Francesco Stivori
Francesco Stivori
Genres: 16th century, italian
Similar artists via Last.fm
Vincenzo Fontana
About Francesco Stivori
Francesco Stivori, also found as Francesco Stivorio, was an Italian organist and composer born in Venice around 1550 and dead at Graz in 1605. Ricercar’s Renaissance Music in Croatia person record gives the essentials: variant name Stivorio, birth around 1550 in Venice, death in 1605 at Graz, and roles as composer and organist. RISM gives the same broad authority identity, Stivori, Francesco (1550c–1605). His training is linked above all to Claudio Merulo. Donemus states that Stivori studied with Merulo, worked as a municipal organist, and later entered the service of Archduke Ferdinand at Graz. Seifert likewise describes Stivori as Venetian-born and a pupil of Merulo, and adds the valuable reception detail that Giovanni Gabrieli called him “mio cordialissimo amico” in a 1604 letter. The strongest local Italian career anchor is Montagnana. A repertory bibliography preserves the title of Stivori’s Il primo libro de madrigali a quattro voci, Venice: Giacomo Vincenti & Ricciardo Amadino, 1583, which styles him “organista della magnifica communità di Montagnana.” Baker’s summary gives the broader institutional chronology: after service as municipal organist at Montagnana, he became organist to Archduke Ferdinand of Inner Austria at Graz from 1602. Stivori’s surviving catalogue is large and varied. Baker summarises it as seven volumes of madrigals, six volumes of motets, and three volumes of instrumental pieces, while Donemus gives the same broad proportions and stresses his role in introducing polychoral writing to Austria. His first securely surfaced secular print in this run is Il primo libro de madrigali a quattro voci, Venice: Giacomo Vincenti & Ricciardo Amadino, 1583, RISM 1583/17. Later large-scale prints include Concenti musicali a otto, dodeci, et a sedeci voci, Venice, 1601, and Musica Austriaca, Venice, 1605, both tied to his late polychoral and Habsburg-facing output. His sacred repertory is particularly important in the Austrian / Habsburg transmission story. RISM records Sacrarum cantionum, liber 4 under Stivori’s name. Bishop Hren’s choirbook repertory includes a substantial Stivori group: Magnificat primi toni, another Magnificat, and a long sequence of eight-voice hymns including Conditor alme siderum, Christe redemptor omnium, Salvete flores martyrum, Veni creator spiritus, Pange lingua gloriosi, Doctor egregie, Ave maris stella, and Urbs beata Jerusalem. This transmission supports the usual characterization of Stivori as one of the Italian musicians through whom Venetian-style polychoral practice entered Habsburg sacred music. Stivori’s instrumental music is represented by the Ricercari, capricci et canzoni tradition. A source catalogue for the music library of Cornelis Schuyt lists Ricercari, capricci et canzoni a 4 voci, libro terzo, Venice: Ricciardo Amadino, 1599, RISM S 6452. Modern discography confirms the survival and performance of at least one instrumental piece, Canzone III, recorded by Francesco Di Lernia on Tactus. Stivori is best understood as a Venetian-trained organist-composer whose career moved from Montagnana to the Graz court of Archduke Ferdinand. His music occupies three overlapping worlds: Italian madrigal print culture, keyboard / instrumental contrapuntal repertory, and the large-scale sacred polychoral idiom that circulated northward into Habsburg lands around 1600.
Taken from Last.fm
6 listeners · 28 plays via Last.fm