Monteverdi and the End of the Renaissance
Publication Year: 1990
Published by: University of California Press
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Title Page, Copyright
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THE MUSIC HISTORIAN focuses first on works of music, whatever else he might sur-vey. These are his primary texts. They are ordered systems of symbols, linguisticwebs that conveyed meanings to those who created, performed, and listened tothem. The historian's task is to describe what he takes to be those meanings.In this book I attempt to describe the meanings of the secular works of Claudio...
1Oppositions inLate-Renaissance Thought:Three Case Studies
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TALIAN CULTURE of the late sixteenth century offers a picture ofcentury, set off in particular by an astonishingly active printingpresented literate Italians with a bewildering variety of thoughtson almost any subject and fostered ideological conflicts of increasing severity andclarity. Not surprisingly, then, historians have often conceived of this culture as a...
2Youthful Imitatio andthe First Discoveryof Tasso (Books I and II)
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ONTEVERDI the musical orator did not immediately find his voice.His first two books of madrigals, published while he was still atof his early steps on the way to this discovery—hesitant steps,works. Nevertheless these youthful efforts provide us with a lexicon of techniquesand gestures that Monteverdi would develop, sometimes almost beyond recogni-...
3Wert, Tasso,and the Heroic Style
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...libro de madrigali. The work that fascinated him now was the epicBook II: there are no lyric poems by either Tasso or Casone here.The amorous trifling of 1590 gave way to amorous passion in 1592.The Third Book was Monteverdi's first publication since leaving Cremona andthe environs of his youth and entering the service of Duke Vincenzo Gonzaga of...
473Guarini andthe Epigrammatic Style(Books III and IV)
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...repudiation required, as I have suggested, by the heroic style of Tasso's verse.Only with less exalted rhymes could Monteverdi pursue the implications of themost advanced canzonetta-madrigals of the Second Book. And with a decisivenessthat is entirely typical he settled by 1592 on the verse of Guarini—his madrigals,and excerpts from II pastor fido—as the stimulus for this extension of earlier styles....
5Guarini, Rinuccini,and the Idealof Musical Speech
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...performance of II pastor fido that he had cherished since 1584 andperformances, and also in those abandoned in various states of preparation in 1591—92 and 1593, music played a significant role. To limn a background for the predom-inant style of Monteverdi's Fifth Book we must attempt to define this role.1On the subject of music, the documents published by the literary historian...
THEEMERGENCEOF NEW IDEALS
6Marino andthe Musical Eclogue(Book VI)
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...court of Mantua. He returned to the environs of his youth—firstconcerts in aristocratic salons. But this was probably not steadywork and surely not a position of esteem for a composer of Monteverdi's fame atthe height of his career. So he must have rejoiced in August 1613 to receive an invi-tation to audition for the position of maestro di cappella of St. Mark's in Venice. His...
7Marinismand the Madrigal, I(Book VII)
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At first thought, love may hardly seem a noteworthy new subject in Montever-di's music. But in fact most of the amorous "carmi" of Book VII treat it in a waythat sets this collection apart from Book VI. They abandon the laments, broken-hearted separations, and nostalgic remembrances found there and rejoice instead incarefree ruminations on Cupid's pleasures. The suffering and loss of Book VI have...
8Marinismand the Madrigal, II(Developments after Book VII)
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...more in the Scherzi musicali of 1632 ("Zefiro torna" and "Armato("Se vittorie si belle," "Mentre vaga Angioletta," "Ardo e scoprir, ahi lasso, iononardisco," and "O sia tranquillo il mar, o pien d'orgoglio").2 In sheer numbers,then, Monteverdi's interest in the genre seems to have waned rapidly after thepublication of Book VII. And this impression is strengthened by the tentative chro-...
9The Meeting of Petrarchanand Marinist Ideals(The Last Operas)
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...of those earlier years, and thus he was torn by the lure of two contrasting expressiveideals throughout his last decades. We have seen that he juxtaposed these ideals,more or less uneasily, in the late books of madrigals and even in individual workslike "Misero Alceo," "Non vedro mai le stelle," "Or che'l ciel et la terra," and theLament of the Nymph. So it is not surprising that in his great final operas, // ritorno...
THE ENDOF THERENAISSANCE
10Monteverdiand Italian Culture,1550-1700
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HE STORY of Monteverdi's career told in the preceding chapters ismainly one of shifting poetic styles, genres, and expressive aimsshifts in Italy at the end of the Renaissance. Their full significance must be sought intheir relation to these broader cultural tendencies. To do this we must first turnaway from Monteverdi himself to a synoptic view of Italian culture around 1600....
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Abert, Anna Amalie. Claudia Monteverdi und das musikalische Drama. Lippstadt, 1954.Aldrich, Putnam. The Rhythm of Seventeenth-Century Italian Monody. New York, 1966.Ancona, Alessandro d'. Origini del teatro italiano. 2 vols. Turin, 1891."II teatro mantovano nel secolo XVI." Giornale Storico della Letteratura Italiana 5Angelio, Pietro, and Mario Colonna. Poesie toscane dell'Illustriss. Sign. Mario Colonna, et di...
Index of Monteverdi's Worksand Their Texts
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Page Count: 292
Publication Year: 1990