Claudio Monteverdi

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Claudio Monteverdi (May 15, 1567 (baptised) – November 29, 1643) was an Italian composer, viol player, and singer.

His work marks the transition from Renaissance to Baroque music. During his long life he produced works that can be classified in both genres, and he can be seen as a musical revolutionary. Monteverdi wrote the earliest opera which is still regularly staged, Orfeo.

Contents 1 Life and works 2 Compositions 3 References 4 See also 5 Media 6 External links 7 Further reading

[edit] Life and works

Claudio Monteverdi was born in 1567 in Cremona, in Northern Italy. During his childhood he studied with Marc'Antonio Ingegneri, who was maestro di cappella at the cathedral in Cremona. There is no record of him as singing in the cathedral choir, so it is likely that the lessons were private. Monteverdi produced his first music for publication—some motets and sacred madrigals—in only 1582 and 1583, which makes him something of a child prodigy. In 1587 he produced his first book of secular madrigals, and shortly thereafter began to look for work outside of his native town.

In 1590, Monteverdi began working at the court of Vincenzo I of Gonzaga in Mantua as a vocalist and viol player, and by 1602 he had become conductor there. Until his fortieth birthday he mainly worked on madrigals, composing nine books of them in all. The Quinto Libro (Fifth Book), published in 1605, was at the heart of the controversy between Monteverdi and Giovanni Artusi, where the latter attacked the "crudities" and "license" of the modern style of composing, centering his attacks on madrigals (including Cruda Amarilli from the Quinto Libro (See Fabbri "Monteverdi" pg 60), see Media, below) from the fourth book. Monteverdi made his reply in the introduction to the fifth book, with a proposal of the division of musical practice into two streams: what he called prima pratica, and seconda pratica: prima pratica being the previous polyphonic ideal of the sixteenth century, with flowing strict counterpoint, prepared dissonance, and equality of voices; and seconda pratica using much freer counterpoint with an increasing hierarchy of voices, emphasising soprano and bass. This represents a move towards the new style of monody. The introduction of a continuo instrumental part in many of the madrigals of the book is a further self-consciously modern feature. In addition, the fifth book showed the beginnings of conscious functional tonality. The Ottavo Libro, published in 1638, includes the so-called Madrigali dei guerrieri ed amorosi which many consider to be the perfection of the madrigal form. As a whole, the first eight books of madrigals show the enormous development from the Renaissance polyphonic music to the monodic style which is typical of Baroque music. The ninth book of madrigals, published posthumously in 1651, contains lighter pieces, such as canzonettas, probably composed throughout his lifetime and representing both styles.

From monody, with its emphasis on clear melodic lines, intelligible text and placid accompanying music, it was a logical step to begin composing opera, especially for a dramatically inclined composer who also loved grand effect. In 1607 the premiere took place in Mantua of his first opera, L'Orfeo. It was normal at that time for composers to create works on demand for special occasions, and this piece was part of the ducal celebrations of carnival . (Monteverdi was later to write for the first opera houses supported by ticket sales which opened in Venice).

L'Orfeo is marked by its dramatic power and lively orchestration. Indeed, this piece is arguably the first example of a composer assigning specific instruments to parts, and it is also one of the first large compositions in which the exact instrumentation of the premiere has come down to us. The plot is described in vivid musical pictures and the melodies are linear and clear. With this opera Monteverdi had created an entirely new style of music, the dramma per musica (musical drama) as it was called. Monteverdi's operas are usually labelled "pre-baroque" or "early-baroque".

Monteverdi's next large-scale work was the Vespro della Beata Vergine 1610 (The Vespers of the Blessed Virgin 1610). The published work is on a very grand scale and there has been some controversy as to whether all the movements were intended to be performed in a single service. However, there are various indications of internal unity. In its scope it foreshadows such summits of Baroque music as Handel's Messiah, and J.S. Bach's St Matthew Passion. Each part (there are twenty-five in total) is fully developed in both a musical and dramatic sense - the instrumental textures are used to precise dramatic and emotional effect, in a way that had not been seen before.

The Vespers of 1610 are also one of the best examples of early repetition and contrast, with many of the parts having a clear ritornello.

In 1613 Monteverdi was appointed as conductor at San Marco in Venice, where he soon restored the musical standards of both the choir and instrumentalists, which had withered under the financial mismanagement of his predecessor, Giulio Cesare Martinengo. The managers of the basilica were relieved to have such a distinguished musician to take the post, where music had been in decline since the death of Giovanni Croce in 1609.

While in Venice, Monteverdi also finished his sixth, seventh and eighth books of madrigals. The eighth is the largest, containing works written over a thirty-year period, including the dramatic scene Tancredi e Clorinda (1624), in which the orchestra and voices form two separate entities; they act as counterparts. Most likely Monteverdi was inspired to try this arrangement because of the two opposite balconies in San Marco, which had inspired much similar music from composers there, such as Gabrieli. What made this composition also stand out is the first-time use of string tremolo (fast repetition of the same tone) and pizzicato (plucking strings with fingers) for special effect in dramatic scenes.

During the last years of his life, when Monteverdi was often ill, he composed his two last masterpieces, both operas: Il ritorno d'Ulisse in patria (The Return of Ulysses, 1641), and the historic opera L'incoronazione di Poppea (The Coronation of Poppea, 1642), based on the life of the Roman emperor Nero. L'incoronazione especially is considered a culminating point of Monteverdi's work. It contains tragic, romantic, as well as comic scenes (a new development in opera), more realistic portrayal of the characters, and warmer melodies than had previously been heard. It requires a smaller orchestra, and has a less prominent role for the choir.

Monteverdi was ordained a Catholic priest in 1632.^[1] He died in Venice and is buried in the church of the Frari.

[edit] Compositions

Monteverdi composed at least eighteen operas, of which only L'Orfeo, L'incoronazione di Poppea, Il ritorno, and the famous aria "Lamento" from his second opera l'Arianna have survived:

• L'Arianna (only Lamento d'Arianna survived)
• L'Orfeo
• Il ritorno d'Ulisse in patria
• L'incoronazione di Poppea

Other works include secular and sacred compositions:

• Il Combattimento di Tancredi e Clorinda
• Vespro della Beata Vergine
• Selva Morale e Spirituale (1640)
• Scherzi Musicali
• Madrigali Guirreri et Amorosi
• Nine books of madrigals

[edit] References

[edit] See also

• Category:Compositions by Claudio Monteverdi
• Category:Operas by Claudio Monteverdi

[edit] Media

[edit] External links

• English translations of the Fourth Book of Monteverdi's Madrigals (Quarto libro dei madrigali) at http://marshall.charles.googlepages.com
• Comprehensive collection of scores by Monteverdi at ChoralWiki
• Free scores by Claudio Monteverdi in the Werner Icking Music Archive
• Website devoted to Monteverdi's Vespers of 1610

[edit] Further reading

• Manfred Bukofzer, Music in the Baroque Era. New York, W.W. Norton & Co., 1947. ISBN 0-393-09745-5
• Denis Arnold, Monteverdi. London, J.M. Dent & Sons Ltd, 1975. ISBN 0-460-03155-4
• Leo Schrade, Monteverdi. London, Victor Gollancz Ltd., 1979. ISBN 0-575-01472-5
• Tim Carter, Music in Late Renaissance and Early Baroque Italy. Amadeus Press, 1992. ISBN 0-931340-53-5

v • d • e Concerto delle donne
Singers in preliminary group	Lucrezia Bendidio; Isabella Bendidio; Leonora Sanvitale; Vittoria Bentivoglio; Giulio Cesare Brancaccio
Singers in concerto delle donne proper	Laura Peverara; Anna Guarini; Livia d'Arco; Tarquinia Molza; Giulio Cesare Brancaccio
Patrons	Alfonso II d'Este; Margherita Gonzaga d'Este
Composers and assisting musicians	Luzzasco Luzzaschi; Ippolito Fiorini; Giaches de Wert; Claudio Monteverdi;
Printer	Vittorio Baldini