Alessandro Striggio

Alessandro Striggio, called the Elder (c. 1536/37 in Mantua, † February 29, 1592 same place ) was an Italian composer, instrumentalist and diplomat of the Renaissance. He composed numerous madrigals and music for the stage. Both genres he joined in he co madrigal comedy. He was the father of the librettist Alessandro Striggio.

Life

Striggio came from an aristocratic family. About his early life there are a few testimonials. He held probably in Florence, where he established the first contacts with the Medici in 1560. In 1567 they sent him on a diplomatic mission to England. During the 1560s - years he composed numerous intermediaries for weddings, visits and other festive occasions of the Medici. Although he continued to work for them as a composer, there are signs that he has left Florence. Striggio had connections to the Munich court and is believed to have traveled there several times; a stay in 1568 there was probably the performance of his 40 - part motet Ecce beatam lucem, which he had composed for a royal wedding celebration. He graduated in the 1570s - years a friendship with Vincenzo Galilei. Whether he was also a member of the Florentine Camerata, is not clear.

During the 1580s - years he used to deal with the Este at whose court in Ferrara, where there was one of the former centers of the Italian musical development. Striggio here began to compose in a modern era for this madrigal style. The works of this period of life, however, are not preserved. 1586 he returned to Mantua, but remained in close connection to the Medici, for whom he worked until at least 1589 continues.

Work

Striggio composed both sacred and secular music; obtained is exclusively vocal music, some with instrumental accompaniment. He has published seven books and the madrigal madrigal comedy Il delle donne al cicalamento bucato.

As one of his most impressive works and at the same time as a significant achievement of the Renaissance polyphonic music is the 40 - part motet Ecce lucem beatam. There are signs that he this work or the 40 - or 60 - led -part mass ( about 1565 ) on a diplomatic trip to London in 1567 with them, so that they which inspired Thomas Tallis also 40 - stimmigem Spem in alium. Unlike Tallis Striggio gave precise instructions to double the vocal by instrumental parts. The performance in 1568 was accompanied by eight flutes, trombones and Altgamben and harpsichord and bass sounds. The motet is set mehrchörig; it comprises four choruses of sixteen, ten, eight and six parts, which are spatially positioned apart. An even larger sized work is the 40 - part mass with a 60 -voice Agnus Dei. She was believed lost for a long time, was discovered by musicologist Davitt Moroney and identified as a parody fair to Striggio Missa sopra Ecco sì beato giorno. The work was performed in 2007 as part of the Proms at the Royal Albert Hall under Moroneys new line.

Striggio music was widespread in the late 16th century. They exercised their strong influence especially on England, where Alfonso Ferrabosco was living and the Italian style spread.