“ 1 July 1602 roe — a {imo?], Vicar of Florence pt rence 8 - Oe Inquisitor of Florence ‘Tothe Most I mi Spero Sia Most Honorable ater to another even the Nothing encourages one 1 Mitude from him who has eign to receive them. ‘and to find agree- wap ok with avr upon, and to find agree abi sample ny ea ent dice inde, your noble intellect, versed inal exo ‘i t simply hearing my music and ns, hs eyed, ot simply ee Song ne and from others trained by me, but ote ven Boog i ith your own singing. Thus, being rove afer some acquaintance with the arto publish a aly fev of my madrigals and canzone @ aia I com send tem the protection of you who have so courte. cosy pled to estem them. And I hope that those ’uses with which you are wont to enjoy irtuous plea. sain our must oble garden and which by proxnity SEZ sored fom the humble members of my house) may keep Your Most Mlustrious Self mindful thy, and of my ever- umerse myselfin your virtue Jour grace which ever hope. 7°82 duly bow to you fncein Florence 1 February 1601.3 Your Most Iustious Sel's Most obliging servant Gi of my service, by now most len; ‘Browing wish and hope to odin the beeicenge of ‘aly bal etc vin From my resid Fevmas amt later gure pn 8 0 fa er) it far from “accini’s 8 the a2 1919, Walther Ubi “9, Sees tenes ye” Bee an ae (apa he give V8 Gino Ca SSE are erase ar wh repent ding “sasha nye on Te Taron the fess of M1 the idea of ‘To the Readers IF have not heretofore publish made ater the noble manner my famous master Scipione del 928g tions of divers madrigals and airy ob times, it is because I esteemed mete torme that these pieces of yb yt tnough—indeed, mich more qa sng constantly performed by it nn oe Hay male and female, and by ie are lover ofthe profesion Bat nee 8 circulating tattered and tom; moe thoesinge and double ves age doubled and intertwined with eng” ty me to avoid that old style of nc mon use (one more suited to wing eh ments than othe voice)and evan decrescendos, esclamazioni, tremolos aaj such embellishments of good singing syn criminately. Thus T have been forced (any friends) to have these pieces of mine pba thisist publication to explain tomy rent the present discourse the reasons that lad ago type of song for solo voice. In this way sn know) music of that total graces that I hear 4, Lite is known of Scipione dl Paar oa Della Palla, or De" Vecchi) beyond his hangup Rome to sing an to play the lute He's ctl igi Denice as being active a time, and is only known composition stage “Duia legge bished at Nope in ha recat Ds isonet stn, Tl 5. Quei hu i oct sep dog incite Fan cl en. Cac hee pee terms. “Quel lunghi gi di voc sempht ea been a phrase of some currency, for facopo al actly these words in the prefaces LB February 1600, eth fren te Vrtuosa Vittoria Archie, Cacia one {see example O,cistinguinhes between fal) and acscate dopa perhape the ater“ Sol the fall from C to F-sharp by not only () 5 delaying ts beginning, but also 2 gos MS soa efor sng to achieve Howe cy resent sentence (and also in Pen’) one eo "ented and redo Suceessively quicker note-values, (BMS, £9 thirty seconds) and “intertwinings” #8 th = isall the! Caccin’s ature to define his termsisal te Since apparent coidere the rma age special he mentions them specifica ting of L‘Euridice (dated 20 Decembet few months later, cites Vittoria ArchieL Imusic: “the new style of pasngg! me, now used by Vittoria Arh @ fence proclaimed by her fame, who bes for along time” da nuova masses moat da me i quali hora adopers te ele temp, Vira Ar ante che mostra il grido della sua fa c 6. Intera oe For the sixteenth Tather more subtle and significa er wo, “grace” for us (although, lacking @ Det je ind i uncommon i recor iden itn Precton a8 °A gre ‘At the time when iuatdous Signor Gi Aourishing in Foren ity but alo the fore td philosopher of ent; and Tcan tly learned discussion of counterpoint. For ten kept encourapin soning convinced ‘hic, preventing any hater both the fo nd now shortening terpoint (a laceration form #9 that mann Pliloophers (who d Spec with rhythm wera) withthe sim tn have thse wond verter Bat this hes Counterpoint of mode ble in solos sung to wherein nota singe suletude of and in every sr of these eng some proclaimed mighty si Taving thus ety cians offered no ple sounds could gives Paw Soares Set soma acl cies Smad ere anemts moon ae eam aaa amc an peswre soci soe ett iat Seo coat Ba Smee fe oy ag Pg aa Powe tree omen Sour ening hedindi uncommon in out mer nes, perhaps ta vesomeldea ofitinthese lines tatotee ea Sefecton, as “Agrent fame folowss tay ke ‘At the time when the admirable Camerata of the most insttoos Signor Glovenn! Bons Conran ast foarshing Florence, ith ot aly eno pa Iivbut as the foremost muscane/mneccoats ae ‘ntiasophen of hectyinatosians Tea ree sey Gnd Tan tly say at 1 gains fy ee {inl acunlons thn fom my trom an Ue (Goureroin For these must krovlelgebe gee OS eTkep encouraging me, and with te seo Zing Convinced not to ete that sot of sn ‘Shak preventing anyclear understanding te wets eee Phot thee fom and content! ae lets “ow shortening silane secomodate ee ‘cin a ncraon ofthe pocty ut rather ico {et that manner so lasded by ao! ond es ‘Mitsophers eho declared that sis aaught bet Pe wih shyt and tone coming ates St wee *S ah the onthe coer nto te nd ce TeRave those wondetl fete aimed by the grat an Net his has 901 bet pone Beeawe of he ae goth ning word has been understood fr te Tae msg! on bs short and ong ays ae oct cf ceealthogh pesly bocse ima ull some have been exe by hp and prolaed ight singers. are a ace: I ny, hat such usc and mus cans offered no pleasure beyond that which pl sounds could give—solely to the sense of hearing, since gas, Drawing on Cation’ oie (ube Sr ewok ups aspen er Fea i ee el ang ik ited an ene eat chal torent, Crew ot 1 ban tenant oh subline nat bolas contd ee ss softness ler, mora) ts 3 aaareewen aymolaly suggested he pal nd ec metGphysica Ava natural pi, not to be acquired py by study and labor, it related to—in fact, it ‘could only spring, Pah Series nr mane pe 1 ne fae sateeth an say se Haare extn inthe doar of th A ah cer sto for blz. PS afar tay seduces oe ua we) ie eo ue tem, ard even Ne ere greta et fen the dation of ure mlsche (where hard on the heels of the gia atrbuted 0 Tere Serine rs ples wh ASCTAE Renae ton vat te et an eer ainda cel eon "ar natn Blume sic Tory vial 1450-1600 (Ox, for Clarendon Presa 040), 93-58 John Sena Me aa rhe Renae ond Marron, Se wnat eal Tenth mera Cones fe a A Ae ah cto: Paneaton Ui Ts THe) UM Syoney Feces, Porm, Pang Cambndge Yarand Univer Pre Boe Por, 3 Sameera. 3 Resa. Ein ransaon Souet Hotings in Must Hisory New York: WW 1804 in Oliver Strunk sy. We Norton they ould not move the mind without the words beng understood it ecurted fo me fo inode kind of Imusic in which one could almest speak ones, employ ing in Gs have sid aewhew a eran mabe eg gence of song" sometimes passing though sever 10, Un cartwheel Uke he come of ra meron ove Gute Otte ecatn a [Ske gn tck Cup's Coton ae tse ine a “tat vue opposte afc hee 9 grace” (questa vrthaduncque cotrara alla itazione ia qual Soper htamtan speestre tae tote donde debe 1 fara Speta ite supe ce Sherman fag poi the Soros wetuion of ates al fd of Webel netgence tof empl slrposenton” Soe olde Catone fg tae 2 Cte Cone (san car Wecnt FSD, TS ip 5D, Jo Shearman, Mamerin Clarmondsworth, Middlesex: Penguin on t96 in Cation’ fi cso sent he has Signor Mogaics be Ghalane de Mei) ataogc fete he de seein! of les compere nd thse of se eer chrmescs ecbigene nae a. Sms Paha peak ng the peter pees fesse cnn uel suing sn a {econ ual conse sale pete pene ‘shu a opp tt amon Ca ro Sly es this ciscuscion br mind when he Sntoduces the tem Sa i apes tanepening Fee ae ee efnt=by mening dn Cana gt ete to ole te dn an ena atumary may anata oy ec aaa he Sse ean y nee Puls aiythms see his instructions in the model madigal, SE tn om comple mn. and ne sees nea ng ee me bu haing he et me ane 3 teow). ee ne catnrinpristn the et ca te ub) ie spent thereof “hang sae ae sik ps spa upon te cme of Be a ts ant al ote feed y any, dione ee? gel goek am sy iat hs ee sunita cra eatin wich 2 orate meng noble bau tevin that by re a a much coef the cece of srane of LOFT alee vl le ore tbo, ee apa dle mols desananan ents afin ch ede ne venga ooo Nella san puna cova opeztan eo Cea re lw, psoas con on bo sito, eal ars fovea) ms pps ee mie nthe preface anor ‘song collection (Nuova musiche nuoon maniert di sree, 1610, ol on esa at ce Cece ag uy exis or sixteenth on various Jen rier wth [imia® ‘sips] made inthe tempo: these tones togetherness a roe ral thes of ht sein common Sesh aed mae er pat ono he ates algae, 2 a gure and he Her being soba of And ean he eg el fogs uc oder el wy caine andthe ore ney ace aspera elt eT a at el scone tp again ao ten rope emi rata ng esc rien ant earn em nr cme etc eenper ea ome il aoe ecenai igure cok toa fr Ne a ea sinl trent Seige, ptiew sponta nse)he mn 2 cr em Tom thea fons co Rome for rial of them he ad aigaland he at erbled ae NC an ee one ione Sto72 there (and notably Signor Lion ‘continue as I had begun, 3s urged 10 om tt eer br had anyone heard music a mpl ringed instrument ith sere sower to move the affect of the soull® as these su asa beth case oftheir new style and Ti, Pope or acu fil, ee pr a oda del et i Gc wes the wad often, ad in two ways ea fe amen pe pve in ot 6) te word ‘ppt te Cman Aft anders toa sae of ind Edo Eker noe partelrized meaning ap. paths the vox enbelishnents fe dscses blow -the ola hel are termed oft, The dosble meaning ‘sfondi eto iove te Gt mesg endyng self ena Uist oe Saeed mera ac ‘ean ns scand meaning ato apposite ara ign “eve” or even ne of ts Reames “ee ic tae a men ‘fama ‘sted ofthe pay op thee itegs® Tam ove, “age conor 13 Jaap Sannazao( a0 (5659, hy a humanist and cour Cini Et Nts, moc eae as The ree mented by Caceres dither Bs publnhog I pean OM ‘Gey ting ofthe sectnd a vse line 0 nthe dedication 4.284 Cacii's music m of his Eri) i ape yas 0 the For i. is aE course, an go Cues ty Cacti met of 160. In ca Sac and fet TRY the sgh OF Sul (an: Aning imple? nt then 8) or gn les Mafe a moal gcPe above note 13. cause, accustomed then to published originally] for mut { think a soprano part sung by its, Os, et affect whatsoever, without the ary oc fall the parts) 7 tere Upon my return to Floren, that aso a that Eine certain ey ee among musicians, for the most pt Mey words that appeared unseemly Pt hg tated by men of sensibility. Ang» way of occasionally relieving eyed some canzonets in air style that eg with stringed instruments, Having «Petting thought of mine to many genera courteously gratified by them with man S| verses of various meters, as also later bra), Chiabrera,!” who favored me with +) 8! different from all the rest, offering mn for variety. All ofthese, set by met ne to time, were found not displeasing anja nowadays anyone who want to compen uses this style. And particularly herein Hogs” have already spent thirty-seven years in te ‘Their Most Serene Princes, thanks to there cone wishing to do so has been able to see anther pleasure all that I have continued to do on te such experiments Inboth madrigals and airs Thave alwayssog itate the ideas behind the words, trying ttl notes of greater or lesser affect (depending one ofthe texts) and of particular grace. As muchas Thave hidden the art of counterpoint. I hat tl chords” on the long, syllables, avoiding ten short, and | have observed the same rule in makig saggi, although for a bit of decoration I haves used, mainly on short syllables, afew eights 17. Chiabrera (1552-1637) was a Rama re dramatist especially apt at court poetry. At years, he was favored by both reid 3 Medici. He was the author of 1! rapimeno if CH, Works set by Caccini, including some ofthe sie fo ‘he. As Caccini hints, he was aa inp reform of Tuscan poetry, on Greek Model a 1a. Caccinis aiming to have rel Me Although itis unlikely he would exe 5 eauliest known record of his employment Mt nection with the festivities for the wedding carl! Medici and Bianca Cappello in 1579. In the a nelle nezze (Florence, 1579), he 8 desc singing” (per canto famoso) and as aves -d0 0 casion Some music by Piero Strozzi. See AMEE 37 fella e drammatica alla corte Medics R-Bemporad & Figho, 1905), 10 ss 18, sempre pura taco 2 et 20. Caccini’s word is consonanzé. eons Preface he uses the word ina itera SOF od Tot in the sense of “consonances” (aS OPE og met in His word cond on the other hand G28 Py te ‘string’—eg, om the_archlute—Hen® ty Which is how itis translated hereit- C9 a ten thus determined by his métier #8" Jong as @ quarter of ‘These are permissibl not passaggi but me also because with go every rule. said above that minder that passagai essential to good sin Kind of tickling oft 21. ofan watt quart data an ing equtvalent for Ca toed breve Co) = dou ote minima (1) = h Goma ( }) = eighth thscroma (f= tity. With the sentence g clarifies. In his ine, of time ierespective ot cen designated bya regula: But the sum tus (Din the ater se the time signature p and/or performer’ Or ‘Antonio Brunel, disc tacts ina way most pr li solr’ Porence, gnaturec, which het ireve equals the tacts In Le roe mash in ton of one song in Ciccint otherwise oe Sance notation theory Fetcally implied therato 21 fut Bam thereby suggesting it tore, although he hate sue wi wt hat iy th teachers do ct dit Now, Brunell ma CCacein whom he wot ‘tainly one ofthe ‘manner of barring hs Bush between§ ande tn units of two semibr balines often are used "od such baring su Siche. However, dot “measures” of one se pearing’ almost invar three sembrever val ‘Seventeenth Conary I 196) some ofthe pres situation in Monteverd factas but at points the facts. should imager pert, {his sign on another pe That Cacci's piece may also be suggest ‘opposite direction to See how long, in short syllables Since lbsga (as if some mi 's speaking of those fg ‘ceeding by saledegre are obvious elaboration hose “short” sylabessave 4 pass Mee the ning they and PAY ies el a do 10 Xf r = Se wh st), THUS OS to have st of ie citi Sy al voices shes Dee ingle YO move OMe. the madriBn og 8 delight ae a that eyo dungue paws posed Ao sol,” “DO ‘on se) which 1d HO Scully the ai to em, and partir gli amen the exhort : ata, a ea PPE camera a Ose ee ec OT a ae ef eS aad en ase we house for many genom veryone Beso nets he) and ey fa od nH SP continue as | had PEE iow 8 anyone heard fad vaso that neve fringed instrument, with si pe ged me Erp power to mae the afer sat hws oth because oftheir nee style and pend ier aie ls, teed ed a cor et cf es the word ato fen, ad in 0 Ways 1 St nth pase sen in ote 6) the Word ea an ta esta tt of id Ee ce» mae patlarzed meaning ap ses a enbcshmens he dnctsscsbelow—the Bereta cer tome aft The double meaning “ae ote actor that anc aim sto “move the Ee mang by body el an fe st mean pcm pric even sped ome aes Se OF mening Ins tc mento approaches the Ss Erg ‘device’ ree, none ots meanings, et Se Cacao ccanally hes et a2 yong for ‘fe en ening) One reid fhe pay on these Se ean prey “Dap eft condone Bi 18 lap Sarr (a, 15615: Fae OF Angonse gs at Nap Samael. ‘The verse mentioned by Caccini is from Sama Aral hs it publahed Yo Edy hey ajay eben eth sand edomue Cacchis as cence so ati dion hs anaer Coea ie eg of coe to the Martini een years (ut humanist and court much esteemed by Soin vent ee steam Ne ep) aren iy, ee mle mplied tobe the Seer enasti hehe rete because, accustomed then to egy iblished loriginally] for multipieS By, Fhink a soprano part sung by ye "Oey, 9 fet wiatsoever, witout tes neg fall he parts) int ‘Upon My TetUEN to Florence ‘ that als at that time conan gee mong musicians, for the moat 2%8 wet swords that appeared unseemly 4 Wi tated by men of sensibility. Ang sway of occasionally relieving dep Some canzonets in ae style tha mes swith stringed instruments. Hayi in thought of mine o many genting = courteously gratified by them with me ch verses of various meters, 35 also later ed Chiabrera,)” who favored me with 38 Siete rom all the wes ene for variety. All of these set by meto dives’ to time, were found ot Spe amt nowadays anyone who wants to compose a ‘uses this style. And particularly herein Bese have already spent thirty-seven years in ie ‘Their Most Serene Princes, thanks to therhon cone wishing to do so has been able to seean a pleasure all that I have continued todo on et Such experiments In both madrigals and airs [have alway notes of greater or lesser affect (depending ont ofthe texts) and of particular grace. Asmucasp T have hidden the ast of counterpoint. Ihe chords” on the long, syllables, avoiding ten a Short, and I have observed the same rue in mai saggi, although for a bit of decoration Ihave si used, mainly on short syllables, few eighthans toe 17. Chiabrera (1552-1697) was a human dramatist especially apt atcoutt poe. At Fart 1, he was favored by both Ferdinand Medic He was the author of I! pen works set by Caccini, including some of he Imusiche- Ax Caccini ints, he was ai relorn of Tascan pooty, on Grek mode TS. Caccin is claiming to have served the Met Although itis unlikely he would exagger tart Koy record of hs employe nection with the festivities for the Medici and Bianca Cappello in 1579. In he acl nelle nosze (Florence, 157), be is Se Singing” (per eantofomoso) and as UNG sly casion some msc by Piero StOz 5 6? tata e romain alla corte Mies 12 R.Bemporad & Figlio, 1905), 10. coal 19. Ho sempre procirta Fintan 20, Cacin's word i OHI reface he uses the word inal i Fob in te once of seonsonances” (5 PP get His word cond, on the ther han $y ct “string” on the archlste MS es ‘which is how it is translated herein i ten thus determined by his m2" tong a8 quarter of on Tse are permissible al not pssagy bat merely Boo becuse with good every rile. Teaid above that “vo rind that pages we tssential to good singin Kind of telling ofthe 21. fo habia wet talon quart di atute a mez {hg equivalents for Cac ‘used reve (a) = double ote minima (1) hal {rogue Gur he sam of {cain the later site the time sgnature pd tor perormer Gre ‘Antonio Brunei dsces Jer sot Hore ‘Sena c whih ete breve equate ac {nce mone mache nm one on congin ipl Etc ethene wg Sconce notation theory ‘eval implied snp {heat 21 But Brae thereby suggesting snore although Be "Sat be ung hal rests (that fy with 25 ‘Sicher donot isting ‘Now Brunel may ace, whom he wo Scnainy one of them ‘manner of baring hi ulshtetwoen] andes {Sune of two smbre blines ten ae sed od such baring chs. However dating measure” of one sem pearing almost war {ie Semibrever vale ‘Sciam conury a 1966) some of the res Situation in Monteverdi tacts but at point the tacts. should of maar pert, ge owanoncr “That Caccin's pte «muy also be soegest ppt dino Se hove long in short syllables” Since asa if some mi 'S speaking of those B ‘etn by scale degre far obvioseaborat those "short eylablese ec ie eye ee gals Ses ana eh he esse le jet we ont i 220 ger employe’ Se ey fa ah wt pe war AP pe Cameraty te inte a rial ofthe 7 Same eg a ee Peed etl se a everyone Se ay Signor Lione | re as I had begun she ad er ws Tg COT ard mC ett ee be ren with Ei ois 0 2 sa She sul as hse ma move the af fof ther new style and co roa coda de = Pep eral, ened ol asa om afito often, and in two WayS. 1 a ce gia ne 1 the word ew id En ip nd rer fo tof min sre ee me cicada ecyieone Eegintgga tt ge fee monn etesnesietptenet lett ret mab ier oso ane eect enn soe nde te SaevEsis intern weet Ste eS i Sah a fae ‘oa inte Tan pve, Dap ett neon gl 3 asp Soma (156580), hamanis and court SLE, toe ge a Nipe, man a et : by Cac ra Srey 8 pal te Gide abo inthe dat he M. Reterrng, ofcourse, to Ma ede tin cps fa. see Cas ments hv cepa em ma? SO” Fr moe then i ake ae BY, che son fo | anno sono. in penna, rill ps0 0 in dvr i temp mpi”). 15 Prema 1a I or mide Te Be the amb ofa fe S255 6 ‘wey atone PS Hoenig ag bough a ain fn Fig, sided pes sede, of a 8 he thoy the hi ‘coe ai, Hance Cac gh fet ctf the sek of sul ani 40 implies anda teil sit eps ing fet ral faculties, "€, Rote 12, use, accustomed then to hea, bestigned Coriginaly] for mule 2 a, an copra Pat sang by ey, thnk aoe, without the a ad fia he parts) ec Hiport my retum to Florence | shat nso at that time certain ean tat as musicians, for the moat ane aE that appeared unseemly tg wordy men of sensibility. Ang, 2M cane of ocersionally relieving dep Seane canzonets in ar style that could pe arith singed INSUUEN' Having i gat of mine tO MARY gentler EN though Sy paifed by them seme Be Gerses of various meters, as also later by) GGhabrera,!” who favored me with « : different from al the rest, offering mea am for variety. All ofthese, set by met divgc ee fre, ete ound no pling any Ppwadays anyone who Wants to com nena syle. And particulary here ne fave already spent thirty-seven years ig ee The Most Senne Princes thank orb ine wishing t0 do so has been able to seeang pleasure al that I have continued todo on eed Schengen Inboth madrigals and airs Thave always ita tne Hess hind the words tye es notes of greater or lesser affect (depending on ofthe texts) and of particular grace. As muchaep Thave hidden the art of counterpoint Ihave chords? on the long syllables, avoiding thm o short, and I have observed the same rule in mukag saggi, although for a bit of decoration I have soma used, mainly on short syllables, a few eighth-notes one, 17. Chiabrera (1550-1637) was a humanisc pt dramatist especially apt at court poetry. At Foes years, he was favored by both Ferdinando and Cain Medic He was the author of I pens dCs works set by Caccini, including some of the song of imusicheAs Caccinl ints, he was an important fe reform of Tuscan poetry, on Greek models 18. Caccin is aiming to have served the Messen Although itis unlikely he would exaggerate this 28 earliest known record of his employment by a Medi nection with the festivities for the wedding of Forte Medici and Bianca Cappello in 1579. In the account nelle nozze (Florence, 1579), he is described ®t singing” (per canto famoso) and as having peti aston some music by Piero Strozz. See Ange 6 bullo e drammatica alla corte Metices dal 1600! 165 R.Bemporad & Figho, 1905), 10. 1B. Ho sempre acuta Pnitaxone dei coed 20. Caccini’s word is consonanze. Here 35 C8) ise Preface he uses the word in a literal sense—"Cs, Tot in the sense of “consonances” (as opposed eae 1s word cord, on the other hand, does Not En erat8"—eg., on the archlute—hence bY © UD Which is how itis translated herein. Caccin’ ETE gee thus determined by his meétier as lutanist tong a9 # quartet 0 Jen ave permis snot passaggi but me ol becaee with § cvery rule ‘Taid above tha arin that pessg mailto go0d ind of ticking of inte oi aries ete eee rite chen alge aoe pee “ea ee peri sata genta wi eve equals the tre move mas lon of one song Catan’ oer sence notation rencaly empl Theat 2B thereby suse thore, altho “that it be se res” hat Teachers do 6 Now, Brn ccacin hom cenainly one Shane of ba gush betwee Bhim of tw barnes often Hod, such bs Soke. Howe peng olin hee semi Seventeen 1966) some sitsation in tacts but tacts. le magne this sign o “That Ca © may als opposite ¢ 10 See hoy short syle mass {s speak cealingb are obvio those “stJong #8 a quarter of one tactus or a half at the most21 ‘These are permissible since they pass by quickly and ere not passaggi but merely an additional bit of grace, and also because with good judgment there are exceptions to every rule, Isaid above that “vocal roulades are ill used” as a re- minder that passaggi were not devised because they are essential to good singing style but rather, I believe, as a kind of tickling of the ears of those who hardly under. 21. Jo habbia usato talora alcune poche crome fino al valor d'un quart di btfuta una mezan i pit. In his translation, the follow, {ng equivalents for Caccini’s nomenclature of note-valics are used: breve (x) = double-whole-note; semibreve (») = whole note; minima (1) = halénote; semiminima (|) = quarernote roma ( |) = eighth-note; semicroma () = sifeenticny biscroma (f) = thirty-second-note ° With th sentence quoted, Cacin raises more sues than he lari. In his time, battuts signed "tactuse a meen enee tftim respective of masical mpo or sense oftmete wernt often designated bya downcsp motion ofthe han tee {regular but the um of noterales that could eae oa ti iin the later siteenthcentry varied depenaies ponte the ume signature partly on its interpretation by cere and/or performer. One Florentine contemporary of Carcini, ‘Antonio Branell, discusses the relationship of toteevaeee ns Reno in a way most interesting for us In is Regae aise perl scr orence, 1608), Brunel says that vas the te Bgpatuec which he terms fempo maggie impeftos one sen Bre equals the tactus © = 1, We hd this sguature bat ree In Lemibe music: in madsigals nos. 2 and & Wilh the excep tion of one song in triple meter, air no 6, with the signature Cctn othervise use exclusively the signature ¢ in Renae Sance nation theory | was tered propoti dpi, and it theo ‘etcally implied astnplediminution of the time-valus of n theratio 21 But Brunell refers tof as tempo minoreimpert, they suggesting it is merely a diferent species ofc further. noe, alheegh Ie unges the Old proportional interpretation, tht ibe sung with lf the notesat half valve, and likes the ress" that ig with 28 =D) he remarks crlially that some trackers do not lstinguish between itand © Now Brunell may infact be referring disparaging to CCatn, whom he would have known a Florence and who was tertinly one of the mest noted teachers there. For Caccin's ‘tanner of bang his music suggests that e does ot distin fish between afd © Most comntonly he bars his usual time Innit of two semibroves ee tL I for instance), Since barns often ae used to demark the tatu in musi ofthis pe "od such barring suggest that 25 Tine sme n Le moe sik: However, oti the pages of Caccin’s collection are “meats” of one semibreves waive |, for instance), peating almost invariably one at a time; ot, ocasionally, of thee semibreve’ value Putnam Aldrich 0 whose yin in Serenienth Century Tlie Monty (New York: W. W. Norton, 18a) some ofthe present discussion is indebted, cites similar stuaon in Monteverdi “in which barlines are at first placed by tacts But at points the sribe has to make them equal one-half tactas.It shoud, of course, have been writen in fengo aire iperft,c with’ aT and does, nat pent une Sign on another page ofthe same mans That Cacin's pieces in time “should have” been ven in ‘may also be suggested by approaching the mater from the opposite direction: by surveying the songs of Le nuove musiche to Se how long, in fat ave Cacin’s “its of decoration 08 short syllables” Since he is at pains to aver that they are not Psa asi some might clam them tbe), we can assume he ‘speaking of those figures in short note-valis, generally Poy ceeding by saleegres, often turing about asingle toe he are cbvis elaboretions of simple melodic motions. Excluding "hove “shor” syllblee—that Is, unaccented ones! Stand what affective singing rally is. If they did under- stand, passaggi would doubtless be loathed, there being, nothing more inimical to affective expression. Thus did speak of those long vocal roulades as being ill used, even. though they are indeed adopted by me for use in less af- fective pieces, and on long syllables—not short!—and in inal cadences, A propos such roulades, there remains nec- ‘essary only the observation that, as for vowels, the vowel has a better effect in the soprano voice than in the tenor, the vowel i better in the tenor than u; the others are al in ‘common tse, although of course the open ones are much ‘more sonorous than the closed, just as they are more suit- able and easier for practicing control? And if these roulades must still be employed, let it be done according, to some rule observed in my works and not either by chance or according to contrapuntal practice. This is what usually comes to mind first, when one wants to sing works as solos (and thus be stylish), in the conviction that ‘counterpoint will be sufficient. But to compose and sing. well in this style, understanding of the [poet's] concep- tion and sensitivity to the text (plus imitating them through affective music and expressing them through af- fective singing) are much more useful than counterpoint. ‘The latter use only to adjust the two parts to each other, to avoid certain egregious errors, and to link certain dlissonances—and more to match the affect than to be art- ful. Indeed, itis clear that an air or madrigal composed in this style, with a taste for the ideas of the words, [and heard] from someone with a good singing style, will make a better impression and will give greater delight than another full of contrapuntal art; of this there is no better proof than experience itself, Such, then, were the reasons that led me to such a kind ‘of song fora solo voice, and where, and on what syllables hiaenl pit he lamar beleel iy ooh Seabees atieioig aedialan aed a ee Oe cer coasters Fae Simm. 29 ace) wend ch Ogura aan ery oe al of seminina ora sina, aaa ge quae ov oe ale a semibeve Tas 8 ‘as true of the songs in C time as in { time, which lends further aa ae on lt Cacin cid pt rally dstngush See Tete ted tat orhin Hee a dapsone. Cacc may mean “place sac seal tno a ae, of po fe os ment cer By bese ftps Ee are tealel cond sauna of ee ape rc ote ttc Guvuph en net ao Pe aly peed on Covel ce aden piece in ts Brew tpl mana Confort ome, 189, Confort was tat fc Sone i ey te ste nape Ne a ear nging with bony and ap prac that man and cle cor do Pn i Sin” le ect, dispositions). Later be sn ode can aging ed “wth Hck all seth sie fe 3 Ee, co ed thas he Sn ging al thes surely con ge tents lls ce mano meno 6 0 1 Poe lggada sonfone cantando et tee re fe mmo ay ope ft om ey ofthe “Dichraione” flowing the music:6 . Now it re portant foundation is anould employ Tod ocends, fetes not only such ay? and vowel ty weal EET or aforemen- fo Rave a good styie g° ins 0 SAY Ng and trill, 7 used.” In fact, they 7 ly in use, we shai amazon, ea ‘indiscriminatly ed whenever they of commentary tioned effects a discriminately (here they are the more appropri ray be sid On affective music of this ‘source are indeed some wh, are employed ba ance songs. The 0 i phrase] begin a thing bet i ician’s not re- mare nS ke dis watter he wishes to itself and make a gradu) Sthey defect iftam rab he would not fall into be the proper way top ert eh, unquestionably he wo easly fas into forthe frst no op sing ee rand the one hacks affective singing style it is discordant with wm an ise who basing rule that veal crescendos-and- it can be use as become Oni (Gotospeak) on a genera the basis of affect, uses also because some Stay tog oR ay decresendes and evra nether or nat the words te. wheres Should be scarcely 28 o ie sort of music, iy canes thoroughly understand having grace T shoe auie tem. Wheres those who wends recognize these the ear and ought to be teed baa fl hor hernia vid beginners.25 So, they now ; cee dwhareles and itis hey whom weshould —"e Should rather choose, ag Tore up ceck to ple the must with every work, and should that oe crescendo. And yet Tye cil tees oaks ain applause of the within ordinary boundaries acer’ vale their have I always nto ‘YS proceeded to ia wil ot sufer mediocrity and the more ex- sreigitovited thatthe nova sot exist for its perfection, the more labor attaining the goal of musi uisite details there. Per 18 the gi Ga anja mist we who profes th artinvestin every move the nies of the soul etait te love which is what has moved me (see. mone ai tive isthatn every sconce and every art we are enlightened! the other: th; by writings) to leave this litle glimmer of light in the then ont present notes fad oh with the intention of of moving the affec emonstating how much is involved in making a pro- ing but a certain sm -ngthenia ” Ht a certain strengthening ofthe wns {ssn of solo singing to the archlurex or another the vocal crescendo im the soprano range, espe falsetto,» often becomes harehand unbearie throes y & I ayself have heard on many ccs Paci exper cannot also be acquit} Py long doubt, therefore, as an affect more apt to now tohavedone es ten and women alike, are — | ther leben! certain degre. An Yet the Zt: Lintonrzione dela voce. n ths sextenes Col ies hese writings is essential “ptothat — term in two senses: frst in the senseofaeeae ead ate sge ("to avoid fatting or sharping’, then in be insted agen bora Proach to a note, the attack ("to havea god spe bent the whe ar ea des Rh that on ee peers Inet ther ye te tha counts the context makes it clear that Cac ott Y te te ist and {allthe notes" (ashe saysin ths sentence) aaa innings. The “first note” is mentioned, but 7 led artis, mean only the vg jnning of a song is made ame no tg nh he Meaney ie ames ani Seto thenegy git ter 5ysionand harsh on the pracitones ot from het an extendet bass APPfOaches the main note from a third below. hasta having ge the most comnennn ne 0 figures in the se an man! Sle ita musiche is precisely one in which a princi ers Haan’ SM ouch ee From a eae aoe (oth an interning i Os rach tifal Venca Pavemsare 21, 31, 5o-, es oS the Duchy Ot comn cally occurring at the beginning: Maaee a ORL and th RENE ak ein etstng gtboand tthe lowersthin seek ye se dispar ta bass ge BON Where pommonplace.” That it was a commen a Fog length Fe! 2 extengin’ — Bovicelie aise vo eet was 8 com pp 0 moth oF 8 Caceini' i sels only the PP et mh oe ing cini's, in which he couns : side 9 theor aad Unlike Cacci ke counsels explicit ih wil ture Usual gee eld as long as possible before the # st than thee date ©nger you hold the fist note, the shot el nao, ‘sirrne; thea. BCE Will the voice gain” (quanto pi 8h strum, tale and — C°Onda & pid veloce, si da anco i di i ‘Musica, Giovanni Bettions Pega pevole, pass Beample 1 tener] a better result iheatck thn roma attack with al c oe sus afer rab and thus, I say, does wholly different res crescendo, since at th bit more spirit will from this, by using s variety may also be tial to this art, prov al. Now ifthe major able to move the aff a5 to where one shou ‘demonstrated with n that one learns that, ings. Even if it cans with greater clarity nevertheless acquin studying theory and practice (by which arts, but particular singer, whether man Now, then, one above, with the wo below it [see exam lesser grace one ca above, Thus one car ual decrescendo on t the voice with a litt note; a quite affect note that falls by ‘mazione| will atse, fact that its note do sweet by virtue oft ee 27. This is the first Guarini (1538-1612), Luzzasco Luzzaschi p anos and basso con Adriano Cavicehiy Me (Brescia: LOrgano, 1tine in minor orders Wy Signor Giulio vg of matters 1, Brother Francesco TIbaldi, Flore have rend these madrigals in music b) Caceini, "Roman," and beyond their consisting of mae of ork love find in them nothing repugnant 1 Catholic faith nor contrary to prelates of the Holy Church, Republic, oF Princes, In testimony where | have written these four lines in my own hand, at S Croce in Florence, the last day of June, 1602 4 Let them be printed, with the consent of the Padre 1 july 1602 CCoslimo?l, Viear of Florence {in Florence. In quorum Dated Florence, 1 June Isic) 1602 “The Inquisitor of Florence Inquisitor, Herewith license to print them, fie: To the Most Illustrious Signor Lorenzo Salviati! Most Honorable Sir: Nothing encourages one to offer to another even the meanest of gifts more than gratitude from him who has dujgned to receive them. Your Most Itustriou Sel has a- trays pleased fo look with favor upon, and to find agree ab samples wil not say “gits”) of my musical efforts; indeed, your noble intellect, versed in all excellent disc plines, has enjoyed, not simply hearing my music and ong fom me and from others trained by me, but often even honoring it with your own singing. Thus, being ‘moved after some acquaintance with the at to publish a paltry few of my madrigals and canzonets @ ari, Icom tend them tothe protection of you Who have so courte cusly pleased to esteem them. And I hope that those muses with which you are wont to enjoy Virtuous plea- sure in your most noble garden (and which by proximity are not far removed from the humble members of my house) may Keep Your Most Illustrious Self mindful of my service, by now most lengthy, and of my ever- growing wish and hope to immerse myself in your virtue and inthe beneficence of your grace, which ever hope- fully shall reflect divine grace? I duly bow to you From my residence in Florence, 1 February 1601.3 Your Most Ilustrious Sel’s Most obliging servant Giulio Caccini 1. Lorezo (4 acp) Salviaty member ol aan Ace et MPO Si member of disingishe Meio vrs power nese of Fednand de Agostino Adena et” and governor of Sena in 1607, tanto a nt Ae Ret en Fe ones Benen which Cain res ate ena sien Borg de Pah CA les ater nis da isn akabrndin, et later owner) se on the present ed on eg ria BC the repetition of “ego sei in Een eb, ve, BC here and the idea of expen He NOW NO. Va Ging spancy the date he gives and thane pens Te dis- Per Rn bd by ie aes Being nc Sener which begat an 2 March DEN he ear amt Hf ast ofthe ‘To the Readers a ret estofore bled the msl odes 1 HeLa nt ee name of inging emma omy made afte Mer seipione del Palla, nor other composi- j sons of vers madi ed tem but ile It some times: itt these pieces of mine had been honored to me, thatthe sh more than they meritedby Be nonheme Pedy the most frou singer aly male ihe profession. But nov Tee many of them ne fves of and tory moreover I sige thon ingle cr ith each othet™ develope doubled ane told style of ese! formerly neo by mete fone more sulted to wind and stringed inst. man se (one 0% fn) and I ee vocal cescendor a mets than fe fam temnolos and tll ac decrees tats of good singing syle used iat shen have been forced Gand alo ged ty friends) to have these pieces of mine published, and in Lee to eplain omy Taderaby rn ce this it pe course the restons fat led me wae the Pree for sole vote. In this Way, since Go het Eo musk that total grace that | Rear sngigineay “Lite is Known of Scipione del Palla (or Delle Pale Della Palla, or De’ Vecchi) beyond his having taught Casceicn Rome to sing and to play the lute. He i cited inthe Dialog su ‘nusia (1553) of Luigi Dentice as being, active in Naples at tag time, and his only known composition, a setting of Pesaris “Dura legge,” was published at Naples ina alle ang ih "Dell sont sta & Tene ine Gi ri eet Sep € depp, ie mai, incite Fura nel att. Caccind never preteelyexpaie bee terms. “Quel lunghi gir di vo! semplic e doppt ay hee been a phrase of some currency, for Jacopo Persad wet oe actly these words in the prelace to his ‘LEalie Gil 6 February 1600 li, 160), with reference tothe singing of be Virtuosa Vittoria Arcilei. Cacin, in one of his motel iow {see example ©), distinguishes between a casa comp gl {and a ate dpy peste ter “dol” eranes {he fal fram C to Fsharp by not only CD) speeding tp ae delaying its beginning, but also 2) going below the Eshap goal before rising to achieve it. However in the contest ae resent sentence (and also in Peri’s) one is tempted to interpret single,” “double,” and “redoubled” roulades as pasigy! Heaesiely, quicker note-values (eighths, sixteenths, thiy-seconds) and “intetwinings” a various combats Caccini’s failure to define his terms is all the moe rosie since he apparently considered the raldappiat ates, gPesial he mentions them specifically i the pret fing of Lurtice (dated 20 December 16) and, He Pes few months later, cites Vittoria Archilei as an export Oy ‘music: “the new style of pnssagei and raddoppiat ive Re Bow used by Vittoria Arche, a singe at lence proclaimed by her fame, who has been singin fring in es ne ec mrotitatt da mei quali hora adopera cantando FOP ens a to tempo, Vittoria Archilei, cantatrice di quell che mostra il grido della sua fama). ro. water $razia, For the sixteenth-century at “ father more subtle and. significant connotation i grace” for us (although, lacking a better WO", ‘ra Sistently used herein as a translation forthe m=" count ble in where multit and in these f Proclai Hay sounds of grat 1538), vena Sty ‘sed with ratte ro rear cen emia Se tra aa Cece slight mass Lorenzo ¢ the late enportane