. Some forerunners of Italian opera . vingappeals of his hero were accompanied on a lyre of the period in precisely the samemanner as frottole transformed into vocalsolos were accompanied on the lute. Forthese reasons an example of the method of ar- 126 Some Forerunners of Italian Opera ranging a frottola for voice and lute will giveus some idea of the character of the musicsung by Baccio Ugolino in the Orfeo. Theexamples here offered are those given in thegreat history of Ambros. The first is a frag-ment of a frottola (composed by Trombon-cino) in its original shape. The secondshows the same
. Some forerunners of Italian opera . vingappeals of his hero were accompanied on a lyre of the period in precisely the samemanner as frottole transformed into vocalsolos were accompanied on the lute. Forthese reasons an example of the method of ar- 126 Some Forerunners of Italian Opera ranging a frottola for voice and lute will giveus some idea of the character of the musicsung by Baccio Ugolino in the Orfeo. Theexamples here offered are those given in thegreat history of Ambros. The first is a frag-ment of a frottola (composed by Trombon-cino) in its original shape. The secondshows the same music as arranged for solovoice and lute by Franciscus Bossinensis asfound in a collection published by Petrucci in1509. k¥. t=t fe i Af flit Af - flit - ti spir - ti spir H F=f^^^ m Af - flit Af ^ flit-U flit spirti The Solos of the Orfeo i 27 H ri sie - te con - ten mi - ei sie - te con i =±=t ii ~L ^~t^—^^ *^ spir - ti miei sie - te . con - ten - ti g V^ Sie - te con #-r— 1 C^ rs -1 1 F Af - fii t==3 , - ti \—^ 5^— J 1 _. 128 Some Forerunners of Italian Opera How far removed this species of lyric solowas from the dramatic recitative of Peri andCaccini is apparent at a single glance. Buton the other hand it is impossible to be blindto its relationship to the more metrical ariosoof Monteverdes earlier work or perhaps tothe canzone of Caccinis Nuove line of development or progress is dis-tinctly traceable. At this point it is not essen-tial that we should satisfy ourselves that thesolo songs of Caccini were descendants of thelyrics of the cantori a Unto, for when the twospecies are placed in juxtaposition the lineageis almost unmistakable. What we do need toremember here is that the method of thelute singers entered fully into the construc-tion of the score — if it may be so called— of Polizianos Orfeo and passed fromthat to the madrigal drama and was therebrought under the reformatory experimentsof Galilei and his contemporaries. This sub- The Solos o
Size: 2329px × 1073px
Photo credit: © Reading Room 2020 / Alamy / Afripics
License: Licensed
Model Released: No
Keywords: ., bookcentury1900, bookdecade1910, bookpublishernewyorkhholtandcom
