Critical and Historical Essays: Lectures delivered at Columbia UniversityMacDowell, Edward
History
Critical and Historical Essays: Lectures delivered at Columbia University
MacDowell, Edward
Music -- History and criticism
This primitive "opera" music was thus fettered by difficulty of
notation and the influence of the ecclesiastical rules until
perhaps about 1600, when the first real opera began to find a
place in Italy. Jacopo Peri and Caccini were among the first
workers in the comparatively new form, and they both took
the same subject, _Eurydice_. Of the former the following
two short excerpts will suffice; the first is where Orpheus
bewails his fate; in the second he expresses his joy at bringing
Eurydice back to earth. Caccini's opera was perhaps the first
to introduce the many useless ornaments that, up to the middle
of this century, were characteristic of Italian opera.
EURYDICE--PERI.
Orpheus bewailing his fate.
[Figure 43]
[W: I weep not, I am not sighing, tho' thou art from me taken.
What use to sigh]
Orpheus' joy in bringing back Eurydice.
[Figure 44]
[W: Gioi-te al canto mio serve frondo di che in su l'au rora]
[14] It is interesting to note as to the prevalence of Latin,
that Dante's "Divina Commedia" was the first important
poem in Italian. Latin was used on the stage in Italy
up to the sixteenth century; the stationary chorus
stationed on the stage remained until the seventeenth
century and was not entirely discontinued until the
first half of the eighteenth century.
XVII
OPERA
No art form is so fleeting and so subject to the dictates of
fashion as opera. It has always been the plaything of fashion,
and suffers from its changes. To-day the stilted figures of
Hasse, Pergolesi, Rameau, and even Gluck, seem as grotesque
to us as the wigs and buckles of their contemporaries. To
Palestrina's masses and madrigals, Rameau's and Couperin's
clavecin pieces, and all of Bach, we can still listen without
this sense of incongruity. On the other hand, operas of
Alessandro Scarlatti, Matheson, and Porpora would bore us
unmitigatedly. They have gone out of fashion. Even the modern
successors of these men, Bellini, Donizetti, and Verdi, in his
earlier years, have become dead letters musically, although only
as late as 1845, Donizetti was at the very zenith of his fame.
Public-domain text, read in full here on John Shaqi.
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