31:
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Unfortunately Merula got into trouble with some of his students, and was charged with indecency; he chose to return to
Cremona, where he remained until 1635. During this period in his life he seems to have had numerous troubles with his employers, possibly of his own making; after fighting with the
229:
administrators at
Cremona over a variety of issues, he returned to Bergamo, serving this time at a different church, but was disallowed from using any musicians from his former place of employment. In 1646 he went back to Cremona for the final time, serving as
351:, whose sectional structure looks ahead to the sonata da chiesa, and his writing for strings—especially the violin—is exceptionally idiomatic, also looking ahead to the highly developed writing of the late Baroque.
807:
861:
Maurizio Padoan, Tarquinio Merula nelle fonti documentarie, in
Contributi alla musica lombarda del Seicento, Bologna Milano, A.M.I.S., 1972, pp. 57–157.
381:
ed. A. Sutkowski). A compilation of several of his solo vocal works was edited in 2012 by Phoebe
Jevtovic, and samples can be found on her official website.
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156:. He was one of the most progressive Italian composers of the early 17th century, especially in applying newly developed techniques to
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911:
875:
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Merula was a key figure in the early development of several forms which were to mature later in the
Baroque era, such as the
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effect, and in formal design prefiguring the later
Baroque cantata with its division into aria and recitative. He wrote one
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225:), and he faced the formidable task of rebuilding the musical institution there after many of its members had died.
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and numerous other pieces which display an interest in just about every contemporary musical trend in north Italy.
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283:, and often used the techniques of the elder composer; however he also did some new things, such as writing
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871:
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Il primo libro delle canzoni a 4 (Canzoni a quattro voci per sonare con ogni sorti de strumenti musicali)
153:
882:
Tarquinio Merula, Su la cetra amorosa. Arie e capricci – M. Figueras et al. Alia Vox AVSA 9862
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Stephen Bonta: "Tarquinio Merula", Grove Music Online ed. L. Macy (Accessed
January 9, 2005),
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901:
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8:
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for solo voice accompanied by strings. His publications of 1639, 1640, and 1652 include
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469:, 12 canzonas for 3 instruments (2 violins and a bass) with continuo, Op. 9 (ca. 1631)
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A complete edition of his works was published in 1974 in
Brooklyn, New York (
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Per una biografia di
Tarquinio Merula, musicista cremonese del Seicento
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at the cathedral there, but he only remained for four years, moving to
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with instrumental accompaniment, sometimes using the
Monteverdian
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136:(24 November 1595 – 10 December 1665) was an Italian composer,
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Madrigali et altre musiche concertate a 1–5, libro secondo
180:. In 1616 he took a position as organist at the church of
221:(which affected many cities in northern Italy, including
188:, where he remained until 1621, at which time he went to
831:, "Bollettino Storico Cremonese", n.s. 9 (2002), 85–106.
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Venetian Instrumental Music, from Gabrieli to Vivaldi.
461:
Libro secondo de concerti spirituali con alcune sonate
347:. Among his instrumental music are numerous ensemble
567:
Curtio precipitato et altri capricii, libro secondo
485:
Canzoni overo Sonate concertate per chiesa e camera
203:In 1626 he returned to Cremona, and in 1627 became
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172:. He probably received early musical training in
888:
763:Greene's biographical encyclopedia of composers
737:The New Grove Dictionary of Music and Musicians
715:Il terzo libro delle salmi et messa concertati
393:, 12 canzonas for 4 instruments, Op. 1 (1615):
581:, 2–8 voices & instruments, Op. 15 (1639)
449:Il primo libro de motetti e sonate concertati
487:, 2 or 3 instruments, book 3, Op. 12 (1637):
279:In sacred music Merula followed the lead of
797:. New York, W.W. Norton & Co., 1947.
479:Pegaso salmi, motetti, suonate, libro terzo
841:, Kassel-Basel-London-New York-Prag 1999.
634:A 2. Violino, & Basso (violone, b. c.)
445:, 4 to 8 voices and continuo, Op. 5 (1624)
303:. Some of his music is reminiscent of the
29:
876:International Music Score Library Project
467:Il secondo libro delle canzoni da suonare
591:Il Quarto Libro delle canzoni da suonare
740:, Stanley Sadie (ed), 20 vols, London:
669:A 3. Doi Violini, & Violone (b. c.)
593:, a 2 to 3 instruments, Op. 17 (1651):
196:to work as an organist at the court of
152:, stylistically he was a member of the
889:
856:Tarquinio Merula : Opere complete
760:
457:, 2 voices with continuo, Op. 7 (1626)
443:Il primo libro de madrigali concertati
240:
213:to accept a similar position in 1631.
814:New York, Dover Publications, 1994.
709:XXIX. Sinfonie di tutti gli tuoni (8)
439:, 3 voices and continuo, Op. 4 (1624)
318:Merula's secular music includes solo
176:, where he was first employed as an
575:, not extant, Op. 14? (before 1649)
339:, produced in 1643, and based on a
217:, his predecessor, had died in the
13:
858:. 4 Vol. Brooklyn (N.Y.), 1974–78.
481:, 2 to 5 voices, Op. 11 (ca. 1637)
14:
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865:
455:Satiro e Corisca dialogo musicale
922:Italian male classical organists
912:Italian male classical composers
765:. London: Collins. p. 179.
579:Concerto messi, salmi concertati
872:Free scores by Tarquinio Merula
148:era. Although mainly active in
932:17th-century Italian composers
754:
728:
722:References and further reading
717:, 3 or 4 voices, Op. 18 (1652)
700:XXVI. Sonata Prima La Sartoria
475:, 1 to 5 voices, Op. 10 (1633)
437:Il primo libro de madrigaletti
1:
585:Arpa Davidica salmi, et messe
463:, 2 to 5 voices, Op. 8 (1628)
451:, 2 to 5 voices, Op. 6 (1624)
93:Composer, organist, violinist
7:
937:17th-century male musicians
917:Italian classical organists
569:, solo voice, Op. 13 (1638)
379:T. Merula: Opere complete,
10:
953:
561:XXIV. Ballo detto Pollicio
558:XXIII. Ballo detto Gennaro
927:Italian Baroque composers
587:, 4 voices, Op. 16 (1640)
237:until his death in 1665.
219:Italian plague of 1629–31
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839:Chamäleon und Salamander
795:Music in the Baroque Era
546:XIX. Ballo detto Eccardo
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311:, and a modern sense of
291:which are written using
808:Eleanor Selfridge-Field
734:"Tarquinio Merula", in
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761:Greene, David (1986).
295:basses, including the
182:Santa Maria Incoronata
38:Background information
703:XXVII. Sonata Seconda
596:A doi Violini (b. c.)
315:prevails throughout.
742:Macmillan Publishers
706:XXVIII. Sonata Terza
694:XXIV. La Valcharenga
676:XVIII. La Cavagliera
907:People from Busseto
662:XVII. La Monteverde
573:Canzonette a 3 et 4
241:Music and influence
235:Laudi della Madonna
231:maestro di cappella
206:maestro di cappella
835:Joachim Steinheuer
786:Grove Music Online
653:XIV. La Cappellina
498:III. La Caravaggia
404:III. La Pellegrina
198:Sigismund III Vasa
825:Simone Manfredini
691:XXIII. La Lanzona
688:XXII. La Lugarina
659:XVI. La Berlasina
624:VIII. La Speltina
609:III. La Bulgarina
540:XVII. La Pighetta
510:VII. La Pochetina
422:IX. La Monteverde
401:II. La Lusignuola
398:I. La Ghirardella
372:Sonata cromatica,
309:Giovanni Gabrieli
215:Alessandro Grandi
128:
127:
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791:Manfred Bukofzer
777:
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758:
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679:XIX. La Pusterla
647:XII. La Scarinza
627:IX. La Calzolara
525:XII. La Ruggiera
513:VIII. La Bellina
134:Tarquinio Merula
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66:10 December 1665
53:24 November 1595
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23:Tarquinio Merula
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16:Italian composer
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644:XI. La Miradoro
555:XXII. La Strada
543:XVIII. Ruggiero
528:XIII. La Maruta
519:X. La Cattarina
504:V. La Polachina
410:V. La Chremesca
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325:stile concitato
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168:He was born in
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154:Venetian school
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354:He also wrote
345:Giulio Strozzi
337:La finta savia
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697:XXV. La Brena
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650:XIII. La Noce
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621:VII. La Rossa
620:
618:VI. La Illica
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615:V. La Ferrara
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612:IV. L’Appiana
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603:I. L’Ariberta
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549:XX. Chiaccona
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522:XI. La Bianca
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492:I. La Gallina
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897:1590s births
855:
838:
828:
811:
794:
762:
756:
744:Ltd., 1980,
735:
730:
714:
656:XV. La Tinta
590:
584:
578:
572:
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537:XVI. La Dada
534:XV. L’Arisia
516:IX. La Ghisa
484:
478:
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448:
442:
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431:XII. La Loda
413:VI. La Ciria
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204:
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158:sacred music
133:
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120:Years active
68:(1665-12-10)
902:1665 deaths
682:XX. La Loda
641:X. La Bolla
507:VI. La Loda
428:XI. La Piva
425:X. L’Orbina
362:, keyboard
356:canzonettas
270:ground bass
98:Instruments
891:Categories
552:XXI. L’Ara
368:capriccios
305:concertato
281:Monteverdi
272:, and the
266:variations
49:1595-11-24
360:dialogues
320:madrigals
307:style of
301:Romanesca
262:da camera
258:da chiesa
142:violinist
124:1616–1665
364:toccatas
349:canzonas
341:libretto
313:tonality
299:and the
297:Ruggiero
293:ostinato
274:sinfonia
178:organist
138:organist
878:(IMSLP)
874:at the
329:tremolo
255:sonatas
247:cantata
233:at the
211:Bergamo
174:Cremona
170:Busseto
150:Cremona
146:Baroque
84:Baroque
75:, Italy
73:Cremona
58:, Italy
56:Busseto
845:
818:
801:
769:
748:
289:masses
285:motets
253:, the
249:, the
223:Venice
194:Poland
190:Warsaw
140:, and
110:violin
80:Genres
385:Works
333:opera
268:on a
105:Organ
843:ISBN
816:ISBN
799:ISBN
767:ISBN
746:ISBN
370:, a
366:and
260:and
251:aria
186:Lodi
164:Life
63:Died
43:Born
343:by
184:in
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854:,
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51:)
47:(
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