Download Baroque Music (3rd Edition) by Claude V. Palisca PDF

By Claude V. Palisca

Now incorporates a bankruptcy on French and English sacred tune within the seventeenth and 18th century.

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By this time two short pastorals had been similarly set to music by Emilio de'Cavalieri, whom the Duke had brought from Rome in 1587 as his superintendent of fine arts and entertainments. These were Il Satiro and La Disperazione di Fileno, performed at court in 1591. A few airs and one recitative section survive from Dafne, but nothing from Cavalieri's pastorals. We therefore have to accept Peri's acknowledgment that Cavalieri was the first to set an entire dramatic work to music, which Cavalieri himself boasted was the case.

8 This statement indicates that Caccini scored his first successes with the monodic style around 1590, since Bardi moved from Florence to Rome in1592, and his Camerata (see Chapter 3) did not survive that date. Comparison of the other songs with those he named shows that Caccini's conception of the monodic style failed to develop beyond that point. For 1602, they are strangely conservative and untouched by the most important discovery of the age: the recitative style. : Princeton University Press, 1949, reprinted, with additions, 1971), Vol.

These EXAMPLE Orfeo Non (I e non so - sPr od I sigh not pian -go cr! mar non I ord weep Pos - ve-ro in so cannot - fe - li €€' corpse. f o mto o co - my heart, rq o o mra rny spe -me, o pa-ce,ovihope, o perce, o + ohi md! Alas, +{ ! $6 [ do where - ve se'gi you gone? have ta? ngryGu. coG I xa a( &Lciu m o ral o D ro finitlrr oloo rilp crn norc nrli trm foQi* Onioccconbfpacr d pr ucfci gr A'inno nooclhndtincadoiluo ffi ,d* collottc m loaSfoolooam b Af,ioorfillia? d. d- Cdnti ai led Lrf o ar ftdrmoriraniOrr rlrlb t EXAMPLE 3-3 Peri's music for Orfeo's moving lament over the death of his bride, Euridice, in the original edition by Giorgio Marescotti, Florence, 1601.

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