Simone Molinaro

Trackimage Playbut Trackname Playbut Trackname
Ballo detto il Conte Orlando 00:00 Tools
Saltarello 00:00 Tools
Fantasia 00:00 Tools
Saltarello del predetto ballo 00:00 Tools
Fantasia prima 00:00 Tools
Fantasia nona 00:00 Tools
Pass'e mezo (Passamezzo) 00:00 Tools
Canzone a quattro di Gioseppe Guami 00:00 Tools
Fantasia terza 00:00 Tools
Saltarello primo 00:00 Tools
Pass'e mezzo in sei modi 00:00 Tools
Gagliarda 00:00 Tools
Saltarello secondo 00:00 Tools
Fantasia quinta 00:00 Tools
Pass'e mezzo in tre modi 00:00 Tools
Gagliarda in tre modi 00:00 Tools
Saltarello sesto 00:00 Tools
Fantasia decima 00:00 Tools
Fantasia XIV 00:00 Tools
Fantasia ottava 00:00 Tools
Gagliarda in quattro modi 00:00 Tools
Saltarello quarto 00:00 Tools
Ballo Detto "Il Conte Orlando" - Saltarello 00:00 Tools
Fantasia XV 00:00 Tools
Saltarello settimo 00:00 Tools
Fantasia I 00:00 Tools
Lute music - Italy: Saltorello - Ballo detto il Conte Orlando - Saltorello 00:00 Tools
Fantasia IX 00:00 Tools
Ballo detto il Conte Orlando - Fantasia 00:00 Tools
Simone Molinaro: Lute music - Italy - Saltorello - Ballo detto il Conte Orlando - Saltorello 00:00 Tools
Ballo, Saltarello 00:00 Tools
Canzone Francese: No. 4. Ballo detto il Conte Orlando 00:00 Tools
Fantasia X 00:00 Tools
Ballo detto 'Il Conte Orlando' - Saltarello dell predetto ballo 00:00 Tools
Saltarello - Ballo detto il Conte Orlando - Saltarello 00:00 Tools
Her Theme 00:00 Tools
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Simone Molinaro (ca. 1565 - ca.1634) Italian composer. He was maestro di cappella of S. Lorenzo cathedral, Genoa, by 1602 through 1617. He subsequently took a similar position at the Cappella di Palazzo, a post he held until his death around 1634. A connoisseur of contemporary Italian music; editor of madrigals by Gesualdo , issuing a six volume edition. in score. in 1613 and compiler of two volumes of sacred contrafacta of other madrigals. His knowledge of these works is evident in both the form and the musical language of his own compositions, written for lute (dances, fantasias, and intabulations of vocal works) or for voices (especially motets and madrigals). His own canzonets, and church music for from one to ten voices, show the influence of Gesualdo in their declamatory style and advanced chromatic harmonies; the latter are also to be found in his 1599 lute book. This includes fantasias, and important examples of the variation suite consisting of groups of dances whose separate sections are all based on the same chord progression. Read more on Last.fm. User-contributed text is available under the Creative Commons By-SA License; additional terms may apply.