170:. His father, Giovanni Maria Legrenzi, was a professional violinist and, to some extent, a composer. We know Legrenzi had two brothers and two sisters, though one of the brothers, Marco, apparently a talented musician who performed with his father and brother in the 1660s, is not mentioned in Legrenzi's will: it is presumed that he died young. His remaining brother and sisters are both mentioned in his will. Legrenzi was probably taught largely at home, and his performance skills developed at the local church, and it can also be assumed there was music-making in the house.
197:. He ended his association with the Academy of the Holy Spirit at some point, and does not appear to have had a permanent position of any sort for several years, though it is unlikely that he was in financial difficulty. He had land at Clusone and the proceeds from his publications, several of which had already gone into second editions, as well as performance fees. He also published his largest volume, the huge collection for double choir, during this period.
190:
whole aristocratic community of
Ferrara, with whom Legrenzi cemented relationships that, like those he had already established in Bergamo, would serve him well throughout his life. The position at the Academy of the Holy Spirit would have left Legrenzi with ample time for other pursuits. By the early 1660s he had already published eight volumes, and had broken into the elite world of opera, gaining his first performances in Venice in 1664.
1613:. naive OP30579. 2023. (Adoramus te sanctissimam crucem, Albescite flores, Alma redemptoris mater a5, Ave Regina caelorum a5, Expergiscimini mortales surgite a somno, Exultemus omnes et laetemur, filiae Ierusalem, Letanie a5, Obstupescite caelites obmutescite angeli, Qui non renuntiat omnibus, Quis ascendit in montem sanctum Sion, Regina caeli laetare a5, Salve Regina mater misericordiae a5, Venite omnes currite populi).
36:
133:
299:(1684). His operas were immensely popular (and extravagantly presented) in their day, though, like his oratorios, few have survived. His later dance music was certainly connected with the operatic repertoire, though the function of an early collection (Op. 4, which is musicologically famous for its inclusion of six pieces designated
200:
Legrenzi seems to have been well settled in Venice by 1670. He took a position as a music teacher at Santa Maria dei
Derelitti (commonly called the Ospedaletto), remaining until 1676, and was busy with further publications, musical commissions, especially oratorios, occasional performances, and more.
173:
Legrenzi received his first appointment in
Bergamo, as Organist at Santa Maria Maggiore, a magnificent church with a celebrated musical history. Following ordination as a priest in 1651, he was appointed as a resident chaplain at the church, though he continued to be actively involved in the music,
189:
at the
Academy of the Holy Spirit in Ferrara. The academy was not a learned society, but a fraternity of laymen which presented predominantly liturgical services with music. It had a small but very good musical establishment with an impressive tradition, and effectively addressed the needs of the
306:
Legrenzi's music is steadily gaining interest as scores and transcriptions become more widely available. Early music groups are increasingly including the instrumental sonatas and selections of the devotional and liturgical music in concerts. There have been significant revivals of some of the
271:
Legrenzi was active in most of the genres current in northern Italy in the late 17th century, including sacred vocal music, opera, oratorio, and varieties of instrumental music. Though best known as a composer of instrumental sonatas, he was predominantly a composer of liturgical music with a
243:
at San Marco in April 1685. He was by this time probably in failing health, and the last few years of his life were clouded by sickness. He took little part in the services at San Marco from the later part of 1687, where performances were increasingly in the hands of his
182:. Legrenzi's first publication, music for Mass and Vespers, appeared in 1654. His appointment as organist was not reconfirmed at the end of the year owing to his apparent involvement in a minor gambling scandal, though he was reinstated by mid-February 1655.
1715:, Op. 11/13, and the two unusual sonatas for 4 viola gamba, Op. 11/17 and Op. 11/18, appear on a number of recordings in various transpositions. Most other genres remain under-represented, notably including the surviving operas.
1939:
505:
as Opus 10 appears to be an error on the part of the
Venetian publisher, who was presumably unaware of the collection published in Bologna in 1670: the correct numbering of the publications resumed with Opus 12.
1711:. Sonatas from all of the four volumes in this form are generously represented, with a complete recording of Op. 2 (1655) and most sonatas from the other volumes also available. The sonata for 4 violins from
272:
distinctly dramatic character. The bulk of his instrumental music may also be included in this category, since it would have been used primarily as a substitute for liturgical items at Mass or
Vespers.
1932:
514:
A number of works survive in manuscript copies only. Most can be ascribed confidently to
Legrenzi, though there are a few of less certain attribution. Among the most important of these works are:
1925:
1413:
Jeffrey
Kurtzman (ed.): Vesper and Compline Music for Eight Principal Voices, Part One-Two. Seventeenth-Century Italian Sacred Music; 18–19. New York: Garland, c.2001–2002.
193:
We know little of certainty about
Legrenzi's activities between approximately 1665 and 1670, a situation considerably exacerbated by the destruction of local records during
1436:
Anne
Schnoebelen (ed.): Masses by Maurizio Cazzati, Giovanni Antonio Grossi, Giovanni Legrenzi. Seventeenth-Century Italian Sacred Music; 7. New York : Garland, 1997.
1390:
Jeffrey Kurtzman (ed.): Vesper and Compline Music for Five Principal Voices, Parts I-II. Seventeenth-Century Italian Sacred Music; 15–16. New York: Garland, 1999–2000.
574:, a psalm setting for solo alto, strings and continuo, which appears likely to be a unique example of Legrenzi's own hand, as there is evidence that it is an autograph.
1550:
Ensemble Legrenzi. TACTUS TC 621201, 2003 (This recording is also available on Oratorios of the Italian Baroque. Ensemble Legrenzi and Complesso Pro Musica Firenze.
986:
Giovanni Legrenzi e la Cappella ducale di San Marco : atti dei convegni internazionali di studi, Venezia, 24–26 maggio 1990, Clusone, 14–16 settembre 1990.
1848:
2292:
2282:
1810:
1503:(see "Facsimiles" above) produces facsimile or Brian Clark's Urtext performing editions of a number of individual works. So too do Prima la musica!
1375:
Jeffrey Kurtzman (ed.): Vesper and Compline Music for Four Principal Voices. Seventeenth-Century Italian Sacred Music; 14. New York: Garland, 1998.
2307:
1733:
1473:
1166:
1043:
2312:
2287:
2297:
1021:
53:
1318:, Musicologica neolovaniensia; musica sacra 1. Louvain-la-Neuve : Institut supérieur d'archéologie et d'histoire de l'art, 1981.
1441:
1426:
1418:
1403:
1395:
1380:
1365:
1360:(ed.): Vesper and Compline Music for Three Principal Voices. Seventeenth-Century Italian Sacred Music; 13. New York, Garland, 1998.
1351:
1308:
1290:
1272:
1254:
1152:
1107:
1077:
1060:
1014:
993:
979:
964:
898:
880:
328:
119:
529:
found at Loreto. This Mass, dated 1689 and surviving in a magnificently bound volume, may have been presented as a votive offering.
1689:
Approximately 40 other recordings are available featuring one or more Legrenzi works. By far the most frequently recorded item is
554:
for Christmas Day, including the Invitatory, Psalms and Te Deum; and concluding with the Introit for the First Mass of Christmas.
100:
1841:
146:(baptized August 12, 1626 – May 27, 1690) was an Italian composer of opera, vocal and instrumental music, and organist, of the
72:
57:
79:
2302:
2277:
1820:
1458:
Recent Researches in the music of the Baroque era, 14, 15 : Madison, A-R Editions, 1972. (The whole of Opus 12.)
154:
in the late 17th century, and extremely influential in the development of late Baroque idioms across northern Italy.
2107:
1834:
392:
Sonate dĂ Chiesa, e dĂ Camera, Correnti, Balletti, Alemane, Sarabande a tre, doi violini, e violone. Libro Secondo.
86:
46:
2139:
332:
2019:
1497:
produce Urtext performing editions of chamber and sacred music from several of Legrenzi's printed collections.
586:, a motet for solo soprano, strings and continuo which provides for a theorbo to double or replace the violone.
1952:
68:
1065:
1048:
1031:
341:
in a co-production between the Opéra national du Rhin and Opéra national de Lorraine in February/March 2019.
2067:
1806:
1500:
1192:
1188:
2131:
2075:
1888:
638:
561:
337:
309:
281:
249:
1816:
353:
260:
2211:
1917:
862:
547:, a complete setting for double choir and instruments of the sequence "Dies irae" from the Requiem Mass.
324:
406:
Op. 6 (Venice, Francesco Magni detto Gardano, 1660). A second edition was published in Antwerp in 1665.
361:
209:
1971:
1494:
136:
18th-century portrait of Giovanni Legrenzi by anonymous painter, Civico museo bibliografico musicale,
2272:
2267:
2235:
1749:
1610:
1100:
Odysseus in Venedig: Sujetwahl und Rollenkonzeption in der venezianischen Oper des 17. Jahrhunderts.
590:
There are in addition a few more liturgical pieces, a number of cantatas and the unusual 'serenata'
2243:
2227:
2115:
2083:
1963:
1948:
1904:
1872:
1332:
Venezia 1683. Monza, Accademia Musicale IAMR, 2006. Parma, L'oca del Cairo Edizioni Musicali, 2006.
1325:
Venezia 1675. Monza, Accademia Musicale IAMR, 2003. Parma, L'oca del Cairo Edizioni Musicali, 2003.
835:
702:
616:
467:
Balletti e Correnti a cinque stromenti, con il basso continuo per il cembalo. Libro Quinto Postumo.
349:
315:
291:
1339:
Ferrara 1665. Monza, Accademia Musicale IAMR, 2013. Lucca, Libreria Musicale Italiana (LIM), 2013.
2203:
2187:
2123:
2027:
1880:
1695:
1571:
1551:
1296:
1278:
630:
320:
167:
1487:
2219:
1789:
1175:
Collezione settecentesca Bettarini; no. 12. Milano : Casa editrice Nazionalmusic, c. 1980.
1115:
A thematic catalogue of the music of Giovanni Legrenzi (with an introduction and commentaries).
93:
2099:
2051:
2043:
2003:
1708:
1606:
1469:
1437:
1422:
1414:
1399:
1391:
1376:
1361:
1347:
1304:
1286:
1268:
1250:
1162:
1148:
1103:
1073:
1056:
1039:
1017:
1010:
989:
975:
960:
894:
876:
233:
217:
213:
858:
Stephen Bonta: "Giovanni Legrenzi", Grove Music Online ed. L. Macy (Accessed June 27, 2005),
252:. Legrenzi's death on 27 May 1690 from the "mal di petra" (a colic-related illness, probably
2155:
2147:
2035:
1995:
1987:
1541:
1537:
1357:
225:
175:
1009:
Handel sources: materials for the study of Handel's borrowing; 9. New York: Garland, 1986.
185:
Legrenzi resigned from his position at Bergamo towards the end of 1655, and in 1656 became
2195:
1979:
1561:
866:
537:
357:
236:) the leading opera composer of his day, with ten commissions in the five years to 1685.
2163:
2011:
1896:
1161:
Archivum musicum. Cantata barocca; 7. Firenze : Studio per edizioni scelte, 1980.
658:
275:
Legrenzi composed nineteen operas from 1662 to 1685, of which the most successful were
1147:
The Italian cantata in the seventeenth century; vol.6. New York : Garland, 1986.
2261:
2091:
1587:
1142:
1007:
La lotta d'Hercole con Acheloo / Agostino Steffani. Miscellaneous manuscript sources.
345:
253:
147:
1735:
A general history of music from the infancy of the Greek drama to the present period
1247:
The instrumental music of Giovanni Legrenzi : sonate a due e tre, opus 2, 1655.
2171:
924:
564:, who drew on Legrenzi's motet in the chorus 'To thy dark servant' in the oratorio
194:
1145:
and Giovanni Legrenzi; selected and introduced by David Burrows and Stephen Bonta.
929:
Music for Vespers of the B.V.M. by Giovanni Legrenzi: A modern performing edition.
580:, a psalm setting for five voices, strings and continuo and, unusually, a trumpet.
1468:, Musica da camera, 55. Oxford University Press, c.1979. (Nos. 7–30 from Opus 4)
1344:
Giovanni Legrenzi 1629–1690 II Sedecia / Bernardo Pasquini 1637–1710 Sant'Agnese.
1479:
1461:
1447:
422:
Sacri e Festivi Concerti. Messa e Salmi a due chori con stromenti a beneplacito.
35:
905:
Giovanni Legrenzi, Germanico sul Reno: Studio introduttivo ed edizione critica.
224:
of the Ospedale dei Mendicanti, where he remained until 1682 when he succeeded
2179:
1704:
1490:, 4. Paris : Heugel, 1968. (Nos. 1–6 from Opus 4; Nos. 7–10 from Opus 8)
1452:
Cantatas and Canzonets for Solo voice, Part I: Music for alto and bass voices
1265: : sonate a due, tre e quattro stromenti, libro quattro, opus 10, 1673.
959:(Studi Sulla Storia Della Musica in Lombardia, v). Turnhout, Brepols, 2007.
259:
Legrenzi's legacy lived on for some years after his death. His great-nephew
1580:
Roger Blanchard (cond.). Paris, Les Discophiles Français DF 730.057. 1962.
404:
Sentimenti Devoti Espressi con le musica di due, e tre voci. Libro Secondo.
1137:
Bibliotheca musica Bononiensis. Sezione IV 207 : Bologna, Forni 1980.
972:
La sottigliezza dell'intendimento. Catalogo tematico di Giovanni Legrenzi.
263:
inherited his music and books, and produced four posthumous publications.
1486:
Le Pupitre, collection of ancient music published under the direction of
1262:
1224:
1218:
1179:
497:
434:
1619:
1184:
Monumenta Lombarda, Libri Antiqui Fototypice Expressi, 2. Bologna, 1970.
957:
La cappella musicale di Santa Maria Maggiore a Bergamo dal 1637 al 1810.
936:
Die einstimmigen Kantaten, Canzonetten und Serenaden Giovanni Legrenzis.
17:
1554:
93354, 2007. Includes Carissimi's Oratorio della SS Vergine and Jonas.)
1096:
Die Figur des Odysseus in der venezianischen Oper des 17. Jahrhunderts.
1053:
Pallade veneta : writings on music in Venetian society, 1650–1750.
479:
Sonate a 2, 3, 4, 5, 6 e 7 istrumenti con tromba, o senza, overo flauto
163:
137:
873:
Studies in Italian Sacred and Instrumental Music in the 17th Century.
551:
174:
and was given the title of First Organist in 1653, at about the time
151:
1826:
893:
Baden-Baden, Koerner, 1988. Collection d'Ă©tudes musicologiques; 79.
132:
1267:
Harvard Publications in Music, 17. Harvard University Press, 1992.
1249:
Harvard Publications in Music, 14. Harvard University Press, 1984.
1590:
label PV700033. 2005. (Op. 1: Kyrie, Gloria, Credo; Op. 4 Sonatas
1466:
Sonate da camera : opus 4, for two violins and basso continuo
919:
Sacri Concerti. Studi sul mottetto a Venezia nel secondo Siecento.
131:
1586:
Ensemble Olivier Opdebeeck Cori Spezzati, dir. Olivier Opdebeek.
1036:
A New Chronology of Venetian Opera and Related Genres, 1660–1760.
1000:"II sedecia" A seventeenth-century oratorio by Giovanni Legrenzi.
560:, a motet for 6 voices, known from a single source copied out by
1678:
1646:
1524:
1518:
Cappella Mauriziana; dir. Mario Valsecchi. Antes BM-CD 91.1016.
1195:) produces good quality photocopies of the complete collections
1082:
Venetian instrumental ensemble music in the seventeenth century.
1921:
1830:
1285:
Italian opera, 1640–1770 v. 60. New York : Garland, 1979.
1091:
Ph.D. Dissertation, UniversitĂ Cattolica del Sacro Cuore, 1976.
1574:; Nmircovich; Sonatori De La Gioiosa Marca. Divox 79504. 1996
1303:
Italian opera, 1640–1770 v. 9. New York : Garland, 1978.
439:
Op. 10 (Venice, Francesco Magni Gardano, 1673, reprinted 1682)
29:
1738:. Sampson Low, Marston, Searle, & Rivington. p. 117.
1346:
The Italian oratorio, 1650–1800; 8. New York, Garland, 1986.
1117:
3 vols. Ph.D. Dissertation, The University of Adelaide, 1984.
410:
Compiete con le Lettanie & Antifone Della B.V. a 5. voci.
1242:. Musedita, Albese con Cassano, 2004. (The whole of Opus 8.)
1235:. Musedita, Albese con Cassano, 2006. (The whole of Opus 2.)
859:
487:
Op. 19 (Venice, Gioseppe Sala, 1698) (no copy survives)
1699:(in a 1680 revival, having originally appeared in 1678 in
1640:
Musica Antiqua Praha; Pavel Klikar. Supraphon 3185-2 931.
730:‡ Arias from these operas survive in one or more sources.
1775:
Andrew Green, "King's Music bankrupted in fraud case" in
952:
2 vols. Ph.D. Dissertation, University of Michigan, 1964.
1682:
1663:
Venice Before Vivaldi – A Portrait of Giovanni Legrenzi.
1650:
1528:
1155:. (Nos.1 – 12 from Opus 14, and three manuscript works.)
887:
Giovanni Legrenzi – Il Giustino: Eine Monograph; Studie.
1665:
El Mundo; Richard Savino. Koch International KIC 7446.
1634:
Sonatori de la Gioiosa Marca. Rivo Alto CRR9014, 1991.
481:
Op. 18 (Venice, Gioseppe Sala, 1693) (no copy survives)
461:
Sacri Musicali Concerti a due, e tre voci. Libro Terzo.
455:
Echi di Riverenza di Cantate, e Canzoni. Libro Secondo.
437:. Libro Quarto di Sonate a due tre e quattro stromenti.
1671:
Cori Spezzati, dir. Olivier Opdebeeck. Pierre Verany.
1070:
Venetian Instrumental Music, from Gabrieli to Vivaldi.
1703:
Op. 14), made famous by opera singers including bass
1122:
The secular vocal chamber music of Giovanni Legrenzi:
550:
A unique setting for double choir and instruments of
386:
Harmonia d'affetti Devoti a due, tre, e quatro, voci.
1578:
La vendita del core : oratorio en duex parties.
1222:. Musedita, Albese con Cassano, 2000. (The whole of
1089:
Ritratto di un musicista barocco: Giovanni Legrenzi.
912:
The chamber sonatas and dances of Giovanni Legrenzi.
451:
Op. 13 (Venice, Francesco Magni detto Gardano, 1678)
416:
Sonate a due, tre, cinque, a sei stromenti. Libro 3.
1864:
1098:Ph.D. Dissertation, Heidelberg, 2002. Published as
1072:New York, Dover Publications, Third Rev. Ed. 1994.
931:
D.Mus. Dissertation, Northwestern University, 2006.
412:
Op. 7 (Venice, Francesco Magni detto Gardano, 1662)
150:era. He was one of the most prominent composers in
60:. Unsourced material may be challenged and removed.
1681:, direttore Riccardo Favero Oratorio in 2 Parti,
1124:M.Mus. Dissertation, University of Illinois, 1964.
1084:D.Phil. Dissertation, University of Oxford, 1969.)
1002:D.M.A. Dissertation, University of Kentucky, 1981
921:Ph.D. Dissertation, University of Freiburg, 2010.
491:Note: Two collections were published as opus 10,
1764:Singing Jeremiah: Music and Meaning in Holy Week
1511:Major recordings dedicated to Legrenzi include:
914:Ph.D. Dissertation, University of Kansas, 1988.
536:for four choirs and organ continuo held in the
1644:Testamentum. Missa Laurentana quinque vocibus.
1159:Echi di riverenza : di cantate e canzoni.
889:Ph.D. Dissertation, Basel, 1987. Published as
232:at San Marco. He was by this time (along with
1933:
1842:
1766:, Indiana University Press, 2014, pp.135, 282
1622:(sop.), Les Cornets Noirs. ORF CD 355. 2003.
1535:Dies Irae – Sonate a quattro viole – Motetti.
1484:Sonate da chiesa, opus 4 opus 8 (1656–1663).
984:Francesco Passadore and Franco Rossi (eds.):
907:M.A. Dissertation, UniversitĂ di Pavia, 1991.
855:Ph.D. Dissertation, Harvard University, 1964.
428:Acclamationi Divote a voce sola. Libro Primo.
424:Op. 9 (Venice, Francesco Magni Gardano, 1667)
204:In 1676 he was a finalist for appointment as
8:
1038:Palo Alto, Stanford University Press, 2007.
950:The sacred vocal music of Giovanni Legrenzi.
938:Ph.D. Dissertation, University of Bonn, 1984
473:Motetti Sacri a voce sola con tre strumenti.
1522:Concerti musicali per uso di Chiesa, Op. 1.
485:Voci geniali, raccolte in duetti e terzetti
1940:
1926:
1918:
1849:
1835:
1827:
1456:Part II: Music for soprano or tenor voice.
1240:Sonate a due, trè, cinque, e sei Stromenti
1197:Sonate a due, tre, cinque, a sei stromenti
1173:Il Giustino : melodramma in tre atti.
746:Lamenti Profetici nella Passione di Cristo
1811:International Music Score Library Project
1283:Italian opera librettos : 1640–1770.
1216:Alessandro Bares, Pietro Zazzetta (ed.),
875:Burlington, Ashgate Publishing Co, 2003.
449:Idee Armoniche Estese per due e tre voci.
388:Op. 3 (Venice, Alessandro Vincenti, 1655)
376:Op. 1 (Venice, Alessandro Vincenti, 1654)
120:Learn how and when to remove this message
1632:Sonate e Balletti per strumenti ad arco.
974:Venice: Edizioni Fondazione Levi, 2002.
955:Paola Palermo and Giulia Pecis Cavagna:
853:The Church Sonatas of Giovanni Legrenzi.
398:Salmi a cinque, tre voci, e due violini.
256:) was accompanied by excruciating pain.
1724:
1516:Acclamationi Divote; Echi di Riverenza.
891:Il Giustino; eine mongraphische Studie.
1659:Parnassi Musici. cpo 777 030-2. 2004.
1617:O dilectissime Jesu. Motetti e Sonate.
1055:Venezia : Fondazione Levi, 1985.
970:Francesco Passadore and Franco Rossi:
1337:Zenobia e Radamisto. Opera in 3 atti.
457:Op. 14 (Bologna, Giacomo Monti, 1678)
445:Op. 12 (Bologna, Giacomo Monti, 1676)
430:Op. 10 (Bologna, Giacomo Monti, 1670)
418:Op. 8 (Venice, Francesco Magni, 1663)
400:Op. 5 (Venice, Francesco Magni, 1657)
394:Op. 4 (Venice, Francesco Magni, 1656)
382:Op. 2 (Venice, Francesco Magni, 1655)
7:
1335:Stefano Faglia, Franca Saini (ed.):
1328:Stefano Faglia, Franca Saini (ed.):
1323:Eteocle e Polinice. Opera in 3 Atti.
1321:Stefano Faglia, Franca Saini (ed.):
475:Op. 17 (Venice, Gioseppe Sala, 1692)
469:Op. 16 (Venice, Gioseppe Sala, 1691)
463:Op. 15 (Venice, Gioseppe Sala, 1689)
374:Concerti Musicali per uso di Chiesa.
58:adding citations to reliable sources
335:, and there was a major revival of
443:Cantate, e Canzonette a voce sola.
25:
1628:Clematis. Ricercar RIC356, 2016.
1548:Il Cuor umano all'incanto (1673).
945:Bergamo, Edizioni Orobiche, 1954.
520:Messa a cinque voci con stromenti
329:Innsbruck Festival of Early Music
239:Legrenzi succeeded Monferrato as
166:, near Bergamo, then part of the
2293:Italian male classical organists
2283:Italian male classical composers
1817:Free scores by Giovanni Legrenzi
1807:Free scores by Giovanni Legrenzi
1135:Acclamationi divote a voce sola.
572:Credidi propter quod locutus sum
34:
1732:William Smyth Rockstro (1886).
1584:Missa Opus 1 – Sonate d'église.
1560:Ensemble Baroque de Nice, dir.
988:Florence : Olschki, 1994.
45:needs additional citations for
2308:17th-century Italian composers
1564:. Ligia LIG 030110902, (2003)
834:is in fact a Legrenzi work or
684:Lisimaco riamato da Alessandro
344:Students of Legrenzei include
307:surviving operas. Editions of
220:. Later in the year he became
1:
1527:, direttore Riccardo Favero,
1330:Il Giustino. Opera in 3 atti.
1316:Prosa pro mortuis (Dies irae)
1102:Frankfurt: Peter Lang, 2004.
323:have had performances at the
216:, losing by a single vote to
1821:Choral Public Domain Library
1779:, October/November 2009, p.4
842:remains to be demonstrated.
27:Italian composer (1626–1690)
2313:17th-century male musicians
2288:Italian classical organists
1568:La Morte del Cor Penitente.
840:Il cuore humano all'incanto
810:Decollatione di S. Giovanni
2329:
2108:Giacomo Giuseppe Saratelli
1544:. Ricercar RIC 236. 2001.
1433:from Opus 9, in Volume 19)
1410:from Opus 1, in Volume 16)
948:John Alexander MacDonald:
832:La vendita del cuor humano
786:La morte del cor penitente
776:La vendita del cuor humano
2298:Italian Baroque composers
2140:Giovanni Agostino Perotti
1959:
1191:(now distributed through
780:Il prezzo del cuor humano
333:Echternach Music Festival
2020:Giulio Cesare Martinengo
1750:"La Divisione del mondo"
1444:. (The Mass from Opus 9)
1238:Alessandro Bares (ed.),
1231:Alessandro Bares (ed.),
501:(1673). The printing of
319:by the German conductor
2068:Giovanni Battista Volpe
1193:The Early Music Company
1066:Eleanor Selfridge-Field
1049:Eleanor Selfridge-Field
1032:Eleanor Selfridge-Field
1005:John H. Roberts (ed.):
710:L'anarchia dell'imperio
690:Ottaviano Cesare Agusto
2132:Bonaventura Furlanetto
2076:Gian Domenico Partenio
1889:La divisione del mondo
1626:Sonate & Balletti.
824:(lib. Piccioli) (1687)
639:La divisione del mondo
592:Notte, madri d'horrori
338:La divisione del mondo
310:La divisione del mondo
282:La divisione del mondo
250:Gian Domenico Partenio
162:Legrenzi was born at
140:
1953:Saint Mark's Basilica
1685:, CDS711, giugno 2012
1598:Op. 4/4; Op. 3 motet
1342:Joyce Johnson (ed.):
1260:Stephen Bonta (ed.):
1245:Stephen Bonta (ed.):
1201:Idee Armoniche Estese
860:(subscription access)
792:San Giovanni Battista
758:Il creation del mondo
740:Oratorio del giuditio
716:Publio Elio Pertinace
527:Missa quinque vocibus
325:Schwetzingen Festival
297:Publio Elio Pertinace
135:
1675:Oratorio Il Sedecia
1611:Rinaldo Alessandrini
1120:Karin Anna Swanson:
998:Gale Richard Price:
910:L. Glenn Cockerham:
804:Gli sponsali d'Ester
584:Spirate aure serenae
380:Sonata a due, e tre.
54:improve this article
2303:Cathedral organists
2278:People from Clusone
2116:Baldassarre Galuppi
1964:Johannes de Quadris
1949:Maestri di cappella
1873:Zenobia e Radamisto
1790:"Giovanni Legrenzi"
1233:Sonate a due, e tre
1205:Balletti e Correnti
1203:(Op. 13, 1678) and
1087:Umberto Scarpetta:
1026:Intret in conspectu
836:Pietro Andrea Ziani
828:†Surviving scores.
728:†Surviving scores.
722:Ifianassa e Melampo
617:Zenobia e Radamisto
558:Intret in conspectu
493:Acclamationi Divote
354:Giovanni Varischino
350:Francesco Gasparini
261:Giovanni Varischino
241:maestro di cappella
187:maestro di cappella
180:maestro di cappella
69:"Giovanni Legrenzi"
2212:Gastone De Zuccoli
2188:Delfino Thermignon
2124:Ferdinando Bertoni
2028:Claudio Monteverdi
1881:Eteocle e Polinice
1696:Eteocle e Polinice
1657:Trio Sonatas 1655.
1552:Brilliant Classics
1297:Howard Mayer Brown
1279:Howard Mayer Brown
943:Giovanni Legrenzi.
903:Tiziana Brugnoni:
865:2008-05-16 at the
818:(lib. Neri) (1687)
652:Germanico sul Reno
631:Eteocle e Polinice
522:, found at Oxford.
321:Thomas Hengelbrock
168:Republic of Venice
141:
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2056:
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2048:
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2004:Baldassare Donato
2000:
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1858:Giovanni Legrenzi
1777:Early Music Today
1762:Robert Kendrick,
1709:Luciano Pavarotti
1701:Echi di Riverenza
1691:Che fiero costume
1638:Sonate e Motetti.
1607:Concerto Italiano
1474:978-0-19-357620-9
1314:Julia de Clerck:
1167:978-88-7242-685-2
1094:Hendrik Schulze:
1044:978-0-8047-4437-9
917:Luigi Collarile:
830:‡ Whether or not
666:Antioco il grande
545:Prosa pro mortuis
510:Unpublished works
362:Giovanni Sebenico
303:) is less clear.
234:Carlo Pallavicino
218:Natale Monferrato
214:Francesco Cavalli
212:in succession to
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1495:Prima la musica!
1358:Jeffrey Kurtzman
1207:(Op. 16, 1691).
1113:J. David Swale:
941:Piero Fogaccia:
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1431:In exitu Israel
1408:Laudate Dominum
1370:Confitebor tibi
1228:, Opus 11(10).)
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2268:1626 births
2204:Matteo Tosi
1905:Il Giustino
1600:Adoramus te
1592:La Benaglia
1570:Cecchetti;
1531:, CDS 653.
1480:Albert Seay
1462:Albert Seay
1448:Albert Seay
703:Il Giustino
495:(1670) and
316:Il Giustino
292:Il Giustino
110:August 2022
2262:Categories
2180:Giulio Bas
1719:References
1707:and tenor
1705:Ezio Pinza
1605:"Motetti"
1602:Op. 3/14.]
1572:Invernizzi
1507:Recordings
1129:Facsimiles
1080:(See also
846:References
782:) ‡ (1673)
534:Messa a 16
80:newspapers
2220:Luigi Vio
1594:Op. 4/3,
1558:La Cetra.
734:Oratorios
210:San Marco
1713:La Cetra
1653:CDS710.
1596:La Tassa
1263:La Cetra
1225:La Cetra
1219:La Cetra
1211:Editions
1180:La Cetra
863:Archived
822:Erodiade
816:Erodiade
788:†(1673)
754:†(1671)
718:‡ (1684)
712:‡ (1683)
706:†(1683)
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686:‡ (1682)
678:Pausania
674:‡ (1681)
668:‡ (1681)
662:†(1677)
654:†(1676)
648:‡ (1676)
642:†(1675)
634:†(1674)
624:Tiridate
620:†(1665)
503:La Cetra
498:La Cetra
435:La Cetra
331:and the
289:(1683),
279:(1664),
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1819:in the
1813:(IMSLP)
1809:at the
1683:Dynamic
1651:Dynamic
1540:, dir.
1529:Dynamic
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1406:(II). (
1301:Totila.
1024:(motet
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164:Clusone
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2247:(2000)
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2015:(1605)
2007:(1590)
1999:(1565)
1991:(1563)
1983:(1527)
1975:(1491)
1967:(1463)
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1900:(1677)
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566:Samson
562:Handel
552:Matins
360:, and
327:, the
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