). Poet-musician in Paris, like Baïf eager for a fresh development of French song. From about 1552 his verses were extensively set by many composers. See monograph by Tiersot, 1993 (in I. M. G. Sammelbde.).
4Salinas, Francisco (1513–90). Spanish theorist (blind), for a time viceregal organist at Naples, later professor at Salamanca; important treatise (1577) after Zarlino.
5Sermisy, Claude de (?1490–1562). All his life in the royal chapel at Paris, from 1532 second and from 1547 first choirmaster (in 1515 visiting Italy and in 1520 England); many works from 1529, especially chansons. G.
6Titelouze, Jean (1563–1633). From 1585 organist at Rouen (after 1588 at the Cathedral) and canon from 1610; the founder of French organ-playing; works from 1623 (complete edition by Guilmant). See monograph by Von Werra, 1910 (in Kirchenmusikal. Jahrbuch).
7Victoria [Vittoria], Tomas Luiz de (?1540–1613?). Eminent Spanish composer, educated at Rome, becoming in 1573 choirmaster at the German College and in 1575 at S. Apollinare, but in 1589–1602 Rogier’s assistant at Madrid; many noble works from 1576 (complete edition by Pedrell, 1902–13). See memoir by Collet, 1913. G.
8Vila, Pedro Alberto (1517–82) and his nephew Luis Ferrán. Spanish church-musicians, the one choirmaster at Barcelona Cathedral, followed by the other.
9Wollick, Nicolas. Teacher at Metz; text-books, 1501, ’09.
11(c) ITALIAN
13Afranio. Canon at Ferrara about 1525; often called the inventor of the bassoon (from the notice of his 'phagotum' by Albanesi in 1539). G.
14Agostini, Lodovico (1534–90). Ducal chaplain and choirmaster at Ferrara; works from 1567. G.
15Alcarotti, Giovanni Francesco. Organist at Como; madrigals in 1567–69.
16Alessandro Romano. See Merlo.
17Amati, Andrea (?1530–1611). First of a line of famous viol- and violin-makers at Cremona, perhaps pupil of Da Salò, associated with his brother Niccolò and followed by his sons Antonio (1555–1638) and Geronimo (1556–1630). See 17th C. G.
18Anerio, Felice (1560–1614) and Giovanni Francesco (?1567–1620?), brothers. The former in 1575–79 singer in the Papal Chapel and in 1594–1601 Palestrina’s successor as composer there; works from 1585. The latter also early in the Papal Chapel and finally maestro at S. Maria di Monti; works from 1599, some important in the early history of the oratorio. G.
19Animuccia, Giovanni (?1500–71) and Paolo (d. 1563) brothers. The former Palestrina’s successor as maestro at St. Peter’s in 1555–71 and a collaborator with Neri in introducing the laudi spirituali in 1563–70; works from 1547. The latter maestro at the Lateran in 1550–62; works from c. 1560. G.
20Annibale, Il Padovano (1527–75). From 1552 second organist at St. Mark’s, Venice, and from 1566 at the grand-ducal court at Gratz (Styria); works from 1556. G.
21Antegnati, Costanzo (1557–1620?). Most noted of a family of organ-makers in Brescia, long organist at Milan Cathedral; works from 1571. G.
22Aron, Pietro (?1490–1545). Florentine monk and theorist, from 1536 at Bergamo, Padua and Venice; works from 1516. Memoir by Catelani, 1851. G.
23Artusi, Giovanni Maria (?1545–1613). From 1562 canon at Bologna; a strongly conservative theorist (treatises from 1581). See Vogel in Vierteljahrschr. iii, and Gaspari’s Atti e Memorie, 1876. G.
24Asola, Giovanni Matteo (?1560–1609). From 1578 maestro at Treviso and from 1581 at Vicenza; many works from 1584. One of the first to use the figured bass. G.
25Baccusi, Ippolito (d. 1609). From 1572 maestro at S. Eufemia, Verona, from 1584 at Mantua and from 1592 at Verona Cathedral; works from 1570. A pioneer in using instruments in unison with the voices. G.
26Balbi, Ludovico (d. 1604). From 1578 maestro at the Frari in Venice, in 1585–91 at S. Antonio, Padua, and then again at Venice; works from 1570. G.
27Baltarazini. Piedmontese violist, from about 1560 in court-service at Paris, introducing Italian dances and collaborating on the Ballet de la Royne (1582). G.
28Bardi, Giovanni, Conte del Vernio (1534–1612). Cultivated art-patron at Florence, at whose house gathered the 'dilettanti' engaged in applying 'monodies' to dramatic purposes. The circle included Caccini, Corsi, Galilei, Peri, Rinuccini, Strozzi and others. G.
29Bassani, Giovanni. In 1585–1615 variously employed at St. Mark’s, Venice; notable instrumental works from 1585.
30Bellanda, Ludovico. An early experimenter with the monodic style, probably at Venice; works (mostly secular) from 1593.
31Bellasio, Paolo. Madrigalist at Rome in 1578–92 and member of the Verona Accademia.
32Bell' Haver [Bell' Averel], Vincenzo (?1530–88?). Venetian madrigalist, in 1586–88 second organist at St. Mark’s; works from before 1575. G.
33Belli, Girolamo (b. 1552). Court-singer at Mantua and after 1582 at Rome; madrigals and other works, 1583–1617. G.
34Belli, Giulio (b. 1560?). From 1582 maestro at various places, including the Frari, Venice, S. Antonio, Padua, etc.; many works (mostly secular) in 1584–1621. G.
35Bertoldo, Sper' in Dio (?1530–90?). Organist at Padua Cathedral; madrigals and organ-pieces, 1561–91.
36Bona, Valerio (b. 1560?). Maestro at Vercelli, Mondovi, Milan, etc.; works from 1591 and books on theory, 1595–96.
37Bottrigari, Ercole (1531–1612). Wealthy and cultivated Bolognese writer on theoretical questions in 1593–1609.
38Caccini, Giulio (?1546–1618). Roman singer and composer, from 1564 in Florence and a leader in the circle of Bardi and Corsi. In 1605 he visited Paris with his daughter. A pioneer in artistic solo-writing, not only in his Euridice, 1600, but in Nuove Musiche, 1601, etc. See Rivista Musicale, 1896, A. Ehrichs’ memoir (1908) and various histories. G.
39Caimo, Joseffo. In 1580–88 organist at Milan Cathedral; secular works from 1564.
40Canali, Floriano. In 1581–1603 organist at Brescia; works from 1575. G.
41Caroso, Fabritio. Author of a valuable treatise on dancing, with dance-tunes (1581). G.
42Cavaccio, Giovanni (1556–1626). From 1581 maestro at S. Maria Maggiore, Bergamo; works from 1583. G (both Caraccio and Cavaccio!).
43Cavaliert, Emilio de' (?1550–1602). Roman noble, long in court-service at Florence and associated with Bardi and his circle. One of the first to use the figured bass and composer of the Rappresentazione di Anima e di Corpo, 1600 (Rome), 'the first oratorio'. See works by Gandolfi, 1893, Aleleona, 1905 (in Nuova Musica), Guidicioni-Nicastro, 1911, etc. G.
44Cavazzoni, Girolamo. Organist at Urbino (?), important as the first to publish organ-canzone (1543).
45Cerone, Pietro (1566–1613?). Bergamese singer, from 1592 in Spanish court-service at Madrid and from 1608 at Naples; treatises, 1609–13. G.
46Cerretto, Scipione (1551–1632?). Neapolitan theorist; books from 1601.
47Colombani. Orazio. Church-musician at Vercelli, Milan, Venice, Padua (S. Antonio) and Urbino; works from 1579. G.
48Contino, Giovanni (d. 1565?). Maestro at Brescia and the Mantuan court; works, 1560–61. Teacher of Marenzio and predecessor of Jachet de Wert.
49Conversi, Girolamo. Madrigals and canzone from 1572. G.
50Corsi, Jacopo (?1560–1604). Florentine noble, with Bardi interested in the new monodic style. Peri’s Dafne and Euridice (1597, 1600) were given at his house. G.
51Cortecchia, Francesco Bernardo di (d. 1571). From 1531 organist at S. Lorenzo, Florence, and from 1539 court-director; works from 1544. G.
52Cortellini, Camillo. Bolognese violinist and church-musician; works, 1583–1626. G.
53Crivelli, Arcangelo (1546–1617). Bergamese singer, from 1578 in the Papal Choir; works from 1582.
54Croce, Giovanni dalla (?1557–1609). A lifelong member of the choir at St. Mark’s, Venice; many and varied works from 1588. G.
55Dentice, Scipione (1560–1633). Neapolitan madrigalist; works from 1591.
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