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Il n’est pas certain qu’on doive lui attribuer les quelques madrigaux signés « Courtois » des recueils de l’époque (RISM 1542/18 et 1543/18) ; l’auteur en est plus probablement Jean Courtois. « Lamberto Cortese et compagni cantori » participèrent à Pâques 1550 à un concert donné par l’Arciconfraternità del Ss. Crocifisso en l’église Saint-Marcel de Rome. En 1553, il est mentionné comme musicien pendant les fêtes du carnaval à l’Accademia Filarmonica de Vérone. L’année suivante, il fut engagé par l’orchestre du recteur de Dubrovnik. Il exerça dans cette ville comme maître de musique, musicien (tibicinus) et « maestro », ainsi que « maestro di capellae » à la cathédrale. L’évêque de Dubrovnik, Ludovico Beccadeli, nota dans une de ses lettres que Lambert était un « musico eccelente non solo a Ragusa ma anche in Italia ». Il s’installa ensuite à Udine, où il travailla comme « maestro di cappella » à la cathédrale (1570-74), puis à Trévise (1574-79) et à Vicence (1582-85). Son séjour à Dubrovnik (1554-1570) fut le plus long, et c’est la période ou il fut le plus actif comme compositeur. Son recueil <em>Madrigali a cinque</em> (RISM C4347 ; les parties S et A ont disparu) est dédié à trois aristocrates de Dubrovnik : Miho Marina Bunić, Nikola Ive Gundulić et Marko Tome Baziljević. Certains poètes ragusains furent peut-être les auteurs des paroles de plusieurs pièces vocales de ce recueil. Petit Jacquet, la seule pièce instrumentale connue de Courtoys, est une canzone à quatre voix, publiée dans l’anthologie \"Musica de diversi autori\", la \"Battaglia francese\" et \"Canzon delli ucelli insieme alcuni canzoni francese, partite in caselle per sonar d’instromento perfetto novamente ristampate\" (RISM 1577/11). Cette canzone fut citée ultérieurement par Girolamo dalla Cassa dans <em>Il vero modo di diminuir, Libro secondo</em> (1584). L’oeuvre de Courtoys constitue l’un des plus importants témoignages de la musique croate de la Renaissance. Son fils aîné, Henri (Henrik) Courtoys, participa par deux madrigaux au recueil de son père de 1580, et son fils cadet, Lambert Courtoys (le Jeune), fut lui aussi musicien à Dubrovnik."]],["elementText",{"elementTextId":"62570"},["text","<a href=\"http://data.bnf.fr/14823043/lambert_courtois\" target=\"_blank\" rel=\"noreferrer\">http://data.bnf.fr/14823043/lambert_courtois</a>"]]]],["element",{"elementId":"76"},["name","Zotero_ID"],["description"],["elementTextContainer",["elementText",{"elementTextId":"62571"},["text","RENVOIS "]],["elementText",{"elementTextId":"62572"},["text"," CESR_person_00100 "]],["elementText",{"elementTextId":"62573"},["text"," source_RMC11 "]]]],["element",{"elementId":"36"},["name","Bibliography"],["description"],["elementTextContainer",["elementText",{"elementTextId":"62574"},["text","Demović, Miho, <em>Musik und Musiker in der Republik Dubrovnik vom Anfang des 11. Jahrhunderts bis zur Mitte des 17. 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Le nom de « chierico di Parenzo » que l’on attribue généralement à Antico, rappelle les privilèges accordés par le pape Léon X (1513, 1516 et 1517). Il travailla à Rome, de 1510 à 1518, et à Venise, de 1520 à 1521. Il collabora avec plusieurs imprimeries dont les plus importantes furent celles de O. Scotto et de L.A. et J. Giunto, comme coéditeur ou comme xylographe. Particulièrement intéressante fut sa collaboration, en 1521, avec l’imprimeur A. Torresani, pour la publication de deux livres de motets et de deux livres de messes. C’est Torresani qui publia certains des plus anciens livres croates en caractères glagolitiques qui nous sont parvenus. Seul ou en étroite collaboration, Antico imprima ou participa à l’impression d’environ 30 ouvrages musicaux. Il introduisit plusieurs innovations dans l’imprimerie musicale, notamment celle qui consiste à imprimer la musique en un seul passage en réunissant à la fois des caractères mobiles pour le texte et des bois gravés qu’il réalisait lui-même pour la musique. Il imprima surtout des in-quarto, plus économiques que les autres formats. Par ailleurs, son anthologie <em>Liber quindecim missarum</em>, qui renferme des oeuvres de Josquin, Févin, Mouton et autres, représente le plus ancien livre musical en grand in-folio. Il se distingua comme propagateur de la musique française en Italie (<em>La couronne et fleur des chansons a troys</em>, 1539). Son recueil <em>Frottole intabulate da sonar organi, libro primo</em> (1517) est le premier recueil imprimé de frottoles vocales mises en tablature pour orgue. Dans son recueil <em>Frottole de misser Bartolomio Trombocino &amp; de misser Marchetto Carra</em> (1520), Antico se révèle être aussi un transcripteur de musique de luth. Il est sans aucun doute l’auteur de deux d’entre les frottoles qu’il inséra dans son recueil d’anthologie <em>Canzoni sonetti strambotti et frottole, libro tertio</em> (1513), alors qu’il n’est pas certain que les 15 autres, signées « A. de Antiquis (Venetus) » lui soient attribuables. Il acquit une solide réputation auprès de ses contemporains, non seulement par son activité d’imprimeur mais aussi pour ses qualités de musicien expérimenté. Il sut la mettre à profit dans les livres qu’il publiait, notamment à travers le choix attrayant du répertoire musical offert par ses éditions, mais également dans la réunion des nombreuses oeuvres de compositeurs européens reconnus, qui ont été conservées uniquement dans ses éditions. On ignore cependant si les recueils de musique profane et religieuse d’Antico furent connus de ses compatriotes de l’époque."]],["elementText",{"elementTextId":"62175"},["text","<a href=\"http://data.bnf.fr/13984789/andrea_antico\" target=\"_blank\" rel=\"noreferrer\">http://data.bnf.fr/13984789/andrea_antico</a>"]]]],["element",{"elementId":"76"},["name","Zotero_ID"],["description"],["elementTextContainer",["elementText",{"elementTextId":"62176"},["text","RENVOIS "]],["elementText",{"elementTextId":"62177"},["text"," CESR_person_00080 "]],["elementText",{"elementTextId":"62178"},["text"," source_RMC13"]]]],["element",{"elementId":"36"},["name","Bibliography"],["description"],["elementTextContainer",["elementText",{"elementTextId":"62179"},["text","Disertori, Benvenuto, <em>Le Frottole per canto e liuto intabulate da Franciscus Bossinensis</em>, Milano, Ricordi, coll. « Istituzioni e monumenti dell’arte musicale italiana. Nuova serie », n°3, 1964."]],["elementText",{"elementTextId":"62180"},["text","Einstein, Albert, 'Andrea Antico’s Canzoni nove of 1510', <em>Musical Quarterly</em>, XXXVII, 1951, pp. 330-339."]],["elementText",{"elementTextId":"62181"},["text","Fenlon, Iain, <em>Music, Print and Culture in Early Sixteenth-Century Italy</em>, Londres, 1995."]],["elementText",{"elementTextId":"62182"},["text","Luisi, Francesco, <em>La musica vocale nel Rinascimento: Studi sulla musica vocale profana in Italia nei secoli XV e XVI</em>, Turin, the British library, 1977."]],["elementText",{"elementTextId":"62183"},["text","Stipčević, Ennio, <em>Hrvatska glazba, povijest hrvatske glazbe do 20. stoljeća</em>, Zagreb, Školska knjiga, 1997."]],["elementText",{"elementTextId":"62184"},["text","Županovic, Lovro, <em>Sedamnaest frottola</em> [17 frottole]. <em>Spomenici hrvatske glazbene proslosti</em>, III, Zagreb, Drustvo hrvatskih Skadatelja, 1972."]]]]]],["elementSetContainer",["elementSet",{"elementSetId":"1"},["name","Dublin Core"],["description","The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. 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