(b Modena, 1468; d Modena, 10 April 1548). Italian composer, brother of Lodovico Fogliano (according to Giacomo's letter to Pietro Aretino dated 7 May 1542). In his Dialogo (Modena, 1483), Parente (Dialogo, Modena, 1483) described the young Giacomo as ‘very accomplished on both the keyboard [organ] and the pedal, a master of harpsichord playing, and more than accomplished on other instruments’. From 1479 to 1497 he was the organist at Modena Cathedral. His whereabouts from 1497 to 1504 are not known; Fusi cites a reference to ‘Giacomo di Salvatore, Piffaro dei Magnifici Signori’ in the city archives of Siena in 1498 and suggests that this is Fogliano. Petrucci published many of his vocal works, the earliest datable being a frottola of 1502. From 1504 until his death he was again the organist at Modena Cathedral, making a short trip to Parma in 1543 to test a new organ. His duties at Modena also included singing, teaching the choirboys, composing and teaching the organ. His most famous keyboard student was Jiulio Segni, whom he taught from 1512 to 1514 at the request of Cardinal Ippolito I d'Este. A memorial tablet to Fogliano laid by his daughter is in the cathedral.
Fogliano's few sacred compositions reveal much use of imitative duets and frequent homophonic episodes; the text setting is workman-like and not particularly expressive. Their style and the date of 1518 for one source (I-Bc Q19) suggest that he wrote them in the early years of the 16th century. His laude are in an even more homophonic style and have a simpler texture, suitable for performance by non-virtuoso singers.
His frottolas, most of which date from about 1500, are chordal and rigidly periodic such as La non vol più esser mai, dance-like such as L'amor, donna, ch'io te porto (in which the hemiola pattern in the superius contrasts with the regular rhythm of the lower voices) or, as in Quanto più quopro, have the superius and bass proceeding in parallel 10ths while the meandering inner voices function as fillers. Occhi suavi et chiari, however, has an equal-voiced texture which Rubsamen has seen as a link to the madrigal (despite its strophic text). Although published in 1547, his five-voice madrigals are not much more advanced in style than those by the madrigalists of the early 1530s, nor do they have the same skill in text expression. Frottola-like texts are sometimes set in motet style whereas other settings are similar to the frottola itself.
His four keyboard ricercares, probably composed in the late 1520s or 30s, are of moderate length and divided into sections by the use of imitation, instrumental figuration and some homophonic interludes. They reveal an advance over those by Marco Antonio Cavazzoni in planning, in concision and in disciplining instrumental features to more unified ends. While Fogliano's ricercares are not unidiomatic, they betray a certain restrictive influence of vocal polyphony. He achieved coherence by well-defined and carefully placed phrases, employing chords for sheer sonority much less often. Compared to Cavazzoni's treatment, the ambitus of Fogliano's scale work is a full octave less, and his preparation and resolution of dissonances are rarely bold, more usually conforming to contemporary vocal music. Fogliano's major innovation was to introduce short points of imitation in a great number of entries, but he avoided any feeling of pervading imitation by loosening the fabric with brief scalar, ostinato and chordal passages.
Motets: Adoramus te, 4vv; Beati omnes, 4vv; De profundis, 4vv: ed. K. Jeppesen, Italia sacra musica, i (Copenhagen, 1962), 64, 70, 77
Laude: Ave Maria, 4vv, ed. in Jeppesen (1935), 163; Vengo a te madre Maria, 4vv, ed. in Jeppesen (1935), 6 [= Senza te alta regina, attrib. D. Nicolo in 15083]
further concordances in Jeppesen, 1968–70
Donna ingrata, 4vv, I-Fn B.R.230; La non vol esser più mai, 4vv, 15152 (attrib. Tromboncino in 15142); La pietà chiuso, 4vv, Fn B.R.230; L'amor donna ch'io te porto, 4vv, ed. in EinsteinIM, iii, 5, MME, v (1947), 116; Occhi suavi et chiari, 4vv, ed. in Chanson and Madrigal, 227; Odete aure suavi, 4vv, 15152; Piangho el mio fedel servire, 4vv, Fn B.R.230; Pur al fin convien, 4vv, Fn B.R.230; Quanto più quopro, 4vv, ed. in Gallico, 122; Scoprite mille volte, 4vv, ed. in Gallico, 124; Segue cuor e non restare, 4vv, 15073; Si dederò el mio core, 4vv, Fn B.R.230; Tua volsi esser sempre mai, 4vv, ed. in EinsteinIM, iii, 54, Cw, xliii, 11 (attrib. Tromboncino in 15142)
Madrigali, 5vv, Il primo libro (n.p., 154716); ed. in SCMad, xiii (1994) 
Alla mia grave, 3vv, 155114; Amor è questo, 5vv, 1547; Amor e so che sai, 5vv, 1547; Chi vol cantar, 5vv, 1547; Diva signora, 5vv, 1547; Dolor crudel, 5vv, 1547; Fuggite pur, 5vv, 1547; Gran miracol, 5vv, 1547; Io vorrei dio d'amore, 3vv, ed. in EinsteinIM, iii, 54
Madonna harano mai, 5vv, 1547; Madonna, ho che da fare, 5vv, 1547; Madonna, i vi vo dire, 5vv, 1547; Madonna la pietade, 5vv, 1547; Madonna se 'l morire, 5vv, 1547; Madonna somm'accorto, 5vv, 1547; Mentre mia dura sorte, 5vv, 154216; Miser chi in amar, 5vv, 1547; Morte deh vieni, 5vv, 1547
Non harano mai, 5vv, 1547; O invidia nemica, 5vv, 1547; Poich'io viddi, 3vv, 155114; Quand'amor, 5vv, 1547; Si come all' hora, 5vv, 1547; Si come chiar, 5vv, 1547; S'in me potesse morte, 5vv, 154216; So ben che tanta gloria, 3vv, 155114; Tanquam aurum, 5vv, 1547; Tanto è l'empio, 5vv, 1547; Vergine santa, 5vv, 1547
Keyboard: 4 ricercares, ed. in CMI, i (1941), 59, and Jeppesen (1943, 2/1960), ii, 59, 77
MGG1 (C.V. Palisca)
P.Aretino: Lettere scritte da molti signori, communità, donne di valore, poeti et altri … in due libri (Venice, 1551)
L.F.Valdrighi: ‘Di Bellerofonte Castaldi e per incidenza di altri musicisti modenesi dei secoli XVI e XVII’, Atti e memorie delle RR. Deputazione di storia patria per le provincie dell'Emilia, new ser., v/1 (1880), 89–115; repr. as Musurgiana, 1st ser., iii (1880/R), 1–27
N.Pelicelli: ‘Musicisti in Parma nei secoli XV–XVI’, NA, viii (1931), 132–42, 196–215, 278–90
G.Roncaglia: ‘Di J. Fogliani e G. Segni: documenti’, RMI, xlvi (1942), 294–9