This was the period, at the end of the
16th century, when the poet Ottavio Rinuccini, going out for the morning, might
have told his housekeeper : «I shall be dropping in on Jacopo Corsi, Peri,
Giovanni Bardi and Giulio Caccini. Get a good piece of roast ready, and a good
bottle of Artimino. We'll have lunch at half-past twelve!».
Rinuccini, indeed, lived in the Santa
Croce district of Florence, hard by the Bardi and Corsi families, while Caccini
lodged near the SS. Annunziata, and Peri, probably, in Pitti.
I referred to that good Artimino wine,
having found special mention of it in the famous dithyramb Bacco in Toscana
(Bacchus in Tuscany) by Francesco Redi (1626-1698), who was retained as doctor
and poet by the Medicis : «ma di quel che sì puretto/si vendemmia in
Artimino/vo' trincarne più d'un tino»(«but of that wine so pure/ that they make
in Artimino/I want to guzzle a vat»). But there is also a passage from Carlo
Roberto Dati (17th century manuscript):
«...The
residence of Jacopo Corsi, a Florentine gentleman, had ever open doors, like
some public Academy, for those with a taste for the fine arts. It was frequented
by the gentry, and by a notable assembly of writers, poets and musicians among
whom we find above all Tasso, Chiabrera, Marino, Monteverdi, Muzio Efrem and a
thousand of their consorts...... and there it was,on the initiative of Ottavio
Rinuccini, a celebrated poet, and of Jacopo Peri, a master in the art of harmony,
that there came into being a style of recitative destined for the stage, and
here it was, also, that «Dafne» was recited on May lst.»
Of great interest, too, is Filippo
Vitali's preface to his Aretusa, 1620), in which he states :«...
This manner of singing can rightly be called novel, for
it was born not so long ago in Florence as the noble brainhild of Sig. Ottavio
Rinuccini. He, being especially favoured by the Muses, and endowed with a unique
talent in the expression of the emotions, wished to use song to increase the
power of his poems and yet not allow the song to diminish this power. And trying,
with Sig. Jacopo Corsi (...) a great connoisseur of music, to see what could be
done to ensure not only that the music does not prevent one from catching the
words, but more, that it helps bring out more clearly their meaning and their
representative intent, he asked Sig. Jacopo Peri and Sig. Giulio Caccini,
excellent masters in the art of song and counterpoint, to come to his aid. They
debated to such good effect that they became convinced they had found the way to
bring it off -and they were not mistaken...»
This is just a first glimpse of the
documentation I shall quote concerning this manner of singing, where
parlar cantando gives a quite different end effect from cantar parlando.
It enables us to measure once more the immense distance separating the «Dafne»,
«Euridice» or «Orfeo» of a Da Gagliano, a Peri, a Caccini or a Monteverdi, from
the melodramas of the 18th century and the so-called lyric operas of the 19th,
and thus to give back to the Florentines and to Monteverdi the place their works
have earned for them in the Olympian heights of the poetic and musical arts.
In sketching these few illustrations my
intention is to give above all some idea of that enormously cultivated society
which, held in high esteem throughout Europe, set the tone for its art and its
learning. The Camerata Fiorentina, or, to be more precise, the
Camerata de Giovanni Bardi des Contes de Vernio is the remarkable outcome of
humanistic research into the Art of Music as defined by Plato, and it was the
Bardi, the Corsi and the Medicis who helped carry this research through to a
successful conclusion. Let us not forget that these families wielded their great
powers in the service of culture and the arts, and that it was moreover none
other than the Peruzzis and the Bardis, Florentine bankers, who were able to
lend the English king Edward III (1327-1397) the imposing sum of 900.000 gold
florins!
But let us return to the stile
rappresentativo and our documents which, while being perfectly well known -
at least to historians of music -have been too often unaccountably passed over.
The stile or genere
rappresentativo can be viewed in two ways. It can denote sung recitation
intended for the stage : it can also denote sung recitation which depicts
the affetti, or human emotions quite outside the theatrical context. It
is the latter meaning which interests us here.
Monteverdi eloquently expresses these
two possibilities in his Combattimento di Tancredi et Clorinda (1638) ;
«Combattimento in Musica di Tancredi et Clorinda, descritto del Tasso ; il
quale vo-lendosi esser fatto in genere rappresentativo...»(« Combattimento...
described by Tasso, the which may be per formed in the representative style...»)
He accordingly states that the «Combattimento».. as described by Tasso can be
rendered with no stage business at all, be it movement or gesture.
We must then consider this
representation of the affetti which can be dramatic or descriptive : in
both cases we have the same sung recitation, and in both cases we have
Monteverdi's warning words and clear recommandation «to use no vocal
ornamentation («non dovera far gorghe ne trilli...») except in the stanza
beginning «Notte»...», while for the rest «the pronunciation should bear
a true relation («si-militudine») to the emotions contained in the speech.»
This is a theme, common to high poetic art and oratory, which brings us back to
Plato and the «cantus obscurior» of Cicero, and which is fundamental to the
parlar cantando of Monteverdi and the stile rappresentativo of the
Florentine Camerata de Giovanni Bardi.
Giulio Caccini, in the preface to his
own Euridice (1600) gives us some precise details as to the nature of the
stile rappresentativo which is above all the outward expression of the
emotions (independent of possible stage effects) through the evocative sounds of
speech That is to say, the capture of the «melody» stipulated by Plato and named
by Monteverdi the Seconda pratica (His letter of 22nd October
1633-toG.B.Doni(?)).
I would particularly underline Caccini's
further words, addressed to Giovanni Bardi : -
«Having
set to music, in the representative style the drama of Euridice, I felt in duty
bound to dedicate it to yourself.
You will recognize in it the style
which I adopted many years ago for the eclogue by Sanazzaro «Iten' al’hombra de
gli ameni faggi», and in some of my other madrigals of that period :
«Perfidissimo volto», «Vedrò ’l mio sol», «Dovrò dunque morire» etc. It is, as
you said at the time of your «Camerata» in Florence, the selfsame manner used by
the ancient Greeks for their tragedies and other dramatic scenes in song. And in
using this manner I have allowed a certain «sprezzatura» (a certain play in the
timing to give, as I consider it, a heightening effect) so as to come as close
as possible to natural speech».
The meaningful
parallel thus drawn between Euridice (a dramatic poem) and the madrigals
is of great importance where the style of performance is concerned. Caccini
published the aforesaid madrigals in 1601, and we have included two of them in
the present recordings the Camerata Fiorentina.
Now let us turn to the words of Jacopo
Peri in the preface to his «Le Musiche di Jacopo Peri... Sopra l'Euridice del
Sig. Ottavio Rinuccini», published in 1600 and dedicated to Maria Medici,
queen of France and Navarre : «...I thought it useful to tell (the
readers) the reasons which led me back to this
new manner of singing»...
There is, I believe, an interesting
cultural and technical link to be established between this «... led me back...»
of Peri's and the «stile» and «seconda pratica» of Caccini and Monteverdi
respectively. We know that Monteverdi stayed at Jacopo Corsi's house in Florence
and also that he names Jacopo Peri and Giulio Caccini as exponents of the
«seconda pratica» (Dichiarazione della Lettera, published as preface to
the Scherzi Musicali in 1607).
Peri continues : «Sig. Jacopo Corsi
and Ottavio Rinuccini invited me (as early as 1594)
to use a different technique and put to music the dramatic
episode «Dafne» which Sig. Ottavio had composed, simply to prove what singing
could be in our day and age».
To really understand the spirit of
inquiry which motivated Peri, Corsi and Rinuccini, one should take good note of
the following passage from Peri's preface : «Benché del Sig. Emilio del
Cavaliere, prima che da ogni altro, ch 'io sappia, con maravigliosa invenzione
ci fusse fatta udire la nostra Musica su le scene ; Piacque nondimeno a’ Sig.
Jacopo Corsi et Ottavio Rinuccini...» («Although Sig .Emilio del Cavaliere(...)
had given us a marvellously ingenious rendering of our music on stage, Sig.
Jacopo Corsi and Sig. Ottavio Rinuccini nevertheless invited me to put the
dramatic episode «Dafne» to music in a different way».
There have always been works of
art linking words and music, and of course the period under consideration here
gave us countless examples of a wide range of shows or spectacles of this sort.
But it is precisely the musicians of Florence, gravitating around Corsi and
Bardi, who propounded the return to a manner of singing which should draw on the
expressive depths of feeling speech rather than create a melodic line to bring
out the meaning of the words. (The latter tending to serve as a pretext for
wildly fanciful musical excursions completely at odds with the concept of the
recitative given almost «recto tono» and rigorously independent of any stage
effect...)
Their aim was, through the thorough
analysis of the values of the different vowels and consonants and syllabic
structures, to find the underlying emotional resonance of poetic speech so that
the singing voice becomes a modulation of the speaking voice, to attain the «cantus
obscurior» the innermost and most secret form of verbal expression. This is
certainly not the melodramatic song of the 18th century or of 19th century opera
much less melody as we understand it today. There is further food for thought in
Peri's following observations :
«...Seeing that I was dealing with
dramatic poetry where song must wed speech (and no man has ever spoken a song) I
reflected that the ancient Greeks and Romans (who, it is commonly held, sang
whole tragedies on stage) must have followed a harmonic line which went beyond
that of normal speech, but stayed sufficiently clear of a melodic line as to
constitute an intermediate form of its own. Thus we find in their poems those
iambics which, if they do not soar like hexameters, nevertheless outstrip the
run of normal conversation. That is why, leaving aside all the styles of song in
use hitherto, I have endeavoured to find out what desirable adaptation could be
made from these poems. It seemed to me that the sort of voice that the Ancients
used for their songs (and which they called «diastematic» - almost restrained,
or suspended) could be partly accelerated and attuned to the sustained, slow
sounds of song as well as to the quicker, livelier ones of speech. I could
handle it to my advantage (like the Ancients when they read their poems and
their heroic verses) by moving closer to the voice used for exposition (which
they called continual). Clearly, we are back at
the «sprezzatura» of Giulio Caccini.
It is perhaps worthwhile to draw the
reader's attention to a vital passage in Peri's development of the theme :
«No man has ever spoken a song» may at first reading seem in contradiction
with the parlar cantando stipulated by Monteverdi. It is, on the contrary,
corollary to it, for while Jacopo Peri holds that it is impossible to expound (speech)
when the exposition is obliged to follow the contours of musical form (song),
Monteverdi, for his part, wants the harmony of the song to spring from the
spoken word. Monteverdi's opposition to what he calls cantar parlando is
matched by Peri's refusal of a certain style of singing over makeweight words.
Jacopo Peri («0ur latter-day Orpheus»
as his contemporaries called him) gives an account of his personal research into
the harmony to be derived from the play between musical chords and modulations
and normally accentuated speech. It is very interesting, but it would be a
digression to deal with it here. It is certainly more useful to refer to other
documents which are no doubt needed by those who wish to get a good grasp of the
aesthetic ambience which permeates the works of the whole Camerata
Fiorentina. This will also enable us to touch upon questions of harmony in
the setting-up of the «continuo», bearing in mind that ideally the verbal
expression should never suffer for the sake of overloaded counterpoint. Here
again, in the preface to his «Nuove Musiche» (1601), Caccini states that
he «... only used counterpoint to bind the two parts (the song and the
«continuo») together, and to avoid certain obvious defects...» As for the
continue, Caccini again leaves us the very useful note which follows :
«I conceived the idea of a sort of music which
enabled me practically to speak in harmony, allowing myself a certain studied
negligence in the manner of singing and even certain dissonances. In this case I
took the bass line, unless I was already using it in the normal way, the middle
range, taken by the instrument, being kept specifically to express one emotion
or another.»
One can readily see from this the
incongruities of style and harmony to which are imperceptibly misled so many
singers and accompanists who think to display their talents in counterpoint.
They forget that simplicity does not imply indigence, and end up by grossly
misrepresenting the author and his manner of expression.
Our main problem is thus in the
interpretation of this music, and it is fascinating to try and solve it. What
aesthetic concepts and what performing techniques are involved ? We shall see,
and hear, in the passages which we offer to those who read these lines or listen
to the records they accompany, for this is the first collection made in
accordance with the directions and the guidance of the theorists and performers
who in their lifetime took part in the flowering of the arts in the
Camerata Fiorentina.
In bringing together a few brief
passages from among the mass of letters and other accounts of events and
spectacles from that distant period when art and culture played a leading role,
I reach far back to quote a letter (dated about 1488) from Poliziano to Pico
della Mirandola. Speaking of the singer Fabio Orsini he writes : «He then
rendered a song in heroic vein, a hardly finished composition of his own in
honour of our Piero de’ Medici... his voice was not quite that of someone
reading, nor yet clearly that of a singer. It was plain or modulated, varying
with the demands of the passage, fluctuating or steady, exalted or restrained,
calm, vehement or passionate ; always true, clear and pleasing to the ear...»
(What a model for singers!) Still in the 16th century, Vincenzo Calmeta
(Prose e lettere edite ed inedite collected by Cecilia Grayson, Bologna
1959) gives the following advice : «... in the manner of singing, the rhymes
should be accompanied by a music free from tension or harshness, so as to let
the listener seize as well as possible the wit and wisdom of the words. Thus one
shows good sense similar to that of a clever jeweller who, wishing to display a
pearl of purest water, will take good care not to wrap it up in a cloth of gold,
but will rather place it against a black cloth so that it may shine at its
best(...) Particularly praiseworthy are those who render the words well as they
sing, so that the music accompanies the words as servants do their masters...
putting the music at the behest of the intelligence and the passions expressed
in the words, and not the other way round...» (We are back to Book III of
Plato's Republic.). This highlights the value of the contribution made,
in terms of research and practical achievement, by the Camerata Fiorentina
that select circle of poets, men of letters, artistes and men of science, to
encourage a return to the musical aesthetics of classical antiquity.
It is interesting to point out certain
documents which help us to realize the general atmosphere which gave rise to
those major artistic events of the Renaissance which left their vigorous mark on
the noble courts of Italy and Europe (see Angelo Grillo's letter from Venice in
1608, addressed to Giulio Caccini). The resulting spirit of healthy competition
led to a considerable output of artistic works which enable us to take stock of
the state of culture at that time. It is difficult to imagine how this rich vein
could peter out, leaving nothing behind but a vain striving for effect, lacking
any acceptable cultural quality. This is all the stranger in that the great
Intermedi of 1589 are there to demonstrate how any spectacle can be
enlivened and ennobled by great art on stage, in music and in poetry.
Let us consider for example, the great
festivities which took place during the Carnival of 1612 in the court of Tuscany.
Ottavio Rinuccini had composed Comparsa d'Eroi Celesti, in the course of
which, splendidly staged with the help of an ingenious arrangement of moving
spheres, Jupiter followed his course surrounded by his four celestial satellites,
discovered by Galileo Galilei and christened «Stelle Medicee». One need hardly
recall that Galileo was the son of that Vincenzo Galilei who, in the Bardi
residence, had recited (with vocal modulation). Canto of Dante's Inferno
(the tale of Count Ugolino). This, to an accompaniment of violas, in order to
illustrate his theories about music for solo voice, which he considered should
be linked to the expression of human passions, Vincenzo Galilei was, we know, a
leading theorist in Giovanni Bardi's circle.
This huge spectacle Comparsa d'Eroi
Celesti, like the Intermedi, included musical pieces, symphonies,
choirs and solo singers. One must avoid any confusion between this and the
«Fabula rappresentata in musica» (a dramatic episode played to music) such as
Euridice or Orfeo. The presence of music and text in both cases has
misled many historians, and because words and music are similarly present in
these twin streams of staged musical productions, historians of music came to
think, (about the middle of the 19th century) that they could give melodrama and
opera a prestigious pedigree, at a time when these two forms were catering more
and more the tastes of a society seeking a new cultural identity.
Thus misguided by their exclusive
consideration of the component parts (the book and the score) instead of the
artistic whole, they felt free to draw edifying comparisons between melodrama
and, later, opera on the one hand, and poetic and musical creations of the 16th
and 17th centuries on the other. The outcome of all this was, firstly, that
Euridice, Dafne, Orfeo and such like were taken as the prototypes of a form
of lyric opera in fieri, and secondly-with more serious and dangerous
consequences - singers were encouraged to misconceive the notion of sung
poetic recitation, and simply to sing everything to the musical tempi
mastered to a greater or leaser extent in the various schools of music.
The reaction came late and, alas, from
singers lacking the indispensable training in the history and theory of music,
and in suitable performing techniques. For want of any sound knowledge in the
field, they invented a style, a sound and a technique which have no basis in the
writings of the period concerned, adding moreover a startling wealth of
baroque-style ornamentation which is enough to take the bloom off arias and
themes which are in themselves superb.
It having been decreed that everything
- including «la cena è pronta» («Soup is served») - should be sung with plenty
of voice, and having thus conveniently eliminated the art of the «passaggi»,
it now remained, on the basis of some non-existent aesthetic concept, to
concoct a special range of sounds. These (very) special sounds were almost
always the result of the combination of somewhat precarious vocal skills with a
profound ignorance of singing technique.
As for the pronunciation, which is of
the essence in seconda pratica, let us not dwell on the indignities it
has endured.
But (to be brief) we appear to be
avoiding the disaster which was looming ahead. As always, the truth is beginning
to come out through a closer reading and deeper analysis of the texts which have
come down to us - even if Brunelleschi's «Palazzo Bardi» in Florence proudly
carries an inscription (dating from the 20th century) celebrating the birth of
melodrama in that rallying -point of the Camerata Fiorentina - even if
there is carved on the tomb of Jacopo Peri, in Santa Maria Novella, Florence, an
inscription dating from this century which calls him (I would rather say
miscalls him) the father of opera, and thus encourages singers to persist in
their errors - even if, finally, people will insist on naming Monteverdi «the
creator of modern music», in obvious ignorance of the words which he himself
wrote in a letter dated October 22nd 1633 : «Melodia, overo seconda pratica
musicale. Seconda (intendendo io) considerata in ordine alla moderna, prima in
ordine all'antica» («Melody, the second mode of practice. Second, I mean, when
considering modern music, but the first where ancient music is concerned..)
These few remarks are not inspired by any taste for controversy on my part, but
by the fact that placing works in incorrect historical and aesthetical settings
leads to serious deformations in their interpretation and their performance.
To get back to Florence, and Peri and
Caccini, who are the subject-matter of our recordings ; there are in their works
(quite apart from any problems of staging) certain aspects which can be easily
misinterpreted as calling for a «melodification» (in modern terms) which obscure
their expressive depth and beauty, I wish therefore to set down in conclusion to
this presentation a few lines which strike me as being particularly rewarding.
The first are taken from a letter written in 1608 by Jacopo Peri and addressed
to Cardinal Ferdinando Gonzaga, and concern a performance of Dafne.«... and
particularly «Dafne»... newly embellished by Rinuccini himself and composed with
infinite good taste by Sig. Marco da Gagliano... it being admitted that such a
style of singing is more suitable and closer to speech». The others come
from a letter written in Venice in 1608, from Angelo Grillo to Giulio Caccini :
«... You are the creator of a new form of
music-making, or rather of singing without song, recitative singing of nobility
and breeding which does not lop, swallow or stifle the words or the emotions,
but rather gives them a new lease of life, redoubling their content and their
force...»
The important facts are, that all the
passaggi and «ornamentation» were written by those master-musicians Peri
and Caccini, and that the so-called embellishments that one often hears are
therefore completely unfounded.
We cannot forget the words of Giulio
Caccini, an undisputed master of the singer's art, of which he wrote
«It is an art which leaves no scope for mediocrity, and we
who pursue this calling must devote every effort diligently and lovingly to
bring out its every exquisite shade of beauty. And it is this devotion which has
led me (who have understood that it is from writings that we can best get
knowledge in all arts and sciences) to set down in the following notes what one
must know in order to sing as a soloist, accompanied only by «chitarrone» or
other stringed instruments. Provided that the accompanist be well acquainted
with musical theory, and an accomplished player... One will get better vocal
expression by giving a firm attack followed by a diminuendo, for if one does
otherwise, when it comes to rendering exclamations, one is obliged to redouble
the natural crescendo, and this will make the voice strained and harsh... to get
this effect one must have received a particularly sound theoretical training,
and worked long hours in rehearsal to achieve that mastery of voice-production
which sets the seal of perfection on male and female singers alike».
Caccini makes particular mention of the
expressive effect of the «exclamations», whether affectionate, languorous or
witty, and deals with all the difficulties they present. There follows a series
of examples, and an explanation of the technique of the passaggi, of the
rolled notes (giri di voce), of the fast trillo on one note, and
of the gruppo on notes at half-tone intervals. His preface (Nuove
Musiche, 1601) contains nine such pages, rich in observations and examples
and ending with an important clarification as follows :
«... Notice that I call «noble» that manner of singing
which calls for no slavish observance of the strict musical tempo, and in which
notes can be reduced to half their value if the expression of the words so
demands. This is what gives the style that «sprezzatura» which can only be
attained with a fine, supple voice and perfect breath-controls. »
In the matter of voice-production and
breath-control, and the delicate swell and fade of the voice («crescere e
scemar della voce»), Caccini is very clear : «To excel in this art the
singer must have not only a good voice, but also perfect production
(«respirazione del fiato») so as to always have his breath under control.
Accordingly, since he sings solo, with fust a «chitarrone» or other string,
instrument in accompaniment, the singer need not match his voice to others, and
should thus choose a range over which he can sing in a natural voice, and avoid
the falsetto («le voci finte») - where, to obtain certain effects he
would be obliged to force his breathing and in so doing lose control of his
production». In this Caccini is very precise :
«In falsetto one cannot achieve the
refinement which is possible when the voice ranges freely through its natural
register, and which is at the singer's command for the performance of the «exclamations»
and the rendering of the «affetti».
These explicit remarks of Caccini,
invaluable master-class ad vice, should be taken to heart by the numerous
singers who venture to sing the works of Caccini (and others) in falsetto. This
is nowadays called «countertenor» by those who have moreover forgotten that
countertenor does not indicate a specific type of voice, but merely a vocal line
in a contrapuntal score. Consequently, one hears nothing but falsetto - that is
to say, those very «voci finte» (outside their natural range) which Caccini
rejected for the reasons above.
Caccini's remarks in his preface to
Nuove Musiche (1614) are of special interest in the matter of «embellishments»
: - «I think I can safely say that the
«passaggi», the «trilli» and other embellishments that one can use in singing
certain expressive passages («affetti») may be likened to the images and colours
which rhetoric lends to normal speech in order to raise it to the pitch of
eloquence.»
So the poetic content of these songs is
enriched and exalted by embellishments which demand an exceptional command of
vocal technique. These «gruppi» «passaggi» and «trilli», vortices of repeated
«spiccate» notes, must spring from the lips like so many brilliant asides,
thrown away in a masterly display of «sprezzatura»; the quintessence of the
singer's expressive art. Each embellishment, each «passaggio» is indicated by
the author, and the present recordings give a completely faithful reproduction
of the original texts.
We have been able to glimpse the number
of elements which must be borne in mind by those who wish to perform that music
which embodies the poiesis of the Florentine school in Bardi's
Camerata Fiorentina, of Monteverdi, and of other exponents of the seconda
pratica. This poiesis reveals itself in musical terms by the osmosis
(if I may use the expression) between the component parts of human communication,
that is to say the rational meaning of the word, and the dynamic force and
audible manifestation of the concept. It is this return to the platonic
conception of melody which lifts the works of our poet-musicians, far beyond a
simple linking of words and music, to attain absolute heights in the musical
representation of verbal expression.
Prof. Annibale
Gianuario