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[50][51], The opening of the opera house of San Cassiano in 1637, the first public opera house in Europe, stimulated the city's musical life[51] and coincided with a new burst of the composer's activity. In his work, Monteverdi incorporates the "speech-song" or recitative first used in Jacopo Peri's opera Dafne and Giulio Caccini's Euridice, both direct precursors of L'Orfeo, and adds solo arias, duets, ensembles, dances and instrumental interludes.
Author of. While his aim was still to follow the meaning of the verse in great detail, he solved the purely musical problems of thematic development and proportion. [86] The brief final act, which sees Orfeo's rescue and metamorphosis, is framed by the final appearance of the ritornello and by a lively moresca that brings the audience back to their everyday world. [151] However, Chew, in his final summation, sees the composer historically as facing both ways, willing to use modern techniques but while at the same time protective of his status as a competent composer in the stile antico.
However, Ossi describes it as "an anthology of disparate works firmly rooted in the 16th century",[78] closer in nature to the third book than to the fifth. Artusi cited extracts from Monteverdi's works not yet published (they later formed parts of his fourth and fifth books of madrigals of 1603 and 1605), condemning their use of harmony and their innovations in use of musical modes, compared to orthodox polyphonic practice of the sixteenth century.
[20][33], Duke Vincenzo died on 18 February 1612. His set of Scherzi musicali was published in Venice in 1632. It was the advanced musical means, especially his use of intense and prolonged dissonance, that provoked attacks by the conservatives on Monteverdi, who became a figurehead of the avant-garde group.
[47], Despite his generally satisfactory situation in Venice, Monteverdi experienced personal problems from time to time. The years 1640–1641 saw the publication of the extensive collection of church music, Selva morale e spirituale. As he developed as a composer, Monteverdi began integrating elements of Italian monody. Monteverdi's daring use of this device is, says Palisca, "like a forbidden pleasure". 272, 274–75, 278–80, Carter and Chew (n.d.), §10 "Historical position", Wolfgang Wilhelm, Count Palatine of Neuburg, List of compositions by Claudio Monteverdi, "The "Artusi-Monteverdi" controversy: Background, content, and modern interpretations", "Review: Monteverdi: Madrigals, Book 8, La Venexiana", "Claudio Monteverdi: Three decades in Venice", "Monteverdi: Messa a Quattro Voci et Salmi of 1650: CD review", "Monteverdi's Vespers – which recording is best? The early baroque opera L'Orfeo, composed by Claudio Monteverdi to a libretto by Alessandro Striggio the Younger, was first performed in 1607. And in the case of Cremona, part of the Duchy of Milan,[n 1] it fell under the control of the Spanish Empire, in 1559. [142] The magazine Gramophone notes over 30 recordings of the Vespers between 1976 and 2011, and 27 of Il combattimento di Tancredi e Clorinda between 1971 and 2013. He was survived by his sons; Masimilliano died in 1661, Francesco after 1677. A few months after the production of Orfeo, Monteverdi suffered the loss of his wife, seemingly after a long illness. [130] It was not until 1932 that the 1610 Vespers were published in a modern edition, followed by Redlich's revision two years later.
[102] This was the height of Monteverdi's "Marino period"; six of the pieces in the book are settings of the poet's verses. [127][128] The book includes a trio for three sopranos, "Come dolce oggi l'auretta", which is the only surviving music from the 1630 lost opera Proserpina rapita. [32] Although the Duke increased Monteverdi's salary and pension, and Monteverdi returned to continue his work at the court, he began to seek patronage elsewhere. [138], The Italian nationalist poet Gabriele D'Annunzio lauded Monteverdi and in his novel Il fuoco (1900) wrote of "il divino Claudio ... what a heroic soul, purely Italian in its essence!" The crux of his style was that music must exactly match the mood of the verse and that the natural declamation of the words must be carefully followed.
He immediately came into contact with some of the finest musicians, both performers and composers, of the time. [12] Monteverdi's brother Giulio Cesare joined the court musicians in 1602. https://www.britannica.com/biography/Claudio-Monteverdi, AllMusic - Biography of Claudio Monteverdi, DSO Kids - Biography of Claudio Monteverdi, The Catholic Encyclopedia - Biography of Claudio Monteverdi, Naxos Records - Biography of Claudio Monteverdi, Claudio Monteverdi - Student Encyclopedia (Ages 11 and up). [1] In his work, Monteverdi incorporates the "speech-song" or recitative first used in Jacopo Peri's opera Dafne and Giulio Caccini's Euridice, both direct precursors of L'Orfeo, and adds solo arias, duets, ensembles, dances and instrumental interludes. Largely forgotten during the eighteenth and much of the nineteenth centuries, his works enjoyed a rediscovery around the beginning of the twentieth century. Monteverdi returned unwillingly and was promptly submerged in a massive amount of work.
Nach dem Tod seiner Mutter (um 1576) heiratete sein Vater ein zweites Mal. He composed not only an opera but also a ballet and music for an intermezzo to a play. You can find elements of Renaissance polyphony in his early works, especially the early secular pieces. [100] The central theme of the collection is loss; the best-known work is the five-voice version of the Lamento d'Arianna, which, says Massimo Ossi, gives "an object lesson in the close relationship between monodic recitative and counterpoint". Monteverdi may have attended some of the performances of the earliest operas, those composed by the Florentine composers Jacopo Peri and Giulio Caccini, and he certainly had written some stage music in previous years. [20][30][31], The strain of the hard work Monteverdi had been putting into these and other compositions was exacerbated by personal tragedies. [116], Apart from the madrigal books, Monteverdi's only published collection during this period was the volume of Scherzi musicale in 1632.
1573) was also to become a musician; there were two other brothers and two sisters from Baldassare's marriage to Maddalena and his subsequent marriage in 1576 or 1577. [58] He died in Venice on 29 November 1643, after paying a brief visit to Cremona, and is buried in the Church of the Frari. The Procurators of San Marco, to whom Monteverdi was directly responsible, showed their satisfaction with his work in 1616 by raising his annual salary from 300 ducats to 400.
The avant-garde manner was now better assimilated into his idiom. The plague and the after-effects of war had an inevitable deleterious effect on the economy and artistic life of Venice. Heather Professor of Music, University of Oxford, 1975–86. [99] Hans Redlich sees it as a transitional work, containing Monteverdi's last madrigal compositions in the manner of the prima pratica, together with music which is typical of the new style of expression which Monteverdi had displayed in the dramatic works of 1607–08. Penelope's lament in Act I is close in character to the lament from L'Arianna, while the martial episodes recall Il combattimento. He presents his music through complex counterpoint and daring harmonies, although at times combining the expressive possibilities of the new music with traditional polyphony.
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