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So Don Perosi, in his compositions, welds together the Gregorian chant, the musical style of the contrapuntists of the fifteenth and sixteenth centuries, Palestrina, Roland, Gabrieli, Carissimi, Schütz, Bach, Händel, Gounod, Wagner I was going to say César Franck, but Don Perosi told me that he hardly knew this composer at all, though his style bears some resemblance to Franck's.
It was followed by other similar works and the series has continued in unbroken course for three centuries, through Monteverde, Carissimi, A. Scarlatti, down to our own time.
However much the da capo may have contributed to the settlement of form in composition, it must be admitted that it struck at the root of all real dramatic effect, and in process of time degraded opera to the level of a concert. Cesti was a pupil of Carissimi, who is famous chiefly for his sacred works, and from him he learnt to prefer mere musical beauty to dramatic truth.
In 1706 Handel left Hamburg for the purpose of prosecuting his studies in Italy. He is said, like Cesti, to have been a pupil of Carissimi, though, as the latter died in 1674, at the age of seventy, he cannot have done much more than lay the foundation of his pupil's greatness.
These chronicles are often confusing as to dates and full of mistakes. Marino Sanuto, Diar. vol. i, 410. March, 1497. This document is given in part by Amati in Strozzi's Periodico di Numismatica, Anno III, part ii, p. 73. Florence, 1870. In the archives of Modena. Letters of Donato Aretino from Rome. Letter of Ludovico Carissimi, Rome, August 8, 1497. Archives of Modena.
While the compositions of Carissimi, Cavalli, Scarlatti, and Rossi were being played throughout Italy, the violin players of the Paris opera house enjoyed the singular privilege of being allowed to play in gloves.
And so, carissimi, multitudes, all of you good-bye; the day has long dawned on the Via Cassia, this dense mist has risen, the city is before me, and I am on the threshold of a great experience; I would rather be alone. Good-bye my readers; good-bye the world. At the foot of the hill I prepared to enter the city, and I lifted up my heart.
Some idea of the oratorio in its infancy may be gained from this description. Except that the subject had a religious bearing, it differed little from the opera. With Giacomo Carissimi, director of music at San Apollinare, Rome, from 1628 until his death, in 1674, the paths of the two diverged. He laid down lines that have been followed in the oratorio ever since.
Haec Platonis fere. XXII. 79 Apud Xenophontem autem moriens Cyrus maior haec dicit: 'nolite arbitrari, o mihi carissimi filii, me, cum a vobis discessero, nusquam aut nullum fore. Nec enim, dum eram vobiscum, animum meum videbatis, sed eum esse in hoc corpora ex eis rebus quas gerebam intellegebatis.
Carissimi, when praised for the ease and grace of his melodies, exclaimed, "Ah! you little know with what difficulty this ease has been acquired." Sir Joshua Reynolds, when once asked how long it had taken him to paint a certain picture, replied, "All my life."
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