Antonio Zacara da Teramo
Antonio Zacara da Teramo
Person from Italy
Genres: Q704073, music of the Trecento, early music, italian, trecento, ars subtilior, 14th century
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About Antonio Zacara da Teramo
Antonio Zacara da Teramo (also Zacar, Zacara, Zaccara, Zacharie, Zachara; between 1350 and 1360 – between May 19, 1413 and 1416) was an Italian composer, singer, and papal secretary of the late Trecento and early 15th century. He was one of the most active Italian composers around 1400, and his style bridged the periods of the Trecento, ars subtilior, and beginnings of the musical Renaissance. Zacara de Teramo was probably from Teramo, in northern Abruzzo, not far from the Adriatic coast. Nothing is known about his life until he is recorded in Rome, in 1390, as a teacher at the Ospedale di Santo Spirito in Sassia; the document mentions that he was not young at the time of this appointment, but his exact age is not given. In the next year he became a secretary to Pope Boniface IX; the letter of appointment survives, and indicates that he was a married layman as well as a singer in the papal chapel He stayed at this post through the papacies of Boniface IX (to 1404), Innocent VII (1404-1406), and Gregory XII (1406-1415). This was during the turbulent period of the Western Schism, and from his surviving letters, as well as the numerous hidden, and probably subversive political references in his music, Zacara seems to have been involved in the machinations of the time.[citation needed] It is not known exactly when he abandoned service to Pope Gregory, but if the ballata Dime Fortuna poy che tu parlasti is indeed by Zacara then we can read in its text evidence that he left Gregory before the council of Pisa in 1409. He is recorded as a singer in the chapel of John XXIII in Bologna in 1412 and 1413.[citation needed] Two documents of 1416 describe him as being already dead; he owned property both in Rome and Teramo at the time of his death.[citation needed] The illuminated Squarcialupi Codex contains an illustration of him. He was a small man, and had a total of only ten digits altogether on both hands and feet, details which are not only evident in the portrait but mentioned in his entry in an 18th century Abruzzi necrology.
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