126:, Tommaso Raffaelli. Although her legal name remained Francesca de Giulio Caccini, it was only the discovery of documents using Francesca Raffaelli that makes it possible to find evidence of her life from 1627 to 1634. She lived in Raffaelli's Lucchese homes, apparently bearing a son (also Tommaso, in 1628), and having some musical relationship to the Buonvisi family in Lucca, until his death in 1630. Although as the wife of a nobleman she had declined at least one request to perform (in Parma, in 1628), once she was widowed Caccini immediately tried to return to serve the Medici court. Her return delayed by the plagues of 1630–33, by 1634 Caccini was back in Florence with her two children, serving as music teacher not only to her daughter Margherita but also to the Medici princesses who lived at or frequently visited the convent of La Crocetta, and composing and performing chamber music and minor entertainments for the women's court. Caccini stopped serving the Medicis on 8 May 1641, and disappeared from the public record.
94:, and received a humanistic education (Latin, some Greek, as well as modern languages and literature, mathematics) in addition to early musical training with her father. According to Liliana Panella, the first well-founded testimony of Francesca's singer's activity, together with her sister Settimia, at the Medici court, is 1602: in his diary Cesare Tinghi notes that on 3 April 1602 St. Nicholas church in Pisa, where the court moved every year during Lent, polychoral music was directed by "Giulio Romano , having the wife (the second wife, Margherita) and the two daughters singing well".
105:. After she was hired by the court, she continued to perform with the family ensemble until Settimia's marriage and resulting move to Mantua caused its breakup. Caccini served the Medici court as a teacher, chamber singer, rehearsal coach and composer of both chamber and stage music until early 1627. By 1614 she was the court's most highly paid musician, in no small part because her musical virtuosity so well exemplified an idea of female excellence projected by Tuscany's de facto Regent, Grand-Duchess
213:
is noted as utilising self-reflexivity. This is because many of her songs within this collection have titles which appear to 'answer' one another. For example the song "Che fai?" which means "what are you doing?" is followed by "Ardo" which translates to "I burn." The songs are also advanced in terms
243:
published in the 1618 collection are believed lost. Her surviving scores reveal
Caccini to have taken extraordinary care over the notation of her music, focusing special attention on the rhythmic placement of syllables and words, especially within ornaments, on phrasing as indicated by slurs, and on
173:). Combining witty parodies of early opera's stock scenes and self-important characters with moments of surprising emotional intensity, the score shows that Caccini had mastered the full range of musico-theatrical devices in her time and that she had had a strong sense of large-scale musical design.
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in a unique and unconventional way in these songs. The songs in this collection are accompanied by instrumental pieces for the individual performer to improvise harmonies over. Although the musical pieces did not denote a specific instrument for playing the accompaniment, it is likely that a
181:
in 1628. This is also widely regarded as the first opera written by a woman. There is no evidence to suggest that
Caccini composed any of the accompanying poetry, however, which is instead by her contemporaries Michelangelo Buonarroti, Andrea Salvadori and Francesco Gualterotti.
958:
121:
After
Caccini's first husband (Giovanni Battista Signorini, with whom she had one daughter, Margherita, in 1622) died in December 1626, she quickly arranged to marry again in October 1627, this time to a music-loving nobleman in
162:) that is a compendium of contemporary styles, ranging from intensely moving, harmonically adventurous laments to joyful sacred songs in Italian and Latin, to witty strophic songs about the joys and perils of romantic love.
244:
the precise notation of often very long, melodically fluid vocal melismas. Although her music is not especially notable for the expressive dissonances made fashionable by her contemporary
965:
33:
77:, is widely considered the oldest opera by a woman composer. As a female composer she helped to solidify the agency and the cultural and political programs of her female patron.
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style of music. She composed within a very innovative musical context. For many of her songs, she was the author of the accompanying poetry, which also tended to be comedic.
988:
Duncan, Cheryll (2018). "The Siren of Heaven—A Glimpse into the Life and Works of
Francesca Caccini by Juliet Fraser (soprano) and Jamie Akers (theorbo) (review)".
719:
378:
248:, Caccini was a master of dramatic harmonic surprise: in her music it is harmony, more than counterpoint, that most powerfully communicates affect.
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770:"The Siren of Heaven—A Glimpse into the Life and Works of Francesca Caccini by Juliet Fraser (soprano) and Jamie Akers (theorbo) (review)"
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La liberazione di
Ruggiero dall'isola d'Alcina Räume und Inszenierungen in Francesca Caccinis Ballettoper (Florenz, 1625)
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49:; 18 September 1587 – between 1641 and 1645 most likely; or she may have remarried.) was an Italian composer, singer,
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https://www.oxfordmusiconline.com/grovemusic/view/10.1093/gmo/9781561592630.001.0001/omo-9781561592630-e-90000380256
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of breath control needed for performance, coordination of hands and voice, as well as the vocal range. Caccini uses
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142:. Very little of her music survives. Most of her stage music was composed for performance in comedies by poet
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Caccini is believed to have been a quick and prolific composer, equal in productivity to her court colleagues
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Francesca
Caccini (1587–1641): Composer, Performer, and Professor Represented in Il Primo Libro Delle Musiche
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1029:
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Francesca
Caccini's Il Primo Libro Delle Musiche of 1618: A Modern Critical Edition of the Secular Monodies
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720:"Three Things to Know About Francesca Caccini, the Renaissance Musical Genius You've Never Heard Of"
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Francesca
Caccini wrote some or all of the music for at least sixteen staged works. All but
158:(1619). In 1618 she published a collection of thirty-six solo songs and soprano/bass duets (
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97:
In her early life, Caccini performed with her parents, her half-brother Pompeo, her sister
377:
Cusick, Suzanne G. "Caccini, Francesca." Grove Music Online. 2001; Accessed 17 Oct. 2023.
8:
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460:
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Women composers of classical music : 369 biographies from 1550 into the 20th century
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which was performed for the visiting crown prince of Poland, Ladislaus
Sigismondo (later
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In winter 1625 Caccini composed all the music for a 75-minute "comedy-ballet" entitled
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Echoes of Women's voices: Music, Art and Female
Patronage in Early Modern Florence
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Rebecca Cypess: "Francesca Caccini: Italian composer and singer" at britannica.com
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Cunningham, Caroline (1996). Schleifer, Martha Furman; Glickman, Sylvia (eds.).
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Francesca Caccini at the Medici Court: Music and the Circulation of Power
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AA. VV. (1973). Istituto Enciclopedia Italiana/ Liliana Pannella (ed.).
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Caccini's musical and compositional style has been likened to that of
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912:
Raney, Carolyn (1980). "Francesca Caccini". In Stanley Sadie (ed.).
744:"Composer Profile: Francesca Caccini, Opera's First Female Composer"
32:
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and probably a diminutive of "Francesca". She was the daughter of
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Il Primo libro delle musiche a 1–2 voci e basso continuo (1618)
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19:"La Cecchina (singer)" redirects here. For the opera known as
507:""Thinking from Women's Lives": Francesca Caccini after 1627"
292:, incidental music to balletto, Pallazo Pitti, Florence, 1614
123:
978:
Raney, Carolyn (1967). "Francesca Caccini's 'Primo Libro'".
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Primo Libro delle Musiche (Caccini, Francesca) at IMSLP.org
198:, and she started composing music after the closing of the
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era. She was also known by the nickname "La Cecchina"
298:, balletto, Palazzo Pitti, Florence, music lost, 1615
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Alexander, Ronald James and Savino, Richard (1997).
818:
390:
658:Cusick, Suzanne G.; Stimpson, Catharine R. (2009).
333:, commissioned by Prince Wladislaw of Poland, 1626.
943:. Bloomington, Indiana: Indiana University Press.
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901:Francesca Caccini, Musician to the Medici and her
177:so pleased the prince that he had it performed in
307:, incidental music, Palazzo Pitti, Florence, 1619
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914:The New Grove Dictionary of Music and Musicians
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317:La liberazione di Ruggiero dall'isola d'Alcina
202:period, playing a key part in developing the
167:La liberazione di Ruggiero dall'isola d'Alcina
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1011:International Music Score Library Project
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494:. New York: G.K. Hill. pp. 226–228.
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354:List of classical music composers by era
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1026:Free choral scores by Francesca Caccini
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610:"Francesca Caccini, Called La Cecchina"
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492:Women Composers: Music Through the Ages
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53:, poet, and music teacher of the early
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939:Historical Anthology of Music by Women
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146:(grand-nephew of the artist) such as
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1095:17th-century Italian women composers
916:. London: Macmillan Publishers Ltd.
476:Dizionario Biografico degli italiani
459:Rebecca Cypess (14 September 2023).
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964:Bujić, Bojan; Rose, Gloria (1968).
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694:"Francesca Caccini, the composer"
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71:. Her only surviving stage work,
1007:Free scores by Francesca Caccini
864:Fischer, Christine, ed. (2015).
845:Cusick, Suzanne G. (July 2009).
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888:. University of Chicago Press.
849:. University of Chicago Press.
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664:. University of Chicago Press.
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1080:17th-century Italian composers
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430:. Jefferson, N.C.: McFarland.
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935:. In James R. Briscoe (ed.).
424:McVicker, Mary Frech (2011).
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1030:Choral Public Domain Library
825:. Indiana University Press.
575:. Indiana University Press.
160:Il primo libro delle musiche
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505:Cusick, Suzanne G. (1993).
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1017:Works by Francesca Caccini
569:Briscoe, James R. (1987).
233:La liberazione di Ruggiero
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1045:Italian Baroque composers
961:Georgia State University.
957:Miranda, Marina Lobato,
391:Alexander and Savino 1997
109:. By 1623 she earned 240
103:le donne di Giulio Romano
882:Harness, Kelley (2006).
768:Duncan, Cheryll (2018).
598:Accessed 31 October 2017
559:Accessed 2 November 2017
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1090:Italian stage actresses
1075:Musicians from Florence
1055:Italian opera composers
931:Raney, Carolyn (1986).
899:Raney, Carolyn (1971).
608:Silbert, Doris (1946).
311:Il martirio de S. Agata
258:(performed 1607) (lost)
251:Opera and stage works:
235:and some excerpts from
907:. New York University.
325:Villa Poggio Imperiale
296:Il ballo delle Zingane
223:would be widely used.
63:, given to her by the
60:[latʃekˈkiːna]
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1070:Women opera composers
966:"Francesca Caccini".
786:10.1353/emw.2018.0022
626:10.1093/mq/XXXII.1.50
614:The Musical Quarterly
511:The Musical Quarterly
107:Christina of Lorraine
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980:Music & Letters.
905:, Ph.D. dissertation
724:Smithsonian Magazine
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968:Music & Letters
933:"Francesca Caccini"
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461:"Francesca Caccini"
186:Compositional style
130:Professional career
990:Early Modern Women
774:Early Modern Women
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36:Francesca Caccini.
26:La buona figliuola
875:978-3-0340-1273-7
856:978-0-226-13212-9
679:978-0-226-13213-6
437:978-0-7864-4397-0
331:Rinaldo inamorato
327:, Florence (1625)
140:Marco da Gagliano
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868:. Chronos.
211:Primo libro
200:Renaissance
196:Jacopo Peri
154:(1614) and
136:Jacopo Peri
65:Florentines
21:La Cecchina
1039:Categories
754:2021-08-12
748:Opera Wire
729:2021-08-12
704:2021-08-12
360:References
246:Monteverdi
216:romanescas
209:Caccini's
192:Monteverdi
117:Later life
86:Early life
802:194970810
794:2378-4776
634:0027-4631
531:0027-4631
446:630498292
280:La tancia
256:La Stiava
237:La Tancia
148:La Tancia
338:See also
305:La fiera
274:Florence
266:balletto
156:La fiera
150:(1613),
99:Settimia
92:Florence
51:lutenist
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1013:(IMSLP)
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535:JSTOR
365:Notes
227:Works
124:Lucca
111:scudi
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