Giulio Caccini
Giulio Romano Caccini ( born October 8, 1551 Rome, † December 10, 1618 (date of burial ) in Florence ) was an Italian composer, singer, singing teacher and instrumentalist, who lived to Early Baroque at the interface of the late Renaissance and the development Opera was involved.
Life stages
The RömerGiulio Caccini was taken very young in the boys' choir of Capella Giuliana. John Walter Hill suspects " very likely ", Caccini have already as 5-year ( 1556 ) started there and sang the role of the psyche in an intermedium to La Cofanaria already after a month in Florence. From October 1564 to November 1565 he was in Rome singing student G. Animuccia 's. His other teachers Scipiones delle Palle heard from Siena ( singing and playing the lute ).
For the constant presence at its main site of action, the court of the Grand Duke Ferdinando de ' Medici in Florence, called Hill as a hedged date 29 April 1566. Florence was at that time one of the main cultural centers of Italy. 1579 and 1589 Caccini was involved as a singer - instrumentalist and soloist of the famous Florentine Wedding intermedia of the family de 'Medici. Caccini played lute, harp and double chitarrone and is there Braccio displayed on a screen as a player of the lira. As a member of the Camerata Florentina, who had their meetings in the Palazzo Giovanni Bardi, it will be a big part in the invention of a new type of song, monody, which led to the opera, awarded.
Its not less important brother was the sculptor Giovanni Battista Caccini (* 1556 in Rome, † 1613 in Florence).
As a successful singing teacher Caccini taught his (second) wife Margherita della Scala (the first, Lucia - also a singer - died soon after the birth of the eldest daughter ) and his daughters Francesca and Settima, and his son Pompeo and formed with them a widely famous vocal ensemble, concert tours to the French court in Paris undertook ( September 1604-June 1605 ).
Monody and basso continuo
Giulio Caccini is considered one of the founders of monody, a new type of solo singing, which was the word and meaning of the text. The Voice were accompanied only by a bass instrument. This new type of accompaniment by a keyboard or lute was the singing and all kinds of music a fixed harmonic support. Thus began the so-called basso age. The new emotionally charged singing style was particularly neat in the house of Giovanni de ' Bardi and developed. Bardi came from the family of the Counts of Vernio in Florence, his palace was the center for poets, musicians and scholars. Caccini took from the 1570s to the discussions of the so-called bardic circle part; he took lay claim to have invented it the "stile recitative ".
Caccini composed many of his solo songs with accompaniment of a theorbo. In his main work Le nuove Musiche he took arias and madrigals to as examples of composition and solo presentation with basso continuo.
Le nuove Musiche
The preface to this vocal pedagogical work and his collection of examples are first technical explanations for the virtuoso singing. It can be considered the first vocal training workshop.
Caccini writes in:
" Since I am now convinced that productions cause no other pleasure in the sense of our day, as that which is granted by harmony to the ear alone, that the mind can not be gerühret without understanding the words, the thought of a kind of singing came in a sense of a harmonious speech equal, perform, and I put a certain noble disdain of the song of the day, every now and then touched some dissonances, the bass was but rest, except where I, the common use According to his with the sounds of wanted by instruments executed middle voices serve me to express any emotion, to which they are alone useful. "
Especially popular was Amarilli mia bella, madrigal, the learned adaptations in the Fitzwilliam Virginal Book and of Jacob van Eyck.
Caccini and the Opera
Caccini's name is associated particularly with the emergence of opera. From the beginning he belonged to the circle of the Camerata Florentina, a society of musicians, poets and scholars, where he was especially appreciated as a practical musician. As a Renaissance man they wanted the ancient theater and the theater music of the Greeks revive. At the opera written by Jacopo Peri, Euridice (1600), he worked with and wrote in the same year his own Euridice (1602, premiered libretto by Ottavio Rinuccini, 1562-1621 ). With regard to the former development of opera and his thoughts on the art of singing Giulio Caccini is regarded as one of the first representatives of the " arioso style" and as a precursor of the bel canto.
Works
Musical
- La Dafne, begun in 1595, missing, unclear
- Euridice, opera in 1600, first performance in 1602 with his daughter Francesca as a soloist
- Il rapimento di Cefalo, Intermezzo for voice and basso continuo, employees, 1600th parts of it printed by Caccini in Le nuove musiche
- Madrigals and arias for solo voice and basso continuo in Le nuove Musiche, Florence 1602
- Many arias and canzonettas in Bibl Naz. Florence
Theoretically
- Le nuove Musiche, Florence 1601 several editions
- Fuggilotio Musicale, Venice 1513
- Le nuove musiche e nuova maniera di scriverle, Florence 1614
The Caccini ascribed setting of the Ave Maria, which only contains the words " Ave Maria ", is now part of the repertoire of many singers, singers and choirs. The composition, which is also present in countless arrangements for instruments, however, comes from the pen of the Russian guitarist, lutenist and composer Vladimir Fyodorovich Vavilov ( 1925-1973 ).