[para leer] first attempts at the dramatic recitative. jacopo peri - giulio caccini

8/9/2019 [Para Leer] First Attempts at the Dramatic Recitative. Jacopo Peri - Giulio Caccini

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Musica Iagellonica 2011ISSN 1233-9679

Zygmunt M. SZWEYKOWSKI (Cracow)

First attempts at the dramatic recitative:

Jacopo Peri – Giulio Caccini1

Introduction

Dramma per musica , which came into being at the turn of the 17th century gave

rise to its own musical language. Tis language which almost entirely governedthe flow of the first compositions of the type in question was called dramaticrecitative.

Musicological literature on the subject of this innovative style has beenscarce, with few analyses and detailed descriptions of the stylistic features ofthe dramatic recitative in the early Italian drammi per musica. It has not beendefined as to how differently it was perceived and applied by specific compo-sers and how diverse were the deliveries of the recitative by Jacopo Peri and

Giulio Caccini. Te work of both these composers offers us the ideal condi-tions for specifying those dissimilarities.

Te special circumstances that at that time came into existence in Florencelet us observe how the diverse conclusions reached through the discussionsin the circles of Bardi and Corsi were put into practice. Both Jacopo Peri andGiulio Caccini:

1 Tis paper was written as a ‘by-product’ of the book by Anna and Zygmunt M. S- Dramma per musica part 1, published in: Historia muzyki XVII wieku. Muzyka we

Włoszech [History of music in the 17th century. Italy ], vol. 5. Kraków 2008.

5


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Zygmunt M. Szweykowski

6

– worked in the same city,– participated in the ongoing debate on the shape of new music,– in the same period composed music for the same text by Ottavio Rinuccini

L’Euridice, – had their scores published nearly simultaneously in 1600.

Apparently, in the subject literature it was surmised that Peri’s recitativedisplayed a more dramatic touch, whereas Caccini’s had more lyrical features,but it was not specified as to how the dramatic or lyrical nature were expressed.

In this article I have undertaken to point to and illustrate with selected ex-amples both the most corresponding and the most diverging means of realisingthe recitative used by the two composers.

Part 1: Analysis

Example 1. L’Euridice from the episode IV

OrfeoO de gl’ orridi, e neri Campi d’Inferno, o dell’ altera Dite

Eccelso Re, ch’alle nud’ombre imperi …

1a) Jacopo Peri

™

¸

Orfeo

Bc

V

?

b

b

c

c

.˙ œ œ jœ jœ ˙O de gl’ or ri di e ne

›

œ ˙ jœ jœ wri Cam pi d’ In fer

w w

w Ó .˙ jœ jœ .œ jœno, o del l’al te ra

w › - - - - - - - - -

V

?

b

b

4

˙ œ ‰ JœDi te Ec

w

.˙ œ ›cel so Re,

˙b ˙ ˙ œ œ w6 6 4 3 2

Œ œ œ œ .˙ œch’ al le nu d’ om bre im

w w w wpe ri,

wb w7 6- - - - - - - -


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First attempts at the dramatic recitative: Jacopo Peri – Giulio Caccini

7

1b) Giulio Caccini

Melodic and rhythmic similarity, especially at the beginning of both sections is

distinctive. It comes about by the way in which the text is articulated: the note values reflect the stressed and unstressed syllables. Tere are also some differ-ences between the two versions that arise from the manner of interpretationof the text.

Jacopo PERI Giulio CACCINI

Te focus in his interpretation is to ex-pose the might of Plutone. Te words

“eccelso Re” are uttered not only at thehighest pitches, but also with the longestnote values, as the word “Re” is coupled with the value of brevis i. Te impor-tance of the word is re-emphasised witha special form of notation of the bassocontinuo (dividing brevis d into shorter- value notes, all slurred) and with figures

in the bass that specify the use of a tran-sitory fourth and second. In addition,Peri highlights (that is, interprets) bothexclamations “O” not only through ap-plying the dotted semibreve values, butalso by placing in bar 3 a downward-turning interval of the fourth.

Te word “Re” matched with a quaverpasses unnoticed among the surround-

ing short values; only the singer mightperform it with emphasis. Te load ofboth exclamations is also levelled, asthey merge with the whole passage.Caccini does not insert any dissonan-ces, the whole phrase develops over theunderlying note G .

i Apart from the final syllable in a character’s line, such durations rarely appear

in recitative.

Orfeo

Bc ¸

™ V

?

c

c

.œ jœ œ jœ jœ .œ Jœ œ jœ jœ

O de gl’ or ri di e ne ri Cam pi d’ In

w w

˙ ˙ œ Jœ Jœ .œ Jœfer no, o del l’ al te ra

w w- - - - - - - - -

V

?

3

˙ Jœ Jœ .jœ rœ jœ jœ jœ jœ# œ œ

Di te Ec cel so Re, ch’ al le nu d’ om bre im

w w

˙ ˙pe ri,

w- - - - - - - -


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8

Te above presented differences show the lyrical tendency in the interpretationby Caccini and a more dramatic one in the version by Peri.


Sovra l ’eccelse stelleGiove a talento suo comanda e regge …

2a) Jacopo Peri

2b) Giulio Caccini

Both composers accentuate the word “Giove” with an interval leap up, whichreflects his position among gods. Tis emphasis, however, is more definite in Cac-cini’s work.


It is the interval of the third, and onthe next syllable the melody descendsanew to its point of departure.

It is the octave leap to bq flat, with thenote sustained over two syllables, nextthe melody slowly moves downward.


Plutone

Trionfi oggi pietà ne’campi inferni …

3a) Jacopo Peri:

3b) Giulio Caccini:

™Caronte V b œ jœ jœ .œ jœ ˙ ˙ ˙ jœ jœ jœ jœ ˙ œ ˙ œ ˙ w

Sov ra l’ ec cel se stel le Gio ve a ta len to suo co man da e reg ge- - - - - - - - - -

¸Radamanto

?b œ Jœ

Jœ œ œ ˙ ˙

œJœ

Jœ œ œ .œb

Jœ œ œ ˙ œ

Sov ra l’ ec cel se stel le Gio ve a ta len to suo co man da e reg ge- - - - - - - - - -

Plutone™ Vb Ó ˙ ˙ .˙ œ ˙ ˙ Œ œ .˙ œ w w

Tri on fi og gi pie tà ne’ cam pi in fer ni- - - - - - -

Plutone¸ ? b Œ œ

˙ œJœ

Jœ œ œ œ œ ˙ J

œ#

Tri on fi og gi pie tà ne’ cam pi in fer ni- - - - - - -


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9

Te composers highlight two separate word units in one sentence.


Peri concentrated on “campi inferni”,thus led the melody down to the low-est point of Plutone’s recitative, andused a madrigalism illustrating In-

ferno.

With the introductory leap of fourth,Caccini represented the word “tri-onfi”, and emphasised the triumph ofmercy over the harshness of the law bymaintaining the melodic flow in highpositions.

Te following examples show some solutions for longer passages of the text

(monologues and dialogues), which helps to demonstrate the scope of assorteddevices of musical interpretation. Some of them display the decisive role of mo-dality and succeeding sets of notes.

Example 4. L’Euridice from the episode II

Orfeo does not enter the plot of L’Euridice until episode 2; his part starts with a 22-line monologue:

Orfeo

[1] Antri ch’a miei lamenti [2] Rimbombaste dolenti, amiche piagge, [3] E voi piante selvagge [4] Ch’alle dogliose rime[5] Piegaste per pietà l ’altere cime,[6] Non fia più, no, che la mia nobil cetra[7] Con flebil canto a lagrimar v’alletti; [8] Ineffabil mercede, almi diletti [9] Amor cortese oggi al mio pianto impetra.[10] Ma deh, perché sì lente [11] Del bel carro immortal le rote accese [12] Per l ’eterno cammin tardano il corso? [13] Sferza, Padre cortese,[14] A volanti destrier le groppe, e ‘l dorso.[15] Spegni nell ’onde omai, [16] Spegni o nascondi i fiammeggianti rai. [17] Bella Madre d ’Amor, dall’onde fuora[18] Sorgi, e la nott’ombrosa [19] Di vaga luce scintillando indora:[20] Venga, deh venga omai la bella Sposa[21] Tra ‘l notturno silenzio, e i lieti orrori

[22] A temprar tante fiamme, e tanti ardori.


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4a) Jacopo Peri:

Orfeo

Bc¸

™ V

?

c

c

˙ ˙ ‰ jœ jœ jœ ˙ An tri, ch’ a miei la men

w w

˙ Œ jœ jœ .˙ jœ# jœ

ti Rim bom ba ste do

˙ ˙ ˙ ˙6

˙ ˙ Œ œ .œ jœlen ti, a mi che

˙ ˙ ˙ œ œ

- - - - - - - - - -

V

?

4

˙ œ ‰ Jœ ˙ œ jœ jœpiag ge, E voi pian te sel

˙ ˙ ˙ œ œ

˙ ˙ ‰ jœ jœ jœ .œ Jœ vag ge, Ch’ al le do glio se

˙ ˙ w

˙ œ œ Jœ jœ jœ jœ# œ œ

ri me Pie ga ste per pie tà l’ al

˙ ˙ ˙ œ œ- - - - - - - - - - - -

V?

7 œ œ œ œ ̇ œ

œ œ Œ œte re ci me, Non

˙ ˙ ˙ ˙ 6

j

œ œ

Jœ ˙

‰ Jœ Jœ Jœ .œ

Jœ

fia più, no che la mia no bil

œ œ ˙ w

œ œ ‰ jœ# jœ jœce tra Con fle bil

˙ ˙ - - - - - - -

V

?

10

˙ ˙ ‰ jœ jœ jœ ˙can to a la gri mar

w w

œ œ ˙ w v’ al let ti;

œ œ œ œ w 11 11

Œ Jœ Jœ œ Jœ JœIn e f fa bil mer

w

˙ ˙ Œ ˙ Jœ Jœce de, al mi di

w w- - - - - - - - - - - -

V?

14

˙ œ œ œ œ œ œlet ti A mor cor te s’ og w w

œ Jœ Jœ œ œ œgi al mio pianw

œ œ ˙ wt ’ im pe tra.˙ ˙ w

11 11

Ó Œ œ ˙ œ Jœ jœMa deh, per ché sìw w

- - - - - - - - - -

V

?

18

˙ œ jœ jœlen te Del bel

w

œ Jœ Jœ Jœ Jœ Jœ jœ

car r’ im mor tal le ro t’ ac

w

.jœ rœ jœ jœ œ jœ Jœce se Per l’ e ter no cam

˙ ˙ - - - - - - - - - -

V

?

21

œ ˙ Jœ Jœ ˙ ˙ .œ jœ œ jœ jœmin tar da no il cor so? Sfer za, Pa dre cor

˙ ˙ ˙ ˙ œ œ œ œ6

jœ jœ jœ Jœ œ Jœ jœ œ œ ˙te se, A vo lan ti de strier le grop

˙ ˙ ˙ ˙#- - - - - - - - - - - -

V

?

23

œ œ ˙ wp’ e’ l dor so.

˙ œ œ w 11 11

œ# œ œ# .œ jœ#Spe gni on de o

w

œ œ œ jœ jœma i, Spe gni o na

˙ ˙ - - - - - - - -


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4b) Giulio Caccini:

V

?

26 .œ Rœ Rœ Rœ .œ jœ

scon di i fiam meg gian t i

˙ ˙

œ œ Óra i.

w

Œ jœ jœ œ jœ jœBel la Ma dre d ’ A

w

˙# Œ jœ jœ œb jœ jœ ˙mor, bel la M a dre d’ A mor,

˙ ˙ ˙ ˙

- - - - - - - - - - --

V

?

30

‰ jœ .Jœ Rœ .œ jœ œ œ Œ Jœ Jœ

dal l’ on de fuo ra Sor gi, e la

w ˙ ˙

.œ Jœ w ˙not te om bro sa

˙ ˙ w6‰ Jœ Jœ Jœ œb œ

Di va ga lu ce

w

œ œ œb œ œ œscin t il lan

˙b œ œ- - - - - - - - - - - -

V?

34 œ œ ˙ wdo in do ra;

˙ ˙ w1110 10

∑ œ œ ‰ Jœ

Jœ jœ

Ven ga, deh ven ga o

›

Jœ Jœ Jœ jœ œ œ

mai la b el l a spo sa

w

Œ j

œ

j

œ œ

j

œ

j

œ Tra’ l not tur no siw

- - - - - - - - - - -

V

?

38

.œ jœ œ œlen tio e i li e t ’ or

w

˙ œ Jœ Jœro ri A tem

˙ ˙

œ Jœ Jœ œ œpr ar tan te fi am me e

˙ œ œ

˙ œ œ œ© œ œtan t’ ar

˙ ˙6

w wdo ri.

w w

- - - - - - - - - - -

Orfeo

Bc¸

™ V

?

c

c

˙ ˙ Œ œ .œ Jœ An tri, ch’ a miei la

w w

˙ œ jœ jœ .˙ jœ jœmen ti Rim bom ba ste do

˙ ˙ ˙ ˙7 6

˙ œ œ .œ jœ ˙len ti, a mi che piag

w w- - - - - - - - - - -

V

?

4

œ jœ# jœ œ jœ jœ ˙ Jœ jœ jœ jœge, E voi pian te sel vag ge, Ch’ al le do

w w

.œ jœ ˙ œ œ# .jœ rœ jœ jœ#glio se ri me P ie ga ste per pie

˙ ˙# ˙ ˙ 6 6

œ œ# .œ jœ ˙ œ œtà l’ al te re ci me, Non

œ œ œ œ ˙ ˙7 6

- - - - - - - - - - - - - -

V

?

7 .œ œ ̇ œ# Jœ jœ# jœ jœ .œ jœfi a più, no, che la mia no bil

˙ ˙ w

˙ Jœ Jœ jœ jœ .jœ# rœ jœ jœ œ œ

ce tra Con fle bil c an to a la gri mar v’ al

w ˙ ˙

w œ jœ jœ œ jœ jœ#let [ti;] In ef fa bil mer

w w- - - - - - - - - - -- -


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12

V

?

10

˙# œ jœ jœ# ˙ jœ# jœ Jœ Jœce de, al mi di let ti A mor cor te

w ˙ ˙

Jœ jœ jœ jœ# œ œ wse og g i al mio pian to im pe

˙ ˙ w6

w ∑tra.

w w

- - - - - - - - - - - -

V

?

13

Ó ˙ ˙ ‰ Jœ Jœ JœMa deh, per ché sì

w w

.Jœ Rœ jœ jœ œ jœ jœ œ œ .œ jœ

len te Del bel car ro im mor tal le ro te ac

w w

˙ œ jœ jœ œ# jœ jœ ˙

ce se Per l’ e ter no cam min

˙ ˙ w

- - - - - - - - - - -

V

?

16 œ jœ# jœ ˙ wtar da no il cor so?

˙ œ œ w7 6

œ œ œ Jœ Jœ jœ jœ jœ# jœ œ jœ jœ

Sfer za, Pa dre cor te se, A vo lan ti de

w w

œ Jœ Jœ œ Jœ Jœ œ œ œ œstrier, a vo lan ti de strier, le grop pe e’ l

w ˙ ˙6

- - - - - - - - - - - - - -

V

?

19

w wdor so.

w w

œ Jœ Jœ œ œ ˙ ˙Spe gni on de o ma i,

˙ œ œ w7 6œ jœ jœ ˙ Jœ jœ jœ#

jœ# œ œSpe gni o nas scon di i fiam meg gian ti

w ˙ ˙#- - - - - - - - - - -

V

?

22

w wra i.

˙ ˙ w

œ œ œ jœ jœ# wBel la Ma dre d ’ A mor,

w w

œ œ œ Jœ Jœ Jœ Jœ Jœ Jœ œ œbel la Ma dre d ’ A mor, on de fuo ra

w w- - - - - - - - -

V

?

25

w œ jœ jœ .œ JœSor gi, e la not t e om

w ˙ ˙

˙ Jœ jœ# jœ Jœ .Jœ Rœ Jœ Jœ œ œ

bro sa Di va ga lu ce scin til lan do in

˙ ˙ ˙ ˙#6

w wdo ra;

w w- - - - - - - - - - -

V?

28

˙ ˙ œ Jœ Jœ .œ JœVen ga, ven g a, deh ven ga o

w w

œ œ .œ jœ .jœ rœ jœ jœ œ .jœ rœmai la bel la spo sa Tra’ l not tur no si

w w

œ œ .œ jœ ˙ ˙len tio e i lie ti or ro ri

w w- - - - - - - - - - - - -

V

?

31

œ œ# œ .jœ rœ ˙ ˙ A tem prar tan te fiam me,

ww

œ œ œ .Jœ Rœ œ œ# œ œa tem prar tan te f iam me e tan ti ar

w w

w ›do ri.

w ›

- - - - - - - - -


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13

All the compositional devices are aimed at representing Orfeo as an outstand-ing Singer, showing his influence on nature, as well as the joy of the comingnuptials. Te monologue is bipartite: the first part consists of lines 1-9, and the

second – of the remaining 13 lines. Te division is evident in the text, however,in the musical score it becomes less conspicuous.


In the score the parts are separated with a long-value rest (it equals threecrotchets) and a double bar. As theparts turn, change the triads: from

a-c r

-e into d-f r

-a . Tis two-part formis marked by distinguishing the suc-ceeding lines in part one, and joiningthem into broader musical phrasesin part two. In the first section sevenout of nine lines start with a rest. Fiverests also feature within lines, whichallows for a clear, unhurried distinc-

tion of selected meaningful phrases which underscore the emotional re-lation with the Singer, e.g. in “amichepiagge” or “la mia nobil cetra”. In thesecond section, by contrast, nine outof the thirteen lines are not preceded with a rest. In hurriedly uttered apos-trophes addressed to Apollo (sevenopening lines of this section span overthe length of 16 semibreves, and theremaining six over 21 semibreves) theSinger conveys his anxiety to “quenchthe flame of his passionate love in themerry terror of the nocturnal silence.”Only once in the whole monologue

Te bipartition of the monologue wasstressed even more clearly with tworests (equalling one semibreve and ahalf) in the vocal part. Te sonority

does not alter here. As the first partdraws to an end with a triad based onthe final of the mode G-Mixolydian(bar 12-13), the same chord is re-sounding. In the entire Orfeo’s mono-logue the only rests that appear in the vocal part (apart from the one afterthe exclamation “Antri”) are those

that separate both sections. It doesnot mean, however, that Caccini didnot specify lines. He did so by finish-ing lines with longer-value notes, i.e.one or two semibreves (bars 9, 11/12,16, 19, 22, 27, 33)i. Still, the way of ar-ticulating the text in the whole mono-logue is uniform. Next to the repeti-tion of the same phrase “Bella Madred’Amor” with the figure gradatio, alsoa fourth up, Caccini stressed the emo-tional load of the word twice more: inline 20 it is the word “venga” and inline 22, the phrase “A temprar tantefiamme”, always accompanied with


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14

does the composer disturb the metre,namely, in line 17 he repeats the en-tire phrase making his pleading with

Venus more intense: the line “BellaMadre d’Amor” is decorated with theillustrative device gradatio a fourthhigher.

the figure of gradatio, even thoughthe melodic line is not identical.

Te monologue deploys cantus du-rus and nearly exclusively the acci-dental f rii. Te predominant modeis G-Mixolydian: in basso continuoof both parts the note G reappears very frequently, occasionally sustainedover two semibreves. At some pointsof the first section basso continuo be-comes more active than in a stricterform of recitative. At the end of thissection the composer applies a clau-sula founded on note A , which mightbe seen as an excursion to the modea-Aeolian. Apart from infrequenttransitory dissonances this section isdetermined by the diatonic arrange-ment.

Te monologue deploys cantus durus and nearly exclusively the accidental

f riii. Its governing mode is G-Mixo-lydian, but its predominance is muchmore evident than in Peri’s work: thenote G occurs in basso continuo asfrequently as in Peri’s opera, even inthe form of several semibreves in closesuccession; at two points there are de-tours to the mode a-Aeolian. With theexception of transitory dissonancesthe composer deploys a seventh chordfour times (marked with figures).

At this point, the composer shapesthe melody in an unorthodox way. Ifcompared with other recitatives thatbelong to the part of Orfeo, this onesounds more tuneful, which stemsfrom using a smaller number of rep-etitions (they account for merely athird of all melodic intervals) andunusual exposition of progressions

On the one hand Caccini formed themelody with fewer repetitions in favour of seconds and larger intervalsiv .On the other hand, repetitions are oflesser importance in the structuringof all of Orfeo’s recitatives, and hisfirst appearance does not stand out asdifferent from others (even by other


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15

in seconds and thirds. What distin-guishes part one is the obvious preva-lence of movement in seconds (above

55 %), whereas in part two there arerelatively more progressions in thirds.

characters). Te change of mood inthe second part of the monologue isreflected with an even smoother melo-

dy: its tunefulness is magnified thanksto the application of a melodic figure(used ten times) typical of Caccini’smusic v (comprised of a third or fourthdown and a return to the initial note). Te smoothness of flow becomes evenmore enhanced as the lines are notsplit with rests.

i Peri, in turn, only used two semibreves as a form of closing the last line ofOrfeo’s recitative and only five times did he employ one semibreve within therecitative.ii Occasionally there occur c r and g r.iii Occasionally there occur c r, b q and e q.iv Over 26% containing repetitions, 48% — seconds, and about 25% — intervalsbigger than thirds. v Nearly 20%, with the average use of movement in thirds totalling 10-14%.


On stage comes the Messenger who announces

Euridice’s death.

Orfeo:[1] E per te, Tirsi mio, liete e ridenti [2] Sempre le notti e i dì rimeni il sole. Dafne Nunzia (Messaggera):[3] Lassa! Che di spavento, e di pietate

[4] Gelami il cor nel seno![5] Miserabil beltate,[6] Com’in un punto, ohime! venisti meno.

5a) Jacopo Peri:

Orfeo

Bc¸

™ V

?

c

c

Œ jœ jœ œ jœ jœE per te, Tir si

w

œ œ .œ Jœ ˙ ˙mio, ri me ni_il so le

›

œ Jœ Jœ œ œSem pre le not te_e_i

w

œ ˙ œ œ œ œ œ# œ .œ jœ# wdì lie ti_e ri den ti.

˙ ˙ ˙ ˙ w11 11

- - - - - - - - -


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16

5b) Giulio Caccini:


Te first words spoken by the Mes-senger bring a sharp contrast to theprevious lines delivered by Orfeo.

Te contrast between the parts ofOrfeo and the Messenger is not thatsharp.

For greater emphasis of the contrast-ing moods, the composer modified

the text by Rinuccini and rearrangedthe order of the words so that Dafne’scry of despair “Lassa” clashes directly with the cheerful word “ridenti”i asproclaimed by Orfeo. With the arrival of the Messenger onstage and her first words comes theominous transformation in music.

At this point the composer arrangedthe text exactly according to Rinuc-

cini’s version. wo words meet there: “sole” and“Lassa”; the former being Orfeo’s mostneutral in expression, and the latter rep-resenting the opposed cry of the Mes-senger. However, the semantic contrastis not very pronounced. Te composertries to juxtapose contrasting lines

mainly in the sphere of melody.

Dafne

Bc ¸

™ &

?

b

b

.˙ œ Ó œ# Jœ# Jœ#Las sa! Che di spa

w w

Dafne ritorna in Scena sola [Dafne sama powraca na scenę]

˙# ˙# Œ œ œ œ ven to, e di pie

w w

.w ˙ta te

w ˙ ˙4

Ó œ# jœ# jœ# .˙ œ# ˙ ˙Ge la mi_il cor nel se no!

w ˙ ˙# ˙ œ œ 4 3 2

Ó .œ JœbMi se

w

- - - - - - - - -

&

?

b

b

10 .˙ jœ jœ ˙# ˙# Œ œ œ œ# ˙ ˙ra bil bel ta te, Com’ in un pun to,

˙ ̇ w w w 4

Ó ˙b ˙ ˙#ohi me!

w ˙ ˙

Œ œ ˙ ˙ ˙ ve ni sti

˙ ˙ ˙ ˙ 10 11

w wme no.

˙b œ œ ˙ œ œ5 6 4 3 2

∑

w 3

- - - - - - - - -

Orfeo

Bc¸

™ V

?

b

b

c

c

œ jœ jœ œ œ ˙ œ Jœ JœE per te, Tir si mio, lie te e ri

œ œ ˙b œ œ ˙

œ œ œb Jœ Jœ œ œ ˙den ti Sem pre le not ti e i dì

œ œb

œ ̇ œ œ œ œ œ

œ œ œ œ wri me ni il so

œ œ ˙ w

›le.

›- - - - - - - - -

Dafne

Nunzia

Bc¸

™ &

?

b

b

c

c

w ˙ ‰ jœ jœ jœ

Las sa! Che di spa

w w

˙ jœ jœ jœ jœ w ven to e di pie ta

w w

˙ ˙# œ jœ jœ .œ jœ©te Ge la mi i l cor nel

w ˙ ˙#6

˙ ˙se no!

w- - - - - - - -


13/48


17

Te last line uttered by Orfeo forms amelodic phrase with some ornamen-tation at the end. Te introductory

line by the Messenger is separated byexpressive rests into three sections. Te lowest pitch d ‘ is reached only inthe second line, whereas the numberof repetitions increases and due to theapplication of a greater quantity oflong-value notes the progress slowsdown. Basso continuo both in the part

of Orfeo and the Messenger paces inlong-value notes.

For Orfeo’s last line Caccini uses amelody that sounds better-developed,and uninterrupted, although without

ornamental devices. Te basso con-tinuo of Orfeo’s part moves along inshorter-value notes (crotchets andquavers), it also enters into a formof concertato exchange with the vo-cal line. All of that contributes to aneffect which makes Orfeo’s lines anintermediate form between recitative

and singing. Te basso continuo inthe Messenger’s part follows in semi-breves, thanks to which the scope fortextual interpretation in the vocal partis much wider. Te Messenger’s excla-mation “Lassa” is separated from oth-er lines with a rest, whereas a fourthii downiii shifts the initial line to the low

register.iv

A direct succession of triads that be-long to the systems of durus and mol-lis reinforces the contrast: Orfeo’sline ends with a triad A with a majorthird (the mode a-Aeolian), whereasthe line of the Messenger starts witha triad g of a minor third (the mode

g-Dorian).

Te composer does not alter thechord: the Messenger’s line opens with the harmony that concluded theline of Orfeo.

Te line in Orfeo’s role is arrangeddiatonically, whereas the line in theMessenger’s part contains alternatingtriads g belonging to the systems ofdurus and mollis (with a major or mi-nor third).

Te predominant mode for both linesis g-Dorian.


14/48


18

Tere are no accidental markings atthe clef in the part of Orfeo, while theMessenger’s lines are encoded in can-tus mollis .

Te composer modifies neither thecantus nor the mode.

i It seems implausible that Peri rearranged the order to alter the sequence ofrhymes – the succession of ABAAB into the pattern ABABA in reference to thepreceding line by irsi (as suggested by Barbara R-H, in Of Poetryand Music’s Power: Humanism and the Creation of Opera . Ann Arbor 1940). Tesimilarity in rhyming of the last line spoken by irsi (“torrenti”) and the firstline by Orfeo (“ridenti”) should be seen as a reinforcement of the proximity ofmood of the dialogue participants. Te rhyming arrangement of the whole epi-sode (according to the principle of sciolto) is very loose; it is hard to imagine that

Peri wanted to ‘improve’ it at that point. Having shifted the words he achieved amore lucid syntax for the pair of lines delivered by Orfeo Tis clarity of the versemetre let him produce the aforementioned contrast.ii In Peri’s version it is the interval of third.iii o the pitch d ‘, the lowest note of this section.iv Te one that in the Messenger’s story of Euridice’s death always refers to restristes , and it descends as low as c ’.

In the two compositional versions, the following lines ascribed to the Messen-ger feature both dissonances and immediate successions of triads with minorand major thirds. Tese formations highlight other points of the narration tobe illustrated below.


In the part of the Messenger thecomposer used a minim rest to sepa-rate the first and the second line.

At this point Caccini applied themelodic dissonance of a diminishedfourth (bar 7); in the first line of the

Messenger the words “spavento epieta[te]” are sung on the notes of thearpeggiated triad g-b q-d.

Te words “Miserabil beltate” spreadover the ambitus of minor sixth, whereas on the syllable “ra” belong-ing to the word “miserabil” comes thehighest pitch of this part (bar 9/10).

Te line “Miserabil beltate” is locked within the ambitus of minor third,however, the syllable “ra” is coupled with a very distinctive musical-rhe-torical figure patopoia aimed at imi-

tating sobbing (bar 8/9).


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19

Te melodic constitution of the Mes-senger’s exclamation “ohime” includesthe intervallo falso of a diminished

third, a rarity at that time. Addition-ally, this word is accompanied by asuccession of a triad with a minorthird and a triad with a major third,based on a note that is a minor thirdlower (bar 11). Te formed sonoritiesare harshly dissonant: a triad belong-ing to the system of mollis ( g-b q-d )

links directly with a triad that is partof the durus system ( E-g r-b), with ananticipated, still, marked dissonanceof the semitone (b q-b).

In the melodic make-up, the Mes-senger’s exclamation “ohime” is repre-sented by a minor third (bars 10/11).

Admittedly, after a triad with a minorthird (a-c-e ) comes a triad with a major third (d-f r-a , bars 10/11), but it ishigher by a fourth, which establishesa natural sequence headed for a triadfounded on the final of the mode g-Dorian.

Tis example becomes a perfect illustration of Caccini’s style: the use of fairlydiverse melodic types as opposed to dissonance harmonies, as well as a ratherlow degree of alteration in mode and cantus .

Arcetro the Shepherd is the first to react to Dafne’s account.


Arcetro:[1] Che narri? Ohime!Che sento! [2] Misera Ninfa e più misero amante![3] Spettacol di miseria e di tormento!

6a) Jacopo Peri:

Arcetro

Bc¸

™ &?

cc

Œ œ#Che˙

œ œ Œ œnar ri? Ohiw

œ ˙ ‰ jœme! Che

w

.œ# jœ# Œ œsen to! Miw

œ jœ jœ .˙ œ Œ œse ra Nin fa ew w

- - - - - -

&

?

6

œ ˙ jœ jœ ˙ œ ‰ jœ

più mi se ro_a man te! Spet

˙ ˙ ˙ œ œ4 3

˙ œ# jœ# jœta col di mi

w

˙# œ# ‰ jœ ˙ œ œ œ#

se ria e di tor

.w œ# œ

˙ß ˙#men to!

w

- - - - - - - - - -


16/48


20

Arcetro

Bc ¸

™ &

?

c

c

Œ œ ˙ œ œ œ œChe nar r i? Ohi me! Che

˙ ˙ ˙ ˙

˙ ˙# œ jœ jœ œ œsen to! Mi se ra Nin fa e

w w

œ ˙ jœ jœ ˙ œ œpiù mi se ro a man t e! S pet

w w

- - - - - - - - - - -

&

?

4

˙ jœ jœ jœ jœ ˙ œ œta col di mi se ria e

w w

.˙b œ wdi tor men

œ œ ˙b œ# œ ˙

›to!

›- - - - - -

6b) Giulio Caccini:


Te first of Arcetro’s lines (settenario)is split with expressive rests within adescending fifth (which maps out theambitus of the whole part), and imi-tates the Shepherd’s manner of speak-ing and stupefaction at the grievousnews. His cry “Ohime” descends to

the lowest register, giving expressionnot only to his terror but also to hissurrender (res tristes ). A two-wordphrase “misero amante” is highlightedin the same register.

Arcetro utters his line in nearly onebreath, with no rests, even between lines,its ambitus limited to an octave ( g-g ’). Te low pitches (c r’, c’ , b, bq , g ) take ex-actly half of the whole part; in this waythe sphere of res tristes becomes well ac-centuated. Te exclamation “Ohime” was

distinguished as an expression of painin the line that surges by a minor sixthto the highest pitch of this statement,followed by a downward movement inmelody based on an arpeggiated triad,not common to the recitative structure.

Te intervallic structure is ratherunidiomatic of the first attempts at

the recitative, since in most cases itcomprises seconds and thirds, whichovertly prevail (over 55% of all me-lodic progressions).

In this case too, the intervallic structurefor the first recitative compositions is by

no means typical, in 46% of cases it ismade up of progressions in thirds (!). Atthe same time, repetitions are much lesscommon than the average ratio in therecitative of L’Euridice .i Te entire mel-ody of the first line and the beginning ofthe next moves mainly by interval leaps.

i In the part of Arcetro over 32%, and in the succeeding part of Orfeo beginning

with “Non piango e non sospiro” over 33%.


17/48


21


It is not until Arcetro has finished that Orfeo

realises that his wife is dead.

Orfeo:[1] Non piango e non sospiro, [2] O mia cara Euridice,[3] Che sospirar, che lagrimar non posso, [4] Cadavero infelice.

[5] O mio core, o mia speme, o pace, o vita! [6] Ohime! Chi mi t’ha tolto,[7] Chi mi t’ha tolto, ohime, dove sei gita?

[8] Tosto vedrai ch’in vano [9] Non chiamasti norendo il tuo consorte.[10] Non son, non son lontano.[11] Io vengo, o cara vita, o cara morte.

7a) Jacopo Peri:

Orfeo

Bc¸

™ V

?

c

c

Ó Œ œNon

w

˙ ˙ Œ œ .œ Jœpian go e non so

›

˙ ˙ Œ Jœ Jœ ˙spi ro, O mia ca

›

˙ .œb jœ ˙ ˙ra Eu ri di ce,

˙ ˙ ˙ œ œ4 4 2 1- - - - - - -

V

?

5

‰ Jœb Jœ Jœ ˙Che so spi rar,

w

Jœ Jœ Jœ Jœ .œ Jœ©che la gri m ar non

˙ œ œ6

˙# ˙ Œ œ ˙pos so, Ca da

w w#

œ œß .œ jœ ˙ ˙ ve ro in fe li ce.

w w

- - - - - - - - - - -

V

?

9

Œ ˙ œ ˙ œ œO mio co re, o mia

˙ ˙ ˙ ˙4

˙ œ ‰ jœ# .œ jœ# œ# œ#spe me, o pa c e, o vi ta!

›

Ó œ œ œb ˙ Œ œOhi mè! Chi

w w

Jœ Jœ œb ˙mi t’ ha tol

˙ œ œ7 6

- - - - - -

V

?

13

˙# ‰ Jœ Jœ Jœto, Chi mi t’ ha

˙# ˙©

.œ œ œ´ œ œtol to, ohi mè,

w

˙ Œ œdo

w

œ Jœ Jœ ˙ ve sei gi

w

˙ ˙# ∑ta?

˙ ˙ w4 - - -- -


18/48


22

7b) Giulio Caccini:

V

?

b

b

18

Œ œ jœ jœ œ To sto ve drai

˙ ˙

œ œ œ œch’ in va no

.˙ œ

Œ jœ Jœ œ Jœ jœ

Non chi a ma sti mo

w

œ ˙ jœ jœ ˙ œ ‰ jœ

ren do il tuo con sor te. Non

˙ ˙ w

- - - - - - - - -

V

?

b

b

22

Jœ Jœ Jœ Jœ œ jœ Jœ#

son, non son lon ta no. Io

œ œ œ œ

.Jœ rœ .jœ rœ œ œ ven go, o ca ra vi ta, o

˙ œ œ

.œ jœ ˙ca ra mor

œ œ ˙

˙te.

˙- - - - - - -

Orfeo

Bc¸

™ V

?

c

c

Œ œ ˙ ˙ Œ œNon pian go, e

w ˙ ˙

.˙ œ ˙# ˙non so spi ro,

˙ ˙ w

œb œ w .œ jœO mia ca ra Eu ri

w ˙ ˙4

˙ jœ jœ jœ jœ ˙ ‰ jœ# jœ jœdi ce, Che so spi rar, che la gri

˙ ˙ ˙ ˙4 3

- - - - - - - - - - -

V

?

5

œ œ ˙ œ œ .jœ rœ jœ jœmar n on p os so, Ca da ve ro in fe

w w

6

w wli ce.

w w

œ œ ˙ wO mio co re,

w w

œ œ ˙ œb œ .œ jœo mia spe me, o pa ce, o

w ˙b ˙

- - - - - - - - - - -

V

?

9

w ˙ Œ œ# vi ta! Ohi

w ˙ ˙

˙ ‰ jœ jœ jœ ˙ jœ jœ jœ jœ

mè! Chi mi t’ ha tol to, Chi mi t’ ha

w ˙ ˙

.˙ œ ˙ œ jœ jœtol to, ohi mè, do ve sei

˙ ˙ ˙ ˙- - - - - -

V

?

12

w wgi ta?

˙ ˙ w7 6œb jœ jœ œ œ .jœ rœ jœ jœ œb

Jœ J

œ To sto ve drai ch’ in va no Non chia ma sti mo

w w

œ œ œb œ ˙ œ œren do il tuo c on sor te. Non

w w- - - - - - - - - -

V

?

15

œb œ œ œ ˙ œ œ#son, non son lon ta no. Io

˙ ˙ ˙ ˙

œ œ .œ jœ œ œ œ œ ven go, o ca ra vi ta, o ca ra

w ˙ ˙6

w ›mor te.

w ›- - - - - - -


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23

Te singer perceives the death more as a tormenting separation than a loss, thushe does not share his grief with the surrounding shepherds, but in a lengthyapostrophe he directly addresses Euridice who has unexpectedly been taken

from him. It is to her that he wants to disclose his agony.– In the first moments he feels as if he were dead himself, deprived of any

sense (lines 1-4);– Te pain, however, surfaces and calls for expression (lines 5-7); its rhe-

torical language takes the form of a sequence of exclamations (six) and inter-rogations (three).

– Te last lines (8–11) contain a challenge issued by Orfeo against thedivine decree. Te word “no” recurs three times: the death does not mean sepa-

ration, he is going to be reunited with Euridice.


Te solutions chosen by Peri resemblethose that accompanied the entranceof the Messenger: Orfeo’s recitativestarts with a triad with a minor third,based on the note A , immediately af-

ter Arcetro’ s line which has finished with a triad containing a major third,also based on A .

Caccini did not include such varieddevices in the mournful monologue ofOrfeo. Te grieving husband begins hisline with the same repercussion note(d ‘) Arcetro concluded with, repeating

also the triad with a major third builton G .

If compared with the part of Arce-tro, the melodic ambitus widens toan octave (e-e’ ). Another key pointis that the melodic phrases of the whole statement made by Orfeo (re-

gardless of a few ascending passages,in particular at the end of his line),descend, and therefore outline restristes.

If compared with the part of Arcetro,the melodic ambitus slightly spreadsup to a ninth. Individual phrases donot have the downward tendency pre-sent in Peri’s work; this inclination be-

comes evident only in some phrases ofthe third section.

Next to short rests opening each linein the vocal part (apart from line 11),

Caccini only introduced a rest beforethe sixth line. He also applied expressive


20/48


24

the composer used three expressiverests. In this fashion each line and eachexclamation is distinguished with a

rest, with the longest one separatingthe third section. Such frequent restsreflect the terrible shock Orfeo wasin. For the words “Che sospirar, chelagrimar non posso” arranged withinthe ambitus of a diminished fourth,the composer dispensed with themadrigalism: a suspirium rest. Instead

of that he applied a rhetorical figureof gradatio, and reinforced the feelingof pain experienced by the protago-nist employing a melody slanting atthe end of the phrase by a diminishedfourth.

rests to highlight the words openingthe monologue “Non piango” and theexclamation of the sixth line “Ohime”.

For a means of division, he more of-ten resorted to long-value notes: semi-breves. He used as many as nine (whilePeri only used two). Specific sections ofthe monologue are separated with twosemibreves. In the line “Che sospirar,che lagrimar non posso”, after the word “sospirar” he used a madrigal-

ism: a suspirium rest, and repeated the whole phrase a semitone down (withthe words “Che lagrimar”) in this waystrengthening the impact of the illus-trative device.

Tere are no noteworthy dissonancesamong the harmonies exercised byPeri. Part of them having been an-ticipated, i.e. seconds, fourths or sev-enths, result from bass figures. Bassocontinuo brings a chromatic progres-sion in the shape of a sequence oftriads g r-b-d and g-b q-d (bar 13), as well as (in the transition from sectiontwo to section three of the great apos-

trophe) a juxtaposition of triads fromthe systems of cantus durus and mollis :e-g r-b and g-b q-d (bars 17/18), whichin the performance form a transitorysonority in basso continuo.

Nearly the whole of Orfeo’s part is con-sonant, except for a few (two fourthsand one seventh) dissonances pinpoint-ed in the numbering figures of bassocontinuo and the few transitory disso-nances. Tis was solely to emphasise theapostrophe to Euridice in line two “Omia cara Euridice” that its introduction was based on an interval of diminishedfourth up.


21/48


25

As a whole, Orfeo’s monologue ismarked with tonal instability, whichis a clear reflection of his emotional

condition. Tis musical statementstarts with the mode a-Aeolian, butit develops towards G-Mixolydian, amode of the second section. In thispassage the composer juxtaposes themost contrasting triads within thesystems of cantus durus and mollis. After G-Mixolydian (bar 9) ensues

the repercussion of a-Aeolian, so thatafter a rest in the vocal part therefollows the opposing g-Dorian. Tesecond section closes with a triad Eon the repercussion note belongingto the mode a-Aeolian, and again af-ter a rest (having altered cantus durusinto cantus mollis in the last section)

comes a contrasting triad based onnote G with a minor third (g-Dorian,bar 18), and there settles the mode F-Lydian.At the beginning of section twoa succession of exclamations (“O miocore, o mia speme, o pace, o vita”), which are usually distinguished with

a figure of gradatio fashioned up- wards, move downwards within theambitus of a minor seventh, to re-flect the growing pain of loss. Teexclamations “ohime” were set apart with small grazias , with the mostoutstanding arrangement in linesix,transcending the sphere of the

Te entire monologue was noted incantus durus and maintained in themode G-Mixolydian with passages

belonging more to the mode g-Dori-an. Te diatonic pitch material is en-riched with the occasional accidentalb q and f r , which becomes most evi-dent in the first two lines of the thirdsection. First of all, Caccini interpretstext features by means of melody, which is here unidiomatic of the early

type of recitative. While note repeti-tions are relatively small in number(about 33%), uncommonly frequentbecome progressions in thirds (morethan 23%!) and in fourths (nearly15%). A melodic phrase central toCaccini’s style (described in example4), containing two thirds or fourths,

occurs in this short recitative as oftenas eleven times (bar 5: 2 times; 7; 8: 2times; bars 10, 10/11, 11, 13, 15 and16). By and large, some melodic pas-sages comprise just interval leaps (inlines 1, 3/4, 5, 7, 10, 11). In line 5 itis the most evident sign of the pro-tagonist’s growing pain. For instance,

the first two exclamations in this line“O mio core, o mia speme” were en-capsulated in the rhetorical-musicalfigure gradatio within an upper fourth(incidentally, in a manner opposite toPeri’s).At the beginning of episode fourOrfeo, led by Venere, stands on the


22/48


26

relations of cantus durus and shiftingto the mode g-Dorian.In the third section, where Orfeo

takes action, Peri changed not onlythe cantus , but also the type of melo-dy, as it now becomes diatonic, nearlydeprived of repetitions, more fluctu-ant, despite the downward inclina-tion of phrases.

threshold of the infernal wasteland. Tat is when he commences to singhis central monologue.


Orfeo:[1] Funeste piagge, ombrosi orridi campi, [2] Che di stelle o di sole [3] Non vedeste già mai scintill ’o lampi,[4] Rimbombate dolenti [5] Al suon dell’angosciose mie parole,[6] Mentre con mesti accenti [7] Il perduto mio Ben con voi sospiro;[8] E voi, deh, per pietà del mio martiro,[9] Che nel misero cor dimora eterno,[10] Lagrimate al mio pianto, Ombre d ’Inferno.

[11] Ohimè! che su l’aurora [12] Giunse all’occaso il sol de gl ’ occhi miei.[13] Misero! e su quell’ora [14] Che scaldarmi a’ bei raggi mi credei,[15] Morte spense il bel lume; e freddo, e solo [16] Restai fra il pianto e ‘l duolo, [17] Com’angue suole in f redda piaggia il verno. [18] Lagrimate al mio pianto, Ombre d ’Inferno.

[19] E tu, mentre al Ciel piacque,[20] Luce di questi lumi [21] Fatti al tuo dispartir fontan’e fiumi, [22] Che fai per entro i tenebrosi orrori? [23] Forse t’affliggi e piagni [24] L’acerbo fato e gl ’infelici amori? [25] Deh, se scintilla ancora [26] Ti scalda il sen di quei sì cari ardori,[27] Senti, mia Vita, senti[28] Quai pianti, e quai lamenti [29] Versa il tuo caro Orfeo dal cor interno.

[30] Lagrimate il mio pianto, Ombre d ’Inferno.


23/48


27

8a) Jacopo Peri:

Orfeo

Bc¸

™ V

?

b

b

c

c

Œ œ .œ jœ ˙ ˙Fu ne ste piag ge,

›

Œ œ ˙ .˙ jœ jœom bro si or ri di

›

˙ ˙ Œ Jœ Jœ œ Jœ Jœcam pi, Che di stel le o di

›- - - - - - - - -

V

?

b

b

4

˙ ˙ Œ Jœ Jœ œ jœ jœ

so le Non ve de ste già

›

˙ œ ˙ œ w# ˙#mai scin til l’ o lam pi,

˙ ˙ ˙ ˙ w

6

Œ jœ jœ ˙ œ œ ˙Rim bom ba te do len

w ˙ ˙ 6

- - - - - - - - - - -

V

?

b

b

7 œ œb Œ œ œ œ .œ Jœ Jœ Jœti Al suon del l’ an go

˙ ˙ w

œ œ .œ jœ ˙ ˙scio se mie pa ro le,

˙ œ œ w 6 11

œ jœ jœ .œ jœ œ œ ˙ œMe n tre con me sti ac cen ti

›

- - - - - - - - - - -

V

?

b

b

10

Œ jœ jœ œ jœ# jœ ˙# Œ œIl per du to mio Ben con

w w

˙ Jœ œ œ œ ˙ ˙ voi so spi ro;

˙ ˙ ˙ ˙ 11

Ó ˙ wE voi,

w w

œ Jœ jœ jœ jœ jœ# jœ ˙# ˙#

deh, per pie tà del mio mar ti ro,

w w

- - - - - - -

V?

b

b

14

Œ jœ jœ œ jœ jœ ˙ œ œChe nel mi se ro cor di mo

w w

œ œ w ˙ra e ter no,

w w

Ó œ

#

œ#

La gri

w

.˙ j

œ jœ

#

˙#

œ# Œ

ma te al mio pian to,

˙ œ œ w7 6

- - - - - - - - - -

V

?

b

b

18 w œ# œ .œ jœ#Om bre d’ In fer

˙ œ œ ˙ ˙ 4 4

wno.

w

™

¸

Ó w ˙#Ohi mè!

V

w w? Ó w ˙#

Ohi mè!

w w

Œ œ œ œ ˙b œ œche su l’ a u ro ra Giu n

›- - - - - - - -

V?

23

œ Jœ Jœb œ œ Œ œ ˙bse al l’ oc ca so il solw w

œ œ .œ jœ ˙ œ œde gl’ oc chi mie i. Mi˙ ˙ ˙ ˙

11 11

.œ jœ ˙se ro!˙ ˙11

Ó ˙ .œ jœ# ˙#Mi se ro!w w6

- - - - - - - - - -

V

?

27

Œ œ œ œ ˙ ˙e su quel l’ o ra

›

Œ Jœ Jœ œ Jœ jœ

Che scal dar mi a’ bei

w

.œ œ œ œ ‰ jœrag gi io

w

œ# œ ˙ ˙# ˙mi cre de i, Mor

œ œ ˙ w 4 4

- - - - - - - -


24/48


28

V

?

31

œ œ# .˙b jœ jœ ˙te spen se il bel lu

œ œ ˙ ˙ ˙4 11 11

˙ Œ œ .œ jœ .œ jœ#

me; e fred d’ e so

w ˙ ˙

˙# Œ œ .˙b œblo Re stai fra’ l

w w

.˙b œ ˙ œ œpian to e’ l duo lo, Co

˙ ˙ w7 6

- - - - - - - - - -

V

?

35

œ œ ̇ œ# ˙ Œ œbm’ an gue suol’ in

˙ ˙ w 4 4

.œb jœ .˙ œb ˙fred da piag gia il ver

˙ ˙b ˙ ˙6 11 11

w Ó œ# œ#no. La gri

w w

.˙ jœ jœ# ˙# œ# Œma te al m io pian to,

˙ ˙ w7 6

- - - - - - - - -

V

?

39 w œ# œ .œ jœ#Om bre d’ In fer

˙ œ œ ˙ ˙ 11 11 w

no.

w

Ó Œ œ wE tu,

›

œ œ œ œ œ ˙ ˙me n tr’ al C ie l p iac qu e,

˙ ˙ w1110

œ Jœbjœ .œb jœ

Lu ce di q ue sti

˙ ˙

- - - - - - -

V

?

44

˙ ˙ œ# œ# œ# jœ# jœ#lu mi Fat ti al t uo di par

w w

˙# Œ œ .˙ œtir fon ta ne e

w ˙ ˙#

w ˙ Œ œ œfiu mi, Che

˙ ˙ ˙ ˙3 4

˙ Œ œ œ œ ˙fai, che fai per en

w w

- - - - - - - -

V

?

48 jœ jœ# jœ# jœ# .œ# jœ œ# œ# ‰ jœ jœ jœtro

i te ne bro si

or ro ri? For se t’ af

w ˙ ˙

.˙b œ ˙# œ# œ#flig gi

e pia gni L’ a

˙ ˙b w# 6

.˙# œ# wcer bo fa

˙ ˙ ˙ œ œ 4 3 2

- - - - - - - - - - - - -

V

?

51

˙ ‰ Jœ Jœ Jœto e gl’ in fe

w

.˙ œ ˙ .œ Jœli ci a mo

˙ .˙ œ ˙ 6

˙ ˙ ∑ Ó ˙ri? Deh,

˙ ˙ w w4 3 10 10

˙ .˙ jœ# jœ# .œ# jœdeh, se scin til l’ an

w w10

- - - - - - - - -

V?

55

˙#

œ#

œ ˙ Jœ jœ œco ra T i scal da’ l sen

w ˙ ˙#

œ œ .˙ œ ˙

di quei si ca

w w6œ œ ˙ ˙

˙ri ar do ri, Sen

œ# œ ˙ w6 7 6

œ œ Œ

œ Jœ Jœ

˙ œti, sen ti, mia vi ta,

˙ ˙ ˙ ˙

- - - - - - - - -

V

?

59

œ# ˙ œ# ˙ Œ œsen ti Quai

˙ ˙ w 4 4

˙ ˙ Œ œ Jœ jœ œpian ti, e quai la men

w w

˙ ˙ œ Jœbjœ .jœ rœ œ

ti Ver s ’ il tuo ca ro Or feo

w w

œ œ# .˙b œ ˙dal cor in ter

˙ ˙ ˙ ˙ 11 11 11

- - - - - - - - -


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29

8b) Giulio Caccini:

V

?

63

w Ó œ# œ#no. La gri

w w

.˙ jœ jœ# ˙# œ# Œma te al mio pian to,

˙ ˙ w7 6

w œ# œ .œ jœ#Om bre d’ In fer

˙ œ œ ˙ ˙ 4 4

wno.

w

- - - - - - - -

Orfeo

Bc¸

™ V

?

b

b

c

c

‰ jœ jœ jœ ˙ ˙ Œ œFu ne ste piag ge om

w w

˙ œ Jœ jœ ˙ ˙

bros si or r i di cam pi,

w w

Œ Jœ Jœ œ Jœ jœ .Jœ Rœ Jœ

jœ œ jœ jœ#Che di stel le o di so le Non ve des te già

w w- - - - - - - - - - - -

V

?

b

b

4

.œ jœ œ œ ˙ ˙mai sc in t il l ’ o lam pi,

w w

Œ Jœ jœ .˙ Jœ

jœ œ œ œ œ œRim bom ba te do len

˙ ˙ w6

4

5

4

œ œ .Jœ rœ jœ jœ ˙ Jœ

jœ jœ jœti Al suon del l’ an go scio se m ie pa

w w

- - - - - - - - - - - - -

V

?

b

b

7

˙ ˙ œ# jœ# jœ# .œ jœro le, Me n tre con me sti

ac

w w

œ# œ# Œ jœ jœ .˙

J

œ jœcen ti Il per du to mio

˙ ˙ ˙ ˙

œ ‰ jœ# œ# œ ˙ ˙Ben con voi so spi ro;

w w

Ó ˙# ˙ œ jœ jœE voi, deh, per pie

w w- - - - - - - - - - -

V

?

b

b

11

.œ jœ œ œ ˙ ˙tà d el mio mar ti ro,

w w

œ œ .œ Rœ Rœ .œ jœ ˙

Che nel mi se ro cor di mo

w ˙ ˙

˙ ˙ ˙ ˙ra e ter no,

˙ ˙ w 4

Œ Jœ Jœ .˙ jœ jœ# ˙

La gri ma te al mio pian

˙ ˙ ˙b ˙6 7 6

- - - - - - - - - - - - -

V?

bb

15

˙ ˙# .˙ Jœ jœto, Om bre d’ In

w ˙ ˙w ›fer no.

w ›∑ w wOhi mè!∑ w w

‰ jœ jœ Jœ œ œ œ Jœ

jœ œ œche su l’ au ro ra Giun se al l’ o ca so il

w w- - - - - - - - - - -

V

?

b

b

19

.œ jœ œ œ ˙ ˙sol de gl’ oc chi m ie i.

w w

œ Jœ Jœ .œ Jœ .Jœ Rœ Jœ jœ œ jœ# jœ#

Mi se ro! e s u quel l’ o ra Che sc al dar mi a’ bei

w .˙ œ

.œ jœ œ œ ˙# ˙#rag gi mi cre de i,

w w- - - - - - - - - - -


26/48


30

V

?

b

b

22 œ œ œ Jœ jœ œ œ .œ#

jœMor te spe n s ’ il bel lu me , e f red do, e

w w

˙ œ œ# œ œ ˙so lo Re s tai fra_il pian

w ˙ ˙6

˙ œ œ ˙ Jœ Jœ .Jœ rœ

to e’ l duo lo, Com’ an gue

œb œ œ œ w7 6

- - - - - - - - -

V

?

b

b

25

.jœ rœ jœ jœ .œ jœ ˙ ˙suo le in fred da piag gia il ve r no.

w w

Œ Jœ Jœ .˙ jœ jœ# ˙

La gri ma te al mio pian

˙ ˙ ˙b ˙6 7 6

˙ ˙# .˙ Jœ jœ

to, Om bre d’ In

w ˙ ˙

w ›fer no.

w ›- - - - - - - - - - -

V

?

b

b

29

∑ Ó ˙E

w w

˙ œ jœ jœ ˙ ˙tu men t re

al Ciel piac que,

w w

œ Jœ Jœ .œ Jœ ˙ ˙Lu c e di que sti lu mi

w ˙ ˙

˙ jœ jœ jœ# jœ œ# œ œ œFat ti_al tuo di par tir fon tan’ e

w w- - - - - - - - -

V

?

b

b

33

˙# œ# œ ˙ Œ œ#fiu mi, Che fai per

w ˙ ˙

œ œ ‰ jœ jœ jœ .œ jœß ˙ wen tro i te ne bro si or ro ri?

w œ œ œb œ w7 6

˙ Jœ jœ jœ jœ# ˙ jœ jœ jœ Jœ

For se t ’ af fl ig gi e pia gni L’ a c er b o

w w- - - - - - - - - - - - -

V

?

b

b

36

Jœ jœ jœ Jœ œ œ ˙ ˙fa to e gl’ in fe l i ci_a mo r i?

w w

œ jœ jœ œ œ œß jœ# jœ œ# œDeh, se scin til la an co ra T i scal da il

w w

˙ ‰ jœ# jœ jœ œ œ ˙sen di quei sì ca ri ar do

˙ ˙ œ œ ˙- - - - - - - - - - - - - -

V

?

b

b

39 w œ Jœ Jœ œ œri, Sen tim mia vi t a,

w œ œ œ œ

6

˙ œ œ .œ Jœ œ œ#sen ti Q uai pian ti e quai la

˙ ˙ .˙ œ

˙ ˙ œ Jœ jœ œ œ

men ti Ver sa_ il t uo ca ro Or

w w

œ œ œ œ wfeo dal cor in ter

˙ ˙ w

- - - - - - - - - - - -

V

?

b

b

43

w Œ Jœ Jœ ˙no. La gri ma

w ˙ ˙6

œ jœ jœ# w ˙#te_al mio pian to,

˙b ˙ w7 6.˙ Jœ

jœ wOm bre d’ In fer

˙ ˙ w

›no.

›- - - - - - - -


27/48


31

Bewailing the loss of his wife, Orfeo tries to move the surrounding wilder-ness. Te line “Lagrimate al mio pianto, Ombre d’Inferno” returns three times, which is characteristic of laments or dirges, and it plays an essential structuring

role, helping to maintain a uniform tone of the text comprising three segments,and musically emphasising and establishing the tonalities of the triads basedon G -final of the mode g-Dorian or the final of G-Mixolydian.

– In the lines 1–9 the Singer invokes the Kingdom of Shadows, whichhe has just reached. Te descriptive arrangement of the text is mostly lyri-cal in character, which is the effect of accumulating adjectives of distinctivelynegative connotation “funeste”, “dolenti”, “angosciose”, “mesti”, “misero”, and“perduto”.

– Lines 11–17: using the language of metaphor, Orfeo exposes the para-dox of the calamity that has just befallen him: the wintery chill of loneliness inplace of the rays of love.

– In lines 19–29 comes a grief-imbued apostrophe to the shadow of Eu-ridice – a lengthy lament interwoven with selected expressions, such as “infeliciamori”, “pianti e lamenti”, “fontane e fiumi [di lagrime]”, “t’affligi e piagni”,and “tenebrosi orrori”.

– Line 30 – a refrain-exclamation closes the monologue with a recapitula-

tory call: “Lagrimate al mio pianto”.


Te exclamatory line of the refrain was highlighted with the highest andlongest pitch (semibreve) d ’ on thefirst syllable of the word “Ombre” andthe interval of minor sixth down (in-

tervallo falso) to the departure note. Tis distinctive element is all the morestriking in that the ambitus of the whole phrase (apart from the intervalleap) is limited to a minor third.

Te shape of the melody in the lineof refrain carries special weight. Tereare two distinguishing interval leaps: adescending perfect fifth on the word“lagrimate” and an ascending dimin-

ished fifth on the first syllable of the word “ombre”. Both high pitches wereadditionally stressed with a dottedminim. In both cases the composerused his favourite emphatic figureesclamazione.i Te whole phrase (in-cluding both interval leaps) is encom-passed in the ambitus of a minor sixth.


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32

Te following parts of the monologuediffer in their musical shape substan-tially when it comes to the techni-

cal devices, as well as the intervallicstructure of the melody. Repetitionsoutnumber other forms of melodicprogression (57%), it is one of themost repetitive sections in the wholeof L’Euridice . Tey are less frequentin part two and three – in those partsother intervals (up to a fourth) domi-

nate.

Caccini focused more on the empha-sis of the whole statement and addi-tionally underscored other distinctive

moments. He shaped the melody in aseparate way. Te predominant move-ment of the first part progresses inseconds (54%!), whereas repetitionsconstitute a fourth of all intervals.ii Tirds, fourths and fifths representabout 22% of the whole monologue:iii Te difference between these propor-

tions is growingiv in the followingsections in favour of progressions inseconds, thus melodiousness is im-proving by degrees. Admittedly, me-lodic passages consisting only of in-terval leaps (as in Example 7) do notoccur frequently, but at several pointsthe composer leads the melody of the

vocal part through the notes of an ar-peggiated chord. v

Mode G is the dominant one for the whole monologue. Apart from thefirst four lines, where note G is recur-ring in the basso continuo part, thefeature that characterises the arrange-ment is permanent alternation of tri-

ads founded on the note G with majorand minor thirds.In the first part governed by cantusmollis the dominant mode is g-Dorian,modifying into G-Mixolydian andreturning to g-Dorian. Te change-ability of mode seems to mirror thespirits of Orfeo who is crossing the

Te entire monologue is composedin cantus mollis , and the predominantmode is g-Dorian. Like Peri, Caccinialmost always applied the notes of thefinal and repercussion – G and D, es-pecially in the basso continuo of the

first part. Due to greater tonal stabilitythe arrangement of the whole sectionsounds more homogenous. Tere areno dissonances apart from transitoryones and the few that were indicatedin figured numbering. Caccini usedneither chromatic passages nor manyintervalli falsi (fewer than Peri). Next


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33

‘ominous banks’ of the river Styx. Inbar 11 on the last syllable of the word“sospiro” the composer used a cadence

to the final in g-Dorian. It was notthe conventional suspirium rest that was employed to illustrate the sigh,but a semirest during which he simul-taneously altered the triad g-b-d into

g-b q-d , and until the end of the parthe structured triads based on the re-percussion, with the conclusion on the

final of g-Dorian. In the first part Peridid not resort to any intervalli falsi,beyond a descending minor sixth in aline of the refrain.

to the diminished fifth in the refrain(which he also applied to accentuatethe word “morte” in line 15), he im-

plemented a downward orientated di-minished fourth in line 21. At manypoints he directly juxtaposed triads with major and minor thirds (as inbars 8, 10 and others).

In the second part of the monologuethe composer deployed a wider rangeof technical devices. Tis part was no-tated in cantus durus and the pitches ofG and D occur here as often as in thebasso continuo of the previous part. Terefore, the predominant modeshould be G-Mixolydian, still, as earlyas the first line (bar 22) cantus durusbecomes disrupted with note b q andthen the triads g-b q-d , which belongto the mode g-Dorian. Terefore, it

is also the second part of the mono-logue that is defined by tonal instabil-ity. Most typically these are sections inmode g-Dorian succeeding sections inG-Mixolydian.Repeating some words of a specificcharacter was an innovative approach. vi Tere are two exclamations – the initial

In the entire monologue of Orfeo,Rinuccini used the word “pianto” sixtimes: vii it was used three times in therefrain, once in the second part andtwice more in the third part. Surely,the word “pianto” was exposed in-tentionally. It magnified the effect ofgrieving notably as, with one excep-tion (line 23), the weeping referred tothe protagonist himself. Both com-posers distinguished this word usinglonger-value notes, more diversified

in the work by Caccini. Peri used theminim (or the dotted minim) as wellas the semiminim. In addition, he ap-plied two minims at the point whereOrfeo was talking about Euridice’scry, not his own (line 23). Caccini’ssolution was the opposite – he em-phasised more the suffering of Orfeo


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34

“Ohime” (line 11) and “Misero!”(line13) – which most directly repre-sent the feelings Orfeo is experiencing

while mourning the loss of his wife.Each time a musical-rhetorical figure

gradatio is formed and stressed beforeeach reappearance with the rest sus-

pirium. It is repeated in a higher posi-tion (a semitone with “ohime”, and afourth with “misero!”) and reinforcedby a diminished fifth – a falling in-

tervallo falso – used between the firstand the second syllable, right whenit reappears. All the intervalli falsi inOrfeo’s monologue (there are eight ofthem) run downwards, thus their roleis to portray res tristes. Peri resortedto intervalli falsi two more times inthe second part, that is, he employed

a diminished fifth for the words “Soldegli [occhi miei]” (bars 23/24) and“angue” (bar 35). What is more, bothin the second and in the third part hedevised a chromatic progression g-f r-

f-e , which he also used as a means ofconveying res tristes . He did it for theline “Morte spense il bel lume” (bars

30/31) in part two, and for the words“...quai lamenti | Versa il tuo caro Or-feo” (bars 61/62) in part three, that isin emotionally complex situations.

himself. In the refrain the word “pi-anto” is accompanied with values thatare twice as long as others. Even more

clearly the weeping of Orfeo is de-picted by the longest-value note com-prising five semiminims. In line 23(describing the sobbing Euridice), inturn, the composer used the shortest- value notes (semiminim and fusa).It is also the application of rests fordistinguishing specific sections of a

text that sets the two composers apart.Peri used rests much more often – notonly to start most lines, but also to un-derscore the expression of individual words in 15 lines where he employedexpressive rests. Caccini did the oppo-site: most typically he linked lines intolonger phrases, he also commenced

lines (12) with rests, whereas only onfive occasions did he employ expres-sive rests (within lines). Furthermore,Peri double-marked repeated words with rests to increase their expressiverole. Caccini, by contrast, did not useany repetitions, and marked the excla-mation on the word “ohime”, starting

the second part, by separating it fromthe first part with a semibreve-longgeneral rest. viii Both composers used arest to underscore the apostrophe “Fu-neste piagge” in line one. Both of themchose not to use the rest suspirium,but a semirest instead, after the word“sospiro” in line 7.


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35

Te third part of the monologue, in aform of an extensive apostrophe, wasalso noted in cantus durus . Its techni-

cal makeup resembles part two, apartfrom the air of sharpness that seems tohave been partly reduced as the wholestatement was addressed to Euridice. Te alternation of triads based on G with major or minor thirds, a featurecharacteristic of the whole mono-logue, has been preserved here too.

Similarly, repetitions of words havenot disappeared. Apparently, theemotional weight of these words isnot that heavy, but gradatio remainstheir accompanying figure. With theexception of the line of refrain, theintervallo falso assumes the form of adescending diminished fourth on the

words “t’affliggi e piagni” (bar 49). Peridouble-emphasised the words with achromatic passage in basso continuo, which radically distorted the cantusarrangement through incorporation ofthe note E flat , and with a juxtaposi-tion of contrasting triads with a minorthird founded on G and with a major

third based on E . What attracts attention in this part isthe musical phrase in line 29: “Versa iltuo caro...” (Euridice is invoked for thelast time), which consists of a gradualdescent (an octave down) to the low-est note in the entire monologue byOrfeo.ix

Part two and three differ only slightlyfrom part one. Even though Cac-cini did not repeat a word in the en-

tire text, he did repeat some melodicstructures. For instance, the thirdpart starts with notes of the same ar-peggiated chord (d-g-b q) that featuredat the beginning of part one (on the word “ombrosi”). Ten, at two pointsthe composer used a complex double-line falling phrase with the ambitus of

a minor sixth spreading over the samenotes d ‘’- f r’. Tat is how he capturedlines two and three (part one) as wellas lines thirteen and fourteen (parttwo). Te shape of the melody in bothphrases is very much alike. Similarlythe text refers to light deprivation, which pertains to analogous emotions.

Additionally, the melodic figures that were intrinsic to Caccini’s style (dis-cussed at Example 4) recur a few times(in bars 1, 12, 18, 21, 22, 37).


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36

i He described it in the foreword to Le nuove musiche (Florence, 1602).ii Exactly 23,7%.iii Tirds: over 11%, fourths: over 6%, and fifths: more than 4%.

iv Progressions in seconds increase from 51% in part 1 to 57% in part 3; repeti-tions decrease from 27% in part 1 to 22% in part 3. v For instance in bars 1/2, 5/6, 11/12, 22, 33, 40, 42. vi A form of departure from the principles of recitative, repetition of words can

be rarely found in Peri’s composition. Compare the repetition of words “Ohime”

(bar 20/21), “misero” (bar 25/26), “che fai” (bar 46/47), “deh” (bar 53/54), and

“senti” (bar 57/58). vii In lines 10, 18, 16, 23, 28, 30. viii Exceptionally occurring in recitative.ix Tis type of phrase characterised moments of pain in compositions by Clau-

dio Monteverdi. It was employed both in L’Orfeo and in Lamento d’Arianna .

What the two scores have in common is not only the way in which the narra-tion is captured but also the manner of their melodic-rhythmic development. Tat is best observed in the longest narration of Arcetro “Con frettoloso passo”(episode III). Some lines (in Arcetro’s monologue, especially in its later sec-tions) are arranged in a fashion that evokes another work, as if they were quo-tations from an identical score. Nonetheless, it is impossible to establish whose version could have been composed first. Several lines from the monologue ofArcetro have been compared below.

Example 9. Excerpts from L’Euridice by J. Peri and by G. Caccini

a) Line 17

E, come porse il caso, o volle il fato,Peri

Caccini

& ‰ jœ# jœ jœ œ jœ ˙ œ ‰ jœE, co m e por se il ca so, o

.˙ œ œ œ vol le il fa to- - - - -

& ‰ jœ jœ jœ .œ jœbE, co me por se il

œ œ .œ jœb ˙ jœca ,so o vol le il fa to,- - - - -


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37

b) Line 23

Immobilmente affisse Peri

Caccini

c) Lines 26-28O sangue, o caro sangue Del mio ricco tesor misero avanzo,Deh co’ miei baci insieme

Peri

Caccini

d) Line 31

Cadde su l ’erba, e quivi,Peri

Caccini

& ‰ jœ# jœ jœ .œ jœ ˙ jœIm mo bil men te af fis se- - - - - -

& jœ jœ jœ .˙ œ ˙ jœIm mo bil men te af fis se- - - - - -

& œ ˙ œ œO san gu e, o

œ jœ jœ ˙ ˙ Œ jœ jœca ro san gue Del mio

œ# jœ jœ ˙ .œ rœ rœ œ œ

ric co te sor mi se ro a van zo

œ jœ jœ œ œo Dehco’ miei ba ci in

˙ ˙sie me- - - - - - - - - - - -

& œ ˙ ˙O san gue,

.˙ jœ jœ ˙# œ jœ jœo ca ro s an gue Del mio

œ# jœ jœ ˙ .˙ jœ jœric co te sor mi se ro a

˙ ˙ œ jœ jœ .œ jœ van zo o Deh co’ miei ba ci in

˙ ˙sie me- - - - - - - - - - - -

& .˙ jœ œCad de su

˙ œ ‰ jœl’ er ba, e

˙ œqui vi- - -

& œ jœ jœ .œ jœCad de su l’ er ba, e

˙ œqui vi- - -


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38

e) Line 36

Io, che pensato avea di starmi ascosoPeri

Caccini

f ) Line 42

Da l ’alto ciel mi saettò le ciglia Peri

Caccini

Caccini’s score had been published two months before Peri’s. Caccini’s work wasbrought out four months after he had seen Peri’s version while participating inrehearsals. For the first performance of Peri’s L’Euridice (6 Oct 1600) Caccini andsome members of his family had been commissioned to sing nearly a fifth (!) ofthe total composition. Interestingly, Caccini demanded to perform sections from

his version of L’Euridice .2 In the printed version of his score Peri restored his ar-rangements and did not fail to remark that Caccini’s opera was “composed andprinted after my work had been put on stage.”3

2 Tese sections were all enumerated in the foreword to his score: Euridice’s parts, some partsof Pastore and Ninfa del Coro, as well as the choir sections “Al canto al Ballo”, “Sospirate” and “Poiche gli eterni imperi”.

3 “composta, e stampata pur dopo, che questa mia fu rappresentata”

& b œ jœ jœ jœ jœ œIo che pen sa t o_a vea

œ œ .œb jœ ˙ œdi star mi_a sco so- - - - - -

& œ# jœ jœ œ œ .œ jœ œ œIo che pen sa to_a vea di star mi_a

˙# ˙sco so- - - - - -

& b jœ .jœ rœ jœ jœ jœ jœDa l’ al to ciel mi sa et

.œ jœ œ œto le ci glia- - - -

& ‰ jœ jœ jœ .jœ rœ jœ jœ .œ jœ

Da l’ al to ciel mi sa et to le

˙ ˙ci glia- - - -


35/48


36/48


40

of the text in both compositions. Tis illustrates to what extent the composersadjusted music to the formal structure of poetry, in this way fulfilling the de-mand of the Camerata group (and of Giovanni de Bardi in particular).

Te choice of note values according to the position of accents in a line asemployed by each composer:


Te shortest note values, semifuses , were rarely used by Peri – only as acompletion of dotted fuses and inshort grazias.i

Caccini used semifuses almost exclu-sively for dotted rhythms and for colo-raturas.

Te longest values, i.e. breves andsemibreves , were used in moderation.In the entire recitative of L’Euridice Peri employed breves only eighttimes: seven times in episode IV (setin Inferno). For him these note valuessymbolised the land of the dead; theyappeared at the conclusion of lines.ii

Most typically Peri used semibreves tofinish off individual lines (usually asa succession of a minim and a semi-breve, or as two semibreves). In total,in the recitative of L’Euridice Peri ap-plied about 130 semibreves .

He often deployed the longest note values: in his recitative there are ap-proximately 190 semibreves – usuallytwo for the last two syllables of a line,and about 100 breves. Te sympto-matic role of the value vanishes asa result of finishing all the statementsof the characters with breves (Caccini

also used breves for their expressive value, but he applied them in strophicsections, e.g. in “Cruda morte”).

i Tere are as few as eight grazias with semifuses in the recitative of Peri’sL’Euridice .ii Exceptionally, at one point (compare Example 1, bar 5) this value stood forthe might of Pluto.

2. Intervallic structure

Statistically, the intervallic structures of Peri’s and Caccini’s recitatives dif-fered only to a small degree. Peri opted for repetitions whereas Caccini for

passages in seconds. Te ratio is as follows:


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41

Interval Jacopo PERI Giulio CACCINI

Repetition 36,9% 34,5%

Second 41,7% 44,8%

Tird 14,3% 14,2%Fourth, fifth, sixth, octave 7,0% 6,6%

Tese proportions in both versions of L’Euridice fluctuated, or changed to theopposite, depending on the stage of development in the plot of the drama.After all, a preference for repetitive or second- or third-progressing structuresrested on a composer’s interpretation of a dramatic situation. Tere followsa comparative summary of the most and least frequent application of intervalsin episodes, with the second episode split into two parts since the arrival ofthe Messenger has completely transformed the dramatic situation, which wasreflected in the intervallic structure of the recitative:


Te maximum number Percentage Episode Percentage Episode

of repetitions 46,9% II/2 33,1% III

of progressions in seconds 52,0% I 51,3% II/1

of progressions in thirds 15,7% II/2 16,5% V

in intervals larger than thirds 9,3% I 7,7% IV

Te minimum number Percentage Episode Percentage Episode

of repetitions 25,1% I 26,5% II/1

of progressions in seconds 35,6% III 40,4% II/2

of progressions in thirds 13,5% I i III 12,3% I

in intervals larger than thirds 5,3% II/1 4,8% III

Te summary shows the tight interdependence between the intervallic struc-ture and feelings evoked by the poetic text, which becomes most evident in the

scenes that reveal the characters’ more extreme emotions. Terefore, repetitionsoccur most densely in the scenes of tragic significance: i.e. the entire scene with the Messenger in Peri’s work and the Inferno scene in Caccini’s version.At the same time Peri’s scene with the Messenger is accompanied by the mostfrequent passages in thirds, whereas the Inferno scene in Caccini’s opera con-tains the smallest number of intervals larger than a third, which portrays thecomposer’s preference for smooth melodic structures, and thus short passagescontaining only interval leaps become more conspicuous. Both composers ar-

ranged the most joyful sections of the text (episode I and the first part of epi-

[para leer] first attempts at the dramatic recitative. jacopo peri - giulio caccini

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