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    Giacomo Carissimi

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    Brandon Mcguire
    Giacomo Carissimi was an influential 17th century Italian composer and teacher considered one of the masters of the early Baroque era. He established features of the oratorio and was prolific in motets and cantatas. As chapel master in Rome, he developed forms like the chamber cantata and was important in spreading Italian styles to northern Europe through his students.

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    Giacomo Carissimi

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    Brandon Mcguire
    238 views3 pages
    Giacomo Carissimi was an influential 17th century Italian composer and teacher considered one of the masters of the early Baroque era. He established features of the oratorio and was prolific in motets and cantatas. As chapel master in Rome, he developed forms like the chamber cantata and was important in spreading Italian styles to northern Europe through his students.

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    Biography of Carissimi

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    Giacomo Carissimi was an influential 17th century Italian composer and teacher considered one of the masters of the early Baroque era. He established features of the oratorio and was prolific in motets and cantatas. As chapel master in Rome, he developed forms like the chamber cantata and was important in spreading Italian styles to northern Europe through his students.

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    238 views3 pages

    Giacomo Carissimi

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    Brandon Mcguire
    Giacomo Carissimi was an influential 17th century Italian composer and teacher considered one of the masters of the early Baroque era. He established features of the oratorio and was prolific in motets and cantatas. As chapel master in Rome, he developed forms like the chamber cantata and was important in spreading Italian styles to northern Europe through his students.

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    Giacomo Carissimi

    Giacomo Carissimi (baptized 18 April 1605 – 12 January 1674) was an Italian composer and music teacher. He is one of the most
    celebrated masters of the early Baroque or, more accurately, the Roman School of music. Carissimi established the characteristic
    features of the Latin oratorio and was a prolific composer of motets and cantatas. He was highly influential in musical developments
    [1]
    in north European countries through his pupils and the wide dissemination of his music.

    Contents
    Biography
    Music
    Selected works
    Oratorios
    Cantatas
    Motets
    Masses
    In popular culture
    Footnotes
    References
    External links

    Biography
    Carissimi's exact birthdate is not known, but it was probably in 1604 or 1605 in Marino near Rome, Italy. Of his early life almost
    nothing is known. Giacomo’s parents, Amico (1548–1633, a cooper by trade) and Livia (1565–1622), were married on 14 May 1595
    and had four daughters and two sons; Giacomo was the youngest.

    Nothing is known of his early musical training. His first known appointments were at Tivoli Cathedral, under the maestri di cappella
    Aurelio Briganti Colonna, Alessandro Capece and Francesco Manelli; from October 1623 he sang in the choir, and from October
    1624 to October 1627 he was the organist. In 1628 Carissimi moved north to Assisi, as maestro di cappella (chapel master) at the
    Cathedral of San Rufino.[1] In 1628 he obtained the same position at the church of Sant'Apollinare belonging to the Collegium
    Germanicum in Rome, which he held until his death. This was despite him receiving several offers to work in very prominent
    establishments, including an offer to take over from Claudio Monteverdi at San Marco di Venezia in Venice. In 1637 he was ordained
    a priest. He seems to have never left Italy at all during his entire lifetime.He died in 1674 in Rome.[2]

    Carissimi's successor as maestro di cappella at the Collegium Germanicum in 1686 described him as tall, thin, very frugal in his
    .[3]
    domestic affairs, with very noble manners towards his friends and acquaintances, and prone to melancholy

    Music
    The great achievements generally ascribed to Carissimi are the further development of the recitative, introduced by Monteverdi,
    which is highly important to the history of dramatic music; the further development of the chamber cantata, by which Carissimi
    superseded the concertato madrigals which had themselves replaced the madrigals of the late Renaissance; and the development of
    .[2]
    the oratorio, of which he was the first significant composer
    Carissimi's position in the history of church, vocal and chamber music is somewhat similar to that of Francesco Cavalli in the history
    of opera. While Luigi Rossi was his predecessor in developing the chamber cantata, Carissimi was the composer who first made this
    form the vehicle for the most intellectual style of chamber music, a function which it continued to perform until the death of
    Alessandro Scarlatti, Emanuele d'Astorga and Benedetto Marcello.

    Carissimi is also noted as one of the first composers of oratorios, with Jephte as probably his best known work, along with Jonas.
    These works and others are important for establishing the form of oratorio unaccompanied by dramatic action, which maintained its
    hold for 200 years. The name comes from their presentation at the Oratory of Santissimo Crocifisso in Rome. He may also be
    credited for having given greater variety and interest to the instrumental accompaniments of vocal compositions. Charles Burney and
    John Hawkins both published specimens of his compositions in their works on the history of music, while Henry Aldrich collected an
    almost complete set of his compositions, which are currently housed at the library of Christ Church, Oxford. The British Museum
    also possesses numerous works by Carissimi. Most of his oratorios are in the
    Bibliothèque Nationaleat Paris.

    Carissimi was active at the time when secular music was about to usurp the dominance of sacred music in Italy. The change was
    decisive and permanent. When Carissimi began composing, the influence of the previous generations of Roman composers was still
    heavy (for instance, the style ofPalestrina) and when his career came to a close the operatic forms, as well as the instrumental secular
    forms, were predominant. In addition, Carissimi was important as a teacher, and his influence spread far into Germany and France.
    Much of the musical style ofMarc-Antoine Charpentier, for instance, was influenced by Carissimi.

    Selected works

    Oratorios
    Jephte, oratorio for 6 voices & continuo1648[4]
    Jonas, oratorio for soloists, SATB double chorus, 2 violins & continuo[4]
    Judicium Extremum, oratorio for soloists, chorus & continuo[4]
    Vanitas Vanitatum, oratorio for 5 voices, 2 violins & continuo

    Cantatas
    Piangete, aure, piangete, cantata for soprano & continuo
    Così volete, così sarà, cantata for soprano & continuo1640
    Vittoria, mio core (Amante sciolto d'amore), cantata for soprano & continuo1646
    Ferma Lascia Ch'Io Parli (Lamento della Regina Maria Stuarda), cantata for soprano & continuo 1650
    Sciolto havean dall'alte sponde (I naviganti), cantata for 2 sopranos, baritone & continuo
    1653
    Apritevi inferni (Peccator penitente), cantata for soprano & continuo1663

    Motets
    Lamentationes Jeremiae Prophetae, motet for mezzo-soprano, soprano & continuo
    Exulta, gaude, filia Sion, motet for 2 sopranos & continuo1675
    Exurge, cor meum, in cithara, motet for soprano, 2 violins, viole & continuo
    1670
    Ardens est cor nostrum [meum], motet for soprano, alto, tenor , bass & continuo 1664
    Desiderata nobis, motet for alto, tenor, bass & continuo 1667

    Masses
    Missa "Sciolto havean dall'alte sponde," mass for 5 voices & continuo

    In popular culture
    Samuel Pepys was delighted with Carissimi's music. His Diary records that he met "Mr. Hill, and Andrews, and one slovenly and
    ugly fellow, Seignor Pedro, who sings Italian songs to the theorbo most neatly, and they spent the whole evening in singing the best
    piece of musique counted of all hands in the world, made by Seignor Charissimi, the famous master in Rome. Fine it was, indeed, and
    too fine for me to judge of."[5]

    Carissimi is the viewpoint character for the "Euterpe" series of short stories by Enrico M. Toro within the 1632 series of books edited
    by Eric Flint.

    Footnotes
    1. Andrew V. Jones, "Giacomo Carissimi",Grove Music Online
    2. Chisholm 1911.
    3. Sorini, Simone. Gli Oratori Latini di Giacomo Carissimi: Jephte e Jonas
    4. Recorded in 1988 by John Eliot Gardiner and the English Baroque Soloists, Erato 2292-45466-2
    5. Diary, 22 July 1644.

    References
    Jones, Andrew V. "Carissimi, Giacomo".In L. Root, Deane. Grove Music Online. Oxford Music Online. Oxford
    University Press. (subscription required)
    Chisholm, Hugh, ed. (1911). "Carissimi, Giacomo". Encyclopædia Britannica. 5 (11th ed.). Cambridge University
    Press. p. 338.

    External links
    Giacomo Carissimi at Encyclopædia Britannica
    Free scores by Giacomo Carissimiin the Choral Public Domain Library(ChoralWiki)
    Free scores by Giacomo Carissimiat the International Music Score Library Project(IMSLP)
    Giacomo Carissimi at AllMusic
    Giacomo Carissimi at Find a Grave

    Retrieved from "https://en.wikipedia.org/w/index.php?title=Giacomo_Carissimi&oldid=808686065


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