Claudio Monteverdi

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CLAUDIO MONTEVERDI Stacy Capers CLAUDIO MONTEVERDI •May 15, 1567 – Nov 29, 1643 (died age 76) •Baroque Italian composer •Bridge between old and new musical practice •Pioneer of opera EARLY LIFE Born in Cremona, Italy Child prodigy Served as chorister under Marc Antonio Ingegneri at Cathedral in Cremona Produced first music for publication by age 15 Took position as court musician in Mantua in 1590 for Gonzaga family Began work as viola player and vocalist, promoted to conductor in 1602 Married court singer, Claudia de Cattaneis, in 1599 Two sons, Francesco and Massimiliano, and a daughter, Leonora (died in infancy) MUSICAL WORKS Madrigals Operas Some sacred music Motets Masses Vespers MONTEVERDI AND THE MADRIGAL Madrigal: secular vocal work, 2-8 voices, a cappella, word-painting 9 books Cultivated a new, innovative Baroque style Irregular dissonances, bold sonorities, beginnings of functional tonality Quinto Libro (5th book) became center of famous Monteverdi/Artusi Controversy “Cruda Amarilli” Music theorist, Giovanni Artusi attacks Monteverdi’s unusual practices Monteverdi’s response: division of musical practice—Prima pratica vs. Seconda pratica MONTEVERDI AND OPERA Created first great masterpieces in this genre Most operas not completed or lost 3 surviving operas: L’Orfeo Il ritorno d’Ulisse in patria L’incoronazione di Poppea “Pur ti Miro” (Duet aria; Act III, scene 7) L’ORFEO •AKA La favola d'Orfeo •Librettist: Alessandro Striggio •Prologue and 5 Acts •First “great” modern opera, *but not first opera •Based on Greek legend of Orpheus’s descent to the underworld •Written for court performance during Carnival L’ORFEO (CONT.) •Monteverdi’s innovations: • Madrigal influences • Use of monody • Precedence of text over music • Dynamics • Quick tempo and harmonic changes • Shocking dissonances •“Tu se’ morta”, Recitative from Act II Sung by baritone, Florian Just • Orfeo learns of his bride, Euridice’s death • Dissonance represents mourning LATER YEARS •Duke Vincenzo died 1612, Monteverdi dismissed from court by Francesco, his successor •Appointed as maestro of basilica di San Marco in Venice • Trained court musicians, expanded repertoire •Age 65, entered priesthood •Died in Venice in 1643 ITALIAN TERMS •Basso continuo: (baroque music) “continued bass”; includes a bassline and harmonies played by a keyboard instrument •Libretto: “booklet”; the text of an opera or other long vocal work •Aria: “air”; a long, accompanied song for solo voice •Recitativo: “recitative”; narrative/dialogue parts of an opera sung to rhythm of ordinary speech •Maestro di capella: Master of choir/orchestra WORKS CITED http://www.oxfordmusiconline.com.libproxy.furman.edu/grovemusic/view/10.1093 /gmo/9781561592630.001.0001/omo-9781561592630-e- 0000044352?rskey=qzP1BY&result=1 http://www.newworldencyclopedia.org/entry/Claudio_Monteverdi https://courses.lumenlearning.com/musicapp_historical/chapter/claudio- monteverdi/ https://youtu.be/kEgLr-YVRvs https://youtu.be/Q_o1xDJyiOU https://youtu.be/6eA7aDYflc4.

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DOLCI MIEI SOSPIRI Tra Ferrara E Venezia Fall 2016
DOLCI MIEI SOSPIRI Tra Ferrara e Venezia Fall 2016 Monday, 17 October 6.00pm Italian Madrigals of the Late Cinquecento Performers: Concerto di Margherita Francesca Benetti, voce e tiorba Tanja Vogrin, voce e arpa Giovanna Baviera, voce e viola da gamba Rui Staehelin, voce e liuto Ricardo Leitão Pedro, voce e chitarra Dolci miei sospiri tra Ferrara e Venezia Concerto di Margherita Francesca Benetti, voce e tiorba Tanja Vogrin, voce e arpa Giovanna Baviera, voce e viola da gamba Rui Staehelin, voce e liuto Ricardo Leitão Pedro, voce e chitarra We express our gratitude to Pedro Memelsdorff (VIT'04, ESMUC Barcelona, Fondazione Giorgio Cini Venice, Utrecht University) for his assistance in planning this concert. Program Giovanni Girolamo Kapsberger (1580-1651), Toccata seconda arpeggiata da: Libro primo d'intavolatura di chitarone, Venezia: Antonio Pfender, 1604 Girolamo Frescobaldi (1583-1643), Voi partite mio sole da: Primo libro d'arie musicali, Firenze: Landini, 1630 Claudio Monteverdi Ecco mormorar l'onde da: Il secondo libro de' madrigali a cinque voci, Venezia: Gardane, 1590 Concerto di Margherita Giovanni de Macque (1550-1614), Seconde Stravaganze, ca. 1610. Francesca Benetti, voce e tiorba Tanja Vogrin, voce e arpa Luzzasco Luzzaschi (ca. 1545-1607), Aura soave; Stral pungente d'amore; T'amo mia vita Giovanna Baviera, voce e viola da gamba da: Madrigali per cantare et sonare a uno, e due e tre soprani, Roma: Verovio, 1601 Rui Staehelin, voce e liuto Ricardo Leitão Pedro, voce e chitarra Claudio Monteverdi (1567-1463), T'amo mia vita da: Il quinto libro de' madrigali a cinque voci, Venezia: Amadino, 1605 Luzzasco Luzzaschi Canzon decima a 4 da: AAVV, Canzoni per sonare con ogni sorte di stromenti, Venezia: Raveri, 1608 We express our gratitude to Pedro Memelsdorff Giaches de Wert (1535-1596), O Primavera gioventù dell'anno (VIT'04, ESMUC Barcelona, Fondazione Giorgio Cini Venice, Utrecht University) da: L'undecimo libro de' madrigali a cinque voci, Venezia: Gardano, 1595 for his assistance in planning this concert.
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Timothy Burris—Baroque Lute
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Lecture 22 Outline
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Introduction
Introduction During the first half of the eighteenth century, the principalities of the Holy Roman Empire of the German Nation witnessed a remarkable efflorescence of palace fresco painting executed largely by Italian artists.1 Beginning in the Austrian and Czech lands in the late seventeenth century and spreading to the German territories by 1700, large-scale Italian ceiling paintings soared in popularity as Catholic and Protestant nobles of all ranks competed with one another to produce ever more lavish decorative schemes that expressed their claim to princely power and political authority. Drawing upon various picto- rial styles and iconographic programs from Italy and across Europe, frescoists and decorators developed new types of imagery that uniquely embodied their patrons’ ambitions and cultural aspirations.2 A synthesis of predominantly Italian and French styles and forms per- vaded Austro-German baroque culture and society in this period and critically shaped the evolution of their visual and performing arts.3 Although this book concentrates on Italy’s primary contribution to the production of these monu- mental fresco cycles, it is important to acknowledge that French culture under Louis XIV (1638–1714) and Louis XV (1710–1774) played an equally crucial role in influencing Imperial palace design and decoration as well as court music and theater. In the past, scholars sometimes viewed the presence of these two 1 Starting in the Early Middle Ages under Charlemagne and Otto I and continuing until Napoleon’s dissolution of the Empire in 1806, rulers and authors referred to the loose federation of states overseen by an imperial monarch as the “Heilige Römische Reich Deutscher Nation.” These lands consisted of present-day Austria, Germany, and the Czech Republic as well as parts of France, Poland, and Italy.
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Este Libro Es De Don Luis Rossi Monteverdi Bassani De Macque Trabaci Gesualdo
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Vocal Music 1600-1650
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