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Rolland, with his customary acumen, notes that in Vecchi's five part madrigals for the stage the employment of the odd voice is plainly governed by musical needs. It has to be common to both personages in a scene for two and hence it is always the least characteristic voice. Its chief business is to fill in the harmony.
Musicians went forward with the madrigal till they found themselves in Vecchi's day confronted with a genuine reductio ad absurdum. It was only at this time that the experiments of the Florentines uncovered the profound musical law that the true dramatic dialogue is to be carried on by single-voiced melodies resting on a basis of chord harmony.
The method chosen by Vecchi must appear to us to be removed from possibilities of artistic success still further than the solo adaptations of frottole, yet the historical fact is that his "Amfiparnaso" had an extraordinary popularity and set a fashion. Some of Vecchi's works were produced and met with favor even after the pseudo-Hellenic invention of the Bardi fraternity had burst upon Italy.
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