as the concertato style was chiefly Venetian, receiving its impulse from Monteverdi and becoming established in honor under Legrenzi and Lotti, with Colonna of Bologna. This free style naturally commended itself strongly to popular taste.
Claudio Monteverdi (d. 1643) published comparatively little church music,
but left more in MS. Never in sympathy with pure polyphony, he tended
to try new methods, sometimes in a harsh or immature way. His 30 years'
service as choirmaster at St. Mark's, however, gave him great influence (see
sec. 77). His first printed work was a set of madrigali spirituali (1583), and
a collection of motets, psalms, etc., with instrumental accompaniments was one
of the last (1641).
Alessandro Grandi (d. 1630), began as choirmaster at Ferrara in 1610, entered the St. Mark's choir in 1617, becoming vice-choirmaster in 1620, but in 1627 removed to Bergamo. His many works (from 1607) include masses, motets, psalms and varied secular pieces, the motets being accompanied from the first, and concertato methods becoming obvious later.
Giovanni Rovetta (d. 1668) was early a choirboy at St. Mark's and succeeded Grandi as vice-choirmaster in 1627 and Monteverdi as chief in 1643. He also wrote freely in all forms (from 1626), his style being strongly marked by the new ideas and continuing the traditions of his predecessors.
Francesco Cavalli (d. 1676), pupil of Monteverdi and Rovetta's successor in 1668, though almost 50 years at St. Mark's (see sec. 79), wrote relatively little church music (from 1645).
Natale Monferrato (d. 1685) also spent his life at St. Mark's, being a pupil of Rovetta, from 1639 a singer in the choir and Cavalli's unsuccessful rival for one of the organs, from 1647 vice-choirmaster and Cavalli's successor in 1676. He was also a favorite teacher and engaged in music-publishing. His many motets and psalms, with some masses (from 1647), are in the free style of his school.
Giovanni Legrenzi (d. 1690) studied with Rovetta and succeeded Monferrato in 1685. During his administration the orchestra was increased to 34 players, including 24 strings, 4 theorbi, 2 cornets, 1 bassoon and 3 trombones. One of the best early opera-writers (see sec. 81), he is counted even better as a church composer (works from 1654), besides being one of the earliest writers of chamber music (from 1655).
After him came as choirmasters Rovettino in 1690 (organist since 1665), Partenio from 1692, and Biffi from 1702—all better opera-writers than church composers.
Antonio Lotti (d. 1740), also a fine opera-writer (see sec. 90), though not choirmaster till 1736, following Biffi, is really next in the succession at St. Mark's, since he was singer there from 1687. Though largely occupied till 1718 with operas, he wrote much church music (left in MS.) of great dignity and beauty, marking him as the culmination of the Venetian school, as well as the model for many followers in the 18th century.
Only second in influence as a centre for church music in the later 17th century was Bologna, where the following composers may be emphasized:—
