Amyntor "Amintore" Flaminio Claudio Galli (12 October 1845 – 8 December 1919) was an Italian music publisher, journalist, historian, musicologist, and composer.

[1][2] Galli's students included Ruggero Leoncavallo, Umberto Giordano, Marco Enrico Bossi, Giacomo Puccini, and Francesco Cilea.

[1][2] Galli is credited with composing the music of Filippo Turati's Workers' Hymn, a popular socialist anthem that was banned by successive governments.

[1][2] By the time he returned to Milan in 1874, Galli had become a musical critic in Sonzogno's Il Secolo,[1][2] one of Italy's most widely-circulated newspapers, renowned for its radical, democratic, and republican tendencies.

[3] The first instalment of Il teatro musicale giocoso, one such series,[1] offered the piano sheet music of Gioachino Rossini's The Barber of Seville for one lira.

[1] Thus, Galli translated many French opera librettos,[2] including those of Hervé, Charles Lecocq, and Jacques Offenbach; his most sensational purchase was of Georges Bizet's Carmen in 1879.

Among his pupils were Ruggero Leoncavallo, Pietro Mascagni, Umberto Giordano, Marco Enrico Bossi, Giacomo Puccini, and Francesco Cilea.

Mascagni was particularly attached to Galli, who also wrote piano reductions for five of his other operas (I Rantzau, Guglielmo Ratcliff, Silvano, Zanetto, and Le Maschere).

[1] Notably, in the second competition, advertised in July 1888 and judged by a panel including Galli and Antonio Ghislanzoni, Mascagni's Cavalleria rusticana won first prize against seventy-two other operas.

[3][19] Galli wrote multiple essays and treatises on musicology and music history, known to have inspired artists such as Filippo Marchetti, Carlo Pedrotti and Pietro Platania.

While he was therefore closer to the chronological approach of F. Clement, Galli's essay La musica ed i musicisti (Milan, 1871) criticised how it insufficiently incporporated aesthetic-philosophical values in the creation of music, and his essay Appello al buon senso (Venice, n.d.) advocated linking the evolution of musical language to its environmental and cultural conditioning.

[1] In Alberto Mazzucato, cenni commemorativi (Milan, 1897), Galli decried the "artistic perversion" presented in the "descriptive music" of composers who avoided melodies such as Jean-François Le Sueur and Hector Berlioz.

Among Galli's last compositions was Missa pacis (1919), which was performed on 14 September 1919 in Rimini's Church of San Giovanni Battista,[23] directed by Augusto Massari [it],[1] during a solemn ceremony for the conclusion of the First World War.

Following Galli's death, music critic Vito Fedeli [it] wrote of the piece:[24]The Mass is an excellent, magnificent work, worthy in every way of the superior mind that conceived and implemented it.

It is not a liturgical Mass, in the sense desired today by the most intransigent reformists of sacred music, but follows the tradition of the best authors of the 'concertante' religious genre in great style: M. Haydn, Cherubini, Mozart, Beethoven, etc.

With this work, its illustrious father left another very clear testimony of his high and learned culture, of his many fruitful activities, of his most noble feelings as a man and artist.In 1886, Galli set Filippo Turati's Workers' Hymn to music, his best-known composition.

[4] Lazzari recalled hearing Galli play the tune for the first time in February 1886, at his offices in Il Secolo, quietly to avoid the attention of its inimical contributors in the neighbouring rooms.

The song was banned again during the First World War,[5] and after the Battle of Caporetto in autumn 1917,[6] the prefecture of Milan forced Galli to withdraw copies of the anthem from the market at his expense.

[4] In 1894, Galli purchased a summer holiday home on Via Santa Maria in Cerreto, a rural lane between the villages of Gaiofana and Fienili, near Rimini's border with Coriano.

[2][13] In 1904, Galli retired permanently to Rimini,[1] purchasing an apartment in the city centre in 1906,[13] at the corner of Via Alessandro Gambalunga and Via Santa Maria al Mare.

[24] On 6 May 1947, following the deposition of the Italian monarchy, a unanimous resolution of Rimini's municipal government renamed the Victor Emmanuel II Theatre after Galli.