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THE FIRST ATTEMPTS AT CREATING DRAMATIC RECITATIVE: JACOPO PERI - GIULIO CACCINI (Pierwsze proby recytatywu dramatycznego: Jacopo Peri - Giulio Caccini)

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Szweykowski Z. M.

Muzyka

2009

vol. 54

issue 2(213)

3-47

The article presents analyses of selected parallel sections of the scores of 'L'Euridice' written by Peri and Caccini, and synthetic comparisons undertaken in the area of the rhythmic and interval structure of the recitative, the treatment of the poetic verse, the melodics and the features of modal shaping. They demonstrate how these composers, in spite of belonging to the same circle, working at the same time on the same dramatic text, and following the same general principles, produced very different music. Peri, by employing highly differentiated solutions more frequently, enabled the performer to present situations in a more dramatic way. His approach to technical devices indicates that he always took into account the fact that the text was to be performed on stage, and thus in accordance with the art of acting, while the purpose of the music was to add depth to the gesture of the singer-actor. In this, he was following more closely the theoretical principles postulated by Corsi's circle. The fundamental feature of Caccini's recitative is its lyricism, expressed both in the melodic type and the sparse use of harmonic devices. The stamp of solo lyricism is apparent in the whole of his score of 'L'Euridice'. At that time, Caccini was creating a new monodic style, suitable primarily for vocal lyricism. However, faced with a dramatic text, this style (in spite of the composer's assurances) turned out to be insufficient to express such diametrically different emotional states as those through which Rinuccini took his heroes.

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1 Muzyka

1 Szweykowski Z. M.

1 2009

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THE FIRST ATTEMPTS AT CREATING DRAMATIC RECITATIVE: JACOPO PERI - GIULIO CACCINI (Pierwsze proby recytatywu dramatycznego: Jacopo Peri - Giulio Caccini)