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See also:CARISSIMI, GIACOMO (c. 1604–1674) , one of the most celebrated masters of the See also:Italian, or, more accurately, the See also:Roman school of See also:music, was See also:born about 1604 in See also:Marino (near See also:Rome). Of his See also:life almost nothing is known. At the See also:age of twenty he became See also:chapel-See also:master at See also:Assisi, and in 1628 he obtained the same position at the See also:- CHURCH
- CHURCH (according to most authorities derived from the Gr. Kvpcaxov [&wµa], " the Lord's [house]," and common to many Teutonic, Slavonic and other languages under various forms—Scottish kirk, Ger. Kirche, Swed. kirka, Dan. kirke, Russ. tserkov, Buig. cerk
- CHURCH, FREDERICK EDWIN (1826-1900)
- CHURCH, GEORGE EARL (1835–1910)
- CHURCH, RICHARD WILLIAM (1815–189o)
- CHURCH, SIR RICHARD (1784–1873)
church of St See also:Apollinaris belonging to the Collegium Germanicum in Rome, which he held till his See also:death on the 12th of See also:January 1674, at Rome. He seems never to have See also:left See also:Italy. The two See also:great achievements generally ascribed to him are the further development of the recitative, lately introduced by See also:Monteverde, and of See also:infinite importance in the See also:history of dramatic music; and the invention of the chamber-See also:cantata, by which Carissimi superseded the madrigals formerly in use. His position in the history of church music and vocal chamber music is somewhat sinlilar to that of See also:Cavalli in the history of See also:opera. It is impossible to say who was really the inventor of the chamber-cantata; but Carissimi and See also:Luigi See also:Rossi were the composers who first made this See also:form the vehicle for the most intellectual See also:style of chamber-music, a See also:function which it continued to perform until the death of Alessandro See also:Scarlatti, See also:Astorga and See also:Marcello. Of his oratorios See also:Jephthah has been published by See also:Novello & Co., and is well known; this See also:work and others are important as definitely establishing the form of See also:oratorio unaccompanied by dramatic See also:action, which has maintained its hold to the See also:present See also:day. He also may claim the merit of having given greater variety and See also:interest to the instrumental accompaniments of vocal compositions. Dr See also:Burney and See also:Sir See also:John See also:Hawkins published specimens of his compositions in their See also:works on the history of music; and Dr See also:Aldrich collected an almost See also:complete set of his compositions, at present in the library of See also:Christ Church, See also:- OXFORD
- OXFORD, EARLS OF
- OXFORD, EDWARD DE VERE, 17TH EARL
- OXFORD, JOHN DE VERE, 13TH EARL OF (1443-1513)
- OXFORD, PROVISIONS OF
- OXFORD, ROBERT DE VERE, 9TH EARL OF (1362-1392)
- OXFORD, ROBERT HARLEY, 1ST
Oxford. The See also:British Museum also possesses numerous valuable works by this great Italian master. Most of his oratorios are in the Bibliotheque Nationale at See also:Paris.
End of Article: CARISSIMI, GIACOMO (c. 1604–1674)
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