Giulio Caccini: Between Passages and Affected Music

This article is written in Russian. You can read it here.

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About the author: Alena D. Verin-Galitskaya, Postgraduate, The Gnesins Russian Academy of Music

DOI 10.34690/216

Author Alena D. Verin-Galitskaya

Affiliation The Gnesins Russian Academy of Music, Moscow, Russia

Email a.veringalitskaya@gmail.com

ORCID

0000-0001-7549-2087

Abstract

Italian music of the 16th century has reached us only partially: published and written sources have been preserved, but not verbal practice, which involved numerous ornamentations. The improvisational skill of the musician was the defining indicator of his professionalism. Giulio Caccini, brought up in this tradition, became one of the best Italian virtuoso singers of the last third of the 16th century. In Russian musicology, Caccini is known mainly as a member of the Florentine Camerata and one of the founders of the opera genre. In the article, Caccini’s music is considered from the point of view of the conflict between the old, “verbal” art and the new, “written” language. The reasons for this opposition can be found in the analysis of biographical information, in the texts of Caccini himself or in his works, which preserved his virtuoso art for us. Much attention in the article is paid to the issue of the relationship between words and music, as well as the appropriateness of the use of ornamentation.

Keywords opera, Giulio Caccini, improvisation, affect, diminution, ornamentation, Florentine Camerata, madrigal, Italian music of Cinquecento

For citation

Verin-Galitskaya, A. D. “Giulio Caccini: Between passages and affected music.” Muzykal’naya akademiya [Music Academy], no. 1, 2022, pp. 14–25, doi:10.34690/216. (In Russ.)

Published 26.12.2021

Approved 12.01.2022

Submitted 31.03.2022

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Giulio Caccini: Between Passages and Affected Music

Giulio Caccini: Between Passages and Affected Music

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