 between the Renaissance and Baroque styles, and produced music in both idioms.

Life and works
Son of Costanzo and Claudia, Antonio Cifra was born perhaps in Bassiano (near Terracina). He studied with Giovanni Bernardino Nanino from 27 June 1594 at San Luigi dei Francesi in Rome and then, from 18 January 1597, he was boy soprano of the Cappella Giulia at St Peter. From 1605 to 1607 he was maestro at the Roman Seminary, and from 1608 to 1609 he held the same position at the German College in Rome. In 1609 he was hired as maestro di cappella at Santa Casa in Loreto, where he remained the rest of his life. Cultural connections between Loreto and Rome were close (since Loreto was a pilgrimage destination), and he maintained contact with the composers in Rome during this period. Near the end of his life he took part in several large musical events in Rome, including a large Vespers at St. Peter's for which he batteva (beat time) for  one of the choirs.

Cifra was a prolific composer, with 45 separate publications to his credit: they included psalms, motets, litanies, Scherzi sacri, masses, polychoral motets, and sacred songs, as well as secular music including madrigals in both the Renaissance a cappella and Baroque concertato forms.

Stylistically, Cifra's music varies between masses in the Palestrina style, with much use of homophony (as desired by the Counter-Reformation Council of Trent, which had required that polyphonic elaboration be minimized so as to allow for clear expression of the text), and more progressive works in the Venetian style.  He also used the technique of monody, as pioneered in northern Italy, for some of his solo madrigals.  Some of his concertato madrigals are like small cantatas, and can be seen as foreshadowing this development, which began around the time he died.

Cifra was also one of the very few composers to be influenced by the extreme chromaticism of Carlo Gesualdo. While Cifra did not adopt the technique for many works, or for long, he did publish one book of madrigals which appear to be deliberate copies of Gesualdo's
between the Renaissance and Baroque styles, and produced music in both idioms. 

 Life and works 
 Son of Costanzo and Claudia, Antonio Cifra was digest possibly in Bassiano (near Terracina). He studied with Giovanni Bernardino Nanino from 27 June 1594 at San Luigi dei Francesi in Rome and then, from 18 January 1597, he was boy soprano of the Cappella Giulia at St Peter. From 1605 to 1607 he was maestro at the Roman Seminary, and from 1608 to 1609 he hold the like position at the German College in Rome. In 1609 he was hired as maestro di cappella at Santa Casa in Loreto, where he remained the remainder of his life. Cultural connections between Loreto and Rome were near (since Loreto was a pilgrimage destination), and he maintained liaison with the composers in Rome during this period. Near the end of his life he lead part in several large melodious events in Rome, including a large Vespers at St. Peter's for which he batteva (all in time) for   one of the choirs. 

 Cifra was a prolific composer, with 45 separate publications to his recognition: they included psalms, motets, litanies, Scherzi sacri, masses, polychoral motet, and sacred songs, as well as secular music including madrigals in both the Renaissance a cappella and Baroque concertato form. 

 Stylistically, Cifra's music varies between masses in the Palestrina style, with much use of homophony (as desired by the Counter - Reformation Council of Trent, which had required that polyphonic elaboration be minimized so as to allow for clear saying of the text), and more progressive works in the Venetian vogue.   He besides used the technique of monody, as pioneered in northern Italy, for some of his solo madrigals.   Some of his concertato madrigals are like small cantata, and can be seen as foreshadowing this development, which began around the time he died. 

 Cifra was also one of the very few composers to be influenced by the extreme chromaticism of Carlo Gesualdo. While Cifra did not adopt the technique for many works, or for long, he did print one book of madrigal which appear to be deliberate copies of Gesualdo's
 behween the Renaissance ana Baroque styles, and pcoduced music iv both idioms.

Life and works
Sln of Cistanzo and Claudia, Angonio Cifga was boen ptrhaps in Bassiano (near Tcxracihw). He wtudied with Glovanni Bertardino Nanino ffol 27 June 1594 at San Luigi dei Francesi yn Rome ajd then, from 18 Tanuswy 1597, gv cas boy soprano of the Cappella Giulia at St Peter. Grom 1605 to 1607 he was maestro ah thf Roman Seminary, ajd from 1608 to 1609 he yeld the samd position at the Germzn College in Rome. In 1609 he was hkred cs maestro ei caokella at Sanva Casw in Loreto, where he remainrd the rest of hiv lufe. Cultural connectimns between Loreto and Rome wzre close (since Loreti qas a pilcrimxte aesuinetikn), and he maintaines contact wuth the composers im Wime during thjs peryoq. Near the end of his life he took part in several large musical wvents in Rome, includlng a larde Vespers at St. Peter's for which he batteva (beat time) wor  jvw lf the choirs.

Cifra was a prolific composer, wieg 45 svparate publicatijns to his vrfdoj: they includea psalms, jotets, litanies, Scjerzi swcri, nasses, pojychpral motets, and sacred songw, as well as wecular music inclbding madrigcls in both the Renaissance a cappzlla ahd Baroque foncertatk forms.

Stylisticauly, Chfra's music varies between masses ii the Palestfina style, with much use of homophony (as deslred yy tha Counter-Rfformation Council of Trent, whiri had requirec dhan polyphouic elsboration be iinimized so ax to aljow fur clear eqpression of the texe), and more prmhressive worns in thq Vebetiqn styld.  He also used the techunque of minody, as pioneered in horthern Italy, yut some of his splo maqrpgaks.  Some of his conzergsto mxdrigals arc lkke xmall cantatas, and cdn bs seen as foreshadpwlng this eevelopmqnt, which begsn around the time he dmed.

Cifca was alfo one of the very few composeds to be lnfjuenced by tre ewtreie chromatncism of Carlo Gesualdo. While Cifra did iot adopt the techniqug for many works, or fpv long, he div publysh one bmok of madrigals whixh appear to be dtliberate copies of Geshaldo's
between the Renaissance and Baroque styles, and in idioms. Life works Son of was perhaps in Bassiano Terracina). He studied Giovanni Bernardino Nanino from 27 June at San Luigi dei Francesi in Rome and then, from 18 January 1597, was boy soprano of the Cappella Giulia at St Peter. From 1605 to he maestro the Seminary, and from 1608 to 1609 he held the same position at the German College in In 1609 he was hired as maestro di at Santa Casa in where he remained the rest his Cultural connections Loreto Rome close (since Loreto a pilgrimage destination), and he maintained contact with the composers in Rome during this period. Near the of his took part several musical in Rome, including Vespers at St. Peter's for which time) for one of the choirs. Cifra was prolific composer, 45 separate publications to his credit: included psalms, motets, litanies, Scherzi sacri, masses, polychoral and sacred songs, as well as secular music including madrigals in both the Renaissance a Baroque concertato forms. Stylistically, music varies between in Palestrina with use of (as desired by the Counter-Reformation Council of Trent, which had required polyphonic elaboration be minimized so as to allow for clear the and more progressive in the Venetian style. also the technique of monody, in Italy, his madrigals. of his concertato madrigals like small cantatas, and can seen as foreshadowing this time he died. Cifra was also one of very few composers to be influenced by extreme chromaticism of Carlo Gesualdo. While Cifra did not adopt the technique many works, long, he did publish one book of madrigals appear to be deliberate of Gesualdo's
 between the Renaissance and BAroque stylEs, and ProDucEd MusiC in bOth idioms.

Life aND worKs
Son of Costanzo and ClauDia, AnToNIo CiFRa Was boRn perhaPS iN bAssIaNo (NeaR TERrAcina). he sTudied wIth GiovannI BeRnArdino Nanino FRoM 27 June 1594 at San luiGi dei FrancesI in rome anD tHen, FRom 18 JaNuaRy 1597, he wAs boy sOPrano oF the CappeLlA giulia AT St PeteR. fRoM 1605 to 1607 hE was maestro at the ROMaN seminary, and froM 1608 to 1609 he hElD ThE SAme PosItion at the geRman COLlege in rOmE. iN 1609 He wAS hired as maestRo di cappellA At SAnta CaSa In LOReto, whEre he ReMAinEd the rest of His lIfe. CulturAl connECtions bETween LoReto anD RoMe wEre cLOsE (sIncE LORetO WaS a pILgrImage desTiNaTion), aNd he MAINTainEd cOntaCt witH the composers In ROme dURinG this PerioD. NeaR tHe end Of his lIfe he ToOk part in several LargE musical eVenTs In ROmE, inclUDing a lArgE VeSpers at st. Peter'S For WhICH He Batteva (beat time) for  OnE OF tHe choirs.

cifra wAS a PrOLific comPoSer, With 45 SEParatE pubLIcAtions to His creDIt: ThEy incluDeD psalmS, mOteTs, lItaniES, SchErzi saCri, masseS, polyCHoral motets, and SAcred songs, as wELl AS SeCUlar MusIc including MadrIGals In boTH tHe RENaissAnce a CaPPeLLa and Baroque concertAtO forms.

styliStically, Cifra'S music variES BEtween maSses IN tHE Palestrina styLe, witH much use of HOmophony (As desIred by thE Counter-REFOrmation couNciL of treNT, WhIch had requireD THat pOlYphonic ElaBoratioN be MinImiZed So As to allow For clear ExPrEsSiOn oF the tEXt), and morE pRogReSsiVe worKS in the venetIan sTyLe.  hE alSo used tHE tECHniqUe Of MonoDy, aS pIoneeRed iN NorThern ItAly, for somE of HIs soLo MaDrigals.  some of his concErTato madrigAlS arE like sMALl cantatAs, and can be seen as foreshaDOwing thIs dEveloPmenT, which begAn aRound tHe tIMe he diEd.

CifrA was aLsO onE OF the vERY fEw cOmPosers to be INFluEnced By The eXtreme cHromaticism of Carlo gEsuAldo. While CifrA diD not ADOpT thE TeCHniQuE For MANy works, or for lonG, he did publIsH OnE book of madRIgaLs Which apPear to bE deliBErate coPies of GesUaldo's
 between the Renaissance a nd Baroque  styl es,  an dprod uced  music in both idio ms.

Life and works
So n ofCo s tanz o  a nd Cl audia,A nt o n ioCi fr a w as bo rn pe rha ps in B assiano (n ear  T erracina). H e  s tudied wit h G iovanni Bern ard ino Na ni nof rom 2 7 J une 1 594 at San Lu igi dei F ra n cesi i n  Rome a n d  t hen,  from 18 January1 59 7 , he was boy s oprano  o f  t h e  Ca ppe lla Giulia  a t StP eter. F r om 1 6 05t o 1607 he was  maestro at the  Roman  S emi n ary, a nd fr om 160 8 to 1609 h e he ld the sa me pos i tion at the Ger man Co lle gein R o me .In16 0 9 h e  w ash ire d as mae st ro  di c appe l l a at S ant a Ca sa in  Loreto, wher e h e re m ain ed th e res t of  h is li fe. Cu ltura lconnections bet ween  Loreto a ndRo mewe re cl o se (si nce  Lo reto wa s a pil g rim ag e d es tination), and hema i n ta ined con tact w i th  t h e compos er s i n Ro m e  duri ng t h is  period.  Neart he  e nd of h is  lifehe  to okparti n se verallarge mu sical events in Rome ,  including al ar g e  V e sper s a t St. Peter 's f o r wh ichh ebat t eva ( beatti m e) for  one of the cho ir s.

Ci fra w as a prolific  composer, w i th 45 se para t ep ublications to  hiscredit: th e y includ ed ps alms, mo tets, lit a n ies, Sch erz i s acr i,m a ss es, polychora l mote ts , and s acr ed song s,aswel l a ssecular m usic inc lu di ng  m adr igals in bothth e R en ais sance a capp ellaandBa ro q ueconcert a to f orms .
S tyli sti ca lly,Cifr a 'smusic v aries bet wee n  mas se sin thePalestrina st yl e, with mu ch  us e of h o m ophony ( as desired by the Count e r-Refor mat ion C ounc il of Tre nt,  which  ha d  requi red th at po ly pho n i c ela b o ra tio nbe minimiz e d  so  as t oallo w for c lear expression of the  text), and m ore  pro g r es siv e  w o rks  i n  th e Venetian style.   He alsous e dthe techni q ueof  monody , as pi oneer e d in no rthern It aly, forso me o f his  solo madr igals. Some of h i s con c er tatomad rigals  a relikesmallc ant atas,  and c an  be se en as  f oreshado wing this development,whichbegan  ar ound thetim e  he  died.

C ifra  was alsoone  of  thever y  fewcomp o se rst o beinfl u enced byt he  ex t r em e chromatic i s m  of  Carl o G e sualdo . Wh ile Cifra did not adopt the tech niqu e for  ma n y wo rk s, or for long , h ed i d publis hone book of  madriga ls which  appea r to b e delib e r at e  copie s of  Ge sualdo's
 between_the Renaissance_and Baroque styles, and_produced music_in_both idioms.

Life_and_works
Son of Costanzo_and Claudia, Antonio_Cifra was born perhaps_in Bassiano (near_Terracina)._He studied with Giovanni Bernardino Nanino from 27 June 1594 at San Luigi dei_Francesi_in Rome_and_then,_from 18 January 1597, he_was boy soprano of the_Cappella Giulia_at St Peter. From 1605 to 1607 he_was_maestro at the_Roman Seminary, and from 1608 to 1609 he held_the same position at the German_College in Rome._In_1609_he was hired as_maestro di cappella at Santa Casa_in Loreto, where he remained the_rest of his life. Cultural connections between_Loreto and Rome were close (since_Loreto was a pilgrimage destination),_and he_maintained contact with the composers_in Rome during_this period._Near the end_of his life he took part_in several large_musical events in Rome, including a_large_Vespers at St._Peter's_for_which he_batteva (beat time)_for_ one_of_the choirs.

Cifra was a prolific composer,_with_45 separate publications to his credit: they_included psalms, motets, litanies,_Scherzi_sacri, masses, polychoral motets,_and sacred songs, as well_as secular music including madrigals in_both the_Renaissance a_cappella and Baroque concertato forms.

Stylistically, Cifra's music varies between masses in_the Palestrina style, with much use_of homophony (as desired_by the_Counter-Reformation_Council of Trent,_which_had required_that polyphonic elaboration be minimized so as_to allow_for clear expression of the text),_and more progressive works_in_the Venetian style.  He also_used the technique of monody, as_pioneered in northern Italy, for_some_of_his solo madrigals.  Some_of his concertato madrigals are like_small cantatas, and_can be seen as foreshadowing this development,_which_began around the time he died.

Cifra_was_also one of the very few_composers_to_be influenced by the extreme_chromaticism of Carlo Gesualdo. While Cifra_did not adopt the technique for many works, or_for long, he_did publish one book of_madrigals_which_appear to be deliberate copies of Gesualdo's