Adriano Banchieri
Oxford Grove Music Encyclopedia:
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Adriano Banchieri
(b Bologna, 3 Sept 1568; d there, 1634). Italian composer and theorist. A Benedictine monk, he was organist at the monastery of S Michele in Bosco for most of his life. Although a versatile composer of sacred and instrumental music, Banchieri is chiefly remembered for his treatises on performing practice and for his six books of spirited three-voice canzonettas; in these the pieces are textually linked to form works in the madrigal-comedy genre (the most famous is La pazzia senile). His treatise L′organo suonarino (1605) describes the realization of bass figures, giving instructions for accompanying liturgical chant, while Cartella musicale (1614) contains his writings on harmony, rhythm and vocal ornamentation.
AMG AllMusic Guide to Classical Music :
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Adriano Banchieri
- Genres: Choral Music, Vocal Music
Biography
Late Renaissance Italian composer Adriano Banchieri was a Benedictine monk and the greatest exponent of madrigal comedy, a bawdy, satirical forerunner to comic opera. His work consists of secular madrigals, sacred vocal music, and a small amount of instrumental music; he also led an early orchestra of which Claudio Monteverdi was a member. Banchieri was a key proponent of figured bass realization and left an indispensable treatise on the subject; likewise, he significantly contributed to the use of expression marks in musical notation. Banchieri's madrigal comedies remain tremendously entertaining, partly through their use of animal noises and mixed dialects. ~ Uncle Dave Lewis , RoviWikipedia on Answers.com:
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Adriano Banchieri
Adriano Banchieri (3 September 1568 – 1634) was an Italian composer, music theorist, organist and poet of the late Renaissance and early Baroque eras. He founded the Accademia dei Floridi in Bologna.[1]
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Biography
He was born and died in Bologna. In 1587 he became a monk of the Benedictine order, taking his vows in 1590, and changing his name to Adriano (from Tommaso). One of his teachers at the monastery was Gioseffo Guami, who had a strong influence on his style.
Like Orazio Vecchi he was interested in converting the madrigal to dramatic purposes.[1] Specifically, he was one of the developers of a form called "madrigal comedy" — unstaged but dramatic collections of madrigals which, when sung consecutively, told a story. Formerly, madrigal comedy was considered to be one of the important precursors to opera, but most music scholars now see it as a separate development, part of a general interest in Italy at the time in creating musico-dramatic forms. In addition, he was an important composer of canzonettas, a lighter and hugely popular alternative to the madrigal in the late 16th century. Banchieri disapproved of the monodists with all their revolutionary harmonic tendencies, about which he expressed himself vigorously in his Moderna Practica Musicale (1613), while systematizing the legitimate use of the monodic art of figured bass.[1]
In several editions beginning in 1605 (reprinted at least six times before 1638), Banchieri published a series of organ works entitled l'Organo suonarino.[2]
Banchieri's last publication was the Trattenimenti da villa of 1630.[3] According to Martha Farahat[3] he wrote five madrigal comedies between 1598 and 1628 with "plot and character development", starting with La pazzia senile of 1598, the last of them La saviezza giovenile.
References in modern culture
In 2008, a group of four composers including Lorenzo Ferrero and Bryan Johanson wrote a collaborative composition for organ and orchestra entitled Variazioni su un tema di Banchieri, which was first performed in Bologna on August 2 of that same year.
Media
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References
- ^ a b c
Chisholm, Hugh, ed. (1911). "Banchieri, Adriano". Encyclopædia Britannica (11th ed.). Cambridge University Press. - ^ Bonta, Stephen (Spring 1969). "The Uses of the 'Sonata de Chiesa'". Journal of the American Musicological Society (Richmond, Va.: American Musicological Society) 22 (1): 56. ISSN 0003-0139. JSTOR 830812.
- ^ a b Farahat, Martha (1991). "On the Staging of Madrigal Comedies". Early Music History (Cambridge, U.K.: Cambridge University Press) 10: 123–143. doi:10.1017/S026112790000111X. ISSN 0261-1279. JSTOR 942452. OCLC 8595852. Farahat's article concerns itself with the consensus among scholars that Banchieri's madrigal comedies were not intended to be staged but only for concert use, and some evidence that they were so intended; and a few related questions.
- LE SOURIRE DU MOINE - ADRIANO BANCHIERI DA BOLOGNA; Musicien, homme de lettres, pédagogue, équilibriste sur le fil des querelles du Seicento, Cinzia Zotti, Serre Éditeur, Nice, 2008.
External links
- Adriano Banchieri, biographie de CInzia Zotti.
- Free scores by Adriano Banchieri in the Choral Public Domain Library (ChoralWiki)
- Free scores by Adriano Banchieri in the Werner Icking Music Archive (WIMA)
- Free scores by Adriano Banchieri at the International Music Score Library Project
- The Mutopia Project has compositions by Adriano Banchieri
- Contraponto bestiale alla mente (PDF - original version at classicaland.com)
- Original texts of Bertoldino and Caccasenno
- Audio of Six Sonatas played on a virtual organ
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Oxford Grove Music Encyclopedia
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AMG AllMusic Guide to Classical Music
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Mentioned in
Gioseffo Guami
(Classical Musician)
Adriano Banchieri: Sinfonie Ecclesiastiche
(Classical Album)
Luigi Nono: Como una ola de fuerza y luz; Sofferte onde serene; Contrappunto dialettico alla mente
(Classical Album)
T'amo mia vita, madrigal for 3 women's voices & continuo
(Classical Work)
Festino nella sera del giovedì grasso avanti cena
(Classical Work)
» More