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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.
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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