Giulio Caccini

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The following article is from The Great Soviet Encyclopedia (1979). It might be outdated or ideologically biased.

Caccini, Giulio


Born circa 1550 in Rome; died Dec. 10, 1618, in Florence. Italian composer, singer, theorbo virtuoso, and theoretician of vocal art. Composer of one of the first operas (Eurydice, 1602).

Caccini was a member of the Florentine camerata, a group of poets, musicians, and philosophers who played a decisive role in the formation of Caccini’s artistic views. He was one of the creators of the Italian bel canto, and his works are melodious and full of virtuoso passages. Caccini also composed a collection of madrigals and arias for voice with accompaniment (New Music, 1602), which contains complete directions on the methods of vocal execution.


Livanova, T. Istoriia zapadnoevropeiskoi muzyki do 1789 goda. Moscow-Leningrad, 1940.
Kretzschmar, H. Istoriia opery. Leningrad, 1925. (Translation.)
Ehrichs, A. Giulio Caccini. Leipzig, 1908.
The Great Soviet Encyclopedia, 3rd Edition (1970-1979). © 2010 The Gale Group, Inc. All rights reserved.
References in periodicals archive ?
Slowly closing and opening his eyes, Kelly extends outstretched hands, his plaintive countertenor arcing around the notes of the late Renaissance composer Giulio Caccini's haunting madrigal "Amarilli, mia bella." In a parallel narrative, arctic explorer Audun Tholfsen was filmed reaching a similar height, though less perceptibly, while sailing and kayaking frigid waters and hiking the icy Svalbard archipelago, located midway between the northern tip of Norway and the North Pole.
1641), daughter of Italian composer Giulio Caccini (best known today for that perennial favorite, Amarilli).
Giulio Caccini, singer and composer, one of the first to introduce solo singing in the early part of the seventeenth century, subjects the "feeling for the note" to a severe criticism.
His highly esteemed work in American music studies (the New Grove Dictionary of American Music: his Prentice Hall textbook series that included his Music in the United States [Englewood Cliffs, NJ: Prentice Hall, 1969; 4th ed., 2000]; studies on Charles Ives, etc.) was built upon his excellent contributions to the fields of French and Italian Baroque music (Marc-Antoine Charpentier, Giulio Caccini, et ah).
This only survives as fragments, making Peri's Euridice, published in 1601, the oldest surviving opera along with its namesake and rival setting by Giulio Caccini.
In three chapters, he focuses on the students of such important teachers as Giulio Caccini, Nicola Porpora, and Mathilde Marchesi.
The first three essays are devoted to the pioneering opera composer Jacopo Peri, while his contemporary, Giulio Caccini, is treated in a later chapter.
Over half of the chapters concerned with the court musicians (276 pages) deal with just seven figures (Alessandro Striggio, Giulio Caccini, Jacopo Peri, Vittoria Archilei, Francesca Caccini, Giovanni Maria Pagliardi, Giuseppe Maria Orlandini); 47 of the 62 pages given over to 'Men of Letters, Court Gentlemen, etc.' consist of an updated article on Francesco Rasi already available in German.
Greek drama, of humanist Francesco Patrizi on Greek poetic forms, and the arguments of lutenist-theorist Vincenzo Galilei and singer-composer Giulio Caccini on solo singing.