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Scan 142
Cyclopedia of music and musicians, 1888
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1orch. ; Miserere, 4 voc. and orch. (Paris, Pleyel); Confitebor, 4 voc.; 2 Domine ad adjuvandum, 4 and 5 voc.; Laudate, 5 voc. with orch.; Laetatus sum, 2 soprani and 2 basses; do., 5 voc.; Laudate, one voice with instruments; Salve Regina, one voice, strings, and organ (Paris, Leduc and Porro); Stabat Mater, for soprano and contralto, strings, and organ (Paris, Bonjour and Porro); Dies irae, for soprano and contralto, and strings; Mass, 2 voc., and organ; do., in D, 4 voc., with orchestra; Oratorio sacro per la nascita del Redentore.
3III. Chamber and concert music: Orfeo, cantata for one voice and orchestra (in Choron's Principes de composition des Écoles d'Italie); 5 cantatas for soprano with clavichord; 30 trios for 2 violins and violoncello, with a figured bass for harpsichord (24 of these were published in London and Amsterdam); Two movements, 6 voc., from Psalms are in the Fitzwilliam Music (London, Novello); Air in F minor, for clavier, is in Clauss-Szarvady's Klavierstücke (Leipzig, Senff); Mass, and a Kyrie, and Gloria, 10 voc., are in MS. in the Fitzwilliam Library; 3 psalms, a Stabat Mater, a Salve, and a mass are in the British Museum, Add. MSS., No. 5044.—Villarosa, Lettera biografica, etc., Naples (1831); do., Memorie dei compositori di musica del Regno di Napoli (Naples, 1840), 141; Belasis, Biografia di Pergolese; Fétis; Grove.
5PERI, ACHILLE, born at Reggio d'Emilia, Italy, Dec. 20, 1812, died there, March 28, 1880. Dramatic composer; was at first maestro di cappella of an Italian opera troupe at Marseilles, afterwards at the Teatro Grande in his native city. Works: Una visita a Bedlam, Marseilles, 1839; Il solitario, Reggio, 1841; Dirce, ib., 1843; Ester d'Engaddi, Parma, 1843; Tancreda, Genoa, 1848; I fidanzati, ib., 1856; Vittore Pisani, Reggio, 1857; Giuditta, biblical drama, Milan, 1860; L'espiazione, ib., 1861; Orfano e Diavolo; Rienzi, Milan, 1862.—Fétis; do., Supplément, ii. 321.
7PERI, JACOPO, called Il Zazzerino, born in the latter half of the 16th century in Florence, died (?). He studied music under Cristoforo Malvezzi, of Lucca, and became maestro di cappella to Fernando, Duke of Tuscany, and later to Cosimo II. de' Medici. He married a rich noblewoman of the house of Fortini, by whom he had a son who showed great mathematical talent, and was put to study under Galileo Galilei, but eventually ruined himself by dissipation. This was the young man, of whom Galileo used to speak as "il mio demone." In spite of the trouble given him, and the frequent disgrace brought upon his household by his son, Peri continued to move in the highest Florentine society. He soon associated himself with Giovanni Bardi, conte di Vernio, Vincenzo Galilei, Piero Strozzi, Jacopo Corsi, the poet Ottavio Rinuccini, and the composer Giulio Caccini, in the great Renaissance movement known as the Florentine Music Reform of the 17th century (see Ambros, iv. 147) which resulted in the establishment of the so-called stile rappresentativo, and the foundation of the lyric drama. He followed Caccini's epoch-making Nuove Musiche with a similar work of his own, Le varie musiche del Signor Jacopo Peri, etc., less rigidly solemn than Caccini's in the declamatory portions, but also less elaborate in ornamentation. He was the first to develop this new style of vocal chamber music into actual dramatic composition in his setting of Rinuccini's drama Dafne, which is properly accounted the first opera, and was brought out in private at the Palazzo Corsi in 1594 (not 1597, as given in Grove, and as stated by Marco da Gagliano; the work was given during the Carnival of three successive years, and da Gagliano probably heard only the last performance). This was soon followed by his setting of the same poet's Euridice. Singularly enough, Peri did not try to follow up these successes, perhaps from lack of opportunity; certainly he wrote no more operas. He left Florence,
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