(bc1660; d Turin, 4 June 1723). Italian cellist and composer. The belief that Fiorè was born in Milan or Turin is conjecture; no 18th-century evidence about his birthplace, childhood or education has come to light. The first information on his career comes from Parma, where he served the Farnese court from 1 May 1688 to 15 February 1695 and played in the Madonna della Steccata church orchestra from 1689 to 15 September 1692. It is not known where he went in 1695, but in the following year he was listed among the 20 composers who contributed music to the opera L’Etna festivo performed in Milan. The birth there of his son Andrea Stefano in 1686 indicates an earlier association with Milan. In 1697 the two of them became members of the Accademia dei Filarmonici in Bologna. As cellist at the ducal court in Turin from 1697 until his death in 1723 Fiorè earned a reputation as one of the greatest virtuosos of his day (HawkinsH); he is often called the founder of the Piedmontese school of cello playing. Regrettably, little of his cello music survives besides his only publication, the Trattenimenti da camera of 1698. This collection of 14 duets is dedicated to one of the Ludovisi princes of Piombino and Venosa, suggesting a link between Fiorè and courts in Tuscany and further south. Between 1704 and 1705 he accompanied the Savoy ambassador to Paris. Although his expenses for this trip were not reimbursed until 1717, archival records (I-Ta) show that he earned 1500 lire annually as the Turin court’s principal cellist for 25 years.
Fiorè, Andrea Stefano
Trattenimenti da camera a due stromenti (vc, hpd)/(vn, vc) (Lucca, 1698)
2 sinfonie, C, G, vc, bc, I-Mc
2 sinfonie, D, B, vc, bc, MOe
For bibliography see Fiorè, andrea stefano.
(d Naples, 13 April 1764). Italian violinist and composer. His earliest dated composition is a concerto for flute, two violins and continuo of 1726. For some years this highly talented but rather tumultuous individual was teacher of string instruments at the Neapolitan music conservatory S Maria di Loreto. He was elected to this post by a curious procedure. Unable to decide between five candidates for the post, the Loreto governors at their meeting of 22 May 1743 finally put the five names in a box and selected one at random; Fiorenza's name was drawn. He was dismissed on the last day of 1762 after complaints extending over several years that he was maltreating his students. Fiorenza was also a violinist in the Neapolitan royal chapel, to which he was appointed some time before 1750. Records of salary payments to chapel members (I-Na) show that he received pay increases on 23 April 1750, 22 May 1756, 24 April 1758 (when he was appointed head violinist of the chapel in succession to Domenico de Matteis, who had just died), and 14 February 1761. His surviving music is in manuscript at the Naples Conservatory S Pietro a Majella. The bulk of it consists of 15 concertos for various combinations of instruments and nine symphonies (many of them containing important solos for string or wind instruments and coming close to belonging to the concerto category). Nine of the concertos are dated and were composed during 1726–8. Several other concertos and symphonies may be assigned to the same approximate period on the evidence of their style and structure. Though a minor figure in the history of instrumental music, Fiorenza deserves more credit than he receives for his part in the development of the concerto and the symphony in southern Italy during the first half of the 18th century.
M.F.Robinson: ‘The Governors' Minutes of the Conservatory S. Maria di Loreto, Naples’, RMARC, no.10 (1972), 1–97, esp. 48–9, 96
MICHAEL F. ROBINSON/R
(b Naples, ?1590–95; d after 1616). Italian composer. He is known by a single collection of 21 five-part madrigals (Rome, 1616), which he dedicated to Cardinal Montalto, an important patron of music in Rome. His dedication mentions some canzonettas which have not survived and which he had also dedicated to the cardinal; it is not impossible that he worked for a time in Rome. In his madrigals, to texts drawn mainly from Carlo Fiamma's anthology Il gareggiamento poetico (1611), he repeated a limited number of musical ideas: many lines of poetry are set to phrases based on moderately chromatic chords, with identical flexible dotted rhythms and ending with cadences of uniform length.
KEITH A. LARSON
(b Brunswick, 1 June 1755; d after 1823). Italian violinist, viola player and composer, son of Ignazio Fiorillo. He reportedly first became proficient on the mandolin and only later turned to the violin. He had probably been touring for some time before his first recorded appearance as a violinist in St Petersburg in 1777. He was in Poland from 1780 to 1781, playing both the violin and the mandolin, and from 1782 to 1784 he was conductor at Riga. In 1785 he played with considerable success at the Concert Spirituel in Paris, and the first of his numerous published works appeared shortly thereafter. He apparently remained in Paris for three years and then went to London, where in 1788 he began to play regularly as viola player in Salomon’s quartet. According to Fétis his last public appearance was as soloist in a viola concerto in 1794, but the title-page of his op.29 (trios for flute, violin and viola), published some time between 1802 and 1811, indicates that he continued to play at some public occasions. His works continued to appear from various publishers throughout Europe until about 1817. According to one report, he left London in 1815, and Pohl stated that he spent some time in Amsterdam. It is possible, however, that he remained in London until 1823, when he went to Paris to undergo an operation. Fétis learnt from Fiorillo’s publisher Sieber that he returned to London after his treatment.
Fiorillo’s works appear to be both conservative and conventional. His violin compositions reflect a virtuoso’s technique, but he chose to direct a large part of his prolific creativity (more than 70 opus numbers and some 200 works) towards current fashions, such as light piano pieces, divertimentos and arrangements of popular songs. Unquestionably, he succeeded with the public; his publications appeared in multiple editions throughout most of Europe. As a result, conflicting opus numbers are common, and his total output is in need of bibliographic clarification. Although great surprises are not likely to emerge, it is not possible to judge Fiorillo’s achievement based on our present knowledge. Such present-day fame as he has rests almost entirely on one work, his 36 caprices for violin. These are études of good musical quality, and they have taken their place in the violinist’s pedagogical repertory beside those of Rode and Kreutzer.
most works published in Paris (n.d.)
Orch: 4 vn concs., no.1, F (Zürich, 1974); 6 concs., 2 fl, B-Bc; 8 sinfonies concertantes: 2 for 2 ob, ed. H. Steinbach (Adliswil, 1993), 4 for 2 vn, 2 for 2 fl