JACOPO See also:

• JACOPO PERI (1561–16 ?)

PERI (1561–16 ?)  , See also:

• ITALIAN

Italian musical composer, was See also:

• BORN, IGNAZ, EDLER VON (1742–1791)

born at See also:

• FLORENCE
• FLORENCE (Ital. Firenze, Lat. Florentia)

Florence on the loth of See also:

• AUGUST (originally Sextilis)

August 1561, of a See also:

• NOBLE, SIR ANDREW (1832- )

noble See also:

• FAMILY

family . After studying under Cristoforo Malvezzi of See also:

• LUCCA (anc. Luca)
• LUCCA, BAGNI DI (Baths of Lucca, formerly Bagno a Corsena)

Lucca, he became See also:

• MAESTRO

maestro di cappella, first to See also:

• FERDINAND
• FERDINAND (1577-1650)
• FERDINAND (COLOGNE)
• FERDINAND (Span. Fernando or Hernando; Ital. Ferdinando or Ferrante; in O. H. Ger. Herinand, i.e. " brave in the host," from O. H. G. Heri, "army," A. S. here, Mod. Ger. Heer, and the Goth. nan]jan, " to dare ")
• FERDINAND, MAXIMILIAN KARL LEOPOLD MARIA

Ferdinand, See also:

• DUKE (corresponding to Fr. duc, Ital. duca, Ger. Herzog)

duke of See also:

• TUSCANY
• TUSCANY (Toscana)

Tuscany, and later to Cosmo II . He was an important member of the See also:

• LITERARY

literary and See also:

• ARTISTIC

artistic circle which frequented the See also:

• HOUSE
• HOUSE (O. Eng. hiss, a word common to Teutonic languages, cf. Dut. huis, Ger. Haus; in Gothic it is only found in gudhiss, a temple; it may be ultimately connected with the root of " hide," conceal)

house of Giovanni See also:

• BAR
• BAR (0. Fr. barre, Late Lat. barra, origin unknown)
• BAR, CONFEDERATION OF
• BAR, FRANCOIS DE (1538-1606)
• BAR, THE

Bar,di, See also:

• CONTE

conte de Vernio, where the revival of See also:

• GREEK
• GREEK, ETRUSCAN AND

Greek tragedy with its appropriate musical declamation was a favourite subject of discussion . With this end in view the poet Ottavio See also:

• RINUCCINI, GIOVANNI BATTISTA (1592-1653)

Rinuccini supplied a See also:

• DRAMA (literally "action," from Gr. Snail, act or do)

drama with the See also:

• TITLE (0. Fr. title, mod. titre, from Lat. titulus)

title of Dafne, to which See also:

• PERI, JACOPO (1561–16 ?)

Peri composed See also:

• MUSIC

music, and this first See also:

• ATTEMPT (Lat. adtemptare, attentare, to try)

attempt at See also:

• OPERA (Italian for " work ")

opera was per-formed privately in 1597 in the Palazzo Corsi at Florence . This See also:

• WORK

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

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
• FRANCE, ANATOLE (1844– )

France with Maria di' See also:

• MEDICI
• MEDICI, GIACOMO (1817-1882)

Medici . This work (L'Euridice) attracted a See also:

• GREAT

great See also:

• DEAL

deal of See also:

• ATTENTION (from Lat. ad-tendo, await, expect; the condition of being " stretched " or " tense ")

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

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
• VENICE (continued)
• VENICE (Venezia)

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
• STYLE (from Gr. a-6'1ms, a column; a different word from that used in literature, see below)

style which is the basis of See also:

• MODERN

modern music as opposed to the contrapuntal methods of See also:

• PALESTRINA, GIOVANNI PIERLUIGI DA (1526-1594)

Palestrina and his contemporaries . Peri's work is of course See also:

• PRIMITIVE

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 [WILLIAM GRATTAN] TYRONE (1797-1841)

power .