“...she was...friendly and admirable, never tiresome or resentful but merry and charming, and presented herself first of all with sweet and graceful manners toward everyone. And weather playing, singing, or pleasantly talking, she worked such stunning effects in the minds of her listeners that she changed them from what they had been.”

Cristoforo Bronzini on Francesca Caccini in "Della dignità e nobilità delle donne" 1625
translated in Cusick

Francesca Caccini ❧

Beginnings

Francesca Caccini, (born September 18, 1587, Florence [Italy]—died after June 1641, Florence), Italian composer and singer who was one of only a handful of women in 17th-century Europe whose compositions were published. The most significant of her compositions—published and unpublished—were produced during her employment at the Medici court in Florence.

Early Years

Francesca Caccini, together with her sister Settimia, was introduced to the Florentine musical world by her father, Giulio Caccini, a noted composer of opera and song. She probably sang in the 1600 production of L’Euridice, an opera that included contributions by her father, sung by his students (most of the music was composed by Jacopo Peri). In the same year, she likely also sang in her father’s Il rapimento di Cefalo (“The Abduction of Cephalus”), composed to a libretto by Gabriello Chiabrera. After two aborted attempts between 1604 and 1606 to secure steady work outside Florence as a singer and composer, Francesca finally joined her father in employment at the Medici court in November 1607.

The Emerging Artist

Trained in voice and a variety of instruments, Francesca filled a number of roles as a court musician, but her primary duties were to perform and to teach singing to a variety of court members, from the highest social ranks through the serving class. Like many songbooks of that period, her one publication of madrigals, Il primo libro delle musiche (1618; “The First Book of Music”), may have served both artistic and pedagogical purposes, and it offers a glimpse of her methodologies as a teacher. The book contains a wide variety of musical genres set to both secular and sacred texts, and it includes extensive explicit notation for vocal ornamentation. Indeed, judging from the introductory essays of her father’s two songbooks, instruction in the art of ornamentation constituted one of the principal roles of a singing teacher. Since the late 20th century, her madrigal book has received scholarly attention both because it may contain autobiographical elements through which the composer presents herself to the public and for the light it sheds on the history of the romanesca, a repeating harmonic-melodic formula that serves as the basis of several of her compositions.

The Flourishing Artist

Caccini’s Primo libro likely represents only a small portion of the songs she composed either for her own use in performance or as instructional material for her students. In addition, she wrote music for numerous courtly entertainments, intended for performance during the Carnival season or to mark significant occasions in the lives of her patrons. (It was her 1607 music for the Carnival entertainment La stiava [“The Slave Girl”] that prompted the Medici to appoint her to their service.) She produced music for theatrical events throughout her career, but her only surviving publication for the stage is the opera La liberazione di Ruggiero dall’isola d’Alcina (1625; “The Liberation of Ruggiero from Alcina’s Island”), the story of which is adapted from the epic Orlando furioso by Ludovico Ariosto.

It was just after her appointment to the Medici court that Francesca married for the first time; with her husband, Giovanni Battista Signorini, she had one daughter, Margherita, in 1622. After the death of Signorini in 1626, she married Tomaso Raffaelli and left Florence with him for his hometown ofLucca. There she apparently secured employment with one Vincenzo Buonvisi, an affluent member of a local banking family. In 1628 she and Raffaelli had a son, also called Tomaso. Rafaelli died in 1630, and Caccini returned to the Medici court in 1633, where she continued to perform, compose, and teach.

Caccini’s gender affected her position in life, especially since the role of women was a hotly debated topic among Florentine intellectuals during her lifetime. Her activities as a composer contributed to the cultural environment of the court, led by Christine of Lorraine (wife of Ferdinand I); as a female composer she helped to solidify the agency and the cultural and political programs of her female patron. Although Caccini trained her daughter in music, she was apparently ambivalent about Margherita’s activities as a professional musician; in 1637 she forbade her to sing in a staged comedy because it might compromise her daughter’s social standing and that of the young Tomaso. In 1645 Tomaso became a ward of his uncle, Girolamo Raffaelli, though it is unclear whether that was a result of Francesca’s death, remarriage, or some other circumstance. Nothing is known of her after that point.

~ Rebecca Cypress, Brittanica Online

About the Author

Candace Magner is the creator, publisher, and general editor of the publishing house, Cor Donato Editions, dedicated to the works of composer Barbara Strozzi.

Dr. Magner is a singer and plucked continuo instrument performer. Her two books, Phonetic Readings of Brahms Lieder and Phonetic Readings of Schubert Lieder are standard reference works for singers. She has published articles on Cécile Chaminade and Barbara Strozzi, and is the author of this website, which she has maintained since 2000.

Dr. Magner is retired from teaching voice and opera history at the University of New Mexico-Los Alamos, and is an independent researcher in Italian libraries and archives.

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