publication of a set of Magnificats dedicated to Emperor Charles V. It is possible that Pari not only knew Gombert's music but looked to his experience as inspiration to survive his own hard years of slavery; and the music akin to the dense contrapuntal style of Gombert was all composed after the end of Pari's sentence. Although Pari had a liking for the dense counterpoint of the middle of the 16th century, he experimented with piquant dissonances, and also with the concertato style, features which were quite contemporary; he also varied the texture widely within individual pieces as a way to highlight the dramatic contents of the text. Publications First book of madrigals (five voices), lost First book of madrigals (six voices), lost Il pastor fido, second book of madrigals (five voices), Palermo, 1611 Third book of madrigals (five voices), Palermo, 1617 Il lamento d'Arianna, fourth book of madrigals (five voices), Palermo, 1619 References and further reading Paolo Emilio Carapezza, "Claudio Pari", in The New Grove Dictionary of Music and Musicians, ed. Stanley Sadie. 20 vol. London, Macmillan Publishers Ltd., 1980. Paolo Emilio Carapezza/Giuseppe Collisani, "Claudio Pari", Grove Music Online ed. L. Macy (Accessed April 30, 2005), (subscription access) Paolo Emilio Carapezza, "Madrigalisti siciliani", Nuove effemeridi, no.11 (1990), 97–106 F. Renda, "L'Inquisizione in Sicilia: i fatti, le persone" (Palermo, 1996) External links 1574 births 17th-century deaths Renaissance composers Italian Baroque composers Composers from Sicily 17th-century Italian composers Italian male classical composers 17th-century male musicians