By W. J. Henderson
A extraordinary publication at the seed whence Grand Opera sprang, through the intense musical critic of the recent York solar, who already has a global attractiveness via his a number of books. the aim of the writer is to teach that the revival of the theatre in Europe within the center a while started with lyric drama, built in a sort containing a number of the parts of opera. How the lyric drama wandered for greater than a century via a maze of experiments prior to arriving on the promised land lower than the information of the Florentines is informed in those pages. the character of the early lyric dramas, the nature in their tune and the style in their functionality are defined, and the true creative value of the delivery of recitative almost immediately sooner than 1600, is thoroughly tested. The paintings therefore connects the discovery of opera within the final decade of the 16th century with the musical performs which preceded it and demonstrates in what degree the 1st test resembled the winning achievements of Peri and Caccini. W. J. Henderson can be the writer of Richard Wagner: His existence and Dramas and sleek Musical go with the flow.
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It appears that in trying to escape from the shepherd she was bitten by a deadly snake, for in the third scene a dryad tells the story of the tragedy to her sisters. In the first edition, “dei codici chigiano e Riccardiano, ” the next scene introduces Orpheus, who sings a song with Latin text beginning thus: “O meos longum modulata lusus Quos amor primam docuit juventam, Flecte nunc mecum numeros novumque Dic, lyra, carmen. ” The most significant matter connected with this scene in the early version of the poem is the stage direction, which reads thus: “Orfeo cantando sopra il monte in su la lira e seguente versi latini fu interotto da un pastore nunciatore della morte di Euridice.
Now follows a number which the author calls a “canzona”—song. The first stanza of the Italian text will serve to show the form. “Udite, selve, mie dolce parole, Poi che la ninfa mia udir non vole. La bella ninfa e sorda al mio lamento E’l suon di nostra fistula non cura: Di cio si lagna il mio cornuto armento, 30 Some Forerunners of Italian Opera Ne vuol bagnare il grifo in acqua pura Ne vuol toccar la tenera verdura; Tanto del suo pastor gl’incresce e dole. ” The two introductory lines preface each stanza.
These composers evidently did not expect the people to be such accomplished musicians as the singers of the trained choirs. “Indeed, the frottola descended by an extremely easy transition to the villanelle, a still more popular form of composition and one marked by even less relationship to the counterpoint of the low countries. At the time of the full development of the madrigal the serious and humorous elements which dwelt together in the frottola separated completely. The purely sentimental and idealistic frottola became the madrigal; the clearly humorous frottola became the villanelle.
Some Forerunners of Italian Opera by W. J. Henderson