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was about to usurp the dominance of sacred music in Italy. The change was decisive and permanent. When
Carissimi began composing, the influence of the previous generations of Roman composers was still heavy (for instance, the style of
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was his predecessor in developing the chamber cantata, Carissimi was the composer who first made this form the vehicle for the most intellectual style of chamber music, a function which it continued to perform until the death of
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most neatly, and they spent the whole evening in singing the best piece of musique counted of all hands in the world, made by
Seignor Charissimi, the famous master in Rome. Fine it was, indeed, and too fine for me to judge of."
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has hypothesized that
Christina’s early involvement with Carissimi's music, and other church music from Rome, "was part of a deliberate self-transformation, from a ruling Lutheran regent to a Catholic Queen without a land."
106:, Italy. Of his early life almost nothing is known. Giacomo's parents, Amico (1548–1633, a cooper by trade) and Livia (1565–1622), were married on 14 May 1595 and had four daughters and two sons; Giacomo was the youngest.
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270:. These works and others are important for establishing the form of oratorio unaccompanied by dramatic action, which maintained its hold for 200 years. The name comes from their presentation at the
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at the
Collegium Germanicum in 1686 described him as tall, thin, very frugal in his domestic affairs, with very noble manners towards his friends and acquaintances, and prone to melancholy.
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was delighted with
Carissimi's music. His Diary records that he met "Mr. Hill, and Andrews, and one slovenly and ugly fellow, Seignor Pedro, who sings Italian songs to the
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in Rome, which he held until his death. This was despite his receiving several offers to work in very prominent establishments, including an offer to take over from
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551:"Seminari in lingua inglese 2019: Lars Berglund (Professor at the Department of Musicology, Uppsala University) presents his ongoing research
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in Rome. He may also be credited for having given greater variety and interest to the instrumental accompaniments of vocal compositions.
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forms, were predominant. In addition, Carissimi was important as a teacher, and his influence spread far into
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Carissimi is the viewpoint character for the "Euterpe" series of short stories by Enrico M. Toro within the
82:. He was highly influential in musical developments in northern European countries through his pupils, like
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Ferma Lascia Ch'Io Parli (Lamento della Regina Maria
Stuarda), cantata for soprano & continuo 1650
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Carissimi seems to have never left Italy at all during his entire lifetime. He died in 1674 in Rome.
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Sciolto havean dall'alte sponde (I naviganti), cantata for 2 sopranos, baritone & continuo 1653
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collected an almost complete set of his compositions, which are currently housed at the library of
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Recorded in 1988 by John Eliot
Gardiner and the English Baroque Soloists, Erato 2292-45466-2
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both published specimens of his compositions in their works on the history of music, while
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The great achievements generally ascribed to
Carissimi are the further development of the
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Exurge, cor meum, in cithara, motet for soprano, 2 violins, viole & continuo 1670
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Vittoria, mio core (Amante sciolto d'amore), cantata for soprano & continuo 1646
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Nothing is known of his early musical training. His first known appointments were at
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Ardens est cor nostrum , motet for soprano, alto, tenor, bass & continuo 1664
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Lamentationes
Jeremiae Prophetae, motet for mezzo-soprano, soprano & continuo
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Carissimi's exact birthdate is not known, but it was probably in 1604 or 1605 in
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Apritevi inferni (Peccator penitente), cantata for soprano & continuo 1663
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also possesses numerous works by
Carissimi. Most of his oratorios are in the
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Queen Christina and Giacomo Carissimi: From Curiosity to Musical Patronage
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of music. Carissimi established the characteristic features of the Latin
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Missa "Sciolto havean dall'alte sponde," mass for 5 voices & continuo
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and music teacher. He is one of the most celebrated masters of the early
672:. Vol. 5 (11th ed.). Cambridge University Press. p. 338.
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Exulta, gaude, filia Sion, motet for 2 sopranos & continuo 1675
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Svenska Institutet i Rom/ Istituto Svedese di Studi Classici a Roma
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This article incorporates text from a publication now in the
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Desiderata nobis, motet for alto, tenor, bass & continuo 1667
51:; baptized 18 April 1605 – 12 January 1674) was an
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Così volete, così sarà, cantata for soprano & continuo 1640
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19:"Carissimi" redirects here. For the album by Frankmusik, see
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Piangete, aure, piangete, cantata for soprano & continuo
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Carissimi is also noted as one of the first composers of
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which had themselves replaced the madrigals of the late
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Gli Oratori Latini di Giacomo Carissimi: Jephte e Jonas
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for 2 sopranos, tenor, bass (c. 1640), about the
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in France, and the wide dissemination of his music.
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612:Jones, Andrew V. (2001). "Carissimi, Giacomo". In
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228:and chamber music is somewhat similar to that of
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623:The New Grove Dictionary of Music and Musicians
129:. In 1628 he obtained the same position at the
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383:, oratorio for 6 voices & continuo 1648
266:as probably his best-known work, along with
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330:. Much of the musical style of
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599:Diary, 22 July 1644.
367:Rich man and Lazarus
243:Alessandro Scarlatti
143:San Marco di Venezia
135:Collegium Germanicum
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181:maestro di cappella
158:Christina of Sweden
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560:2021-11-30 at the
540:Grove Music Online
474:In popular culture
399:Judicium Salomonis
251:Benedetto Marcello
247:Emanuele d'Astorga
232:in the history of
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139:Claudio Monteverdi
704:Giacomo Carissimi
637:978-1-56159-239-5
405:Vanitas Vanitatum
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606:References
495:Eric Flint
312:Palestrina
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193:recitative
501:Footnotes
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258:oratorios
207:madrigals
94:Biography
708:AllMusic
620:(eds.).
558:Archived
417:Cantatas
353:Baltazar
316:operatic
236:. While
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156:In 1656
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68:oratorio
56:composer
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324:Germany
320:secular
260:, with
200:cantata
197:chamber
125:at the
60:Baroque
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464:Masses
442:Motets
380:Jephte
328:France
290:. The
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100:Marino
78:, and
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