[49] A doubtful story. S. died circa 1681, probably in his bed.
[50] “Tearing the passion to tatters.”
[51] For instance, in the numerous seventeenth century English “cantatas” for solo voice, and the contemporary instrumental fantasias, where it is common to find short sections in triple time breaking the continuity of the more ordinary quadruple time.
[52] A notation for the lute was published as early as 1512.
[53] “Monochord” is synonymous with “Clavichord” here. The word was often used for the keyed instrument, probably because the “German” clavichord had tangents at the ends of the levers, which cut off the right length of the string, just as the moveable “bridge” of the acoustician’s monochord of one single string does.
[54] Our modern notion of a “cantata” includes the free use of a chorus; whereas the seventeenth century “cantata” was for a solo voice with accompaniment of a single instrument, harpsichord, lute, or viol da gamba.
[55] For instance, Corelli’s trios, two books (out of four) of which are “suonate da camera,” chamber music, the rest being “da chiesa,” for church.
[56] Two Gabrielis, uncle and nephew; the former, Andrea, dating 1510-1586, the latter, Giovanni, 1557-1612. Andrea was a pupil of Willaert and he succeeded Merulo as “second” organist of St Mark’s, Venice, in 1566.
[57] “Canzone,” a sixteenth and seventeenth century term for a sort of vocal madrigal.
[58] “Ricercari” (compare French “recherché”), the name of a class of pieces for organ or cembalo in which the object was to include as many ingenuities of counterpoint as possible.