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Tomás Luis de Victoria (1548 – 1611) was the most famous composer in 16th-century Spain, and was one of the most important composers of the Counter-Reformation, along with Giovanni Pierluigi da Palestrina and Orlando di Lasso. Victoria was not only a composer, but also an accomplished organist and singer as well as a Catholic priest. However, he preferred the life of a composer to that of a performer. Victoria was born in Sanchidrián in the province of Ávila, Castile around 1548 and died in 1611. Victoria's family can be traced back for generations. Not only are the names of the members in his immediate family known, but even the occupation of his grandfather. Victoria was the seventh of nine children born to Francisco Luis de Victoria and Francisca Suárez de la Concha. His mother was of converso descent. After his father's death in 1557, his uncle, Juan Luis, became his guardian. He was a choirboy in Ávila Cathedral. Cathedral records state that his uncle, Juan Luis, presented Victoria's Liber Primus to the Church while reminding them that Victoria had been brought up in the Ávila Cathedral. Because he was such an accomplished organist, many believe that he began studying the keyboard at an early age from a teacher in Ávila. Victoria most likely began studying "the classics" at St. Giles's, a boys' school in Ávila. This school was praised by St.Teresa of Avila and other highly regarded people of music. He was a master at overlapping and dividing choirs with multiple parts with a gradual decreasing of rhythmic distance throughout. Not only does Victoria incorporate intricate parts for the voices, but the organ is almost treated like a soloist in many of his choral pieces. Victoria did not begin the development of psalm settings or antiphons for two choirs, but he continued and increased the popularity of such repertoire. Victoria reissued works that had been published previously, and included new revisions in each new issue. Victoria published his first book of motets in 1572. In 1585 he wrote his Officium Hebdomadae Sanctae, a collection which included 37 pieces that are part of the Holy Week celebrations in the Catholic liturgy, including the eighteen motets of the Tenebrae Responsories. Stylistically, his music shuns the elaborate counterpoint of many of his contemporaries, preferring simple line and homophonic textures, yet seeking rhythmic variety and sometimes including intense and surprising contrasts. His melodic writing and use of dissonance is more free than that of Palestrina; occasionally he uses intervals which are prohibited in the strict application of 16th century counterpoint, such as ascending major sixths, or even occasional diminished fourths (for example, a melodic diminished fourth occurs in a passage representing grief in his motet Sancta Maria, succurre). Victoria sometimes uses dramatic word-painting, of a kind usually found only in madrigals. Some of his sacred music uses instruments (a practice which is not uncommon in Spanish sacred music of the 16th century), and he also wrote polychoral works for more than one spatially separated group of singers, in the style of the composers of the Venetian school who were working at St. Mark's in Venice. The mass (Latin: missa), a form of sacred musical composition, is a choral composition that sets the invariable portions of the Eucharistic liturgy (principally that of the Catholic Church, the Anglican Communion, and Lutheranism) to music. Most masses are settings of the liturgy in Latin, the liturgical sacred language of the Catholic Church's Roman liturgy, but there are a significant number written in the languages of non-Catholic countries where vernacular worship has long been the norm. For example, there are many masses (often called "communion services") written in English for the Church of England. Musical masses take their name from the Catholic liturgy called "the mass" as well. Masses can be a cappella, that is, without an independent accompaniment, or they can be accompanied by instrumental obbligatos up to and including a full orchestra. Many masses, especially later ones, were never intended to be performed during the celebration of an actual mass. Source: Wikipedia (https://en.wikipedia.org/wiki/Tom%C3%... ). Although originally created for Double Choir (SSAATTBB), I created this Interpretation of the "Missa Alma redemptoris" (Loving Mother of our Saviour) for Winds (Flute, Oboe, English Horn, & Bassoon) & Strings (2 Violins, Viola & Cello).

Giovanni Domenico Rognoni Taeggio (? - before 1626) was an Italian composer from the Renaissance period. He was an organist in Milan ca. 1605, and ducal maestro di cappellathere from 1619. His publications include instrumental canzonas, some polychoral, madrigals in up to eight parts and a setting of the Ambrosian-rite Requiem. He was the son of Riccardo Rognoni and brother of Francesco Rognoni Taeggio, both prominent Italian composers and musicians. He was active in Milan, but had connections with royalty from as far abroad as Archduke Charles of Austria, and King Sigismund III Vasa of Poland. Rognoni was a Papal Knight and hereditary Palatine Count. He published both collections of his works and treatises. His most famous work was Selva de varii passaggi, on both vocal and violin technique, and on how to ornament. Canzonas are strictly instrumental works whose height of popularity was from around 1584 until the mid 17th century. The instrumental term canzona changed genders from the masculine canzon, and many are given simple feminine-gendered titles, such as "La Bevilacqua" (Canale), "La Capriola" (Maschera), "La Spiritata" (Gabrieli), etc. Many start with a simple dactylic rhythm characteristic of the earlier French vocal chansons (a semibreve followed by two minims), though the term was fluid in the period, and many pieces now called ricercars were published in books of canzonas. A frequent term used from the earliest publications was "canzoni per sonare" or "canzoni da sonare" ("songs to be played"). Another term occasionally used (for instance, by Banchieri) is "canzon alla francesce" ("French-type song"). Eventually the form morphed into the "canzona sonata" (a played song), followed by the mid-baroque "sonata" (something simply "played"). Source: Wikipedia (https://en.wikipedia.org/wiki/Giovann... ). Although originally created for four period instruments, I created this Arrangement of the Canzona in G Major (La Binama) for