1950_Monteverdi Creator of Modern Music_1950_00

$10,00

MONTEVERDI Creator of Modern Music REISSUED

By LEO SCHRADE Leo Schrade's

study interprets the

classic

music of Monteverdi "as an integral unity in which the life of of genius, the problem art, and the phenomenon of culture flow together to produce one of the most felici tous

accomplishments in the history of

music," Analyzing Monteverdi's work as the foundation of seventeenth-century

music, Dr, Schrade shows how Monte verdi developed a style of musical com position that not only completely revolu tionized the art of music in his time, but

became the guiding sequent musical tieth

principle of all sub down to the twen

styles

century.

With Monteverdi,

for the

history the musical art

first

time in

work became

in

an expression of man, of human passions, and of human drama. His spe delibly

cific

musical idiom lasted through the age

of Bach; but the basic conceptions of composition, of harmony and melody, of expressiveness, all of

which arose with

Monteverdi, transcended his period and became those of our own music. The author sets Monteverdi's music within

its

cultural

and

historical enviion-

ment, drawing on the broadest resources of scholarship to show the growth of his art as it developed step by step in uniquely logical order. And by means of the de tailed analysis of many musical composi

he draws together the elements of and expressive ness in Monteverdi's music and relates tions,

history, aesthetics, style,

them

to seventeenth-century

life.

DEC 17

199!

780.92

69-473?! 780.92 M76ls Schrade $10.00 Monteverdi

69-47361

MONTEVERDI s^.

Creator of

Modern Music

Claudio Monteverdi, from Fiori Poetici, 1644

Qreator of ^Modern

o LEO SCHRADE

Qnator

o

o LEO SCHRADE

W W

NORTON & COMPANY

INC

New

York

COPYRIGHT 1950 BY W. W. NORTON & COMPANY, INC. First

1969 published in the Norton Library

ALL RIGHTS RESERVED PUBLISHED SIMULTANEOUSLY IN CANADA BY GEORGE J. MC LEOD LIMITED, TORONTO

W. 'W.

& Company,

Inc. is the publisher of current Norton or forthcoming books on music by Putnam Aldrich, William Austin, Anthony Baines, Philip Bate, Sol Berkowitz, Friedrich Blume, ard Boatwright, Nadia Boulanger, Paul Brainerd, Nathan BrOder,

How

Manfred Bukofzer, John Castellini, John Clough, Doda Conrad, Aaron Copland, Hans David, Paul Des Marais, Otto Erich Deutsch, Frederick Dorian, Alfred Einstein, Gabriel Fontrier, Harold Gleason, Richard Franko Goldman, Noah Greenberg, Donald Jay Grout, James Haar, F. L. Harrison, Daniel Heartz, Richard Hoppin, John Horton, Edgar Hunt, A. J. B. Hutchings, Charles Ives, Roger Kamien, Hermann Keller, Leo Kraft, Stanley Krebs, Paul Henry Lang, Lyndesay G. Langwill, Jens Peter Larsen, Jan LaRue, Maurice Lieberman, Irving Lowens, Joseph Machlis, Carol McCHntock, Alfred Mann, W. T. Marrocco, Arthur Mendel, William J. Mitchell, Douglas Moore, Joel Newman, John F. Ohl, Carl Parrish, Vincent Persichetti, Marc Pincherle, "Walter Piston, Gustave Reese, Alexander Ringer, Curt Sachs, Denis Stevens, Robert Stevenson, Oliver Strunk, Francis Toye, Bruno 'Walter, J. T. Westrup, Emanuel Winternitz,

Walter Wiora, and Percy Young.

PRINTED

EST

THE UNITED STATES OF AMERICA

1234567890

TO

ALBERT SCHWEITZER as a

token of deep admiration

KANSAS |0 .cP

CITY (MO.)

^oLlC LIBRARY

CONTENTS

1 1

Preface

PART ONE The "Perfect Art": ONE

The

A Prelude

to

Monteverdi

Perfect Art, a Classic Ideal of Music in the Sixteenth

Century

TWO

The

17 Position of the

Ars Perfecta

in Sixteenth-Century

48

Italy

PART TWO The Struggle with

the Past

THREE Beginnings in Cremona. FOUR The Style of the Cantiunculae

77 86

Monteverdi's Canzonette

106

FIVE

The Madrigal: The New Artistic Medium SEVEN The Madrigals of i$o$t

me ab

J

- ne jfet

sc -

M

prde-va.-

III

mct-ip-iw

-

vi-nm

J

J

bt

J

J .

lu.-it

I

I

U

-

o

ca-pi-te

t

^luw-i-cu: me-\u

i

Pastor

H

J.

in,

.

e

ts

JllJ'

,1

tu.tvc

JJJJ i

1 vilt

pi

short values varies in all

J

J

du

J

J

i

ad-ver-a$ e-

-

o

N vcl

J.

tres

Jll .

'*

J>

coftHjre-

Thus the musical rhythm follows harmoniously the accentuation of the Since the text is prose, without regularity of meter or any organ ized succession of rhythmical qualities, the musical rhythm is never text.

crystallized

into a pattern,

and the rhythmical formula never becomes

we can easily imagine that such treat stereotyped or repetitious. But ment of a text with a metrical or rhythmic regularity would automati in repetitive patterns. cally result in imitative relation to the text Musical

is

not an

attribute

rhythm produced of the Northern school. At times declamation was used de and by Josquin, and some Venetian

liberately

energetically, especially

of Adrian Willaert had introduced composers under the guidance in their melodies. Motets by Andrea Gabrieli elements declamatory have originated with Willaert himself, that continued a practice

may

and Orlandus Lassus treated declamation it

a specific

mark of

still

more

seriously,

making

well Although these predecessors may the none of them acknowledged principle

his style.

have inspired Monteverdi, of imitation as the main source of musical rhythm. That

this imitation

THE STRUGGLE WITH THE PAST

92

brought forth so many

was by accident rather than from ar declamatory, and principally syllabic rhythm

varieties

tistic intention. Imitative,

was used by Monteverdi in his first compositions. Syllabic declamation, exclude the use of the melisma, though kept up on principle, did not two tones 7 a which assumed two forms: simple ligature combining or a full group of tones varying in numbers. Monteverdi used the melisma for two purposes. One was to distinguish an individual word In this use, the melisma varies in length, and underline its significance.

depending on musical

necessities.

Ex.

JIJTJJUJ -Tiis

The

et

can

ti-cis

the melisma whenever examples show that Monteverdi used

the meaning of a word naturally suggested it, or when the importance of a word made it musically prominent. The word "Alleluja" has, of fa course, a special place in this category. The Netherlanders were last in the kind of with this miliar melisma, particularly generation of

the school, and it was from them that Monteverdi learned its use. One form of this melisma is the realistic imitation of a word through tones which take on the character of a material gesture to convey the mean

word

ing of the

symbolically. Thus, a succession of ascending tones, an interval, may represent the

rising either according to the scale or

word

"Surge."

by The Netherlanders made

and Monteverdi Ex.

adopted it in

use of this form of realism,

his Cantiunculae.

xiv, 8

3 ?1

-

$ur

Ex.

at times

-

-.--gttttt--

-_

_

__gc

3,2

Mpw

J

r

i

r

r

Sur

f

i

Je- -sus

however, that this type of realistic gesture was less used by Monteverdi than by Northern composers, probably frequently because he realized that the realistic melodic motif, with a procedure It is

of 7

its

significant,

own, did not conform to

The only

ligature used

is

syllabic declamation.

the so-called ligatura

cum

opposita proprietate.

THE STYLE OF THE CANT1UNCULAE

93

Monteverdi's second use of the melisma

Of greater importance is when the regular declamation

requires a relatively large rhythmic

mark an accentuated or long syllable. When Monteverdi puts come both forms side by side, the pure declamation does not ordinarily

value to

with the melisma as an increase and intensification, but the melismatic version is used first and then reduced to the declamatory type. first,

Ex. 4

n

n et quit

lie

- to

ie

-

-

to - -

T

b.

-

ve-

-

TII

ve -

-

-Tit

ve

-

m

-

-

ve - ni

-

*

e j

XLUI

j

ve -nit Ho-Td.

ve - nit

ho

----

m

ve-nit ho-ra.

|po-

je-Al

.

^

At

7ne-o$

OS

times

two

-

-

-

tij

xu

^^F^ cam an-

---

-

o-

cu

- los

me-

-

\

different melismatic versions are set over against

two

to alternate symmetrically, with the both forms value.

declamatory forms and made When melisma taking the place of a long rhythmic are considerable artistic the occur in the same composition, implications that dissociates motifs of terms in of a and reveal melody concept of Monte melodic a When Northerners. the from phrase Monteverdi to be melisma the a to form, proves reduced be can verdi's primary a

form of the

The Nether

original phrase. superimposed upon simple as the essential part of landish composer, however, took the melisma terms of the melisma. in his melody, for his melodic thinking was always of He never started with a basic and simple phrase which any and all

Such a concept would ornate variations must be regarded as offspring. the above motif uninterrupted melismatic a clearly defined produce

THE STRUGGLE WITH THE PAST

94

this is precisely what takes place in Monteverdi's handles the motif, set to a text phrase, as a melodic entity,

stream of melody, and

melody.

He

which has

own force and

its

tends to organize the melodic course, not

for the sake of producing endless melodic lines, but to achieve clarity of the individual phrases. This by means of the well-designed contours

force which organizes the melody, though

still

irresolute

and some

itself felt in certain sections

indistinct, is strong enough to make be such as of Monteverdi's work. The power of a melodic motif may it to that the of text; say, its immediate to regardless

what

sequel,

produce

because of

tendency to complete

its

itself,

one melodic type

used for two different successive phrases of the

Ex. 5

xiv,

- ci -

Motif a

spi-ri-tu-m

productive its

be

12

p7~~"

is

variation of

may

text.

own,

Tne-unT''



'-T' ,

^^i$4

V>,-,

'^|^P(M^^,

^Sf^ '^ '*X*^' :

"'4:1^:,

3

-

V-,!'

;;

;

:;^'

V^l^^fi^t/,

Letter of Monteverdi, February person in Rome

'

,

2,

1634, addressed to

^

an

":,;-

! ,

unknown

4

The

VKNEZI-A

Parlor of the Nunnery, Venice; Presentation of

AGU

5 Palazzo

INlZt

DEL

SEC. XVII

Mocenigo, the Salon* Where Was Performed

Clormda

Masque with Music

//

Combattimento

di

Tancredi e

THE MADRIGAL: ARTISTIC MEDIUM of the motif may be regarded

as a result

129

of the native song. Fourth:

The

literal madrigal is divided in three sections, the last being a complete and b are as a, of the and b Sections second (a ||: closely repetition :[|).

material for the individual verses, yet they are second part clearly recognizable as sections. The repetition of the at the end is a structural arrangement taken over by the madrigal^

connected

as the

of in repetition dividual phrases, motifs,_or single words, but repetition of a full section of this was~a feature borrowed from the native song. special form

from the canzonetta. Thejnadrigal often contained

A

tried out several times by Monteverdi. Instead of repeat repetition was to the letter, he exchanges voices. Nothing is materially the section ing

change in tone color perceptible only to sensitive These madrigals, however, are all rendered soloistically, and there

altered, except for a ears.

fore even such slight alterations are effective. This structure of sectional repetition (a:bb)

is

an important

stylistic

factor in Monteverdi's madrigals and gives rise to one of the leading forms in the opera and the cantata of seventeenth-century Italy. The sectional aria, structurally organized through the repetition of its sec "dal segno al fine/' is a direct derivative later to be marked ond

by

part,

from such a madrigal

as

Monteverdi's CVio ami

fore an indirect descendant of the canzonetta.

la

ma vita and

From the time

of

is

there

Monte

verdi on, and chiefly in the second half of the seventeenth century, this as to be called the "seicento type of aria structure became so popular aria." In

view of

verdi's madrigal

this

its

eminence,

it is

but appropriate to give Monte

due.

Other devices that were to be of increasing importance verdi's creative

work

are also anticipated in this book.

in

The

Monte

madrigal

cara e amata shows an ingenious arrangement. Phyllis is to answer the immortal question of whether her beautiful lips will belong to her lover: "Questa tua bella bocca, non e mia?" (Thy sweet lips, are they not mine? ) As the question is naturally the core of the matter, it re treatment. Hence Monteverdi provided for the words quires emphatic "non e mia?" an exclamatory motif with simple sustained tones, which Filli

also fulfills a

harmonic function:

Ex. 29

i,

21

THE STRUGGLE WITH THE PAST

130

To

of the motif, the upper voices in a duet heighten the impression more softly the first part of the ques

are at the same time declaiming tion, "Questa tua bella bocca?"

Ex. 30

i,

21

(*.}

a simple trio passage, with the melodic declamation in the in the bass. The harmonic func upper duet and the harmonic support tion is, in fact, so strong that at first we are scarcely aware of the sig nificance of the phrase as a motif. However, when it recurs in immediate with the declamatory passage rendered by a differ repetition, together ent combination of voices, its importance becomes clear, especially

This

is

since an equally sustained motif to

"non

mia"

e

is

set against it in

count ermotion:

-non

i

-

-4

This basic motif appears with different texts throughout the composi both with slight variation and in literal repetition.

tion,

EX. 32

I,

22

^m O'a.

-

^ 0'a-ia.r

in

ttfil

r-

1

frit

-

-

f

i

ba-

-

*

cl

This device of inventing a special motif for the artistically and emo tionally central material and using it as the basis for the composition as a

whole was employed by young Monteverdi only on a

relatively

THE MADRIGAL: ARTISTIC MEDIUM small scale, and tions

its

meaning becomes apparent only in his

with their intricate structure.

later

13!

composi

He invents simple or rather ordinary

motifs even for the most expressive phrases of the text which is sur in a composer capable of writing melodies of extraordinary and prising

The simplicity of the motifs, however, serves harmonic and to the structural organization by reflecting contributes purposes the importance of a phrase in the text. When we hear the initial trio in Filli cara e amata, we are never conscious that behind it lies the

noble beauty.

of intellectual logic. The effect in this and similar madrigals written an of is engaging and highly sensuous euphony apparently the their to senses. The more mature Monteverdi grew, for only appeal discipline

the

more

successful he

became

in disguising such artistic devices

by

element was ever present, alluring effects of sound. The rationalistic hidden. similar situation existed in the early part of the but

wholly

A

fourteenth century, when the rigid scheme of a rational organization was concealed by a sweetness of sound that seemed to preclude any intellectual approach. Monteverdi re-established this relationship tween the senses and reason in his first madrigals.

be

When

he intended to unfold the emotional implications of the text for expressive purposes only, Monteverdi used less original techniques, closer to the tradition of madrigal composition and to the idioms of his time. Such words as "pain" (dolore) and "death" (morte) almost are of an always call forth certain chromaticisms. Since the poems amorous nature, using stylized expressions for unfulfilled love, which causes pain and brings a longing for death, the chromaticisms are a re current feature. Other words of extraordinary tension and objects which convey emotional associations are chromatically expressed, es pecially

"heart" (cor), as the seat of

all

emotions. All these forms are

commonly classified as madrigalisms. The specific chromatic procedures de Rore, madrigals reflect his study of Cipriano relation intimate Their constructions. elaborate but without the most of Monteverdi's

first

to the canzonetta limit Monteverdi's madrigals to a concise, but vital, brevity. as much a part of the madrigalesque vocabulary Words such as "flower" or "laughter" are often ex

Decorative melisma is as

chromaticism.

or less extensive length. Such melispressed in groups of tones of more mata are at times carried in successive imitation from one part to the with the other, and this interplay loosens somewhat the direct contact individual word that originated the melismatic figure and brings a structural element into the foreground. Not all the melismata, however,

132

THE STRUGGLE WITH THE PAST

are expressive of the connotation of words; some seem from the very start to have been invented with structural purposes in view; others re

main ambiguous as, for instance, in Questa ordl il lac do where the words "fiori," and "erba" occur, but the melisma is set to "il tese": Ex. 33

r,

46

il

U

*

This melisma culminates in a definitive cadence reached in the of a diatonic run through the scale. The phrase is impelled straight line to complete itself in the cadence. Something of a favorite with Monte as a similar verdi, such a formula was also used in previous canzonette, show: bene il mio e dotf in motif may Raggi

Words that refer to dancing, singing, or the attendant gaiety are here and there expressed by the rhythm. To imitate the dance, a passage of the madrigal may change its basic meter from duple to triple time,

An simultaneously swing into dance rhythm. or in Puma la Pastor ella. Usciam homai, Ninfe example given and other madrigalisms in a rather Although Monteverdi used these one of these idioms seems to have though skillful, manner, and

all

the voices

may

in

is

impersonal,

more individuality a special expression of the torments of love in which the tones gradually die away. A passage of lively declamation and then, at an emotional phrase, in particular with the word "morire," the motion slows down and the voices proceed with and lose rhythmic de hesitation; they decline, fade away, linger on, a with dies and the languid sigh. This ex termination; away

may precede,

passage of the pain of sorrow and death, realistic in pression of melancholy, most convincing, and it is a striking mark of is

principle,

poetically

art. The first madrigal gives such a form ro the words "il and there are other remarkable examples, such as the pas a morire" in the madrigal La vaga Pastorella, where sage "Ch'io mi sento the lover begs his shepherdess not to flee or else he must die. What we

Monteverdi's cor

afflitto,"

discover in these youthful works is probably not a perfect artistic ex as genuine and individual as any in the pression, but one undoubtedly

THE MADRIGAL: ARTISTIC MEDIUM later

133

works of the great tragedian that Monteverdi was to become. of three madrigals with which the collection ends is of

The group

interest. Students of Monteverdi have severely criticized particular these compositions for their complete lack of originality and because 6 of the composer's failure to render the dialogue of the lovers dramatic.

These criticisms are rather beside the point. It is true that Monteverdi's first book showed that he had not yet discovered how to give an ade or to direct speech, a task he set for himself later. quate form to dialogue inferior to the rest from of this last But madrigals is by no means group a technical point of view, and the problem Monteverdi wanted to solve

was an

other

is

entirely different one.

The

relation of the texts to each

not that of a true dialogue, but of

a

parody. Tasso's

poem

and Monteverdi translated the parody into parodied Guarini's madrigal, musical terms by patterning one composition on the other. When he Ardi e gela as Tasso's "risposta" to Guarini's Ardo si ma non

composed of famo, he used the musical material of the first madrigal. The bass all in Ardi e gela is, in fact, a variation of the first madrigal, while parts both have the same ending, with only slight variation. The next parody Arsi e

alsij

the "contrarisposta," has

two preceding

compositions,

as

many features in common with the

most

is

strikingly

shown

in the initial

themes:

Ex. 35

i,

61

n

J

i

J

Ar

Ex. 36

i,

67 A C*tilo

J

Ar-

M e

j

* I

r

r

.!-

that Monteverdi accepted as a problem to technique of parody a minor problem. Parody had been ex means no is it and be solved, by and also by the older genera all Northern used It is this

composers by tensively tion of madrigalists. Monteverdi tried it out here in a a mixture of madrigal

and canzonetta, and

this

medium

that

nificance of the last three madrigals. One more collection of madrigals left 6

was

appears to be the sig

was completed before Monteverdi to Cremona, and was published in Venice in 1590. It was dedicated

Leichtentritt, Prunieres, Schneider,

and Redlich have made

this criticism.

134

THE STRUGGLE WITH THE PAST

nobleman of Milan, Giacomo Ricardi, President of the Senate and a with which Monteverdi's Cremopatron of music. This second book, nese period concluded, showed the musician well advanced beyond his of how to incorporate the form and previous work. The problem characteristics of the canzonetta into the madrigal had been given a solution he could well regard as definite, and the study of native songs had borne fruk. The second book gave evidence that he was now to raise the formal conceptions of the madrigal to new emi a

attempting

nence and using the canzonetta only to give color to subtleties of de No longer did the canzonetta control the form of the madrigal as a whole. This relation between madrigal and canzonetta was to last for many years. The native song continued to play a secondary role until Monteverdi, in a fresh approach, found new resources in the wealth of material it had to offer.

tail.

v

CHAPTER SEVEN

The Madrigals

of

1590

TN THE three years between the publication of the

first and second books of madrigals, Monteverdi rapidly matured in discipline, logic, and creative originality. In spite of the differences between the two books, there is no break in the logical continuity. The differences are not the result of revolutionary changes, but the product of an orderly mind that presents each book of madrigals as a uniform entity. The most striking change is in the choice of texts. In the first book Monteverdi yielded to the fashion of the time as to what was befitting a madrigalist and did not permit the texts to pose problems of their own, concentrating all his thoughts on the music. In the new madrigals, as a result of his greater artistic freedom and assurance, the choice of texts took on added significance. The second book of madrigals contained works by several new poets: two by Girolamo Casoni, two by Filippo Alberti, one by Ercole Bentivoglio. There is again one poem by Guarini, and the concluding work 1 is by Pietro Bembo. The appearance of Bembo came as an anachronism. By the time Monteverdi began his work, the days were over when

JL

Petrarch's Canzoniere filled every collection of madrigals, and Bembo's in the style of a classical purist were favored by madrigalists. Petrarch was not represented in Monteverdi's earlier books, and Bembo very rarely once in the second book, and once again in the third. The poetry of the age had discarded Bembo's severe classicism based on

poems

the imitation of ancient rhetorics, his elegant, formal verbiage and his ideal of beauty for beauty's sake. 1 Rudolf Schwartz, "Zu den Texten der ersten f iinf Biicher der Madrigale verdis," in Festschrift (Leipzig, 1918), p, 148.

Monte-

136

THE STRUGGLE WITH THE PAST

In the place of Petrarch and Bembo was the new glory of Torquato Tasso. His lyrics were chosen by Monteverdi for the place of honor in the second book, and ten of its twenty-one madrigals were by him. Monteverdi's choice thus established a personal relationship to a certain kind of poetry. It was an avowal that poet and poet and a certain musician were dedicated to the same ideas and influenced by the same This does not imply that such a relation had never existed before, spirit. but it existed here in Monteverdi's work for the first time, and he main tained

it

in his later collections of madrigals. The musician turned to who seemed to him the truest incarnation of the spirit of the

the poet its age, of

artistic ambitions, and gave Tasso's Non at the beginning of his second distinction of levava ancor the place

si

human

desires

and

book.

How does this agree with In

pleted his

Tasso's

own

views on madrigal writing?

when Tasso wrote most of his dialogues, he com "La Cavalletta owero de la poesia toscana." In this dialogue

1584, at the

time

day with surprising directness have nothing to do with the would he that practically suggested new tendencies, "In the course of degeneration the music of the mad

he

criticized the madrigal writing of his

and

and effeminate; and we shall beg of the Messrs. and any other master of the Striggio, Jacches [de Wert], Luzzasco, to that gravity, in deviating it back excellent art of music, to bring But about this it is better to its balance. lost from which it has partly 2 of The than to old, the restraint and dis be silent gravity

rigal has

become

soft

argue." that the best of the past always seems to have, ciplined seriousness now be revived.

must

A

to come from Tasso! But perhaps the strange demand, indeed, time at which he made the statement helps to explain his opinion. This in Tasso's darkest period, when, after roaming dialogue was written to Ferrara in 1579, as northern around Italy, he returned restlessly a sinister fate that must take its predestined course. drawn

though

Shortly after

by

his return,

he was confined in the Insane Asylum of St. 1586 was he freed by the intervention

Anna for several years. Not until

Mantua, whose GerusaDuring lemne liberata was published without his supervision; his lyrics were revised by Ferrara's court poet, Guarini; and Tasso himself, maddened of

young Vincenzo Gonzaga, then

service Monteverdi

was soon

heir apparent of

by the unseemly treatment of

to enter.

his poetical

this period, the

work, suffered from repent-

See Tasso's dialogue "La Cavalletta ovvero della poesia toscana,*' in T. Tasso, Dtaloghi (ed. by Alessandro Tortoreto), p. 221, 2

THE MADRIGALS OF 1590

137

ant scruples, from hallucinations, and from the persecution of the In It may well have been under the strain of haunting thoughts quisition. and demanded that gravity of that he made himself the

frivolity judge be restored to the music of the madrigal that gravitas which was the mood of the Counter Reformation. But his lyrics were un prevailing affected by this critical attitude, and a musician could admire Tasso's with his pessimistic views on the subject of poetry without agreeing When Monteverdi, still in Cremona, chose Tasso as his poet,

madrigals.

he certainly did not heed the demands of the Counter Reformation, whose ideals he had abjured in his youth. He was drawn to Tasso's

by the character of their poetry. In Tasso's lyrics the element of music had come to new life. The and he spoke in images de fancy of the poet was fed by his emotions, to call forth similar emotions. Not the clear vision that appeals signed to reason and to human knowledge, not the definite objects that make human world, but fleeting feelings and in up the abundance of the distinct emotions were his subject matter. The uncertainties of his emo tions corresponded to the uncertainties of human life. Life in an aging with risk and tragedy, and the tone most society had become fraught suitable for poetic expression was one of melancholy. The world pre sented a scene, however colorful, for though ambitions

lyrics

and

melancholy were strong and unrestrained,

desires

uncertain. (XII, 66)

soave"

:

(A

their fulfillment

remained

Tasso's Gerusalemme liberata example of this is from "In queste voci languide risuona/Un non so che di flebile, e sound, I do not know, of sweetness and of grief/A ringing

An

like the

stylized, rhymes). The rhymes that made the emotion, the languor, the lachrymose melancholy musical listener weep with the poet. The floating rhythms and the a strong appeal had emotions broad human vague images expressing idiom of the the was artistic for the musician. The melancholy

echo

were

in these languid

stylized

which the composer also spoke, not because he had gone through belief the same personal experiences, but because he shared the poet's time,

in the artistic expression of the lyrical affections. Tasso's idiom as a master of the technical Monteverdi at once

spoke

structure needed to

the affection, the prevailing feeling of the si levava ancor at of Tasso's beginning

convey the

Non

poems. The placing indicated the "program" of the second book from the poetical point of view, and the musical form given this madrigal was undoubtedly and to set the structure, expression, and also meant to be

programmatic

the style for

book

as a

whole.

138

THE STRUGGLE WITH THE PAST

The traditional madrigal had no

unit that comprehensive structural

"motifs" or "subjects" were governed the subordinate elements. The

invented for the text of each line and imitated successively fashion. parts in polyphonic

by

all

the

Some of the madrigalists, especially Wert of Mantua, were successful in

de Cipriano de Rore and Giaches

the repetition of one or another structural establishing greater unity by 3 Monte section, thus paving the way for new, over-all organization. con a new and to invent such structures verdi started from this

point

His inventions were by no means unique, but as a trapuntal must have felt much "program" the principle was new. Monteverdi style.

like Forestieri, the chief interlocutor in Tasso's dialogue "La Cavalfrom in accordance with said, "The rule is bent and letta,"

who departed the occasion; and this deviation from the rule is at the discretion of the 4 artist." The goal of the first madrigal was a structure deliberately linked to the occasion. used for two madrigals that belong together. After a narrative part that sets the scene for the two lovers, there follows the amorous dialogue; and it is there, with the words "E dicea Tuna sospirand alPhora," that Monteverdi begins the second part of the

The poem

of Tasso

is

j

between

madrigal. It is significant that he differentiates stylistically the description and the dialogue. 5 This arrangement, made in accord ance with dramatic considerations, shows Monteverdi's advance be

yond the madrigals of his first book. The idea of such a dramatization was not original. Marenzio, Giaches de Wert, and others had pro vided models the

two

that, in all likelihood,

madrigals

Non

si

levava.

stimulated Monteverdi. Although E dicea are compositions to be

and

sung together, each of them

is

or structural

the dramatic contrast between the narra

tive

and the

diff erentiation,

direct speech

The

is

a musical entity, and in spite of stylistic

not realized within the continuity of one is thus not the result of an inner

dramatization

complete entity. conflict, but is merely an external contrast based on the division of the material, each section of situation,

which

is

musically complete.

however, pulls the two sections together,

8

The harmonic as the

second

Tasso's dialogue "La Cavalletta" contains an interesting account of style, structure, or formal repetitions in the madrigal from the poetical point of view. especially u che la regola sua si torca e si pieghi secondo 1'occasioni; il qua! Ibid., p. 204: . . piegamento e il giudicio dell' artefice, o almeno egli non e senza il giudicio." c In his analysis of this madrigal, H. R. Leichtentritt, SIMG, XI, 261 f ., referred to the division, while Redlich, Claudia Monteverdi (Berlin, 1932), pp. 52f., called attention to the stylistic differentiation of the two sections, one being contrapuntally composed, the other homophonically.

and *

.

THE MADRIGALS OF 1590 re-establishes the initial "key," to

On the

complete the

circle:

139 d-G//g-d.

other hand, Monteverdi rounds off the prima parte in such

can be fully understood without is built recourse to the seconda pane. The first part of the madrigal

self-sufficient completeness that it

upon

with slight rising

which the whole initial section recurs at the end variation and to a different text. The characteristically

repetition,

first

in

theme with its descending counterpoint is probably designed *

risen." ray of daylight a with wholly But when toward the end the same material appears again the first line is different text, the connection of the first theme with of all its force, and the purely structural consideration of the deprived as such music takes precedence. Indeed, the repetitive arrangement are form of structural makes it obvious that clarity and completeness

to

accompany

Monteverdi's

the line:

first

"Not yet

concern.

similar arrangements

has the

first

The

derived from

is certainly repetition in the canzonetta-like madrigals of the first book,

used to perform new functions. For undoubtedly the composer 7 of da capo repetition into the madrigal, is here carrying the principle where it naturally strengthens the impression of roundness and finality. The composer thus reveals his conception that a repetitive cyclic order also to an interminable co-ordination of the sections. He is

but

is

preferable in evaluate sections as primary and subordinate, just as attempts to the a native of voices uppermost part, song, handling the different from a melodic point of view, and the organic bass, from the harmonic to the sub of view, are given a privileged position in contrast point in used elements the of This composi ordinate middle parts. gradation of form, and Monteverdi tion is basic in the rise of new conceptions the madrigals of his second book. carries this process a step forward in an example of Monteverdi's in as serve ancor Non si levava may It of "thematic" invention the tentions in another respect material^ determine the peculiar bears the mark of a personal style. Three factors to the connotation the of relation a theme: melody form of the possible and the a as the of stereotyped formula; of the text; the shaping melody of the material The tenor of the structural exploitation

possibilities

and the quinto, which in this madrigal has the range

of a second soprano,

have the following themes: the theme's "Provenienz aus der So Redlich, op. cit., p. 53, who believes that weiteres klar ersichtlich wird. Stofftichkeit des Gedichts ohne to the da capo structure of the madrigal but 7 Leichtentritt, op. cit., p. 161, pointed to the canzonetta the motet More likely is its relationship related this arrangement t tried out the principle. and those madrigals in which Monteverdi had previously

THE STRUGGLE WITH THE PAST

140

Ex. 37

i

n,

the subject sung by the tenor may have the pointed out, of the text. But the par of bringing out the meaning purpose a gradual rise and passage through the ticular form of the subject has been scale with a strong tendency to reach the melodic cadence Monteverdi before in different contexts and always in a char used

As has been

realistic

by

manner. This would seem to imply that Monteverdi is aiming formula in order to obtain the objectivity of a stylized expression.

acteristic

at a

functions as the counterpoint. It issues in full part of the quinto contrast to the tenor subject and moves against the tenor in prolonged

The

rises. Such an arrangement be values, descending stepwise as the tenor comes the basis of a structure in which two subjects of equal import

ance are used, both appearing simultaneously. theme of the quinto is to give Although the main function of the the subject melodic character, its form testifies to its structural nature. The line of tones descending stepwise in slow and even rhythm is a Monteverdi is beginning to use as an organic bass. There are figure various such basses in the madrigals of this collection.

A passage anticipation

Non

in the range of a fifth in

by the canto seven measures

Ex. 38

sono in queste

before,

is

shown

rive,

with

here:

n, 37 '

r

i

Ci,*

-U

A more characteristic example Ex. 39

i

i

m',r.4i r

chr

is

i

f\*

.

ci

presented in Mentre

io

miravo

fiso:

n, 61 Bdsio

g

"

' i

i

1

1

Fa.-ceTi-do

r nil-

TI If

f

'iu

utar-i'f

.11

nit- If

i

j

j -

gi

ti

And finally, in an equally brilliant madrigal, Ecco mormorar fonde:

THE MADRIGALS OF 1590 Ex. 40

n, 73

to*

L'a.u-r4

None

w

-

i-

$t-

r*. e

U

of these basses results from imitation of the text, and they are

not invented for the sake of melody. The more stereotyped, objective and nonmelodic such a bass is, the greater its structural strength and capacity;

it

draws the upper parts or any combination of them into

sway, and their form si

levava ancor,

above the coupled in

all

is

the examples

bass, the figuration

parallel

shown

With

being typical.

motion of thirds or

its

the exception of Non have the duet in lively motion

also stereotyped.

sixths,

The and

are parts of the duet since the duet follows

the bass, the descent is a general one, perhaps more ingeniously rendered in

Ecco mormorar fonde.

The

duet with a harmonic bass remains an essential factor in the

the madrigals. Monteverdi has increased its artistic possibilities and has used it with elaborate finesse. Clear but sectional divisions, set off by themselves, no longer simple groups of structure of nearly

appear,

unless there

all

is

to special reason

employ them. Monteverdi has

developed a subtle technique of rapidly changing the parts that make up the duet. Small, precise, figurative motifs are given to the duet, and the voices successively share in these motifs, as the parts assigned to the duet continually change in the five-voiced madrigal. The varieties all

when a distinction is made between primary and The duet and the bass are given pre-eminence. How

are even greater

secondary

parts.

may not appear in pure form; it may be accompanied by one or more subsidiary parts, but always in such a way that it remains the leading group. With these devices Monteverdi probes all possible ever, the duet

combinations, and not only achieves a highly effective structural variety but also exploits the potentialities of tone color which the rapidly

The madrigals of the second book give changing combinations afford. keen sense of vocal effects produced Monteverdi's of the first evidence view. in The with tone color procedure is similar to that of an "orches where shades of color are put in for the sake of special effects. Monteverdi often uses the dark colors, the low regions of the tonal somber emotions of sorrow and tragedy. By altering system, to reflect tration"

continually recasting the the motifs now in light and by imitating

the structural components of the duet,

combinations bound

to motifs,

by

142

THE STRUGGLE WITH THE PAST

now in low and dark, now in middle and mezzotint colors, Monteverdi reveals that his structural genius has reached maturity. have been pointed bass, whose characteristics

high,

The slowly descending influence the out in various examples, has two further aspects that derivation of the one involving structural form of the composition of the bass variation the other the the material in the duet from the bass, fashion. brilliant a in both demonstrates itself. Mentre io miravo fiso the with values even in line rhythmic After stating the descending text

"Facendo mille scherz' e mille

giri,"

the bass proceeds to the fol

lowing passage: Ex. 41

ii,

62

Fa.-c

}n-U-d

c

A

whose two sections identical with the duet Human non e. The pstinato

ti

structurally

the basis of the structure; and the motif of the ostinato in the the symboli"c"theme g, f J, e, d. The ostinato underlies the first section (#), but a new bass formula is used for the second section (). Thus, the finale is beyond the concentrated form of the pro

motif

is

finale

is

expanded of the upper voices is often the same. the organization though logue, links the upper parts together, and canon the Similarly, in the finale The strictness of structure section. the second into is also extended of affection, as though form the with to coincide seems again highest

an outburst of such proportions demanded the artistic control of the At the same time, the flow of melody is restrained greatest discipline. of symmetrical balance. The voices in the duet sense an unerring by move within so close a range that the phrase of one voice seems to be and commensurate response to the phrase of the other a the logical

madrigalesque duets. The melody has an almost intoxicating sensuousness and euphony that was the consequence of Monteverdi's growing simplicity and direct ness. This unity between a vital sensuousness and the rational control of carefully balanced symmetries in the melody, between climactic style

Monteverdi had studiously refined in

affection

achieved

and a

art.

has a classic perfection only disciplined structure,

when an

experience,

by

his

artist

has analyzed his

medium and

discovered

by

his by inborn wisdom, the secret essence of work, the Incoronazione di Poppea, is a classic

or learning,

Monteverdi's

last

achievement of complete equilibrium of all the forces active in an artistic form. In this last work Monteverdi attained the perfection he

had been striving for from the beginning, in which ture, and form and expression are one.

With the Incoronazione and

his life, too,

was near

di

its

art fulfills its

na

Poppea Monteverdi's work was finished, He was almost seventy-six, and these

end.

The Madrigali Guerrieri, the Selva years had been most fruitful. additional compositions that several and four music dramas, Morale, after his death were composed within four or five years, and last

appeared

the composer felt his age and the strain of his efforts. Early in 1643 Monteverdi submitted a request for leave to the procurators of St. Mark's. He wanted to visit once again the scenes of his youth, of his

368

THE YEARS OF FULFILLMENT

first successes,

on

of his

his journey to

rise to

fame.

Though frail and

Cremona and Mantua.

He

declining, he set out a witness to his

became

and the deep admiration felt by lovers of his art. Many held in his honor as tokens of devotion, too many, in were receptions his age. His strength began to fail, and he felt that the a of man for fact, end was near. "Like a swan that, feeling the fatal hour near, approaches the water and, in it, a 'Musico gentile/ passes on to another life singing,

own renown

with suaver harmony than ever, the sweeter tones, so Claudio in great haste returned

to Venice, the

Queen

of

all

waters."

8

Upon his

arrival

few days later died on November in Venice, Monteverdi fell ill, the most solemn funeral service the of 29, 1643. By order procurators, of the state of Venice. Gio a tribute as Mark's St. at was and

a

performed vanni Rovetta, Monteverdi's pupil and successor, conducted the music, and all Venice attended, mourning. Monteverdi was buried in the few of the church of S. Maria dei Frari. Cappella di S. Ambrogio later the Venetians again gathered in the church of S. Maria dei days the great musician with a commemoration which Frari to honor

A

again

Matteo Caberloti has described in Laconismo delk alte qualiti di Claudio Monteverde. "With truly royal pomp a catafalque was erected in the Chiesa de Padri Minori de Frari, surrounded by so many candles that the church looked like a night sky luminous with stars." All the of Venice took part. Monteverdi's old friend and companion singers

from the days of Mantua, Giovanni Battista Marinoni, now maestro di of Padua, was in charge of the solemn music. cappella at the cathedral The fame of Monteverdi was unsurpassed. When he was called the "most celebrated composer of the century," or "the greatest musician of Europe," such praise was not mere politeness or flattery in the an acknowledgment of reality. Upon re language of the day; it was Monteverdi's death, the ambassadors at Venice ceiving the news of hastened to inform their home governments. Even compositions were named after him. He could not have asked for greater success, for

and approval of his work. greater admiration

When

a few months after Monteverdi's death Marinoni published

lllustre, E Molto Reverendo Signor Claudio Monteverde (1644), he paid tribute in the manner of the time. Some fifty poems and a necrology by Caberloti were dedicated to the sovereign in the realm of mtisic, of which he

the Fiori Foetid Raccolti nel Funerale del Molto

8 Matteo Caberloti, Laconismo delle alte qualita di Claudio Monteverde (in Marinoni, have no doubt that the "Musico gentile," with reference Fiori Poetici, 1644), p. n. to the swan and thereby to Monteverdi, is actually a citation of Tasso, Gerusalemme

We

Liberat^ XVI, 42, "Qual musico gentil."

THE FINAL DRAMA knew

all,

369

"La Musica reggava che non e was the custom of the

the natural, the human, and the artistic:

Claudio in Terra, Naturale,

et

humana,

L'artificiale ancor,

Although the effusion of such eulogies most of these poems, in spite of their poetical mediocrity, testified time, to to Monteverdi's effect on his contemporaries and to his greatness, the human aspects of his work. When they praised the eminence of his and of the incredible power of art, they spoke of the human affections his music over men's minds and emotions. From the Of eo on, Monte verdi's music, with its human qualities, had exercised the most powerful of his audience; his listeners were unanimous influence on the strana."

feelings

a Johann Albert Bannius, a friend of Descartes', thorough Monteverdi's of student music, wrote connoisseur and a most intelligent airs de cour French and Italian the that William Boswell madrigals as to this.

deserve little praise since they merely attempt to realize the indispen sable relationship between word and tone. In this respect the French are even a bit better than the Italians, but though this music may be de lightful,

it

does not move the

human soul. Monteverdi alone is capable of

terms of pathos; only his music has the "zinroerende speaking in musical 9 to move the human mind). Music must be ex kracht" (the

power

pressive

of affections and must

move

the aff ections of felt in

man

that

is

the

the elements of

force which Monteverdi's contemporaries rather singular poem concludes the Fiori Foetid.

his composition. is

all

A

It

a Sonetto Musicale, by Padre Maestro Paolo Piazza, in which he re

the rhythmic values to the specific individual affections which he lists, and speaks of affections in the "counterpoint of human actions" delle humane attioni) Monteverdi himself had taught

lates

(//

.

contrapunto

that musical

rhythm

is

bound up with human

affections.

Caberloti brought the eulogy of his Laconimo to its climax when he as the molder of affections which are the essence praised Monteverdi of all his music. "Claudio alone possessed the total comprehension of

the affections; at his will he engendered the affectionate dispositions in the human minds and moved the senses to that climactic delight which in his dramatic music, where "the to he

conveyed

them," especially

affections varied

slaved man to the

from moment to moment." Thus Monteverdi en human dispositions of his music; he guided his listener of affections and in so doing unfolded human

through the labyrinth

The experience of his music is an experience of humanity. Caberloti gave Monteverdi's music this distinction on the basis of a

nature.

See W. J. A. Jonckbloet and J. P. N. Land, Correspondance de Const. Huygens (Leyde, 1882), pp. Lxmf., cxxvraff.

et

oeuvre musicales

370

THE YEARS OF FULFILLMENT

comparison of the aif actions of his compositions with those of Greek music, as they were related to the Dorian, Phrygian, Aeolian, and Lydian harmonies. Whether he was right or wrong about Greek music and this particular ancient doctrine, he is comparing Monteverdi's music with the general effects of Greek music rather than with its of particular forms, and finds that Monteverdi has become the equal the ancients; the power of music over man has been reborn in him. When Monteverdi introduced a new style for an affection he felt he had neglected, he himself believed that he had discovered a new power in the wealth of antiquity and that he had become the equal of the Greek musicians. Caberloti even thought Monteverdi surpassed them, for never had the human affections been expressed so comprehensively in the work of one artist. It was the conquest of human affections that gave Monteverdi his is the over triumph antiquity. In his embodiment of human passions, he has that forms of music. He created modern musicianship prophet cultivated ever since, and laid the foundation of the principal concepts of melody, harmony, style, and structure. He made his artistic work the medium of a message concerning man and human nature in which the work of art is inseparable from human existence. Monteverdi created his work on the foundation of the basic truths of the "Oracolo della Musica."

human nature. He was

BIBLIOGRAPHY THIS BIBLIOGRAPHY is selective; it has been limited strictly to the literature on Monteverdi. All general histories of music and monographs on subjects of the music of the sixteenth and seventeenth centuries have been omitted even if they contain chapters on, or special references to, Monteverdi. There are enough satisfactory and comprehensive bibliographies on ba roque music available. Two admirable works, however, hav.^ been listed for the benefit of the reader: that of Carl von Winterfeld, and the new standard history of the madrigal by Alfred Einstein. None of the small, but rather general, articles which appeared in newspapers have been included

numerous whenever works of Monteverdi, such were revived in modern performances. In view of the enor mous vastness, the literature of general culture, on subjects of literature, poetry, art, artistic theories, philosophy, religion, etc., though used, had to be omitted completely; even Molmenti's classic study on private life in Venice could not be listed. For any selection from that vast literature would have been questionable, no matter how carefully selective the list might here; they are particularly as his operas,

have been.

ADEMOLLO, ALESSANDRO. La beir Adriana ed altre virtuose del suo tempo alia corte di Mantova (Citta di Castello, 1888). "I Basile alia corte di Mantova [1603-1628]," Giornale Ligustico, XI (Genoa, 1885). Anonymous. "Preziose scoperte di autografi di Claudio Monteverdi," La. .

Vol. 38 (Florence, 1937), PP- 69-70. "An English Pupil of Monteverdi," The Musical Anti quary, IV (1912-1913), 236-257. Artusi ovvero delle imperfettioni della moderna musica. Artusi, G. M. (Venice, 1600 [?]; 2nd edition, 1603). [Artusi, Giovanni Maria]. Discorso secondo mvsicale di Antonio Braccino da Todi. Per la Dichiaratione della lettera porta ne* Scherzi musicali del Sig. Claudio Monteverde (Venice, G. Vincenti, 1608). Collezione di Bibliofilia,

Arkwright, G. E. P.

U

trattati e musiche antiche edite' in fac-simile. Bollettino bibliografico musicale (Milan, 1934).

BENVENUTI, GIACOMO.

"II

manoscritto

RMI, "Vol. .

'II

(Venice, Bertolotti,

41 (1937), pp. 176-184. Ritorno d'Ulisse in Patria'

della'

non

Incoronazione di Poppea,"

e di

Monteverdi,"

May

A.

17, 1942). Musici alia Corte dei

Gonzaga

in

Mantova

II

Gazzettino

dal secolo

XV al

XVlll (Milan,

1891). Borren, Charles van den. Messa a 4, edited Preface. 371

by A.

Tirabassi (Brussels, 1914),

BIBLIOGRAPHY

372

" Patria' de Claudio Monte Borren, Charles van den. 'II ritorno d'Ulisse in No. 3 (Brussels, verdi," Extrait de la Revue de VUniversite de Bruxelles,

1925).

ducale di San CAFFI, FRANCESCO. Storia della wwsica sacra, nella gia cappella Marco in Venezla dal 1318 al 1797, 2 vols. (Venice, 1858). del R. Institute Veneto Canal, Pietro. "Della Musica in Mantova," Memorie di Scienze, Lettere ed Arti (Venice, 1858). Della musica in Mantova, notizie tratte principalmente dal? archivio .

Gonzaga (Venice, 1881). Vol. Carse, Adam. "Monteverde and the Orchestra," The Sackbut, (London, 1921), pp. 12-17. Castera, R. de. "L'Orfeo de Monteverdi,"

Guide musical. Vol.

2,

50,

No.

No.

i

13

(Brussels, 1904), pp. 286-288.

"Die Entwicklung der Monteverdischen Kammermusik," Kongress der IMG, Haydn Zentenarfeier (Leipzig- Vienna, 1909),

Cesari, Gaetano. ///.

pp. 152-156. . "L 'Orfeo' di Claudio Monteverdi J

Musica* di Milano,"

RM1, XVII

all'

'Associazione di

Amici

della

(1910), 132-178.

Attilio. "I Madrigali di Claudio Monteverdi," Musica, II (Flor 943), 3-34. Collaer, Paul. "L'orchestra di Claudio Monteverdi," Musica, II (Florence,

Cimbro, ence,

1

1943), 86-104. u . La Representation du Corps et de PAme, de Cavalieri Le Ballet des Ingrats, de Monteverde," Le Monde Musicale, XLVII (Paris, 1936),

108-109. Courville, Xavier de. "L'Ariane de Monteverdi,"

RM,

An.

3,

No.

i

(1921-

22), pp. 23-37.

DALLAPICCOLA, LUIGI. "Per una rappresentazione de 'II ritorno di Ulisse in di Claudio Monteverdi," Musica, II (Florence, 1943), 121-136. patria' Damerini, Gino. "Venezia al tempo di Monteverdi," Musica, II (Florence, 1943), 105-120. Davari, Stefano. "La Musica a Mantova. Notizie biografiche di maestri di musica, canton e suonatori presso la Corte di Mantova nei secoli XV, XVI, XVII, tratte dai document! dell' Archivio storico Gonzaga," Es-

trattodellaRivi$taStoricaMantovana,Vo\.I,Fasc. 1-2 (Mantua, 1884). Notizie biografiche del distinto maestro di musica Claudio Monte .

verdi (Mantua, 1884).

DufHocq, Enrico Magne. "L'Orfeo di Claudio Monteverdi. Commento di Enrico Magne Duffloca," Edizioni sonore Musiche Italiane Antiche. [Contains also reprint of the libretto].

EINSTEIN, ALFRED. The Italian Madrigal, translated by Alexander H. Krappe, Roger H. Sessions, and Oliver Strunk; 3 vols. (Princeton, Prince ton University Press, 1949). Epstein, Peter. "Zur Rhythmisierung eines Ritornells von Monteverdi, VIII (1926), 416-419. "Monteverdi in unserer Zeit," Die Musik, XXII (Berlin, 1929-30), 86-88.

AfMW, .

B

IBLIOGRAPH Y

373

e coreografici in FERRARI, PAOLO EMILIO. Spettacoli drcmrmatico-musicali Parma dalFanno 1628 all' anno 1883 (Parma, 1884). Rudolf von. "Claudio Monteverdi," Neues Musikblatt, Vol. XVI,

Fischer,

No.

32, pp. 7-9.

GALVANI, LIVIO Niso. (See Salvioli, Giovanni.) * GOLDSCHMIDT, HUGO. Studien zur Geschichte der italienischen Oper, vols. (Leipzig, 1901-4).

"Monteverdi's Ritorno d'Ulisse," SIMG, IV (1902-3), 671-676. "Claudio Monteverdi's Oper: II ritorno d'Ulisse in patria," SIMG, IX (1907-8), 570-592. .

.

HAAS, ROBERT. "Zur Neuausgabe von Claudio Monteverdis "

StzMW, IX

d'Ulisse in Patria/

(Vienna, 1922), 3-42. " Heuss, Alfred. "Die Instrumental-Stucke des 'Orfeo,' SIMG, 3), 175-224.

Ritorno

'II

IV (1902-

"Ein Beitrag zu dem Thema: Monteverdi als Charakteristiker in seinen Madrigalen," Festschrift zum 90. Geburtstage Sr. Excellenz des Wirklichen Geheimen Rates Rochus Freiherrn von Liliencron uber.

reicht

von Vertretern deutscher Musikivissenschaft

(Leipzig,

1910),

pp. 93-109.

Vol. 65 Howes, Frank. "Notes on Monteverde's Orfeo," Musical Times,

(London, 1924), pp. 509-511. of Monteverdi," Hughes, Charles W. "Porter, Pupil

MQ, XX (New York,

1934), 278-288.

KlavierbeKINKELDEY, OTTO. "Luzzasco Luzzasdii's Solo-Madrigale mit ,. gleitung," SIMG, IX ( 1907-8), 538-565Concitato von Claudio Kreidler, Walter. Heinrich Schutz und der Stile Monteverdi, dissertation, University of Bern (Stuttgart, 1934). Monteverdis Toppea, Kfenek, Ernst. "Meine Textbearbeitung von ,

Anbruch, XVIII (Vienna, 1936), 106-108. "Zur musikalischen Bearbeitung von Monteverdis Schiveizerische Musikzeitung,

LXXVI

Poppea,

(Zurich, 1936), 545-555.

2 3, Bearbeitung von Monteverdis Toppea, dramaturgischen it _!.__ 7-^"VT^^ ^ /"\Tiot^r\^ T^\TTI T1"\ *?> "9C\ Wiener Musikzeitsckrift, Nos. 31-33 (Vienna, 1937), pp. 22-3Werke Cavalli s Kretzschmar, Hermann. "Die Venezianische Oper und die -. "Zur TTr"

1L-

JTj.

-.

*

~*

erne

_

undCesti's," VfMW, VIII (1892), 1-76. "Monteverdi's Incoronazione di Poppea, .

1

'*

VfMW, X

(1894),

483-530.

drame lyrique: Claudio LALOY, Louis. "La musique. Un pr6curseur du (Paris, 1921), pp. 653-664. Monteverdi," Revue de Paris, An. 28, Vol. als Madrigalkomponist," SIMG, Leichtentritt, Hugo. "Claudio Monteverdi

V

XI (1909-10),

255-291.

monodie Monteverdiane," Musics, Lupo, Bettina. "Sacre

II

(Florence,

MALIPIERO, G. FRANCESCO. "Claudio Monteverdi da Cremona," (19*9)* 453-458.

RaM,

II

BIBLIOGRAPHY

374

MALIPIERO, G. FRANCESCO. Claudio Monteverdi (Milan, 1930). "Claudio Monteverdi da Cremona," lllustrazione (1937). "Claudio Monteverdi," Musica, II (Florence, 1943)* i-3ml funerale deP signor Marinoni, Giovanni Battista. Fiori poetici raccolti Clavdio Monteverde maestro di cappella della ducale di S. Marco. Conair illvstrssimi secrati da d. Gio: Battista Marinoni, detto Gioue .

.

.

.

.

& ecceilentissimi [sic]sig. procvratori di Mesa diS. Marco

[sic]

(Venice,

1644).

Rafaelo C. Claudio Monteverdi y los origines de la dpera italiana Mitjana, (Malaga, 1911). "Claudio Monteverde och det lyriska dramats uppkomst," Ord ochBild, Vol. 20 (Stockholm, 1911), 337"35 J .

-

Karl Friedrich. Die Technik der Ausdrucksdarstellung in Monteverdis monodischen Fruhwerken, dissertation, University of Berlin (Ber

Miiller,

lin [1931 ?]).

ORTOLANI, GIUSEPPE. "Venezia

al

tempo

di

Monteverdi,"

RaM,

II

(1929),

469-482.

PANNAIN, GUIDO. "Claudio Monteverdi neD'opera

in musica," Musica, II

(Florence, 1943), 35-50Domenico de. "Claudio Monteverdi," Eollettino bibliografico musi-

Paoli,

cole,

1-16. 4, No. 2 (Milan, 1929), pp. " 'Orfeo' and Telleas,' (1939), 381-398. ML, "A few remarks on 'Orfeo' by Claudio Monteverdi,"

An.

XX

" .

.

Vol. XX, No. 143 (1939), pp- 61-67. Claudio Monteverdi, con 12 illustrazioni fuori testo e

The Ches-

terian, .

edite (Milan, 1945). H. Parry, Sir C. Hubert

"The

significance

of Monteverde,"

3

ariette in-

PMA,

Session

42 (London, 1916), pp. 51-67. de Pereyra, M. L. Explication

quieme 1911). Picenardi,

livre

la lettre qui est imprimee dans le cinde Madrigaux de Monteverdi (Paris [Schola Cantorum],

Guido Sommi. "D'alcuni document! concernenti Claudio Monte Lombardo, Serie terza, Vol. IV, Anno XXII

verde," Archivio Storico

(Milan, 1895), pp. 154-162. . Claudio Monteverdi a Cremona (Milan, 1895). Prunieres, Henry. Review of L. Schneider, "CL Monteverdi,"

No. 4 (February, .

EM,

Vol.

II,

1921), pp. 178-179.

"Monteverdi and French Music," The Sackbut, Vol.

Ill,

No. 4

(November, 1922), pp. 98-110.

"L'Orfeo de Monteverdi," RM, IV (August, 1923), 20-34. La vie e Voeuvre de C. Monteverdi (Paris, 1924 [1931]; English translation, London and New York, 1926). -. "Monteverdi a la chapelle de Saint-Marc," RM, VII (1926), 260. .

278. -.

"Monteverdi

483-493.

e la

Musica francese del suo tempo," RaM,

II (1929),

375

BIBLIOGRAPHY Monteverdi," TheStrad, Vol. 25, Pulver, Jeffrey. "Claudio No. Vol. 26, 309 (1916), p. *li. p. 297;

REDLICH,

No. 29? ('9'5>. Vol.

Anbrucb, HANS FEHDIKAND. "Moateverdi-Gesamtausgabe,"

n Das Madrigalwerk, '

dissertation, University

edizione

moderna

delle

opere

of Frankfurt, 1931 (Berlin,

di Claudio Monteverdi,"

Monteverdis Madrigahverk," Musica Viva,

London, Rome,

I (Brussels,

"

^"Monteverdis 'Incoronazione

RaM,

Sctoazeriscbe Musik-

di Poppea,'

XXVII *

In auserMonteverdi Leben und Werk. Musikerreihe. Paul Schaller Basel. Band von Einzeldarstellungen herausgegeben . , VI. Olten (Switzerland, 1949). Tanzsuite von Monteverdi v. J. 1607, Riemann, Hugo. "Eine siebensatzige rv

d'

l^nen

.

RoLu g RuKs,

'

e

Mr,

Herman. "Oud

Vol. I (Rome, Cuaba en

italiaansche opera's,"

XCIII (X), (Bussum, 1936), 300-305. GIOVANNL] / teatri taaicaK diVenezianel

[SALVIOLI, /7 oo)

Mnnone

.

De

Muztek,

"^ ^KH

(

ed ordmate da storicbe e bibliografiche raccolte

G 28

,, 59-5 Jahrhundert," S1MG (1909-10), ppUe et la musique itahmne awcXVIe Schneider Louis. Un friatneur de Le (Pans, Monteverdi. VHontme et son temps.

17.

-

XV

.

Mmmen

sScudio

Texten der ersten fiinf Biicher der Madrigale Schwartz, Rudolf. "Zu den Monteverdis," Festschrift (Leipzig, 1918), PP- i47-'41903). Solerti A.nst\o.Leorisinidelmelodramma (Turin, sconoscmto a suo! !!_:. "Un balletto musicato da Claudio Monteverde

_

biografi,"RM,

VII (i904).H-34-

-. Gli albori del

Striggio,

Alessandro. L'Orfeo di

3 vols.

.

(MUan, 1905). f of Monteverdi (Bologna, 1928). [Repnnt

melodnmma,

.

di Poppea," Musical Louis. "Busenello's L'Incoronazione

8a Opinion, Vol. 51, pp. 379-3

BIBLIOGRAPHY

376

"Les deux styles de Monteverde," RM, An. 3, No. 8 (June, 1922), pp. 223-254. "Monteverdi e la filosofia dell'arte," RaM, II (1929), 459-f58 "L'Incoronazione di Poppea di Claudio Monteverdi e Gian Ottavio. Tiby, Francesco Busenello," Maggio Musicals Florentine: 27 aprile-y giugno

TESSIER,

ANDR

-

.

1

X7 (Florence,

931

1937).

Claudio Monteverdi. Collezione 1 Maestri delta Musica, No. 30

.

(Turin, 1944 [?]). J. "L'Orfeo de Monteverde,"

Tiersot,

Le Menestrel, Vol.

70,

No.

10 (Pans,

1904), pp. 75-77.

VOGEL,MIL.

"Claudio Monteverdi,"

VfMW, III

(1887), 315-450-

Vol. 66 WESTRUP, JACK ALLAN. "Monteverde's Orfeo," Musical Times, (1925), pp. 1096-1100.

"

Monthly musical "Monteverde's 'II ritorno d'Ulisse in patria,' record, Vol. 58 (1928), pp. 106-107. "The originality of Monteverde," PMA, Session 60 (1934), pp. .

.

1-25. .

-.

"Monteverdi and the Orchestra," ML, XXI (1940), 230-245. " "Monteverdi's 'Lamento d'Arianna,' The Music Review, I ( 1940),

144154. -154. ( von. Johannes Gabrieli Winterfeld, rfeld, Carl

lin,

und

sein Zeitalter, 2 vols. (Ber-

1834).

EDITIONS ONLY

CRITICAL, historical editions have

been

listed.

All arrangements of

or complete works such as the operas, i.e., the edi separate compositions tions by Vincent d'Indy, Kf enek, Redlich, Westrup, and others have been omitted since each would require more or less elaborate comments.

L'incoronazione di Poppea, facsimile del manoscritto It. Cl. 4. N. 439 della Biblioteca nazionale di S. Marco in Venezia. Introduzione di Giacomo Benvenuti. Milan (Fratelli Bocca), 1938.

L'Orfeo, favola pastorale in un prologo e cinque atti di Alessandro Striggio Realizzazione della partitura del 1609 e riduzione per canto e figlio. piano forte a cura di Giacomo Benvenuti. I Classici musical! italiani, Vol. 9, Milan, 1942.

Messa a 4. Selva morale, 1641. Ed., A. Tirabassi. Preface by Charles van den Borren. Brussels, 1914. [L'incoronazione di Poppea] Berceuse d'Arnalta, air inedit de Tlncoronazione di Poppea (1642), (Acte II, sc. 12) de Claudio Monteverdi. Realisa tion de la bass continue et traduction de Ch. van den Borren, RM, An, 3,

No.

9,

Suppl. musical, July

i,

1922.

BIBLIOGRAPHY

377

coro, organo ed orchestra. Elaborazione di Alfredo Salmo, per Casella, Musiche vocali e strumentali, rari e profane sec. XVII, XVIII, a cura di Bonaventura Somma, fasc. VI, Rome, 1943. sei voci,

XVI

e i primordi La musica in Cremona nella seconda meta del secolo deU'arte monteverdiana: Madrigali 34635 voci di M. A. Ingegneri, Sacrae cantiunculae e Canzonette di C. Monteverdi, a cura di Gaetano Cesari. Con prefazione di Guido Pannain su appunti di G. Cesari, Istituzioni e monumenti delTarte musicale italiano, Vol. VI, Milan, 1939.

L'Orfeo, favola in musica da Claudio Monteverdi; Die Oper von ihren erAnfangen bis zur Mitte des 1 8. Jahrhunderts, I, 12 1-229; Publikationen aelterer praktischer und theoretischer Musikwerke, hsg. von der Gesell-

sten

schaft fur Musikforschung (Robert Eitner), 1910.

L'incoronazione di Poppea; Hugo Goldschmidt, Studien zur Geschichte der italienischen Oper im 17. Jahrhundert, Leipzig, 1901-1904, Vol. II. ritorno d'Ulisse in patria. Die Heimkehr ^es Odysseus. Mit deutscher "Obersetzung und ausgesetztem basso continuo bearbeitet von Robert Haas, Denkmaler der Tonkunst in Osterreich, XXIX. Jahrgang, Vol. 57, Vienna, II

1922.

Tutte le opere di Claudio Monteverdi nuovamente date in luce de G. Francesco Malipiero, 16 vols. in 17. Asolo, 1926-1942. .

.

.

Monteverdis Orfeo, Faksimile des Erstdrucks der Musik, eingeleitet und herausgegeben von Adolf Sandberger, Augsburg, 1927. Torchi, Luigi. L'arte musicale in Italia; Vol. 4, 39-72: Cruda Amarilli, Mirtillo, Sonata sopra 'Sancta Maria'; Vol. 6, 197-239; II ballo delle ingrate; Vol. 6, 135-195: II combattimento di Tancredi e Clorinda.

O

INDEX Academic de poesie

et

de musique,

Accademia Accademia Accademia

186 degli Intrepidi, degl' Invaghiti, 224 Florida, 307

Achillini, Claudio, 312 affections, 445., 208, 226f., 242, 299, 320, f-

347 33' 334* 34 1 * 343 66 > 3$9 f 357' 359 ff -> 3 Agnelli, Scipione, 277, 3031. 323*

f-

354

-

Agricola, Alexander, 19, 27 Alberti, Filippo, 135 Alberti, Leon Battista, 53, 224 126 Allegretti, Antonio, Amadino, Ricciardo, 106

Amati

Basile,

Adriana, 265

Basile, Margherita, 310

basso

continuo,

163^,

3 24f., 338f., 343, 353,

Michel

Amidano, Marc' Antonio (Abbot), 82 Amphion, 27 Andreini, Giovanni Battista, 305 Andreini, troupe of comedians, 238, 305, 308 Anerio, Felice, 67 Animuccia, Giovanni, 84

Antonius de Episcopis, 319 Arcadelt, Jacques,

58, 62, 84,

148

Archilei, Vittoria, 158 Ardizzino, Count, 297

da capo, 227, 366; seicento, 129

Aristotle, 348 ars nova, 21,23

ars perfecta, 18, 24f., 29, 35, 41, 48"Artusi, Giovanni Maria, 43 f., 17 in., 210 i84f., 196^., 2oif., 204f M 208, Attaignant, Pierre, 57

Avaux, Count

barzoletta, 53f.

of, 51

d',

201,

198,

212,

284, 287, 300, 317, 321, 323, 327, 332, 336ff., 34of., 352f. basso ostinato, 121, 128, 2 2 in., 295,

angelo, 278f.

Augsburg, Diet

Bannius, John Albert, 369 Bardi, Pietro de', 46, 4711., 158, 226, 291 Barera (Barella), Rodiano, 78 Barges, Antonio, 60

2I5ff., 2I9f., 222, 231, 249, 255, 282,

family, 79

Ambrosini, Pietro, 126 Amerighi da Caravaggio,

aria:

de cour, 245 334 Banchieri, Adriano, 307

ballet

balletto, 297,

.

269

Bacchino, Teodoro, 169 Bach, Johann Sebastian, 52n., 325 Badoaro, Giacomo, 347^., 357 Badoero, Federico, 32 Baif t Jean-Antoine de, 17 iff.

364^.

basso seguente, 201, 217, 249 Bembo, Pietro, 1351*., i47f. Bentivoglio, Ercole, 135, 311

Berchem, Jacques, 84 Berg,

Adam,

63

Berg & Neuber,

67, 126

bergerette, 57 Bemhard, Christoph, 207 Berni, Francesco, 47n. Bianchi, Vincenzo, 322 Biat, Paolo, 239

bicmium, 83 Binchois, Gilles,

2 if., 119 Boccaccio, Giovanni, 189

Boethius, Anicus Manlius Torquatus Severinus, 22, 27, 299 Bonaiuncta, Giulio, 66 Borghese, Cardinal, 248, 265 (Pope), 248, 265, 270 Borghese, Paul

V

Borgo, Cesare, 107

Borromeo, Carlo, 8 if. Borromeo, Federico, .65, 208 Boswell, William, 369 Brumel, Antoine, 28 BruneUeschi, Filippo, 37 Brunswick, Dukes of, 272 Buonarroti, Michelangelo, Buontalerrti, Bernardo, 158 Burgundian school, 22, 27

Burney, Charles,

ballade, 56 378

<

37f.,

56

INDEX

379

Busnois, Antoine, 2 if., zyf.

Chieppio, Annibal, 155^, 246 Christine of Lorraine, 157

Buttigli, Marcello, 312

Cicognini, G. A., 347

Busenello, Francesco,

Cimabue (Cenni

Caberloti, Matteo, 368^.

Caccini, Giulio,

158,

i88f.,

204, 224,

226, 230, 248, 291

Caccini, Luca, 158 Caccini, Margherita, 158

Caimo, Giuseppe, 107 Camarella, G. B., 328 Camerata. See Florentine Camerata Campagnolo, Francesco, 266f.

di Pepo), 37, 39, 4on. Cipriano de Rore, 4 if., 62, 64, 66, 7 iff., 125, 131, 138, 204 classicism, 24, 38, 367 Claudio da Correggio. See Merulo da Correggio, Claudio Clemens non Papa, 28, 33, 62f., 64, 84, 163, 204 Clyelle, L B. de la, 177

Canis, Cornelio, 33

Coclico, Adrianus Petit, 27^. Compagnia di suonatori, 79

cantata, 52, 129, 256, 273, 297, 306, 328, 6 337> 34 2 344, 354 3 5

Compere, Loyset, 58 concertino, 233

canto alia francese, cantus firmus, 49^,

170!., 175*1. 252*1"., 2586*., 3 231".

canzona, 53, 58, 175

canzona villanesca,

59f.

canzonetta, 49, 53,

6of.,

65, 69*?., 84,

105, 125, izyf., 134, i39n., i6m., 175, 183, 2i9f., 222, zpif., 328, 334, 342. See also Monteverdi, Claudio, works

di Santa Congregazione ed Accademia Cecilia, 151

Consilium, Johannes, 28 Contarini, Federico, 267 Contarini family, 272^

contrapunctus: gravis, luxuriant. See Prattica: Prima, Seconda Coppini, Aquilino, 2o8ff., 240, 276

capriccio bizzarro, 348 Cara, Marchetto, 56

cori spezzati, 63, 127

Giovanni Pietro, 34, 53 da CaraCaravaggio. See Amerighi

Corsi, Jacopo, 187

Cornaro, Zuanne, 267

Caraffa,

Carissimi,

Council of Ten, 27of. Counter Reformation,

Giacomo, 286

Carlerius, Jacobus, 21

Carlo 266

cosa bassa. See villanella Costa, Gasparo, 107

vaggio

Emmanuele (Duke

of Savoy),

34, 65, 70,

8if., 86f., 89, 103, 137, 163, 208,

73,

248

Courtois, Jean, 33 62f., Crecquillon, Thomas, 28, 33, 51, 84, 204 Cremona, University of, 80

Caron, Philippe, 2 if., 28 Casola, Bernardo, 249^, 277, 282 Casoni, Girolamo, 135 Castellino, Aluvise, io8n.

Castiglione, Baldassare, 56 Cattaneo, Claudia. See Monteverdi,

Claudia Cattaneo Cattaneo, Giacomo, 168 if. Caurroy, Francois-Eustache du, 17 Cavalieri. See Emilio de' Cavalieri

Pr6s, Josquin. See Josquin des Pres

dialogo, 286 Dichiaratione. See Monteverdi, Giulio

Domenico da Nola, Giovanni,

Ceba, Ansaldo, 219

59, 107,

112

Cenci, Giuseppi, 246n.

Cer9ne, Domenico Pietro, chanson, French, 57f., 60, 68, i47n., 175 Charles (Emperor), 51 iiof.

V

Cherub etti, 78 187, 305

Des

Cesare

Cavalli, Francesco, 357

Chiabrera, Gabrielo,

Dafne: (Peri), 187^; (Gagliano), 238 Dante, Alighieri, 43n., 46, 228, 233 Descartes, Rene, 274, 369

156,

219!".,

239,

Donate, Baldassare, 59, 84 Donato di San Vitale, 37 Doni, Giovanni Battista, 46, 47n., 184, 204f., 238, 276f., 289^., 334 Dufay, Guillaume, 2 if., 27f., 51, 119 .

Dunstable, John,

2 if., 51

IND E

380

65, 72n., 83, 124 Gastoldi, Giovanni, 66, 106, i6of., 173,

Gardano, Angelo,

Efrem, Muzio, 305 Emilio de' Cavalieri, 158 Erasmus, Desiderius, 23, 26 Erizzo, Francesco (Doge), 319

184, 239 Gerlach, Theodor, 66f. Gero, Jhan, 84 Gesualdo da Venosa, 184 Ghiberti, Lorenzo, 37

Essenga, Salvador, 107 Este, Alfonso II Este, Ercole I

d',

d',

186

29

Ghiselin, Jean, 28

Este, Ercole II d', 71 Este, Isabella d', 152

Giaches de Wert,

258 Giacobbi, Girolamo, 307 Giulio, 126 Gigli,

Faa di Bruni, Camilla, 297 faburden, 260, 321. See also psalmodic recitation

Farnese, Margherita, 155 Farnese, Odoardo, 311 fauxbourdon, nof., 113, i*

.

,.

Ferdinand (Emperor). Ferdinand II Ferdinand III (Emperor). See Medici, Ferdinand III .

Ferrabosco, Alfonso, 66, 172

Cherubino, 208, 2251.

4on., 41

Ferretti, Giovanni, 65

Gluck, Christoph Willibald, 227, 358

Festa, Costanzo, 84, 94n., 95

60 Fiamengo, Matthias, See basso contmuo figured bass. 1 Finck, Hermann, 3of., 35, 4 Prlma First Practice. See Prattica: Flemish School. See Netherlands style n Florentine Camerata: 38, 43, 45, 47 -

187*1".,*

226f., i88f.,

291;

composers,

218,

212,

231, 256, 291; monody, 199, 291; opera, 71, 159, 209,

45,

226 Follino, Federico, 153^, 2351., 2391!.

Fondulo, Gabrino, 80 Foscarini family, 272^

66f.,

91,

184,

67f., 184, 258,

Gagliano,

Marco

2 in., 28, 39,

da. See

4on.

Marco da

Gagliano 7 Vincenzo, 3 SB ., 291 Gardane, Antonio, 62f ., 84, 94n. Gardano, Alessandro, 65

Galilei,

19, 28, 31, 33

41, 49, 51, 62, 204, 206,

35 39

249^

Gonzaga, Catarina Medici-,

287, 303,

305

Gonzaga, Eleonora,

152, 155, 157, 266,

314, 334f.

Gonzaga, Ercole (Cardinal), 152 Gonzaga, Federigo, 152 Gonzaga, Ferdinand (Duke), 238,

297,

303, 305f., 309; (Cardinal), 248, 277 Gonzaga, Francesco, 157, 225, 235, 266f.

i6 5 ff., i68f., 177, 179, 184, i8 5 f., 188, 201, 220, 225, 235, 237^, 247, 265, 267,

3 29

Gafori, Franchino,

Gombert, Nicolas,

160 Gonzaga, Guglielmo, 47n., 152^, d'Este da, 152 Isabella Gonzaga, Gonzaga, Vincenzo I, 136, i53fT.,

126 Fraganesco, Alessandro, Franchinus. See Gafori, Franchino frottola, 53, 58, 6o y io6f., no

GabrieH, Andrea, 62f., 218, 258 Gabrieli, Giovanni, 34,

-

Giuvizzani, Alessandro, 305 Glareanus, Henricus, 2in., 23ff., 28, 39,

Ferrari, Benedetto, 346

Padre

Giorgione (Giorgio Barbarelli), 56 Giotto di Bondone, 37, 39* 4 on Giovanelli, Ruggiero, 67, 250 Giovanni de Antiquis, 64 Giovanni de Macque, 6of Giovanni del Tintore di Nivelle. See Tinctoris, Johannes Giustiniani, Lorenzo, 313 Giustiniani, Vincenzo, 47n. Giustiniani family, 2 7 if., 38> 34^ .

,,

See Medici,

II

153^,

6of., 136, 138,

i6of?., 184, 204, 247,

Euridice: (Caccini), 224; (Pen), 224

Ferrari,

X

272, 297

Gonzaga, Vincenzo

Gonzaga

II,

306, 309, 312

family, i5ifL, 266, 287, 3o6f.

Gosswin, Anton, 66

Greek music:

39, 42ff., 46, 205,

370; theory of, 35, 54, 241 Gregorian chant, 26 I, 22

236^,

Gregory Nicolo Gregory XIV. See Sfondrato, Grille,

Giovanni

Battista,

320

INDEX Grimani family,

272, 346 Grossi da Viadana, Lodovico, 1626*. Gualberto, Giovanni, 225 Guami, GiosefTe, 66

Guarini, Giambattista,

i26f., 133,

135^,

156, 179*1, 184, iSpf., 196, 210, 2i3f.,

3

8l

Lodovico da Vittoria, 250 Louis XIII (King of France), 177 Lupi, 28, 33

Lupus, Johannes, 28, 62 Luther, Martin, 26, 51 Luzzaschi, Luzzasco, 136, 204

239, 28yf., 335, 340

Guarneri family, 79

Gudron, Pierre, 177 Guicciardini, Lodovico, Guido of Arezzo, 22, 27

Macchiavelli, Ippolito, 246n.

Macque, Giovanni

3 if.

madrigal, 49, 52, Hasler,

de.

de Macque

Hans Leo, 68

57fT.,

See Giovanni

64^, 69, 71. See

Monteverdi, Claudio, works Magni, Bartholomeo, 326f. also

Hasler, Kaspar, 68 Hauvil, Adrien, 66 Henry IV (King of France), 177, 188 Hermannus Contractus, 318 Hilary of Poitiers, 22

Magni, Carlo, 225 Maineri, Camillo, 78

Manchicourt, Pierre, 64

Homer, 350

Manelli, Francesco, 346, 349 Manfredi, Muzio, 160

Horace, 72, 331 humanism, 20, 23, 28

Mantegna, Andrea, 56, 224 Mantua, ducal chapel of Santa Bar bara, 61, 65, 152, i59f., 162, 166, 247,

imitation in art, 24if., 334f., 34*

Ingegneri, Marc' Antonio, 64, 66f., 7 iff., 77ff., 8iff., 89, 102, 104, i24f., 151, 179, 204

5of.,

58

Lafage, Pierre de, 28 Lami di Federico, Alessandro, 78 Landi, Antonio, 267 Lassus, Orlandus, 19, 52, 60, 63 f.,

Mass, 49f., 54, 62, 66ff., 73f. See also Monteverdi, Claudio, works Massaccio (Tommaso di Giovanni

66f.,

70, 84, 91

Jean, 28

Lechner, Leonhard, 66 Le Jeune, Claude, 17 if., 174 37, 51

Modena (Juda

I6 5

Leonardo da Vinci, 56 Lerithier, Jean, 28, 62 Le Roy and Ballard, 172

Lindner, Friedrich, 66f

.

Marrinengo, Giulio Cesare, 267 Martianus Capella, 22 Martinelli, Caterina, 238, 277

Paul, 184

(Pope),

204

Marotti, Cesare, 246n. 28rT., 35, 39,

41, 495., 58, 63, 7if., 91, 204

di

i84f.,

286fF., 335, 339.352 Marinoni, Giovanni Battista, 169, 368

Johannes de Muris, 22 Josquin des Pr6s, 19, 235.,

Leo

246

Marigliani, Ercole, 306, 308 Marini, Francesco, 169, 277 Marino, Giambattista, 220, 278$., 284,

Joanelli, Pietro, 63

LeoX

156, 236, 238,

64, 65^, 67, 7of., 73,

Margherita of Savoy, 157, 235

Jacobus de Buis, 28 Jan, Meyster, 28 Jannequin, Clement, 60

Le Brun,

Marenzio, Luca, 125,138,158,

Inghirami, Luigi, 31 if. Isaac, Heinrich, 19, 28f.,

Kaufmann,

296

Marco da Gagliano,

da Modena),

Guidi), 37 Massaino, Tiburtio, Massenus, Petrus, 28

77f.,

184

Maudit, Jacques, 17 if. Maximilian I (Emperor), 51 Maximilian II (Emperor), 63 Medici, Catarina. See Gonzaga, Catarina MediciMedici, Cosimo I de, 36 Medici, Cosimo II de, 320 Medici, Eleonora de. See Gonzaga, Eleonora

Medici, Ferdinand i57f., 160, 334!.

II

(Emperor),

152,

3

INDEX

8z

Medici, Ferdinand

III

334,

(Emperor),

337 Medici, Francesco de, 276 Medici, Giovanni de (Pope Leo X), 37 5 1

169

Montaigne, Michel Eyquem de, 203 Montalto, Cardinal, 248, 265 Monte, Philippe de. See Philippe de Monteverdi, Baldassare, 18, 169 Monteverdi, Claudia Cattaneo,

works

(in

85,

86ff.,

83, 1

249^

86,

Madrigali Spiritual!, 103$., 124, 126 Canzonette a tre voci, io6ff., i24ff. . Libro Madrigali a cinque voci .

.

i24ff.

20off., 226 Scherzi music all a tre voci (1607),

i7oF., 2i9fF., 325

Orfeo, 2246% 288ff., 305, 327, 345^, 35 if., 369 Arianna, 215 (the Lamento), 2365.,

Ballo

291

(the Lamento), 304^,

Ingrate,

Tancredi

e Clo-

336, 338

Armida,

3i2f.

Licori finta pazza inamorata d'Ammta, 309^., 313, 347

Mer-curio

e

Mane,

312 i

e 2 voci

(1632), 326ff. . Madrigali guerrieri et amorosi . . libro ottavo, 286, 298, 300, 326, 3346., 336ff.,

367

e Spirituale, 176, 240!.,

3 i 4 ff.,334n ., 367 Ritorno d'Ulisse in

patria,

349 ff., 360

347,

^

Uincoronazione

di

35on., 357rT. Messa a quattro

Voci

Poppea, 347, 349, et Salmi, 3i4ff.

Madrigali e canzonette a due e tre voci (Madrigals, Bk. IX), 329,

333* Monteverdi, Domemco, 79n. Monteverdi, Francesco, 248, 307, 320 Monteverdi, Giulio Cesare, lyof., 173, 189^, 202ff., 219, 223, 237, 239, 326 Morales, Cristobal, 28, 62, 84 moresca, 229 Morley, Thomas, 60 Morsolino, Antonio, 78 Morton, Robert, 21 motet, 49ff., 54, 62, 66ff., 70, 72ff. See Monteverdi, Claudio, works 33, 204 musica da camera, 161 musica da Mesa, 161 musica rappresentativa. See stile rapalso

Mouton, Jean,

345> 347' 35 1

deW

di

rinda, 298fL, 3o8f., 313, 324, 334,

.

Secondo libro de Madrigali, 135^. Terzo libro de Madrigali, 1798;. Quarto libro de Madrigali, 185^. Quinto libro de Madrigali, 186,

37>

287$. di Apollo, 306

Nozze d'Enea con Lavima, 347

chronological order): Sacrae Cantiunculae,

276*1".,

306, 308

Concerto settimo libro de Madri

c

i68f.,

185, 235

Primo,

Andromeda,

Adone, 346f. Selva Morale

Monte

105, ii3f., 117, 124,

Diana e d'Endimione,

.

272!., 308, 313

Claudio,

di

if.

Proserpina rapita, 313 . a Scherzi Musicali .

Mocenigo, Giustiniana, 313

Monteverdi,

Amori 1

Combattimento 64, 66,

68, 162, 184 Michel Michelangelo. See Buonarroti, angelo Milanuzzi, Fra Carlo, 327 Mocenigo, Girolamo, 2981"., 312

III,

3

Lamento

Medici family, 152, 156 Merulo da Correggio, Claudio,

Mohammed

Gli

gali,

Medici, Margherita de, 311 Medici, Maria de, 188

Mocenigo family,

La Maddalena, 305^

2406% 337, 354

Idropica, 239^ Sanctissimae Virgini Missa senis vocibus Ad Ecclesiarum Chores Ac

Vespere pluribus decantandae

cum

nonnullis sacris concentibus, 247$. Sesto libro de Madrigali, 240, 278^. Tim e Clori, 296:6?., 303 Nozze di Peleo e Tetide,

presentativo

musique mesuree,

17 iff.

Nachtanz. See proportio Nanini, Giovanni Maria, 67, Nasco, Giovanni, 60, 84

184,

250

INDEX native songs, 49, 54^., 598.,

6$f., xoyf.,

114, 119, 123, 127, 129, 134, 161, 173, 2i9f., 222f., 328, 334, 342 Netherlands: style, i8F., 3*8., 4&&-, 54, 5 6fL, 64, 66fL, 731., 8iff., Spflf., 9?rT.,

(Northern music),

108, 112, 119, 123

127, 163, 219, 249f.;

47 n ->

2311., 39,

composers,

48ff., 8 3 f

,

9* f

*

i9f.,

99, i0 4

207. See also Oltremontani Neuber, Ulrich, 63

Nevers, Due de, 169 Nola, Giovanni Domenico da. Domenico da Nola, Giovanni

Obrecht, Jacob, 21, 27, 33 2 Ockeghem, Johannes, 19, iff.,

See

105, 112. See also Netherlands: style,

composers 22,

zjL 19, 331.,

36n., 43, 4711., 52, 66fL, 70, 74, 82, 84,

102, 2o6f., 250

Pallavicino, Benedetto, 77, i6if., 165, 184, 247

Pallavicino, Gaspar, 56 Parma, Duchess of, 311

Parma, Duke Octavio parody, 133 passamezzo, 221 Paul IV (Pope),

of, 72

V

34.

See also CarafTa,

(Pope), 248, 265, 270 doctrine of, 20. See also

perfection, ars perfecta

Peri, Jacopo, 158, i87ff., 204, 224, 226,

238, 291, 347 Petrarch, Francesco, i04n., 1351., 278, 280, 329, 335, 339 Petrucci, Ottaviano dei, 57 Phalese, Pierre, 63, 66n., 67, 84, 172, 2oin., 208

Philippe de Monte,

60, 64, 66, 172

Piazza, Paolo, 369 Piccioli,

Antonio, 66

Pierre de la Rue, 9, 28, 50, 204 Pietro della Valle, 47n.

Ascanio, 312 Pindar, 220 Pirkheimer, Willibald, 26

Pii,

Pleiade, 220

Poland, Prince of, 3o8f. Poliziano, Angelo, 225 Porbus, Francois, 156 Porta, Costanzo, 66, 74, 77!. Pottier, Matthias, 67 Prattica: Prima, 25, 190, 2Ooff\, 249; Seconda, 25, 2Oorf. proportio, 115 psalmodic recitation, 260, 321, 324, 353

Quadrio, Francesco Saverio, 104 Quagliati, Paolo, 67 Quirini, Vincenzo, 32

,

Raphael (Raffaello Sanzio), 56

Reformation, 34, Regis, Johannes,

53f. 2 if.

Renaissance, 20, 53*?. Ricardi, Giacomo, 134, 151 Richafort, Jean, 33 riforma. See Reformation Rinuccini, Ottavio, 156, 158,

1875.,

236, 244f., 276, 305, 310, 3295., 335

Roman

school, 68, 70, 250

Romanes-ca, 295 Romano, Giulio,

Giovanni Pietro Paul

(Pope), 81

Rasi, Francesco, 188, 305 recitativo accompagnato, 302. See also stile recitativo

Orlandi, Sante, 305, 307

Orpheus,

IV

Plantin, Christopher, 172 Plato, 1 7 in., 203, 205, 242, 299, 304

Pythagoras, 27, 35 25, 27!.,

2 4, 2 49 _ 33, 39, 49*-. o Oltremontani, 3 iff., 47n., 54, 5811., 07,

Padoano, Annibale, 66 Palestrina, Giovanni Pierluigi,

Pius

383

152

rondeau, 57 Ronsard, Pierre de, 220 Rossi, Lodovico, 286 Rossi, Salomone, 162, 165^, 239, 305 Rovetta, Giovanni, 368 Rovigo, Francesco, 162, 184 Rubens, Peter Paul, 1551"., 169 II (King of Hungary), 169 Rue, Pierre de la. See Pierre de la Rue Ruffo, Vincenzo, 64, 66, 7 iff., 82, 84

Rudolph

Sagredo, Nicolo, 266 Saint Ambrose, 22 Saint Augustine, 22 Saint Mark's Cathedral, 79^, 274, 296, 307, 3i4ff.,

$6jL

Sannazaro, Jacopo, 219 Sansovino, Francesco, 268 Saracini, Claudio, 327 Sarpi, Fra Paolo, 27of.

267^

270,

INDEX

384

Alexandre, 269, Toussaint de Limojon,

Scarlatti, Alessandro, 250

272

68 Schieti, Cesare,

Schioppi, Giuseppe, 313 329 Schiitz, Heinrich, 80, 207, 325, Scolari, Girolamo, 313 6zf ., 84 Scotto, Girolamo, Seconda Second Practice. See Prattica:

Trent, Council

Tron

Ugolino, Baccio, 225 Francesco, 320 Usper, D.

Ludwig, 28, 51 of Cre Sfondrato, Nicolo (Bishop

Vakarengo, Stefano Caninio, 83

8 iff., 89 II

(Emperor), Sigismund Simonetti, Leonardo, 318

80

Valle, Pietro

stile

294

Vasari, Giorgio, 36^. Vecchi, Orazio, 66, 107, 173, 184

Veen, Otto van, 169 Vendramin, Paolo, 347

_

.

342

34,

33*ff->

2 9 8ff., 3*4.

35i-,

*

Vendramin

',

5ee

family, 347 Venetian school, 33^, 6zf .,

^^Monte Madng*

guerriero, 300. works: verdi, Claudio,

stile

rappresentativo

to the Sea, 274, Venice, Marriage of,

(genere rappre62 Verdelot, Philippe, 33, 58,

music* rappresentattva), f 273. i8 9 -, 3*-> 159, 20 9 f, 240, 244, 353 , 308, 337 34*i

sentativo;

stile

recitative,

199,

212,

215,

Verita,

2261.,

3* 8 330, 235, 254. 289*- 3'7*-. ->

.,

no

strambotto, 53f., 162, 224, Strkdo, Alessandro, 136, 158, 226,266f., 287,2961*., 304,

36,3"i-

Strozzi, Giulio, 126, 275,

39 3"

bassa,

no, 117

^

Virgil, 72 Vittori, Loreto, 312

Waelrant, Hubert, 63,

63

Torquato, i55f-,

i^

126, I

Wert,

189, 2 4 6n.,

Wert 4> Willaert, Adrian, 19, 28, 33fT., 39, 8 84 9 1 * 8ff 62f> ' 6 7' 7 lf 7

300, 309, 312 Terzi, Serafino, 169

-

49, 51, 5

-

107, 127, 204

Testo, 30if.

Thibault de Courville, 1711. 2 Tinctoris, Johannes, iff., 271., 33 Antonio Braccini. See Artusi, .

Todi, Giovanni Maria

65, 66n.

Wagner, Richard, 227 Matthias Werrekoren, See Fiamengo, de Giaches de. See Giaches

133,

79^.

3 29

virelai, 57

Sweelinck, Jan Pieterszoon, 172

i 4 6ff.,

-

Vincenti, Alessandro, 214, 3 106 Vincenti, Giacomo, 67!., Vincentino, Nicolo, 1 10

206

Tylman,

Io8n

2(5

S^*

also 25. bee rty/oj antiquusy gravis, Prattica: Prima, Seconda also luxuriant, 25. See stylus modernus, Prattica: Prima, Seconda

Tasso,

9^

villanesca, 53, 59f-

320 style (stylus},

bee

8 4i IO 59^ cosa 117, 120, 220, 281, 342;

villotta, 49, 53> 59*-

316

126

i24f.,

io8rT.,

villanella:

Stradivari family, 79

Susato,

Count Marco,

Verovio, Simone, 65 da. Viadana, Lodovico Grossi Grossi da Viadana, Lodovico Viani, Antonio Maria, i56f.

>

23 of.,

10 7 67!., 91,

127, 25&f.

Guerrieri stile

See Pietro della

Steffano, 33

Vanneo,

3

fcaw,

della.

Valle

a cappella, 317, 3'9i 3"> 3*3*- iVjn* concertato, 217, 2531!., 280, ff -> 336, 34"-. 353. i6f., 319, 3 f.,

stile

family, 346

Tubal, 27

Senrl,

mona),

2 8 of, 73, 81, 152, 4

Zacconi, Lodovico, 36n.,

no

2 202 20 ^ Zarlino, Gioseffe, 34fT., 43, 7 Giovanni Maria, 78 Zerrnignasi,

THE MONTEVERDI

COMPANION Edited by Denis Arnold and Nigel Fortune This book sets out to study certain aspects of Monteverdi's music and environment which

have been

in insufficiently stressed

most

of

the existing books about him, and to offer fresh views about some of his more familiar

works. Monteverdi

too often thought who, single-handedly,

is still

of as a revolutionary

overthrew the principles governing the com of music for generations past, to become in the words of the subtitle of one

position

of the best books about of

modern music." It the main aims of

is,

him

- the

"creator

on the contrary, one

several chapters in the of to the present book to relate his achievement

music and ideas of raries,

his elders

and contempo

how much he learned show how gradual, in the

to illustrate

from them, and

to

case of the madrigals, for example, was the infiltration into his music of new procedures

and

new

By this approach, something has been added to the store of knowl

principles.

edge of music in Monteverdi's time. The contributors are Claude V. Palisca, Jerome Roche, Denis Stevens, Robert Donington, and Janet Beat. The book also in cludes essays by Denis Arnold and Nigel Fortune, and begins with an account of Monteverdi's

The

life as

translation of

a third of the essays

which

seen through his letters.

some

forty letters (about

total) helps to illuminate the

follow.

The Monteverdi bibliography is the most comprehensive yet to appear and there is a guide to the multifarious editions of the music currently available. Denis Arnold is senior lecturer in music at

the University of Hull. Nigel Fortune is senior lecturer in music at the University of Bir

mingham and Association.

Secretary of the Royal Musical

03

1

04 734