Cristofano Malvezzi (1547 – 1599) was an Italian
organist and composer of the late Renaissance. He was
one of the most famous composers in the city of
Florence during a time of transition to the Baroque
style.
Malevezzi was born in Lucca. From 1551 he lived in
Florence, serving the Medicis from 1562. He held a
number of organist posts in the city, and also taught
pupils, among them Jacopo Peri, who is often regarded
as the inventor of opera. From 1573 he held the double
post of maestr...(+)
Cristofano Malvezzi (1547 – 1599) was an Italian
organist and composer of the late Renaissance. He was
one of the most famous composers in the city of
Florence during a time of transition to the Baroque
style.
Malevezzi was born in Lucca. From 1551 he lived in
Florence, serving the Medicis from 1562. He held a
number of organist posts in the city, and also taught
pupils, among them Jacopo Peri, who is often regarded
as the inventor of opera. From 1573 he held the double
post of maestro di cappella at the cathedral as well as
at S Giovanni Battista, which was the highest position
for a musician in the city. Among his works are three
books of madrigals, a book of ricercars, but only two
sacred compositions—a curious omission for a composer
so closely connected with the church.
Because of his activity in Florence, the numerous
intermedi that he wrote for the Medici and other
members of the aristocracy, his dedication of a book of
ricercars to Count Giovanni de' Bardi, and the
dedication of a book of madrigals to Emilio de'
Cavalieri, it is likely that he was a member of the
Florentine Camerata, the group of progressive musicians
and poets who, in attempting to recreate the music of
ancient Greece, created the first monody and ultimately
the first opera. This is reinforced by the fact that he
composed much of the music for the La Pellegrina
intermedi of 1589, which was carefully designed by the
Camerata. Whether or not he was part of the intimate
group, his music was among the best known in Florence.
One of the grandest compositions of the time, a
colossal setting of O fortunato giorno which he
composed for a sumptuous intermedio intended for an
aristocratic marriage, is for thirty separate vocal
parts divided into seven spatially separated choirs.
Some of his madrigals are written in the monodic style,
which implies further a possible connection with the
Camerata.
La Pellegrina is a comedy commissioned in 1589 by
Ferdinando I de 'Medici to Girolamo Bargagli ,
presented by the members of the Accademia degli
Intronati from Siena , for the celebration of his
wedding with Cristina of Lorraine. Six Intermedii et
Concerti were included in the comedy for the wedding of
Don Ferdinando Medici and Madama Christina of Lorraine
, organized by Giovanni Bardi , count of Vernio and
leader of the famous Camerata de 'Bardi , which
includes the composers and authors of the text of these
intermediates, which were the richest and most
spectacular of the whole Renaissance.
Once the intermediates were used to complete a comedy,
now instead it is done backwards, writing the comedy
for the intermediates ": these words of the poet,
playwright and pharmacist Antonfrancesco Grazzini
(called "Il Lasca"), of 1565, define the meaning that
the intermediates had assumed in the theatrical life of
the time. Originally, according to the meaning of their
term of interlude , they played a role subordinate to
the theatrical work but soon their part grew in
importance, attracting the attention of both the
artists and the public. The staging of the comedy came
to offer little more than a pretext for the
intermediates.
Source: Wikipedia
(https://en.wikipedia.org/wiki/Cristofano_Malvezzi).
Although originally composed for Chorus (SSATBB), I
created this Interpretation of the Sinfonia à 6 (No.
3) "Il canto dArione" from "La Pellegrina" for Wind
Sextet (Flute, Oboe, English Horn, French Horn, Bassoon
and F Tuba).
PARTITION