Florentine Camerata

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The Florentine Camerata was a group of humanists, musicians, poets and intellectuals in late Renaissance Florence who gathered under the patronage of Count Giovanni de' Bardi to discuss and guide trends in the arts, especially music and drama.[1][2] They met at the house of Giovanni de' Bardi, and their gatherings had the reputation of having all the most famous men of Florence as frequent guests.[3][4][5] The apex of influence for the Camerata was between 1577 and 1582, gaining influence before this time, and dying off afterward.[6]

Membership

The term “camerata” is entirely a new construct coined by the members of Bardi's circle.[7] The name for Bardi's group comes from Giulio Caccini's score for L'Euridice, wherein he dedicates the work to Count Bardi, remembering the “Camerata”'s good years.[8] [9] The earliest recorded meeting was 14 January 1573 at Count Giovanni Bardi's house.[10] Known members of the group besides Bardi included Giulio Caccini, Pietro Strozzi, and Vincenzo Galilei (the father of the astronomer Galileo Galilei).[11][12] Girolamo Mei also participated, and at a young age, Ottavio Rinuccini, born in 1562 may have also participated.[13][14] Less prominent members of the Camerata may have included the musicians Emilio de' Cavalieri, Francesco Cini, Cristoforo Malvezzi, and Alessandro Striggio. The literary lights of the Bardian Camerata included Ottavio Rinuccini, Giovanni Battista Guarini, Gabriello Chiabrera, and Giovanni Battista Strozzi the younger.[15] The social circle of Jacopo Corsi should not be confused with the Camerata of Bardi. Though they included many of the same luminaries, the rivalry between Corsi and Bardi was fierce and constant.[16]

Unifying the Camerata members was the belief that music had become corrupt, and by returning to the forms and style of the ancient Greeks, the art of music could be improved, and thereby society could be improved as well. [17][18][19] Though they did not originate many of their conclusions about music, the Camerata of Bardi solidified the ideas gleaned from outside thinkers like Girolamo Mei.[20]

Foundation

Prior to the Camerata's inception, there existed a popular sentiment among the Camerata's Renaissance contemporaries that music should mimic the ancient roots of the Greeks.[21] The current day's thought held that the Greeks used a style between speech and song, and this belief guided the Camerata's discourse.[22] They were influenced by Girolamo Mei, the foremost scholar of ancient Greece at the time, who held—among other things—that ancient Greek drama was predominantly sung rather than spoken.[23] Foundational for this belief was the writing of the Greek thinker Aristoxenus, who proposed that speech should set the pattern for song.[24]

Largely concerned with a revival of the Greek dramatic style, the Camerata's musical experiments led to the invention of the stile recitativo Cavalieri was the first to employ the new recitative style, trying his creative hand at a few pastoral scenes.[25] The style later became primarily linked with the development of opera.[26]

The criticism of contemporary music by the Camerata centered on the overuse of polyphony at the expense of the sung text's intelligibility.[27] Excessive counterpoint offended so the ears of the Camerata because it muddled the affetto (the “affection”) of the important visceral reaction in poetry. It is the job of the composer to communicate the affetto into an audible, comprehensible sound.[28] Intrigued by ancient descriptions of the emotional and moral effect of ancient Greek tragedy and comedy, which they presumed to be sung as a single line to a simple instrumental accompaniment, the Camerata proposed creating a new kind of music. Instead of trying to make the clearest polyphony they could, the Camerata voiced an opinion recorded by a contemporary Florentine, “means must be found in the attempt to bring music closer to that of classical times.”[29]

Composition

In his formative days, Vincenzo Galilei was trained in music theory by the famed Gioseffo Zarlino.[30] In 1582 Vincenzo Galilei performed a setting, which he composed himself, of Ugolino's lament from Dante's [[Dante's Inferno|Inferno]. Caccini also is known to have performed several of his own songs which were more or less chanted melodically over a simple chordal accompaniment.[31] The Camerata composers sought so valiantly to recreate the style of Greek music, however actual transcribed Greek music had been lost for eons.[32]

The musical style which developed from these early experiments was called monody. In the 1590s, monody developed into a vehicle capable of extended dramatic expression through the work of composers such as Jacopo Peri, working in conjunction with poet Ottavio Rinuccini. In 1598, Peri and Rinuccini produced Dafne, an entire drama sung in monodic style: this was the first creation of a new form called "opera."[33] Though Peri's Dafne was the first performed opera, its music has been lost to the centuries. Instead, L'Euridice, his second opera is most-often heralded as the history-making work.[34] It should be noted that the new form of opera also borrowed, especially for the librettos, from an existing pastoral poetic form called the intermedio; it was mainly the musical style that was new.[35] The instrumentation for an opera from the Camerata composers (Caccini and Peri) was written for a handful of gambas, lutes, and harpsichord or organ for continuo.[36]

Other composers quickly followed the example of the Camerata members, and by the first decade of the seventeenth century the new "music drama" was being widely composed, performed and disseminated. Instead of an immediate decline in contrapuntal vocal music, there existed first a time of coexistence and then synthesis of monody and traditional music. Florence, Rome, and Venice became the Italian capitals of innovation and synthesis.[37]

The Camerata's view on counterpoint and monody did not rise to prominence not without opposition. Galilei's famed theory teacher Zarlino countered, “What has the musician to do with those who recite tragedies and comedies?”[38]

In the compositions of the Camerata members, the theory preceded the practice; the men decided how the music should sound before they set to compose it.[39] The composers of the Camerata became so faithfully committed to the exploration of their declamatory style that often their pieces became rife with monotone sonorities.[40]

Eventually the influence of the Bardi circle waned as Giovanni Bardi fell out of favor. Bardi publicly endorsed the marriage of Francesco I de' Medici and his mistress Bianca Capello. This endorsement was in stark contrast to the feelings of Francesco's brother Ferdinando I de' Medici, who was a cardinal in Rome at that time.[41]

Legacy

Bardi, Galilei, and Caccini left writings expounding their ideas. Bardi wrote the Discorso (1578), a long letter to Giulio Caccini, and Galilei published the Dialogo della musica antica et della moderna (1581-1582).[42][43] In 1602, long after the group had disbanded, Caccini wrote "Le nuove musiche".[44]

The members of Bardi's circle may not have distinguished the importance of their labors, as no one named the group until Caccini's label in 1600. Galilei once marked that Bardi aided noblemen in the study of music.[45] Yet, through the critical efforts of men like Galilei, the Camerata gained an indirect influence on the flow of music history, as Galilei challenged artists to rethink the palette of sound they had been utilizing for decades.[46] The greatest innovation to emerge from the Camerata was not a piece of music or aesthetic ideal, but rather a door opened for further composition of dramatic music.[47]

Sources

  • Donington, Robert. The Rise of Opera. New York: Scribner, 1981.
  • Ewen, David. The New Encyclopedia of the Opera. New York: Hill And Wang, 1971.
  • Grout, Donald Jay. A Short History of Opera: One-Volume Edition. Columbia: Columbia University Press, 1947.
  • Palisca, Claude V.. The Florentine Camerata: Documentary Studies and Translations (Music Theory Translation Series). New Haven, CT: Yale Univ Pr, 1989.
  • Randel, Don. The New Harvard Dictionary of Music. Cambridge, Massachusetts: Harvard University Press, 1986.
  • Schrade, Leo. Monteverdi: Creator of Modern Music. New York: W. W. Norton & Co., 1950.

References

  1. ^ Donald Grout, A Short History of Opera, (New York: Columbia, 1947), 43.
  2. ^ Claude Palisca, The Florentine Camerata: Documentary Studies and Translations (New Haven: Yale University, 1989), 4.
  3. ^ Ibid., 5.
  4. ^ Ibid., 6.
  5. ^ Ibid., 4.
  6. ^ Ibid., 7.
  7. ^ Robert Donington, The Rise of Opera, (New York: Scribners' Sons, 1981), 78.
  8. ^ Claude Palisca, Documentary Studies, 3.
  9. ^ Robert Donington, The Rise of Opera, 79.
  10. ^ Claude Palisca, Documentary Studies, 5.
  11. ^ Don Randel, ed., “Camerata” in The New Harvard Dictionary of Music, (Cambridge, Massachusetts, Harvard University Press, 1986), Vol. 3, 870.
  12. ^ Donald Grout, Short History of Opera, 46.
  13. ^ Robert Donington, The Rise of Opera, 78.
  14. ^ Claude Palisca, Documentary Studies, 8.
  15. ^ Ibid., 8.
  16. ^ Robert Donington, Rise of Opera, 80.
  17. ^ Ibid., 81.
  18. ^ David Ewen, “Opera” in The New Encyclopedia of the Opera, (New York: Hill and Wang, 1971), 491.
  19. ^ Leo Schrade, Monteverdi: Creator of Modern Music, (New York: W. W. Norton, 1950), 39.
  20. ^ Claude Palisca, Documentary Studies, 3.
  21. ^ Robert Donington, The Rise of Opera, 79-80.
  22. ^ Donald Grout, A Short History of Opera, 44.
  23. ^ Don Randel, “Camerata” in The New Harvard Vol. 3, 870.
  24. ^ David Ewen, “Opera”, 491.
  25. ^ Ibid., 491.
  26. ^ Robert Donington, The Rise of Opera, 85.
  27. ^ Donald Grout, A Short History of Opera, 44.
  28. ^ Leo Schrade, Monteverdi: Creator, 44.
  29. ^ David Ewen, “Opera” in The New Encyclopedia, 491.
  30. ^ Robert Donington, The Rise of Opera, 80.
  31. ^ Don Randel, ed., “Camerata” in New Harvard Dictionary, Vol. 3, 870.
  32. ^ Donald Grout, A Short History of Opera, 43.
  33. ^ Ibid., 44.
  34. ^ David Ewen, “Opera” in The New Encyclopedia, 491.
  35. ^ Donald Grout, A Short History of Opera, 32.
  36. ^ David Ewen, “Opera” in The New Encyclopedia, 491.
  37. ^ Donald Grout, A Short History of Opera, 47.
  38. ^ Robert Donington, The Rise of Opera, 82.
  39. ^ Leo Schrade, Monteverdi: Creator, 45.
  40. ^ David Ewen, “Opera” in The New Encyclopedia, 491.
  41. ^ Claude Palisca, Documentary Studies, 6.
  42. ^ Don Randel, ed., “Camerata” in New Harvard Dictionary, Vol. 3, 870.
  43. ^ Robert Donington, The Rise of Opera, 82.
  44. ^ Donald Grout, A Short History of Opera, (New York: Columbia, 1947), 46.
  45. ^ Claude Palisca, Documentary Studies, 8.
  46. ^ Leo Schrade, Monteverdi: Creator, 45.
  47. ^ Donald Grout, A Short History of Opera, 45.
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