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Tier 2 · legacy legendfull biography
Giulio Caccini
Person · male · Grand Duchy of Tuscany · Rome · born 1551 · died 1618 · recording since 1990
Italian composer
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Also known as Džulio Kačīni · Giulio Romano · Giulio Romolo Caccini · Kačīni · 朱利奧·卡契尼
Timeline
14 events▣ Album 11◦ Birth 1† Death 1★ Debut release 1
1550s
1610s
1990s
· Debut release
Debut release: Le Nuove Musiche
First documented Album in the MusicBrainz discography.
source: musicbrainz
· Album
Album: Intégrale des madrigaux & arias, Volume 2 : Nuove musiche e nuova maniera di scriverle (1614) (soprano: Maurizia Barazzoni, luth: Sandro Volta)
Album
source: musicbrainz
· Album
Album: Intégrale des madrigaux & arias, Volume 1 : Le nuove musiche (1601)
Album
source: musicbrainz
2000s
2010s
2020s
Biography
English biography1,360 words · 4 sectionssource: wikipedia-en · licence CC BY-SA 4.0 · revision 1377339278
Biography
Giulio Romolo Caccini (also Giulio Romano) (8 October 1551 – buried 10 December 1618) was an Italian composer, teacher, singer, instrumentalist and writer of the late Renaissance and early Baroque eras. He was one of the founders of the genre of opera, and one of the most influential creators of the new Baroque style. He was also the father of the composer Francesca Caccini and the singer Settimia Caccini.
Life
Little is known about his early life, but he is thought to have been born in Rome, the son of the carpenter Michelangelo Caccini; he was the older brother of the Florentine sculptor Giovanni Caccini. In Rome he studied the lute, the viol and the harp, and began to acquire a reputation as a singer. In the 1560s, Francesco de' Medici, Grand Duke of Tuscany, was so impressed with his talent that he took the young Caccini to Florence for further study.
By 1579, Caccini was singing at the Medici court. He was a tenor, and he was able to accompany himself on the viol or the archlute; he sang at various entertainments, including weddings and affairs of state, and took part in the sumptuous intermedi of the time, the elaborate musical, dramatic, visual spectacles which were one of the precursors of opera. Also during this time he took part in the movement of humanists, writers, musicians and scholars of the ancient world who formed the Florentine Camerata, the group which gathered at the home of Count Giovanni de' Bardi, and which was dedicated to recovering the supposed lost glory of ancient Greek dramatic music. With Caccini's abilities as a singer, instrumentalist, and composer added to the mix of intellects and talents, the Camerata developed the concept of monody—an emotionally affective solo vocal line, accompanied by relatively simple chordal harmony on one or more instruments—which was a revolutionary departure from the polyphonic practice of the late Renaissance.
In the last two decades of the 16th century, Caccini continued his activities as a singer, teacher and composer. His influence as a teacher has perhaps been underestimated, since he trained dozens of musicians to sing in the new style, including the castrato Giovanni Gualberto Magli, who sang in the first production of Monteverdi's first opera Orfeo.
Caccini made at least one further trip to Rome, in 1592, as the secretary to Count Bardi. According to his own writings, his music and singing were met with an enthusiastic response. However, Rome, the home of Palestrina and the Roman School, was musically conservative, and music following Caccini's stylistic lead was relatively rare there until after 1600.
Caccini's character seems to have been less than perfectly honorable, as he was frequently motivated by envy and jealousy, not only in his professional life but for personal advancement with the Medici. On one occasion, he informed the Grand Duke Francesco of two lovers in the Medici household— Eleonora, the wife of Pietro de' Medici, who was having an illicit affair with Bernardino Antinori—and his informing led directly to Eleonora's murder by Pietro. His rivalry with both Emilio de' Cavalieri and Jacopo Peri seems to have been intense: he may have been the one who arranged for Cavalieri to be removed from his post as director of festivities for the wedding of Henry IV of France and Maria de' Medici in 1600 (an event which caused Cavalieri to leave Florence in fury), and he also seems to have rushed his own opera Euridice into print before Peri's opera on the same subject could be published, while simultaneously ordering his group of singers to have nothing to do with Peri's production.
After 1605, Caccini was less influential, though he continued to take part in composition and performance of sacred polychoral music. He died in Florence, and is buried in the church of St. Annunziata.
Music and influence
The stile recitativo, as the newly created style of monody was called, proved to be popular not only in Florence, but elsewhere in Italy. Florence and Venice were the two most progressive musical centers in Europe at the end of the 16th century, and the combination of musical innovations from each place resulted in the development of what came to be known as the Baroque style. Caccini's achievement was to create a type of direct musical expression, as easily understood as speech, which later developed into the operatic recitative, and which influenced numerous other stylistic and textural elements in Baroque music.
Caccini's most influential work was a collection of monodies and songs for solo voice and basso continuo, published in 1602, called Le nuove musiche. Although it is often considered the first published collection of monodies, it was actually preceded by the first collection by Domenico Melli published in Venice in March 1602 (stile veneto, in which the new year began on 1 March). In fact, the collection was Caccini's attempt, evidently successful, to situate himself as the inventor and codifier of monody and basso continuo. Although the collection was not published until July 1602, Caccini's dedication of the collection to Signor Lorenzo Salviati is dated February 1601, in the stile fiorentino, when the new year began on 25 March. This likely explains why the collection is often dated to 1601. Moreover, he explicitly positions himself as the inventor of the style when describing it in the introduction. He writes:Having thus seen, as I say, that such music and musicians offered no pleasure beyond that which pleasant sounds could give – solely to the sense of hearing, since they could not move the mind without the words being understood – it occurred to me to introduce a kind of music in which one could almost speak in tones, employing in it (as I have said elsewhere) a certain noble negligence of song, sometimes passing through several dissonances while still maintaining the bass note (save when I wished to do it the ordinary way and play the inner parts on the instrument to express some effect – these being of little other value).
The introduction to this volume is probably the most clearly written description of the performance of monody, what Caccini called affetto cantando (passionate singing), from the time (a detailed discussion of the affetto cantando performance style can be found in Toft, With Passionate Voice, pp. 227–40). Caccini's preface includes musical examples of ornaments—for example how a specific passage can be ornamented in several different ways, according to the precise emotion that the singer wishes to convey; it also includes effusive praise for the style and amusing disdain for the work of more conservative composers of the period.
The introduction is also important in the history of music theory, as it contains the first attempt to describe the figured bass of the basso continuo style of the Seconda pratica. Caccini writes:Note that I have been accustomed, in all places that have come from my pen, to indicate with numbers over the bass part the thirds and the sixths – major when there is a sharp, minor when a flat – and likewise when sevenths or other dissonances are to be made in the inner voices as an accompaniment. It remains only to say that ties in the bass part are used thusly by me: after the [initial] chord, one should play again only the notes [of the harmony] indicated [and not the bass note again], this being (if I am not mistaken) most fitting to the proper usage of the archlute (and easiest way to manage and play it), granted that this instrument is more suitable for accompanying the voice, especially the tenor voice, than any other.
This passage is often overlooked, because it is brief, and located at the very end of the introduction. It is even indicated by Caccini as a "note"; an aside or addendum to the main purpose. It is important to observe, however, that the first explanation of this practice is in the context of an essay about vocal expression and intelligibility. Indeed, it was largely the aim of textual intelligibility that led to the development of this musical style, and to the music of the common practice period.
Recordings
Euridice. Scherzi Musicali with Nicolas Achten, conductor. 2009, Ricercar RIC 269
Discography & profile
Normalised profile
Percentiles are computed over every artist in the database, so a tier-3 artist can still sit in the 95th percentile on a single axis.
| Metric | Value | Percentile |
|---|---|---|
| Wikipedia language versions | 37 | 93.6th |
| Spotify monthly listeners | — | no data |
| Release groups in DB | 11 | 82.8th |
| Studio albums | 11 | 91.9th |
| Awards recorded | 0 | 0th |
| Timeline events | 14 | 90.5th |
| Recording span (years) | -372 | 0.9th |
| Genres | 5 | 88.3th |
Percentiles are computed at render time; missing values mean the artist has no data on that axis.
Discography (11 release groups · 11 studio albums)
Albums · 11
1990 · studio album
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Tracklist · 15 tracks · 50:36
1Nuove musiche e nuova maniera di scriverle: Amor ch'attendi2:192Le nuove musiche: Amor, io parto3:173Nuove musiche e nuova maniera di scriverle: Tu ch'hai le penne3:104Nuove musiche e nuova maniera di scriverle: Non ha'l ciel2:415Nuove musiche e nuova maniera di scriverle: Alme luci beate3:346Le nuove musiche: Vedrò 'l mio sol3:387Nuove musiche e nuova maniera di scriverle: Tutto 'l dì piango6:538Le nuove musiche: Dolcissimo sospiro5:439Nuove musiche e nuova maniera di scriverle: Dalle porta d'oriente1:5810Le nuove musiche: Amarilli mia bella2:1711Le nuove musiche: Movetevi à pietà2:2212Le nuove musiche: Belle rose porporine2:4113Le nuove musiche: Queste lagrim' amare4:1914Nuove musiche e nuova maniera di scriverle: Torna, deh torna3:4915Nuove musiche e nuova maniera di scriverle: Con le luci d'un bel ciglio1:551992 · studio album
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Tracklist · 27 tracks · 1:24:52
Disc 11Nuove musiche e nuova maniera di scriverle : A quei sospir ardenti4:082Nuove musiche e nuova maniera di scriverle : Alme luci beate4:003Nuove musiche e nuova maniera di scriverle : Se in questo scolorito languido2:444Nuove musiche e nuova maniera di scriverle : S'io vivi, anima mia3:115Nuove musiche e nuova maniera di scriverle : Se ridete gioiose1:416Nuove musiche e nuova maniera di scriverle : Ohimè, begli occhi3:047Nuove musiche e nuova maniera di scriverle : Dite ò del foco mio2:308Nuove musiche e nuova maniera di scriverle : Ó dolce fonte del mio pianto2:389Nuove musiche e nuova maniera di scriverle : Ch'io non t'ami cor mio2:0410Nuove musiche e nuova maniera di scriverle : Hor che lungi da voi3:0711Nuove musiche e nuova maniera di scriverle : Pien d'amoroso affetto2:5812Nuove musiche e nuova maniera di scriverle : Amor l'ali m'impenna2:0113Nuove musiche e nuova maniera di scriverle : Se voi lagrime a pieno2:3414Nuove musiche e nuova maniera di scriverle : Vaga su spin'ascosa3:0015Nuove musiche e nuova maniera di scriverle : La bella man vi stringo2:0616Nuove musiche e nuova maniera di scriverle : Tutto 'l dì piango7:00Disc 21Nuove musiche e nuova maniera di scriverle : Torna, deh torna4:312Nuove musiche e nuova maniera di scriverle : Mentre che fra doglie e pene2:273Nuove musiche e nuova maniera di scriverle : Non ha'l ciel cotanti lumi3:544Nuove musiche e nuova maniera di scriverle : Amor ch'attendi2:125Nuove musiche e nuova maniera di scriverle : O Piante, ò selve ombrose4:446Nuove musiche e nuova maniera di scriverle : Tu ch'ai le penne amore4:197Nuove musiche e nuova maniera di scriverle : Al fonte al prato1:498Nuove musiche e nuova maniera di scriverle : Aur'amorosa3:369Nuove musiche e nuova maniera di scriverle : O che felice giorno3:2910Nuove musiche e nuova maniera di scriverle : Dalla porta d'oriente3:1711Nuove musiche e nuova maniera di scriverle : Con le luci d'un bel ciglio1:48Intégrale des madrigaux & arias, Volume 1 : Le nuove musiche (1601)
1992 · studio album
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Tracklist · 21 tracks · 1:29:41
Disc 11Le nuove musiche : Movetevi a pietà3:122Le nuove musiche : Queste lacrim'amare5:413Le nuove musiche : Dolcissimo sosprio2:314Le nuove musiche : Amor, io parto3:465Le nuove musiche : Non più parta2:556Le nuove musiche : Perfidissimo volto3:517Le nuove musiche : Vedrò'l mio sol4:228Le nuove musiche : Amarilli mia bella2:499Le nuove musiche : Sfogava con le stelle3:0010Le nuove musiche : Fortunato augellino3:1411Le nuove musiche : Dovrò dunque morire2:3712Le nuove musiche : Filli, mirando il cielo3:30Disc 21Le nuove musiche : Io parto, amati lumi5:512Le nuove musiche : Ardi, cor mio9:163Le nuove musiche : Ard'il mio petto misero3:194Le nuove musiche : Fere selvaggie3:275Le nuove musiche : Fillide mia7:266Le nuove musiche : Udite, amanti3:117Le nuove musiche : Occh'immortali3:438Le nuove musiche : Odi Euterpe6:039Le nuove musiche : Belle rose porporine5:57King of the Low Seas : Arias by Caccini and Puliaschi
1996 · studio album
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Tracklist · 11 tracks
1Locar sopra gl'abissi2Pace non truovo3Dunque e'pur ver ch'io viva4Occhi meco piangete5Dovro' dunque partire6Deh mirate luce ingrate7Muove si dolce8Chi mi confort'ahime9Io, che l'eta' solea viver10Deh chi d'alloro11O che felice giorne2000 · studio album
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Tracklist · 17 tracks · 54:27
1Dite o del foco mio2:312Deh, deh, dove son sfuggiti2:243Odi Euterpe2:344Fillide mia3:255Aur'amorosa2:536Udite, udite amanti3:057Dovrò dunque morire2:358Con le luci d'un bel ciglio2:099Se voi lagrime a pieno2:0110Amarilli mia bella2:5011Torna, deh torna3:4912Fere selvaggie4:4813Dalla porta d'oriente1:3714Tutto 'l dì piango6:2415O che felice giorno3:0816Vedrò 'l mio sol3:5517Belle rose porporine4:19Amor che fai? : Madrigali e Arie
2005 · studio album
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Tracklist · 17 tracks · 56:26
1Al fonte, al prato2:562Amor ch'attendi2:333Amor, io parto3:084Torna, deh torna4:465Odi Euterpe2:436Amarilli mia bella (instrumental)2:197Amarilli mia bella2:108Amarilli io mi parto2:129O che felice giorno3:4310Tutto il dì piango5:4011Non ha'l Ciel cotanti lumi3:2712A quei sospir ardenti2:5513Udite amanti1:1714Ard'il mio petto misero2:1615Io parto, amati lumi5:0816Vedrò'l mio sol4:0017Tu ch'ai le penne amore5:132005 · studio album
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Tracklist · 21 tracks · 54:52
1Amor, io parto2:542Mentre che fra doglie e pene2:043Filli, mirando il cielo2:564Al fonte, al prato1:265Toccata IV1:066Corrente Prima1:237Fortunato augellino3:228Vaga, su spinʼascosa3:179A quei sospir ardenti3:0810Udite, udite, amanti1:2311Tenore detto il Mercatello3:1012Amarilli mia Bella2:4813Aurʼamorosa2:5714Dolcissimo sospiro2:1115Non haʼl ciel cotanti lumi2:1216Partite variate sopra la folia aria Romanesca3:5417Corrente IX1:0418Chiaconna1:2619Tutto lʼdí piango6:3420Fere selvaggie2:0921Dalla porta dʼoriente3:282008 · studio album
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Tracklist · 22 tracks · 1:19:19
1Euridice: Prologo. Aria di Romanesca1:172Euridice: Prologo. “Io che d’alti sospir” (La Tragedia)3:423Euridice: Atto I, scena 1. “Ninfe ch’i bei crin d’oro” (Shepherd’s Chorus)3:034Euridice: Atto I, scena 1. “Donne ch’a miei diletti” (Euridice)2:425Euridice: Atto I, scena 1. “Al canto, al ballo” (Chorus)3:036Euridice: Atto I, scena 2. “Antri ch’a miei lamenti” (Orfeo)5:137Euridice: Atto I, scena 2. “Lassa, che di spavento” (Dafne)2:538Euridice: Atto I, scena 2. “Per quel vago boschetto” (Dafne)3:399Euridice: Atto I, scena 2. “Non piango e non sospiro” (Orfeo)1:2210Euridice: Atto I, scena 2. “Ahi mort’ invide’ e ria” (Arcetro)2:4511Euridice: Atto I, scena 2. “Cruda morte” (Nymph Chorus)6:1112Euridice: Atto I, scena 3. “Se fato invido e rio” (Arcetro)6:3013Euridice: Atto I, scena 3. “Se de’ boschi i verdi onori” (Chorus)2:1314Euridice: Atto II, scena 4. Aria di Romanesca – “Scorto da immortal guida” (Venere)3:2815Euridice: Atto II, scena 4. “Funeste piagge, ombrosi orridi campi” (Orfeo)3:4116Euridice: Atto II, scena 4. “Ond’è cotanto ardire” (Plutone)7:5417Euridice: Atto II, scena 4. “Trionfi oggi pietà ne’ campi inferni” (Plutone)1:0518Euridice: Atto II, scena 4. “Poi che gli etern’imperi” (Chorus)1:5219Euridice: Atto III, scena 5. Aria di Romanesca – “Già del bel carro ardente” (Arcetro)2:4020Euridice: Atto III, scena 5. “Voi che si ratte il volo” (Aminta)6:0821Euridice: Atto III, scena 5. “Giotte al canto mio” (Orfeo)5:1622Euridice: Atto III, scena 5. “Biondo arcier che d’alto monte Aureo fonte” (Chorus)2:422013 · studio album
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Tracklist · 20 tracks · 1:19:22
1Euridice: Sinfonia1:192Euridice, La Tragedia: “Io, che d’alti sospir vaga”4:013Euridice, Scene I: “Ninfe, ch’i bei crin d’oro”3:174Euridice, Scene I: “Donne, ch’ha miei diletti”2:315Euridice, Scene I: “Itene liete pur”4:186Euridice, Scene II: “Antri, ch’ha miei lamenti”5:367Euridice, Scene II: “Lassa, che di spavento”7:298Euridice, Scene II: “Non piango, e non sospiro”1:289Euridice, Scene II: “Dunque è pur ver”8:1710Euridice, Scene III: “Se fato invido e rio”4:4211Euridice, Scene III: “A te, qual tu ti sia”2:5412Euridice, Scene IV: “Scorto da immortal guida”2:1213Euridice, Scene IV: “Funeste piagge”3:5914Euridice, Scene IV: “Ond’è cotanto ardire”5:1015Euridice: Scene IV: “O re, nel cui sembiante”5:3716Euridice, Scene IV: “Poi che gli eterni imperi”2:4217Euridice, Scene V: “Già del bel carro ardente”3:5918Euridice, Scene V: “Quando al tempio n’andaste”4:0319Euridice, Scene VI: “Gioite al canto moi”4:4120Euridice, Scene VI: “Biondo arcier”1:072019 · studio album
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Tracklist · 27 tracks · 1:43:08
Disc 11Le nuove musiche: Movetevi à pietàma3:402Le nuove musiche: Queste lagrim’ amare5:323Le nuove musiche: Dolcissimo sospiro3:114Le nuove musiche: Amor, Io parto4:075Le nuove musiche: Non più guerra3:206Le nuove musiche: Perfidissimo volto4:377Le nuove musiche: Vedrò’l mio sol4:208Le nuove musiche: Amarilli mia bella3:259Le nuove musiche: Sfogava con le stelle3:4810Le nuove musiche: Fortunato augellino3:5211Le nuove musiche: Dovrò dunque morire3:0612Le nuove musiche: Filli, mirando il cielo4:18Disc 21Le nuove musiche: Il rapidamento di Cefalo: Ineffabile ardore0:492Le nuove musiche: Il rapidamento di Cefalo: Muove si dolce3:193Le nuove musiche: Il rapidamento di Cefalo: Caduca fiamma2:404Le nuove musiche: Il rapidamento di Cefalo: Qual trascorrendo2:435Le nuove musiche: Il rapidamento di Cefalo: Quand’ il bell anno primavera in flora2:446Le nuove musiche: Io parto, amati lumi6:387Le nuove musiche: Ardi, cor mio5:598Le nuove musiche: Ard’ il mio petto misero4:069Le nuove musiche: Fere selvaggie4:2610Le nuove musiche: Fillide mia2:5911Le nuove musiche: Udite, udite, amanti2:4312Le nuove musiche: Occh’ immortali3:0013Le nuove musiche: Odi, euterpe3:1714Le nuove musiche: Belle Rose porporine5:1915Le nuove musiche: Chi mi confort’ ahimè5:10Amarilli, Le Nuove Musiche 1601
2021 · studio album
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Tracklist · 21 tracks · 1:07:39
1Le nuove musiche: I. Movetevi a pietà3:022Le nuove musiche: II. Queste lagrim'amare5:083Le nuove musiche: III. Dolcissimo sospiro2:274Le nuove musiche: IV. Io parto, amati lumi6:065Le nuove musiche: V. Amor, io parto3:156Le nuove musiche: VI. Ardi, cor mio4:397Le nuove musiche: VII. Non più guerra, pietate!2:468Le nuove musiche: VIII. Perfi dissimo volto3:269Le nuove musiche: IX. Ard'il mio petto misero2:4110Le nuove musiche: X. Vedrò 'l mio sol3:3911Le nuove musiche: XI. Fere selvaggie2:3812Le nuove musiche: XII. Fillide mia3:2213Le nuove musiche: XIII. Amarilli mia bella2:4614Le nuove musiche: XIV. Sfogava con le stelle2:3015Le nuove musiche: XV. Fortunato augellino2:4516Le nuove musiche: XVI. Udite, udite amanti2:0217Le nuove musiche: XVII. Occh'immortali2:3318Le nuove musiche: XVIII. Dovrò dunque morire2:1919Le nuove musiche: XIX. Odi euterpe il dolce canto2:4220Le nuove musiche: XX. Filli, mirando il cielo3:1821Le nuove musiche: XXI. Belle rose purpurine3:35
Stats & PK
Percentile within all 23,672 published artists.Put Giulio Caccini head-to-head →
| Metric | Value | Percentile |
|---|---|---|
| Wikipedia language versions | 37 | 93.6th |
| Spotify monthly listeners | — | no data |
| Release groups in DB | 11 | 82.8th |
| Studio albums | 11 | 91.9th |
| Awards recorded | 0 | 0th |
| Timeline events | 14 | 90.5th |
| Recording span (years) | -372 | 0.9th |
| Genres | 5 | 88.3th |
Awards & honours
Where this record comes from
aliases/urls—musicbrainz · CC0 · retrieved 10 October 2026
https://musicbrainz.org/artist/e92c6fab-5dd0-4cd5-889b-88075c5a4c18discography—musicbrainz · CC0 · retrieved 10 October 2026
https://musicbrainz.org/artist/e92c6fab-5dd0-4cd5-889b-88075c5a4c18core—wikidata · CC0 · retrieved 10 October 2026
https://www.wikidata.org/wiki/Q215308genre—wikidata · CC0 · retrieved 11 October 2026
https://www.wikidata.org/wiki/Q215308seed-list—wikipedia · CC BY-SA 4.0 · retrieved 10 October 2026
https://en.wikipedia.org/wiki/Giulio_Caccinibiography—wikipedia-en · CC BY-SA 4.0 · retrieved 10 October 2026
https://en.wikipedia.org/wiki/Giulio_Caccini
Why this artist is in the database
- List of composers by name
Tier rule: historic figure (37 language versions, career ended)
Image: no portrait (not displayed: the licence credit is missing)
Wikidata: Q215308 · MusicBrainz: e92c6fab-5dd0-4cd5-889b-88075c5a4c18
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