1561–1633, Italian Like his rival and fellow Roman Giulio Caccini, Jacopo Peri possessed several musical talents. He was a composer, singer and harpist. In 1588, also like Caccini, Peri joined the Medici court in Florence. At age 27, he was, it seems, an attractive addition to one of the most glittering courts in ...
(Ya-ko-po Pa’-re) 1561–1633 Italian composer Peri was a Florentine who held a post as musician at the Medici court. He was probably a member of Bardi’s famous circle of Camerata in Florence, but by 1592 was enjoying the patronage of the amateur composer Corsi. One of the poets of Corsi’s household was Rinuccini, whose pastoral poem Dafne was partly set ...
, whose dance sequence he did much to establish. Recommended Recording: Works for Organ and Harpsichord, Lorenzo Ghielmi (Nuovo Era) Introduction | Early Baroque | Classical Personalities | Jacopo Peri | Early Baroque | Classical ...
L’Orfeo, favola in musica by Claudio Monteverdi | Early & Middle Baroque Major Operas | L’incoronazione di Poppea by Claudio Monteverdi | Early & Middle Baroque Personalities | Jacopo Peri | Early & Middle Baroque | Opera Houses & Companies | The Teatro San Cassiano, Venice | Early & Middle Baroque | Opera Techniques | Monteverdi’s Innovations | Early ...
madrigals and concluding music for the intermedi (interludes) staged in Florence; the chorus that began the finale became one of the most popular melodies of its time. However, like Peri, Cavalieri fell foul of Giulio Caccini. Cavalieri wrote La contesa fra Guinon e Minerva (‘The Dispute between Guinon and Minerva’, 1600) for the wedding of King Henry VI of ...
1574–1620, Italian Composer and tenor Francesco Rasi took part in the first performances of Peri’s Euridice and Caccini’s Rapimento di Cefalo in Florence in 1600. By then he was already an experienced and much-admired performer, after 10 years in the service of aristocratic patrons, including Duke Fernando I of Tuscany before 1594, and, after 1598 the ...
family in Florence and very quickly proved himself immensely gifted in several musical skills – as singer, composer, teacher, lutenist and harpist. In 1598, Caccini helped Peri compose Dafne. In 1600, he became superintendent of musicians and actors at the ducal court of Tuscany. In the same year, Caccini wrote his first opera, Il ...
Peri’s Dafne (1598). A musical setting of Dafne composed by Heinrich Schütz in 1627 may have been the first German opera. Rinuccini’s libretto Euridice was set to music by both Peri (1600) and Caccini (1602) and in 1608, Rinuccini wrote his most famous text, for Monteverdi’s Arianna. However, although Monteverdi considered him to be the best librettist of ...
(1850), No. 4 in d (1841, rev. 1851); Piano Concerto, a (1841/45); Cello Concerto, a (1850); Violin Concerto, d (1853) Choral works: Das Paradies und die Peri (1843), Requiem für Mignon (1849), Szenen aus Goethes Faust (1853) Piano solo: Davidsbündlertänze, op. 6; Carnaval, op. 9; Sonata No. 1, f sharp, op. 11; Symphonische ...
These became a popular form of court entertainment for the powerful de’ Medici family, and were a precursor to the grandeur of Baroque opera productions. Composers such as Jacopo Peri (1561–1633), Giulio Caccini (c. 1545–1618) and Claudio Monteverdi (1567–1643) used Greek and Roman mythology as a basis for their musical dramas, and it was from these early works such ...
actual history is complex, but its contribution to opera is unequivocal. In 1598 the ‘first opera’, Dafne, with a libretto by member Ottavio Rinuccini and music by Jacopo Peri (1561–1633) was performed at the home of the group’s then-patron, Jacopo Corsi (d. 1604). Although only a couple of choruses survive from this experiment, it set the stage ...
, whose story was accordingly treated many times in the fifteenth and sixteenth centuries. It is no coincidence that the first major operas, a Euridice by each of Jacopo Peri (1561–1633) and Giulio Caccini (c. 1545–1618) and Orfeo by Claudio Monteverdi (1567–1643), take as their theme this half-man, half-god whose singing had the power to charm the gods and ...
by Bardi, Ottavio Rinuccini (1562–1621) and Laura Guidiccioni (fl. 1550). The music was composed largely by Cristofano Malvezzi (1547–99) and Luca Marenzio (1550–99), with contributions by others, including Peri, Caccini and Bardi. The individual scenes included: the Harmony of the Spheres (Intermedio 1); the contest in song between the Muses and the Pierides (Intermedio 2); the story of ...
off their voices.) Among the members of Bardi’s Camerata were Vincenzo Galilei (c. 1520–91) and Caccini, the most important singer at the Florentine court. Another court singer, Peri, was a member of a similar (though less academic) group which met at Corsi’s home during the 1590s. Caccini and Peri, who were involved with many of the ...
What distinguishes Peri’s Euridice from other musical dramas staged at the time, and allows it to claim the status of the first opera, is the composer’s use of a new style of singing, intended to imitate speech in song. It was partly the outcome of attempts to recreate the direct and expressive declamation of ancient Greek and Roman ...
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