'''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.
Nasceu na cidade de Viadana, próximo a [[Parma]], na Itália. De acordo com um documento datado de aproximadamente 150 anos após a sua morte, foi um membro da família Grossi, mas tomou o nome de sua cidade natal, Viadana, quando entrou para a
ordem dos Menores Observadores antes de 1588 (Mompellio 2001).
Though there is no contemporary evidence, it has been claimed that he studied with [[Costanzo Porta]] (Mompellio 2001), becoming choirmaster at the cathedral in [[Mantua]] by 1594. In 1597 he went to [[Rome]], and in 1602 he became choirmaster at the cathedral of San Luca in Mantua. He held a succession of posts at various cathedrals in Italy, including Concordia (near [[Venice]]), and Fano, on the east coast of Italy, where he was ''maestro di cappella'' from 1610 to 1612 (Mompellio 2001). For three years, 1614–17, he held a position in his religious order which covered the entire province of Bologna (including [[Ferrara]], Mantua and [[Piacenza]]). By 1623 he had moved to [[Busseto]], and later he worked at the convent of Santa Andrea, in Gualtieri, near Parma. He died in [[Gualtieri]] (Mompellio 2001).
==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.