1570s in architecture
1570–1575 - Palazzo Barbaran da Porto in Vicenza, designed by Andrea Palladio, is built. 1571 - Buildings begun in 1568 are completed, The Green Gate in Gdańsk, the Hall of Antiquities in the Munich Residenz, designed by Wilhelm Egkl and Jacopo Strada. 1571–1572 - Loggia of Palazzo del Capitaniato in Vicenza, designed by Palladio, is built, C.1572 - Completion of work at Villa Serego, Santa Sofia di Pedemonte in the province of Verona, designed by Palladio. 1574 - The Selimiye Mosque, designed by Mimar Sinan and begun in 1568, is completed,1576 - The Pagoda of Cishou Temple in the suburbs of Beijing is completed. 1576–1577 - Design for church of Il Redentore on Giudecca in Venice commissioned from Palladio,1579 - Nonsuch House erected on London Bridge. Fatehpur Sikri in the Mughal Empire is completed,1570 - Andrea Palladio publishes I Quattro Libri dellArchitettura. 1578 - Giacomo della Porta builds a fountain in front of the Pantheon, Rome
Fitzwilliam Virginal Book
The Fitzwilliam Virginal Book is a primary source of keyboard music from the late Elizabethan and early Jacobean periods in England, i. e. the late Renaissance and very early Baroque. It takes its name from Viscount Fitzwilliam who bequeathed this collection to Cambridge University in 1816. It is now deposited in the Fitzwilliam Museum at Cambridge and it was given no title by its copyist and the ownership of the manuscript before the eighteenth century is unclear. It has been argued that Tregian may have copied the entire collection while imprisoned in the leading up to his death in 1618. The nature of Tregians contribution to the book, if any, has been disputed, recent scholarship suggests that even if Tregian is the compiler, it is unlikely that he was imprisoned long enough to do the copying involved. In 1899, Breitkopf & Härtel published an edition in two volumes with only a critical commentary, which has been reprinted by Dover Publications and is available inexpensively. A microfilm facsimile of the manuscript is included in The music collections of the Cambridge libraries, musica Britannica is preparing a volume dedicated to the Keyboard Music from Fitzwilliam Manuscripts.
Richard Strauss used several selections from the Fitzwilliam Virginal Book in his 1935 opera, Die schweigsame Frau and they appear at ritualized moments in the action to provide commentary and atmosphere in the Act 2 marriage scene and in the Act 3 courtroom scene. The first recording of selections from the anthology was made by Joseph Payne in 1964 and it was issued by Vox Box as a three-LP boxed set and features Payne performing three album sides on harpsichord and three sides on organ. Generally the more moderately paced and sustained pieces are performed on the organ, robin Go from my window Mundays Joye Goe from my window Nancie Fantasia Alman La Volta Pavana Galiarda J. A. Fuller Maitland and W. Barclay Squire, ed, the Fitzwilliam Virginal Book Gustave Reese, Music in the Renaissance. ISBN 0-393-09530-4 The New Harvard Dictionary of Music, ed, Massachusetts, Harvard University Press,1986. The New Grove Dictionary of Music and Musicians, percy A. Scholes, The Oxford Companion to Music. Harold Gleason and Warren Becker, Music in the Middle Ages, ruby Reid Thompson, Francis Tregian the Younger as music copyist, A legend and an alternative view.
Fawcett, Pat, ed. Francis Tregian and the Fitzwilliam Virginal Book, complete Recording performed on digital piano/harpsichord by Claudio Colombo FitzWilliam Virginal Book, Vol. I, recorded by Dutch harpsichordist Pieter-Jan Belder on Brilliant Classics
Robert Fludd, known as Robertus de Fluctibus, was a prominent English Paracelsian physician with both scientific and occult interests. He is remembered as an astrologer, cosmologist, Fludd is best known for his compilations in occult philosophy. He had an exchange of views with Johannes Kepler concerning the scientific and hermetic approaches to knowledge. He was born at Milgate House, Kent, not too long before 17 January 1573/4 and he was the son of Sir Thomas Fludd, a high-ranking governmental official, and Member of Parliament. His mother was Elizabeth Andrews Fludd and he entered St John’s College, Oxford as a commoner in 1591, graduating with a B. A. in 1597 and a M. A. in 1598. Fludd may have encountered Gwinne, or his writing, during his time at Oxford, providing an additional influence for his medical philosophy, between 1598 and 1604, Fludd studied medicine and hermeticism on the European mainland following his graduation. His itinerary is not known in detail, on his own account he spent a winter in the Pyrenees studying theurgy with the Jesuits.
Furthermore, he indicated that he traveled throughout Spain, upon returning to England in 1604, Fludd matriculated to Christ Church, Oxford. He intended to take a degree in medicine from Christ Church College, the main requirements to obtain this, at the time, included demonstrating that he had read and understood the required medical texts—primarily those by Galen and Hippocrates. Fludd defended three theses following these texts, and on 14 May 1605, Fludd made his supplication and he graduated with his M. B. and M. D. on 16 May 1605. After graduating from Christ Church, Fludd moved to London, settling in Fenchurch Street, after at least six failures, he was admitted in September 1609. He became a prosperous London doctor, serving as Censor of the College four times and he became such an established figure within the College that he was included in seventeenth century critiques of the College, including those by Nicholas Culpepper and Peter Coles. Subsequently both his career and his standing in the College took a very much for the better.
He was on terms with Sir William Paddy. Fludd was one of the first to support in print the theory of the circulation of the blood of the Colleges William Harvey, to what extent Fludd may have actually influenced Harvey is still debated, in the context that Harveys discovery is hard to date precisely. The term circulation was certainly ambiguous at that time, while he followed Paracelsus in his medical views rather than the ancient authorities, he was a believer that real wisdom was to be found in the writings of natural magicians. His view of these mystical authorities was inclined towards the great mathematicians, and he believed, like Pythagoras and his followers, certainty in religion could only be discovered through serious study of numbers and ratios. This brought Fludd into conflict with Johannes Kepler, isaac Newton, at this time, held similar beliefs, focused on the dimensions of Solomons Temple
Domenico Maria Ferrabosco was an Italian composer and singer of the Renaissance, and the eldest musician in a large prominent family from Bologna. He spent his career both in Bologna and Rome, born in Bologna, Domenico was one of four sons of Annibale Ferrabosco, members of a distinguished Bolognese family whose genealogical records date back to the middle of the 15th century. Domenico is the first of the known to be a musician. Little is known about his early life, sometime in the 1540s he went to Rome, and he became magister puerorum for the Julian Chapel in 1546. However, due to family obligations he returned to Bologna in 1547, and became maestro di cappella at San Petronio, the Bolognese Senate granted him a non-musical position, Regulator et scriba campionis creditorum Montis portarum. He moved back to Rome in 1550, where he was appointed to be cantore pontificio on 27 November, although he did not begin performing the duties of this position until April 1551. By 1570 Ferrabosco was back in Bologna taking care of his estate, arranging for succession of his Senate-granted scribal position to his eldest son, and making out his will, which was dated 1573.
He died in February 1574 in Bologna, by time his most famous son. Ferrabosco published only one book of his works, a collection of 45 madrigals for four voices in 1542. They were similar in style to the early madrigals by Jacques Arcadelt, Philippe Verdelot, regarding the music itself he adds. homophony is enlivened by light polyphony and reflects a noble sentimentality which is not easily disturbed in its spiritual equilibrium. Yet his music appears alongside Rores, for example in that composers second madrigal book for five voices which includes Ferraboscos setting of the sonnet Più dalto Pin chin mezzunorto sia. As texts for his madrigals, Ferrabosco preferred love lyrics, including works by Petrarch, Pietro Bembo, Ludovico Ariosto, vincenzo Galilei, father of the astronomer, arranged it for lute, and its last known reprint dates from 1654. In addition to his madrigals, Ferrabosco wrote motets, some of which appear in anthologies and he wrote a five-voice setting of Ascendens Christus as well as a five-voice setting of Usquequo, Domine.
Ferraboscos complete works are available in an edition by R. Charteris in Corpus mensurabilis musicae, New Jersey, Princeton University Press,1949. ISBN 0-691-09112-9 Gustave Reese, Music in the Renaissance
John Wilbye was an English madrigal composer. The son of a tanner, he was born at Brome, near Diss, the Kitsons had a long association with the composer Edward Johnson, who was more than twenty years older than Wilbye, and began working at Hengrave in the 1570s. As well as working in Suffolk, Wilbye was involved with the scene in London. His first book of madrigals was published in London in 1598, the publication was dedicated to Sir Charles Cavendish, whose first wife had been a Kitson. Wilbye remained in contact with his printer Thomas Easte, in 1600 Wilbye and Edward Johnson took on a proofreading job for Easte, the first edition of Dowlands Second Book of Songs, as Dowland was abroad. Easte died in 1608, and Wilbyes second book of madrigals was printed the year by Eastes nephew and successor. However, Wilbye left Hengrave to live in retirement at Mary Darcys house in Colchester and he is buried in the graveyard of Holy Trinity Church, in Colchester town centre. Hengrave was a recusant household, but little religious music by Wilbye survives and his main interest seems to have been madrigals.
A set of madrigals by him appeared in 1598, and a second in 1608, Wilbye is probably the most famous of all the English madrigalists, his pieces have long been favourites and are often included in modern collections. His madrigals include Weep, weep mine eyes, Weep, O mine eyes and Draw on and he wrote the poem, Love not me for comely grace. His style is characterized by delicate writing for the voice, acute sensitivity to the text, philip Ledger The Oxford Book of English Madrigals. OUP,1978 Attribution Chisholm, Hugh, ed. Wilbye, John