(b Rome, c1650; d Rome, May 1707). Italian composer, son of Francesco Foggia. He was a pupil of his father. In 1675 he became maestro di cappella of S Girolamo della Carità, Rome. While his father was maestro di cappella of S Maria Maggiore, Rome, he served as vicemaestro, and on his father's death he succeeded him as maestro. Like his father he directed Lenten music at the Oratorio del Crocifisso: he is known to have done so on at least three occasions – 1686 (first Friday in Lent), 1687 (one of the Fridays) and 1688 (fifth Friday). His works comprise a few liturgical compositions and at least six oratorios, known only from their librettos. His solo motet O quam fulgido splendore, like those of his father, is similar in style and structure to a secular cantata.
all first performances in Rome, music lost
Bethsabeae, 1679; Archangeli de Antichristo triumphus, 1679, revived 1681; Innocentium clades (A. Politauro), 1686, revived 1687; Superbia depressa in fornace Babilonica, 1687; Saul in Davidem, 1688; Per la notte del SS Natale (P. Giudici), 1694
Mass, 3vv, in F. Foggia: Messe e offertorii (Rome, 1673), lost, cited in Baini; Mass, 3vv, bc (org), in F. Foggia: Messe (Rome, 1675); Motet, 16681; Sicut lilium, 2vv, 2 vn, bc, I-MOe; O quam fulgido splendore, S, bc, B-Bc, ed. in Cantio sacra, x (Cologne, 1958); Bacio (Capriccioso desio Lilla), S, bc, I-Rc
For bibliography see Foggia, francesco.
HOWARD E. SMITHER/R
Foggia, Enrico Antonio Radesca di.
SeeRadesca, Enrico Antonio.
(b Rome, 1604; d Rome, 8 Jan 1688). Italian composer. He was one of the most important maestri di cappella in 17th-century Rome, serving many of the city’s most prestigious choirs and publishing church music extensively. He trained as a choirboy at the Jesuit church of S Apollinare under the direction of Ottavio Catalano and perhaps Antonio Cifra. He also received instruction from other important Roman maestri, including the Nanino brothers and Paolo Agostini (whose daughter he married in 1631). Early in his career he worked outside Rome (a typical pattern for rising Roman musicians who were expected to prove their merit outside the city), serving, during the 1620s, at the courts of the Elector Ferdinand Maximilian at Cologne, Duke Maximilian I of Bavaria at Munich, and Archduke Leopold of Austria at Brussels. After his return to Italy he became maestro di cappella of the cathedrals at Narni and Montefiascone. Payments from 1628 show that he was working at S Maria in Aquiro, Rome, and between 1634 and 1636 he served the important choir of S Maria in Trastevere there. In 1637 he was appointed to the prestigious position of maestro di cappella of S Giovanni in Laterano, his contract stating that he could retain the post for life. Although he left in 1661 for a similar position at S Lorenzo in Damaso, it was during his lengthy tenure at S Giovanni that Foggia established his credentials as a composer and maestro. Between 1645 and 1681 he published numerous volumes of motets, masses and other liturgical works at a time when music publishing in Italy had generally fallen on hard times. Some of his volumes were reprinted, many individual compositions were solicited for anthologies, and inventories reveal that many cappellein the Papal States, Tuscany and Germany performed his works from manuscripts. He was repeatedly elected as chief officer of the Congregazione dei Musici and was highly sought after to direct smaller churches’ feast-day celebrations, often involving elaborate musical productions. He also served a number of times as maestro for the Lenten observances of the Oratorio del SS Crocifisso at the request of Duke Altemps. His students were important in the next generation of Roman musicians and included G.B. Bianchini, G.O. Pitoni and his own son Antonio Foggia. It may have been primarily for Antonio’s benefit that the elder Foggia made his last career move in 1677 to S Maria Maggiore: his contract stated that Antonio would serve as his assistant and then succeed him as maestro upon his death.
Foggia’s accomplishments as a church-music composer were recognized by his contemporaries, among them Antimo Liberati, who pointed in general to his facility with a variety of styles and in particular to his ability to please the ears of both the learned and ignorant. Foggia’s involvement with the Oratorio del SS Crocifisso resulted in two works which can be reliably attributed to him (David fugiens a facie Saul and Tobiae) and several others which have at some time been attributed to him. Like other mid-century Roman oratorios, these works comprise an easy mixture of recitative, arioso and occasional aria writing, but – capitalizing on his polyphonic skills – the chorus and ensemble contributions are somewhat more prominent in his works than in those of his contemporaries. Foggia’s small-scale motets for two or three voices and continuo reveal a keen sense for the concerted style: In tribulationibus (op.3, 1650) for two sopranos, for example, has a typically judicious combination of sequential motion between the two voices, passages of parallel thirds, and suggestions of imitative development. However, it is the full-choir compositions, which are the real tours de force of his output, the Vesper psalms, Marian antiphons, litanies, masses and offertories highlighting Foggia’s primary activity as a church musician. In these works he invariably combines contrapuntal skill with a compelling rhythmic and harmonic flair. Imitative openings to mass movements are common, but the motives are sharply chiselled in terms of their rhythm and tonal focus, and robust triple-meter passages provide frequent metrical contrast. Foggia also made occasional use of recent formal developments; for example his Mass Exultate Deo (op.15, 1672) uses an ostinato bass. Foggia’s compositional orientation seems predominantly polyphonic and probably justifies Martini’s assertion that he was the last composer of the ‘Roman school’ founded on Palestrina.