See also:

• FRANCESCO
• FRANCESCO, 210

FRANCESCO See also:

• FRANCESCO CAVALLI (1599?-1676)

CAVALLI (1599?-1676)  , See also:

• ITALIAN

Italian musical composer, was See also:

• BORN, IGNAZ, EDLER VON (1742–1791)

born at See also:

• CREMA

Crema in 1599 or 1600 . His real name was See also:

• PIER (older forms per or Pere, from Med. Lat. pera; the word for piers out of water. For river piers, where a firm, watertight is of obscure origin, and the connexion with Fr. Pierre, Lat. stratum is found at a moderate depth below the river-bed, the pctr

Pier See also:

• FRANCESCO
• FRANCESCO, 210

Francesco Caletti-See also:

• BRUNI, LEONARDO (1369-1444)

Bruni, but he is better known by that of See also:

• CAVALLI, FRANCESCO (1599?-1676)

Cavalli, the name of his See also:

• PATRON

patron, a Venetian nobleman . He became a See also:

• SINGER, SIMEON (1846-1906)

singer at St See also:

• MARK
• MARK, CARL (1858– )
• MARK, GOSPEL OF ST
• MARK, ST

Mark's in See also:

• VENICE
• VENICE (continued)
• VENICE (Venezia)

Venice in 1617, second organist in 1639, first organist in 1665, and in 1668 See also:

• MAESTRO

maestro di cappella . He is, however, chiefly important for his operas . He began to write for the See also:

• STAGE (Fr. 6/age; from Lat. stare, to stand)

stage in 1639 (Le Nozze di Teti e di Peleo), and soon established so See also:

• GREAT

great a reputation that he was summoned to See also:

• PARIS
• PARIS (also called ALEXANDROS)
• PARIS, ALEXIS PAULIN (1800-x881)
• PARIS, BRUNO PAULIN GASTON (1839-1903)
• PARIS, FRANCOIS DE (169o-1727)
• PARIS, LOUIS PHILIPPE ALBERT
• PARIS, TREATIES OF (1814-1815)

Paris in 166o to produce an See also:

• OPERA (Italian for " work ")

opera (Serse) at the Louvre in See also:

• HONOUR (Lat. honos or lwnor, honoris; in English the word was spelled with or without the u indifferently until the 17th century, but during the 18th century it became fashion-able to spell the word " honor "; Johnson's and Webster's Dictionaries stereoty

honour of the See also:

• MARRIAGE

marriage of See also:

• LOUIS
• LOUIS (804–876)
• LOUIS (893–911)
• LOUIS, JOSEPH DOMINIQUE, BARON (1755-1837)
• LOUIS, or LEWIS (from the Frankish Chlodowich, Chlodwig, Latinized as Chlodowius, Lodhuwicus, Lodhuvicus, whence-in the Strassburg oath of 842-0. Fr. Lodhuwigs, then Chlovis, Loys and later Louis, whence Span. Luiz and—through the Angevin kings—Hungarian

Louis XIV . He visited Paris again in 1662, bringing out his Ercole Amante . His See also:

• DEATH

death occurred in Venice on the ,4th of See also:

• JANUARY

January 1676 . Twenty-seven operas of Cavalli are still extant, most of them being preserved in the library of St Mark at Venice . See also:

• MONTEVERDE, CLAUDIO (1567-1643)

Monteverde had found opera a musicoliterary experiment, and See also:

• LEFT

left it a magnificent dramatic spectacle . Cavalli succeeded in making opera a popular entertainment . He reduced Monteverde's extravagant See also:

• ORCHESTRA (Fr. Orchestre; Ger. Kapelle, Orchester; Ital. Orchestra)

orchestra to more See also:

• PRACTICAL

practical limits, introduced melodious arias into his See also:

• MUSIC

music and. popular types into his libretti . His operas have all the characteristic exaggerations and absurdities of the 17th See also:

• CENTURY (from Lat. centuria, a division of a hundred men)

century, but they have also a remarkably strong sense of dramatic effect as well as a great musical facility,' and a See also:

• GROTESQUE

grotesque See also:

• HUMOUR (Latin humor)

humour which was characteristic of Italian See also:

• GRAND

grand opera down to the death of Alessandro See also:

• SCARLATTI, ALESSANDRO (1659-1725)

Scarlatti .