Monteverdi Madrigali Libri I-IX Complete

Le Nuove Musiche · Krijn Koetsveld 1567-1643 Madrigali Libri I-IX, Complete Madrigals

Madrigali Libro I 39 Questo specchio ti dono 73 A un giro sol de bell’occhi lucenti (Guarini) 2’22 Madrigali Libro VI 1 Ch’ami la vita mia nel tuo bel nome (Casoni) (b, c, d, e, g) 3’07 74 Ohimé, se tanto amate (Guarini) 2’20 Lamento d’Arianna (Anon.) (a, b, c, d, g) 2’00 40 Non m’è grave il morire 75 Io mi son giovinetta (Guarini) 2’39 (Ottavio Rinuccini) (a, b, d, f, h, n, o, p) 2 Se per avervi ohimé donato il core (Gottifredi) (a, b, c, d, g) 2’46 76 Quell’augellin che canta (Guarini) 2’19 102 Prima parte Lasciatemi morire 1’30 (Anon.) (a, b, c, d, g) 1’22 41 Ti spontò l’ali, Amor, la donna mia 77 Non piú guerra, pietate (Guarini) 2’30 103 Seconda parte O Teseo, o Teseo mio! 4’16 3 A che tormi il ben mio (Anon.) (a, b, c, d, g) 2’12 (Alberti) (a, b, c, d, g) 3’04 78 Sí ch’io vorrei morire (Moro) 2’56 104 Terza parte Dove, dove è la fede 2’15 4 Amor, per tua mercè vatten’a quella 42 Cantai un tempo, e se fu dolce il canto 79 Anima dolorosa che vivendo (Guarini) 2’29 105 Quarta e ultima parte Ahi, che non pur risponde! 2’56 (Bonardo) (a, b, c, d, f) 1’30 (Bembo) (c, d, e, f, g) 3’42 80 Anima del cor mio (Anon.) 2’04 5 Baci soavi e cari (Guarini) (a, b, c, d, g) 2’36 81 Longe da te, cor mio (Anon.) 2’07 106 Zefiro torna e ’l bel tempo rimena 6 Se pur non mi consenti (Groto) (a, b, c, d, g) 1’45 Le Nuove Musiche · Krijn Koetsveld artistic leader 82 Piagne e sospira (Tasso) 3’55 (Francesco Petrarca) (a, b, d, f, h, n, o, p) 3’06 7 Filli cara et amata (Parma) (b, c, d, f, g) 1’50 Jennifer van der Hart (a), Wendy Roobol sopranos (b) 107 Una donna fra l’altre onesta e bella 8 Poi che del mio dolore (Anon.) (a, b, c, d, g) 1’57 Hugo Naessens alto (c), Falco van Loon (d), Le Nuove Musiche · Krijn Koetsveld & (Anon.) (a, b, d, f, h, n, o, p) 2’58 Joost van Velzen tenors (e), Jasper Scheppe baritone (f) 9 Fumia la pastorella (Allegretti) (a, b, c, d, f) 0’39 artistic leader 108 A dio, Florida bella Bas Ramselaar bass (g) 10 Almo divino raggio 1’09 Jennifer van der Hart, Wendy Roobol sopranos (Giambattista Marino) (a, b, d, f, h, n, o, p) 3’29 Hugo Naessens alto, Gerben van der Werf alto* 11 Allora i pastor tutti 1’32 Falco van Loon tenor · Bas Ramselaar bass Lagrime d’Amante al sepolcro dell’Amata 12 Se nel partir da voi, vita mia, sento Madrigali Libro III (Scipione Agnelli) (a, b, d, f, h, p) (Bonardo) (a, b, c, d, f) 1’59 109 Prima parte Incenerite spoglie, avara tomba 2’05 43 La giovinetta pianta (Anon.) 3’18 13 Tra mille fiamme e tra mille catene 110 Seconda parte Ditelo, o fiumi, 44 O come è gran martire (Guarini) 2’56 Madrigali Libro V (Anon.) (a, b, c, d, f) 2’00 e voi, ch’udiste Glauco 1’47 45 Sovra tenere erbette e bianchi fiori (Anon.) 3’06 83 Cruda Amarilli (Battista Guarini) (a, b, f, g, h) 2’23 14 Usciam, ninfe, omai fuor di questi boschi 111 Terza parte Darà la notte il 46 O dolce anima mia, dunque è pur vero 84 O Mirtillo, Mirtill’anima mia (Anon.) (a, b, c, d, f) 2’14 sol lume alla terra 2’08 (Guarini) 3’22 (Guarini) (a, b, d, f, h) 2’34 15 Questa ordí il laccio (Strozzi) (a, b, c, d, g) 1’50 112 Quarta parte Ma te raccoglie, 47 Stracciami pur il core (Guarini) 3’22 85 Era l’anima mia (Guarini) (a, b, d, f, h, n, o, p) 2’56 16 La vaga pastorella (Anon.) (a, b, c, d, f) 2’25 o Ninfa, in grembo ’l cielo 2’23 48 O rossignuol che in queste verdi fronde 113 Quinta parte O chiome d’or, 17 Amor, s’il tuo ferire (Anon.) (a, b, c, d, f) 1’47 Ecco, Silvio, colei che in odio hai tanto (Bembo) 3’58 neve gentil del seno 2’11 18 Donna, s’io miro voi giaccio divengo (Guarini) (a, b, d, f, h, p) 49 Se per estremo ardore (?Guarini) 3’15 86 Prima parte Ecco, Silvio, colei 114 Sesta e ultima parte Dunque, (Anon.) (a, b, c, d, f) 1’17 50 Vattene pur, crudel, con quella pace che in odio hai tanto 2’56 amate reliquie, un mar di pianto 3’01 19 Ardo, sì, ma non t’amo (Tasso) 1’51 87 Seconda parte Ma, se con la (Guarini) (a, b, c, d, f) 1’17 115 Oimè il bel viso (Petrarca) (a, b, d, f, h, n, o, p) 3’58 51 Là tra ’l sangue e le morti egro giacente pietà non è in te spenta 2’33 20 Ardi o gela a tua voglia 1’15 116 Qui rise, o Tirsi (Marino) (a, b, d, f, g, h, n, o, p) 5’57 (Tasso) 2’26 88 Terza parte Dorinda, ah, dirò 21 Arsi et alsi a mia voglia 1’34 117 Misero Alceo (Marino) (a, b, d, f, h, n, p) 3’50 52 Poi ch’ella in sé tornò, deserto e muto mia, se mia non sei 2’06 118 Batto, qui pianse Ergasto 89 Quarta parte Ecco, piegando (Tasso) 3’00 (Marino) (a, b, d, f, h, n, o, p) 3’33 Madrigali Libro II le genocchie a terra 2’18 53 O primavera, gioventú de l’anno (Guarini) 2’43 119 Presso un fiume tranquillo 22 Non si levav’ancor l’alba novella 90 Quinta e ultima parte Ferir 54 Perfidissimo volto (Guarini) 3’22 (Marino) (a, b, c, d, f, g, h, n, o, p) 4’42 (Tasso) (a, b, c, d, g) 4’08 quel petto, Silvio? 3’34 55 Ch’io non t’ami, cor mio (Guarini) 3’41 23 E dicea l’una sospirando allora 3’57 56 Occhi, un tempo mia vita (Guarini) 2’50 Ch’io t’ami, e t’ami più de la mia vita Le Nuove Musiche · Krijn Koetsveld artistic leader 24 Bevea Fillide mia (Casoni) (a, b, c, d, g) 2’23 57 Vivrò fra i miei tormenti e le mie cure (Guarini) (a, b, d, f, h, n, o, p) Jennifer van der Hart (a), Wendy Roobol (b), 25 Dolcissimi legami (Tasso) (a, b, c, d, g) 2’46 Andrea Tjäder (c) sopranos (Tasso) 1’40 91 Prima parte Ch’io t’ami, 26 Non giacinti o narcisi (Casoni) (a, b, c, d, g) 2’46 Hugo Naessens (d), Edward Horsman (e) altos 58 Ma dove, o lasso me, dove restaro (Tasso) 2’38 e t’ami più de la mia vita 1’45 27 Intorno a due vermiglie e vaghe labbra Falco van Loon (f), Jonatan Alvarado (g) tenors 59 Io pur verrò là dove sete, e voi (Tasso) 2’17 92 Seconda parte Deh, bella e cara (Anon.) (a, b, c, d, g) 3’10 e sì soave un tempo 2’13 Bas Ramselaar bass (h), Jasper Scheppe baritone (i) 60 Lumi, miei cari lumi (Guarini) 2’25 Kees Hulsmann (j), Evert Jan Schuur (k) 28 Non sono in queste rive (Tasso) (a, b, c, d, g) 2’10 93 Terza e ultima parte 61 Rimanti in pace (Celiano) 3’30 Niek Iedema (l), Arwen Bouw (m) violas 29 Tutte le bocche belle (Alberti) (a, b, c, d, g) 2’14 Ma tu, più che mai dura 2’52 62 Ond’ei di morte la sua faccia impressa Cassandra Luckhardt viola da gamba (n) 30 Donna, nel mio ritorno (Tasso) (b, c, d, e, g) 3’26 (Celiano) 3’31 94 Che dar più vi poss’io? (Anon.) (a, b, d, f, h, p) 2’37 Arjen Verhade (o) · Krijn Koetsveld harpsichord (p) 31 Quell’ombr’esser vorrei (Casoni) (c, d, e, f, g) 2’44 95 M’è più dolce il penar per Amarilli 32 S’andasse Amor a caccia (Tasso) (a, b, c, d, g) 2’04 Madrigali Libro IV (Guarini) (a, b, d, f, h) 2’58 33 Mentr’io miravo fiso (Tasso) (a, b, c, d, g) 3’02 Madrigali Libro VII 63 Ah dolente partita (Anon.) 3’29 96 Ahi, come a un vago sol cortese giro 34 Se tu mi lassi, perfida, tuo danno 120 Sinfonia – Tempro la cetra 64 Cor mio, mentre vi miro (Guarini) 1’52 (Guarini) (a, b, d , f, g, h, n, o, p) 4’08 (Tasso) (a, b, c, d, g) 2’12 97 Troppo ben può questo tiranno Amore! (Guarini) (Marino) (e, i, l, m, n, o, p) 8’06 65 Cor mio, non mori? E mori (Anon.) 2’33 35 Ecco mormorar l’onde (Tasso) (a, b, c, d, g) 3’12 (b, c, d, f, h, n, o, p) 3’06 121 A quest’olmo, a quest’ombre 66 Sfogava con le stelle (?Rinuccini) 2’41 36 La bocca onde l’asprissime parole 98 Amor, se giusto sei (Anon.) (a, b, d, f, h, n, o, p) 3’17 (Marino) (a, b, c, e, f, h, i, l, m, p) 5’46 67 Volgea l’anima mia soavemente (Guarini) 3’06 (Bentivoglio) (a, b, c, d, g) 2’03 99 T’amo, mia vita! (Guarini) (a, b, d, f, h, n, o, p) 2’21 122 Non è di gentil core (?degl’Atti) (a, b, i, p) 3’41 68 Anima mia, perdona (Anon.) 2’30 37 Dolcemente dormiva la mia Clori 100 E così, a poco a poco (Guarini) 123 O come sei gentile, caro augellino 69 Che se tu se’ il cor mio* (Anon.) 2’21 (Tasso) (a, b, c, d, g) 2’48 (a, b, d, f, g, h, n, o, p) 3’06 (Guarini) (a, b, i) 3’54 70 Luci serene e chiare (Arlotti) 3’06 38 Crudel, perché mi fuggi 101 Questi vaghi concenti (Guarini) 124 Io son pur vezzosetta pastorella 71 La piaga c’ho nel core (Gatti) 1’58 (a, b, c d, e, f, h, j, k l, m, n, o, p) 6’15 (Guarini) (a, b, c, d, g) 2’21 (Anon.) (a, b, i, p) 3’12 72 Voi pur da me partite, anima dura (Guarini) 3’06 125 O viva fiamma, o miei sospiri ardenti Madrigali Libro VIII 178 Ogni amante è guerrier (?Gesualdo) (a, b, i, k) 3’02 149 Altri canti d’Amor (Rinuccini) (d, e, h, p, r, s, t) 4’56 126 Vorrei baciarti, o Fili (Marino) (c, d, i) 4’14 (Anon.) (a, b, c, d, e, h, p, r, t) 9’39 179 Io che nell’otio nacqui e d’otio vissi 7’24 127 Dice la mia bellissima Licori 150 Or che ’l ciel e la terra e ’l vento tace 180 Ma per quel ampio Egeo 0’40 (Guarini) (e, f, i, p) 2’24 (Petrarca) (a, b, c, d, e, h, p, r, t) 4’21 181 Riedi, ch’al nostro ardor 1’04 128 Non vedrò mai le stelle (Anon.) (e, f, i, k, p) 3’50 151 Cosí sol d’una chiara fonte viva 3’35 182 Non partir, ritrosetta 129 Ah, che non si conviene romper la fede 152 Gira il nemico insidioso Amore (Anon.) (d, e, h, t) 3’21 (Anon.) (e, f, i) 3’07 (Strozzi) (d, e, h, p, r, t) 1’10 183 Su, su, su pastorelli vezzosi 130 Ecco vicine, o bella tigre, l’ore 153 Nol lasciamo accostar, ch’egli non saglia 0’34 (Anon.) (a, b, d, t) 3’08 (Achillini) (e, f, i, k) 3’57 154 Armi false non son, ch’ei s’avvicina 0’46 184 Ballo – Movete al mio ben suon 131 Perché fuggi tra’ salci (Marino) (e, f, i, k, p) 3’12 155 Vuol degli occhi attaccar il baloardo 1’08 (Rinuccini) (a, b, c, d, e, h, j, k, p, r, t) 9’09 132 Tornate, o cari baci (Marino) (e, f, i, k, p) 2’33 156 Non è piú tempo, ohimè 0’43 133 Soave libertate (Chiabrera) (e, f, i, k, p) 3’22 157 Cor mio, non val fuggir 1’14 Le Nuove Musiche · Krijn Koetsveld artistic leader 134 Se ’l vostro cor, madonna 158 Se vittorie sí belle (Testi) (d, h, p, s, t) 2’58 Jennifer van der Hart (a), Wendy Roobol (b) sopranos (Guarini) (e, h, i, k, p) 2’57 159 Armato il cor d’adamantina fede Hugo Naessens alto (c) · Falco van Loon tenor (d) Bas Ramselaar bass (e) · Andrea Tjäder soprano (f) 135 Interrotte speranze, eterna fede (Anon.) (d, h, s, t) 2’50 Gerben van der Werf alto (g) · João Moreira tenor (h) (Guarini) (e, f, i, k, p) 2’32 160 Ardo, avvampo, mi struggo Pieter Hendriks bass (i) · Kees Hülsmann (j), 136 Augellin, che la voce al canto spieghi (Anon.) (a, b, c, d, e, g, h, i, j, k, l, p, r, t) 4’08 Evert Jan Schuur violins (k) · Bernadette Verhagen viola (l) (Anon.) (a, b, h, i, k, p) 3’23 161 Combattimento di Tancredi e Clorinda Niek Idema viola (m) · Jan Willem Vis viola (n) 137 Vaga su spina ascosa (Tasso) (j, k, m, p, r, t) 19’56 Elisabeth Ingenhousz viola (o) (Chiabrera) (e, f, h, i, k, p) 2’47 Falco van Loon Testo [narrator] Cassandra Luckhardt cello/gamba (p) 138 Eccomi pronta ai baci Arnout Lems Tancredi Zaynab Martin violone (q) · Arjen Verhage (r), Israel Golani (s) (Marino) (e, f, h, i, k, p) 2’27 Wendy Roobol Clorinda Krijn Koetsveld organ/harpsichord (t) 139 Parlo, miser, o taccio? 162 Altri canti di Marte (Guarini) (a, b, h, i, p) 4’23 (Marino) (a, b, c, d, e, h, j, k, l, p, r, t) 3’55 140 Tu dormi, ah crudo core! 163 Due belli occhi fur l’armi, onde traffito 3’40 Madrigali Libro IX (Anon.) (b, c, e, h, i, p) 3’06 164 Vago augelletto che cantando vai 185 Bel pastor (Rinuccini) (b, e, h, i, j) 4’30 141 Al lume de le stelle (Tasso) (a, b, e, h, i) 3’57 (Petrarca) (a, b, c, d, e, h, i, p, r, t) 4’30 186 Zefiro torna (Rinuccini) (e, f, h, i, j) 5’59 142 Con che soavità, labbra adorate 165 Ardo e scoprir, ahi lasso, io non ardisco 187 Se vittorie sí belle (Testi) (e, f, h, i, j) 3’00 (Guarini) (b, i, j, k, l, m, n, o, p, q, r, s, t) 4’26 (Anon.) (d, h, p, s, t) 3’13 188 Armato il cor (Anon.) (e, f, h, i, j) 2’50 143 Ohimé, dov’è il mio ben, dov’è il mio core? 166 Ninfa che scalza il piede e sciolto il crine 189 Ardo e scoprir (Anon.) (e, f, h, i, j) 3’18 (Tasso) (a, b, h, i, p) 4’36 (Anon.) (d, e, h, p, s, t) 1’21 190 O sia tranquill’il mare (Anon.) (e, f, h, i, j) 3’54 144 Se i languidi miei sguardi 7’42 167 Qui deh meco t’arresta 1’30 191 Alcun non mi consigli (Anon.) (d, e, g, h, i, j) 3’32 (‘Lettera amorosa in genere rapresentativo’) 168 De l’usate mie corde al suon potrai 2’12 192 Di far sempre gioire (Anon.) (d, e, g, h, i, j) 2’28 (Achillini) (a, i) 169 Dolcissimo uscignolo 193 Quando dentro al tuo seno (Anon.) (e, f, j) 2’16 145 Se pur destina e vole 8’49 (Guarini) (a, b, c, d, e, p, r, t) 3’07 194 Non voglio amare (Anon.) (e, f, j) 2’42 (‘Partenza amorosa … in genere rapresentativo’) 170 Ballo delle ingrate 195 Come dolce hoggi l’auretta (?Rinuccini) (g, i) (Rinuccini) (c, d, j, k, m, n, p, r, t) 33’51 (Strozzi) (a, b, c, j) 0’45 146 Chiome d’oro (Anon.) (a, b, i, k, l, m, p) 3’02 Jennifer van der Hart Amor, una delle ingrate 196 Gl’amoretti l’aura fanno 0’41 147 Amor, che deggio far? Wendy Roobol Venere 197 Ride il bosco 0’40 (Anon.) (a, b, e, h, i, l, m, p) 4’38 Bas Ramselaar Plutone 198 Entri pur nel nostro petto 0’56 148 Tirsi e Clori (Ballo) (?Striggio) Lamento della ninfa 199 Alle danze (Anon.) (e, f, g, h, i, j) 3’26 (a, b, c, e, h, i, k, l, m, p) 11’37 (Rinuccini) (d, e, h, p, s, t) 200 Perchè se m’odiavi (Anon.) (e, f, g, h, i, j) 2’46 171 Non avea Febo ancora 1’09 201 Sì, sì, ch’io v’amo (Anon.) (e, f, g, h) 4’56 Le Nuove Musiche · Krijn Koetsveld artistic leader 172 ‘Amor’, dicea, il ciel 3’23 202 Su, su, su, pastorelli vezzosi Jennifer van der Hart (a), Wendy Roobol (b) sopranos 173 Sì tra sdegnosi pianti 0’35 (Anon.) (e, f, g, i, j) 4’06 Hugo Naessens (c), Kaspar Kröner (d) countertenors Wendy Roobol La ninfa Falco van Loon (e), Gerben Houba (f) tenors 203 O mio bene (Anon.) (e, f, g, h, i, j) 4’04 Jasper Schweppe baritone (g) · Bas Ramselaar bass (h) 174 Perché te’n fuggi, o Fillide? Krijn Koetsveld organ & harpsichord (i) (Rinuccini) (c, d, e, p, r, t) 4’20 Le Nuove Musiche · Krijn Koetsveld artistic leader Elly Meijer harpsichord (j) · Arjen Verhage theorbo (k) 175 Mentre vaga angioletta Jennifer van der Hart (a),Wendy Roobol (b), Kees Hülsmann (l), Evert-Jan Schuur (m) violins (Guarini) (a, b, p, r, t) 8’13 Andrea Tjader (c) sopranos, Hugo Naessens alto (d) Bernadette Verhagen (n), Sven Rotteveel Mansveld (o) violas Falco van Loon (e), João Moreiro (f) tenors · Bas Ramselaar Cassandra Luckhardt viola da gamba & violoncello (p) 176 O sia tranquillo il mare, o pien d’orgoglio bass (g), Arjen Verhade theorbo (h) Lotte Beukman violoncello (q) (Anon.) (d, h, p, s, t) 3’51 Cassandra Luckhardt cello/viola da gamba (i) Ricardo Rodríguez Mirando viola da gamba (r) 177 Chi vole aver felice e lieto il core Krijn Koetsveld organ/harpsichord (j) Zaynab Martin (s), Robert Smith (t) violones (Guarini) (a, b, c, d, e, p, r, t) 2’03 MONTEVERDI Madrigali Book I-IX In Baci soavi e cari, though largely a homophonous setting, we see that Monteverdi is Libro 1 already revealing his penchant for the development of consonance. The very phrase ‘Baci The first two books of Madrigals by Claudio Monteverdi date from the period in which soavi e cari’ (‘kisses, sweet and lovely’) has a beautiful, simple and tender harmony. The he lived and worked in his native town of Cremona. Here we see the young , can be counted among one of the highlights of the First Book. obviously still under the influence of his teacher Marc’Antonio Ingegneri, engaged in the trade of writing madrigals during the . The texts of his contemporaries, Libro II including Giovanni Battista Guarini, Torquato Tasso, Girolamo Casoni and Antonio It makes one curious to see whether the same goes for Book II, which was, after all, Allegretti, serve as poetic sources of inspiration. The madrigal art was widespread and published in only three years later, in 1590. The first madrigal is a marvellous popular at all courts, and found its way in print all over Italy, as well as abroad. The example of painting with words: dawn is expressed by rising lines in the voices. Through fact that Monteverdi dedicates Books I and II to the Duke of Verona, Marco Verità, and the rhythmical proportions we can share the happiness of the night the lovers enjoy. It the Milanese nobleman Giacomo Riccardi respectively, shows his ambition to spread seems as if Monteverdi is already evoking those images with more ease, with more tonal his wings, in which he succeeded when he got an appointment at the House of Gonzaga painting, for instance in Non sono in queste rive and Tutte le bocche belle, but also with in Mantua. the enchanting, tranquil affects in works like Donna, nel mio ritorno. We now know that Monteverdi would earn his great name in musical history as a In the beautiful madrigal La bocca onde l’asprissime parole, we feel how the bitterness special composer of the seconda prattica, the heralding sign for a new era, the Baroque, of the words is emphasised by the initial harmonies, which shed a new light on almost and the actual conclusion of the Renaissance. It makes it all the more fascinating to see every syllable and thus express the uncertainty in those words. how the young musician, during the closing phase of the Renaissance, adds something It is clear that Monteverdi’s works had to gain a foothold among the plethora of to the existing body of works which we know from all his predecessors and partly from madrigal books that were published at the time. We can see that he was ambitious and his contemporaries like Ingegneri, , Philippe de Monte, , that his appointment in Mantua was a great leap forward. We can also see that he had and countless others. Is he exploring the boundaries at an early age the audacity to leave his own hallmark on a style that had already been well developed. already, or are they just fine examples of theprima prattica, written as they should be? Is Before long, he would leave this style behind forever. The heralding sign for a new era the emerging talent already perceptible, or should we rather wait patiently for the Third had sounded. and Fourth Book, on the eve of the seconda prattica? The rules for writing madrigals were fairly straightforward. Recitation of the text came first. Affects were made audible by Libro III melody, rhythm, and by playing with repetitions, strengths and harmony. Book I shows In 1591, Claudio Monteverdi was appointed to the court of the Gonzagas in Mantua. the dexterity of Monteverdi’s craft. We see it in the first madrigal already, where the first It was a farewell to his musical childhood and to his great teacher at the Cathedral phrase, ‘Ch’ami la vita mia’, follows the natural rhythm of the declamation in a beautiful of Cremona, Marc’Antonio Ingegneri, to whom he had dedicated his first two books way, with a simple harmonic setting. The phrase ‘il cor afflitto’, (the afflicted heart), gives of madrigals. One year after the move, the third book was published by Ricciardo us a reason to literally stop dead in our tracks, with double-length notes and very poignant Amadino in Venice and became a commercial success, judging by the reprints that were harmonies. This was the way to do it, so this was the way Monteverdi did it. issued in 1594 and 1611. There was even a reprint made in Antwerp in 1615, which clearly proves there was something special about the maestro from Mantua – later, of acquired craftsmanship. Carefully and with an unprecedented precision he gives voice course, from Venice. to the natural declamation of the words. And he frequently chooses those words from Many of the madrigals in this third book bear witness to the style of the teacher. the then popular epic I pastor fido by Giovanni Battista Guarini (1590). Silvio, Amarilli, The beautiful declamatory Renaissance style in, among others, La giovinetta pianta Dorinda and Mirtillo are the main protagonists from this tragicomedy, which blissfully and Sovra tenere erbette e bianchi fiori will certainly have elicited a benevolent nod of ends with two couples loving each other forever. This kind of poetry was hugely popular, approval from Ingegneri. But there is more to this book. This volume was well received maybe even more so than the more literary formats of the much earlier Petrarch and the for a reason, and Monteverdi’s qualities were recognised by his later employers in contemporary Tasso. Obviously the sales figures were positively influenced by Guarini’s Mantua for that same reason. lyrics, but Monteverdi seems to make a statement by concluding with Piang’e sospira, The way in which Claudio Monteverdi lets the voices render the drama one by one in ‘She wept and sighed’, setting beautiful, dramatic words by Torquato Tasso with notes O come è gran martire, ‘O what suffering it is’, to continue as a small narrative group so enchanting and so intense, with chromatic lines and miraculous harmonies to halt later on, serves to illustrate how painstakingly Monteverdi transforms lyrics into sound. any criticism dead in its tracks, music that makes us yearn for the next volumes, the next With the triptych Vattene pur crudel, setting lyrics by Torquato Tasso, Monteverdi opera. That same year Orfeo is performed in Mantua. paints in beautiful musical rhetorics the tragedy of lovers who are about to lose one another. Monteverdi makes Armida’s cry of loneliness, ‘Ito se n’è pur’, ‘Is he then gone’, Libro V cut through our souls. The young grandmaster has embarked upon his own path, It must have had the impact of a bomb. The discussion about musica moderna was which will make him one of the most significant on the threshold between in full swing, and suddenly, on the first page of Claudio Monteverdi’s fifth book of Renaissance and Baroque. Madrigals (1605), it exploded. In Cruda Amarilli, the explosion was the completely unprepared dissonance on the word Cruda, emphasising the meaning, cruel. It was as if Libro IV Monteverdi, without needing many words, wanted to demonstrate through his music: In 1603, Book IV was issued by the same publishing house, featuring works that Dear Artusi, you can claim what you like, you can exaggerate the discussion as far as apparently had been performed before and had caused some sensation. Giovanni Maria is possible, but this is how I do it. The seconda prattica is born and its laws are known, Artusi, in his famous essay Delle imperfettioni della moderna musica ragionamenti dui and those laws are decided by me, Claudio Monteverdi. (Venice, 1600), gives two musical examples of their unprecedented modernity. Indeed, The discussion about musica moderna was already longstanding. Around 1550 Nicola in Anima mia, perdona and the second movement Che se tu se’ il cor mio, to which Vicentino and Vicente Lusitano carried the banner, followed by the conservative Gioseffo Artusi refers, there are many harmonic and melodic inventions to enjoy. Dissonances Zarlino and the modernist Galileo Galilei, members of the Camerata, the elite Florentine appear where old rules have been broken and new rhetoric possibilities are created. club that decided the course that art should take. All these resources serve only one, simple goal: to create more space for the musical Giovanni Maria Artusi was a student of Zarlino and took up the battle in defence of rhetorics, to create more space for individual expression. In short: hopeful glimmers his teacher. In 1600 he wrote a treatise, L’Artusi, overo delle imperfettioni della moderna the light of a new age. The ensuing disputes are as obvious as they are entertaining. musica, where without mentioning names, he critically assessed a number of madrigals At the same time, Monteverdi demonstrates that he never tried to discard his formerly from Monteverdi’s fourth book. The pure style dictated that the harmony must be in service of the text and that only one mode may be used in a piece. He declared this, unfortunately the only surviving piece from the entire opera. Monteverdi reworked the however, without mentioning the name of the accursed Monteverdi. original solo into a 5-voice madrigal. Also here, there is already with the second note an Monteverdi’s response was cautious. In a fairly short foreword to Book 5 he wrote explosion: a tremendous dissonance makes clear how unmeasurably large Arianna’s pain that he would of course return to the questions and objections of Artusi, and he is. This is how it’s done. This is the dramatic language of this modern music. promised a theoretical justification for this new music, which he called theseconda In the Lagrime d’Amante al sepolcro dell’Amata, a breathtaking 6-part cycle of prattica. That treatise either never appeared or it has been lost. This was a smart move madrigals, we find everything that Monteverdi promised to state in words about the by Monteverdi. By naming his style seconda prattica, he defined a new style with new technical basis of this new music. Each word, every single subjective emotional meaning rules, different from the prima prattica, thus neatly avoiding controversy. is tightly set in harmony, rhythm and melody. This is the basis of everything the seconda Nonetheless, the controversy raged on. Treatises appeared under pseudonyms, prattica has to offer us. This is where music history was written. Not in words, but in Antonio Braccino da Todi amongst others, likely in fact Artusi himself. In 1607 astoundingly beautiful sounds. Claudio Monteverdi left it to his younger brother Giulio Cesare to make the defence and justification in the foreword to hisScherzi musicali in a Dichiartione. This was Libro VII again a fairly unusual and smart move. In this way he kept himself downwind from Claudio Monteverdi became famous with the publication of his fifth book of madrigals the controversy, and kept his position as a young and promising talent at the court of in 1605. The subtitle of the book says it loud and clear: ‘col basso continuo per il Mantua from being in jeopardy. clavicembalo, chittarone o altro’ (‘with basso continuo on harpsichord, chitarrone or Meanwhile, he made his point clear in the madrigals from the fifth book. The texts other instrument’). With this he heralded a new era: that of the seconda pratica, the determine the harmony, and the harmony is underlined by the basso continuo that is era of the basso continuo, the Baroque. The lively debate to which this gave rise, which written out for all the madrigals. Sometimes it is a reinforcement of what is there in all involved, among others, Giovanni Maria Artusi, was according to Monteverdi’s brother the voices and is in essence a doubling of the bass voice, but as in Ahi, come a un vago to be dealt with once and for all in the preface to the Scherzo musicali of 1607 by means sol, the continuo is essential in the accompaniment of the beautiful tenor duets, or as in of a tract by the great master himself. That tract has been lost or was in fact never Amor, se giusto sei, as a support for the delicate soprano solo. written, and there is not much that can be done about that. Solo with basso continuo, monody, appears little by little in the madrigals. The new We can imagine that Monteverdi’s contemporaries must have eagerly awaited his possibilities in music begin to blossom, not only by the emphasis on supporting the text, new books and the development of this new pathway they brought. Libro VI of the the introduction of new harmonies, the expressive loading given to the text, but also by madrigals from 1614 elaborated this new route further, without any new surprises, monody, a defining characteristic of all the revolutions of theseconda prattica. featuring monodies within the familiar five-part madrigal format. In 1613 Monteverdi was appointed as maestro di capella of San Marco, heralded Libro VI by the impressive sounds of the Vespro della Beate Vergine. His first surviving opera, Book 6 was published in 1614. Monteverdi was by that time already appointed to St Orfeo, had been heard a decade earlier in Mantua, his former home town. These two Mark’s in Venice. This new book begins immediately with a forceful statement. The works must have made an enormous impression on his contemporaries, and they still Lamento d’Arianna was part of the opera Arianna from 1608. A beautiful monody, resonate to this day. Everything is present in these two pieces: new concerti, independent instrumental music and ensembles of every shape and size, making the works a milestone At the end of the book is the closing number: the ballo Tirsi e Clori, the well-known in music history. love duet with a five-part accompaniment, with discretionary instruments added as a But the books of madrigals would grow in number yet again, and in 1619 Ricciardo statement. It is as if Monteverdi is giving us a little wink at the end of the book, as much Amadino published Libro VII in Venice. The title makes it clear from the start: as to say that five-part writing is still perfectly in order. ‘Concerto’ is followed by ‘Settimo Libro di madrigali 1, 2, 3, 4 e sei voci con altri generi The book is otherwise a magnificent collection with many expressive duets, here and de Canti’ (‘seventh book of madrigals for one, two, three, four and six voices, and other there with two violins in an infectious concertante style. The basso continuo has set a types of songs’). The old format of the five-part madrigal may have been replaced, but definitive course towards the new era where individual expression takes the lead, and the it still says ‘madrigali’ for various settings. There are texts by contemporaries such as straitjacket of the five-part ensemble is swapped for a looser fitting expressive jacket. Marino and Guarini, as well as some by Tasso. When we read the texts, the content seems somewhat simplified; the courtly literary lyricism gives way to a more colloquial Libro VIII feel, probably closer to the language Monteverdi’s contemporaries used and understood. In 1638, Claudio Monteverdi’s eighth book of madrigals – evocatively entitled Madrigali We can only guess as to the background to all this. The musical choice is clear: guerrieri e amorosi, or ‘Madrigals of love and of war’ – was published. Nearly 19 years this is new and breaks away from the madrigal which had proved its worth as the had passed since the seventh book had appeared in print. The Venetian economy had Renaissance form par excellence. The path is now open for much more individual taken a few serious blows in the intervening period, partly due to the disease epidemics expression, with the book containing several duets with more instrumental ritornellos, that were sweeping the country at the time. It was hardly the right moment for the growing importance of the basso continuo, and pieces with an ostinato bass and Monteverdi to publish yet another book of madrigals, even as he sought to build on his vocal ornamentation around the bass part, which serves as an effective foundation for fame both in Italy and abroad. Moreover, the popularity of the madrigal as we know it the whole piece. from the Renaissance up to the sixth book seemed to be on the wane. The seventh book It is certainly not unlikely that the commercial interest of the publication was served had already revealed major changes both in form and content. The title of that book with the title Libro VII of madrigals. The fact that we find vocal part books in widely contained the term ‘concerto’, and with that the path of the traditional madrigal had varying locations nowadays testifies to the great success of the preceding books, which been abandoned already. Monteverdi was searching for new ways to create his subjective, were much talked about, praised and occasionally even maligned. personal expression of a ‘madrigal’ within the new musical context of the basso continuo. It is hard to find a sense of uniformity in the book. It is a magnificent collection of all The development heralded by the opera, the seconda prattica, slowly but inevitably sorts of extraordinary pieces, perhaps compiled as material for small scale performances surpassed the madrigal. Its main characteristic was a high degree of individual in the palaces of Venice and Mantua, judging by the fact that the book is dedicated to expression; this was known as the stile rappresentativo (forerunner of what we today Caterina de’ Medici and Margherita, Duchessa di Mantova e di Monferrato in Piemonte. call recitativo), where the singer could sing freely over a basso continuo. But the Leafing through the book we can seeTempro la cetra framed by sinfonie and popularity of the madrigal, which was apparently still there or at least expected by the ritornellos, with the monody for tenor and basso continuo setting a sonnet by Marino. public, not to mention its resulting commercial value, prompted Monteverdi to name the A remarkable intro. Analogous is Con che soavità, labbra adorate, where the canto is books at hand ‘madrigals’, in spite of their departure from the old form of text, music surrounded by two instrumental choirs of violins and gambas. and affect that had elevated the madrigal art to such grandiose heights. A superficial glance at these two books may show us that Monteverdi had brought for love, birds, stars and rays of light. Alla francese (‘in the French style’), Monteverdi together new pieces, placing them into two main subjects: those that are guerrieri (of writes on top of Dolcissimo uscignolo and Chi vole aver felice e lieto il core. French war) and those that are amorosi (of love). Yet the book turns out to include many works metrics dominate the poetic form; the stanzas drape around the text and the metre has that had been written long before: the Ballo delle ingrate, for example, stems from 1607, a free and flowing form. The recital is clear and natural in its juxtaposition ofsoli and and the Combattimento di Tancredi e Clorinda is from 1624. In other words, the book homophonous polyphony. is actually in the same vein as the Selva Morale, a collection of sacred music published a In the short preamble to the breathtaking Lamento della ninfa, Monteverdi explains few years later, in 1640. how the piece should be performed, both in its spatial positioning – separately – and in The first part, theMadrigali guerrieri, opens with Altri canti d’Amor, preceded by a its way of performing: sung by the nymph, freely according to the affect rather than to a delicate sinfonia. ‘Others may sing of Amor; I sing of Mars, God of battle.’ The clash regular beat. Thus, both parties form a natural balance between observation (the three of arms is evident in the text, but even more so in the music, revealing a powerful new men) and personal involvement (the woman). element in Monteverdi’s works. The duality is always there: love as opposed to battle, The book ends with the wedding piece Ballo delle ingrate, conceived for Francesco the fight for the beloved one, for life, for happiness; elements that even in their tangible Gonzaga and Margaret of Savoy. The piece was written in 1607 during Monteverdi’s proximity remain apart. stay in Mantua, together with the tragedy Arianna, which, save for its Lamento, was Further on, we encounter pieces that are direct successors of the concerti from lost. Written in the stile rappresentativo, the preface clearly calls for a free recitativo Book VII, such as Se vittorie sí belle and Armato il cor d’adamantina fede. With Ardo, over an accompanying basso continuo. It also includes a very practical suggestion to avvampo, mi struggo Monteverdi opens a new chapter. In a magnificent setting of eight double the instruments if needed and desired in the space available. It is an impressive voices, strings and continuo, he unleashes an enormous force, depicting a scene of battle, piece, which includes a few ballets to remind us that it was written for a festive occasion. arms, death and victory. But there is also Pluto, who as a friendly but very strict and passionate moralist imbues Of course the crown jewel from this collection is the Combattimento di Tancredi the women of Mantua with their marital duties. When these duties are neglected, the e Clorinda. It is a shocking tale, written by Torquato Tasso in his magnificent opus underworld beckons. To emphasise his words, the ingrate – the damned – appear in Gerusalemme Liberata, largely told by Testo, the narrator, not as a neutral spectator order to impress upon the wedding guests their inescapable fate. but as a participant, who sees fate inescapably descending upon him. The instrumental Monteverdi had reached an advanced age when these books appeared in print. parts contribute to the power of this mini-opera, which is deemed one of the highlights Perhaps he wanted to publish one last, magnificent opus, as a signature under everything of Monteverdi’s body of works. A striking feature are the instructions that refer to the he did during his long life. We owe him much gratitude. gesti, the gestures, whereby the recitative style pronunciation and meaning must form a unity. But the composer also indicates that the piece can be preceded by pieces without Libro IX those gesti, and thus form one unity with other musical forms, like a fitting madrigal In 1643 Claudio Monteverdi died. He lived to be 76, a very advanced age in those days. from one of the earlier books. Judging by the fact that printed scores of his music have been found in many different In the second part, the Madrigali amorosi, Monteverdi picks up the thread with the locations, he was an acclaimed composer both throughout Italy and abroad. Yet many of Altri canti di Marte. Now the alleged battle tilts towards Amor, and metaphors appear his works, both sacred and secular, had not yet been published at the time of his death. It remains a matter of conjecture whether the lack of commercial revenue or the notion From then onwards, counterpoint would never disappear from musical history. that there was so much more, were the main reason for the posthumous publication of Through Johann Sebastian Bach and Wolfgang Amadeus Mozart and up to Johannes the Messa a quatro voci and other works. Brahms we see a fascination for the contrapuntal style and its use and development. It The preface seems to suggest that Monteverdi himself compiled the ninth book of is striking that Monteverdi leaves this path, heeding a possibly subconscious wish to madrigals, printed by his Venetian publisher Alessandro Vincenti. Monteverdi called it depart from the complex polyphony in which he had excelled with the first six books of Madrigali e canzonette a due e tre voci. It is an echo of the madrigals of olden times and madrigals. canzonettas which were all the rage by then. We discern a different genre in the first and last piece of this book.Bel pastor is a In opera, accompanied solo pieces was gaining importance, whereas the five-part duet, a dialogue between two lovers, and the last piece, O mio bene, o mia vita for two madrigal with counterpoint of the prima prattica and seconda prattica of the fifth and tenors and a bass, marks the end of an era while at the same time opening a perspective sixth books gradually gave way to the popular genre of the canzonetta. on a new one. With some imagination we can still call some of the pieces madrigals, albeit in two or Nine books of madrigals, all of them unique, contributing to the transition from the three voices at most. In this form each voice still follows its own path, sometimes alone, Renaissance to the baroque, a musical history in sound. And all composed by one single as a monody, sometimes in unison and monophonic, but also in the more contrapuntal genius: Claudio Monteverdi. texture of voices prescribed by the madrigal form. Needless to say it always came with © Krijn Koetsveld a matching basso continuo, which by then had become an integral part of the emerging baroque style. Numbers 3 to 6, which had previously been included in Book 8, still have those features. But new forms are emerging. In Alcun non mi consigli, each of the three voices has its own text and melody on a given bass. The three voices merge in the unison refrain. Di far sempre gioire follows the same pattern. Neatly arranged, with simple melodic lines and a ternary rhythm, which, together with a repetitive bass, lends the piece a strong sense of familiarity. Non voglio amare, Perché se m’odiavi and Su su su pastorelli are true canzonette, like the ones that had appeared in print in Scherzi Musicali in 1632. At an advanced age. Monteverdi was still an innovator. This ninth book was a last effort to elaborate on new forms, and a contribution to the search for new ways that needed to be found. The canzonette were the pop music of their day, uncomplicated and easily recognizable. The monodic style, with an accompanied soloist, was blazing a trail that would lead to the greatly extended possibilities of individual expression of the solo singer with accompaniment. The daring project of recording all 9 books with Madrigals of Monteverdi is finished. New projects coming up are recordings of the Selva Morale and the re-creation of the lost opera Arianna by Monteverdi.

Krijn Koetsveld knew at young age he was going to be a musician. Once at the Conservatory in The Hague, he studied organ, choral conducting, piano, orchestral conducting and church music. Later on followed the harpsichord, on which he is self taught. During and after his conservatory he attended masterclasses with pioniers in the field of authentic performance practice, including Gustav Leonhardt and Nicolaus Harnoncourt. At the Monteverdi Week in 1972 in The Hague he came into contact with the, then almost unknown, music by Claudio Monteverdi. Love at first sight, Le Nuove Musiche which never passed. The ensemble Le Nuove Musiche was formed in December 2004 with the aim of He conducts a lot of Bach, as well as Mozart, Brahms and Poulenc, in the performing vocal music from the first half of the 17th century at the highest level. The Netherlands and abroad. He has worked with the Nederlands Kamerkoor, the Groot best singers and instrumentalists immerse themselves in performance practice and allow Omroepkoor, the Radio Chamber Orchestra, the conservatories of Malmö, Turin, the texts to penetrate to their core in order to captivate the 21st-century listener. Wroclaw and Lugano. It is not just the music from this time of musical, political and religious turbulence He was the founder and conductor of The Netherlands Bach Ensemble, now that still resonates 400 years on. Le Nuove Musiche Ensemble seeks a confrontation conductor of the Nieuw Bach Ensemble. For several years he taught choral with the present. The MonteverdiXL Festival, which has already seen 3 editions, is a conducting at the Conservatory of Utrecht, where he became artistic director, stage created to inspire the audience and musicians with that old beauty with other arts, followed by the same function in Enschede. with educational programs and surprising theatrical discoveries. He was the initiator of the van Wassenaer Concours, where he is artistic director. Le Nuove Musiche Ensemble got off to a flying start with their debut performance as In 2004, Monteverdi again came into focus and he founded Le Nuove Musiche part of the International Van Wassenaer Competition in 2007. They have given concerts with a select group of singers. With these he embarked on the project of recording throughout the Netherlands and plans have been forged for their first foreign tours, the complete Madrigals. starting in Cremona, birthplace of Claudio Monteverdi. The climax so far has been a Inspired by these recordings, he founded the MonteverdiXL Festival, which is concert in the small hall of the Concertgebouw in Amsterdam. already hosting its fourth edition in 2019.

Recording: 2013-2017, The Netherlands Recording producer: Peter Arts, Arts Music Recording, Rotterdam Language Coach: Daniela Fasoglio English Translation of sung texts: Susannah Howe, Books V & VI, licensed courtesy of Naxos Music Group Artist photo by Jip Warmerdam Cover: Monteverdi, by Bernardo Strozzi (c.1581-1644) p 2015-2018 Brilliant Classics © 2019 Brilliant Classics