LAPPI, Pietro (c.1575-c.1630) - Canzone

Obra de Callisto Piazza (1500-1561), pintor italià (1)

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Parlem de Pintura...

Callisto Piazza (Lodi, 1500 - Lodi, 1561) va ser un pintor italià. Membre d’una família de pintors, el 1523 es va traslladar a Brescia on va realitzar la seva primera gran obra en un estil proper al de Romanino i Moretto. En obres posteriors va rebre la influència d’altres mestres com Dosso Dossi i Ludovico Mazzolino, de l’escola de Ferrara, així com de Giovanni Agostino da Lodi. Entre els anys 1526 i 1529 Piazza va viure de forma itinerant tot treballant en poblacions com Val Camonica, Borno, Breno, Esine i Cividate Camuno. El 1529 va tornar a Lodi on va establir un taller amb els seus germans Cesare i Scipione. El 1538, a Crema, es va casar amb Francesca Confalonieri i poc després es va traslladar a Milà on va rebre nombrosos encàrrecs com per exemple la decoració de la capella de San Girolamo de Santa Maria Presso San Celso (1542) o els frescs de la Saletta Negra del Castello Sforzesco. El 1551 va tornar a Lodi on va morir el 1561.

Font: En català: No disponible - En castellano: No disponible - In english: Callisto Piazza (1500-1561) - Altres: Callisto Piazza (1500-1561)

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Parlem de Música...

Pietro Lappi (Firenze, c.1575 - Brescia, 1630) va ser un compositor italià. Pocs són els detalls coneguts de la seva vida. Es creu que va ser membre de l’ordre religiós de la Congregazione Fiesolana per més endavant assolir, a partir del 1593 i fins a la seva mort, el càrrec de mestre de capella de la Madonna delle Grazie de Brescia, la ciutat on va morir el 1630.

OBRA:
all except anthologies published in Venice

Sacra omnium solemnitatum vespertina psalmodia cum 3 BVM canticis, 8vv, bc (1600)
Missarum, 8vv, liber I (1601; 2/1607 with bc) [contains 2 motets]
Regis Davidis psalmi ad Vesperas, 5vv, ut hymnus Gloria … 9vv ad lib, regiae virginis deiparae cantica alternis choris, 9–10vv (1605)
La terza con il Te Deum e letanie della Beata Vergine et santi, 8vv (1607)
[5] Missarum, 8–9vv, liber II (1608)
[5] Missarum, 4–6vv, bc (org), liber I (1613)
[10] Sacrae melodiae, 1–6vv, una cum symphoniis e bc (org), liber I (1614, enlarged 2/1621, further enlarged 3/1622)
Canzoni da suonare, a 4–13, libro I, op.9 (1616)
Salmi, 8vv (1616)
Salmi a 3 e 4 chori, bc (org), op.12 (1621; 2/1626 as Compieta a 3 e 4 chori) [includes 1 Mag]
Concerti sacri, 1–7vv, bc, libro II, op.13 (1623)
Messe secondo libro, 4–6vv, op.14 (1624)
Missa et responsorii, op.15 (1625)
Letanie della Beatae Virgine, 4–8vv, bc ad lib, libro II, op.17 (1627)
Salmi concertati, 5vv, bc (org), op.18 (1627)
[30] Hymni per tutto l’anno, 4vv, bc (org) (1628)
Rosario musicale: una messa a 2 cori con terzo coro aggiunto, salmi, litanie, motetti, canzone (1629)
Salmi spezzati, 4vv, bc, op.22 (1630)
5 masses, 1618, 1628;
2 motets, 1612, 1623;
several pieces in Tripartus SS. concentuum fasciculus (Frankfurt, 1621);
3 canzonas, 1608
Motets, D-Bsb, RUS-KA; MS fragments, D-Mbs

Font: En català: No disponible - En castellano: No disponible - In english: Pietro Lappi (c.1575-c.1630) - Altres: Pietro Lappi (c.1575-c.1630)

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Parlem en veu pròpia o en veu d'altri...

His works, whether vocal or instrumental, are all for church use. They span the period of transition from the polyphonic to the concertato style, though he tended to adhere to the former, and only one or two of his collections include motets for the more intimate scorings of the new style. Working in Brescia he was in contact with the school of instrumental musicians and instrument makers that flourished in that city. He produced a volume of canzonas in 1616 as well as contributing three others to an anthology of 1608 and including six sinfonias in his own 1614 motet collection. Like several composers at this period he sought to demonstrate his mastery of both old and new styles in the same publication: the masses of 1613 comprise two which can be sung without organ and three ‘concertate a voci sole nell’organo’. The latter have more quaver movement, chordal writing and dotted rhythms in melismatic solos. The motets of 1614 show that Lappi was concerned with problems of musical form, trying out ternary and rondo schemes, with alternating solos and tuttis, while the Compline music for three and four choirs (1621) fuses antiphonal writing with the new ripieno concept of the mixed concertato. But the hymns of 1628 hark back to the previous century: he set alternate verses only and paraphrased the plainsong in a polyphonic idiom, and only the last verse of each setting is in a simple chordal style in triple time.

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Gaudiu i compartiu! 

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Informació addicional... 

INTERPRETS: Sonatores Pannoniae
AMAZON: LAPPI, P. - Ceremonial Music of Brescia

IMSLP: Pietro Lappi (c.1575-c.1630)

CPDL: Pietro Lappi (c.1575-c.1630)

SPOTIFY: LAPPI, P. - Ceremonial Music of Brescia



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