 | Maschera, Florentio - Canzona in A Minor for String Quartet String Quartet |
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| Composer : | Maschera, Florentio (1540 - 1584) | ||
| Instrumentation : | String Quartet | ||
| Style : | Renaissance | ||
| Key : | A minor | ||
| Arranger : Publisher : | MAGATAGAN, MICHAEL (1960 - ) | ||
| Copyright : | Public Domain | ||
| Added by magataganm, 19 Dec 2021 Fiorenzo Maschera (1540–1584) was an Italian composer and organist of Brescia Cathedral, known for his organ pieces. Fiorenzo probably learned from his father Bartolomeo Maschera, who was employed as a Latin teacher and nurse of music at the cathedral in Brescia. Lessons, which he is said to have received from Claudio Merulo according to the testimony of Costanzo Antegnati, are to be doubted, since Merula worked in Brescia when Maschera was in Venice. Rather, they were competitors for the post of organist at St. Mark's Basilica in Venice. Maschera received his first job as organist in the “Santo Spirito in Isola” monastery near Venice. On August 22, 1557, he became organist at the Brescia Cathedral with an initial salary of 180 lire, which was replaced by a baroque new building in the early 17th century. On April 6, 1573, Maschera received a lower ecclesiastical consecration from the Bishop of Cremona, which should probably help him to generate income from clerical benefices. In July 1584 Costanzo Antegnati (1549–1624) was appointed as his successor. Maschera is often mentioned in connection with the violin maker Gasparo da Salò, who worked in Brescia, as an excellent gambist. So Ottavio Rossi (1570–1630) wrote in his Elogi historici di Bresciani illustri (1620), p. 497, about Maschera Nel tasteggiar le viole fù giudicato inimmitabile. Maschera remained best known for his 21 four-part instrumental canzones, which appeared in 1582 under the title Libro primo de canzoni: da sonare a quattro voci. They are among the oldest surviving Italian works that were published specifically for an instrumental ensemble and not, as is customary, come from vocal canons. Reproductions of the book appeared in 1584 and 1588. However, two of the canzons were already found in the "Tabolatura citthara" by Paolo Virchi (1551–1610) published in 1574. Other works by Maschera were printed between 1574 and 1617 in various anthologies in Italy and Germany. The four-part arrangement of the works permits execution on a keyboard instrument, but it is obvious that the works were intended for an instrumental ensemble, especially if one takes into account Maschera's reputation as a gambist and violinist. Canzonas are strictly instrumental works whose height of popularity was from around 1584 (the first publication of Florentio Maschera's Libro Primo de canzoni, though a few single works appear in anthologies before then) until the mid 17th century. The instrumental term canzona changed genders from the masculine canzon, and many are given simple feminine-gendered titles, such as "La Bevilacqua" (Canale), "La Capriola" (Maschera), "La Spiritata" (Gabrieli), etc. Many start with a simple dactylic rhythm characteristic of the earlier French vocal chansons (a semibreve followed by two minims), though the term was fluid in the period, and many pieces now called ricercars were published in books of canzonas. A frequent term used from the earliest publications was "canzoni per sonare" or "canzoni da sonare" ("songs to be played"). Another term occasionally used (for instance, by Banchieri) is "canzon alla francesce" ("French-type song"). Eventually the form morphed into the "canzona sonata" (a played song), followed by the mid-baroque "sonata" (something simply "played"). Do not confuse with Canzoni; see also Canzonets, Canzonettas. Source: Wikipedia (https://de.wikipedia.org/wiki/Florentio_Maschera). Although originally written for Pipe Organ, I created this Interpretation of the Canzona in A Minor for String Quartet (2 Violins, Viola & Cello) | |||
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