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  • ART::MUSIC
    • 2023-2024 Concerts >
      • The Most Famous Motet
      • The Treasury of Petrus Alamire
      • Ein Kind ist uns geboren!
      • Appear and Inspire
      • The Singing Walls
      • Two Tall Tales
      • The Most Ambitious Project
    • Learning and Exploration >
      • Brombaugh Organ Exploration
      • BachTalks
      • The Choir Loft >
        • The National Anthems by David Lang - Steve Osborn
        • Heinrich Schütz Symphoniae Sacrae I from 1629
    • Tickets
    • Donate today!
  • Who we are and What we do
    • Mission Statement
  • Our Ensembles
    • Sonoma Bach Choir
    • Circa 1600
    • Green Mountain Consort
    • Live Oak Baroque Orchestra
  • Support
    • Donate
    • Sponsor a Singer!
    • Escrip & Amazon Smile
  • Resources
    • Virtual Offerings - Archive >
      • The Choir Loft
      • Virtual BachTalk
      • Adventures in Sightsinging
      • Parliamo Italiano! Language Workshop
      • Madrigal Mondays
      • Chorale Wednesdays
      • Motet Fridays
      • Virtual Recording Projects
      • Virtual Concerts >
        • Live Oak Baroque Orchestra
        • Music for these Distracted Times - Barefoot All-Stars
        • Agave Baroque American Originals
        • Bach's Long Walk to Lübeck - Anne Laver, organ
    • Concert Programs
    • Scores & Parts
    • Choir Resources
  • Contact
  • Join our Mailing List!
Chiome d'oro - Claudio Monteverdi
In 1619, Claudio Monteverdi published his Seventh Book of Madrigals. But it's strange--there are hardly any pieces in the book which match our idea of the madrigal. Monteverdi was moving on into the future, and this Book mainly features works in the 'seconda prattica', sometimes called the 'stile moderno'. The Seventh Book contains many vocal solos, duets and trios, all with basso continuo and many with obligato instruments as well. There are a few pieces for 4-5 voices, but in general the Book redefines the madrigal as more intimate, more soloistic, more instrumental, more spry: More modern.

Today's example from the Seventh Book, 'Chiome d'oro', is one of my favorites. It's a duet for two sopranos, with the accompaniment of two violins (or other treble instruments) and basso continuo. As you can see from the attached score, the violins provide a ritornello--actually three ritornello passages which repeat--and these recur as interludes in the course of the piece.

The sopranos--some recordings actually use a single solo voice--sway and dance along with the instruments on an anonymous text (attached) which is an ode to the pleasures and the travails associated with hopeless infatuation. Being besotted is not easy, and emotions run high! But overall--especially in light of the music Monteverdi has provided--our protagonist, though sizzling at times, appears to view the experience as a positive one.

The music is so fun! And made more so in our three sterling performances:

First up is Christina Pluhar's sterling ensemble Arpeggiata, from their Monteverdi compilation 'Teatro d'amore'. The track, available at this link, features the bravura soprano Nuria Rial, and the arrangement finds a place for a pair of cornetti as well as for the violins specified by Monteverdi. 

An alternate arrangement is provided by TENET Vocal Artists. This version, not quite as sprightly but still dance-like, employs the two sopranos specified by Monteverdi, moving usually in parallel thirds. 

And finally, here's a live recording by Berkeley's own Voices of Music, featuring a number of performers who have appeared in Sonoma Bach concerts over the years. The performance features an alternate sacred text (available by clicking the 'show more' link) which magically transforms the piece from a love song to a paean in praise of the birth of the child Jesus. Brilliant!

If you're feeling a bit down (wouldn't surprise me, given everything that's going on), try clicking one or more of the links above. They're pretty much guaranteed to raise a smile!
Click here to download learning materials!
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