67:
in 1565, Donato was demoted back to being a singer; conflict between the two men seems to have been a feature of life at St. Mark's, culminating in a climactic fight in 1569, publicly and scandalously, during the Feast of St. Mark. In 1577 Donato took a position at the Scuola Grande di S Rocco,
54:
Details of his early life are unavailable; it is not even known where he was born. The first record of Donato is as a singer at St. Mark's in Venice in 1550, and he was given charge of the musical training of the boys there in 1562. When
467:
68:
another
Venetian church with an impressive musical tradition and substantial performing ensemble; however he failed to get along with his employers there as well, resigning by 1580. In 1588 he became assistant
72:
at St. Mark's, while
Zarlino was still alive (whether because of reconcilement or politics is not clear), and in 1590 he took over the post of his former antagonist, holding it until his death in 1603.
81:
Donato represented a progressive trend in the
Venetian school, which was already a progressive tradition compared to the other major contemporary Italian musical styles (especially as compared to the
460:
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effects of the
Gabrielis. In spite of his evident disdain for Zarlino's conservatism, he clearly absorbed some of his style and teaching, as can be seen in his smooth mastery of
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830:
225:(Note: while this book contains nothing on Donato, it has detailed and readable background on the Venetian school and associated activity at St. Mark's.)
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origin. Some of these pieces may have been intended for dancing, and they were evidently popular. They are similar to the French
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at the end of the 16th century, and was an important figure in the development of
Italian light secular music, especially the
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Probably his greatest significance to music history is in the development of a light secular form known as the
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85:). The progressive trend in the Venetian school was represented by composers such as Donato,
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style which was predominant almost everywhere else in Europe until after mid-century.
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Donato's sacred music is the most conservative portion of his output, usually using
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132:, at least when he was deliberately composing in the Franco-Flemish style.
97:; the conservative trend involved composers and theorists such as Zarlino,
26:) (1525-1530 – June 1603) was an Italian composer and singer of the
183:, ed. Stanley Sadie. 20 vol. London, Macmillan Publishers Ltd., 1980.
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Donato also wrote madrigals in a more serious style, as well as
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181:The New Grove Dictionary of Music and Musicians
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200:. New York, W.W. Norton & Co., 1954.
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159:complexity of the mid-century madrigal.
120:style, but also using some of the grand
236:Account of early history of St. Mark's
217:New York, Dover Publications, 1994.
7:
14:
831:Venetian School (music) composers
826:Italian male classical composers
806:16th-century classical composers
248:Free scores by Baldassare Donato
179:Article "Baldassare Donato", in
816:16th-century Italian composers
174:References and further reading
1:
821:Italian Renaissance composers
811:16th-century Venetian people
252:Choral Public Domain Library
105:, who tended to follow the
16:Italian composer and singer
847:
636:Giacomo Giuseppe Saratelli
668:Giovanni Agostino Perotti
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430:Venetian polychoral style
548:Giulio Cesare Martinengo
413:Giulio Cesare Martinengo
198:Music in the Renaissance
170:, and ceremonial music.
128:and Zarlinoesque use of
596:Giovanni Battista Volpe
211:Eleanor Selfridge-Field
660:Bonaventura Furlanetto
604:Gian Domenico Partenio
59:took over the post of
481:Saint Mark's Basilica
139:, a lighter form of
796:16th-century births
644:Baldassarre Galuppi
492:Johannes de Quadris
477:Maestri di cappella
387:Girolamo Dalla Casa
383:(c.1554–after 1610)
77:Music and influence
70:maestro di cappella
61:maestro di cappella
40:St. Mark's Basilica
38:of the prestigious
36:maestro di cappella
740:Gastone De Zuccoli
716:Delfino Thermignon
652:Ferdinando Bertoni
556:Claudio Monteverdi
435:St Mark's Basilica
375:Vincenzo Bellavere
241:2004-12-07 at the
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20:Baldassare Donato
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407:Giovanni Bassano
338:Gioseffo Zarlino
331:Cipriano de Rore
325:Nicola Vicentino
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99:Cipriano de Rore
65:Cipriano de Rore
57:Gioseffo Zarlino
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724:Umberto Ravetta
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381:Girolamo Diruta
318:Andrea Gabrieli
304:Adrian Willaert
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289:Venetian School
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243:Wayback Machine
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28:Venetian school
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103:Claudio Merulo
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684:Nicolò Coccon
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415:(c.1561–1613)
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409:(c.1558–1617)
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321:(c.1532–1585)
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311:Jacques Buus
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254:(ChoralWiki)
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126:counterpoint
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83:Roman School
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30:of the late
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19:
18:
801:1603 deaths
732:Matteo Tosi
365:(1533–1604)
353:(1527–1575)
347:(1525–1603)
341:(1517–1590)
32:Renaissance
790:Categories
708:Giulio Bas
166:settings,
153:polyphonic
145:Neapolitan
137:villanella
130:dissonance
122:polychoral
118:Palestrina
44:villanella
34:. He was
748:Luigi Vio
296:Composers
157:chromatic
114:polyphony
423:See also
389:(d.1601)
377:(d.1587)
239:Archived
141:madrigal
250:in the
149:chanson
116:in the
775:(2000)
767:(1981)
759:(1954)
751:(1939)
743:(1937)
735:(1926)
727:(1921)
719:(1900)
711:(1899)
703:(1898)
695:(1894)
687:(1871)
679:(1855)
671:(1811)
663:(1808)
655:(1785)
647:(1762)
639:(1747)
631:(1740)
623:(1736)
615:(1702)
607:(1692)
599:(1690)
591:(1685)
583:(1676)
575:(1668)
567:(1644)
559:(1613)
551:(1609)
543:(1605)
535:(1590)
527:(1565)
519:(1563)
511:(1527)
503:(1491)
495:(1463)
221:
204:
187:
168:motets
101:, and
91:Andrea
89:, and
24:Donati
22:(also
164:psalm
143:, of
63:from
219:ISBN
202:ISBN
185:ISBN
155:and
93:and
50:Life
479:at
792::
213:,
196:,
46:.
469:e
462:t
455:v
281:e
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267:v
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