See also:PERI, JACOPO (1561–16 ?) , See also:Italian musical composer, was See also:born at See also:Florence on the loth of See also:August 1561, of a See also:noble See also:family. After studying under Cristoforo Malvezzi of See also:Lucca, he became See also:maestro di cappella, first to See also:Ferdinand, See also:duke of See also:Tuscany, and later to Cosmo II. He was an important member of the See also:literary and See also:artistic circle which frequented the See also:house of Giovanni See also:Bar,di, See also:conte de Vernio, where the revival of See also:Greek tragedy with its appropriate musical declamation was a favourite subject of discussion. With this end in view the poet Ottavio See also:Rinuccini supplied a See also:drama with the See also:title of Dafne, to which Peri composed See also:music, and this first See also:attempt at See also:opera was per-formed privately in 1597 in the Palazzo Corsi at Florence. This See also:work was so much admired that in 1600 Rinuccini and Peri were commissioned to produce an opera on the occasion of the See also:marriage of See also:- HENRY
- HENRY (1129-1195)
- HENRY (c. 1108-1139)
- HENRY (c. 1174–1216)
- HENRY (Fr. Henri; Span. Enrique; Ger. Heinrich; Mid. H. Ger. Heinrich and Heimrich; O.H.G. Haimi- or Heimirih, i.e. " prince, or chief of the house," from O.H.G. heim, the Eng. home, and rih, Goth. reiks; compare Lat. rex " king "—" rich," therefore " mig
- HENRY, EDWARD LAMSON (1841– )
- HENRY, JAMES (1798-1876)
- HENRY, JOSEPH (1797-1878)
- HENRY, MATTHEW (1662-1714)
- HENRY, PATRICK (1736–1799)
- HENRY, PRINCE OF BATTENBERG (1858-1896)
- HENRY, ROBERT (1718-1790)
- HENRY, VICTOR (1850– )
- HENRY, WILLIAM (1795-1836)
Henry IV. of See also:France with Maria di' See also:Medici. This work (L'Euridice) attracted a See also:great See also:deal of See also:attention, and the type once publicly established, the musical drama was set on the road to success by the efforts of other composers and the patronage of other courts. Peri himself seems never to have followed up his success with other operas; he became maestro di cappella to the duke of See also:Ferrara in 16o1, but after the publication of his Varie musiche a una, due e tre voci at Florence in 1609, nothing more is known of him.
Peri's Dafne (which has entirely disappeared) and Euridice (printed at Florence 1600; reprinted See also:Venice r6o8 and Florence 1863) are of the greatest importance not only as being the earliest attempts at opera, but as representing the new monodic and declamatory See also:style which is the basis of See also:modern music as opposed to the contrapuntal methods of See also:Palestrina and his contemporaries. Peri's work is of course See also:primitive in the extreme, but it is by no means without beauty, and there are many scenes in Euridice which show a considerable dramatic See also:power.
End of Article: PERI, JACOPO (1561–16 ?)
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