Peri himself tells us, in his preface, that a portion of this interesting work was written by Caccini, though his own name alone appears upon the title-page: but Caccini also set the entire Libretto to Music, on his own account, and published it in Florence in the same year (1600), with a dedication to Giovanni Bardi. The style of the two Operas is so nearly identical, that whole Scenes might easily be transferred from one to the other, without attracting notice; though it cannot be denied that there are situations, such as that in which Orpheus returns with Euridice from Hades, wherein Peri has reached a higher level of dramatic expression than his rival. It is, perhaps, for this reason, that Caccini's 'Euridice' seems never to have been honoured with a public performance: the young Composer was, however, commissioned to produce, for the wedding festivities, another Favola in musica, entitled 'Il Rapimento di Cefalo,' some portion of which afterwards appeared among the 'Nuove musiche.'
The study of these early attempts becomes especially interesting, when we regard them as the fairest possible types of the style of composition which characterised the First Period of the history of the modern Lyric Drama.
The immediate result of their success was the recognition of the Opera as a form of Art no longer tentative, but fairly established upon true æsthetic principles, embarrassed by no grave practical difficulties, and perfectly consistent, in all its details, with the received traditions of Classical Antiquity—which last recommendation was no light one, in the estimation of men whose reverence for Greek and Roman customs amounted to a species of insanity. It was impossible that Florence could be permitted to monopolise an invention conceived in such complete accordance with the spirit of the age—the latest product of the Renaissance. Accordingly we find the scene of its triumphs transferred before long to Mantua, in which city the Second Period of its history was inaugurated with extraordinary splendour in the year 1607, on the occasion of the marriage of Francesco Gonzaga with Margherita, Infanta of Savoy. At the invitation of Vincenzo Gonzaga, the reigning Duke, Rinuccini prepared for this Festival the Libretti of two Operas, entitled 'Dafne' and 'Arianna,' the first of which was set to Music by Marco di Zanobi da Gagliano, and the second by Claudio Monteverde, the Duke's Maestro di Cappella—a man of extraordinary genius, already famous for the boldness of his opposition to the established rules of Counterpoint. Both Operas were written in the newly invented Stilo rappresentativo; and both were deservedly successful, though not in an equal degree. After the first performance of 'Dafne' we hear of it no more; but 'Arianna' produced so extraordinary an effect upon the audience, more especially in the Scene in which the forsaken Ariadne bewails the departure of her faithless lover,[1] that Monteverde was at once invited to compose another Opera, for the ensuing year. For the subject of this he chose the never-wearying story of Orpheus and Eurydice, which was dramatised for him by some Poet whose name has not transpired. The new work—entitled 'Orfeo,' to distinguish it from Peri's illustration of the same myth—was, in many respects, immeasurably superior to any that had preceded it. Though Monteverde did not actually invent the Opera, he proved himself more competent to deal with it than any man then living. Dramatic expression was one of the most prominent characteristics of his genius. Moreover, he was an accomplished Violist: and, while his natural love for Instrumental Music tempted him to write for a far larger Orchestra than any of his predecessors had ventured to bring together, his technical skill enabled him to turn its resources to excellent account. The Instruments used on the occasion of the first performance were—
2 Gravicembani.
2 Contrabassi de Viola.
10 Viole da brazzo.
1 Arpa doppia.
2 Violini piccoli alla Francese.
2 Chitaroni.
2 Organi di legno.
3 Bassi da gamba.
4 Tromboni.
1 Regale.
2 Cornetti.
1 Flautino alla vigesima seconda.
1 Clarino, con 3 Trombe sordine.
Hawkins, strangely misinterpreting the lists of Characters and Instruments given at the beginning of the printed Score, imagines every Singer to have been accompanied by an Instrument of some particular kind set apart for exclusive use. A very slight examination of the Music will suffice to expose the fallacy of this idea. Nevertheless, the Instruments are really so contrasted and combined as to invest eac Character and Scene with a marked individiality which cannot but have added greatly to the interest of the performance. The introductory Toccata—founded, throughout, upon a single Chord—is followed by a Ritornello, so gracefully conceived, that, had it been written even in our own time, its simple beauty could scarcely hav failed to please.[2] Another Ritornello, in parts, is written in close imitation, almost resembling Canon. The Recitatives are accompanied, sometimes, by a Figured Bass only; and sometimes by two or more Instruments, the
- ↑ This Scene—Lasciatemi morire—generally known as the 'Lament of Ariadne,'—is almost the only portion of the Opera that has been preserved to us. It may be found entire in C. von Winterfeld's 'Joannes Gabrieli,' and also in a Memoir of Monteverde published in the 'Musical Times' for March 1880.
- ↑ The Toccata and Ritornello will be found entire in an Essay 'On the Life, Work, and Influence, of Monteverde,' printed in the 'Musical Times' for April 1880.
