(b Naples, 11 May 1715; d Fritzlar, Hesse, June 1787). Italian composer, father of Federigo Fiorillo. He studied with Durante and Leo at the Conservatorio di S Maria di Loreto in Naples. His début as an opera composer took place in Venice with Mandane (1736), and for the next few years he was active in northern Italy, producing at least seven operas in Venice, Milan and Padua. In 1745 he joined a travelling company; with it he toured central and northern Europe for the next four years. Three intermezzos by him were produced in Prague in 1748. The following year he left the company in Brunswick, where his opera L’olimpiade was successfully produced. It was followed in 1750 by Demofoonte, and in 1754 Fiorillo was appointed court conductor there. In the next eight years he wrote at least six Italian operas for Brunswick, all to librettos by Metastasio, as well as some church music. In 1762 he took up a similar position at the Hessian court in Kassel. He produced only four new operas there but continued to compose occasional church works, of which his Requiem was especially admired (see Apell). In 1780 he was pensioned and retired to Fritzlar.
Of Fiorillo’s 18 or more operas and intermezzos fewer than a third have survived; much of his church music, including the Requiem, has also disappeared. His style was said to be in imitation of Hasse.
D.von Apell: Galerie der vorzüglischsten Tonkünstler … in Cassel (Kassel, 1806)
CHAPPELL WHITE (work-list with MARITA P. McCLYMONDS, DON NEVILLE)
Fiorini [Fiorino], Ippolito
(b Ferrara, c1549; d Ferrara, 1621). Italian composer and lutenist. Court payment records (in I-MOs) show that he was maestro di cappella at the Este court at Ferrara between the death of Francesco della Viola in March 1568 and the dissolution of the ducal chapel when Ferrara passed into papal control in 1597. From the surviving documentation it is clear that this was an administrative post as much as a musical one. Nevertheless, Fiorini was clearly actively involved not only with the chapel but also with the performances of the renowned concerto di donne. He was also in charge of the music at the Accademia della Morte, Ferrara, between 1594 and 1597. Libanori is traditionally regarded as being incorrect in suggesting that he was maestro di cappella at Ferrara Cathedral, and Eitner’s claim that he was employed at the Gonzaga court at Mantua can only come from a misinterpretation of a payment document relating to the Este cappella but kept with the Gonzaga papers (in I-MAa). Several letters from him are extant (in I-Fas, MAa and MOs); all are from Ferrara and date from between 1588 and 1615. One six-part and five five-part madrigals by him survive in anthologies (RISM 15825, 158310, 158610, 158817, 15919 and 159214), and he is also known to have composed a balletto, to words by Guarini, for performance by the famous court balletto di donne.