{"id":20524,"date":"2025-11-08T18:06:13","date_gmt":"2025-11-08T17:06:13","guid":{"rendered":"https:\/\/oraziopuglisi.art\/?page_id=20524"},"modified":"2025-11-08T21:28:52","modified_gmt":"2025-11-08T20:28:52","slug":"liste-de-compositeurs-italiens-de-musique-classique","status":"publish","type":"page","link":"https:\/\/oraziopuglisi.art\/index.php\/liste-de-compositeurs-italiens-de-musique-classique\/","title":{"rendered":"Liste de compositeurs italiens de musique classique"},"content":{"rendered":"

Image mise en avant :<\/strong> Evaristo_Felice_Dall’Abaco<\/a><\/span><\/p>\n

 <\/p>\n

La pr\u00e9sente liste recense quelque 250\u00a0compositeurs italiens de\u00a0musique classique<\/a><\/b>, du\u00a0Moyen \u00c2ge<\/a>\u00a0au\u00a0XXI<\/span>e<\/sup><\/abbr>\u00a0si\u00e8cle. Sont donc exclus les compositeurs de musique jazz, de musique de film, de musique populaire, les chansonniers (auteurs-compositeurs-interpr\u00e8tes), etc.<\/p>\n

Les principaux compositeurs sont en\u00a0gras<\/b>. Il est possible d’obtenir un classement par ann\u00e9e de naissance, par p\u00e9riode d’activit\u00e9, par style, par r\u00e9gion, etc. Le classement actuel suit l’ordre alphab\u00e9tique, compte non tenu des \u00e9ventuelles particules pr\u00e9c\u00e9dant les noms (De<\/i>,\u00a0Di<\/i>,\u00a0Da<\/i>,\u00a0Dall\u2019<\/i>). Le si\u00e8cle d’activit\u00e9 est indiqu\u00e9 par une couleur[<\/span>1]<\/span><\/a><\/sup>\u00a0(voir les\u00a0notes explicatives<\/a>\u00a0en fin d\u2019article).<\/p>\n

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Tableau<\/h2>\n<\/div>\n\n<\/thead>\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n<\/tfoot>\n<\/table>\n
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Notes explicatives<\/h2>\n<\/div>\n

Compositeur<\/b><\/td>\nAnn\u00e9e
\nde naissance<\/b><\/td>\n		Ann\u00e9e
\nde d\u00e9c\u00e8s<\/b><\/td>\n		Lieu
\nde naissance<\/b><\/td>\n		Style<\/b><\/td>\nSymphonique<\/small><\/td>\nChambre<\/small><\/td>\nBallet<\/small><\/td>\nLyrique<\/small><\/td>\nM\u00e9lodies<\/small><\/td>\nMesses<\/small><\/td>\nOratorios<\/small><\/td>\nDivers<\/b><\/td>\n<\/tr>\n
Musique profane<\/b><\/td>\nMusique sacr\u00e9e<\/b><\/td>\n<\/tr>\n
Dall’Abaco, Evaristo<\/a><\/td>\n1675<\/a><\/td>\n1742<\/a><\/td>\nV\u00e9n\u00e9tie<\/a>,\u00a0V\u00e9rone<\/a><\/td>\nClassique<\/a><\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n<\/tr>\n
Abbatini, Antonio Maria<\/a><\/td>\n1595<\/a><\/td>\n1679<\/a><\/td>\nOmbrie<\/a>,\u00a0Citt\u00e0 di Castello<\/a><\/td>\nBaroque<\/a><\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n<\/tr>\n
Agnesi Pinottini, Maria Teresa<\/a><\/td>\n1720<\/a><\/td>\n1795<\/a><\/td>\nLombardie<\/a>,\u00a0Milan<\/a><\/td>\nClassique<\/a><\/td>\n <\/td>\n <\/td>\n <\/td>\nx<\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n<\/tr>\n
Albergati, Pirro<\/a><\/td>\n1663<\/a><\/td>\n1735<\/a><\/td>\n\u00c9milie-Romagne<\/a>,\u00a0Bologne<\/a><\/td>\nBaroque<\/a><\/td>\n <\/td>\n <\/td>\n <\/td>\nx<\/td>\n <\/td>\n <\/td>\nx<\/td>\n <\/td>\n<\/tr>\n
Alberti, Domenico<\/a><\/td>\n1710<\/a>\u00a0?<\/td>\n1740<\/a><\/td>\nV\u00e9n\u00e9tie<\/a>,\u00a0Venise<\/a><\/td>\nBaroque<\/a><\/td>\n <\/td>\nx<\/td>\n <\/td>\nx<\/td>\n <\/td>\n <\/td>\n <\/td>\nclavecin<\/a><\/td>\n<\/tr>\n
Albinoni, Tomaso<\/a><\/td>\n1671<\/a><\/td>\n1751<\/a><\/td>\nV\u00e9n\u00e9tie<\/a>,\u00a0Venise<\/a><\/td>\nBaroque<\/a><\/td>\n <\/td>\nx<\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n<\/tr>\n
Alessandri, Felice<\/a><\/td>\n1747<\/a>\u00a0?<\/td>\n1798<\/a><\/td>\nLatium<\/a>,\u00a0Rome<\/a><\/td>\nBaroque<\/a>,\u00a0Classique<\/a><\/td>\n <\/td>\nx<\/td>\n <\/td>\nx<\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n<\/tr>\n
Alfano, Franco<\/a><\/td>\n1875<\/a><\/td>\n1954<\/a><\/td>\nCampanie<\/a>,\u00a0Naples<\/a><\/td>\nModerne<\/a><\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n<\/tr>\n
Amato, Vincenzo<\/a><\/td>\n1629<\/a><\/td>\n1670<\/a><\/td>\nSicile<\/a>,\u00a0Palerme<\/a><\/td>\nBaroque<\/a><\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n<\/tr>\n
Ambrosini, Claudio<\/a><\/td>\n1948<\/a><\/td>\n <\/td>\nV\u00e9n\u00e9tie<\/a>,\u00a0Venise<\/a><\/td>\nModerne<\/a><\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n<\/tr>\n
Ambrosini, Marco<\/a><\/td>\n1964<\/a><\/td>\n\u2013<\/td>\n\u00c9milie-Romagne<\/a>,\u00a0Forl\u00ec<\/a><\/td>\nModerne<\/a><\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n<\/tr>\n
Aldigheri, Dante<\/a><\/td>\n1898<\/a><\/td>\n1968<\/a><\/td>\nSicile<\/a>,\u00a0Tarente<\/a><\/td>\nModerne<\/a><\/td>\nx<\/td>\nx<\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\npiano<\/a><\/td>\n<\/tr>\n
Allegra, Salvatore<\/a><\/td>\n1898<\/a><\/td>\n1993<\/a><\/td>\nSicile<\/a>,\u00a0Palerme<\/a><\/td>\nModerne<\/a><\/td>\n <\/td>\n <\/td>\n <\/td>\nx<\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n<\/tr>\n
Allegri, Gregorio<\/a><\/b><\/td>\n1582<\/a><\/td>\n1652<\/a><\/td>\nLatium<\/a>,\u00a0Rome<\/a><\/td>\nBaroque<\/a><\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n<\/tr>\n
Amendola, Giuseppe<\/a><\/td>\n1750<\/a><\/td>\n1808<\/a><\/td>\nSicile<\/a>,\u00a0Palerme<\/a><\/td>\nClassique<\/a><\/td>\n <\/td>\n <\/td>\n <\/td>\nx<\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n<\/tr>\n
Angeli, Francesco Maria<\/a><\/td>\n1632<\/a><\/td>\n1697<\/a><\/td>\nOmbrie<\/a>,\u00a0Assise (Italie)<\/a><\/td>\nBaroque<\/a><\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\nx<\/td>\n <\/td>\n <\/td>\n<\/tr>\n
Angelini, Baldasere<\/a><\/td>\n1714<\/a><\/td>\n1762<\/a><\/td>\nToscane<\/a>,\u00a0P\u00e9rouse<\/a><\/td>\nBaroque<\/a><\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n<\/tr>\n
Anerio, Gioacchino<\/a><\/td>\n1899<\/a><\/td>\n1971<\/a><\/td>\nSicile<\/a>,\u00a0Palerme<\/a><\/td>\nModerne<\/a><\/td>\n <\/td>\n <\/td>\n <\/td>\nx<\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n<\/tr>\n
Anerio, Giovanni Francesco<\/a><\/td>\n1567<\/a><\/td>\n1630<\/a><\/td>\nLatium<\/a>,\u00a0Rome<\/a><\/td>\nBaroque<\/a><\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n<\/tr>\n
Anerio, Felice<\/a><\/td>\n1560<\/a><\/td>\n1614<\/a><\/td>\nLatium<\/a>,\u00a0Rome<\/a><\/td>\nRenaissance<\/a>,\u00a0Baroque<\/a><\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n<\/tr>\n
Anfossi, Pasquale<\/a><\/td>\n1727<\/a><\/td>\n1797<\/a><\/td>\nLigurie<\/a>,\u00a0Taggia<\/a><\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\nx<\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n<\/tr>\n
Anselmi, Giorgio<\/a><\/td>\n1386<\/a><\/td>\n1443<\/a>\u00a0?<\/td>\n\u00c9milie-Romagne<\/a>,\u00a0Parme<\/a><\/td>\nRenaissance<\/a><\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n<\/tr>\n
Apolloni, Giuseppe<\/a><\/td>\n1822<\/a><\/td>\n1889<\/a><\/td>\nV\u00e9n\u00e9tie<\/a>,\u00a0Vicenza<\/a><\/td>\nRomantique<\/a><\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n<\/tr>\n
Arditi, Luigi<\/a><\/td>\n1822<\/a><\/td>\n1903<\/a><\/td>\nPi\u00e9mont<\/a>,\u00a0Crescentino<\/a><\/td>\nRomantique<\/a><\/td>\n <\/td>\n <\/td>\n <\/td>\nx<\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n<\/tr>\n
Ariosti, Attilio<\/a><\/td>\n1661<\/a><\/td>\n1729<\/a><\/td>\n\u00c9milie-Romagne<\/a>,\u00a0Bologne<\/a><\/td>\nBaroque<\/a><\/td>\nx<\/td>\n <\/td>\n <\/td>\nx<\/td>\n <\/td>\n <\/td>\nx<\/td>\n <\/td>\n<\/tr>\n
Arrieta, Emilio<\/a>[<\/span>2]<\/span><\/a><\/sup><\/td>\n1823<\/a><\/td>\n1894<\/a><\/td>\nEspagne<\/a><\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\nx<\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n<\/tr>\n
Aspa, Mario<\/a><\/td>\n1795<\/a><\/td>\n1868<\/a><\/td>\nSicile<\/a>,\u00a0Messine<\/a><\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\nx<\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n<\/tr>\n
Assandra, Caternia<\/a><\/td>\n1590<\/a><\/td>\n1618<\/a><\/td>\nPavie<\/a><\/td>\nBaroque<\/a><\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\nx<\/td>\n <\/td>\norgue<\/a><\/td>\n<\/tr>\n
Auletta, Domenico<\/a><\/td>\n1723<\/a><\/td>\n1753<\/a><\/td>\n <\/td>\nClassique<\/a><\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n<\/tr>\n
Auletta, Pietro<\/a><\/td>\n1698<\/a><\/td>\n1771<\/a><\/td>\nCampanie<\/a>,\u00a0Naples<\/a><\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\nx<\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n<\/tr>\n
Avitrano, Giuseppe<\/a><\/td>\n1670<\/a><\/td>\n1756<\/a><\/td>\nCampanie<\/a>,\u00a0Naples<\/a><\/td>\n <\/td>\n <\/td>\nx<\/td>\n <\/td>\n <\/td>\n <\/td>\nx<\/td>\n <\/td>\n <\/td>\n<\/tr>\n
Barbetta, Giulio Cesare<\/a><\/td>\n1540<\/a><\/td>\n1603<\/a><\/td>\nV\u00e9n\u00e9tie<\/a>,\u00a0Padoue<\/a><\/td>\nBaroque<\/a><\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n<\/tr>\n
Barazzetti, Luigi<\/a><\/td>\n1906<\/a><\/td>\n1988<\/a><\/td>\n <\/td>\nModerne<\/a><\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n<\/tr>\n
Battiato, Franco<\/a><\/td>\n1945<\/a><\/td>\n <\/td>\nSicile<\/a>,\u00a0Riposto<\/a><\/td>\nModerne<\/a><\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n<\/tr>\n
Bellazzi, Francesco<\/a><\/td>\n1600<\/a><\/td>\n1628<\/a><\/td>\nV\u00e9n\u00e9tie<\/a>,\u00a0Venise<\/a><\/td>\nBaroque<\/a><\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\nx<\/td>\n <\/td>\nMusique sacr\u00e9e, psaumes<\/td>\n<\/tr>\n
Bellini, Vincenzo<\/a><\/b><\/td>\n1801<\/a><\/td>\n1835<\/a><\/td>\nSicile<\/a>,\u00a0Catane<\/a><\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\nX<\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n<\/tr>\n
Berio, Luciano<\/a><\/b><\/td>\n1925<\/a><\/td>\n2003<\/a><\/td>\nLigurie<\/a>,\u00a0Oneglia<\/a><\/td>\nModerne<\/a><\/td>\n <\/td>\nx<\/td>\n <\/td>\nx<\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n<\/tr>\n
Besozzi, Alessandro<\/a><\/td>\n1702<\/a><\/td>\n1775<\/a><\/td>\n\u00c9milie-Romagne<\/a>,\u00a0Parme<\/a><\/td>\nBaroque<\/a><\/td>\nx<\/td>\nx<\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\nhautbois<\/a><\/td>\n<\/tr>\n
Betta, Marco<\/a><\/td>\n1964<\/a><\/td>\n\u2013<\/td>\nSicile<\/a>,\u00a0Enna<\/a><\/td>\nModerne<\/a><\/td>\n <\/td>\nx<\/td>\n <\/td>\nx<\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n<\/tr>\n
Bianchi, Francesco<\/a><\/td>\n1752<\/a><\/td>\n1810<\/a><\/td>\nLombardie<\/a>,\u00a0Cr\u00e9mone<\/a><\/td>\nClassique<\/a><\/td>\n <\/td>\n <\/td>\n <\/td>\nX<\/td>\n <\/td>\nx<\/td>\nx<\/td>\n <\/td>\n<\/tr>\n
Boccherini, Luigi<\/a><\/b><\/td>\n1743<\/a><\/td>\n1805<\/a><\/td>\nToscane<\/a>,\u00a0Lucques<\/a><\/td>\n <\/td>\nx<\/td>\nX<\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n<\/tr>\n
Boito, Arrigo<\/a><\/td>\n1842<\/a><\/td>\n1918<\/a><\/td>\nV\u00e9n\u00e9tie<\/a>,\u00a0Padoue<\/a><\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\nx<\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n<\/tr>\n
da Bologna, Jacopo<\/a><\/td>\n13??<\/td>\n1360<\/a><\/td>\n\u00c9milie-Romagne<\/a>,\u00a0?<\/td>\nM\u00e9di\u00e9val<\/a>, (Trecento<\/a>)<\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\nMadrigal du Trecento<\/a><\/td>\n<\/tr>\n
Bononcini, Antonio Maria<\/a><\/td>\n1677<\/a><\/td>\n1726<\/a><\/td>\n\u00c9milie-Romagne<\/a>,\u00a0Mod\u00e8ne<\/a><\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\nx<\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n<\/tr>\n
Bononcini, Giovanni Battista<\/a><\/td>\n1670<\/a><\/td>\n1747<\/a><\/td>\n\u00c9milie-Romagne<\/a>,\u00a0Mod\u00e8ne<\/a><\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\nx<\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n<\/tr>\n
Bononcini, Giovanni Maria<\/a><\/td>\n1642<\/a><\/td>\n1678<\/a><\/td>\n\u00c9milie-Romagne<\/a>,\u00a0Zocca<\/a><\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n<\/tr>\n
Bonporti, Francesco Antonio<\/a><\/td>\n1672<\/a><\/td>\n1749<\/a><\/td>\nTrentin-Haut-Adige<\/a>,\u00a0Trente<\/a><\/td>\nBaroque<\/a><\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\nviolon<\/a><\/td>\n<\/tr>\n
Bossi, Marco Enrico<\/a><\/td>\n1861<\/a><\/td>\n1925<\/a><\/td>\nLombardie<\/a>,\u00a0Sal\u00f2<\/a><\/td>\n <\/td>\nx<\/td>\nx<\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\nOrgue<\/a><\/td>\n<\/tr>\n
Bottesini, Giovanni<\/a><\/td>\n1821<\/a><\/td>\n1889<\/a><\/td>\nLombardie<\/a>,\u00a0Crema<\/a><\/td>\n <\/td>\nx<\/td>\nx<\/td>\n <\/td>\nx<\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n<\/tr>\n
Broschi, Riccardo<\/a><\/td>\n1698<\/a><\/td>\n1756<\/a><\/td>\nCampanie<\/a>,\u00a0Naples<\/a><\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\nx<\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n<\/tr>\n
Brunelli, Antonio<\/a><\/td>\n1577<\/a><\/td>\n1630<\/a><\/td>\nToscane<\/a>,\u00a0Pise<\/a><\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n<\/tr>\n
Bucchi, Valentino<\/a><\/td>\n1916<\/a><\/td>\n1976<\/a><\/td>\nToscane<\/a>,\u00a0Florence<\/a><\/td>\nModerne<\/a><\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n<\/tr>\n
Busoni, Ferruccio<\/a><\/b><\/td>\n1866<\/a><\/td>\n1924<\/a><\/td>\nToscane<\/a>,\u00a0Empoli<\/a><\/td>\n <\/td>\nx<\/td>\nx<\/td>\n <\/td>\nx<\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n<\/tr>\n
Bussotti, Sylvano<\/a><\/td>\n1931<\/a><\/td>\n\u2013<\/td>\nToscane<\/a>,\u00a0Florence<\/a><\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n<\/tr>\n
Caccini, Giulio<\/a><\/td>\n1545<\/a>\u00a0?<\/td>\n1618<\/a><\/td>\nLatium<\/a>,\u00a0Tivoli<\/a><\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n<\/tr>\n
Cafaro, Pasquale<\/a><\/td>\n1708<\/a><\/td>\n1787<\/a><\/td>\nPouilles<\/a>,\u00a0San Pietro in Galatina<\/a><\/td>\nBaroque<\/a><\/td>\n <\/td>\n <\/td>\n <\/td>\nx<\/td>\n <\/td>\nx<\/td>\nx<\/td>\n <\/td>\n<\/tr>\n
Caldara, Antonio<\/a><\/td>\n1670<\/a><\/td>\n1736<\/a><\/td>\nV\u00e9n\u00e9tie<\/a>,\u00a0Venise<\/a><\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\nx<\/td>\n <\/td>\nx<\/td>\nx<\/td>\n <\/td>\n<\/tr>\n
Capirola, Vincenzo<\/a><\/td>\n1474<\/a><\/td>\n1548<\/a><\/td>\nPi\u00e9mont<\/a>,\u00a0Brescia<\/a><\/td>\nRenaissance<\/a>,\u00a0Baroque<\/a><\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n<\/tr>\n
Di Capua, Rinaldo<\/a><\/td>\n1710<\/a><\/td>\n1770<\/a><\/td>\n <\/td>\nClassique<\/a><\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\nluth<\/a><\/td>\n<\/tr>\n
Carafa, Michele<\/a><\/td>\n1785<\/a><\/td>\n1872<\/a><\/td>\nCampanie<\/a>,\u00a0Naples<\/a><\/td>\nRomantique<\/a><\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n<\/tr>\n
Caresana, Cristoforo<\/a><\/td>\n1640<\/a>\u00a0?<\/td>\n1709<\/a><\/td>\nV\u00e9n\u00e9tie<\/a>,\u00a0Venise<\/a><\/td>\nBaroque<\/a><\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n<\/tr>\n
Carissimi, Giacomo<\/a><\/td>\n1604<\/a><\/td>\n1674<\/a><\/td>\nLatium<\/a>,\u00a0Rome<\/a><\/td>\nBaroque<\/a><\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n<\/tr>\n
Casavola, Franco<\/a><\/td>\n1891<\/a><\/td>\n1955<\/a><\/td>\nPouilles<\/a>,\u00a0Modugno<\/a><\/td>\nModerne<\/a><\/td>\n <\/td>\n <\/td>\n <\/td>\nx<\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n<\/tr>\n
da Cascia, Donato<\/a><\/td>\n13??<\/td>\n13\u00a0??<\/td>\nToscane<\/a>,\u00a0?<\/td>\nM\u00e9di\u00e9val<\/a>, (Trecento<\/a>)<\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\nMadrigal du Trecento<\/a>, \u00abArs nova italienne\u00bb<\/td>\n<\/tr>\n
Casella, Pietro<\/a><\/td>\n1769<\/a><\/td>\n1843<\/a><\/td>\nOmbrie<\/a>,\u00a0?<\/td>\nClassique<\/a><\/td>\n <\/td>\n <\/td>\n <\/td>\nx<\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n<\/tr>\n
da Caserta, Antonello<\/a><\/td>\n13??<\/td>\n14\u00a0??<\/td>\nCampanie<\/a>,\u00a0Caserta<\/a><\/td>\nM\u00e9di\u00e9val<\/a>, (Trecento<\/a>)<\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\nBallades<\/a>, \u00abArs nova italienne\u00bb<\/td>\n<\/tr>\n
Carulli, Ferdinando<\/a><\/td>\n1770<\/a><\/td>\n1841<\/a><\/td>\nCampanie<\/a>,\u00a0Naples<\/a><\/td>\nClassique<\/a><\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n<\/tr>\n
Casella, Alfredo<\/a><\/td>\n1883<\/a><\/td>\n1947<\/a><\/td>\nPi\u00e9mont<\/a>,\u00a0Turin<\/a><\/td>\nModerne<\/a><\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n<\/tr>\n
Castaldi, Alfonso<\/a><\/td>\n1874<\/a><\/td>\n1942<\/a><\/td>\nCampanie<\/a>,\u00a0Maddaloni<\/a><\/td>\nModerne<\/a><\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n<\/tr>\n
Castelnuovo-Tedesco, Mario<\/a><\/td>\n1895<\/a><\/td>\n1968<\/a><\/td>\nToscane<\/a>,\u00a0Florence<\/a><\/td>\nModerne<\/a><\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n<\/tr>\n
Castiglioni, Niccol\u00f2<\/a><\/td>\n1932<\/a><\/td>\n1996<\/a><\/td>\nLombardie<\/a>,\u00a0Milan<\/a><\/td>\nModerne<\/a><\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n<\/tr>\n
Catalani, Alfredo<\/a><\/td>\n1854<\/a><\/td>\n1893<\/a><\/td>\nToscane<\/a>,\u00a0Lucques<\/a><\/td>\nRomantique<\/a><\/td>\n <\/td>\n <\/td>\n <\/td>\nx<\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n<\/tr>\n
Catalani, Ottavio<\/a><\/td>\n15?<\/td>\n1644<\/a><\/td>\nSicile<\/a>,\u00a0Enna<\/a><\/td>\nBaroque<\/a><\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n<\/tr>\n
Cavalli, Francesco<\/a><\/td>\n1602<\/a><\/td>\n1676<\/a><\/td>\nLombardie<\/a>,\u00a0Crema<\/a><\/td>\nBaroque<\/a>,\u00a0Classique<\/a><\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n<\/tr>\n
Cesti, Antonio<\/a><\/td>\n1623<\/a><\/td>\n1669<\/a><\/td>\nToscane<\/a>,\u00a0Arezzo<\/a><\/td>\nBaroque<\/a><\/td>\n <\/td>\n <\/td>\n <\/td>\nx<\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n<\/tr>\n
Chailly, Luciano<\/a><\/td>\n1920<\/a><\/td>\n2002<\/a><\/td>\n\u00c9milie-Romagne<\/a>,\u00a0Ferrare<\/a><\/td>\nModerne<\/a><\/td>\nx<\/td>\nx<\/td>\nx<\/td>\nX<\/td>\n <\/td>\nx<\/td>\n <\/td>\n <\/td>\n<\/tr>\n
Cherubini, Luigi<\/a><\/b><\/td>\n1760<\/a><\/td>\n1842<\/a><\/td>\nToscane<\/a>,\u00a0Florence<\/a><\/td>\nClassique<\/a><\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n<\/tr>\n
Ciaula, Mauro<\/a><\/td>\n1554<\/a>\u00a0?<\/td>\n1603<\/a><\/td>\nSicile<\/a>,\u00a0Palerme<\/a><\/td>\nRenaissance<\/a><\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n<\/tr>\n
Cilea, Francesco<\/a><\/td>\n1866<\/a><\/td>\n1950<\/a><\/td>\nCalabre<\/a>,\u00a0Palmi<\/a><\/td>\nRomantique<\/a>,\u00a0Moderne<\/a><\/td>\nx<\/td>\nx<\/td>\n <\/td>\nX<\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n<\/tr>\n
Cimarosa, Domenico<\/a><\/b><\/td>\n1749<\/a><\/td>\n1801<\/a><\/td>\nCampanie<\/a>,\u00a0Aversa<\/a><\/td>\nClassique<\/a><\/td>\nx<\/td>\n <\/td>\n <\/td>\nX<\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n<\/tr>\n
Clementi, Aldo<\/a><\/td>\n1925<\/a><\/td>\n\u2013<\/td>\nSicile<\/a>,\u00a0Catane<\/a><\/td>\nModerne<\/a><\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n<\/tr>\n
Clementi, Muzio<\/a><\/td>\n1752<\/a><\/td>\n1832<\/a><\/td>\nLatium<\/a>,\u00a0Rome<\/a><\/td>\nClassique<\/a><\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n<\/tr>\n
Concone, Giuseppe<\/a><\/td>\n1801<\/a><\/td>\n1861<\/a><\/td>\nPi\u00e9mont<\/a>,\u00a0Turin<\/a><\/td>\nRomantique<\/a><\/td>\n <\/td>\nx<\/td>\n <\/td>\nx<\/td>\n <\/td>\nx<\/td>\nx<\/td>\n <\/td>\n<\/tr>\n
Coppola, Pietro Antonio<\/a><\/td>\n1793<\/a><\/td>\n1877<\/a><\/td>\nSicile<\/a>,\u00a0Enna<\/a><\/td>\nRomantique<\/a><\/td>\n <\/td>\n <\/td>\n <\/td>\nx<\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n<\/tr>\n
Corbetta, Francesco<\/a><\/td>\n1615<\/a>\u00a0?<\/td>\n1681<\/a><\/td>\nLombardie<\/a>,\u00a0Pavie<\/a><\/td>\nBaroque<\/a><\/td>\n <\/td>\nx<\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\nGuitare baroque<\/a><\/td>\n<\/tr>\n
Corelli, Arcangelo<\/a><\/b><\/td>\n1653<\/a><\/td>\n1713<\/a><\/td>\n\u00c9milie-Romagne<\/a>,\u00a0Fusignano<\/a><\/td>\nBaroque<\/a><\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n<\/tr>\n
Corghi, Azio<\/a><\/td>\n1937<\/a><\/td>\n\u2013<\/td>\nPi\u00e9mont<\/a>,\u00a0Ciri\u00e9<\/a><\/td>\nModerne<\/a><\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n<\/tr>\n
Croce, Giovanni<\/a><\/td>\n1557<\/a><\/td>\n1609<\/a><\/td>\nV\u00e9n\u00e9tie<\/a>,\u00a0Chioggia<\/a><\/td>\nRenaissance<\/a>,\u00a0Baroque<\/a><\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n<\/tr>\n
Dallapiccola, Luigi<\/a><\/td>\n1904<\/a><\/td>\n1975<\/a><\/td>\nIstrie<\/a>\u00a0(Croatie<\/a>),\u00a0Pazin<\/a><\/td>\nModerne<\/a><\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n<\/tr>\n
de Cervin Albrizzi, Ernesto Rubin<\/a><\/td>\n1936<\/a><\/td>\n2013<\/a><\/td>\nVenise<\/a><\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n<\/tr>\n
Dionisi, Renato<\/a><\/td>\n1910<\/a><\/td>\n2000<\/a><\/td>\nIstrie<\/a>\u00a0(Croatie<\/a>),\u00a0Rovinj<\/a><\/td>\nModerne<\/a><\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n<\/tr>\n
Donatoni, Franco<\/a><\/td>\n1927<\/a><\/td>\n2000<\/a><\/td>\nV\u00e9n\u00e9tie<\/a>,\u00a0V\u00e9rone<\/a><\/td>\nModerne<\/a><\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n<\/tr>\n
Donizetti, Gaetano<\/a><\/b><\/td>\n1797<\/a><\/td>\n1848<\/a><\/td>\nLombardie<\/a>,\u00a0Bergame<\/a><\/td>\nRomantique<\/a><\/td>\n <\/td>\n <\/td>\n <\/td>\nX<\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n<\/tr>\n
Duni, Egidio<\/a><\/td>\n1684<\/a><\/td>\n1757<\/a><\/td>\nBasilicate<\/a>,\u00a0Matera<\/a><\/td>\nClassique<\/a><\/td>\n <\/td>\n <\/td>\n <\/td>\nx<\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n<\/tr>\n
Durante, Francesco<\/a><\/td>\n1684<\/a><\/td>\n1757<\/a><\/td>\nCampanie<\/a>,\u00a0Frattamaggiore<\/a><\/td>\nClassique<\/a><\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\nx<\/td>\nx<\/td>\n <\/td>\n<\/tr>\n
Einaudi, Ludovico<\/a><\/td>\n1955<\/a><\/td>\n\u2013<\/td>\nPi\u00e9mont<\/a>,\u00a0Turin<\/a><\/td>\nModerne<\/a><\/td>\n <\/td>\nx<\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\npiano<\/a><\/td>\n<\/tr>\n
Fedele, Ivan<\/a><\/td>\n1953<\/a><\/td>\n\u2013<\/td>\nPouilles<\/a>,\u00a0Lecce<\/a><\/td>\nModerne<\/a><\/td>\n <\/td>\nx<\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n<\/tr>\n
Ferrante, Andrea<\/a><\/td>\n1968<\/a><\/td>\n\u2013<\/td>\n <\/td>\nModerne<\/a><\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n<\/tr>\n
Ferrarese, Paolo<\/a><\/td>\n15??<\/td>\n16??<\/td>\n\u00c9milie-Romagne<\/a>,\u00a0Ferrare<\/a><\/td>\nBaroque<\/a><\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\ngr\u00e9gorien<\/a><\/td>\n<\/tr>\n
Ferrero, Lorenzo<\/a><\/td>\n1951<\/a><\/td>\n\u2013<\/td>\nPi\u00e9mont<\/a>,\u00a0Turin<\/a><\/td>\nModerne<\/a><\/td>\nx<\/td>\nx<\/td>\nx<\/td>\nx<\/td>\n <\/td>\n <\/td>\nx<\/td>\n <\/td>\n<\/tr>\n
Ferroni, Vincenzo<\/a><\/td>\n1858<\/a><\/td>\n1934<\/a><\/td>\nBasilicate<\/a>,\u00a0Tramutola<\/a><\/td>\nRomantique<\/a><\/td>\nx<\/td>\nx<\/td>\n <\/td>\nx<\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n<\/tr>\n
Festa, Costanzo<\/a><\/td>\n1490<\/a><\/td>\n1554<\/a><\/td>\nPi\u00e9mont<\/a>\u00a0?<\/td>\nRenaissance<\/a>,\u00a0Baroque<\/a><\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n<\/tr>\n
Fioravanti, Valentino<\/a><\/td>\n1764<\/a><\/td>\n1837<\/a><\/td>\nLatium<\/a>,\u00a0Rome<\/a><\/td>\nClassique<\/a><\/td>\n <\/td>\n <\/td>\n <\/td>\nx<\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n<\/tr>\n
Fioravanti, Vincenzo<\/a><\/td>\n1799<\/a><\/td>\n1877<\/a><\/td>\nLatium<\/a>,\u00a0Rome<\/a><\/td>\nClassique<\/a><\/td>\n <\/td>\n <\/td>\n <\/td>\nX<\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n<\/tr>\n
Fiorenza, Nicola<\/a><\/td>\n?<\/td>\n1764<\/a><\/td>\nCampanie<\/a>,\u00a0Naples<\/a><\/td>\nClassique<\/a><\/td>\n <\/td>\nx<\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n<\/tr>\n
da Firenze, Andrea<\/a><\/td>\n13??<\/td>\n1415<\/a><\/td>\nToscane<\/a>,\u00a0?<\/td>\nM\u00e9di\u00e9val<\/a>,\u00a0Renaissance<\/a><\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n<\/tr>\n
da Firenze, Gherardello<\/a><\/td>\n13??<\/td>\n1363<\/a><\/td>\nToscane<\/a>,\u00a0?<\/td>\nM\u00e9di\u00e9val<\/a>, (Trecento<\/a>)<\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n\u00abArs nova italienne\u00bb<\/td>\n<\/tr>\n
da Firenze, Giovanni<\/a><\/td>\n13??<\/td>\n13\u00a0??<\/td>\nToscane<\/a>,\u00a0?<\/td>\nM\u00e9di\u00e9val<\/a>, (Trecento<\/a>)<\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\nMadrigal du Trecento<\/a>, \u00abArs nova italienne\u00bb<\/td>\n<\/tr>\n
da Firenze, Lorenzo<\/a><\/td>\n13??<\/td>\n1373<\/a><\/td>\nToscane<\/a>,\u00a0?<\/td>\nM\u00e9di\u00e9val<\/a>, (Trecento<\/a>)<\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\nMadrigal du Trecento<\/a>, \u00abArs nova italienne\u00bb<\/td>\n<\/tr>\n
Franceschini, Petronio<\/a><\/td>\n1651<\/a>\u00a0?<\/td>\n1681<\/a>\u00a0?<\/td>\n\u00c9milie-Romagne<\/a>,\u00a0Bologne<\/a><\/td>\nBaroque<\/a><\/td>\n <\/td>\n <\/td>\n <\/td>\nx<\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n<\/tr>\n
Francesconi, Luca<\/a><\/td>\n1956<\/a><\/td>\n\u2013<\/td>\nLombardie<\/a>,\u00a0Milan<\/a><\/td>\nModerne<\/a><\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n<\/tr>\n
Franchetti, Alberto<\/a><\/td>\n1860<\/a><\/td>\n1942<\/a><\/td>\nPi\u00e9mont<\/a>,\u00a0Turin<\/a><\/td>\nRomantique<\/a><\/td>\n <\/td>\n <\/td>\n <\/td>\nx<\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n<\/tr>\n
Frescobaldi, Girolamo<\/a><\/b><\/td>\n1583<\/a><\/td>\n1643<\/a><\/td>\n\u00c9milie-Romagne<\/a>,\u00a0Ferrare<\/a><\/td>\nBaroque<\/a><\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n<\/tr>\n
Frontini, Francesco<\/a><\/td>\n1860<\/a><\/td>\n1939<\/a><\/td>\nSicile<\/a>,\u00a0Catane<\/a><\/td>\nModerne<\/a><\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n<\/tr>\n
Gabrieli, Andrea<\/a><\/td>\n1510<\/a><\/td>\n1586<\/a><\/td>\nV\u00e9n\u00e9tie<\/a><\/td>\nRenaissance<\/a><\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n<\/tr>\n
Gabrieli, Giovanni<\/a><\/td>\n1557<\/a><\/td>\n1612<\/a><\/td>\nV\u00e9n\u00e9tie<\/a>,\u00a0Venise<\/a><\/td>\nRenaissance<\/a>,\u00a0Baroque<\/a><\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n<\/tr>\n
Gallo, Giovanni Pietro<\/a><\/td>\n15??<\/td>\n16??<\/td>\nPouilles<\/a>,\u00a0Bari<\/a><\/td>\nRenaissance<\/a><\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n<\/tr>\n
Gallo, Vincenzo<\/a><\/td>\n1561<\/a><\/td>\n1624<\/a><\/td>\nSicile<\/a>,\u00a0Alcara Li Fusi<\/a><\/td>\nRenaissance<\/a><\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\nMadrigals<\/a><\/td>\n<\/tr>\n
Galuppi, Baldassare<\/a><\/td>\n1706<\/a><\/td>\n1785<\/a><\/td>\nV\u00e9n\u00e9tie<\/a>,\u00a0Burano<\/a><\/td>\nBaroque<\/a>,\u00a0Classique<\/a><\/td>\n <\/td>\n <\/td>\n <\/td>\nx<\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n<\/tr>\n
Gasparini, Francesco<\/a><\/td>\n1661<\/a><\/td>\n1727<\/a><\/td>\nToscane<\/a>,\u00a0Camaiore<\/a><\/td>\nBaroque<\/a><\/td>\n <\/td>\n <\/td>\n <\/td>\nx<\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n<\/tr>\n
Geminiani, Francesco<\/a><\/td>\n1687<\/a><\/td>\n1762<\/a><\/td>\nToscane<\/a>,\u00a0Lucques<\/a><\/td>\nBaroque<\/a><\/td>\nx<\/td>\nx<\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n<\/tr>\n
Gentile, Ada<\/a><\/td>\n1947<\/a><\/td>\n\u2013<\/td>\nAbruzzes<\/a>,\u00a0Avezzano<\/a><\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n<\/tr>\n
Geremia, Giuseppe<\/a><\/td>\n1732<\/a><\/td>\n1814<\/a><\/td>\nSicile<\/a>,\u00a0Catane<\/a><\/td>\nRomantique<\/a><\/td>\n <\/td>\n <\/td>\n <\/td>\nx<\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n<\/tr>\n
Gesualdo, Carlo<\/a><\/b><\/td>\n1566<\/a><\/td>\n1613<\/a><\/td>\nBasilicate<\/a>,\u00a0Venosa<\/a><\/td>\nRenaissance<\/a><\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\nMadrigals<\/a><\/td>\n<\/tr>\n
Giardini, Felice<\/a><\/td>\n1716<\/a><\/td>\n1796<\/a><\/td>\nPi\u00e9mont<\/a>,\u00a0Turin<\/a><\/td>\nClassique<\/a><\/td>\n <\/td>\nx<\/td>\n <\/td>\nx<\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n<\/tr>\n
Giordano, Umberto<\/a><\/td>\n1867<\/a><\/td>\n1948<\/a><\/td>\nPouilles<\/a>,\u00a0Foggia<\/a><\/td>\nModerne<\/a><\/td>\n <\/td>\n <\/td>\n <\/td>\nx<\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n<\/tr>\n
Giuliani, Mauro<\/a><\/td>\n1781<\/a><\/td>\n1829<\/a><\/td>\nCampanie<\/a>,\u00a0Naples<\/a><\/td>\nRomantique<\/a><\/td>\nx<\/td>\nx<\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n<\/tr>\n
Grazie, Gisella Delle<\/a><\/td>\n1868<\/a><\/td>\napr\u00e8s\u00a01895<\/a><\/td>\nFrioul<\/a>,\u00a0Trieste<\/a><\/td>\nRomantique<\/a><\/td>\n <\/td>\n <\/td>\n <\/td>\nX<\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n<\/tr>\n
Guarnieri, Adriano<\/a><\/td>\n1947<\/a><\/td>\n\u2013<\/td>\nLombardie<\/a>,\u00a0Sustinente<\/a><\/td>\nModerne<\/a><\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n<\/tr>\n
d’India, Sigismondo<\/a><\/td>\n1582<\/a>\u00a0?<\/td>\n1629<\/a>\u00a0?<\/td>\nSicile<\/a>,\u00a0Palerme<\/a><\/td>\nRenaissance<\/a><\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\nMadrigals<\/a><\/td>\n<\/tr>\n
Il Verso, Antonio<\/a><\/td>\n1560<\/a>\u00a0?<\/td>\n1621<\/a><\/td>\nSicile<\/a>,\u00a0Piazza Armerina<\/a><\/td>\nRenaissance<\/a><\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n<\/tr>\n
Ingegneri, Marc’Antonio<\/a><\/td>\n1535<\/a><\/td>\n1592<\/a><\/td>\nV\u00e9n\u00e9tie<\/a>,\u00a0V\u00e9rone<\/a><\/td>\nRenaissance<\/a><\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n<\/tr>\n
Jommelli, Niccol\u00f2<\/a><\/td>\n1714<\/a><\/td>\n1774<\/a><\/td>\nCampanie<\/a>,\u00a0Aversa<\/a><\/td>\nClassique<\/a><\/td>\n <\/td>\n <\/td>\nX<\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n<\/tr>\n
Junck, Benedetto<\/a><\/td>\n1852<\/a><\/td>\n1903<\/a><\/td>\nTurin<\/a>,\u00a0Pi\u00e9mont<\/a><\/td>\nClassique<\/a><\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\nX<\/td>\n <\/td>\n <\/td>\n <\/td>\n<\/tr>\n
Krakamp, Emanuele<\/a><\/td>\n1813<\/a><\/td>\n1883<\/a><\/td>\nNaples<\/a><\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n<\/tr>\n
Landi, Stefano<\/a><\/td>\n1586<\/a><\/td>\n1639<\/a><\/td>\nLatium<\/a>,\u00a0Rome<\/a><\/td>\nBaroque<\/a><\/td>\n <\/td>\n <\/td>\n <\/td>\nx<\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n<\/tr>\n
Landini, Francesco<\/a><\/td>\n1325<\/a>\u00a0?<\/td>\n1397<\/a><\/td>\nToscane<\/a>,\u00a0Florence<\/a><\/td>\nM\u00e9di\u00e9val<\/a>, (Trecento<\/a>)<\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n<\/tr>\n
Latilla, Gaetano<\/a><\/td>\n1711<\/a><\/td>\n1788<\/a><\/td>\nPouilles<\/a>,\u00a0Bari<\/a><\/td>\nClassique<\/a><\/td>\n <\/td>\n <\/td>\n <\/td>\nx<\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n<\/tr>\n
Legrenzi, Giovanni<\/a><\/td>\n1626<\/a><\/td>\n1690<\/a><\/td>\nLombardie<\/a>,\u00a0Clusone<\/a><\/td>\nBaroque<\/a><\/td>\n <\/td>\n <\/td>\n <\/td>\nx<\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n<\/tr>\n
Leo, Leonardo<\/a><\/td>\n1694<\/a><\/td>\n1744<\/a><\/td>\nPouilles<\/a>,\u00a0Schiavoni<\/a><\/td>\nBaroque<\/a><\/td>\n <\/td>\n <\/td>\n <\/td>\nx<\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n<\/tr>\n
Leoncavallo, Ruggero<\/a><\/td>\n1857<\/a><\/td>\n1919<\/a><\/td>\nCampanie<\/a>,\u00a0Naples<\/a><\/td>\nRomantique<\/a><\/td>\n <\/td>\n <\/td>\n <\/td>\nx<\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n<\/tr>\n
Leoni, Franco<\/a><\/td>\n1864<\/a><\/td>\n1949<\/a><\/td>\nLombardie<\/a>,\u00a0Milan<\/a><\/td>\n <\/td>\n <\/td>\nx<\/td>\n <\/td>\nx<\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n<\/tr>\n
Lillo, Giuseppe<\/a><\/td>\n1814<\/a><\/td>\n1863<\/a><\/td>\nPouilles<\/a>,\u00a0Galatina<\/a><\/td>\nRomantique<\/a><\/td>\n <\/td>\n <\/td>\n <\/td>\nX<\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n<\/tr>\n
Liviabella, Lino<\/a><\/td>\n1902<\/a><\/td>\n1964<\/a><\/td>\nMarches<\/a>,\u00a0Macerata<\/a><\/td>\nModerne<\/a><\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n<\/tr>\n
Locatelli, Giovanni Battista<\/a><\/td>\n1713<\/a><\/td>\n1790<\/a><\/td>\n <\/td>\nClassique<\/a><\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n<\/tr>\n
Locatelli, Pietro<\/a><\/td>\n1695<\/a><\/td>\n1724<\/a><\/td>\nLombardie<\/a>,\u00a0Bergame<\/a><\/td>\nClassique<\/a><\/td>\nx<\/td>\nx<\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n<\/tr>\n
Longo, Alessandro<\/a><\/td>\n1864<\/a><\/td>\n1954<\/a><\/td>\nCalabre<\/a>,\u00a0Amantea<\/a><\/td>\nModerne<\/a><\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\npiano<\/a><\/td>\n<\/tr>\n
Luchesi, Andrea<\/a><\/td>\n1741<\/a><\/td>\n1801<\/a><\/td>\nV\u00e9n\u00e9tie<\/a>,\u00a0Motta di Livenza<\/a><\/td>\nClassique<\/a><\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n<\/tr>\n
Luzzaschi, Luzzasco<\/a><\/td>\n1545<\/a><\/td>\n1607<\/a><\/td>\n\u00c9milie-Romagne<\/a>,\u00a0Ferrare<\/a><\/td>\nRenaissance<\/a>,\u00a0Baroque<\/a><\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\nMadrigals<\/a><\/td>\n<\/tr>\n
Maderna, Bruno<\/a><\/b><\/td>\n1920<\/a><\/td>\n1973<\/a><\/td>\nV\u00e9n\u00e9tie<\/a>,\u00a0Venise<\/a><\/td>\nModerne<\/a><\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n<\/tr>\n
de Majo, Gian F.<\/a><\/td>\n1732<\/a><\/td>\n1770<\/a><\/td>\nCampanie<\/a>,\u00a0Naples<\/a><\/td>\nClassique<\/a><\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n<\/tr>\n
Malipiero, Gian F.<\/a><\/b><\/td>\n1882<\/a><\/td>\n1973<\/a><\/td>\nV\u00e9n\u00e9tie<\/a>,\u00a0Venise<\/a><\/td>\nModerne<\/a><\/td>\nx<\/td>\nx<\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n<\/tr>\n
Malvezzi, Cristofano<\/a><\/td>\n1547<\/a><\/td>\n1599<\/a><\/td>\nToscane<\/a>,\u00a0Lucques<\/a><\/td>\nMusique<\/a><\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n<\/tr>\n
Manca, Gabriele<\/a><\/td>\n1957<\/a><\/td>\n\u2013<\/td>\nSardaigne<\/a>,\u00a0Sassari<\/a><\/td>\nModerne<\/a><\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n<\/tr>\n
Manelli, Francesco<\/a><\/td>\n159?<\/td>\n1667<\/a><\/td>\nLatium<\/a>,\u00a0Tivoli<\/a><\/td>\nBaroque<\/a><\/td>\n <\/td>\n <\/td>\n <\/td>\nx<\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n<\/tr>\n
Manfredini, Francesco<\/a><\/td>\n1684<\/a><\/td>\n1762<\/a><\/td>\nToscane<\/a>,\u00a0Pistoia<\/a><\/td>\nClassique<\/a><\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\nx<\/td>\n <\/td>\n<\/tr>\n
Manfredini, Giuseppe<\/a><\/td>\n171?<\/td>\n178?<\/td>\nToscane<\/a>,\u00a0Pistoia<\/a><\/td>\nClassique<\/a><\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\nArias<\/a><\/td>\n<\/tr>\n
Manfredini, Vincenzo<\/a><\/td>\n1737<\/a><\/td>\n1799<\/a><\/td>\nToscane<\/a>,\u00a0Pistoia<\/a><\/td>\nClassique<\/a><\/td>\n <\/td>\n <\/td>\nx<\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n<\/tr>\n
Mannino, Franco<\/a><\/td>\n1924<\/a><\/td>\n2005<\/a><\/td>\nSicile<\/a>,\u00a0Palerme<\/a><\/td>\nModerne<\/a><\/td>\nx<\/td>\nx<\/td>\n <\/td>\nX<\/td>\n <\/td>\n <\/td>\n <\/td>\nMusique de film<\/td>\n<\/tr>\n
Manzoni, Giacomo<\/a><\/td>\n1932<\/a><\/td>\n\u2013<\/td>\nLombardie<\/a>,\u00a0Milan<\/a><\/td>\nModerne<\/a><\/td>\nx<\/td>\n <\/td>\n <\/td>\nx<\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n<\/tr>\n
Marenzio, Luca<\/a><\/td>\n1553<\/a><\/td>\n1599<\/a><\/td>\nLombardie<\/a>,\u00a0Coccaglio<\/a><\/td>\nRenaissance<\/a><\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\nMotets<\/a><\/td>\n<\/tr>\n
Martucci, Giuseppe<\/a><\/td>\n1856<\/a><\/td>\n1909<\/a><\/td>\nCampanie<\/a>,\u00a0Capoue<\/a><\/td>\nRomantique<\/a><\/td>\nx<\/td>\nx<\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n<\/tr>\n
Mascitti, Michele<\/a><\/td>\n1664<\/a><\/td>\n1760<\/a><\/td>\nAbruzzes<\/a>,\u00a0Villa Santa Maria<\/a><\/td>\nBaroque<\/a><\/td>\n <\/td>\nx<\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n<\/tr>\n
Mascagni, Pietro<\/a><\/b><\/td>\n1863<\/a><\/td>\n1945<\/a><\/td>\nToscane<\/a>,\u00a0Livourne<\/a><\/td>\nModerne<\/a><\/td>\n <\/td>\n <\/td>\n <\/td>\nx<\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n<\/tr>\n
Mencherini, Fernando<\/a><\/td>\n1949<\/a><\/td>\n1997<\/a><\/td>\n <\/td>\nModerne<\/a><\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n<\/tr>\n
Menotti, Gian Carlo<\/a><\/td>\n1911<\/a><\/td>\n2007<\/a><\/td>\nLombardie<\/a>,\u00a0Cadegliano-Viconago<\/a><\/td>\nModerne<\/a><\/td>\n <\/td>\n <\/td>\n <\/td>\nx<\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n<\/tr>\n
Mercadante, Saverio<\/a><\/td>\n1795<\/a><\/td>\n1870<\/a><\/td>\nPouilles<\/a>,\u00a0Altamura<\/a><\/td>\nRomantique<\/a><\/td>\n <\/td>\n <\/td>\n <\/td>\nx<\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n<\/tr>\n
Merula, Tarquinio<\/a><\/td>\n1595<\/a><\/td>\n1665<\/a><\/td>\n\u00c9milie-Romagne<\/a>,\u00a0Bussetto<\/a><\/td>\nBaroque<\/a><\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\nMadrigals<\/a><\/td>\n<\/tr>\n
Merulo, Claudio<\/a><\/td>\n1533<\/a><\/td>\n1604<\/a><\/td>\n\u00c9milie-Romagne<\/a>,\u00a0Correggio<\/a><\/td>\nRenaissance<\/a><\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n<\/tr>\n
da Milano, Francesco<\/a><\/td>\n1497<\/a><\/td>\n1543<\/a><\/td>\nLombardie<\/a>,\u00a0Monza<\/a>\u00a0?<\/td>\nRenaissance<\/a><\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\nluth<\/a><\/td>\n<\/tr>\n
Monteverdi, Claudio<\/a><\/b><\/td>\n1567<\/a><\/td>\n1643<\/a><\/td>\nLombardie<\/a>,\u00a0Cr\u00e9mone<\/a><\/td>\nRenaissance<\/a>,\u00a0Baroque<\/a><\/td>\n <\/td>\n <\/td>\nx<\/td>\nx<\/td>\n <\/td>\n <\/td>\n <\/td>\nMadrigals<\/a><\/td>\n<\/tr>\n
Nanino, Giovanni Bernardino<\/a><\/td>\n1560<\/a><\/td>\n1623<\/a><\/td>\nLatium<\/a>,\u00a0Vallerano<\/a><\/td>\nBaroque<\/a><\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n<\/tr>\n
Nanino, Giovanni Maria<\/a><\/td>\n1543<\/a>\u00a0?<\/td>\n1607<\/a><\/td>\nLatium<\/a>,\u00a0Tivoli<\/a><\/td>\nBaroque<\/a><\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n<\/tr>\n
Nardini, Pietro<\/a><\/td>\n1722<\/a><\/td>\n1793<\/a><\/td>\nToscane<\/a>,\u00a0?<\/td>\nClassique<\/a><\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n<\/tr>\n
Nenna, Pomponio<\/a><\/td>\n155?<\/td>\n1613<\/a><\/td>\nPouilles<\/a>,\u00a0Bari<\/a><\/td>\nRenaissance<\/a><\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\nMadrigals<\/a><\/td>\n<\/tr>\n
Nono, Luigi<\/a><\/b><\/td>\n1924<\/a><\/td>\n1990<\/a><\/td>\nV\u00e9n\u00e9tie<\/a>,\u00a0Venise<\/a><\/td>\nModerne<\/a><\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n<\/tr>\n
Oppo, Franco<\/a><\/td>\n1935<\/a><\/td>\n\u2013<\/td>\nSardaigne<\/a>,\u00a0Nuoro<\/a><\/td>\nModerne<\/a><\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n<\/tr>\n
Orlandini, Giuseppe Maria<\/a><\/td>\n1676<\/a><\/td>\n1760<\/a><\/td>\nToscane<\/a>,\u00a0Florence<\/a><\/td>\nClassique<\/a><\/td>\n <\/td>\n <\/td>\n <\/td>\nx<\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n<\/tr>\n
Pacini, Giovanni<\/a><\/td>\n1796<\/a><\/td>\n1867<\/a><\/td>\nSicile<\/a>,\u00a0Catane<\/a><\/td>\nMusique<\/a><\/td>\n <\/td>\n <\/td>\n <\/td>\nx<\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n<\/tr>\n
Pa\u00ebr, Ferdinando<\/a><\/td>\n1771<\/a><\/td>\n1839<\/a><\/td>\n\u00c9milie-Romagne<\/a>,\u00a0Parme<\/a><\/td>\nMusique<\/a><\/td>\n <\/td>\n <\/td>\n <\/td>\nx<\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n<\/tr>\n
Paganini, Niccol\u00f2<\/a><\/b><\/td>\n1782<\/a><\/td>\n1840<\/a><\/td>\nLigurie<\/a>,\u00a0G\u00eanes<\/a><\/td>\nClassique<\/a><\/td>\nx<\/td>\nx<\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\nviolon<\/a><\/td>\n<\/tr>\n
Paisiello, Giovanni<\/a><\/td>\n1740<\/a><\/td>\n1816<\/a><\/td>\nSicile<\/a>,\u00a0Tarente<\/a><\/td>\nClassique<\/a><\/td>\n <\/td>\n <\/td>\n <\/td>\nx<\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n<\/tr>\n
Palavicino, Benedetto<\/a><\/td>\n1551<\/a>\u00a0?<\/td>\n1670<\/a>\u00a0?<\/td>\nLombardie<\/a>,\u00a0Cr\u00e9mone<\/a><\/td>\nRenaissance<\/a><\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n<\/tr>\n
Da Palestrina, Giovanni<\/a><\/b><\/td>\n1514<\/a><\/td>\n1594<\/a><\/td>\nLatium<\/a>,\u00a0Palestrina<\/a><\/td>\nRenaissance<\/a><\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\nX<\/td>\n <\/td>\nMotets<\/a>,\u00a0Madrigals<\/a><\/td>\n<\/tr>\n
Pappalardo, Salvatore<\/a><\/td>\n1817<\/a><\/td>\n1884<\/a><\/td>\nSicile<\/a>,\u00a0Catane<\/a><\/td>\nRomantique<\/a><\/td>\n <\/td>\n <\/td>\n <\/td>\nx<\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n<\/tr>\n
Pandolfi Mealli, Giovanni Antonio<\/a><\/td>\n1605<\/a><\/td>\n1669<\/a><\/td>\nToscane<\/a>,\u00a0Montepulciano<\/a><\/td>\nBaroque<\/a><\/td>\n <\/td>\nx<\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n<\/tr>\n
Domenico Paradisi, Pietro<\/a><\/td>\n1707<\/a><\/td>\n1791<\/a><\/td>\nCampanie<\/a>,\u00a0Naples<\/a><\/td>\nBaroque<\/a><\/td>\n <\/td>\nx<\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n<\/tr>\n
Pasquini, Bernardo<\/a><\/td>\n1637<\/a><\/td>\n1710<\/a><\/td>\nToscane<\/a>,\u00a0Pistoia<\/a><\/td>\nBaroque<\/a><\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n<\/tr>\n
Pavesi, Stefano<\/a><\/td>\n1770<\/a><\/td>\n1850<\/a><\/td>\nLombardie<\/a>,\u00a0Cr\u00e9mone<\/a><\/td>\nClassique<\/a><\/td>\n <\/td>\n <\/td>\n <\/td>\nx<\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n<\/tr>\n
Pennisi, Francesco<\/a><\/td>\n1934<\/a><\/td>\n2001<\/a><\/td>\nSicile<\/a>,\u00a0Acireale<\/a><\/td>\nModerne<\/a><\/td>\n <\/td>\n <\/td>\n <\/td>\nx<\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n<\/tr>\n
Pergolesi, Giovanni<\/a><\/b><\/td>\n1710<\/a><\/td>\n1736<\/a><\/td>\nMarches<\/a>,\u00a0Jesi<\/a><\/td>\nClassique<\/a><\/td>\n <\/td>\n <\/td>\n <\/td>\nx<\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n<\/tr>\n
Peri, Jacopo<\/a><\/td>\n1561<\/a><\/td>\n1633<\/a><\/td>\nLatium<\/a>,\u00a0Rome<\/a><\/td>\nRenaissance<\/a>,\u00a0Baroque<\/a><\/td>\n <\/td>\n <\/td>\n <\/td>\nx<\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n<\/tr>\n
Perrotta, Giuseppe<\/a><\/td>\n1843<\/a><\/td>\n1910<\/a><\/td>\nSicile<\/a>,\u00a0Catane<\/a><\/td>\nRomantique<\/a><\/td>\n <\/td>\n <\/td>\n <\/td>\nx<\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n<\/tr>\n
Persiani, Giuseppe<\/a><\/td>\n1799<\/a><\/td>\n1869<\/a><\/td>\nMarches<\/a>,\u00a0Recanati<\/a><\/td>\nRomantique<\/a><\/td>\n <\/td>\n <\/td>\n <\/td>\nX<\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n<\/tr>\n
Perti, Giacomo<\/a><\/td>\n1661<\/a><\/td>\n1756<\/a><\/td>\n\u00c9milie-Romagne<\/a>,\u00a0Bologne<\/a><\/td>\nBaroque<\/a><\/td>\n <\/td>\n <\/td>\n <\/td>\nx<\/td>\n <\/td>\n <\/td>\nx<\/td>\n <\/td>\n<\/tr>\n
da Perugia, Matteo<\/a><\/td>\n13??<\/td>\n14??<\/td>\nToscane<\/a>,\u00a0P\u00e9rouse<\/a>\u00a0?<\/td>\nM\u00e9di\u00e9val<\/a>,\u00a0Renaissance<\/a><\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n<\/tr>\n
da Perugia, Niccol\u00f2<\/a><\/td>\n13??<\/td>\n1373<\/a><\/td>\nToscane<\/a>,\u00a0?<\/td>\nM\u00e9di\u00e9val<\/a>, (Trecento<\/a>)<\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\nMadrigal du Trecento<\/a>, \u00abArs nova italienne\u00bb<\/td>\n<\/tr>\n
Pescetti, Giovanni Battista<\/a><\/td>\n1704<\/a><\/td>\n1766<\/a><\/td>\nV\u00e9n\u00e9tie<\/a>,\u00a0Venise<\/a><\/td>\nClassique<\/a><\/td>\n <\/td>\n <\/td>\n <\/td>\nX<\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n<\/tr>\n
Petrassi, Goffredo<\/a><\/td>\n1904<\/a><\/td>\n2003<\/a><\/td>\nLatium<\/a>,\u00a0Zagarolo<\/a><\/td>\nModerne<\/a><\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n<\/tr>\n
Piccinni, Niccol\u00f2<\/a><\/td>\n1728<\/a><\/td>\n1800<\/a><\/td>\nPouilles<\/a>,\u00a0Bari<\/a><\/td>\nClassique<\/a><\/td>\n <\/td>\n <\/td>\n <\/td>\nx<\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n<\/tr>\n
Piero (\u00abMaestro Piero\u00bb)<\/a><\/td>\n12??<\/td>\n13??<\/td>\nToscane<\/a>,\u00a0?<\/td>\nM\u00e9di\u00e9val<\/a>, (Trecento<\/a>)<\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\nMadrigal du Trecento<\/a>, \u00abArs nova italienne\u00bb<\/td>\n<\/tr>\n
Pisati, Maurizio<\/a><\/td>\n1959<\/a><\/td>\n\u2013<\/td>\nLombardie<\/a>,\u00a0Milan<\/a><\/td>\nModerne<\/a><\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n<\/tr>\n
Pizzetti, Ildebrando<\/a><\/td>\n1880<\/a><\/td>\n1968<\/a><\/td>\n\u00c9milie-Romagne<\/a>,\u00a0Parme<\/a><\/td>\nModerne<\/a><\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n<\/tr>\n
Platania, Pietro<\/a><\/td>\n1828<\/a><\/td>\n1906<\/a><\/td>\nSicile<\/a>,\u00a0Catane<\/a><\/td>\nRomantique<\/a><\/td>\n <\/td>\n <\/td>\n <\/td>\nx<\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n<\/tr>\n
Platti, Giovanni<\/a><\/td>\n1697<\/a><\/td>\n1763<\/a><\/td>\nV\u00e9n\u00e9tie<\/a>,\u00a0Padoue<\/a><\/td>\nClassique<\/a><\/td>\nx<\/td>\nx<\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n<\/tr>\n
Ponchielli, Amilcare<\/a><\/td>\n1834<\/a><\/td>\n1886<\/a><\/td>\nLombardie<\/a>,\u00a0Cr\u00e9mone<\/a><\/td>\nRomantique<\/a><\/td>\n <\/td>\n <\/td>\n <\/td>\nx<\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n<\/tr>\n
Porpora, Nicola<\/a><\/td>\n1686<\/a><\/td>\n1768<\/a><\/td>\nCampanie<\/a>,\u00a0Naples<\/a><\/td>\nBaroque<\/a><\/td>\n <\/td>\n <\/td>\n <\/td>\nx<\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n<\/tr>\n
Puccini, Giacomo<\/a><\/b><\/td>\n1858<\/a><\/td>\n1924<\/a><\/td>\nToscane<\/a>,\u00a0Lucques<\/a><\/td>\nRomantique<\/a><\/td>\n <\/td>\n <\/td>\n <\/td>\nX<\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n<\/tr>\n
Puccini, Michele<\/a><\/td>\n1813<\/a><\/td>\n1864<\/a><\/td>\n <\/td>\nMusique<\/a><\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n<\/tr>\n
Quagliati, Paolo<\/a><\/td>\n1555<\/a><\/td>\n1628<\/a><\/td>\nV\u00e9n\u00e9tie<\/a>,\u00a0Chioggia<\/a><\/td>\nBaroque<\/a><\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n<\/tr>\n
Ragazzi, Angelo<\/a><\/td>\n1680<\/a><\/td>\n1750<\/a><\/td>\nCampanie<\/a>,\u00a0Naples<\/a><\/td>\nClassique<\/a><\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n<\/tr>\n
Ranzato, Virgilio<\/a><\/td>\n1883<\/a><\/td>\n1937<\/a><\/td>\nV\u00e9n\u00e9tie<\/a>,\u00a0Venise<\/a><\/td>\nModerne<\/a><\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n<\/tr>\n
Razzi, Fausto<\/a><\/td>\n1932<\/a><\/td>\n\u2013<\/td>\nLatium<\/a>,\u00a0Rome<\/a><\/td>\nModerne<\/a><\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n<\/tr>\n
Refice, Licinio<\/a><\/td>\n1883<\/a><\/td>\n1954<\/a><\/td>\nLatium<\/a>,\u00a0Patrica<\/a><\/td>\nClassique<\/a><\/td>\n <\/td>\n <\/td>\n <\/td>\nx<\/td>\n <\/td>\nx<\/td>\nx<\/td>\n <\/td>\n<\/tr>\n
Rendine, Sergio<\/a><\/td>\n1954<\/a><\/td>\n2023<\/a><\/td>\nCampanie<\/a>,\u00a0Naples<\/a><\/td>\nModerne<\/a><\/td>\nx<\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n<\/tr>\n
Respighi, Elsa<\/a><\/td>\n1894<\/a><\/td>\n1996<\/a><\/td>\nLatium<\/a>,\u00a0Rome<\/a><\/td>\nModerne<\/a><\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n<\/tr>\n
Respighi, Ottorino<\/a><\/b><\/td>\n1879<\/a><\/td>\n1936<\/a><\/td>\n\u00c9milie-Romagne<\/a>,\u00a0Bologne<\/a><\/td>\nModerne<\/a><\/td>\nx<\/td>\n <\/td>\nx<\/td>\nx<\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n<\/tr>\n
Riccio, Giovanni Battista<\/a><\/td>\n15??<\/td>\n1622?<\/td>\nV\u00e9n\u00e9tie<\/a>,\u00a0Venise<\/a><\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n<\/tr>\n
Ricieri, Giovanni Antonio<\/a><\/td>\n1679<\/td>\n1746<\/td>\nV\u00e9n\u00e9tie<\/a>,\u00a0Venise<\/a><\/td>\nBaroque<\/a><\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n\u00c9tait aussi\u00a0castrat<\/a><\/td>\n<\/tr>\n
Da Rimini, Vincenzo<\/a><\/td>\n13??<\/td>\n1373<\/a><\/td>\nToscane<\/a>,\u00a0?<\/td>\nM\u00e9di\u00e9val<\/a>, (Trecento<\/a>)<\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\nMadrigal du Trecento<\/a>, \u00abArs nova italienne\u00bb<\/td>\n<\/tr>\n
Ristori, Giovanni Alberto<\/a><\/td>\n1692<\/a><\/td>\n1753<\/a><\/td>\n\u00c9tats pontificaux<\/a>,\u00a0Bologne<\/a><\/td>\nClassique<\/a><\/td>\nx<\/td>\n <\/td>\nx<\/td>\nx<\/td>\n <\/td>\nx<\/td>\nx<\/td>\n <\/td>\n<\/tr>\n
Romitelli, Fausto<\/a><\/td>\n1963<\/a><\/td>\n2004<\/a><\/td>\nFrioul-V\u00e9n\u00e9tie Julienne<\/a>,\u00a0Gorizia<\/a><\/td>\nModerne<\/a><\/td>\nx<\/td>\nx<\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n<\/tr>\n
Rossi, Lauro<\/a><\/td>\n1812<\/a><\/td>\n1885<\/a><\/td>\nMarches<\/a>,\u00a0Macerata<\/a><\/td>\nRomantique<\/a><\/td>\n <\/td>\n <\/td>\n <\/td>\nX<\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n<\/tr>\n
Rossi, Luigi<\/a><\/td>\n159?<\/td>\n1653<\/a><\/td>\nPouilles<\/a>,\u00a0Torremaggiore<\/a><\/td>\nMusique<\/a><\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n<\/tr>\n
Rossini, Gioacchino<\/a><\/b><\/td>\n1792<\/a><\/td>\n1868<\/a><\/td>\nMarches<\/a>,\u00a0Pesaro<\/a><\/td>\nRomantique<\/a><\/td>\nx<\/td>\nx<\/td>\n <\/td>\nX<\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n<\/tr>\n
Rutini, Giovanni<\/a><\/td>\n1723<\/a><\/td>\n1797<\/a><\/td>\nToscane<\/a>,\u00a0Florence<\/a><\/td>\nClassique<\/a><\/td>\n <\/td>\n <\/td>\n <\/td>\nx<\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n<\/tr>\n
Sacchini, Antonio<\/a><\/td>\n1730<\/a><\/td>\n1786<\/a><\/td>\nToscane<\/a>,\u00a0Florence<\/a><\/td>\nClassique<\/a><\/td>\n <\/td>\n <\/td>\n <\/td>\nx<\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n<\/tr>\n
Salieri, Antonio<\/a><\/b><\/td>\n1750<\/a><\/td>\n1825<\/a><\/td>\nV\u00e9n\u00e9tie<\/a>,\u00a0Legnano<\/a><\/td>\nClassique<\/a><\/td>\n <\/td>\n <\/td>\n <\/td>\nX<\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n<\/tr>\n
Sammartini, Giovanni Battista<\/a><\/td>\n1700<\/a><\/td>\n1775<\/a><\/td>\nLombardie<\/a>,\u00a0Milan<\/a><\/td>\nBaroque<\/a><\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n<\/tr>\n
Sammartini, Giuseppe<\/a><\/td>\n1695<\/a><\/td>\n1750<\/a><\/td>\nLombardie<\/a>,\u00a0Milan<\/a><\/td>\nBaroque<\/a><\/td>\nx<\/td>\nx<\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n<\/tr>\n
Samor\u00ec, Aurelio<\/a><\/td>\n1946<\/a><\/td>\n\u2013<\/td>\n\u00c9milie-Romagne<\/a>,\u00a0Faenza<\/a><\/td>\nModerne<\/a><\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n<\/tr>\n
Sangiorgi, Alfredo<\/a><\/td>\n1894<\/a><\/td>\n1962<\/a><\/td>\nSicile<\/a>,\u00a0Catane<\/a><\/td>\nModerne<\/a><\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n<\/tr>\n
Sandoni, Pier Giuseppe<\/a><\/td>\n1685<\/a><\/td>\n1748<\/a><\/td>\n\u00c9milie-Romagne<\/a>,\u00a0Bologne<\/a><\/td>\nClassique<\/a><\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n<\/tr>\n
Sarti, Giuseppe<\/a><\/td>\n1729<\/a><\/td>\n1802<\/a><\/td>\n\u00c9milie-Romagne<\/a>,\u00a0Faenza<\/a><\/td>\nBaroque<\/a><\/td>\n <\/td>\nx<\/td>\n <\/td>\nx<\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n<\/tr>\n
Savasta, Antonio<\/a><\/td>\n1873<\/a><\/td>\n1959<\/a><\/td>\nSicile<\/a>,\u00a0Catane<\/a><\/td>\nModerne<\/a><\/td>\n <\/td>\n <\/td>\n <\/td>\nx<\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n<\/tr>\n
Scarlatti, Alessandro<\/a><\/b><\/td>\n1660<\/a><\/td>\n1725<\/a><\/td>\nSicile<\/a>,\u00a0Palerme<\/a>\u00a0?<\/td>\nBaroque<\/a><\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n<\/tr>\n
Scarlatti, Domenico<\/a><\/b><\/td>\n1685<\/a><\/td>\n1757<\/a><\/td>\nCampanie<\/a>,\u00a0Naples<\/a><\/td>\nBaroque<\/a><\/td>\n <\/td>\nx<\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\nclavecin<\/a><\/td>\n<\/tr>\n
Scarlatti, Giuseppe<\/a><\/td>\n17??<\/td>\n1777<\/a><\/td>\nCampanie<\/a>,\u00a0Naples<\/a><\/td>\nClassique<\/a><\/td>\n <\/td>\n <\/td>\n <\/td>\nx<\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n<\/tr>\n
Scelsi, Giacinto<\/a><\/td>\n1905<\/a><\/td>\n1988<\/a><\/td>\nLigurie<\/a>,\u00a0La Spezia<\/a><\/td>\nModerne<\/a><\/td>\nx<\/td>\nx<\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\nx<\/td>\n<\/tr>\n
Sciarrino, Salvatore<\/a><\/td>\n1947<\/a><\/td>\n\u2013<\/td>\nSicile<\/a>,\u00a0Palerme<\/a><\/td>\nModerne<\/a><\/td>\nx<\/td>\nx<\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n<\/tr>\n
Scodanibbio, Stefano<\/a><\/td>\n1956<\/a><\/td>\n2012<\/a><\/td>\nMarches<\/a>,\u00a0Macerata<\/a><\/td>\nModerne<\/a><\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n<\/tr>\n
Scolari, Giuseppe<\/a><\/td>\n172?<\/td>\n177?<\/td>\nV\u00e9n\u00e9tie<\/a>,\u00a0Vicence<\/a><\/td>\nClassique<\/a><\/td>\n <\/td>\n <\/td>\n <\/td>\nX<\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n<\/tr>\n
Serrao, Paolo<\/a><\/td>\n1830<\/a><\/td>\n1907<\/a><\/td>\nCalabre<\/a>,\u00a0Filadelfia (Italie)<\/a><\/td>\nRomantique<\/a><\/td>\n <\/td>\n <\/td>\n <\/td>\nX<\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n<\/tr>\n
Sgambati, Giovanni<\/a><\/td>\n1841<\/a><\/td>\n1914<\/a><\/td>\nLatium<\/a>,\u00a0Rome<\/a><\/td>\nRomantique<\/a><\/td>\nx<\/td>\nx<\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n<\/tr>\n
De Simone, Roberto<\/a><\/td>\n1933<\/a><\/td>\n\u2013<\/td>\nCampanie<\/a>,\u00a0Naples<\/a><\/td>\nModerne<\/a><\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n<\/tr>\n
Spontini, Gaspare<\/a><\/td>\n1774<\/a><\/td>\n1851<\/a><\/td>\nMarches<\/a>,\u00a0Maiolati<\/a><\/td>\nClassique<\/a><\/td>\n <\/td>\n <\/td>\n <\/td>\nx<\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n<\/tr>\n
Steffani, Agostino<\/a><\/td>\n1654<\/a><\/td>\n1728<\/a><\/td>\nV\u00e9n\u00e9tie<\/a>,\u00a0Castelfranco<\/a><\/td>\nBaroque<\/a><\/td>\n <\/td>\n <\/td>\n <\/td>\nx<\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n<\/tr>\n
Stradella, Alessandro<\/a><\/td>\n1639<\/a><\/td>\n1682<\/a><\/td>\nLatium<\/a>,\u00a0Nepi<\/a><\/td>\nBaroque<\/a><\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\nx<\/td>\n <\/td>\n<\/tr>\n
Strozzi, Barbara<\/a><\/td>\n1619<\/a><\/td>\n1677<\/a><\/td>\nV\u00e9n\u00e9tie<\/a>,\u00a0Venise<\/a><\/td>\nBaroque<\/a><\/td>\n <\/td>\n <\/td>\n <\/td>\nx<\/td>\n <\/td>\n <\/td>\n <\/td>\nCantates<\/a><\/td>\n<\/tr>\n
Stuppner, Hubert<\/a>[<\/span>3]<\/span><\/a><\/sup><\/td>\n1944<\/a><\/td>\n\u2013<\/td>\nTrentin-Haut-Adige<\/a>,\u00a0Trodena<\/a><\/td>\nModerne<\/a><\/td>\nx<\/td>\nx<\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n<\/tr>\n
Tagliapietra, Gino<\/a><\/td>\n1887<\/a><\/td>\n1954<\/a><\/td>\nV\u00e9n\u00e9tie<\/a>,\u00a0Venise<\/a><\/td>\nModerne<\/a><\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n<\/tr>\n
Tarchi, Angelo<\/a><\/td>\n1760<\/a><\/td>\n1814<\/a><\/td>\nCampanie<\/a>,\u00a0Naples<\/a><\/td>\nClassique<\/a><\/td>\n <\/td>\n <\/td>\n <\/td>\nx<\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n<\/tr>\n
Tartini, Giuseppe<\/a><\/td>\n1692<\/a><\/td>\n1770<\/a><\/td>\nSlov\u00e9nie<\/a>,\u00a0Piran<\/a><\/td>\nBaroque<\/a><\/td>\nx<\/td>\nx<\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\nviolon<\/a><\/td>\n<\/tr>\n
Tedeschi, Luigi Maurizio<\/a><\/td>\n1867<\/a><\/td>\n1944<\/a><\/td>\nTurin<\/a><\/td>\nClassique<\/a><\/td>\n <\/td>\nx<\/td>\n <\/td>\nx<\/td>\n <\/td>\n <\/td>\n <\/td>\nharpe<\/a><\/td>\n<\/tr>\n
Tesei, Tonino<\/a><\/td>\n1962<\/a><\/td>\n\u2013<\/td>\nMarches<\/a>,\u00a0Pollenza<\/a><\/td>\nModerne<\/a><\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n<\/tr>\n
Tessarini, Carlo<\/a><\/td>\n1690<\/a><\/td>\n1766<\/a><\/td>\n\u00c9milie-Romagne<\/a>,\u00a0Rimini<\/a><\/td>\nBaroque<\/a><\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\nviolon<\/a><\/td>\n<\/tr>\n
Torelli, Giuseppe<\/a><\/b><\/td>\n1658<\/a><\/td>\n1709<\/a><\/td>\nV\u00e9n\u00e9tie<\/a>,\u00a0V\u00e9rone<\/a><\/td>\nBaroque<\/a><\/td>\nx<\/td>\nx<\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n<\/tr>\n
Tosi, Pier Francesco<\/a><\/td>\n1654<\/a><\/td>\n1732<\/a><\/td>\n\u00c9milie-Romagne<\/a>,\u00a0C\u00e9s\u00e8ne<\/a><\/td>\nClassique<\/a><\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n<\/tr>\n
Tozzi, Antonio<\/a><\/td>\n1736<\/a><\/td>\n1812<\/a><\/td>\n\u00c9milie-Romagne<\/a>,\u00a0Bologne<\/a><\/td>\nClassique<\/a><\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n<\/tr>\n
Trabaci, Giovanni Maria<\/a><\/td>\n1575<\/a><\/td>\n1647<\/a><\/td>\nBasilicate<\/a>,\u00a0Montepeloso<\/a><\/td>\nBaroque<\/a><\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n<\/tr>\n
Traetta, Tommaso<\/a><\/td>\n1727<\/a><\/td>\n1779<\/a><\/td>\nPouilles<\/a>,\u00a0Bitonto<\/a><\/td>\nClassique<\/a><\/td>\n <\/td>\n <\/td>\n <\/td>\nx<\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n<\/tr>\n
Tritto, Giacomo<\/a><\/td>\n1733<\/a><\/td>\n1824<\/a><\/td>\nPouilles<\/a>,\u00a0Altamura<\/a><\/td>\nClassique<\/a><\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n<\/tr>\n
Uttini, Francesco<\/a><\/td>\n1723<\/a><\/td>\n1795<\/a><\/td>\n\u00c9milie-Romagne<\/a>,\u00a0Bologne<\/a><\/td>\nBaroque<\/a><\/td>\nx<\/td>\n <\/td>\n <\/td>\nx<\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n<\/tr>\n
Vaccai, Nicola<\/a><\/td>\n1790<\/a><\/td>\n1884<\/a><\/td>\nMarches<\/a>,\u00a0Tolentino<\/a><\/td>\nRomantique<\/a><\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n<\/tr>\n
Vacchi, Fabio<\/a><\/td>\n1949<\/a><\/td>\n\u2013<\/td>\n\u00c9milie-Romagne<\/a>,\u00a0Bologne<\/a><\/td>\nModerne<\/a><\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n<\/tr>\n
Vento, Mattia<\/a><\/td>\n1735<\/a><\/td>\n1776<\/a><\/td>\nCampanie<\/a>,\u00a0Naples<\/a><\/td>\nClassique<\/a><\/td>\n <\/td>\n <\/td>\n <\/td>\nx<\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n<\/tr>\n
Veracini, Antonio<\/a><\/td>\n1659<\/a><\/td>\n1733<\/a><\/td>\nToscane<\/a>,\u00a0Florence<\/a><\/td>\nbaroque<\/a><\/td>\n <\/td>\nx<\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\nx<\/td>\n <\/td>\n<\/tr>\n
Veracini, Francesco Maria<\/a><\/td>\n1690<\/a><\/td>\n1768<\/a><\/td>\nToscane<\/a>,\u00a0Florence<\/a><\/td>\nbaroque<\/a><\/td>\n <\/td>\nX<\/td>\n <\/td>\nx<\/td>\n <\/td>\n <\/td>\nx<\/td>\nviolon<\/a><\/td>\n<\/tr>\n
Verdi, Giuseppe<\/a><\/b><\/td>\n1813<\/a><\/td>\n1901<\/a><\/td>\n\u00c9milie-Romagne<\/a>,\u00a0Roncole<\/a><\/td>\nRomantique<\/a><\/td>\n <\/td>\n <\/td>\n <\/td>\nX<\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n<\/tr>\n
Vinci, Leonardo<\/a><\/td>\n1690<\/a><\/td>\n1730<\/a><\/td>\nCalabre<\/a>,\u00a0Strongoli<\/a><\/td>\nBaroque<\/a><\/td>\n <\/td>\n <\/td>\n <\/td>\nX<\/td>\n <\/td>\n <\/td>\nx<\/td>\n <\/td>\n<\/tr>\n
Viotti, Giovanni Battista<\/a><\/td>\n1755<\/a><\/td>\n1824<\/a><\/td>\nPi\u00e9mont<\/a>,\u00a0Fontanetto<\/a><\/td>\nClassique<\/a><\/td>\nx<\/td>\nx<\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n<\/tr>\n
Vivaldi, Antonio<\/a><\/b><\/td>\n1678<\/a><\/td>\n1741<\/a><\/td>\nV\u00e9n\u00e9tie<\/a>,\u00a0Venise<\/a><\/td>\nClassique<\/a><\/td>\nX<\/td>\nx<\/td>\n <\/td>\nx<\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n<\/tr>\n
Volpe, Giovanni Battista<\/a><\/b><\/td>\n1620<\/a><\/td>\n1691<\/a><\/td>\nV\u00e9n\u00e9tie<\/a>,\u00a0Venise<\/a><\/td>\nbaroque<\/a><\/td>\n <\/td>\n <\/td>\n <\/td>\nx<\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n<\/tr>\n
Wolf-Ferrari, Ermanno<\/a><\/td>\n1876<\/a><\/td>\n1948<\/a><\/td>\nV\u00e9n\u00e9tie<\/a>,\u00a0Venise<\/a><\/td>\nModerne<\/a><\/td>\n <\/td>\n <\/td>\n <\/td>\nx<\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n<\/tr>\n
Zappa, Francesco<\/a><\/td>\n17??<\/td>\n17??<\/td>\nLombardie<\/a>,\u00a0Milan<\/a><\/td>\nClassique<\/a><\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n<\/tr>\n
Zingarelli, Niccol\u00f2<\/a><\/td>\n1752<\/a><\/td>\n1837<\/a><\/td>\nCampanie<\/a>,\u00a0Naples<\/a><\/td>\nClassique<\/a><\/td>\n <\/td>\n <\/td>\n <\/td>\nx<\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n<\/tr>\n
Zandonai, Riccardo<\/a><\/td>\n1883<\/a><\/td>\n1944<\/a><\/td>\nTrentin-Haut-Adige<\/a>,\u00a0Rovereto<\/a><\/td>\nModerne<\/a><\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n <\/td>\n<\/tr>\n<\/tbody>\n
\n\n\n\n\n\n\n\n\n
Compositeur<\/b><\/td>\nLes noms et pr\u00e9noms indiqu\u00e9s correspondent \u00e0 ceux mentionn\u00e9s en titre de l’article principal relatif au compositeur.<\/td>\n<\/tr>\n
Ann\u00e9e de naissance<\/b><\/td>\nSi l’ann\u00e9e est approximative, elle sera suivie d’un \u00ab\u00a0?\u00a0\u00bb. Un \u00ab\u00a0?\u00a0\u00bb seul indique une ann\u00e9e inconnue.
\nUne inscription du type \u00ab\u00a015??\u00a0\u00bb indique une ann\u00e9e inconnue au\u00a0XVI<\/span>e<\/sup><\/abbr>\u00a0si\u00e8cle<\/a>.<\/td>\n<\/tr>\n
Lieu de naissance<\/b><\/td>\nEn principe lieu de naissance, sauf si inconnu ou trompeur (p. ex.<\/span>\u00a0naissance durant un voyage des parents)\u00a0: dans ces cas figure le lieu d’origine ou le lieu d\u2019activit\u00e9 principal.
\nCette colonne indique d’abord la R\u00e9gion, puis la localit\u00e9 (commune) de naissance. Ces indications sont toutes \u00e9tablies sur la base des fronti\u00e8res\u00a0politiques actuelles<\/b>, et en utilisant les\u00a0d\u00e9nominations actuelles<\/b>. Le lecteur sera attentif au fait qu’avant\u00a01866<\/a>\u00a0l’Italie \u00e9tait compos\u00e9e de diverses entit\u00e9s politiques\u00a0(p. ex.<\/span>\u00a0royaumes), et que depuis\u00a01866<\/a>\u00a0les fronti\u00e8res de l’Italie ont \u00e9t\u00e9 modifi\u00e9es, notamment \u00e0 la suite de la\u00a0Premi\u00e8re Guerre mondiale<\/a>\u00a0(p. ex.<\/span>\u00a0Istrie<\/a>, etc.).<\/td>\n<\/tr>\n
Ann\u00e9e de d\u00e9c\u00e8s<\/b><\/td>\nidem que pour l’ann\u00e9e de d\u00e9c\u00e8s.
\nSi aucune inscription ne figure dans cette rubrique, le compositeur est suppos\u00e9 \u00eatre vivant.<\/td>\n<\/tr>\n
Style<\/b><\/td>\nGrandes p\u00e9riodes musicologiques\u00a0:\u00a0Cf.<\/i>\u00a0Cat\u00e9gorie:Compositeur de musique classique par p\u00e9riode<\/a>, auxquels s’ajoute une particularit\u00e9 italienne\u00a0: le\u00a0Trecento<\/a>\u00a0(\u00abArs nova italienne\u00bb).<\/td>\n<\/tr>\n
Musique profane<\/a>\u00a0\/\u00a0sacr\u00e9e<\/a><\/b><\/td>\nCes d\u00e9nominations correspondent aux\u00a0principaux\u00a0types musicaux<\/a><\/b>. Chaque type est subdivis\u00e9 en principaux genres, sans volont\u00e9 d’exhaustivit\u00e9, appartenant soit \u00e0 la\u00a0musique instrumentale<\/a>\u00a0(symphonique<\/a>,\u00a0musique de chambre<\/a>,\u00a0ballet<\/a>, etc.) soit \u00e0 la musique\u00a0vocale<\/a>\u00a0(lyrique<\/a>,\u00a0m\u00e9lodies<\/a>,\u00a0messes<\/a>,\u00a0oratorios<\/a>). Un X majuscule met en \u00e9vidence le genre musical le plus utilis\u00e9 par le compositeur.<\/td>\n<\/tr>\n
Divers<\/b><\/td>\nCette colonne peut indiquer un genre musical ne figurant pas dans les six colonnes pr\u00e9c\u00e9dentes\u00a0(p. ex.<\/span>\u00a0cantate<\/a>,\u00a0motet<\/a>,\u00a0madrigal<\/a>,\u00a0opera buffa<\/a>), pr\u00e9ciser le style\u00a0(p. ex.<\/span>\u00a0Madrigal du Trecento<\/a>), ou indiquer un instrument de pr\u00e9dilection du compositeur.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

 <\/p>\n\n\n\n\n\n\n\n\n\n
Couleurs utilis\u00e9es en fonction du si\u00e8cle<\/b><\/td>\n<\/tr>\n
XIV<\/span>e<\/sup><\/abbr><\/a>\u00a0et\u00a0XV<\/span>e<\/sup><\/abbr><\/a>\u00a0si\u00e8cles<\/b><\/td>\n<\/tr>\n
XVI<\/span>e<\/sup><\/abbr>\u00a0si\u00e8cle<\/a><\/b><\/td>\n<\/tr>\n
XVII<\/span>e<\/sup><\/abbr>\u00a0si\u00e8cle<\/a><\/b><\/td>\n<\/tr>\n
XVIII<\/span>e<\/sup><\/abbr>\u00a0si\u00e8cle<\/a><\/b><\/td>\n<\/tr>\n
XIX<\/span>e<\/sup><\/abbr>\u00a0si\u00e8cle<\/a><\/b><\/td>\n<\/tr>\n
XX<\/span>e<\/sup><\/abbr><\/a>\u00a0et\u00a0XXI<\/span>e<\/sup><\/abbr><\/a>\u00a0si\u00e8cles<\/b><\/center><\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

 <\/p>\n

\n

<\/span>Carte des r\u00e9gions d’Italie<\/h2>\n<\/div>\n
\n

<\/a><\/p>\n

Vall\u00e9e d’Aoste<\/a><\/b><\/div>\n
Frioul-V\u00e9n\u00e9tie Julienne<\/a><\/b><\/div>\n
Trentin-Haut-Adige<\/a><\/b><\/div>\n
V\u00e9n\u00e9tie<\/a><\/b><\/div>\n
Lombardie<\/a><\/b><\/div>\n
Pi\u00e9mont<\/a><\/b><\/div>\n
Ligurie<\/a><\/b><\/div>\n
\u00c9milie-Romagne<\/a><\/b><\/div>\n
Toscane<\/a><\/b><\/div>\n
Les Marches<\/a><\/b><\/div>\n
Ombrie<\/a><\/b><\/div>\n
Latium<\/a><\/b><\/div>\n
Abruzzes<\/a><\/b><\/div>\n
Molise<\/a><\/b><\/div>\n
Campanie<\/a><\/b><\/div>\n
Pouilles<\/a><\/b><\/div>\n
Basilicate<\/a><\/b><\/div>\n
Calabre<\/a><\/b><\/div>\n
Sicile<\/a><\/b><\/div>\n
Sardaigne<\/a><\/b><\/div>\n<\/div>\n
\n

<\/span>Notes et r\u00e9f\u00e9rences<\/h2>\n<\/div>\n
\n
    \n
  1. Si une p\u00e9riode est \u00e0 cheval sur deux si\u00e8cles, on retiendra celui durant lequel le compositeur compte le plus grand nombre d’ann\u00e9es d\u2019activit\u00e9.<\/span><\/li>\n
  2. Est n\u00e9 en Espagne mais a \u00e9tudi\u00e9 et travaill\u00e9 \u00e0 Milan.<\/span><\/li>\n
  3. Est n\u00e9 \u00e0\u00a0Trodena<\/a>\u00a0au Tyrol du Sud (Province autonome de Bolzano<\/a>), a \u00e9tudi\u00e9 et travaill\u00e9 \u00e0\u00a0Bolzano<\/a>.<\/span><\/li>\n<\/ol>\n<\/div>\n","protected":false},"excerpt":{"rendered":"

    Image mise en avant : Evaristo_Felice_Dall’Abaco   La pr\u00e9sente liste recense quelque 250\u00a0compositeurs italiens de\u00a0musique classique, du\u00a0Moyen \u00c2ge\u00a0au\u00a0XXIe\u00a0si\u00e8cle. Sont donc exclus les compositeurs de musique jazz, de musique de film, de musique populaire, les chansonniers (auteurs-compositeurs-interpr\u00e8tes), etc. Les principaux compositeurs sont en\u00a0gras. Il est possible d’obtenir un classement par ann\u00e9e de naissance, par p\u00e9riode d’activit\u00e9, […]<\/p>\n","protected":false},"author":1,"featured_media":20593,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"class_list":["post-20524","page","type-page","status-publish","has-post-thumbnail","hentry"],"_links":{"self":[{"href":"https:\/\/oraziopuglisi.art\/index.php\/wp-json\/wp\/v2\/pages\/20524","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/oraziopuglisi.art\/index.php\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/oraziopuglisi.art\/index.php\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/oraziopuglisi.art\/index.php\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/oraziopuglisi.art\/index.php\/wp-json\/wp\/v2\/comments?post=20524"}],"version-history":[{"count":7,"href":"https:\/\/oraziopuglisi.art\/index.php\/wp-json\/wp\/v2\/pages\/20524\/revisions"}],"predecessor-version":[{"id":20597,"href":"https:\/\/oraziopuglisi.art\/index.php\/wp-json\/wp\/v2\/pages\/20524\/revisions\/20597"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/oraziopuglisi.art\/index.php\/wp-json\/wp\/v2\/media\/20593"}],"wp:attachment":[{"href":"https:\/\/oraziopuglisi.art\/index.php\/wp-json\/wp\/v2\/media?parent=20524"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}