literally “torn to pieces” (
laceramento della poesia)
, because the individual voicessang different words simultaneously.’
[See Ex. 1] They sought to compose a style for solo voice that reflected the text, which was rhythmically governed by it andexpressed the meaning as faithfully and clearly as possible. These were the principlesthat the Camerata believed to be of ancient Greek music. From these thoughts andideals, another form of composition was to be added to the musical repertoire. Thiswas monody, which means, fittingly, ‘one song’ in Greek.
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Example 1 Palestrina,
O crux Ave
, Soprano and alto, bar 21-29.
By it’s very nature, the Camerata was tied up with the Florentine court proceedingheavily, and in fact Caccini and Peri were both employed by the Duke Ferdinandode’ Medici in the early 16
It was at court festivities wherethe theories and beliefs of the Camerata were first exposed.During the wedding celebrations of the Duke’s marriage to Chrsitine deLorraine in 1589, the play
was performed with musical interludes based on ancient mythology. These interludes, called
, were composed andsung by members of the Camerata: Caccini, Peri and, the Roman, Emilio de’
Manfred F. Bukofzer,
Music in the Baroque Era: From Monteverdi to Bach
(New York and London:W. W. Norton & Co., 1947), 5.
Music of the Baroque
(New York and Oxford: Oxford University Press, 2001),48.
Tim Carter, ‘Jacopo Peri’ in
Music & Letters
, Vol. 61, No. 2 (Apr., 1980), 124.