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Caccini called his strophic, or stanza-form, songs arie singular aria. Most serious strophic songs published in Italy after were called arias, and in the form made its way….
The ideas and techniques conceived by the Camerata spread rapidly over Italy and, subsequently, all over Europe. This work consists mainly of solo madrigals and arias and contains an important explanatory preface.
The madrigals show his new manner most clearly: an elegant and pliable vocal line, scrupulously following the inflections of the words and heightened…. The use of the word monody to designate an unaccompanied melodic line, properly called monophony, is confusing, despite its long tradition, especially in…. The New Music. The New Music work by Caccini. Learn about this topic in these articles: aria In aria … published Le nuove musiche The New Music , a collection of solo songs with continuo usually cello and harpsichord accompaniment.
Most serious strophic songs published in Italy after were called arias, and in the form made its way… Read More Baroque music.
Caccini: Le Nuove Musiche
Le nuove musiche "The New Musics" is a collection of monodies and songs for solo voice and basso continuo by the composer Giulio Caccini , published in Florence in July It is one of the earliest and most significant examples of music written in the early baroque style of the seconda pratica. It contains 12 madrigals and 10 arias. The volume was dedicated to Lorenzo Salviati and is dated February , stile fiorentino , stile comune ; it was to be published early in but the printer, Giulio Marescotti , died before publication was completed, and its release was delayed until July The introduction to this volume is probably the most clearly written description of the purpose, intent and correct performance of monody from the time. It includes musical examples of ornaments—for example, how a specific passage can be ornamented in several different ways, according to the precise emotion that the singer wishes to convey.
Le nuove musiche (Caccini, Giulio)
As every student of music history knows, it is a collection of solo songs composed over some two decades. Presciently, as if its author was unconsciously aware of its epoch-making importance, the volume was preceded by a lengthy forward that is part manifesto, part singing tutor that is essential study for any singer aspiring to sing the vocal music of the 17th century. Basically the songs fall into one of two forms: strophic songs with a number of verses, often punctuated by an intervening ritornello, and freer structures, sometimes in several sections responding to the verse. He also has much to say on ornamentation, in particular the trill, repeated note decoration, and gruppo, which more closely resembles the later Baroque trill. So how do these performances by the Italian tenor Riccardo Pisani measure up to such tutoring?