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73:, and worked for the papal court for almost all of his career. Francesco was heralded throughout Europe as the foremost lute composer of his time. More of his music is preserved than of any other lutenist of the period, and his work continued to influence composers for more than a century after his death.
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and a few other pieces by
Francesco are known. His music represents the transition from the loose improvisational style of his predecessors to the more refined polyphonic textures of later lute music. One of the defining characteristic features of Francesco's style is the manipulation and development
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Nothing is known about
Francesco's last years and his death, except that he probably did not die in Milan. The exact date of death, 2 January 1543, was recorded only by Luca Gaurico. Francesco's brother outlived him by at least 19 years, and died sometime after 1562. Francesco's father probably
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in
October 1516; Francesco's father kept this position until December 1518, but Francesco stayed until Leo's death in 1521. Little is known about his subsequent career in Rome, but he was still living in the city in early 1526: on 16 January 1526 he and one other lutenist performed for
153:, a famous patron of the arts. In July Francesco married one Clara Tizzoni, a Milanese noblewoman, and moved to Milan, where the couple lived at least until September. By early 1539 Francesco and his father were once again employed by the papal court.
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in 1987, the song became a big hit in the Soviet Union and beyond and raised questions about the actual credit. It was not until the 2000s that mystification was revealed and the credit for the hit went posthumously to
Vavilov.
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in 1529, five volumes of lute music comprising mostly
Francesco's works were published in Milan in 1536. There are many 16th- and 17th-century manuscript sources for his works, as well. Today, more than a hundred
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A composition called "Canzona by
Francesco da Milano" (better known as the song "The City of Gold") is commonly misattributed to da Milano. It is actually a musical hoax by lutenist and famous mystificator
195:. Francesco's reputation today rests on his ricercars and fantasias, but contemporaries apparently held his intabulations of vocal works by other composers to be the best part of his œuvre.
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and composers of his generation. Aside from his influence on the development of lute music, he is also important for being among the first composers to create monothematic
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of short melodic motifs within a "narrative" formal outline. Francesco was drawing on techniques found in contemporary vocal music, e.g. works by
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The collected extant lute music of
Francesco, edited by Arthur Ness, was published by Harvard University Press in 1970 (
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Christopher Wilson and
Shirley Rumsey, "Francesco Canova da Milano - Fantasias, Ricercars and Duets", Naxos (1994)
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317:"Francesco Canova da Milano. The Pieces of uncertain attribution - Biblioteca de la Guitarra y Cuerda Pulsada"
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Francesco Canova da Milano. The Pieces of uncertain attribution - Biblioteca de la
Guitarra y Cuerda Pulsada
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380:"A Decoration of Silence: The Lute Music of Il Divino, Francesco Canova da Milano Vol. 2 " RGS (2015)
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Already by 1530 Francesco's music was widely known and studied. A few of his works were published in
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in S Nazaro
Maggiore in Milan, which he would cede to his brother in 1536. He may have travelled to
355:, "Francesco da Milano: Fantasias, Intabulations, Ricercari, Dances, Reconstructions", Naïve (2008)
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374:"Dolcissima Et Amorosa: The Lute Music of Il Divino, Francesco Canova da Milano Vol. 1" RGS (2014)
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Wilson, Christopher. 1997. Comments on the 1997 The Francesco da Milano International Symposium.
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Two Fantasias by Francesco Canova da Milano performed by lutenist Brian Wright
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Siro Pillosu, "Fantasie Divine, lute music by Francesco da Milano", Ibé (2019)
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Sandro Volta, "Francesco da Milano: Music for lute" Brilliant Classics (2015)
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Details of Francesco's later life are sketchy. He may have served at the
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349:, "Fantasie: 21 Fantasias by Francesco Canova da Milano", Red C (2004)
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182:(two terms used interchangeably in Francesco's oeuvre), some 30
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outlived his son as well; he died at some point before 1555.
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court for a short time, since some sources refer to him as
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368:, "Francesco di Milano 'Il divino'", Harmonia Mundi (2013)
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Pavan, Franco (2001). "Francesco (Canova) da Milano". In
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A possible portrait of Francesco Canova da Milano (
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408:The New Grove Dictionary of Music and Musicians
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21:Francesco da Milano (painter)
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411:(2nd ed.). London:
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95:Tractatus astrologicus
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251:"Francesco da Milano"
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413:Macmillan Publishers
139:Ippolito de' Medici
127:Francesco da Parigi
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470:Composers for lute
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480:Italian lutenists
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208:Opus number
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338:Recordings
326:2024-05-18
260:2024-05-18
107:Pope Leo X
218:"Canzona"
193:ricercars
180:fantasias
176:ricercars
51:Il divino
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229:Aquarium
123:Parisian
63:composer
59:lutenist
131:canonry
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