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Venice was slow to develop a musical life worthy of her stature. It made up for lost time, however, when its ruling families began supporting music as a matter of civic pride in the early 16th century. By end of the century Venice was the musical capital of all Europe, a leading centre for virtuoso performers, instrument-makers, and music publishers, as well as birthplace of new genres and the brilliant polychoral style. The spiritual and ceremonial centre of Venice was the basilica of Saint Mark's, where to enhance the glory of the Republic, city fathers employed a succession of the most gifted musicians. Andrea and Giovanni Gabrieli and Claudio Merulo were among its organist-composers. Willaert, Rore, Zarlino, and Monteverdi each served as »rnaestro di cappella «, Performances at smaller churches, scuole grandi, and academies were also superb and impressed visitors to the city. The report of the Elizabethan Thomas Coryat is not unusual in its praise of music-making •• so good, so delectable, so rare, so admirable, so super excellent, that it did even ravish and stupefie all those strangers that never heard the like .•• Everywhere in 16th-century Europe brass playing had a larger role in musical life than it was to have again for several centuries. Venetian players active around 1500 probably resembled those of other cities in their number, repertory, social standing, and skill. During the city's rapid riseto musical preeminence, however, brass playing flourished to an extent perhaps unmatched until the twentieth century. Both the number of players and standard of skill rose, cornet virtuosos published teaching manuals, anew and sophisticated genre, the can zona, appeared and quickly matured, and players began attaining positions of responsibility. An example is the sacbut player Alviso Grande, a good friend of Giovanni Gabrieli and director of music at the Pieta, a position held by Vivaldi a century later. The Piffari By 1500 most European cities had town bands ollour to six players that performed for both civic and private ceremonies: processions, weddings, guild days, and the like. These bands were the primary employer of loud-wind players, both brass-cornet, sacbut, and slide trumpet and reed, expecially shawms. The doge, elected head of the Venetian state, had his own piffari, as the players were called, who gave daily, hourlong concerts in the Piazza of Saint Mark's. Early in the 16th century Venice could field at least six bands for its processions. The repertory of the Venetian Piffari at the beginning of the century is not directly known, but it likely resembled that of the players of nearby Ferrara, which is known in part. A manuscript used by the Ferrarese piffari survives, and two of our Pieces, •• Fuga •• and -L'hornme arrne •• , come from that manuscript (bibl. Casatanese 2856). The other pieces in the set come from early prints of the Venetian publisher Petrucci, which contain a repertory very like that of the Ferrarese manuscript. These the short, neatly - wrought chanson and chanson-like instrumental pieces by northern composers were widely popular throughout Europe around 1500.