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Details of first performance
Giulio Caccini’s “Sfogava con le stelle” is from his collection “Le nuove musiche” and was published in 1602. The exact date of the first performance of this piece is unknown as Caccini stated that his songs had been composed at various times from the mid 1580’s onwards. ... The lyrics of Sfogava con le stelle are not specific to either gender; this leads us to believe that most of these pieces would have been performed in court by Caccini or possibly Caccini’s daughter Francesca, a famous soprano who dominated the official chamber music of the Medici court. ...
Editions
There are few differences between the two available editions; the earlier Copy in the Historical anthology of music of music II and the later edition in Le nuove musiche (see bibliography). The immediate dissimilarity between publications is that the note value is doubled in Le nuove musiche consequently = , this of course has no effect on the performance of the actual piece except to make it easier to read, and possibly making the later edition seemingly look at a slower speed. ... This style is consequently suited to a lighter voice with less vibrato particularly as the size of the venues for each performance was small and so it was only in later years teachers developed new techniques to increase vocal resonance with the introduction of larger concert halls and to balance the volume of expanding orchestras. ...
With this in mind I think the ideal situation for an ‘authentic’ performance would be a tenor accompanying himself on the Chitarroni. However of course this is not always feasible and as a consequence a performance by two performers one singer and one lute player would probably be necessary. To hear a tenor sing with the Chitarrone would be engaging particularly as Caccini felt it would be so effective, however I do not feel this music should be limited to tenors in order to create good and authentic performance. ... London, Royal College of Music, no. ... This is the system of tuning used today throughout western “classical” music and the advantages are obvious: all keys are usable without fear or favour, and full enharmonic modulation is possible.
Approximate Word count = 1782
Approximate Pages = 7.1
(250 words per page double spaced)
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