The Baroque Era



17th to mid-18th century


(Classical Music Map)


 

I. History of Classical Music  (by John Stanley)
The great composers and their masterworks in MP3 format
 
Albeniz Borodin Donizetti Hindemith Prokofiev Schutz
Albinoni Brahms Dowland Janacek Puccini Scriabin
Allegri Britten Dvorak Kodaly Purcell Sibelius
Arne Bruckner Falla Leoncavallo Rachmaninov Smetana
Auber Busoni Field Liszt Rameau Strauss J.S.
Bach Byrd Gabrieli Lully Ravel Strauss R.
Barber Carissimi Gershwin Mahler Respighi Stravinsky
Bartok Charpentier Gesualdo Mendelssohn Rimsky-Korsakov Tallis
Beethoven Cherubini Glinka Meyerbeer Rossini Tchaikovsky
Bellini Chopin Gluck Monteverdi Saint-Saens Telemann
Bernstein Clementi Gounod Mozart Scarlatti Verdi
Berwald Corelli Grieg Mussorgsky Schoenberg Victoria
Berlioz Couperin Handel Pachelbel Shostakovich Villa-Lobos
Bizet Debussy Haydn Paganini Schubert Vivaldi
Boccherini Delibes Hildegard Palestrina Schumann Wagner
Orff  "Carmina Burana"
II. History of Jazz
 







Giacomo Carissimi




(1605-1674)



 

Giacomo Carissimi, born in Marini near Rome, was the youngest child of an artisan and grew up against the background of religious reform in Europe. A member of the Tivoli cathedral choir and an organist there until 1627, he found his real niche at the Collegio Germanico in Rome. This was a leading centre of Jesuit teaching. The Jesuits at that time had a particular influence in strengthening the Catholic Church through a programme of education and missionary work. Carissimi became Maestro di Cappella in 1629; during his service, the talent of the young

composer fused with the energies and objectives of the Jesuit order. Despite invitations to serve the Governor or the Netherlands in Brussels, and the chance to follow in Monteverdi's footsteps at St Mark's, Venice, in 1643, Carissitni elected to continue his work with the Jesuits. He remained in Rome all his life, dedicating himself to the development of the boys' choir, to the general students, and to the musical output of the college and its associated church Sant' Apollinare.

Canssimi became the teacher of many other composers and gained a reputation throughout Europe. His main areas of musical interest as a composer were the cantata and the oratorio. His cantatas, such as A pie d'un verdee allow, written around 1650, were strongly influenced by Luigi Rossi's work earlier m the centurv, and in many of these works he experimented with varying approaches to arias. His work with oratorios was seminal and can be said to have helped to create this musical form — even it its actual name emerged only later. In works such as Jephtc, Jonas, and Baltazar Carissimi drew on Old Testament texts and used a narrative voice, divided among several singers, to tell the story. He also used choruses, whether for dramatic, narrative, or meditative purposes, as an integral part of the works.

Regrettably, much of Canssimi's work exists only in copied form — most of his original manuscripts were lost after the dissolution of the Jesuit order in 1773. However, his influence notably pervaded the thinking of several other composers. The works of Charpentier, who studied under Carissimi in the 1 650s, and Handel, whose oratorios Samson and Alexander's feast bear certain similarities to Carissimi's Jephte, confirm Carissimi's status as one of Italy's most influential seventeenth-century composers.


 






Giacomo Carissimi

 



Carissimi

 

Giacomo Carissimi (1605-1674)


 REPRESENTATIVE WORKS

 

Jonas: Peccavimus, Domine (final chorus)
 
  Motets
 
  Baltazar
 
  Historia divitis
 
  A pie d'un verdee alloro
 
  Vittoria, mio core
 
  Lucifer caelistis olim
 

 



 

 

Albinoni

Allegri

Arne

Bach

Carissimi

Charpentier

Corelli

Couperin

Handel

Lully

Monteverdi

Pachelbel

Purcell

Rameau

Scarlatti

Schutz

Telemann

Vivaldi

 

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