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nightingale stop on the organ, bass viol, cornett, crumhorns, flutes, violin, violone, and a quartet of trombones; during the finale, 20 bacchantes, mostly drunk and consisting of ladies and satyrs, were to come on stage singing and playing pipe, tabor, violin, harp, cornetts, crumhorns, and tambourine, and the performance closed with entrance and song by the personification of Night, accompanied by four trombones. The madrigals are also notable in that four of them, every alternate one, were the first in
150:, possibly due to the lack of publishing capacity in Florence prior to that time. Corteccia wrote a letter for the dedication of the several volumes of motets, and in it indicated that he had been working on them and refining them for 30 years. Many of the modifications he made were in keeping with the liturgical reforms of the
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were sung interludes between acts of plays, with the most elaborate being those performed for state occasions. Often these interludes consisted of groups of madrigals, related to the subject matter of the play; in that they are staged, sung, and part of a dramatic production, they are seen as one of
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The court of the Medici was one of the most opulent in Europe, and the
Florentine family was keenly aware of their status and prestige, as shown by the artistic creations they inspired, ordered, or bought. Corteccia served the Medici for most of his life, and helped create some of the Medici's most
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Corteccia wrote most of his music relatively early in his career; his production peaked in the early 1540s. His music is both sacred and secular, and much of it, unusually for a composer prior to the birth of opera, is specifically for the stage. He was also atypical among the first generation of
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by
Antonio Landi, were sung in costume, with the singers playing nymphs, shepherds, mermaids, sea nymphs, and sea monsters (the three sea nymphs played flutes; the sea monsters, lutes). The entire performance was elaborately orchestrated, with the singers variously accompanied by harpsichord,
73:. On October 22, 1527, he became chaplain at the baptistry, and in 1531 entered indirectly into the employ of the Medici as both chaplain and organist at the church of San Lorenzo, the Medici family church. From 1535 to 1539 he was organist at San Lorenzo, and from 1540 until his death was
240:, i.e. "black note" style: choppy rhythms, quick note values, sudden textural contrasts; in addition, they were usually designed for instrumental accompaniment, and consequently the soprano and bass lines often stand out. In this they foreshadow the development of
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to the Medici, he gradually rose in position and prominence in
Florence. In the chapel, he was successively chaplain, supernumerary canon, and canon; and in addition he held auxiliary positions such as chamberlain and archivist. In the 1560s he was replaced by
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Many of his published madrigals, for four to six voices, give no hint in the score of the extravagance of their original premières. They are full of textural contrast, as befits their dramatic origin. His earlier work shows the influence of the
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St. John
Passion 1527, sung in Latin, with Evangelist's narrations spoken in Italian following Massimo Fiorentino's version of 1538. Schola Cantorum 'Francesco Coradini', dir. Fosco Corti Archiv. 1975
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The 1539 performance was one of many, but was one for which a detailed description survived. He also wrote, for example, a set of five madrigals in four voices to be performed between the acts of
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in 1544. Some of his madrigals differ from the usual vocal music of the time in having specifically indicated instrumental accompaniment, a result of being composed for theatrical occasions.
224:. In this set each composer contributed three madrigals; once again it was for a Medici wedding, and like the previous, was designed for performance between the acts of a play by d'Ambra.
317:, "Alessandro Striggio's Mass in Forty and Sixty Parts". Journal of the American Musicological Society, Vol. 60 No. 1., pp. 1–69. Spring 2007. ISSN 0003-0139
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He was born in
Florence. By 1515 he was a choirboy and was enrolled in the cathedral school; around this time he probably studied organ with
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Portrait of Cosimo I de' Medici by Angelo
Bronzino. Cosimo was a patron of the arts and music, and Corteccia's lifelong employer
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Centre de
Musique Ancienne di Ginevra, Studio di Musica Antica Antonio Il Verso di Palermo, Schola Jacopo da Bologna – dir.
194:. One such intermedio by Corteccia was the set of seven madrigals he wrote for the wedding in June 1539 of Duke Cosimo to
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as the composer for most of the sumptuous musical productions of the Medici court, but he retained the position of
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in 1544. Many of his madrigals are lost, but another surviving set, from 1565, was written in collaboration with
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madrigal composers in that he had a complete published collection of his music dedicated only to him: his
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Frank d'Accone, "Francesco
Corteccia", Grove Music Online, ed. L. Macy (Accessed May 12, 2007),
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David Nutter, "Intermedio", Grove Music Online, ed. L. Macy (Accessed May 12, 2007),
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As court composer to Cosimo de' Medici, Corteccia was required to write music, often
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37:(July 27, 1502 – June 7, 1571) was an Italian composer, organist, and teacher of the
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The hymn settings are mostly in responsory format, i.e., a verse is sung in
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Three volumes. Princeton, New Jersey, Princeton
University Press, 1949.
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elaborate entertainments. Later composers for the Medici, such as
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Musiche fatte nelle nozze dello ill.ssimo Duca – Firenze 1539
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to the court of the Duke of
Florence, Cosimo I de' Medici.
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I Cantori Lorenzo, Filippo Maria Bressan, Dynamic. 1999
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49:, but he was the most prominent musician in
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270:Andrew C. Minor, "Francesco Corteccia", in
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463:International Music Score Library Project
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53:for several decades during the reign of
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120:First Book of Madrigals for Four Voices
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459:Free scores by Francesco Corteccia
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479:Italian male classical composers
173:interludes, providing variety.
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252:References and further reading
29:Biblioteca Medicea Laurenziana
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484:Italian Renaissance composers
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80:During his long tenure as
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302:Music in the Renaissance
177:Intermedii and madrigals
136:Lamentations of Jeremiah
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384:D'Accone, Grove online
248:later in the century.
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435:Fosco Corti (Italian)
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322:The Italian Madrigal.
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23:Francesco Corteccia,
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190:the predecessors of
336:Selected Recordings
246:Florentine Camerata
222:Alessandro Striggio
112:Alessandro Striggio
91:maestro di cappella
87:Alessandro Striggio
82:maestro di cappella
75:maestro di cappella
55:Cosimo I de' Medici
35:Francesco Corteccia
489:Madrigal composers
291:2008-05-16 at the
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142:, and many
39:Renaissance
473:Categories
216:'s comedy
200:Il commodo
187:Intermedii
183:intermedii
171:homophonic
159:plainchant
238:note nere
206:note nere
163:polyphony
43:madrigals
25:Hinnarium
289:Archived
262:Archived
234:Arcadelt
230:frottola
218:Il furto
138:(lost),
51:Florence
465:(IMSLP)
461:at the
451:in the
244:by the
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242:monody
148:Venice
144:motets
124:Venice
368:Notes
192:opera
140:hymns
97:Music
326:ISBN
306:ISBN
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61:Life
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