(b Pescara, 15 Nov 1937). Italian conductor. Born into a musical family (his father was the composer Pietro Ferro), he studied the piano, composition (with Petrassi) and conducting (with Franco Ferrara) at the Conservatorio di S Cecilia in Rome, and won the RAI Young Conductors’ Competition in 1964. In 1967 he founded the Bari SO, of which he was principal conductor. Invited by Abbado, he began conducting the symphony concerts of the orchestra of La Scala, Milan, in 1974. Alongside his position as musical director of the Palermo SO, he has held the posts of chief conductor of the RAI SO (1988–90) and Generalmusikdirektor at the Stuttgart Opera (1992–7). He has made many guest appearances, conducting L’italiana in Algeri in Chicago (1987), Verdi’s Attila at the Vienna Staatsoper (1990–91) and L’elisir d’amore at Los Angeles (1996), and has directed rarely performed works by Gluck, Cherubini, Rossini and Mercadante at the Settimana Musicale Senese. Ferro has conducted the Italian premières of operas by Berio, Busoni, Braun, Morton Feldman, Milko Keleman, Maderna, Nono and others, as well as the world premières of Gerard Grisey’s Les espaces acoustiques (1981) and Flavio Testi’s Cori di Santiago (1976). His recordings include genial, idiomatic accounts of Don Pasquale and L’italiana in Algeri and the first ever recording of Zemlinsky’s Lyrische Symphonie.
(b Urbino; d after 1594). Italian composer and priest. His name is first recorded at the end of 1575, when there was provisional correspondence concerning his service as a chorister at Urbino Cathedral. He eventually took over from Marco Giuliano as maestro di cappella, probably in December 1576. In 1581 Lienhart Meldert took over as maestro. Ferro's only known work, Il primo libro de madrigali a cinque voci (Venice, 159412), is dedicated to Clemente Bartoli, a nobleman from Urbino, and contains 22 madrigals, one of which, Non è questa, is by Pier Matteo Ferro, who was probably a relative. The texts are by Tasso, Caro, Guarini, Spiro and Giraldi Cinzio, and the collection contains one six-voice madrigal La bella pargoletta. Some of the works are stylistically akin to spiritual madrigals, and in some cases the division of the text divides the madrigal in to distinct spirituale and amorosi parts. It is possible that some of the works were inspired by the techniques of Cipriano de Rore, and two of the works use texts also set by Rore.
G.Radiciotti: Contributi alla storia del teatro e della musica in Urbino (Pesaro, 1899), 45
B.Ligi: La cappella musicale del duomo di Urbino, NA, ii (1925), 54
W.Osthoff: Theatergesang und darstellende Musik in der italienische Renaissance (Tutzing, 1969), i, 323; ii, 245ff
A.M.Giomaro: Strutture amministrative sociali e musicali nella Urbino dei duchi: la cappella del SS Sacramento (Urbino, 1994), 223–46
(d Vienna, 1662). Italian composer and lutenist. A Knight of the Golden Spur, he was a lutenist in the Hofkapelle, Vienna, from 1642 to 1652 and from 1 October 1658 to 1662. As a composer he is known only by Sonate a due, tre, & quattro op.1 (Venice, 1649). This comprises 12 sonatas for varying combinations of string instruments, including two works for four violas. Alternative scorings include the use of two cornetts, bassoon, trombone and theorbo. Each sonata consists of a single movement in four or five sections, which tend to be alternating homophonic adagios and fugal allegros somewhat in the manner of Massimiliano Neri’s op.1 (1644). The sonatas are conservative for their date.
(b early 16th century). Italian composer. He is represented by 15 madrigals in some nine anthologies and collections published between 1549 and 1582. They include settings for three and four voices under the regular alla breve mensuration (C) or, in the case of madrigals a note nere, under the mensuration sign C, also known as misura breve (among the latter are three in the third and one in the ‘true third’ books of this type, RISM 154930 and 154931 respectively; ed. in CMM, lxxiii/3–4, 1980).
(b Chasselay, nr Lyons, 6 Jan 1900; d Debrecen, 17 Aug 1937). French composer. He studied natural sciences at the University of Lyons and the organ with Edouard Commette. From 1920 to 1922 he studied with Guy Ropartz in Strasbourg; after returning to Lyons he became a pupil and confidant of Florent Schmitt. He took an active part in the musical life of the city, notably through the Salon d'Automne Lyonnais, which he founded for the performance of new music. In 1923 he moved to Paris where he was largely responsible for the establishment of Le Triton, a society which gave a remarkable series of concerts (1932–9) of contemporary music, including works by Bartók, Dallapiccola, Hindemith, Honegger, Janáček, Martinů, Milhaud, Poulenc, Prokofiev, Schoenberg and Stravinsky; it soon established itself as an important forum for young French composers. Ferroud also worked as a music critic for the journals Musique et théâtre and Chantecler. His death in a car crash deeply affected his friend Poulenc, who was moved to compose the Litanies à la Vierge noire as a memorial.
For the Ballets Suédois, he arranged some Swedish folk tunes for the score of Jean Börlin's Le porcher (1924). Foules, an orchestral work depicting the rapid movement of a city crowd, was first performed on 21 March 1926 and again a few weeks later at the ISCM Festival in Zürich. With Ravel, Milhaud, Poulenc, Roussel and others, he collaborated on the charming ballet L'éventail de Jeanne (1927); his only opera, Chiurgie (a comic tale about a toothache, based on a story by Chekhov), was first performed in Monte Carlo the following year. Ferroud's last stage work was the ballet Jeunesse, a collaboration with André Coeuroy and Serge Lifar, given its première at the Paris Opéra in 1933. His musical style was sometimes astringent, sometimes lyrical, but usually with a strong contrapuntal sense and a liking for bold harmonies. He was influenced in particular by Bartók. His most important orchestral work was the Symphony in A, first performed by Monteux with the Orchestre Symphonique de Paris on 8 March 1931.
Principal publisher: Durand
Le porcher (ballet, J. Börlin, after H.C. Andersen), 1924, Paris, Champs-Elysées, 19 Nov 1924
Marche for L'éventail de Jeanne (ballet, 1, Y. Franck and A. Bourgat), 1927, Paris, private perf. at the home of Jeanne Dubost, 16 June 1927
Chiurgie (opéra-bouffe, 1, D. Roche and A.D. Bloch, after A. Chekhov), 1928, Monte Carlo, Opera, 20 March 1928
Jeunesse (ballet, A. Coeuroy and S. Lifar), Paris, Opéra, 27 April 1933
Orch: Foules, 1922–4; Au parc Monceau, orchd 1925; Sérénade, 1929; Sym., A, 1930
Pf: Au parc Monceau, suite, 1921; Prélude et forlane, 1922; 3 études, 1918–23; Types, 1924; Sonatine, C, 1928; Tables, 1931
Songs: A contre-coeur (Franc-Nohain, J. Cocteau, R. Kerdyck), Bar/T, pf, 1923–5; 5 poèmes de P.J. Toulet, 1927; 3 poèmes de Paul Valéry, 1929; 3 poèmes intimes (J.W. von Goethe, trans. Ferroud); 3 chansons de Jules Supervielle, 1932; 3 chanson de Fous (V. Hugo), Bar/T, orch