SEARCH RESULTS FOR: Carissimi
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(Ja’-ko-mo Ka-res’-se-me) 1605–74 Italian composer Carissimi was the most important composer of oratorios of his time. He was born in Rome where, in about 1630, he became maestro di cappella at Sant’Apollinare, the church of the Jesuit Collegio Germanico, renowned for its musical tradition. Carissimi composed masses and motets, but is chiefly admired for his cantatas and ...

Source: Classical Music Encyclopedia, founding editor Stanley Sadie

an opera. Recommended Recording: Madrigals, Airs and Canzonas, soloists, Accademia Claudio Monteverdi (dir) Hans Ludwig Hirsch (Arts Music) Introduction | Early Baroque | Classical Personalities | Giacomo Carissimi | Early Baroque | Classical ...

Source: Classical Music Encyclopedia, founding editor Stanley Sadie

(Märk An-twan’ Shar-pont-ya’) 1643–1704 French composer Charpentier studied in Italy during the 1660s. There he familiarized himself with the instrumental and vocal forms of Carissimi and, above all, that of the oratorio. When he returned to Paris he joined the musicians of the Duchess of Guise and in 1673 became associated with Molière’s Comédie Française. In 1687, Charpentier composed ...

Source: Classical Music Encyclopedia, founding editor Stanley Sadie

narrative and meditative elements, oratorios of this period were generally performed in church. Perhaps the most remarkable example from the seventeenth century is Jephte (1650), by the Roman Giacomo Carissimi (1605–74). The lament and chorale finale of this work provide moving evidence that, despite the restricted circumstances of performance, the oratorio could rival opera for sheer musical drama. ...

Source: The Illustrated Encyclopedia of Music, general editor Paul Du Noyer

dance rhythms, florid madrigal-like songs and solos in the new recitative style. Some of the finest examples of this style from the mid-seventeenth century are the Latin oratorios of Carissimi (such as Jephte). Here the individual characters are portrayed by soloists singing either in simple recitative or in a more lyrical aria style; instrumental ritornellos punctuate the vocal pieces. By ...

Source: Classical Music Encyclopedia, founding editor Stanley Sadie

and mythological subjects are also found. Alessandro Scarlatti’s 600 or so cantatas (written mainly for the solo voice, usually soprano) built on those of his predecessors such as Giacomo Carissimi (1605–74), Alessandro Stradella (1644–82) and Barbara Strozzi (c. 1619–64). Scarlatti bridged the change between recitatives and arias with arioso passages (a style of singing half way between recitative and aria). ...

Source: Classical Music Encyclopedia, founding editor Stanley Sadie
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