Baroque Essay

5699 Words Dec 31st, 2014 23 Pages
L'armonia sonora: Continuo Orchestration in Monteverdi's orfeo Author(s): Stephen Stubbs Source: Early Music, Vol. 22, No. 1, Monteverdi II (Feb., 1994), pp. 86-89+91-93+95-98 Published by: Oxford University Press Stable URL: http://www.jstor.org/stable/3128484 . Accessed: 17/11/2014 09:47
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His important rules for the execution of the bass mention no medium other than the organ. Giulio Caccini, in his foreword to Le nuove musiche (Florence, 1602), explains the aims of 'the new music' for solo voice and basso continuo. To achieve the desired effect of musical speech (in armonia favellare),these compositions must be performedwith a certain noble This humanist term, borrowed from Castiglione'sII cortesprezzatura. giano (1528),is difficult to translate,but Caccini'sfurtherinstructions StephenStubbsis professor of make it clear that he means a stylisticallyinformed freedom to adapt lute and historical performance tempo, dynamics, rhythm and ornamentation in orderbetter to serve practicesat theAkademie fir the meaning of the text.' In keeping with this flexibility of perforAlte Musikand the Hochschule der Kunstein Bremen.He is mance, Caccini saysthat the singer may sing to the accompanimentof also the directorof the ensemble a single chitarroneor other string instrument (contemporarymanuwhich has recently Tragicomedia, issuedtwo Monteverdirecordings. scripts containing Caccini'smonodies with tablaturefor lute make it clear that this was a common alternative)2without being forced to He has directedstagedperformaccommodate himself to others. Caccini may have self-accompaniancesof all threeofMonteverdi's extant operas. ment in mind here, although not exclusively,as he goes on to

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