Vincenzo Ugolini (d. 1626), born at Perugia, was choirmaster at Sta. Maria
Maggiore from about 1603, though partly laid aside by illness (and somewhat
an invalid thereafter), at Benevento from 1609, at S. Luigi dei Francesi from
1615, and at St. Peter's from 1620. Recognized as an authority on the Palestrina
style, he was much sought as a teacher. In his masses, motets, psalms
and madrigals (1614-30) he often used organ-accompaniments with figured bass.
Gregorio Allegri (d. 1652), born in 1584 and another of G.M. Nanino's pupils, after serving as singer at Fermo, entered the Papal Chapel in 1629, remaining in honor till his death. His works are chiefly motets (partly published from 1618, but largely in MS.). The most famous, though not the best, is his Miserere for 9 voices in two choirs, officially sanctioned for use on Wednesday and Friday of Holy Week in the Sistine Chapel, the reproduction of which was ultimately forbidden. The charm of this as there rendered and the barriers thrown about it have given it a fictitious renown. [At least 13 such settings of the Miserere have been authorized, from that of Festa (1517) to those of Baj (1714) and of Baini (1821).]
Stefano Landi (d. after 1639), born about 1590, was choirmaster at Padua and from 1629 in the Papal Choir. He was an expert in the old style (works from 1618), but also wrote solos and duets, besides two dramatic works.
Paolo Agostini (d. 1629, aged 36), the pupil and son-in-law of G.B. Nanino, had a short life, but one full of activity. After being employed in different Roman churches, in 1627 he succeeded Ugolini at St. Peter's. His motets, masses and psalms (partly published from 1619) were technically able, involving extreme contrapuntal skill and sometimes using as many as 48 voices.
Antonio Maria Abbatini (d. 1677), born about 1595, was choirmaster of various Roman churches and at Loreto all his active life, beginning with the Lateran in 1626-8, and including three terms at Sta. Maria Maggiore. Besides church music (from 1627), he wrote cantatas, madrigals and dramatic works.
Virgilio Mazzocchi (d. 1646), after one year at the Lateran, was from 1629 choirmaster at St. Peter's. The author of many motets (from 1640) and 2 oratorios, he is notable as a leader in the change from the stricter style to one more sensuously effective, and as the founder of a music-school of repute.
Pier Francesco Valentini (d. 1654), a pupil of G.M. Nanino, was, like Micheli, a specialist in canon-writing of the highest intricacy and considerable artistic value (from 1629). In one of his books he proposed a theme of which over 2000 solutions are possible, samples of which are given for 2, 3, 4 and 5 voices; in another are canons for 6, 10 and 12 voices; in another, some for 96 voices! He also wrote motets, madrigals and 2 slight dramas (1654).
Orazio Benevoli (d. 1672), born in 1602, studied under Ugolini and was his most able successor in learned polyphony. Beginning as choirmaster at S. Luigi dei Francesi, he was called to Vienna, but returned in 1646 to St. Peter's, following Mazzocchi. All his works were sacred, but partly published (from 1628). He was amazingly skillful in works of gigantic structure, employing many voices (up to 48), disposed in 4-12 groups or choirs, and often added extensive polyphonic instrumental parts.
Francesco Foggia (d. 1688), born in 1604, was trained by Cifra, G. B. Nanino and Agostini, and married the latter's daughter. In his youth he held court positions at Cologne, Munich and Vienna, followed by short engage-
