John Coprario developed polyphonic settings of madrigals, enriching them with instrumental possibilities like extended range, speed, and wide leaps, creating an instrumental identity for ensemble music.
Historical Context
The Italian madrigal, a complex mix of polyphony and Italian poetry, became a popular musical export and was extremely well-received in England since the time of Queen Elizabeth I.
Historical Context
During Coprario's lifetime, using musical material from other composers was not considered theft but a respectful engagement with promising ideas, known as 'imitatio' and 'aemulatio'.
Composer Biography
John Coprario taught viola da gamba to Charles, the second son of King James I, who later appointed Coprario as his personal composer after becoming King Charles I.
Historical Context
Before the mid-18th century, instrumental music was considered inferior to vocal music, as music was thought to have meaning only when associated with words.
Compositional Technique
Many of John Coprario's fantasias for string ensembles drew their musical material from contemporary Italian madrigals, adapting these vocal compositions for instrumental performance.
Composer Biography
John Coprario, whose true name and dates are uncertain, was a violist, composer, and music teacher for English noble houses before serving King James I and Queen Anne.
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