{"id":791,"date":"2017-02-10T15:04:13","date_gmt":"2017-02-10T15:04:13","guid":{"rendered":"https:\/\/courses.lumenlearning.com\/vccs-tcc-music-rford\/?post_type=chapter&p=791"},"modified":"2020-04-11T21:51:25","modified_gmt":"2020-04-11T21:51:25","slug":"monteverdi","status":"web-only","type":"chapter","link":"https:\/\/courses.lumenlearning.com\/vccs-tcc-music-rford\/chapter\/monteverdi\/","title":{"raw":"Monteverdi","rendered":"Monteverdi"},"content":{"raw":"We will study Claudio Monteverdi at this juncture as his music \u00a0represents the transition from both the Renaissance and Baroque periods. His music, especially his madrigals, demonstrates the transition from \u00a0late Renaissance to early Baroque style. \u00a0His first four books of madrigals feature the late Renaissance style that you hear in \"Ecco mormorar l'onde.\" Starting with the fifth book of madrigals, he adopts the new practices that we'll come to know as early Baroque style. \u00a0Note the discussion of \u00a0prima pratica<\/strong> <\/em>and seconda pratica<\/strong><\/em> \u00a0later in this topic.\u00a0 See Evolution of Tonalilty:<\/em>\u00a0https:\/\/courses.lumenlearning.com\/vccs-tcc-music-rford\/wp-admin\/post.php?post=2013&action=edit<\/a>\r\n\r\nMonteverdi's \u00a0development of the solo song in opera leads \u00a0to \u00a0the expression \u00a0of individual feelings and emotions not characteristic of the Renaissance. The solo song (monody) \u00a0gives the music of the Baroque a new dimension of expression. We also \u00a0discuss in this module the Florentine Camerata \u00a0- a group of \u00a0musicians and composers for Florence who promoted monody and the solo song.\r\n

Introduction<\/h2>\r\n[caption id=\"attachment_203\" align=\"alignright\" width=\"250\"]\"Figure<\/a> Figure 1. Monteverdi by Bernardo Strozzi, c.\u20091630[\/caption]\r\n\r\nClaudio Giovanni Antonio Monteverdi<\/b> (15 May 1567 (baptized)\u201329 November 1643) was an Italian composer, gambist, singer and Roman Catholic priest.\r\n
Monteverdi's work, often regarded as revolutionary, marked the change from the Renaissance style of music to that of the Baroque period.\u00a0He developed two styles of composition\u2014the heritage of Renaissance polyphony and the new basso continuo technique of the Baroque.\u00a0Monteverdi wrote one of the earliest operas, L'Orfeo<\/i>, a novel work that is the earliest surviving opera still regularly performed. He is widely recognized as an inventive composer who enjoyed considerable fame in his life-time.<\/div>\r\n \r\n

Life<\/span><\/h2>\r\nClaudio Monteverdi was born in 1567 in Cremona, Lombardy. His father was Baldassare Monteverdi, a doctor, apothecary and amateur surgeon.\u00a0He was the oldest of five children.\u00a0During his childhood, he was taught by\u00a0Marc'Antonio Ingegneri,\u00a0the maestro di cappella<\/i> at the Cathedral of Cremona. \u00a0Monteverdi learned about music as a member of the cathedral choir.\u00a0He also studied at the University of Cremona.\u00a0His first music \u00a0written for publication included \u00a0some motets and sacred madrigals, in 1582 and 1583.\u00a0His first five publications were\u00a01582 (a collection of miniature motets); 1583 (a volume of which only the bass partbook is extant); 1584 (a collection of three-voice canzonettes); and the five-part madrigals Book I, 1587, and Book II, 1590.\u00a0He worked at the court of Vincenzo I of Gonzaga in Mantua as a vocalist and viol player, then as music director.\u00a0In 1602, he was the court conductor. \u00a0In 1612 Vincenzo, \u00a0 Monteverdi's employer, \u00a0died and was succeeded by his eldest son Francesco who, heavily in debt, released Monteverdi. He then spent a year in Mantua without any paid employment. His 1607 opera L'Orfeo was dedicated to Francesco.\r\n\r\n[caption id=\"attachment_204\" align=\"alignright\" width=\"250\"]\"Figure<\/a> Figure 2. The only certain portrait of Claudio Monteverdi, from the title page of Fiori poetici, a 1644 book of commemorative poems for his funeral[\/caption]\r\n\r\nBy 1613, he had moved to San Marco in Venice where, as conductor,\u00a0he quickly restored the musical standard of both the choir and the instrumentalists which . had declined due to the financial mismanagement of his predecessor, Giulio Cesare Martinengo.\r\n\r\nIn 1632, he became a priest.\u00a0During the last years of his life, when he was often ill, he composed his two last masterpieces: Il ritorno d'Ulisse in patria<\/i> (The Return of Ulysses<\/i>, 1641), and the historic opera L'incoronazione di Poppea<\/i> (The Coronation of Poppea<\/i>, 1642), based on the life of the Roman emperor Nero. L'incoronazione<\/i> especially is considered a culminating point of Monteverdi's work. It contains tragic, romantic, and comic scenes (a new development in opera), a more realistic portrayal of the characters, and warmer melodies than previously heard.\u00a0It requires a smaller orchestra, and has a less prominent role for the choir. For a long period of time, Monteverdi's operas were merely regarded as a historical or musical interest. Since the 1960s, The Coronation of Poppea<\/i> has re-entered the repertoire of major opera companies worldwide.\r\n\r\nMonteverdi died, aged 76, in Venice on 29 November 1643\u00a0and was buried at the church of the Frari.\r\n

Madrigals<\/h2>\r\nUntil the age of forty, Monteverdi worked primarily on madrigals, composing a total of nine books. It took Monteverdi about four years to finish his first book of twenty-one madrigals for five voices.\r\nThe first eight books of madrigals show the enormous development from Renaissance polyphonic music to the monodic style<\/strong> typical of Baroque music.\r\n
\r\n

Listen<\/h2>\r\nCor mio mentre vi miro \u00a0- \u00a0published in 1603.\r\n\r\n \r\n\r\n[audio ogg=\"https:\/\/s3-us-west-2.amazonaws.com\/courses-images-archive-read-only\/wp-content\/uploads\/sites\/592\/2016\/02\/21173956\/Monteverdi-cor_mio_mentre_vi_miro.ogg\"][\/audio]\r\n\r\n<\/div>\r\nhttp:\/\/www3.cpdl.org\/wiki\/index.php\/Cor_mio,_mentre_vi_miro_(Claudio_Monteverdi) \u00a0 \u00a0(Sources for translations below)<\/span>\r\n\r\n\"Italian.png\" Italian text\r\n<\/big><\/b>Cor mio, mentre vi miro,\r\nvisibilmente mi trasformo in voi,\r\ne trasformato poi,\r\nin un solo sospir l'anima spiro.\r\nO bellezza mortale,\r\nO bellezza vitale,\r\npoich\u00e9 s\u00ed tosto un core\r\nper te rinasce, e per te nato more.\r\n
\"English.png\" English translation\r\n<\/big><\/b>Oh my heart, while I watch you,\r\nI am patently transformed in you,\r\nand, once transformed,\r\nin a single breath I exhale my spirit.\r\nOh, mortal beauty,Oh, vital beauty,\r\nbecause a heart quickly lives again\r\nfor you; and for you, if alive, it dies<\/div>\r\n
<\/div>\r\n
Book 9, 1651: Madrigali e canzonette a due e tre voci<\/i><\/div>\r\n

The Fifth Madrigal Book<\/span><\/h3>\r\n
\r\n

Listen<\/h2>\r\nCruda Amarilli \u00a0secular Madrigal \u00a01605\r\n\r\n[audio ogg=\"https:\/\/s3-us-west-2.amazonaws.com\/courses-images-archive-read-only\/wp-content\/uploads\/sites\/592\/2016\/02\/21173959\/Monteverdi_-_cruda_amarilli.ogg\"][\/audio]\r\n\r\n<\/div>\r\n \r\n\r\n\r\n\r\n
\"Latin.png\" Latin text<\/big><\/b>\r\n\r\nFelle amaro me potavit populus\r\net aceto; non illi dedi amaras aquas\r\nin deserto, sed latices suaves.\r\nViri aspide surda\r\nsurdiores et saeviores,\r\nquid a me vultis adhuc?\r\n\r\nJam moriar pro vobis.\"English.png\" English translation\r\n<\/big><\/b>Translation by Carlos Augusto Mour\u00e3o<\/a><\/i>\r\n\r\nThe multitude gave me bitter gall to drink\r\nand vinegar; I did not give them bitter waters\r\nin the desert, but sweet fluids.\r\nO men, more insensible and savage\r\nthan a furtive snake,\r\nwhat do you still want from me?\r\nJust now, I shall die for you.<\/td>\r\n<\/tr>\r\n<\/tbody>\r\n<\/table>\r\nThe Fifth Book of Madrigals<\/i> shows the shift from the late Renaissance style of music to the early Baroque.<\/span> Listen to the madrigals -\u00a0 Fair\u00a0 Phyllis and\u00a0 As Vesta from the previous module\u00a0 \u00a0https:\/\/courses.lumenlearning.com\/vccs-tcc-music-rford\/chapter\/renaissance-secular-music\/<\/a>\u00a0 and compare to the selections\u00a0 by Monteverdi below!\u00a0 The Quinto Libro<\/i> (Fifth Book), published in 1605, was at the heart of the controversy between Monteverdi and Giovanni Artusi. Artusi attacked the \"crudities\" and \"license\" of the modern style of composing, centering his attacks on madrigals (including\u00a0Cruda Amarilli<\/i>, (above)\u00a0 composed around 1600.\u00a0\u00a0Monteverdi made his reply\u00a0 with a proposal of the division of musical practice into two streams, which he called prima pratica<\/i><\/strong>, and seconda pratica<\/i><\/strong>. Prima pratica<\/i> was described as the previous polyphonic ideal of the sixteenth century, with flowing strict counterpoint, prepared dissonance, and equality of voices. Seconda pratica<\/i><\/strong> used much freer counterpoint with an increasing hierarchy of voices, emphasizing soprano and bass. In Prima pratica<\/i><\/strong> the harmony controls the words.<\/span>\u00a0In Seconda pratica<\/i><\/strong> the words should be in control of the harmonies<\/span>.\u00a0 \u00a0This represented a move towards the new style of monody. The introduction of continuo<\/strong> in many of the madrigals was a further self-consciously modern feature.\u00a0In addition, the fifth book showed the beginnings of conscious functional tonality.\r\n\r\nhttps:\/\/courses.lumenlearning.com\/vccs-tc-mus121-1\/wp-admin\/post.php?post=104&action=edit<\/span>","rendered":"

We will study Claudio Monteverdi at this juncture as his music \u00a0represents the transition from both the Renaissance and Baroque periods. His music, especially his madrigals, demonstrates the transition from \u00a0late Renaissance to early Baroque style. \u00a0His first four books of madrigals feature the late Renaissance style that you hear in “Ecco mormorar l’onde.” Starting with the fifth book of madrigals, he adopts the new practices that we’ll come to know as early Baroque style. \u00a0Note the discussion of \u00a0prima pratica<\/strong> <\/em>and seconda pratica<\/strong><\/em> \u00a0later in this topic.\u00a0 See Evolution of Tonalilty:<\/em>\u00a0https:\/\/courses.lumenlearning.com\/vccs-tcc-music-rford\/wp-admin\/post.php?post=2013&action=edit<\/a><\/p>\n

Monteverdi’s \u00a0development of the solo song in opera leads \u00a0to \u00a0the expression \u00a0of individual feelings and emotions not characteristic of the Renaissance. The solo song (monody) \u00a0gives the music of the Baroque a new dimension of expression. We also \u00a0discuss in this module the Florentine Camerata \u00a0– a group of \u00a0musicians and composers for Florence who promoted monody and the solo song.<\/p>\n

Introduction<\/h2>\n
\"Figure<\/a><\/p>\n

Figure 1. Monteverdi by Bernardo Strozzi, c.\u20091630<\/p>\n<\/div>\n

Claudio Giovanni Antonio Monteverdi<\/b> (15 May 1567 (baptized)\u201329 November 1643) was an Italian composer, gambist, singer and Roman Catholic priest.<\/p>\n

Monteverdi’s work, often regarded as revolutionary, marked the change from the Renaissance style of music to that of the Baroque period.\u00a0He developed two styles of composition\u2014the heritage of Renaissance polyphony and the new basso continuo technique of the Baroque.\u00a0Monteverdi wrote one of the earliest operas, L’Orfeo<\/i>, a novel work that is the earliest surviving opera still regularly performed. He is widely recognized as an inventive composer who enjoyed considerable fame in his life-time.<\/div>\n

 <\/p>\n

Life<\/span><\/h2>\n

Claudio Monteverdi was born in 1567 in Cremona, Lombardy. His father was Baldassare Monteverdi, a doctor, apothecary and amateur surgeon.\u00a0He was the oldest of five children.\u00a0During his childhood, he was taught by\u00a0Marc’Antonio Ingegneri,\u00a0the maestro di cappella<\/i> at the Cathedral of Cremona. \u00a0Monteverdi learned about music as a member of the cathedral choir.\u00a0He also studied at the University of Cremona.\u00a0His first music \u00a0written for publication included \u00a0some motets and sacred madrigals, in 1582 and 1583.\u00a0His first five publications were\u00a01582 (a collection of miniature motets); 1583 (a volume of which only the bass partbook is extant); 1584 (a collection of three-voice canzonettes); and the five-part madrigals Book I, 1587, and Book II, 1590.\u00a0He worked at the court of Vincenzo I of Gonzaga in Mantua as a vocalist and viol player, then as music director.\u00a0In 1602, he was the court conductor. \u00a0In 1612 Vincenzo, \u00a0 Monteverdi’s employer, \u00a0died and was succeeded by his eldest son Francesco who, heavily in debt, released Monteverdi. He then spent a year in Mantua without any paid employment. His 1607 opera L’Orfeo was dedicated to Francesco.<\/p>\n

\"Figure<\/a><\/p>\n

Figure 2. The only certain portrait of Claudio Monteverdi, from the title page of Fiori poetici, a 1644 book of commemorative poems for his funeral<\/p>\n<\/div>\n

By 1613, he had moved to San Marco in Venice where, as conductor,\u00a0he quickly restored the musical standard of both the choir and the instrumentalists which . had declined due to the financial mismanagement of his predecessor, Giulio Cesare Martinengo.<\/p>\n

In 1632, he became a priest.\u00a0During the last years of his life, when he was often ill, he composed his two last masterpieces: Il ritorno d’Ulisse in patria<\/i> (The Return of Ulysses<\/i>, 1641), and the historic opera L’incoronazione di Poppea<\/i> (The Coronation of Poppea<\/i>, 1642), based on the life of the Roman emperor Nero. L’incoronazione<\/i> especially is considered a culminating point of Monteverdi’s work. It contains tragic, romantic, and comic scenes (a new development in opera), a more realistic portrayal of the characters, and warmer melodies than previously heard.\u00a0It requires a smaller orchestra, and has a less prominent role for the choir. For a long period of time, Monteverdi’s operas were merely regarded as a historical or musical interest. Since the 1960s, The Coronation of Poppea<\/i> has re-entered the repertoire of major opera companies worldwide.<\/p>\n

Monteverdi died, aged 76, in Venice on 29 November 1643\u00a0and was buried at the church of the Frari.<\/p>\n

Madrigals<\/h2>\n

Until the age of forty, Monteverdi worked primarily on madrigals, composing a total of nine books. It took Monteverdi about four years to finish his first book of twenty-one madrigals for five voices.
\nThe first eight books of madrigals show the enormous development from Renaissance polyphonic music to the monodic style<\/strong> typical of Baroque music.<\/p>\n

\n

Listen<\/h2>\n

Cor mio mentre vi miro \u00a0– \u00a0published in 1603.<\/p>\n

 <\/p>\n


\nhttps:\/\/s3-us-west-2.amazonaws.com\/courses-images-archive-read-only\/wp-content\/uploads\/sites\/592\/2016\/02\/21173956\/Monteverdi-cor_mio_mentre_vi_miro.ogg<\/a><\/audio><\/p>\n<\/div>\n

http:\/\/www3.cpdl.org\/wiki\/index.php\/Cor_mio,_mentre_vi_miro_(Claudio_Monteverdi) \u00a0 \u00a0(Sources for translations below)<\/span><\/p>\n

\"Italian.png\" Italian text
\n<\/span><\/b>Cor mio, mentre vi miro,
\nvisibilmente mi trasformo in voi,
\ne trasformato poi,
\nin un solo sospir l’anima spiro.
\nO bellezza mortale,
\nO bellezza vitale,
\npoich\u00e9 s\u00ed tosto un core
\nper te rinasce, e per te nato more.<\/p>\n

\"English.png\" English translation
\n<\/span><\/b>Oh my heart, while I watch you,
\nI am patently transformed in you,
\nand, once transformed,
\nin a single breath I exhale my spirit.
\nOh, mortal beauty,Oh, vital beauty,
\nbecause a heart quickly lives again
\nfor you; and for you, if alive, it dies<\/div>\n
<\/div>\n
Book 9, 1651: Madrigali e canzonette a due e tre voci<\/i><\/div>\n

The Fifth Madrigal Book<\/span><\/h3>\n
\n

Listen<\/h2>\n

Cruda Amarilli \u00a0secular Madrigal \u00a01605<\/p>\n

https:\/\/s3-us-west-2.amazonaws.com\/courses-images-archive-read-only\/wp-content\/uploads\/sites\/592\/2016\/02\/21173959\/Monteverdi_-_cruda_amarilli.ogg<\/a><\/audio><\/p>\n<\/div>\n

 <\/p>\n\n\n\n
\"Latin.png\" Latin text<\/span><\/b><\/p>\n

Felle amaro me potavit populus
\net aceto; non illi dedi amaras aquas
\nin deserto, sed latices suaves.
\nViri aspide surda
\nsurdiores et saeviores,
\nquid a me vultis adhuc?<\/p>\n

Jam moriar pro vobis.\"English.png\" English translation
\n<\/span><\/b>Translation by Carlos Augusto Mour\u00e3o<\/a><\/i><\/p>\n

The multitude gave me bitter gall to drink
\nand vinegar; I did not give them bitter waters
\nin the desert, but sweet fluids.
\nO men, more insensible and savage
\nthan a furtive snake,
\nwhat do you still want from me?
\nJust now, I shall die for you.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

The Fifth Book of Madrigals<\/i> shows the shift from the late Renaissance style of music to the early Baroque.<\/span> Listen to the madrigals –\u00a0 Fair\u00a0 Phyllis and\u00a0 As Vesta from the previous module\u00a0 \u00a0https:\/\/courses.lumenlearning.com\/vccs-tcc-music-rford\/chapter\/renaissance-secular-music\/<\/a>\u00a0 and compare to the selections\u00a0 by Monteverdi below!\u00a0 The Quinto Libro<\/i> (Fifth Book), published in 1605, was at the heart of the controversy between Monteverdi and Giovanni Artusi. Artusi attacked the “crudities” and “license” of the modern style of composing, centering his attacks on madrigals (including\u00a0Cruda Amarilli<\/i>, (above)\u00a0 composed around 1600.\u00a0\u00a0Monteverdi made his reply\u00a0 with a proposal of the division of musical practice into two streams, which he called prima pratica<\/i><\/strong>, and seconda pratica<\/i><\/strong>. Prima pratica<\/i> was described as the previous polyphonic ideal of the sixteenth century, with flowing strict counterpoint, prepared dissonance, and equality of voices. Seconda pratica<\/i><\/strong> used much freer counterpoint with an increasing hierarchy of voices, emphasizing soprano and bass. In Prima pratica<\/i><\/strong> the harmony controls the words.<\/span>\u00a0In Seconda pratica<\/i><\/strong> the words should be in control of the harmonies<\/span>.\u00a0 \u00a0This represented a move towards the new style of monody. The introduction of continuo<\/strong> in many of the madrigals was a further self-consciously modern feature.\u00a0In addition, the fifth book showed the beginnings of conscious functional tonality.<\/p>\n

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