United States or Niue ? Vote for the TOP Country of the Week !
The Medium for Individual Utterance A closer examination of the musical reforms instituted by the camerata which met at the Vernio and Corsi palaces will convince us that they were directed toward two objects; first, the restoration of the Greek method of delivering the declamation of a drama, and second, the reduction of purely lyric forms to a rational musical basis on which could be built intelligible settings of texts.
On one of the pleasant hills round Florence, a little beyond Camerata, there stands a house, so small that an Englishman would probably take it for a lodge of the great villa behind, whose garden trees at sunset cast their shadow over the cottage and its terrace on to the steep white road. But any of the country people could tell him that this, too, is Casa Signorile, spite of its smallness.
Here, then, we have a clear statement of the artistic ideals cherished by Caccini, and these, we may take it, were shared by the other members of the camerata who were engaged in the pursuit of a method of direct, eloquent, dramatic solo expression.
She, knowing her husband's simplicity and being enamoured of Federigo di Neri Pegolotti, a brisk and handsome youth, and he of her, took order with a serving-maid of hers that he should come speak with her at a very goodly country house which her husband had at Camerata, where she sojourned all the summer and whither Gianni came whiles to sup and sleep, returning in the morning to his shop and bytimes to his Laudsingers.
It used to be thought that the Villa Poggio Gherardo, Mrs. Ross's beautiful home on the way to Settignano, was the first refuge, and the Villa Palmieri the second, but the latest researches have it that the Palmieri was the first and the Podere della Fonte, or Villa di Boccaccio, as it is called, near Camerata, a little village below S. Domenico, the other.
Gradually, along the steep road from Camerata there came a roll of distant carriage-wheels. The sound came nearer and nearer, till one could see the carriage, and see the driver leading the tired, thin, cab-horse, his bones starting under the shaggy hide.
Even to me it is a somewhat painful reminiscence. GONERIL, By A. Mary F. Robinson On one of the pleasant hills round Florence, a little beyond Camerata, there stands a house so small that an Englishman would probably take it for a lodge of the great villa behind, whose garden trees at sunset cast their shadow over the cottage and its terrace on to the steep white road.
The same master made a palace for a Venetian in Camerata, without the Porta a Pinti, and many houses for private citizens, of which there is no need to make mention.
But in the beginning it was unquestionably the outcome of a hostility to these very things, or at any rate to their merely spectacular employment. Peri, Caccini, Bardi and others of the Florentine "camerata" were engaged as composers, stage managers, actors and singers in many of the elaborate court spectacles, intermezzi and madrigal dramas produced toward the end of the sixteenth century.
The air trembled round the bright green cypresses behind the house. The roof steamed. All the windows were shut, all the jalousies shut, yet it was so hot that no one could stir within. The maid slept in the kitchen; the two elderly mistresses of the house dozed upon their beds. Not a movement; not a sound. Gradually along the steep road from Camerata there came a roll of distant carriage-wheels.
Word Of The Day