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Giulio Caccini biography 
 

Giulio Caccini

Artist: Giulio Caccini 
Born:c.1545 ,  Rome / Tivoli
Died:1618 , Florence
Summary:Famous for Amarilli mia bella and more recently Ave Maria.
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Ave Maria
 
 


Giulio Caccini Biography


Caccini, Le Nuove musiche, 1601, title page
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Caccini, Le Nuove musiche, 1601, title page

Giulio Caccini (c.1545 – December 10, 1618) was an Italian composer, teacher, singer, instrumentalist and writer of the very late Renaissance and early Baroque eras. He was one of the founders of the genre of opera, and one of the single most influential creators of the new Baroque style. He was also the father of the composer Francesca Caccini.

Contents

Life

Little is known about his early life, but he was born either in Rome or Tivoli, and may have been related to the Florentine sculptor Giovanni Caccini. While in Rome he studied the lute, the viol and the harp, and began to acquire a reputation as a singer. In the 1560s, Cosimo de' Medici was so impressed with his talent that he took the young Caccini to Florence for further study.

By 1579, Caccini was singing at the Medici court. He was a tenor, and he was able to accompany himself on the viol; he sang at various entertainments, including weddings and affairs of state, and took part in the sumptuous intermedi of the time, the elaborate musical, dramatic, visual spectacles which were one of the precursors of opera. Also during this time he took part in the movement of humanists, writers, musicians and scholars of the ancient world who formed the Florentine Camerata, the group which gathered at the home of Count Giovanni de' Bardi, and which was dedicated to recovering the supposed lost glory of ancient Greek dramatic music. With Caccini's abilities as a singer, instrumentalist, and composer added to the mix of intellects and talents, the Camerata developed the concept of monody—an emotionally affective solo vocal line, accompanied by relatively simple chordal harmony on one or more instruments—which was a revolutionary departure from the polyphonic practice of the late Renaissance.

In the last two decades of the 16th century Caccini continued his activities as a singer, teacher and composer. His influence as a teacher has perhaps been underestimated, since he trained dozens of musicians to sing in the new style, including the castrato Giovanni Gualberto Magli, who sang the title role in Monteverdi's first opera Orfeo.

Caccini made at least one further trip to Rome, in 1592, as the secretary to Count Bardi. According to his own writings, his music and singing met with an enthusiastic response. However, Rome, the home of Palestrina and the Roman School, was musically conservative, and music following Caccini's stylistic lead was relatively rare there until after 1600.

Caccini's character seems to have been less than perfectly honorable, as he was frequently motivated by envy and jealousy, not only in his professional life but for personal advancement with the Medici. On one occasion, he informed to the Grand Duke Francesco on two lovers in the Medici household—Eleonora, the wife of Pietro de' Medici, who was having an illicit affair with Bernardino Antinori—and his informing led directly to Eleonora's murder by Pietro. His rivalry with both Emilio de' Cavalieri and Jacopo Peri seems to have been intense: he may have been the one who arranged for Cavalieri to be removed from his post as director of festivities for the wedding of Henry IV of France and Maria de' Medici in 1600 (an event which caused Cavalieri to leave Florence in fury), and he also seems to have rushed his own opera Euridice into print before Peri's opera on the same subject could be published, while simultaneously ordering his group of singers to have nothing to do with Peri's production.

After 1605 Caccini was less influential, though he continued to take part in composition and performance of sacred polychoral music. He died in Florence, and is buried in the church of Ss Annunziata.

Music and influence

The stile recitativo, as the newly created style of monody was called, proved to be popular not only in Florence, but elsewhere in Italy. Florence and Venice were the two most progressive musical centers in Europe at the end of the 16th century, and the combination of musical innovations from each place resulted in the development of what came to be known as the Baroque style. Caccini's achievement was to create a type of direct musical expression, as easily understood as speech, which later developed into the operatic recitative, and which influenced numerous other stylistic and textural elements in Baroque music.

Caccini's most influential work was a collection of madrigals and songs for solo voice and basso continuo, published in 1601, called Le nuove musiche. 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; it also includes effusive praise for the style which he himself invented, and amusing disdain for the work of more conservative composers of the period.

Works

Caccini wrote three operas—Euridice (1600), Il rapimento di Cefalo (1600), and Euridice (1602), though the first two included music by others (mainly Peri for the first Euridice). In addition he wrote the music for one intermedio (Io che dal ciel cader farei la luna) (1589); and he published two collections of songs and madrigals, both titled Le nuove musiche, in 1601 and 1614. Most of the madrigals are through-composed and contain little repetition; some of the songs, however, are strophic. No music for multiple voices survives, even though the records from Florence indicate he was involved with polychoral music around 1610; at any rate such a manner of expression would have been alien to him. He was predominantly a composer of solo song, and it is in this capacity that he acquired his immense fame.

References

  • Article 'Giulio Caccini', in The New Grove Dictionary of Music and Musicians, ed. Stanley Sadie. 20 vol. London, Macmillan Publishers Ltd., 1980. ISBN 1561591742
  • Gustave Reese, Music in the Renaissance. New York, W.W. Norton & Co., 1954. ISBN 0393095304
  • Manfred Bukofzer, Music in the Baroque Era. New York, W.W. Norton & Co., 1947. ISBN 0393097455
  • Giulio Caccini, Le nuove musiche, tr. John Playford and Oliver Strunck, in Source Readings in Music History. New York, W.W. Norton & Co., 1950.


This biography is published under the GNU Licence






Items to buy by Giulio Caccini



Ave Maria By Giulio Caccini (1545-1618). Arranged by Patrick M. Liebergen. Choir Secular. For Opt. Flute (SATB choir). Choral Octavo; Masterworks. Choral Designs. Masterwork Arrangement. Choral Octavo. 12 pages. Published by Alfred Music Publishing

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Ave Maria [High Voice] By Giulio Caccini (1545-1618). Arranged by Patrick M. Liebergen. For Vocal. Classical. 9 pages. Published by Alfred Music. Digital Sheet Music

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Ave Maria By Giulio Caccini (1545-1618). Arranged by Patrick M. Liebergen. Choir Secular. For Opt. Flute (2-Part Choir). Choral Octavo; Masterworks. Choral Designs. Masterwork Arrangement. Choral Octavo. 12 pages. Published by Alfred Music Publishing

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Ave Maria By Giulio Caccini (1545-1618). Arranged by Patrick M. Liebergen. Choir Secular. For Opt. Flute (3-Part Mixed Choir (SAB)). Choral Octavo; Masterworks. Choral Designs. Masterwork Arrangement. Choral Octavo. 12 pages. Published by Alfred Music Publishing

...more info



Ave Maria [Medium Voice] By Giulio Caccini (1545-1618). Arranged by Patrick M. Liebergen. For Vocal. Classical. 9 pages. Published by Alfred Music. Digital Sheet Music

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Ave Maria By Giulio Caccini (1545-1618). Arranged by Jeffrey Turner. Orchestra. Masterworks; String Orchestra. Belwin Intermediate String Orchestra. Masterwork Arrangement. Grade 3. Conductor Score & Parts. 74 pages. Published by Belwin Publishing

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"Amarilli, mia bella" By Giulio Caccini (1545-1618). For voice and piano. Vocal Music. Published by Editorial de Musica Boileau

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Ave Maria By Giulio Caccini (1545-1618). Arranged by Patrick M. Liebergen. Choir Secular. For Opt. Flute (Men's Choir). Choral Octavo; Masterworks. Choral Designs. Masterwork Arrangement. Choral Octavo. 12 pages. Published by Alfred Music Publishing

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Ave Maria "By Giulio Caccini (1545-1618). Arranged by Hans P. Keuning. For SSA choir, Soprano voice solo ad lib., and Organ. Sacred; Motet; Prayer; Renaissance; Marriage; Marian Feasts. Full score. Text language: Latin. 4 pages. Published by Annie Bank Edition"

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Ave Maria (score only) By Giulio Caccini (1545-1618). Arranged by Jeffrey Turner. Orchestra. For String Orchestra. String Orchestra. Belwin Intermediate String Orchestra. Masterwork Arrangement. 3 (grade 3). Score. 8 pages. Published by Belwin Publishing

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Le Nuove Musiche "By Giulio Caccini (1545-1618). Performers' Facsimiles series. Facsimile of the Florence, 1601 edition. Published by Broude Brothers"

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Ave Maria "By Giulio Caccini (1545-1618). Edited by Valdo Preema. For Soprano, Flute, Oboe, Organ, Strings (Score and Set of parts). Score. Composed 1587-1640. Duration 4'39. Published by Edition 49"

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Ave Maria "By Giulio Caccini (1545-1618). Edited by Andres Uibo. For Melody Instrument (Violin, Electric Guitar, Flute, Recorder etc.), Organ (Score and set of parts). Score. Duration 5'10. Published by Edition 49"

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Ave Maria [Low Voice] By Giulio Caccini (1545-1618). Arranged by Patrick M. Liebergen. For Vocal. Classical. 9 pages. Published by Alfred Music. Digital Sheet Music

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Ave Maria "By Giulio Caccini (1545-1618). Arranged by Karle Erickson. For Unison Choir or Solo Voice, Piano accompaniment, and Violin, Flute. NFCO. Sacred, Christmas. 8 pages. Published by GIA Publications"

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Ave Maria "By Giulio Caccini (1545-1618). Arranged by Olof Vugs. For Soprano ad lib. solo, SATB choir, Organ accompaniment. Sacred: Marian Feasts. Renaissance. Full score. Text Language: Latin. 4 pages. Published by Annie Bank Edition"

...more info



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