Scan 44
The New Grove Dictionary Of Music And Musicians 5 Ed. 2nd, 1904
40 lines. Read by computer on 18 September 2026, twice; the two readings disagreed in places. No printed page number was found. See the scan on archive.org.
1which year he was aged 58. The presence of two organ works for the Latin liturgy in the earliest section of GB-Lhm Add 29996 suggests that he was active as a composer in London during the early 1540s. Both works are offertories. The first, Laetamini in Domino (EFCM, x, no 24), is in the style of Redford. The second, Vernas mea (EFCM, x, no 28), is much more individual. The cantus firmus (uniquely in organ settings of Mass chants) is a burden, slow-moving but richly embellished. Above it the right hand provides a florid counterpoint enlivened with ingenious cross-rhythms one of two readings
2which year he was aged 58. The presence of two organ works for the Latin liturgy in the earliest section of GB-Lhm Add 29996 suggests that he was active as a composer in London during the early 1540s. Both works are offertories. The first, Laetamini in Domino (EFCM, x, no 24), is in the style of Redford. The second, Vernas mea (EFCM, x, no 28), is much more individual. The cantus firmus (uniquely in organ settings of Mass chants) is a burden, slow-moving but richly embellished. Above it the right hand provides a florid counterpoint enlivened with ingenious cross-rhythms. one of two readings
4JOHN CALDWELL
6Coya, Simone (b Gravina, nr Naples, #1679) Italian composer. In 1679 he was living in Milan and published there in that year as his op 1 a volume of cantatas and serenatas, L'amante impazzito (which is the title of one of the pieces), they are for one and two voices, violins and continuo. MS copies survive (at F-Pn) of motets that he is said to have published at Milan in 1681 one of two readings
7Coya, Simone (b Gravina, nr Naples, #1679) Italian composer. In 1679 he was living in Milan and published there in that year as his op 1 a volume of cantatas and serenatas, L'amante impazzito (which is the title of one of the pieces), they are for one and two voices, violins and continuo. MS copies survive (at F-Pn) of motets that he is said to have published at Milan in 1681. one of two readings
9Coypeau, Charles. See DASSOUCY, CHARLES
11Coyssard, Michel (b Besse-en-Chandesse, 1547, d Lyons, 1623) French Jesuit, poet and writer on music. He became rector of the college of Besançon in 1575. Through his teaching commitments he became actively involved in the religious instruction of children, particularly in the colleges of his order. He was in contact with composers, including Virgile le Blanc and Anthoine de Bertrand, and also, apparently, with religious circles including Jesuits and Fathers of the Christian Doctrine, who were then revising their teachings according to the instructions of the Council of Trent. Their aim was to interest pupils by introducing vernacular religious songs into the curriculum, to this end Coyssard compiled a volume of sacred verses, some original and others translations of Latin liturgical texts. The first edition of the Paraphrase des hymnes et cantiques spirituels (Lyons, 1592) included anonymous four-part settings of the verses. Seven reprints, with and without music, and with variant title-pages, appeared, the last in 1655, the collection was obviously very popular. Some of the first musical settings were justifiably criticised for their poor quality, and substitutes for some of these were provided by Virgile le Blanc in 1600, further modifications were made, probably by le Père d'Ambleville, in 1623.
13Coyssard's attempts to provide a kind of French chant drew repeated criticisms from some conservative Catholics, and in 1608 a defence of his work was published in which he was at pains to deny the accusations of heresy that had been levelled against him. This was the Traité du profit que toute personne ture de chanter en la doctrine christienne, & ailleurs, les hymnes et chansons spirituelles en vulgaire. Sommervogel attributed to Coyssard the Discours de l'utilité que toute personne ture de chanter, en la doctrine christienne, & ailleurs, les hymnes et chansons spirituelles en vulgaire, bearing the date 8 September 1597 and published at Avignon, which is now lost, this could well have been a first edition of the Traité.
15BIBLIOGRAPHY
16F Thoman, Curiosités musicales et autres trouvées dans les oeuvres de Michel Coyssard, de la Cie de Jésus (Paris, 1866) one of two readings
17F Thoman, Curiosités musicales et autres trouvées dans les oeuvres de Michel Coyssard, de la Cte de Jésus (Paris, 1866) one of two readings
18C Sommervogel, Bibliothèque de la Compagnie de Jésus, ed A de Backer (Brussels, 1890-1900) one of two readings
19C Sommervogel, Bibliothèque de la Compagnie de Jesus, ed A de Backer (Brussels, 1890-1900) one of two readings
21A Gastoue, L'antique populaire en France (Lyons, 1910)
22DEFNISE, LAUNAY
24Cozette, François. See COSSFT, FRANÇOIS
26Cozio di Salabue, Count Ignazio Alessandro (b Casale Monferrato, 14 March 1755, d Salabue, 15 Dec 1840) Collector of violins of the Cremonese school. Of noble birth, and endowed with both a natural curiosity about violins and the means to satisfy it, Cozio's first great opportunity came in 1775 when he acquired from Paolo Stradivari ten of his father's violins, together with tools, patterns and all that remained of Stradivari's violin-making equipment (now owned by the city of Cremona). For the next 50 years Cozio avidly traced and where possible purchased fine Italian violins, scrupulously noting down their details in his Carteggio (ed G Triglia, Milan, 1950). He also gave much assistance and encouragement to the ageing violin maker Giovanni Baptista Guadagnini in Turin, from whom he obtained some information about the Cremonese school.
28Much of Cozio's collection was eventually acquired by another energetic enthusiast, Luigi Tarisio. The instruments included the famous unused Stradivari of 1716 (later known as the 'Messiah'), sold to Tarisio in 1827 and donated by Hills to the Ashmolean Museum, Oxford.
30BIBLIOGRAPHY
31R Disertori, 'Collezionismo settecentesco e il Carteggio del Conte di Salabue', RMI III (1951) 315
32CHARLES BEARE
34Cozzella, Damiano (b São Paulo, 1930) Brazilian composer. At first self-taught in composition, he studied under Koellreutter after 1950 and in 1961 attended the Darmstadt summer courses. He belonged in the late 1950s and early 1960s to the São Paulo Música Nova Group, which called for total adherence to new aesthetics and techniques. From 1964 to 1970 he taught at the Escola Livre de Música, São Paulo, of which he had been a co-founder, and in 1971 he was appointed professor of music at the University of Brasilia. His output is very small. In works such as Músicas I-IV for various instrumental ensembles (1954-62) and the piano works Catalogo (1962) and Discontinuo (1963) he followed serial methods, but after about 1965 he turned to popular music as a composer and arranger.
36GFRARD BIFAGUI
38Cozzi, Carlo (b Parabiago, nr Milan, d Milan, c1658) Italian composer. He was at first a barber and seems to have come to music later in life. In 1649, according to the title pages of his two publications, he was organist and choirmaster of S Simpliciano, Milan, he dedicated the first of them to Queen Maria Anna of Spain (the duchy of Milan was under Spanish rule). Both consist of mass and office music rather than motets. Op 1 shows the conservative double-choir idiom still frequently adopted for such functional music, each choir has its own organ continuo. The other collection, a set of compline music, is for a more modest medium but has an optional fifth voice part. Most of the pieces are in triple time, a characteristic of mid-17th-century Italian music but there is much rhythmic variety. Only the Salve regina antiphon is largely in 4/4, and it is also more motet-like in its declamatory vocal writing, good bass line and fairly predictable word-painting and chromaticism one of two readings
39Cozzi, Carlo (b Parabiago, nr Milan, d Milan, c1658) Italian composer. He was at first a barber and seems to have come to music later in life. In 1649, according to the title pages of his two publications, he was organist and choirmaster of S Simpliciano, Milan, he dedicated the first of them to Queen Maria Anna of Spain (the duchy of Milan was under Spanish rule). Both consist of mass and office music rather than motets. Op 1 shows the conservative double-choir idiom still frequently adopted for such functional music, each choir has its own organ continuo. The other collection, a set of compline music, is for a more modest medium but has an optional fifth voice part. Most of the pieces are in triple time, a characteristic of mid-17th-century Italian music but there is much rhythmic variety. Only the Salve regina antiphon is largely in 4/4, and it is also more motet-like in its declamatory vocal writing, good bass line and fairly predictable word-painting and chromaticism. one of two readings
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