Scan 59
The New Grove Dictionary Of Music And Musicians 5 Ed. 2nd, 1904
48 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.
1porated with the Accademia degli Arcadi. An exclusively musical academy, the Accademia Musicale, was founded in 1735. Its members, having taken an entrance examination, met twice monthly and soon organized an instrumental ensemble that had the exclusive right of performance in religious and private festive events.
3A society that stimulated Cremonese musical life in the first half of the 19th century was the Società Filarmonica, founded in 1816. Its statutes prescribed the performance of at least 30 concerts a year, usually held on Friday evenings. Among its members were Donizetti (1816), Rossini (1817) and Bellini (1830). After 1830 it was known as the Casino dei Nobili, since it included mostly members of the local aristocracy who advocated independence from Austrian rule, as a result the society was harassed by Austrian police, particularly after 1838. Following the city's unification with Italy in 1859 the society ceased to exist.
5Cremonese theatrical life suffered from a comparatively late start. In 1670 the Marchioness Giulia Arlberti had a small theatre built for the nobility. It ceased its activities in 1714 and was transformed into a church. The initiative for the construction of a new theatre was taken in 1745 by the Casino di Conversazione, a society of noblemen founded in 1738. The theatre, designed by G B Zait, was a wooden structure with four tiers totalling 100 boxes. It was named Teatro Nazari after its owner, the Marquis G B Nazari, and was inaugurated on 26 December 1747 with a performance of a Bolognese comic opera. During its Carnival season and until 1765 comic operas, frequently brought by Bolognese impresarios, were predominant there. From 1785 to 1806, when it burnt down, the theatre was managed by the Nobile Societa del Teatro and renamed Teatro della Nobile Associazione. Another theatre, the Teatro della Concordia, was then built to a design by L Canonica, modelled after Milan's Teatro Carcano. It was inaugurated on 26 December 1808 with Paer's Il principe di Taranto and mostly staged works of the Milanese repertory until it burnt down in January 1824. The new theatre, constructed in stone by I. Voghera and F Rodi, was inaugurated on 9 September 1824 with Rossini's La donna del lago. In the 1890s it featured numerous operas by Ponchielli, born in Cremona. Named the Teatro Ponchielli in 1892, it was renovated in 1969. one of two readings
6Cremonese theatrical life suffered from a comparatively late start. In 1670 the Marchioness Giulia Arlberti had a small theatre built for the nobility. It ceased its activities in 1714 and was transformed into a church. The initiative for the construction of a new theatre was taken in 1745 by the Casino di Conversazione, a society of noblemen founded in 1738. The theatre, designed by G B Zait, was a wooden structure with four tiers totalling 100 boxes. It was named Teatro Nazari after its owner, the Marquis G B Nazari, and was inaugurated on 26 December 1747 with a performance of a Bolognese comic opera. During its Carnival season and until 1765 comic operas, frequently brought by Bolognese impresarios, were predominant there. From 1785 to 1806, when it burnt down, the theatre was managed by the Nobile Societa del Teatro and renamed Teatro della Nobile Associazione. Another theatre, the Teatro della Concordia, was then built to a design by L Canonica, modelled after Milan's Teatro Carcano. It was inaugurated on 26 December 1808 with Paer's Il principe di Taranto and mostly staged works of the Milanese repertory until it burnt down in January 1824. The new theatre, constructed in stone by L Voghera and F Rodi, was inaugurated on 9 September 1824 with Rossini's La donna del lago. In the 1890s it featured numerous operas by Ponchielli, born in Cremona. Named the Teatro Ponchielli in 1892, it was renovated in 1969. one of two readings
8Stimulated by the musicological heritage of Gaetano Cesari, a native of Cremona who donated his large library to the city administration, the Civico Istituto di Musicologia was instituted in 1949. The Scuola di Paleografia Musicale, affiliated to the University of Parma, has been active since 1952.
10Cremona has been universally celebrated since the 16th century for the manufacture of excellent musical instruments, especially string instruments. The tradition was established in the early 16th century by the Amati family, whose craftsmanship led to the design of the modern violin. By 1530 they had already set up a shop in Cremona under the leadership of Andrea. Until well into the 18th century the family constructed string instruments of elegant shape and capable of producing a remarkably mellow tone. Its most illustrious member was Nicolo, who probably trained Antonio Stradivari and Andrea Guarneri. Stradivari was particularly successful in constructing instruments perfectly balanced in design, size and finish. The Guarneri family (especially Giuseppe) concentrated instead on developing a massive build and powerful tone. Members of the Bergonzi family were active as instrument makers throughout the 18th century. The Scuola Internazionale di Liuteria helps to maintain the fine Cremonese traditions. The Museo di Organologia 'A Stradivari', in the Museo Civico, houses a collection of rare early instruments as well as numerous documents concerning the history of musical instruments.
12BIBLIOGRAPHY
13F Arisi Cremona literata (Parma and Cremona, 1702 41)
14V Lancetti Biografia cremonese (Milan, 1819 22)
15I Manini Memorie storiche della città di Cremona (Cremona, 1819 20)
16I Lucchini Il duomo di Cremona (Mantua, 1894)
17G Sommi Picenardi La Società filarmonica di Cremona (1816 1859) (Cremona, 1897) one of two readings
18G Sommi Piccanti La Società filarmonica di Cremona (1816 1859) (Cremona, 1897) one of two readings
19Notizie e documenti intorno al distinto musicista cremonese Nicolo Corradino (secolo XVII) (Cremona, 1900)
20I Perotti Saggio di bibliografia cremonese (Cremona, 1906)
21G de Vecchi Breve storia del Reverendissimo Capitolo della cattedrale di Cremona (Cremona, 1909)
22P Anelli, ed Cento anni della Casa Anelli (Cremona, 1936)
23G Bonetti Gli organi della cattedrale 1482-1878 (Cremona, 1937)
24G Pannain Preface to Ia musica in Cremona nella seconda meta del secolo XVIII (1939)
25R Monterosso ed Mostra bibliografica dei musicisti cremonesi catalogo storico-critico degli autori (Cremona, 1949)
26R Monterosso Catalogo storico-critico-bibliografico dei musicisti cremonesi (Cremona, 1951)
27I Taghavini 'Un musicista cremonese dimenticato ritornano alla luce i ricercari a quattro voci di Nicolo Corradini', CHM, 11 (1957), 413
28A Cavalcabo I 'Pillarari' cremonesi e i probabili e possibili loro rapporti con i cornamusari scozzesi', Bollettino storico cremonese, xxvii (1961-4), 278
29G Pontioli 'Notizie di musicisti cremonesi dei secoli XVI e XVII' Bollettino storico cremonese, xxvii (1961-4), 149
30G Cugini Antonio Stradivari e la scuola classica luterica cremonese (Cremona 1962)
31F Santoro 'Wolfgang Amadeus Mozart a Cremona (da documenti inediti)', Bollettino storico cremonese, xxviii (1965 8), 249
32'1'Accademia degli Amatori la rinascita dell'antica istituzione secondo gli statuti del 1607', Bollettino storico cremonese, xxviii (1965 8), 266
33Ia famiglia e la formazione di Claudio Monteverdi note biografiche con documenti inediti', Annali della Biblioteca governativa e libreria civica di Cremona, xviii, 1 (1967), 1 89
34'Iconografia monteverdiana', Annali della Biblioteca governativa e libreria civica di Cremona, xix (1968)
35Il teatro di Cremona (Cremona, 1969-72)
36A Colzani 'Ia cappella delle laudi a Cremona fino al servizio di Tarquino Merula', Contributi e studi di liturgia e musica nella regione padana (Bologna, 1971), 333
37M Padoan 'Tarquino Merula nelle fonti documentarie', Contributi e studi di liturgia e musica nella regione padana (Bologna, 1971), 231
38EL VIDIO SURIAN
40Cremonese, Ambrosio (b ?Cremona, early 17th century) Italian composer. In 1636 he was choirmaster at Ortona Cathedral. In that year he published at Venice Madrigali concertati a 2 6 voci libro primo op.1, whose contents show that he was an able composer. The two-part madrigal Ah, come un vago sol, for example, includes some imaginative vocal writing and effective contrasts between imitation and expressive homophony. The first imitative point seems uncomfortably long, however, and the piece is cast in an ABB form in which the second B section is an almost literal repeat of the first. There are also two pieces by him in RISM 1646' and one in 1646'. one of two readings
41Cremonese, Ambrosio (b ?Cremona, early 17th century) Italian composer. In 1636 he was choirmaster at Ortona Cathedral. In that year he published at Venice Madrigali concertati a 2 6 voci libro primo op.1, whose contents show that he was an able composer. The two-part madrigal Ahi, come un vago sol, for example, includes some imaginative vocal writing and effective contrasts between imitation and expressive homophony. The first imitative point seems uncomfortably long, however, and the piece is cast in an ABB form in which the second B section is an almost literal repeat of the first. There are also two pieces by him in RISM 1646' and one in 1646'. one of two readings
43JOHN WHENHAM
45Crepitaculum (Lat.) A synonym for SISTRUM, see also CYBELLE.
47Créquillon, Thomas. See CRECQUILLON, THOMAS.
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