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Cesare Acelli (actif 1568-1588), compositeur italien. Cinq de ses madrigaux de la seconde moitié des années 80 ont subsisté. Trois d’entre eux (RISM 1586/9, 1588/14 et 1588/18) participent de la tradition des compositeurs mantouans, bien qu’aucun document connu n’atteste qu’il fût lié à la cour de Mantoue. Son nom figure également sur deux pièces vocales dans une anthologie de madrigaux à trois voix imprimée à Venise par G. Vincenzi. (RISM 1588/20, réimp. 1598/10 ; 1604/13).
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Le nom de « chierico di Parenzo » que l’on attribue généralement à Antico, rappelle les privilèges accordés par le pape Léon X (1513, 1516 et 1517). Il travailla à Rome, de 1510 à 1518, et à Venise, de 1520 à 1521. Il collabora avec plusieurs imprimeries dont les plus importantes furent celles de O. Scotto et de L.A. et J. Giunto, comme coéditeur ou comme xylographe. Particulièrement intéressante fut sa collaboration, en 1521, avec l’imprimeur A. Torresani, pour la publication de deux livres de motets et de deux livres de messes. C’est Torresani qui publia certains des plus anciens livres croates en caractères glagolitiques qui nous sont parvenus. Seul ou en étroite collaboration, Antico imprima ou participa à l’impression d’environ 30 ouvrages musicaux. Il introduisit plusieurs innovations dans l’imprimerie musicale, notamment celle qui consiste à imprimer la musique en un seul passage en réunissant à la fois des caractères mobiles pour le texte et des bois gravés qu’il réalisait lui-même pour la musique. Il imprima surtout des in-quarto, plus économiques que les autres formats. Par ailleurs, son anthologie Liber quindecim missarum, qui renferme des oeuvres de Josquin, Févin, Mouton et autres, représente le plus ancien livre musical en grand in-folio. Il se distingua comme propagateur de la musique française en Italie (La couronne et fleur des chansons a troys, 1539). Son recueil Frottole intabulate da sonar organi, libro primo (1517) est le premier recueil imprimé de frottoles vocales mises en tablature pour orgue. Dans son recueil Frottole de misser Bartolomio Trombocino & de misser Marchetto Carra (1520), Antico se révèle être aussi un transcripteur de musique de luth. Il est sans aucun doute l’auteur de deux d’entre les frottoles qu’il inséra dans son recueil d’anthologie Canzoni sonetti strambotti et frottole, libro tertio (1513), alors qu’il n’est pas certain que les 15 autres, signées « A. de Antiquis (Venetus) » lui soient attribuables. Il acquit une solide réputation auprès de ses contemporains, non seulement par son activité d’imprimeur mais aussi pour ses qualités de musicien expérimenté. Il sut la mettre à profit dans les livres qu’il publiait, notamment à travers le choix attrayant du répertoire musical offert par ses éditions, mais également dans la réunion des nombreuses oeuvres de compositeurs européens reconnus, qui ont été conservées uniquement dans ses éditions. 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Nuova serie », n°3, 1964."]],["elementText",{"elementTextId":"62180"},["text","Einstein, Albert, 'Andrea Antico’s Canzoni nove of 1510', Musical Quarterly, XXXVII, 1951, pp. 330-339."]],["elementText",{"elementTextId":"62181"},["text","Fenlon, Iain, Music, Print and Culture in Early Sixteenth-Century Italy, Londres, 1995."]],["elementText",{"elementTextId":"62182"},["text","Luisi, Francesco, La musica vocale nel Rinascimento: Studi sulla musica vocale profana in Italia nei secoli XV e XVI, Turin, the British library, 1977."]],["elementText",{"elementTextId":"62183"},["text","Stipčević, Ennio, Hrvatska glazba, povijest hrvatske glazbe do 20. stoljeća, Zagreb, Školska knjiga, 1997."]],["elementText",{"elementTextId":"62184"},["text","Županovic, Lovro, Sedamnaest frottola [17 frottole]. Spomenici hrvatske glazbene proslosti, III, Zagreb, Drustvo hrvatskih Skadatelja, 1972."]]]]]],["elementSetContainer",["elementSet",{"elementSetId":"1"},["name","Dublin Core"],["description","The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/."],["elementContainer",["element",{"elementId":"50"},["name","Title"],["description","A name given to the resource"],["elementTextContainer",["elementText",{"elementTextId":"62147"},["text","Antico, Andrea (c.1480-after 1538). Bookseller; Composer"]]]]]]]],["item",{"itemId":"6186","public":"1","featured":"1"},["collection",{"collectionId":"1"},["elementSetContainer",["elementSet",{"elementSetId":"1"},["name","Dublin Core"],["description","The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. 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Il n’est pas certain qu’on doive lui attribuer les quelques madrigaux signés « Courtois » des recueils de l’époque (RISM 1542/18 et 1543/18) ; l’auteur en est plus probablement Jean Courtois. « Lamberto Cortese et compagni cantori » participèrent à Pâques 1550 à un concert donné par l’Arciconfraternità del Ss. Crocifisso en l’église Saint-Marcel de Rome. En 1553, il est mentionné comme musicien pendant les fêtes du carnaval à l’Accademia Filarmonica de Vérone. L’année suivante, il fut engagé par l’orchestre du recteur de Dubrovnik. Il exerça dans cette ville comme maître de musique, musicien (tibicinus) et « maestro », ainsi que « maestro di capellae » à la cathédrale. L’évêque de Dubrovnik, Ludovico Beccadeli, nota dans une de ses lettres que Lambert était un « musico eccelente non solo a Ragusa ma anche in Italia ». Il s’installa ensuite à Udine, où il travailla comme « maestro di cappella » à la cathédrale (1570-74), puis à Trévise (1574-79) et à Vicence (1582-85). Son séjour à Dubrovnik (1554-1570) fut le plus long, et c’est la période ou il fut le plus actif comme compositeur. Son recueil Madrigali a cinque (RISM C4347 ; les parties S et A ont disparu) est dédié à trois aristocrates de Dubrovnik : Miho Marina Bunić, Nikola Ive Gundulić et Marko Tome Baziljević. Certains poètes ragusains furent peut-être les auteurs des paroles de plusieurs pièces vocales de ce recueil. Petit Jacquet, la seule pièce instrumentale connue de Courtoys, est une canzone à quatre voix, publiée dans l’anthologie \"Musica de diversi autori\", la \"Battaglia francese\" et \"Canzon delli ucelli insieme alcuni canzoni francese, partite in caselle per sonar d’instromento perfetto novamente ristampate\" (RISM 1577/11). Cette canzone fut citée ultérieurement par Girolamo dalla Cassa dans Il vero modo di diminuir, Libro secondo (1584). L’oeuvre de Courtoys constitue l’un des plus importants témoignages de la musique croate de la Renaissance. Son fils aîné, Henri (Henrik) Courtoys, participa par deux madrigaux au recueil de son père de 1580, et son fils cadet, Lambert Courtoys (le Jeune), fut lui aussi musicien à Dubrovnik."]],["elementText",{"elementTextId":"62570"},["text","http://data.bnf.fr/14823043/lambert_courtois"]]]],["element",{"elementId":"76"},["name","Zotero_ID"],["description"],["elementTextContainer",["elementText",{"elementTextId":"62571"},["text","RENVOIS "]],["elementText",{"elementTextId":"62572"},["text"," CESR_person_00100 "]],["elementText",{"elementTextId":"62573"},["text"," source_RMC11 "]]]],["element",{"elementId":"36"},["name","Bibliography"],["description"],["elementTextContainer",["elementText",{"elementTextId":"62574"},["text","Demović, Miho, Musik und Musiker in der Republik Dubrovnik vom Anfang des 11. Jahrhunderts bis zur Mitte des 17. Jahrhunderts, Zagreb, Musikinformationszentrum, coll. \"Studien zur Kroatischen Musikkultur. Übersetzungsreihe\", n°2, 1981."]],["elementText",{"elementTextId":"62575"},["text","Powers, Katherine (ed.), Musica spirituale: libro primo (Venice, 1563), Middleton, A-R Editions, coll. « Recent researches in the music of the Renaissance », n°127, 2001."]],["elementText",{"elementTextId":"62576"},["text","Stipčević, Ennio, \"Courtoys, Lambert\", MGG, 2000, vol. 4, pp. 1767-1770."]]]]]],["elementSetContainer",["elementSet",{"elementSetId":"1"},["name","Dublin Core"],["description","The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/."],["elementContainer",["element",{"elementId":"50"},["name","Title"],["description","A name given to the resource"],["elementTextContainer",["elementText",{"elementTextId":"62540"},["text","Courtoys, Lambert (c.1530-1585). 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Il fit paraître son premier livre imprimé en coédition avec Andrija Paltašić à Venise en 1678. Il développa une intense activité éditoriale en Italie (Vérone 1481-83, Brescia 1483-1491) et en France (Lyon, 1491-1503). Il publia, entre autres, trois ouvrages musicaux : Missale secundum ordinem fratrum divae immaculatae Virginis Mariae de Monte Carmelo (1490), Missale pro ritu Ecclesiae Cabillonensis (1500) et Missale pro ritu Ecclesiae Bellicensis (1503). Sur son île natale de Lastovo, il fit réaliser pour l’église locale Sainte-Marie une grande peinture d’autel (Franceso Bissolo), mais on ignore s’il entretenait des contacts avec ses compatriotes."]],["elementText",{"elementTextId":"63968"},["text","http://www.treccani.it/enciclopedia/bonino-de-boninis"]]]],["element",{"elementId":"76"},["name","Zotero_ID"],["description"],["elementTextContainer",["elementText",{"elementTextId":"63969"},["text","RENVOIS "]],["elementText",{"elementTextId":"63970"},["text"," CESR_person_00179 "]],["elementText",{"elementTextId":"63971"},["text"," source_RMC09 "]]]],["element",{"elementId":"36"},["name","Bibliography"],["description"],["elementTextContainer",["elementText",{"elementTextId":"63972"},["text","

Duggan, Mary Kay, Italian Music Incunabula. Printers and Type, Berkeley: University of California Press, 1992, pp. 171-172.

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Juric, Šime, 'Aus der Gechichte des kroatischen Wiegendrucks', Beiträge zur Inkunabelkunde, 3, 1983, pp. 86-90.

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Entre 1477 et 1499, il imprima à Venise une quarantaine de livres croates, pour la plupart des traductions de classiques grecs et latins, et plusieurs livres liturgiques. Il comptait parmi ses collaborateurs l’imprimeur Dobrić Dobričević (Boninus de Boninis)."]]]],["element",{"elementId":"76"},["name","Zotero_ID"],["description"],["elementTextContainer",["elementText",{"elementTextId":"63994"},["text","RENVOIS "]],["elementText",{"elementTextId":"63995"},["text"," CESR_person_00180 "]],["elementText",{"elementTextId":"63996"},["text"," source_RMC05"]]]],["element",{"elementId":"36"},["name","Bibliography"],["description"],["elementTextContainer",["elementText",{"elementTextId":"63997"},["text","Donati, Lamberto, 'Sull’unico libro illustrato di Andrea Paltasichis da Cattaro: Missale Romanum M.CCCC.LXXXV.iij.idus Februarij', Archivo storico per la Dalmatia 9, 1934, pp. 210-231."]],["elementText",{"elementTextId":"63998"},["text","Duggan, Mary Kay, Italian Music Incunabula. 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Parmi les membres de celle-ci, se trouvent le philosophe Francesco Patricio (Frane Petrić), réputé notamment pour ses discussions sur la fonction de la musique dans le théatre grec, et Stefanello de Petris, auteur d’un petit receuil d’intermèdes représentés dans les villes de Cres et d’Osor entre 1586 et 1588 (Ghirlande conteste al Clarissimo Signor Sebastain Quirini nel suo felicissimo regimento dell’Isola di Cherso et Ossoro, Padoue, 1588). Il n’est connu que par une mention dans la dédicace d’un recueil de Barges de 1550. Le compositeur hollandais Antonio Barges, alors maestro di capella alla Casa Grande di Venetia, inséra dans son recueil Il primo libro de villotte a quattro voci (1550) alcune poche ma soavi compositioni del Magnifico Caualiero il S. Andrea Patricio da Cherso. Ces quatre madrigaux à quatre voix, composés d’une main assurée, sont vraisemblament ce qui reste d’un ensemble d’oeuvres plus considérable. Le texte de trois madrigaux est dû à Jacopo Sannazaro, et celui de Solea lontan’ in sonno est emprunté au Canzoniere de Pétrarque (CCL). La propension de Patricio à l’homophonie et à un style quelque peu déclamatoire, à de brèves imitations et, parfois, à des figures rythmiques accélérées (note nere), semble indiquer qu’il connaissait les premiers madrigaux d’Adrian Willaert."]]]],["element",{"elementId":"76"},["name","Zotero_ID"],["description"],["elementTextContainer",["elementText",{"elementTextId":"63146"},["text","RENVOIS "]],["elementText",{"elementTextId":"63147"},["text"," CESR_person_00133 "]],["elementText",{"elementTextId":"63148"},["text"," source_RMC08"]]]],["element",{"elementId":"36"},["name","Bibliography"],["description"],["elementTextContainer",["elementText",{"elementTextId":"63149"},["text","Kos, Koraljka, 'Tonart und Kadenzen in den Madrigalen von A. Patricij und J. 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Del Barocco al Novecento: destino di una forma e problemi di analisi, Como: A.M.I.S., 1994, pp. 51-58."]],["elementText",{"elementTextId":"63153"},["text","Županović, Lovro, 'La musique croate du XVIe siècle', Musica Antiqua Europae Orientalis, Bydgoszcz, 1969, II, pp. 79-126."]],["elementText",{"elementTextId":"63154"},["text","Županović, Lovro (ed.), Hrvatski skladatelji XVI stoljeća, Zagreb, Udruženje kompozitora Hrvatske, 1970."]]]]]],["elementSetContainer",["elementSet",{"elementSetId":"1"},["name","Dublin Core"],["description","The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/."],["elementContainer",["element",{"elementId":"50"},["name","Title"],["description","A name given to the resource"],["elementTextContainer",["elementText",{"elementTextId":"63131"},["text","Patricio, Andrea (…-…). 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Il y exerça d’abord les fonctions de supérieur du couvent des dominicains (1587), puis fut nommé vicaire général de l’archidiocèse de Dubrovnik (1588). Cet épisode ragusain relativement bref, après lequel Razzi retourna en Italie, se révéla exceptionnellement fécond. Il publia la première histoire imprimée de Dubrovnik (Storia di Ragugia, Lucca 1595), fit paraître une vie de la bienheureuse Osanne de Kotor (Vita della beata Osanna de Cattaro, Florence 1592) et compila un précieux recueil de manuscrits relatifs à l’histoire de l’archidiocèse de Dubrovnik et de ses archevêques. La Storia de Razzi est riche en renseignements sur la vie quotidienne et les coutumes locales. Il est étonnant de voir à quel point ce dominicain florentin a réussi à pénétrer la mentalité ragusaine et à connaître non seulement les couches instruites dont il parle dans son ouvrage, mais aussi les milieux populaires : il nous laisse, entre autres, d’intéressantes observations sur la situation de la femme dans la société ragusaine. Il nous renseigne aussi sur la musique ragusaine, les orgues locales et différents musiciens, décrit en détail la fête patronale de Saint-Basile et rapporte les acclamations et laudes chantées en l’honneur des autorités ecclésiastiques et séculières. Razzi est par ailleurs connu comme collectionneur et éditeur de laudes italiennes. Son Libro primo delle laudi spirituali da diversi eccelenti e divoti autori, antichi e moderni composte… (Florence 1563) est le premier recueil imprimé de laudes polyphoniques après celui d’Innocent Dammonis, édité par Petrucci en 1508. Outre deux autres ouvrages imprimés – Hymnario domenicano in cui si comprendono tutti gli hinni, i quali adopera, e canta il sacro Ordine de frati predicatori… (Pérouse 1587) et Santuario di laudi o vero rime spirituali… (Florence 1609) – Razzi laissa derrière lui un ample recueil de laudes manuscrites en quatre volumes, conservé à la Bibliothèque Nationale de Florence (ms Palat. 173). Quand il affirme ne pas « s’y connaître particulièrement en musique », il ne s’agit là que d’une figure de rhétorique. Même si elle se développait en marge d’intenses activités littéraires, la musique était pour Razzi tout le contraire du passe-temps secondaire d’un amateur. Au contraire, ses productions musicales et poétiques révèlent le dominicain et le prédicateur. Dans ses poèmes souffle un zèle ecclésiastique pour les intérêts du petit peuple et pour ses modestes besoins matériels et intellectuels. Les frères prêcheurs auxquels il s’adresse ont dû reconnaître dans ses laudes une sublimation raffinée de leur message musical. Le premier recueil imprimé de Razzi, Libro primo delle laudi spirituali, est déjà tout sauf le fruit d’un travail accessoire. Réalisé et imprimé à Venise, il contient un large répertoire toscan qui remonte à plusieurs décennies. C’est une anthologie représentative de laudes, florentines et toscanes en général, de la première moitié du XVIe siècle, époque où ces chants religieux polyphoniques étaient très appréciés. Certes, l’origine des laudes italiennes remonte au haut Moyen Âge, mais le dominicain florentin Girolamo Savonarola donna au genre un élan vers de nouveaux contenus religieux. Sa promotion du chant simple homophonique, pour la plupart à trois ou à quatre voix, était basée sur le chant populaire à plusieurs voix de l’Italie centrale. Fidèle à son héritage spirituel, Razzi laissa une biographie manuscrite de Savonarola. 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Ultérieurement, ce procédé devait être souvent repris dans diverses situations de crise au sein de l’Église d’Occident, comme lors de la Réforme et de la Contre-Réforme jésuite, ou à l’époque de la réforme des ordres religieux entrepris par Joseph II."]],["elementText",{"elementTextId":"63278"},["text","http://data.bnf.fr/14336102/serafino_razzi"]]]],["element",{"elementId":"76"},["name","Zotero_ID"],["description"],["elementTextContainer",["elementText",{"elementTextId":"63279"},["text","RENVOIS "]],["elementText",{"elementTextId":"63280"},["text"," CESR_person_00140 "]],["elementText",{"elementTextId":"63281"},["text"," source_RMC22"]]]],["element",{"elementId":"36"},["name","Bibliography"],["description"],["elementTextContainer",["elementText",{"elementTextId":"63282"},["text","Macey, Patrick, 'The Lauda and the Cult of Savonarola', Renaissance Quarterly, XLV, 1992, pp. 161-189."]],["elementText",{"elementTextId":"63283"},["text","Macey, Patrick, Bonfire Songs: Savonarola’s Musical Legacy, Oxford: Oxford University Press, 1998."]]]]]],["elementSetContainer",["elementSet",{"elementSetId":"1"},["name","Dublin Core"],["description","The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. 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Il signa son premier livre imprimé, Ricercari et arie francesi a quattro voci (1595) fut signé alors qu’il était encore en tant qu’élève d’Andrea Gabrieli, et le dédicaça à son protecteur, l’avocat vénitien Ludovico Usper. Ayant adopté le nom de famille de ce dernier, il occupa différents emplois au sein de la confrérie S. Giovanni Evangelista (organiste 1596-1607 ; chapelain 1607-24 ; chef de chœur 1624-26 ; administrateur de l’église succursale 1626-41 ; fonctionnaire administratif 1631-41). Il fut, à titre temporaire, organiste à l’église Saint-Sauveur (1614-15) et à la basilique Saint-Marc (1622-23). Son recueil Il primo libro de madrigali a cinque voci (1604) est de style Renaissance tardive. Il participa par des madrigaux profanes à deux anthologies européennes septentrionales (Nuremberg 1604 ; Copenhague 1606) et fut représenté par plusieurs motets dans des anthologies vénitiennes (1624, 1625). Son recueil, malheureusement incomplètement conservé, Messa e salmi da concertarsi nell’organo. Et anco con diversi stromenti, a cinque voci, et insieme sinfonie & motteti a una, due, tre, cinque, & sei voci (1619) est dédicacé à l’évêque de Poreč, Leonardo Tritoni. Dans son volumineux recueil Compositioni armoniche nelle quali si contengono motetti, sinfonie, sonate, canzoni, caprici a 1, 2, 3, 4, 5, 6, 7, 8 voci Et in fine la battaglia a 8, per cantar & sonar (1619) figurent quelques pièces instrumentales (sonates, symphonies, capriccios) déjà remarquées par les premiers historiens de la musique baroque vénitienne. A. Einstein a proclamé sa Sinfonia prima a 8 ancêtre du concerto grosso. 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