'''Lodovico Grossi da Viadana''' (usualmente '''Lodovico da Viadana''', embora seu nome de família seja Grossi; c. 1560–[[2 de maio]] de []) foi um compositor italiano, além de professor e frei franciscano da [[Ordem dos Frades Menores Observantes]]. Foi a primeira figura significativa a fazer uso da então recém-desenvolvida técnica do [[baixo contínuo]], um dos artifícios de composição que definiram o fim da [[Renascença]] e o começo do [[Barroco]] em música.
==Música e Relevância==
Viadana é importante no desenvolvimento do técnica do Barroco inicial, chamada [[baixo-contínuo]] e de seu método de notação, conhecido como [[baixo-cifrado]].
While he did not invent the method—figured basses occur in published sources from at least as early as 1597 (Williams and Ledbetter 2001)—he was the first to use it in a widely-distributed collection of sacred music (''Cento concerti con il basso continuo''), which he published in Venice in 1602. [[Agostino Agazzari]] in 1607 published a treatise describing how to interpret the new figured bass, though it is clear that many performers had by this time already learned the new method, at least in the most progressive musical centers in Italy.▼
Viadana composed mostly sacred music: [[mass (music)|masses]], Psalms, [[magnificat]]s, [[motet]]s, and [[lamentations (music)|lamentations]], though there are two books of secular [[canzonetta|canzonette]] and a book of eight-voice ''Sinfonia musicali''. His earlier music is clearly in a [[Renaissance music|Renaissance]] style, strictly ''a cappella'' with balanced [[polyphony]] between the voices, but after 1602 he wrote increasingly in an early Baroque style, with frequent [[concertato]] passages, and always with a basso continuo. He also used the [[monody|monodic]] style, especially in his later works, and some of his Psalm settings (for example the ''Salmi'' op. 27, for four spatially separated choruses) are progressive works in the [[Venetian polychoral style]]. In addition, some of his later works anticipate the later instrumental [[concerto]]: they indicate specific instrumentation—still not a widely used practice—and they involve back-and-forth dialog between groups of voices and instruments.
Viadana's music was influential not only in Italy, but also in Germany, on composers such as [[Michael Praetorius]], [[Johann Schein]] and [[Heinrich Schütz]]. It was largely through Viadana that the concertato style arrived in [[Germany]], the country that was to develop it most eagerly in the early 17th century.