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Claudio MONTEVERDI Et Son TEMPS

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Claudio MONTEVERDI Et Son TEMPS Claudio MONTEVERDI et son TEMPS FESTIVAL du COMMINGES ----- Auteur : Gérard BEGNI – Edition 1, 30 décembre 2015 1 Toccata ouvrant l’ « Orfeo » 2 SOMMAIRE • 1 - LES ANNEES D’APPRENTISSAGE ............................................................................................................ 7 1.1 – Jeunesse et formation .......................................................................................................................... 7 1.2 – Un jeune maître. ................................................................................................................................... 7 1.3 – Les trois premières œuvres. ................................................................................................................. 8 1.4 – Les deux premiers cahiers de madrigaux ............................................................................................. 9 1.4.1 – Les circonstances et les études de Monteverdi. ............................................................................ 9 1.4.2 – Le premier livre de madrigaux (1587)............................................................................................ 9 1.4.3 – Le second livre de madrigaux (1590) ........................................................................................... 10 • 2 – Les DEBUTS à MANTOUE – CAMPAGNES et VOYAGES ...................................................................... 10 2.1 – Mantoue – Le troisième livre de madrigaux ....................................................................................... 10 2.1.1 - L’engagement à Mantoue ............................................................................................................ 10 2.1.2 – Le troisième livre de madrigaux (1592). ...................................................................................... 11 2.1.3 – Les premiers temps à Mantoue. .................................................................................................. 11 2.2 – Campagnes, voyages et intermèdes ................................................................................................... 11 2.2.1 – La campagne de Hongrie ............................................................................................................. 11 2.2.2 - L’intermède avant les Flandres. ................................................................................................... 12 2.2.3 – Le voyage en Flandres. ................................................................................................................. 12 • 3 – Du RETOUR des CAMPAGNES à la maturation de l’ORFEO ............................................................... 13 3.1 – L’affaire Artusi .................................................................................................................................... 13 3.2 – Monteverdi ‘maestro di capella’ ........................................................................................................ 14 3.3 – Le quatrième livre de madrigaux (1603) ............................................................................................ 15 3.4 – Vers le cinquième livre de madrigaux (1605) .................................................................................... 15 3.4.1 – 1604 et ‘ Endymion ’ ...................................................................................................................... 15 3.4.2 – Une préface importante. ............................................................................................................. 16 3.4.3 – Le cinquième livre en lui-même. ................................................................................................. 16 3.5 – Les ‘ scherzi musicali ’ de 1607 ............................................................................................................ 17 • 4 – De l’ORFEO au « REMERCIEMENT » MANTOUAN ............................................................................. 17 4.1 – l’Orfeo ................................................................................................................................................. 17 4.1.1 – Un temps de latence chez Monteverdi ........................................................................................ 17 4.1.2 - Les circonstances de la création de l’Orfeo .................................................................................. 18 4.1.3 – Les caractéristiques majeures prodigieusement novatrices de l’Orfeo ...................................... 18 4.2 – L’éprouvante année 1608 ................................................................................................................... 22 4.2.1 – L’ ‘ Arianna ’ ................................................................................................................................... 23 4.2.2 – Le ‘ Ballo delle Ingrate’ ................................................................................................................. 23 4.2.3 – L’ ‘ Idropica ’ ................................................................................................................................... 24 3 4.3 – Le recueil dit ‘Des Vêpres’ de 1610 .................................................................................................... 24 4.3.1 – Les circonstances ......................................................................................................................... 24 4.3.2 – La messe ‘In illo tempore’. ........................................................................................................... 25 4.3.3 – Les Vêpres solennelles de la Vierge Marie : histoire et rituel ..................................................... 25 4.3.4 – Les Vêpres solennelles de la Vierge Marie : le style .................................................................... 26 4.3.5 – Les Vêpres solennelles de la Vierge Marie : analyse détaillée .................................................... 27 • 5 – Les ŒUVRES VENITIENNES jusqu’aux ULTIMES CHEFS d’OEUVRE .................................................... 30 5.1- Monteverdi à Venise. ........................................................................................................................... 30 5.2- Le sixième livre de madrigaux (1614). .................................................................................................. 31 5.2.1 – Considérations générales............................................................................................................. 31 5.2.2 – Les deux cycles de ‘ lamenti ’......................................................................................................... 31 5.2.3 - Quelques autres madrigaux ......................................................................................................... 32 5.3 - ‘Tirsi e Clori’ (1615). ............................................................................................................................. 32 5.3.1 - La commande. .............................................................................................................................. 32 5.3.2 – La vision de Monteverdi .............................................................................................................. 33 5.3.3 - La musique. ................................................................................................................................... 33 5.4- Le septième livre de madrigaux (1619). ............................................................................................... 33 5.4.1 – Considérations générales............................................................................................................. 33 5.4.2 – Madrigaux ‘ a voce sola’ .............................................................................................................. 34 5.4.3 – Duos, trios, quatuors ; le ‘ contrepoint harmonique’ ................................................................... 35 5.4.4 – Final : ‘ Tirsi e clori’ ....................................................................................................................... 35 5.5 - Le ‘Combattimento di Tancredi e Clorinda’ ......................................................................................... 35 5 .6 – Œuvres diverses. ................................................................................................................................ 36 5.6.1 - Les musiques refusées par Monteverdi (ou ses commanditaires) ............................................... 36 5.6.2 – Une collaboration réussie : Monteverdi et les Farnese de Parme. ............................................. 37 5.6.3 - Les musiques de circonstance dispersées. ................................................................................... 38 5.6.4 - Les musiques détruites à Mantoue. ............................................................................................. 38 5.6.5 – Les musiques éditées en albums collectifs. ................................................................................. 38 5.7 - Les scherzi musicali (1632) .................................................................................................................. 38 • 6 - LES ULTIMES CHEFS D’OEUVRE .......................................................................................................... 39 6.1 – Le huitième livre de madrigaux (1638) ............................................................................................... 39 6.1.1 – Traits généraux. ..........................................................................................................................
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