Giacomo Carissimi (1605-1674)
- Judicium extremum (c.1660)
Performers: Capella Angеlica; Lauttеn Compagnеy; Wolfgang Katschnеr (conductor)
Drawing: Crispijn van de Passe (c.1564-1637) - Stirpivm insignium nobilitatis, tum etiam sodalium (c.1612)
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Italian composer. The youngest of six children born to Amico and Livia
Carissimi, nothing is known of his early training. He sang in the choir
at Tivoli Cathedral from 1623 and played the organ there from 1624. In
1628, he was appointed maestro di cappella at San Ruffino in Assisi.
Before his 24th birthday, he joined the Collegio Germanico e Hungarico,
an important Jesuit seminary with a reputation for excellent music in
Rome, and upon the departure of the maestro di cappella, Lorenzo Ratti,
about 1 December, he was appointed in his place two weeks later,
remaining there for the rest of his life. As his reputation spread, he
attracted private pupils, including Marc-Antoine Charpentier about 1654,
Johann Caspar Kerll before 1656, Christoph Bernhard in 1657, and
possibly Agostino Steffani in the early 1670s. His reputation also
attracted offers from other cities. Authorities in Venice asked
Carissimi to stand to replace Claudio Monteverdi as maestro di cappella
at San Marco in 1643, and numerous potentates tried to recruit him for
the service of Archduke Leopold William in Brussels, son of the Holy
Roman Emperor. Carissimi ultimately refused all such offers, preferring
to remain in his native city where his excellent post allowed him to
augment his income from various sources nearby. In 1656, Queen Christina
of Sweden, living in Rome, appointed him maestro di cappella del
concerto di camera. When Carissimi died, the Jesuit authorities at the
Collegio Germanico obtained an order from Pope Clement X prohibiting
anyone, under pain of excommunication, from removing any of Carissimi’s
autograph scores from the college. As a composer, his output include his
11 influential oratorios, especially Jephte. He also composed a mass
for five voices, at least 110 Latin motets, and 148 Italian cantatas.
There may be other stage and sacred works by him, as there are many
unauthenticated attributions. The most important composer in
mid-17th-century Rome, he established the characteristic features of the
Latin oratorio. Through his pupils and the wide dissemination of his
music he influenced musical developments in north European countries.
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