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Lorenzo Penna (1613 Bologna – 31 October 1693) was an Italian composer and music theorist.

Nothing is known about Lorenzo Penna's early life. Assuming that Lorenzo was probably his religious name , he could possibly be identified with a Vincenzo Penna, who was born on January 23, 1613 according to the baptismal register of the Cathedral of Bologna . In 1630 Penna entered the Carmelite monastery of S. Martino in Bologna as a novice and made profession the following year . From 1639 to 1642 he was the novice master of the monastery. In 1656 he worked as maestro di cappella at S. Ilario in Casale Monferrato . In 1665 he entered the University of FerraraPhD in theology. From 1667 to 1669 he was maestro di cappella at S. Cassiano in Imola . He then belonged to the Carmelite monastery in Mantua until 1672 , 1672/1673 he was maestro di cappella at the religious church of Parma . He then returned to Bologna, where he probably spent the rest of his life. He was a member of the Accademia dei Filaschisi in Bologna and the Accademia dei Risoluti and from 1676 the Accademia Filarmonica .

The majority of his compositional work includes sacred choral music, which had little impact beyond his personal sphere of activity. His only instrumental works are the Correnti Francesi , which he composed for the wedding of Alessandro Sanvitali, Count of Fontanellato . The fact that he also called the 25 short correnti sonatas shows that he probably had no contact with the Bolognese school and its development of the modern violin sonata .

In contrast, his musical textbooks were influential in his day. His Albori musicali appeared in 1672 in three volumes, consisting of general music theory, polyphonic composition and thorough bass accompaniment. The work went through at least five editions by 1696 and was also reprinted in Antwerp, Venice and, in part, in a French translation. His second textbook is the Direttorio del Canto Fermo , which is aimed at singers and composers of sacred music, but did not reach the spread of the Albori musicali .

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