195:, in seventeen parts, for from four to ten voices, which he published in Venice in 1567. (Florence, for all its opulence, lacked publishing houses, and most of the Medici composers published their works in Venice, a city with a long publishing history.) In addition to his secular music, he published a book of motets in Nuremberg in 1573,
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creatively, and he liked to write both madrigals and motets in groups, as did the other Medici composers (such as
Corteccia and Striggio). Much of his music is intended to be accompanied by instruments, another characteristic of Florentine
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may have been his work. Connections between the Medici and
Bavarian courts were close through the period, and composers often passed between them. Nothing certain is yet known of Rossetto's career after 1580.
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in Munich, suggesting he wrote it while in the service of the
Bavarian court. Only a handful of larger compositions are known: Alessandro Striggio's colossal 40 and 60 voice
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Rossetto also composed three books of madrigals, for four, five, and six voices, respectively (all published in Venice in 1560 and 1566), and an ambitious setting of the
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compositions. One of the largest polychoral works ever composed, at least prior to modern times, was his huge 50-voice motet
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His life has not yet been thoroughly studied. The earliest information available shows that he may have lived and worked on
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Along with the other Medici composers, taking part in a trend of the time, he wrote gigantic
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260:, ed. and reconstructed by James Chater. Madison, Wisc.: A-R Publications (forthcoming)
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family; the connection can be made from the dedication to one of his 1560 books of
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223:: "Stefano Rossetto", Grove Music Online, ed. L. Macy (Accessed May 14, 2007),
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168:. The date of the composition is unknown, but the manuscript is at the
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258:"Il lamento di Olimpia" and Other Madrigals from Four to Ten Voices
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All of his surviving music is vocal, and includes madrigals and
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Vol. 60 No. 1., pp. 1–69. Spring 2007. ISSN 0003-0139
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Novae quaedam sacrae cantiones, quas vulgo motetas vocant
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251:Journal of the American Musicological Society,
236:. New York, W.W. Norton & Co., 1954.
157:musical interludes between acts of plays.
84:. In 1560 he assisted at the wedding of
129:performed in Florence in 1583 alongside
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99:In 1566 at the latest he went to
317:Italian male classical composers
178:, and the 17th century 53-voice
175:Missa sopra Ecco sì beato giorno
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215:References and further reading
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312:Italian Renaissance composers
123:(Albrecht died in 1579). The
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199:, for five and six voices.
170:Bayerische Staatsbibliothek
86:Emmanuel Philibert of Savoy
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202:In his madrigals he uses
107:as a composer, alongside
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234:Music in the Renaissance
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73:, in the service of the
166:Consolamini popule meus
105:Ferdinando I de' Medici
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45:, who worked mainly in
92:, which took place in
225:(subscription access)
186:Heinrich Ignaz Biber
181:Missa Salisburgensis
90:Marguerite of Valois
332:Musicians from Nice
327:16th-century deaths
322:16th-century births
113:Francesco Corteccia
109:Alessandro Striggio
69:, an island in the
286:Haar, Grove online
256:Stefano Rossetti,
103:, where he served
30:1560–1580) was an
193:Lamento d'Olimpia
49:for the powerful
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20:Stefano Rossetto
16:Italian composer
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37:of the late
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78:Giustiniani
39:Renaissance
306:Categories
221:James Haar
162:polychoral
153:intermedii
126:intermedio
117:Albrecht V
41:, born in
209:polyphony
121:William V
82:madrigals
133:'s play
101:Florence
47:Florence
35:composer
24:Rossetti
75:Genoese
32:Italian
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148:motets
131:Fedini
111:, and
71:Aegean
55:Munich
51:Medici
22:(also
265:Notes
142:Music
119:, or
67:Chios
238:ISBN
94:Nice
88:and
61:Life
43:Nice
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28:fl.
26:) (
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273:^
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