Sacred
Music in the 17th Century:
The "Camarata"
The
Florentine Camarata
By Don
Robertson
© 2005 by Rising
World Entertainment. All Rights Reserved
Creating a new style
The Florentine Camarata
was the name taken by a circle of highly educated noblemen who
regularly
met during the last
three decades of the sixteenth century at the home of Count Giovanni Bardi (this was the
"first" Camarata), then moved their meetings
to the home of Jacopo Corsi (the "second"). Bardi was a literary critic,
writer, composer, and soldier born in Florence. Corsi was a
composer and patron of the arts. Other members of this
distinguished group included Vincenzo Galilei, a lutenist and
composer and the father of the astronomer Galileo Galilei; Giulio
Caccini
(ca. 1545-1618) was a composer; Emilio
De'Cavalieri (1550-1602), a composer from Rome;
and Pietro Strozzi, an amateur musician. In their
meetings they
discussed the revival of Greek tragedy.
Girolamo Mei, an
erudite Florentine scholar who lived and worked in Rome, had been
conducting intensive research into the ancient Greek music used
in Greek drama. He was interested in the fact that in addition to
the chorus, the Greeks used solo singers, and this enabled the voice
to reflect the inflections of
speech that passed on to the listener the emotions of the
drama. He met with Vincenzo Galilei and they ardently discussed this research.
Galilei realized that the
style of classical music that was then current, the polyphonic
choral style employed in Renaissance choral music, was
not the kind of medium needed for drama, so he turned to monodic music
instead, as it could metrically follow the words. Monody is a
term for music that uses a single vocal part, while polyphony is music with
multiple vocal parts. Galilei then experimented with solo singing accompanied
by simple triads and he and the camarata came up with a new style
of music that they called stile
recitativo or rappresentativo (recitative style) that
allowed a single singer to express the words to the
accompaniment
of musical instruments. There had been a form of
monody, or solo singing, already in practice, but it was aligned
more with the polyphonic style.*
To achieve coherence with the chords that
accompanied the singing,
the instrumental part of the music in the new style introduced a bass
line called
the basso
continuo (also called thorough bass and figured
bass), an ingenious idea that was used throughout the baroque era.
Numbers were written on a bass part to indicate which
chords should be played.
Not only would the solo voice be freed from the choir, but instruments
would be brought out into their own, a practice that
Giovanni Gabrieli had
been using in San Marco cathedral in Venice. Before Gabrieli,
instruments
had been used on occasions to accompany polyphonic music, but only as
a colla parte practice of doubling
voices, meaning that the instruments played the same notes as the
singers.
The
First
Operas
In
1587, while work on the new style was taking place, Ferdinand I of the Medici, Grand Duke
of Tuscany hired Cavalieri
to become superintendent of fine arts and music in his court. Cavalieri had
living across the street from Mei and was involved with Galilei in
developing Galilei's ideas. Cavalieri had even built enharmonic
organs, ideal for use with the new music. Cavalieri composed the
music for two short pastorals, Il Satiro and La
Disperazione, and these were performed in court in 1591, the
same year as Galilei's death. Both these works have been lost, but
this was definitely the first of a new music no one had heard before,
and a startling contrast to the style that was then current. Contemporary Alessandro Guidotti wrote that the music
in these two pieces "....never had been
seen or heard before by anyone." The early operas were based on the favola
pastorale, or the pastoral fable
play such as
Tasso's Aminta, which
was very popular at the time.
Cavalieri
was certainly the first composer to write in the new style, which
fellow composer Jacopo Peri
(1561-1633) clearly credits
him for. In the
forward to his opera Euridice, Peri states "...Signor Emilio
del Cavalieri, before any other of whom I know, enables us with
marvelous invention to hear our kind of music upon the stage."
Pietro della Valle, in 1640 wrote, "...in Rome, at least, one
did not know anything of the new style until Emilio de'Cavalieri
brought it there from Florence in his last year," and
Cavalieri himself wrote "this [style] was invented by me, and
everyone knows this, and I find myself having to say so in
print."
Corsi,
who was hosting the Camarata by this time, along with the young
poet Ottavio Rinuccini and the young singer and composer Jacopo Peri,
occasionally
entertained at the court of Fredinand I of the Medici, the Grand Duke
of Tuscany, and Corsi set a pastoral to music in the stile
rappresentativo. Thus what history records as the very first opera, Dafne,
was born. It was probably not the first opera, however, as
the two lost works of Cavalieri, the
short pastorals, Il Satiro and La
Disperazione performed in court in 1591, predated
this work. Dafne was performed in Florence sometime around 1597 or
1598...we don't know the exact date. The words for this opera were
written by
Rinuccini and the music was composed by Peri. Only fragments of the music exist today,
some
airs
and a
recitative.
New Sacred
Music
In 1599, Cavalieri went to Pisa with an absolutely beautiful set of holy
week lamentations, the first set
of monodies that we have any knowledge of, and they were performed
there. Cavalieri was very interested in composing sacred music,
demonstrating that the new style of music being developed in Florence
was ideal not only for secular music, but for
sacred also, mixing polyphonic choral singing with solo voices.
These are the first settings in the new style of the lamentations that composers
had been setting polyphonically for the the
elaborate Holy Week celebrations held in the major cathedrals in
Italy every year. Cavalieri composed another set of
lamentations, with nine
responsories, and these were performed in Rome in 1600.
Cavalieri's lamentations,
which are masterpieces, are very
important historically as well. However, the composer did not live long enough to
create more music. He was a bold innovator, harmonically and melodically laying new groundwork with unprepared dominant 7th chords and
chromanticism that was unheard of, but would soon become a common part of
music. He was
an important composer and most likely his sacred works most
faithfully reflect the original ideas of Mei and Galilei.
More
sacred works by other composers were published. The first
sacred music scored for solo voices and basso continuo to
be
published were Gabriel Fattorini's Sacri concerti a due voci that
appeared in 1600. The first sacred monodies to appear in print
were a set of beautiful psalms written by Giovanni Luca Conforti
in 1601. A year later Viadana's Cento concerti ecclesiastici
con il basso continuo appeared in print.
Three Early
Operas
Between October, 1600 and February, 1601, three new dramatic works were
published. We call them operas, but the were actually drammi posti
in muica per recitar cantando. The first
performance of Rinuccini's
Euridice took
place at the Palazzo Pitti in Florence on the 6th of October, 1600,
and were produced by
Cavalieri with
music mostly written by Peri. Ambitious Giulio Caccini somehow replaced some of Peri's
arias with his own, then three days later, Caccini presented his own work Il
rapimento di Cefalo, but it was little acclaimed, unlike Peri's Euridice.
Extreemly jealous, Caccini hurriedly composed his own setting of the Euridice
libretto and published it in January, 1600, just before the
publication of Peri's version on February 6. Caccini's version was
performed on December 5, 1602, but not revived. Also in 1602,
Caccini's most famous work appeared - Le nuove musiche, a
collection of madrigals and strophic songs for solo voice and basso
continuo. It also contained
some of his music for Il rapimento di Cefalo, a pastoral
performed in 1600 on Henri IV's marriage to Maria de Medici.
In
February, 1600, Cavalieri's oratorio Rappresentatione di
Anima et di Corpo
was staged in Rome at the Oratory of St. Philip Neri of San Maria in Vallicella
and it was a great success.
The situation in Florence was not going well
for Cavalieri who felt he was being upstaged by Peri and was probably
angry with Caccini as well. He left
Florence in anger, returning to Rome where he died just a few years later in 1602.
* * *
Thus was born
in Florence, the system of western classical music that would
dominate the baroque era
and then continue to evolve into
the classical music of today, along with its Italian instruments, and
its Italian names, those that are commonly
used in music today. We
assume that initially there was a large backlash of opposition
to the new style, so brave, fresh and new it was...but also, more
suited to the secular world than to the sacred. The two styles
would exist side by side for while, one called the new syle
(stile concertato), the
other the old (stile antico).
* Two new forms of monody will result: the derived monody
of Lodovico Viadana and
this recitative type of monody of the Camerata.
CDs:
Cavalieri's
Lamentations
Cavalieri's
Rappresentatione di Anima e di Corpo
Peri's
Euridice
Caccini's
Nuove Musiche
On
the Web:
Camarata
website
Interesting
article on early opera
Journal
of 17th Century Music
|