Adriano Banchieri (d. 1634), born about 1565, a pupil of Guami, and a highly educated Olivetan monk, was not only a learned author, but a practical musician of influence. He was organist in 1599-c. 1615, chiefly at Bosco (near Bologna) and Imola, and founded a musical society which later became the famous Accademia filarmonica of Bologna (still existing). His compositions, at first secular (from 1593), including several madrigal-plays, also ranged over the usual sacred forms. In these he showed a keen sympathy with the semi-dramatic style as against a cappella polyphony.
Ercole Porta was one of the early users of orchestral support for sacred music (works from 1609).
Giovanni Paolo Colonna (d. 1695), well trained at Rome under Abbatini and Benevoli, was cathedral-organist at Bologna from 1659 and choirmaster from 1674. His numerous sacred works (from 1677, with many in MS.) are in a style that puts him in the front rank of the church composers of the latter part of the century.
Jacopo Antonio Perti (d. 1756), another opera-writer, was cathedral-choirmaster from 1690 and wrote fine sacred works (from 1681).
Other North Italian sacred composers were Guglielmo Lipparino, choirmaster at Como from about 1619 (works, 1600-37); Pietro Lappi, choirmaster at Brescia (works, all sacred, 1601-27); Giovani Ghizzolo, from 1613 successively at Correggio, Ravenna, Padua and Novara (works, sacred and secular, 1608-1625); Stefano Bernardi (d. 1638?), choirmaster at Verona from about 1615 and at Salzburg in 1628-34 (sacred and secular works from 1611); Ignazio Donati (d. 1638?), at various places from 1612, and at Milan from 1631 (works, all sacred, from 1612); Francesco Bellazzi, also of Milan, perhaps a pupil of G. Gabrieli (works, all sacred, from 1618); Galeazzo Sabbatini, choirmaster at Mirandola, noted as a madrigalist (works, 1625-40); Orazio Tarditi (d. after 1670), organist at various places from 1622 and from 1647 choirmaster at Faenza, a very prolific writer, with fully 25 collections (from 1628) of masses, motets, psalms, litanies and madrigals, usually with free use of concertato methods; Giovanni Antonion Rigati (d. c. 1649), early a singer at St. Mark's and from 1636 choirmaster at Udine (works from 1640); Francesco della Porta (d. 1666), choirmaster at Milan from 1645 (works, all sacred, 1637-57); Francesco Petrobelli, choirmaster at Padua in 1651-77 (works from 1643); and Giovanni Battista Bassani (d. 1716), an able violinist, organist at Ferrara from 1677, choirmaster at Bologna in 1680-5, and then at Ferrara again, with many sacred works, secular songs and some chamber music (from 1677)—the teacher of Corelli.
95. In Germany.—It was inevitable that in Germany there should be two diverse tendencies in church composition, the one perpetuating the older Catholic traditions, the other seeking to adapt music to the new Protestant services and spirit. Though for a time the distinction between these was more nominal than real, except regarding the chorale, and the earlier German motets and other liturgical pieces were modeled upon their Latin
