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It seems to be pretty well established that the two went together to Venice in 1495. But he returned to Mantua and for many years passed some of his time at that court and some at Ferrara. For example, we learn that in 1497 the Cardinal d'Este promised the Marchioness of Mantua that she should have some new compositions by Tromboncino.
The celebrated composer of frottole, Bartolomeo Tromboncino, was for some time in the service of the Mantuan court. It was formerly believed that he went to Mantua in 1494, but Signer Bertolotti unearthed a document which showed that his father was engaged there in 1487. From which the learned Italian investigator reached the conclusion that the young Tromboncino was with his parent.
Yet in 1499 he was sent with other musicians of the suite of the Gonzagas to Vincenza to sing a vesper service in some church. It appears that Tromboncino was not only a composer, but an instrumental musician and a singer. These fragmentary references to the activities of Tromboncino at the court of Mantua are indeed unsatisfactory, but they are about all that are within our reach.
On the 26th Benvenuto Valpaio added that his Holiness desired Michael Angelo to select some workshop more convenient than the cold and cheerless sacristy. Sebastiano’s letters during 1533 often refer to an edition of some madrigals written by Michael Angelo and set to music by Bartolomeo Tromboncino, Giacomo Arcadelt, and Constanzo Festa.
Several of Sebastiano's letters during the summer and autumn of 1533 refer to an edition of some madrigals by Michelangelo, which had been set to music by Bartolommeo Tromboncino, Giacomo Archadelt, and Costanzo Festa. We have every reason to suppose that the period we have now reached was the richest in poetical compositions.
The "Cortegiano" dates from 1514, though it was not published till a few years later, and the frottola was at the zenith of its excellence in the time of Bernado Tromboncino, who belongs to the latter half of the fifteenth century. Quentin, who died in 1518.
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