(bFlorence, 1695; d Florence, 12 June 1776). Italian organist and composer. For the greatest portion of his career he was maestro di cappella and organist at S Marco in Florence. He composed one oratorio for S Pier Maggiore in 1739 (Il prodigioso transito) and two for performances by the Compagnia ed Ospizio di Gesù, Maria e Giuseppe at S Marco in 1747 (Isacco) and 1753 (Figliuol prodigo). He was probably a member of that company, since librettos between 1733 and 1741 give him the title of abate. It may be presumed that he resigned his clerical membership and married, having a son, Alessandro, in 1742 and after that date being denominated signore. He specialized in composing works variously labelled cantata, componimento drammatico and componimento musicale, for occasional use or for the induction of women into holy orders in several churches in Florence (and one in Bologna), and he composed a substantial quantity of liturgical music for two, three or four voices with instruments. His obituary in the Gazzetta toscana declared that his sacred music possessed an ‘inimitable expression’.
He was a distinguished teacher of counterpoint and the organ. According to Zanetti he founded a school of music with G.M. Casini in 1725, an unlikely date since Casini died in 1719; more probably he studied with Casini. He directed a music school in Florence at least from the 1760s, which numbered among its alumni Alessandro Felici, Cherubini, Sborgi and Panerai. He had a brief association with the Cocomero theatre as the maestro for a performance in 1750, but no other theatrical activity has been recorded.
Il prodigioso transito di S Giuseppe (D.A. Nati), S Pier Maggiore, 1739
Isacco figura del Redentore (P. Metastasio), S Marco, 1747, I-Tf
Il figliuol prodigo (C. Pasquini), S Marco, 1753
Componimento musicale … nel prender l'abito … Sig.ra M.A. Villani (F. Vanneschi), 1733
Cantata per la sera, 1734
Il transito di S Giuseppe (cant., P.A. Ginori), 3vv, 1737
Componimento musicale nel prender l'abito … contessa Francesca Barbolani, 1740
Il trionfo della vocazione religiosa contro le lusinghe del mondo, componimento per musica … in occasione dell'ingresso della … Sig.ra A.M. Vasoli Piccinini (D. Marchi), 1740; same lib but probably new music for contessa C.M. Pierucci, 1752
Il passaggio alla religione (componimento drammatico, A. Borghesi), 1741
Il trionfo della religione (componimento per musica), 1747
La notte prodigiosa (componimento sacro per musica, C. Tacchi), Bologna, 1759, GB-Lam; Or che nate sulla terra, duet, in Latrobe's Selection of Sacred Music, vi (London, 1825)
Figure ombre da banda, A solo, bc, orch, I-Tf [licenza attached to Abigaille, a dramatic cantata by N. Valenti]
2 arias, US-BEm
other sacred works
Cantate caelestes, I-Fa; Compieta del Signore, US-LOu; Credidi, D-MÜs; Credo, I-Fa; Cum invocarem, US-LOu; 2 Dixit Dominus, I-Baf, Fa; Festivis resonent compita, Fa; Jam sol recedit igneus, 1754, US-LOu; In convertendo, D-MÜs; 2 Iste confessor, I-Fa, US-LOu; 2 Laudate pueri, Fa; 2 Mag, D-MÜs, I-Fd; 2 Memento Domini, D-MÜs, I-Fc; 4 masses, D-MÜs, I-Baf, Fd, PS; Messa concertata, Sd; 4 Miserere, Fa, Fd; Motet, Baf; O quam dulcis, Fa; Offertori mottetti, Benedictus, Cristus e Miserere, Fc; Qui habitat, US-LOu; 2 Requiem, I-Baf; Responsori per la Settimana Santa, Fa; 13 Responsori del Venerdi Santo, Fd; Responsori di quaresima, Fc; Salmi per gli Apostoli, Fc; Salmi per i vespri dell'anno, Fd; 2 Salmi brevi, Fa, Fc; 10 Salve regina, Fa, Fc; Vexilla Regis prodeunt, US-LOu
For bibliography see Felici, alessandro.
ROBERT LAMAR WEAVER
(b Siena; bur. Siena, 24 Dec 1596). Italian composer. He was the leading Sienese musician of his time, succeeding Ascanio Marri as maestro di cappella of the cathedral on 1 November 1575 and retaining the position until his death in 1596. Nothing is known of his life before this appointment, although it has been speculated that he was a pupil of Palestrina, and that he may have found employment in a provincial town such as Grosseto.
Under Feliciani’s guidance the choir school and cappella of Siena Cathedral grew in size and prestige, the number of singers under his direction increasing from ten in 1575 to 27 in 1596, the year of his death. Both Feliciani's sacred compositions and the music added to the repertory of the capella under his direction reflect the ideas of the Counter-Reformation as exemplified by the works of Ruffo, Palestrina and Victoria. A posthumous tribute to Feliciani, in Banchieri’s Conclusioni nel suono dell’organo (1609), records the excellence of the cathedral’s music on the feast of St Cecilia directed by Feliciani and the organist Francesco Bianciardi.
Feliciani’s first works to appear in print were three madrigals published in the Quinto libro delle muse (RISM 157512), a collection by predominantly Sienese composers dedicated to the Sienese nobleman Ottavio Saracini. His six-voice madrigal Ecco l’amata luna, published in 1586, commemorates the death of Alessandro Piccolomini, Bishop of Patras and Rhodes, in 1579. A note in the cathedral archives records that Feliciani was a fine lutenist, and three fantasias for lute are attributed to him in the Siena Lute Book. His pupils at the cathedral included the composers Bernardino Draghi and Orindio Bartolini.
printed works except anthologies published in Venice