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Programmheft Monteverdi, Marienvesper BACH-KANTOREI Appenzeller Mittelland, Teufen AR Claudio Monteverdi Vespro della Beata Vergine Marienvesper 1610 SV 206 Bach-Kantorei Solistenensemble Susanne Seitter, Alexa Vogel (Sopran), Antonia Frey (Alt), Timo Klieber (Countertenor), Raphael Höhn, Achim Glatz, Nicolas Savoy, Manuel Gerber (Tenor), Fabrice Hayoz, Daniel Pérez (Bariton) Ensemble la fontaine Regula Keller, Johannes Frisch, (Violine), Jörn Sebastian Kuhlmann (Viola), Matthias Müller (Viola da Gamba), Reto Cuonz (Violoncello), Ann Fahrni (Violone), Bork-Frithjof Smith, Gebhard David, Josué Melendes (Zink), Simen van Mechelen, Christine Brand, Jost Swinkels (Posaune), Matthias Spaeter (Chittarone), David Blunden (Orgel) Wilfried Schnetzler, Leitung Festkonzerte Samstag, 14. November 2015, 19.30 Uhr Evang. Kirche Teufen AR Teufen Sonntag, 15.November 2015, 17.00 Uhr Andreaskirche Gossau SG 30 Jahre Bach-Kantorei 1985 - 2015 Gossau Titelblatt desAltus- Stimmbuchs Impressum Herausgeber Bach-Kantorei Appenzeller Mittelland, 2015 Internet www.bachkantorei.ch E-Mail [email protected] Claudio Monteverdi 1567 - 1643 Vespro della Beata Vergine Marienvesper, 1610 SV 206 Festkonzerte zum 30-jährigen Bestehen der Bach-Kantorei Samstag, 14. November 2015, 19.30 Uhr, Evang. Kirche Teufen Sonntag, 15. November 2015, 17.00 Uhr, Andreaskirche Gossau SG Vokalsolisten Alexa Vogel, Sopran; Susanne Seitter, Sopran Antonia Frey, Alt; Timo Klieber, Countertenor Raphael Höhn, Tenor; Achim Glatz, Tenor Nicolas Savoy, Tenor; Manuel Gerber, Tenor Fabrice Hayoz, Bariton; Daniel Pérez, Bariton Ensemble la fontaine Regula Keller, Johannes Frisch, (Violine) Jörn Sebastian Kuhlmann (Viola), Matthias Müller (Viola da Gamba) Reto Cuonz (Violoncello), Ann Fahrni (Violone) Bork-Frithjof Smith, Gebhard David, Josué Melendes (Zink) Simen van Mechelen, Christine Brand, Jost Swinkels (Posaune) Matthias Spaeter (Chittarone), David Blunden (Orgel) Bach-Kantorei Appenzeller Mittelland Wilfried Schnetzler, Leitung Claudio Zuan Antonio Monteverdi (auch Monteverde; getauft 15. Mai 1567 in Cremona; † 29. November 1643 in Venedig) war ein italienischer Kompo- nist, Gambist, Sänger und katholischer Priester.Sein Werk markiert die Wende von der Musik der Renaissance zum Barock. Claudio Monteverdi war der älteste Sohn des Wundarztes Baldassare Monteverdi (* um 1542), der auch als Barbier arbeitete, seine Mutter war Maddalena, geb. Zignani. Er hatte noch eine Schwester, Maria Domitilla (* 1571), und einen Bruder, Giulio Cesare (1573–1630/1631). Nach dem Tod seiner Mutter (um 1576) heirate- te sein Vater ein zweites Mal und hatte mit seiner zweiten Frau noch drei Kinder, darunter die Tochter Clara Massimilla (* 1579) und den Sohn Luca (* 1581). Obwohl sein Vater in bescheidenen Verhältnissen lebte und bis 1566 seine Arbeit in einem kleinen, vom Domkapitel der Kathedrale von Cremona gemieteten Geschäft ausführte, liess er seinen zwei Söhnen aus erster Ehe eine gründliche musikalische Erziehung bei Marc’Antonio Ingegneri, dem Kapellmeister der Kathedrale von Cremona, zukommen. Ingegneris Einfluss findet sich in Claudios erster Werksammlung Sacrae cantiunculae wieder, die er 1582 mit fünfzehn Jahren im Druck veröffentlichte. 1583 erschien ein Buch mit Madrigali spirituali, von dem nur ein Bassstimmbuch erhalten ist. Im Jahr 1587 folgte dann die Veröffentlichung seines ersten Madrigalbuchs, das nunmehr nur weltliche Werke enthielt. 1590 wurde Monteverdi an den Hof des Herzogs Vincenzo I. Gonzaga als Sänger und Violist nachMantua bestellt, wo er 22 Jahre lang bleiben sollte. Er fand dort mit einem vollständigen Orchester und herausragenden Solisten aussergewöhn- lich gute Bedingungen vor. Dort wurde Monteverdi 1594 „Cantore“. Er heiratete Claudia de Cattaneis, die Tochter eines ansässigen Musikers. 1597 bereiste er mit dem Orchester Flandern, wo er die grossen Meister des franko-flämischen Stils kennenlernte. Nach seiner Rückkehr wurde er 1601 zum Kapellmeister berufen, trotz der Angriffe von Giovanni Artusi, welcher den harmonischen Neuerungen von Monteverdi zu viel „Modernität“ vorwarf, da er im Dienste des Ausdrucks die alten Regeln des Kontrapunktes missachtete. Trotz seiner Verpflichtungen gegenüber dem Hof komponierte Monteverdi von 1590 bis 1605 vier weitere Madrigalbücher. Von der Monodie mit ihrer Betonung klarer Melodielinien, verständlichen Texten und einer zurückhaltend begleitenden Musik war es nur ein kurzer, logischer Schritt zur Entwicklung der Oper. 1607 komponierte er eine der ersten ihrer Art,L’Orfeo , die als Auftragsarbeit anlässlich des jährlichen Karnevals in Mantua erschien und am 24. Februar uraufgeführt wurde; zum Einsatz kamen unter anderen die beiden Kastraten Giovanni Gualber- to Magli und Girolamo Bacchini als Mezzosoprane. Die Oper war auf Anhieb ein grosser Erfolg. Vom Tod seiner Frau, die im September in Cremona begraben wurde, zeigte sich Monteverdi tief getroffen. Nachdem er sich zunächst geweigert hatte, nach Mantua zurückzukehren, komponierte er dort 1608 eine weitere Oper, L’Arianna,von der nur das Lamento überliefert ist. 4 1610 komponierte er sein heute vielleicht bekanntestes Sakralwerk, die sogenann- teMarienvesper (Vespro della Beata Vergine). Nach dem Tod des Herzogs Vincenzo im Jahr 1612 wurde Monteverdi von dessen für Musik wenig empfängli- chen Nachfolger entlassen. Nach einem kurzen Aufenthalt in Cremona wurde Monteverdi 1613 einstimmig zum Kapellmeister des Markusdoms in Venedig ernannt, eines der bedeutends- ten musikalischen Ämter der damaligen Zeit, wo er den Chor wiederbelebte, neue virtuose Sänger wie Francesco Cavalli engagierte, neue Noten einkaufte, das Singen von Messen an Wochen- und Festtagen wieder einführte und dafür sorgte, dass die Mitglieder des Instrumentalensembles Monatslöhne erhielten, anstatt wie bisher auf Tagesbasis bezahlt zu werden. Damit begannen seine wohl ange- nehmsten und produktivsten Jahre. Parallel zu zahlreichen geistlichen Werken führte Monteverdi sein weltliches Werk weiter und veröffentlichte zwischen 1614 und 1638 die Madrigalbücher VI bis VIII. Nach dem Tod seines Sohnes, der der Pestepidemie während des Mantuanischen Erbfolgekriegs zum Opfer fiel, wurde Monteverdi zusehends krank. 1632, seine Frau war inzwischen verstorben, liess er sich, auch unter dem Eindruck einer Pestepidemie, zum Priester weihen. Insbesondere durch die Eröffnung des ersten öffentlichen Opernhauses in Venedig im Jahre 1637 angeregt, verfasste er weitere Bühnenwerke, darunterIl ritorno d’Ulisse in patria (1641) und L’incoronazione di Poppea (1642). Zeitgleich über- wachte er die Ausgabe seiner ausgewählten geistlichen Musik in der Sammlung Selva morale e spirituale (1641). Nach einer letzten Reise nach Cremona und Mantua starb er 1643 in Venedig, wo ihm ein feierliches Begräbnis zuteilwurde. Sein Grab befindet sich in der Kirche Santa Maria Gloriosa dei Frari in der ersten der vier Kapellen, die den Hauptchor flankieren. Zusammen mit seiner einzigen Frau hatte Monteverdi zwei Söhne. Francesco wurde später Tenorsänger am Markusdom; Massimiliano studierte Medizin, wurde 1627 auf Befehl der Inquisition wegen der Lektüre von verbotenen Büchern verhaftet, nach der Zahlung eines Lösegelds durch seinen Vater ein Jahr später aus dem Gefängnis entlassen und praktizierte als Arzt in Cremona bis zu seinem Todim Jahr 1661. Monteverdi führte die von den Florentinern (vor allem Jacopo Peri) kurz vor der Jahrhundertwende als neue musikalische Form entwickelte Oper zu ihrem ersten Höhepunkt und erntete bereits zu Lebzeiten grossen Ruhm. Insgesamt komponier- te er mindestens 18 Opern; aber nur L’Orfeo, L’Incoronazione di Poppea und Il ritorno d'Ulisse in patria blieben erhalten. 5 Monteverdis 8. Madrigalbuch enthält die „Madrigale von Liebe und Krieg“ (Madrigali guerrieri et amorosi), welche vielfach als die vollendetsten Beispiele dieser Form angesehen werden. Insgesamt demonstrieren die acht Bücher den bedeutenden Schritt vom polyphonen Stil der Renaissancemusik zum monodi- schen Stil des Barock. In formaler Hinsicht ist Monteverdi der Erfinder des Ostinatobasses, der sich in unterschiedlichen Formen bis in die moderne Popmusik fortgesetzt hat. Den gehenden Bass mit seinen regelmässig schreitenden Viertelnoten erfand er im Zusammenhang mit der Szene in L'Orfeo, in der Orpheus mit Eurydike den Weg von der Unterwelt in die Welt der Lebenden geht. Zudem geht das diatonisch abstei- gende Tetrachord, das als Lamentobass in der Barockmusik und bisweilen darüber hinaus eine zentrale Rolle spielte, auf Monteverdis Lamento della Ninfa aus dem 8. Madrigalbuch zurück. Nach seinem Tod geriet Monteverdi lange Zeit in Vergessenheit; erst mit Gian Francesco Malipiero, der Monteverdis Kompositionen von 1916 bis 1942 in sechzehn Bänden veröffentlichte, erwachte wieder das Interesse an seinem Werk. Ein Werkverzeichnis, das Stattkus-Verzeichnis, erschien 1985. Aus Wikipedia (https://de.wikipedia.org/wiki/Claudio_Monteverdi) Cantus-Stimme, Domine ad adjuvandum 6 DIE MARIENVESPER ZUM 30-JÄHRIGEN JUBILÄUM DER BACH-KANTOREI Wilfried Schnetzler Die Marienvesper, 1610 in sieben Stimmbüchern und einer Generalbass-Partitur gedruckt und Papst Paul V. gewidmet, ist seit etwa Mitte des 20. Jahrhunderts zunehmend ins Bewusstsein von Dirigenten und Sängern gerückt und heute als eines der grossen Kirchenmusikwerke fester Bestandteil von Konzertaufführun- gen. Das Werk besteht nach einem Introitus aus fünf Vesperpsalmen im Stil der «prima practica», welche alle den gregorianischen Cantus firmus ins Zentrum stellen. Zwischen den Psalmen wurden in der Vesper gregorianische Antiphonen als verbindende
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