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See also:COLONNA, GIOVANNI See also:PAOLO (circa 1637—1695) , See also:Italian musician, was See also:born in See also:Bologna about 1637 and died in the same See also:city on the 28th of See also:November 1695. He was a See also:- PUPIL (Lat. pupillus, orphan, minor, dim. of pupus, boy, allied to puer, from root pm- or peu-, to beget, cf. "pupa," Lat. for " doll," the name given to the stage intervening between the larval and imaginal stages in certain insects)
pupil of Filippuzzi in Bologna, and of Abbatini and Benevoli in See also:Rome, where for a See also:- TIME (0. Eng. Lima, cf. Icel. timi, Swed. timme, hour, Dan. time; from the root also seen in " tide," properly the time of between the flow and ebb of the sea, cf. O. Eng. getidan, to happen, " even-tide," &c.; it is not directly related to Lat. tempus)
- TIME, MEASUREMENT OF
- TIME, STANDARD
time he held the See also:post of organist at S. Apollinare. A dated poem in praise of his See also:music shows that he began to distinguish himself as a composer in 1659. In that See also:year he was chosen organist at S. Petronio in Bologna, where on the 1st of November 1674 he was made See also:chapel-piaster. He also became See also:president of the Philharmonic See also:Academy of Bologna. Most of Colonna's See also:works are for the See also:- CHURCH
- CHURCH (according to most authorities derived from the Gr. Kvpcaxov [&wµa], " the Lord's [house]," and common to many Teutonic, Slavonic and other languages under various forms—Scottish kirk, Ger. Kirche, Swed. kirka, Dan. kirke, Russ. tserkov, Buig. cerk
- CHURCH, FREDERICK EDWIN (1826-1900)
- CHURCH, GEORGE EARL (1835–1910)
- CHURCH, RICHARD WILLIAM (1815–189o)
- CHURCH, SIR RICHARD (1784–1873)
church, including settings of the See also:psalms for three, four, five and eight voices, and several masses and motets. He also composed an See also:opera, under the See also:title Amilcare, and an See also:oratorio, La Profezia d' Eliseo. The See also:emperor See also:Leopold I. received a copy of every See also:composition of Colonna, so that the imperial library in See also:Vienna possesses upwards of 83 church compositions by him. Colonna's See also:style is for the most See also:part dignified, but is not See also:free from the inequalities of style and See also:taste almost unavoidable at a See also:period when church musicwas in a See also:state of transition, and had hardly learnt to combine the gravity of the old style with the brilliance of the new.
End of Article: COLONNA, GIOVANNI PAOLO (circa 1637—1695)
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