Cataldo Amodei
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{{Short description|Italian Baroque composer (1649–1693)}}
{{Use dmy dates|date=July 2023}}
File:TransettoMaggiorePaolo.jpg, where Amodei worked for much of his career]]
Cataldo Vito Amodei (6 May 1649 {{spaced ndash}}13 July 1693) was an Italian composer of the mid-Baroque period who spent his career in Naples. His cantatas were important predecessors to the active cantata production of 18th-century Naples, and he stands with the elder Francesco Provenzale and younger Alessandro Scarlatti as among the principal Italian cantata composers. Other surviving works include a book of motets dedicated to Leopold I, Holy Roman Emperor; a serenata; two pastorales; two psalms; and four oratorios, which were important contributions to their genre.
Amodei held posts at various musical institutions, {{lang|it|maestro del coro}} (choirmaster) at San Paolo Maggiore and two prestigious conservatories: the {{ill|Conservatorio di Sant'Onofrio a Porta Capuana|it}} (1680/81–1688) and second choirmaster at {{ill|Conservatorio di Santa Maria di Loreto|it|lt=Conservatorio Santa Maria di Loreto}} (1687–1689). His virtuosic 1685 book of cantatas, Cantate, Op. 2, was the first book of cantatas published in Naples.
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Life and career
=Early life=
Cataldo Amodei was born in Sciacca, Sicily, near Agrigento;{{sfn|Bossa|2001}} at the time, Sciacca had a reputation for producing important Sicilian musicians.{{sfn|D'Alessandro|2003|p=XLV}} In 2003, the musicologist Domenico Antonio D'Alessandro identified Amodei with a "Cathaldus Vitus" ("Cataldo Vito"), born in 6 May 1649 and baptized the same day at St. Mary Magdalene, Sciacca.{{sfn|D'Alessandro|2003|p=XLV}}{{refn|Prior to said identification, his birthdate was traditionally dated to {{circa|1649}}{{sfn|Collisani|1992|loc="Cataldo Amodei"}} or {{circa|1650}}.{{sfn|Bossa|2001}}|group=n}} Accordingly, Amodei's full name was Cataldo Vito Amodei, and he was the last of six children to Gaspare and Antonia, with Antonio de Facio and Francesa Nicolosi as his godparents.{{sfn|D'Alessandro|2003|p=XLV}} His family probably consisted of mostly merchants of Genoese origin.{{sfn|D'Alessandro|2003|p=XLV}} The priest Bonaventura Sanfilippo-Galiotto records in his Sacrum Xacca Theatrum (1710) that Amodei studied with the Maestro di Cappela in Sciacca and violinist Don Accursius Giuffrida; Amodei was purportedly his most talented pupil.{{sfn|D'Alessandro|2003|p=XLVI}} The priest Vincenzo Farnia wrote in his 1897 Biografie di uomini illustri nati a Sciacca (Biographies of illustrious men born in Sciacca) that Amodei went to Naples "for the honor that the city is accorded by all the nations as being the mistress of melody" in 1669–70.{{sfn|D'Alessandro|2003|p=XLVI}} However, records indicate that Amodei was still in Sciacca; he is first recorded in Naples in 1679, though he may have arrived there between 1670 and 1679.{{sfn|D'Alessandro|2003|p=XLVI}}
=Naples=
File:Basilica di San Paolo Maggiore (Napoli) - Sacrestia 001.JPGs on the {{ill|Sacrestia di Solimena|it|lt=sacristy of San Paolo Maggiore}} by Francesco Solimena, created in 1690 while Amodei prepared music for the Feast of Saint Gaetano.]]
In Naples, Amodei was ordained a priest and presumably completed his musical education, the details of which are not extant.{{sfn|D'Alessandro|2003|p=XLVI}} In March 1680, Amodei succeeded Filippo Coppola as {{lang|it|maestro di cappella}} (choirmaster) of the Theatine church San Paolo Maggiore.{{sfn|D'Alessandro|2019|pp=170–176}}{{refn|New research in {{harvnb|D'Alessandro|2019|pp=170–176}} gives March 1680 as the date and Filippo Coppola as Amodei's predecessor for the San Paolo Maggiore post. Prior to this {{harvnb|D'Alessandro|2003|p=XLVII}} reported that it was unknown who preceded him and when Amodei obtained his post at San Paolo Maggiore; he was only known to have been employed there by 1685.{{sfn|D'Alessandro|2003|p=XLVII}}|group=n}} In particular, Amodei worked for San Paolo Maggiore until his death, regularly making and performing music;{{sfn|D'Alessandro|2003|p=XLVII}} for their services he wrote at least four ontarios: L'innocenza infetta dal pomo, Il flagello dell'empietà, La Susanna and Il Giosuè vittorioso.{{sfn|Cafiero|Marino|1987|p=470}} According to Sanfilippo-Galiotto, by at least 1685 he gained an additional post of {{lang|it|maestro di cappella}} at the Dominican Collegio di San Tommaso d'Aquino.{{sfn|D'Alessandro|2003|pp=XLV–XLVI}} D'Alessandro notes that records indicate Amodei was actively involved in the music of San Paolo Maggiore, while it remains uncertain whether his other ecclesiastical appointments were occasional or regular.{{sfn|D'Alessandro|2003|p=XLVII}} At the church, a Pastorale by Amodei was performed for Christmas 1688, which may be the surviving Pastorale per la novena del Signore for four voices.{{sfn|D'Alessandro|2003|p=LIII}}
In 1680/81,{{refn|Amodei's appointment at the {{ill|Conservatorio di Sant'Onofrio a Porta Capuana|it}} is traditionally recorded as beginning in 1681. However, D'Alessandro argues this is the result of printing error, and the actual date is 1680, see note 10 in {{harvtxt|D'Alessandro|2003|p=XLVI}}|group=n}} Amodei succeeded Pietro Andrea Ziani as {{lang|it|maestro di cappella}} at the {{ill|Conservatorio di Sant'Onofrio a Porta Capuana|it}},{{sfn|Bossa|2001}}{{sfn|D'Alessandro|2003|p=LIII}} one of four major musical institutions of the city.{{sfn|Veneziano|Di Benedetto|Fabris|2001|loc="The Spanish era (1503–1734): The conservatories"}}{{refn|The four major musical institutions of Naples were the {{ill|Conservatorio di Sant'Onofrio a Porta Capuana|it}}, the {{ill|Conservatorio di Santa Maria di Loreto|it|lt=Conservatorio Santa Maria di Loreto}}, {{ill|Conservatorio della Pietà dei Turchini|it|lt=Conservatorio di Saint Maria della Pietà dei Turchini}} and the {{ill|Conservatorio dei Poveri di Gesù Cristo|it}}. The Casa dell'Annunziata was also an important center for musical learning.{{sfn|Veneziano|Di Benedetto|Fabris|2001|loc="The Spanish era (1503–1734): The conservatories"}}|group=n}} He received the additional position of second {{lang|it|maestro di cappella}} at the {{ill|Conservatorio di Santa Maria di Loreto|it|lt=Conservatorio Santa Maria di Loreto}}—another of the major institutions—on 14 September 1687.{{sfn|Bossa|2001}}{{sfn|Veneziano|Di Benedetto|Fabris|2001|loc="The Spanish era (1503–1734): The conservatories"}} This post was to assist the primary {{lang|it|maestro di cappella}} {{ill|Nicola Acerbo|de}}, who was finding difficulty in teaching over a hundred students alone.{{sfn|D'Alessandro|2003|p=LIV}} Instructing the students in harpsichord and voice,{{refn|Records describe it as "to teach the boys, in the morning, to play and sing".{{sfn|Bossa|2001}}|group=n}} the governors raised his pay to a ducat over even Acerbo, perhaps in light of his renown as a musician.{{sfn|D'Alessandro|2003|p=LIV}} Upon his obtainment of the Loreto post, governors' records praise Amodei, declaring him "one of the outstanding personalities of the city".{{sfn|Bossa|2001}}{{refn|{{harvtxt|D'Alessandro|2003|p=XLVII}} prefers the translation of "one of the leading figures of this town"|group=n}} Amodei left his position at Sant'Onofrio in 1688 and was succeeded by Cristoforo Caresana—D'Alessandro suggested that he was exhausted from a year of two simultaneous conservatory positions.{{sfn|D'Alessandro|2003|p=LIII}} The February of the following year,{{sfn|D'Alessandro|2003|p=LV}} he resigned from his post at Santa Maria di Loreto, reportedly "because of his many commitments", and was succeeded there by Alessandro Scarlatti.{{sfn|D'Alessandro|2003|p=LIV}}
Amodei was known as a colleague of Francesco Provenzale,{{sfn|Fabris|2007|p=200}} who is often considered the founder of the Neapolitan School,{{sfn|Robinson|Monson|2002}} and was probably acquainted with A. Scarlatti.{{sfn|D'Alessandro|2003|p=LV}} After his time at the conservatories he may have offered private lessons; it is unclear if his student Francesco Bajada was from a conservatory or private pupil.{{sfn|D'Alessandro|2003|p=LV}} Francesco Solimena painted the {{ill|Sacrestia di Solimena|it|lt=sacristy of San Paolo Maggiore}} throughout 1690, during which Amodei prepared music for the Feast of Saint Gaetano there.{{sfn|D'Alessandro|2003|p=LV}} He presumably assisted with the music for subsequent feasts at San Paolo Maggiore, including the Feast Day for the Madonna of Purity (8 September) and Andrew Avellino (10 November).{{sfn|D'Alessandro|2003|p=LV}}{{refn|See {{harvtxt|D'Alessandro|2003|pp=LV–LVI}} for a detailed account of the many feasts and their musical forces|group=n}} On 13 July 1693, Amodei died in Naples.{{sfn|D'Alessandro|2003|p=LVI}} The city newspaper reported on this the following day: "Yesterday, to universal mourning, the famous Maestro di Cappella of san Paolo, Sig D. Cataldo Omodei {{sic}} passed away. He was a fine exponent of his profession."{{sfn|D'Alessandro|2003|p=LVI}} The historian Bonaventura Sanfilippo-Galiotto described Amodei as:
{{blockquote|"Cataldo Amodei, the most excellent Maestro di Cappella of San Paolo Maggiore of the Order of Regular Clerics in the City of Naples, and of the Collegio di San Tommaso d'Aquino of the Dominican Fathers and of the Royal Conservatory of Sant'Onofrio who wrote an infinite number of compositions"|source=Bonaventura Sanfilippo-Galiotto, 1710, chapter 27 of Sacrum Xacca Theatrum{{sfn|D'Alessandro|2003|pp=XLV–XLVI}}}}
Music
=Overview=
Amodei's compositions consist of oratorios, motets and cantatas.{{sfn|Bossa|2001}} Almost all of Amodei's works were published in Naples,{{sfn|Timms|Fortune|Boyd|Krummacher|2001|loc="The Italian cantata to 1800: c1725–1800: Naples"}} usually being printed by Novello De Bonis{{sfn|Talbot|2009|p=100}} and their "stampator arcivescovile" ("{{lang|it|archiepiscopal printer}}").{{sfn|Fabris|2007|p=200}} Novello De Bonis's editions of music by Amodei show them—like Mascardi in Rome—attempting to use a three-systems layout to fit more musical notation per page.{{sfn|Talbot|2009|p=100}}
Amodei set text by {{ill|Andrea Perrucci|it}} twice; first for the 1686 oratorio La Susanna{{cite web |title=City: Naples/Theater: Congregazione del Divino amore dell'Orefici in San Paolo |website=Stanford University Libraries |access-date=9 June 2021 |url=https://exhibits.stanford.edu/operadata/catalog?f%5Bcity_ssim%5D%5B%5D=Naples&f%5Btheater_ssim%5D%5B%5D=Congregazione+del+Divino+amore+dell%27Orefici+in+San+Paolo&range%5Bpub_year_tisim%5D%5Bbegin%5D=1650&range%5Bpub_year_tisim%5D%5Bend%5D=1699 }} and later for 1692 serenata La sirena consolata.{{sfn|Fabris|2007|p=43}} Musicologist Dinko Fabris noted that both Amodei and Perrucci were Sicilians who moved to Naples.{{sfn|Fabris|2007|p=200}}
=Cantatas=
18th-century Naples was an active site of cantata production, first with composers such as A. Scarlatti, Francesco Mancini and Domenico Sarro.{{sfn|Timms|Fortune|Boyd|Krummacher|2001|loc="The Italian cantata to 1800: c1725–1800: Naples"}} Amodei's cantatas were the most significant predecessor to this.{{sfn|Timms|Fortune|Boyd|Krummacher|2001|loc="The Italian cantata to 1800: c1725–1800: Naples"}} Amodei stands with the elder Provenzale and younger A. Scarlatti as among the principal Italian composers of cantatas.{{sfn|Collisani|1992|loc="Cataldo Amodei"}} His book of 1685 cantatas, Cantate Op. 2, is the earliest book of cantatas to be printed in Naples;{{sfn|Timms|Fortune|Boyd|Krummacher|2001|loc="The Italian cantata to 1800: c1725–1800: Naples"}} the next single cantata was Antion del Ricco's Urania armonica. Cantate a voce sola, Op. 1 of 1686{{sfn|Talbot|2009|p=91}} and the next book was Pergolesi's Quattro cantate da camera of around 1736.{{sfn|Timms|Fortune|Boyd|Krummacher|2001|loc="The Italian cantata to 1800: c1725–1800: Naples"}} The work's full title is Cantate a voce sola, libro primo, opera seconda, di Cataldo Amodei, maestro di cappella di San Paolo Maggiore de' molto reverendi Padri Teatini, del Collegio di San Tomaso d'Aquino de' molto reverendi Padri Domenicani, d del Real Conservatorio di S. Honofrio di Napoli.{{sfn|Fabris|2007|p=200}} Unlike earlier Italian cantatas such as the anonymous Squarciato appena havea and L'amante impazzito con altre Cantate, e Serenate a solo, et a due con violini (1679) by Milanese composer {{ill|Simone Coya|de}}, Amodei's Cantate are particularly virtuosic and do not conform to the earlier Italian archetype of ironically setting popular tunes to serious subjects.{{sfn|Fabris|2007|p=200}} Musicologist Alfred Einstein favorably compared Amodei's cantata "L'interesse" from the Op. 2 to Richard Wagner's Der Ring des Nibelungen.{{sfn|Calvocoressi|1934|p=508}} Einstein explained:
{{blockquote|"This is, in a way, a distant ancestor of Wagner's Ring. Both embody revolt against capitalism. Amodei's horrible representation of Interest foreshadows the giant Fafner who 'sits in possession:' only instead of Wagner's redemption through love, he invites us piously to raise our eyes to heaven. The music has a distinct expressive value."{{sfn|Calvocoressi|1934|p=508}}}}
=Oratorios=
Amodei's four oratorios, L'innocenza infetta dal pomo, Il flagello dell'empietà, La Susanna and Il Giosuè vittorioso are important works in establishing the form and content of Italian oratorios.{{sfn|Cafiero|Marino|1987|p=470}} Described by musicologists Rosa Cafiero and Marina Marino as "rather homogeneous" ("{{lang|it|piuttosto omogeneo}})", the works were all written for San Paolo Maggiore and share subject matter and musical form.{{sfn|Cafiero|Marino|1987|pp=470–471}} They are thus exemplary to the Italian oratorio's increasing tendency to have its subject matter, structure, patronage and performance aligned.{{sfn|Cafiero|Marino|1987|pp=470–471}}
During the beginning of the 17th century, librettists were typically more prominent than composers, with the latter more likely to be anonymous.{{sfn|Cafiero|Marino|1987|pp=470–417}} Only one of the oratorios—La Susanna—has a librettist listed (Perrucci), suggesting a switch in the dominance of composers and librettists.{{sfn|Cafiero|Marino|1987|p=470}}
=Others=
Primo libro de' mottetti (First Book of Motets; 1679), his Op. 1 motets for 2–5 voices, was dedicated to Leopold I, Holy Roman Emperor.{{sfn|Bossa|2001}} The motet's 1679 publication was the first published music in Naples since a 1645–1653 series of various first editions and reprints by composers such as Bartolomeo Cappello, Giovanni Salvatore and Francesco Vannarelli.{{sfn|Fabris|2007|pp=64–65}}
Works
| class = "wikitable sortable plainrowheaders" |
| + List of compositions by Cataldo Amodei{{sfn|Bossa|2001}} |
| scope="col" | Title
! scope="col" | Year ! scope="col" | Genre ! scope="col" | Occasion{{sfn|Cafiero|Marino|1987|p=470}} ! scope="col" | Notes |
|---|
| Primo libro de' mottetti, op. 1 (First Book of Motets) | 1679 | Motet | Dedicated to Leopold I, Holy Roman Emperor | – |
| Cantate, libro primo, op. 2{{refn|Full title: Cantate a voce sola, libro primo, opera seconda, di Cataldo Amodei, maestro di cappella di San Paolo Maggiore de' molto reverendi Padri Teatini, del Collegio di San Tomaso d'Aquino de' molto reverendi Padri Domenicani, d del Real Conservatorio di S. Honofrio di Napoli{{sfn|Fabris|2007|p=200}}|group=n}} (Cantatas, First Book) | 1685 | Cantata | – | – |
| L'innocenza infetta dal pomo (Innocence Infects the Apple) | 1685 | Oratorio | For San Paolo Maggiore | Based on Original Sin |
| Il flagello dell'empietà (The Scourge of Wickedness) | 1685 | Oratorio | For San Paolo Maggiore | – |
| La Susanna (The Susanna) | 1686 | Oratorio | For San Paolo Maggiore | Based on Susanna and the Elders |
| Il Giosuè vittorioso (The Victorious Joshua) | 1687{{sfn|Cafiero|Marino|1987|p=486}} | Oratorio | For San Paolo Maggiore | Music lost{{refn|Four librettos survive, now located in the Biblioteca Estense, Modena; the library of the {{ill|Conservatorio di San Pietro a Majella|it}}, Naples; the Biblioteca Nazionale Vittorio Emanuele III, Naples; and the Biblioteca Civica of Padua.{{sfn|Bossa|2001}}|group=n}} |
| Il trionfo della purità di Maria (The Triumph of Mary's Purity) | 1687/88{{refn|{{harvtxt|Bossa|2001}} records 1687 while {{harvtxt|Cafiero|Marino|1987|p=487}} records 1688|group=n}} | "Componimento per musica"{{sfn|Cafiero|Marino|1987|p=487}} | – | Manuscript at the Biblioteca Nazionale Vittorio Emanuele III{{sfn|Cafiero|Marino|1987|p=487}} |
| La sirena consolata{{refn|Full title: La sirena consolata, Serenata per la ricuperata salute della Maestà Cattolica di Marianna di Neoburgo portata in musica da Cataldo Amodei{{sfn|Fabris|2007|p=43}}|group=n}} (The Consoled Siren) | 1692 | Serenata | – | Lost |
| Pastorale{{sfn|D'Alessandro|2003|p=LIII}}
| 1688 | Christmas 1686–1890 | ? |
| Pastorale per la novena del Signore{{cite book |title=Composizioni liturgiche |via=Stanford University Libraries |access-date=18 August 2021 |url=https://searchworks.stanford.edu/view/5625931 |last1=Amodei |first1=Cataldo |year=2003 |publisher=Libreria musicale italiana |isbn=978-88-7096-354-0 }}{{sfn|D'Alessandro|2003|p=LIII}}{{refn|The Pastorale per la novena del Signore may be the same Pastorale by Amodei which was performed at San Paolo Maggiore for Christmas 1688.{{sfn|D'Alessandro|2003|p=LIII}}|group=n|name=Christmas}}
| ? | Pastorale | ? | Set to the "Rorate caeli" text |
| Confitebor tibi Domine{{sfn|D'Alessandro|2003|p=LIII}}
| ? | Psalm | ? | {{Abbr|Acomp.|accompanied}} two violins and organ basso continuo |
| Laetaus sum{{sfn|D'Alessandro|2003|p=LIII}}
| ? | Psalm | ? | {{Abbr|Acomp.|accompanied}} two violins and organ basso continuo |
=Editions=
Amodei's works are included in the following collections:
- {{cite book |year=2003 |editor-last1=D'Alessandro |editor-first1=Domenico Antonio |editor-link1=Domenico Antonio D'Alessandro |editor2=Colusso, Flavio |title=Composizioni liturgiche: Cataldo Amodei |trans-title=Liturgical compositions: Cataldo Amodei |publisher=Libreria Musicale Italiana |location=Lucca |volume=1 |series=Musica Theatina |oclc=639148255 |ref=no}}
- {{cite book |year=2008 |editor-last1=Giuseppe |editor-first1=Collisani |title=Cataldo Amodei: Cinque duetti concertati per Soprano e Basso |trans-title=Cataldo Amodei: Five Concerted Duets for Soprano and Bass |publisher=Mnemes |location=Palermo |volume=11 |series=Dafni |isbn=978-88-8161-245-1 |oclc=268784308 |ref=no}}
Recordings
Numerous cantatas by Amodei were recorded in Cataldo Amodei: Cantatas (2004) by soprano Emma Kirkby, lutenist Jakob Lindberg and harpsichordist Lars Ulrik Mortensen.{{cite web |last=Greene |first=John |url=https://www.classicstoday.com/review/review-10237/ |title=Cataldo Amodei: Cantatas |website=Classics Today |access-date=9 August 2021 }}{{cite web |url=https://bis.se/label/bis/cataldo-amodei |title=Cataldo Amodei - solo cantatas |publisher=BIS Records |access-date=9 August 2021 |archive-date=27 August 2022 |archive-url=https://web.archive.org/web/20220827224327/https://bis.se/label/bis/cataldo-amodei |url-status=dead }} Three of these recordings were rereleased in The Artistry of Emma Kirkby (2009).{{cite web |url=https://www.prestomusic.com/classical/products/7978568--the-artistry-of-emma-kirkby |title=The Artistry of Emma Kirkby |publisher=Presto Classical Limited |access-date=9 August 2021 }}
References
=Notes=
{{Reflist|group=n|colwidth=30em}}
=Citations=
{{reflist}}
=Sources=
Books
{{refbegin}}
- {{cite book |editor-last1=D'Alessandro |editor-first1=Domenico Antonio |editor-link1=Domenico Antonio D'Alessandro |editor2=Ziino, Agostino |last1=Cafiero |first1=Rosa |last2=Marino |first2=Marina |year=1987 |title=La musica a Napoli durante il Seicento |trans-title=Music in Naples during the seventeenth century |chapter=Materiali per una definizione di "oratorio" a Napoli nel Seicento: primi accertamenti |trans-chapter=Materials for a definition of "oratory" in Naples in the seventeenth century: first investigations |publisher=Edizioni Torre d'Orfeo |location=Rome |language=Italian |pages=465–510 |oclc=466401333}}
- {{cite book |last=D'Alessandro |first=Domenico Antonio |year=2003 |editor-last1=D'Alessandro |editor-first1=Domenico Antonio |editor-link1=Domenico Antonio D'Alessandro |editor2=Colusso, Flavio |title=Composizioni liturgiche: Cataldo Amodei |trans-title=Liturgical compositions: Cataldo Amodei |chapter=Don Cataldo Amodei "nostro Maestro di Cappella": la musica nella chiesa napoletana di San Paolo Maggiore dal 1685 al 1693 |trans-chapter=Don Cataldo Amodei "our Maestro di Cappella": Music in the Neapolitan Church of San Paolo Maggiore From 1685 to 1693 |publisher=Libreria Musicale Italiana |location=Lucca |pages=XV-LVIII |volume=1 |series=Musica Theatina |oclc=639148255 |chapter-url=https://www.academia.edu/31000885 }}
- {{cite book |last=D'Alessandro |first=Domenico Antonio |editor-last1=Cotticelli |editor-first1=Francesco |editor-last2=Maione |editor-first2=Paologiovanni |year=2019 |title=Storia della musica e dello spettacolo a Napoli |trans-title=History of music and entertainment in Naples |chapter=Mecenati e mecenatismo nella vita musicale napoletana del Seicento e condizione sociale del musicista. I casi di Giovanni Maria Trabaci e Francesco Provenzale |trans-chapter=Patrons and patronage in the Neapolitan musical life of the seventeenth century and social condition of the musician. The cases of Giovanni Maria Trabaci and Francesco Provenzale |volume=2 |language=Italian |publisher=Turchini |location=Naples |pages=71–603 |isbn=978-88-89491-18-8 }}
- {{cite book |last=Fabris |first=Dinko |author-link=Dinko Fabris |year=2007 |title=Music in Seventeenth-Century Naples: Francesco Provenzale (1624–1704) |publisher=Routledge |location=Abingdon-on-Thames |isbn=978-0-7546-3721-9 |url={{google books|plainurl=y|id=2nkbed1W8xgC}} }}
- {{cite book |editor-last=Talbot |editor-first=Michael |editor-link=Michael Talbot (musicologist) |year=2009 |title=Aspects of the Secular Cantata in Late Baroque Italy |publisher=Routledge |location=Abingdon-on-Thames |isbn=978-0-7546-5794-1 |url={{google books|plainurl=y|id=TIQ2ww3tN44C}} }}
{{refend}}
Journals and articles
{{refbegin}}
- {{cite encyclopedia |last=Bossa |first=Renato |year=2001 |encyclopedia=Grove Music Online |title=Amodei, Cataldo |publisher=Oxford University Press |location=Oxford |doi=10.1093/gmo/9781561592630.article.00809 |isbn=978-1-56159-263-0 |url-access=subscription |url=https://www.oxfordmusiconline.com/grovemusic/view/10.1093/gmo/9781561592630.001.0001/omo-9781561592630-e-0000000809 }} {{Grove Music subscription}}
- {{cite journal |last=Calvocoressi |first=Michel-Dimitri |author-link=Michel-Dimitri Calvocoressi |year=1934 |title=Music in the Foreign Press |journal=The Musical Times |volume=75 |issue=1096 |pages=507–509 |jstor=919167 }}
- {{cite journal |last=Collisani |first=Amalia |year=1992 |title=Back Matter |journal=Rivista Italiana di Musicologia |language=it |volume=27 |issue=1/2 |jstor=24320818 |publisher=Libreria Musicale Italiana (LIM) Editrice }}
- {{cite encyclopedia |last1=Veneziano |first1=Giulia Anna Romana |first2=Renato |last2=Di Benedetto |first3=Dinko |last3=Fabris |author-link3=Dinko Fabris
|year=2001 |encyclopedia=Grove Music Online |title=Naples |publisher=Oxford University Press |location=Oxford |doi=10.1093/gmo/9781561592630.article.42068 |isbn=978-1-56159-263-0 |url-access=subscription |url=https://www.oxfordmusiconline.com/grovemusic/view/10.1093/gmo/9781561592630.001.0001/omo-9781561592630-e-0000042068 }} {{Grove Music subscription}}
- {{cite encyclopedia |last1=Robinson |first1=Michael F. |author-link=Michael F. Robinson |last2=Monson |first2=Dale E. |year=2002 |orig-year=1992 |encyclopedia=Grove Music Online |title=Provenzale, Francesco (opera) |publisher=Oxford University Press |location=Oxford |doi=10.1093/gmo/9781561592630.article.O002372 |isbn=978-1-56159-263-0 |url-access=subscription |url=https://www.oxfordmusiconline.com/grovemusic/view/10.1093/gmo/9781561592630.001.0001/omo-9781561592630-e-5000002372 }} {{Grove Music subscription}}
- {{cite encyclopedia |last1=Timms |first1=Colin |author-link=Colin Timms |first2=Nigel |last2=Fortune |first3=Malcolm |last3=Boyd |first4=Friedhelm |last4=Krummacher |first5=David |last5=Tunley |first6=James R. |last6=Goodall |first7=Juan José |last7=Carreras |year=2001 |encyclopedia=Grove Music Online |title=Cantata |publisher=Oxford University Press |location=Oxford |doi=10.1093/gmo/9781561592630.article.04748 |isbn=978-1-56159-263-0 |url-access=subscription |url=https://www.oxfordmusiconline.com/grovemusic/view/10.1093/gmo/9781561592630.001.0001/omo-9781561592630-e-0000004748 }} {{Grove Music subscription}}
{{refend}}
Further reading
{{refbegin}}
- {{cite book |author=Confuorto, Domenico |year=1930 |title=Giornali di Napoli dal MDCLXXIX al MDCIC |trans-title=Newspapers of Naples from 1779 to 1600 |publisher=Lubrano |location=Naples |language=it |pages=2, 213 |oclc=757548 |ref=none}}
- {{cite book |editor-last1=d'Alessandro |editor-first1=Domenico Antonio |editor-link1=Domenico Antonio d'Alessandro |editor2=Ziino, Agostino |last=Gialdroni |first=Teresa M. |year=1987 |title=La musica a Napoli durante il Seicento |trans-title=Music in Naples during the seventeenth century |chapter=Francesco Provenzale e la cantata a Napoli nella seconda metà del Seicento |trans-chapter=Francesco Provenzale and the cantata in Naples in the second half of the seventeenth century |publisher=Edizioni Torre d'Orfeo |location=Rome |language=it |pages=125–150 |oclc=466401333 |ref=none}}
- {{cite book |author1=Pagano, Roberto |author2=Bianchi, Lino |year=1972 |title=Alessandro Scarlatti |publisher=ERI |location=Turin |language=Italian |oclc=736193 |pages=104–105 |ref=none}} Includes Rostirolla, Giancarlo. Catalogo generale delle opere a cura di Giancarlo Rostirolla [General catalog of the works by Giancarlo Rostirolla].
{{refend}}
{{s-start}}
{{s-culture}}
{{s-bef|before=Pietro Andrea Ziani}}
{{s-ttl|title=Choirmaster of the San Paolo Maggiore
|years=1680/81–1688}}
{{s-aft|after=Gaetano Veneziano}}
{{s-bef|before=Pietro Andrea Ziani}}
{{s-ttl|title=Choirmaster of the {{ill|Conservatorio di Sant'Onofrio a Porta Capuana|it}}
|years=1681–1688}}
{{s-aft|after=Cristoforo Caresana}}
{{s-bef|before={{ill|Nicola Acerbo|de}}}}
{{s-ttl|title=Choirmaster of the {{ill|Conservatorio di Santa Maria di Loreto|it|lt=Conservatorio Santa Maria di Loreto}}
|years=14 September 1687 – 1689}}
{{s-aft|after=Alessandro Scarlatti}}
{{s-end}}
{{Baroque music}}
{{Portal bar|Classical music|Biography|Italy|Music}}
{{Authority control}}
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Category:Italian Baroque composers
Category:Composers from Sicily
Category:17th-century Italian Roman Catholic priests
Category:Italian male classical composers
Category:17th-century Italian composers