The history of music takes a fundamental shift in 1600 with the birth of opera. It is this kind Florence emerges again in the Camerata Bardi , learned society the most eminent humanists of the city, artists, philosophers and theorists. These intellectuals learn the modes of representation of the tragedy and the diction of poetry in a voice halfway between the spoken and sung it made ââuse , and is accompanied by an instrument ( read , kithara , ARPA , etc. ) . These ancient Replays will therefore be crucial for the next generation of composers such as Giulio Caccini, Jacopo Peri and Emilio de ´Cavalieri who, in 1600, each write a work stile rappresentativo , modeled on Greek tragedy.
These findings, a new music was born: the cantando recite . Its operation and notation were theorized and implemented : now , each character sings , solo voice , part that mimics the declamation , both from the perspective of the rhythm intonation . To accompany this one voice, the basso continuo was born , along with a brand new instrumentarium to accompany the voice, the chitarrone the lirone harp and join other instruments such as the harpsichord or organ.
The first kind experience some success in the north of the peninsula. Very quickly, Monteverdi followed suit with his Orfeo ; somehow , it releases the Florentine Opera dogmas in order to strengthen the sense of drama .
Scherzi Musicali invite you to read the story of Orpheus , his happiness at the idea of ââmarrying Eurydice its bitter tears when he loses it. The program´s skeleton interventions demigod in both 1600 Euridice ( Peri and Caccini ) , Monteverdi´s Orfeo . Around these extracts, we have put together some pages of other Italian composers of the first half of the seventeenth century , whose subject is likened to the story of Orpheus .
Source: http://www.harmoniasacra.com
