Hor che'l ciel e la terra by Claudio Monteverdi
Here's one of Monteverdi's greatest madrigals--and that's a strong statement. It's from the master's Eighth Book of Madrigals, entitled 'Madrigali guerrieri, et amorosi' (which is to say, 'Warlike and Amorous Madrigals'),
published in Venice in 1638.
If you're not familiar with the Eighth Book, you'd be surprised to take a stroll through it on your favorite streaming service. It's completely different from his first seven books, and indeed it's fascinating to discover how far he departs, on several parameters, from our idea of what a madrigal even is.
There are a few pieces which hew to the madrigal form. But there are large, concerted 'madrigals', such as the one we are taking up today; there are duets and solos and trios; there are dramatic scenes both large-scale and small;
and there is an extended ballet.
And the emotional palette is similarly wide. In his preface, Monteverdi declares that he has discovered (or rediscovered) a new style of composition to add to those already existing. He names it the 'agitated style', in contradistinction to the already-known 'languid' and 'temperate' styles. The composer gives us pieces in all these styles, and, more exciting, he often combines them to imbue his pieces with a huge range of emotional variety, alternately rattling our cages and ravishing our hearts.
Today's madrigal is a prime example of this union of styles, governed by the needs of the text. It's 'Hor che'l ciel e la terra', the first piece in the book, based upon a sonnet from Petrarch's 'Canzoniere'.
Here's my suggestion: Start not with the recording, but rather with the text/translation and with Cinzia's pronunciation guide. Settle into the language and the poetic intention--just as Monteverdi would have done before sitting down to create his setting. Notice all the images from nature; the opposing pairs (night and day; war and peace; sweet and bitter;
life and death); the rapid change from nocturne to bright battle; the paradox of both solace and torment coming
from the same source.
Imagine what you might do with all this if you were a composer--where would you put fast notes, slow notes, comfortable or dissonant harmonies, soloistic or ensemble passages? How would you structure your music around this powerful poem? How and where would you apply Monteverdi's three styles noted above?
And then: Take a look! Take a listen! Learn at the master's feet!
You will be awestruck and inspired by his rendering of the unforgettable opening scene of nocturnal (but foreboding) peace; by his introduction into this scene of outcries of distress; by the sudden eruption of the full-blown 'warlike style'; by his painting of the 'bright and living fountain'; and by his moving depiction of the lover's fate of being condemned to an eternal samsara of birth and of death, ever 'so distant from salvation'.
Monteverdi uses a six-voice texture for the piece, plus two violins and basso continuo. He constantly varies the texture from tutti to solo voice, from duets to answering trios. And, of course, the style (as defined in Monteverdi's preface) varies throughout--'temperate'; 'languid'; 'warlike'--as required by Petrarch's poem: The words as the mistress of the music.
It truly is an amazing piece. All necessary materials are attached for A Good Musical Time. Hope you enjoy the ride!
Here's one of Monteverdi's greatest madrigals--and that's a strong statement. It's from the master's Eighth Book of Madrigals, entitled 'Madrigali guerrieri, et amorosi' (which is to say, 'Warlike and Amorous Madrigals'),
published in Venice in 1638.
If you're not familiar with the Eighth Book, you'd be surprised to take a stroll through it on your favorite streaming service. It's completely different from his first seven books, and indeed it's fascinating to discover how far he departs, on several parameters, from our idea of what a madrigal even is.
There are a few pieces which hew to the madrigal form. But there are large, concerted 'madrigals', such as the one we are taking up today; there are duets and solos and trios; there are dramatic scenes both large-scale and small;
and there is an extended ballet.
And the emotional palette is similarly wide. In his preface, Monteverdi declares that he has discovered (or rediscovered) a new style of composition to add to those already existing. He names it the 'agitated style', in contradistinction to the already-known 'languid' and 'temperate' styles. The composer gives us pieces in all these styles, and, more exciting, he often combines them to imbue his pieces with a huge range of emotional variety, alternately rattling our cages and ravishing our hearts.
Today's madrigal is a prime example of this union of styles, governed by the needs of the text. It's 'Hor che'l ciel e la terra', the first piece in the book, based upon a sonnet from Petrarch's 'Canzoniere'.
Here's my suggestion: Start not with the recording, but rather with the text/translation and with Cinzia's pronunciation guide. Settle into the language and the poetic intention--just as Monteverdi would have done before sitting down to create his setting. Notice all the images from nature; the opposing pairs (night and day; war and peace; sweet and bitter;
life and death); the rapid change from nocturne to bright battle; the paradox of both solace and torment coming
from the same source.
Imagine what you might do with all this if you were a composer--where would you put fast notes, slow notes, comfortable or dissonant harmonies, soloistic or ensemble passages? How would you structure your music around this powerful poem? How and where would you apply Monteverdi's three styles noted above?
And then: Take a look! Take a listen! Learn at the master's feet!
You will be awestruck and inspired by his rendering of the unforgettable opening scene of nocturnal (but foreboding) peace; by his introduction into this scene of outcries of distress; by the sudden eruption of the full-blown 'warlike style'; by his painting of the 'bright and living fountain'; and by his moving depiction of the lover's fate of being condemned to an eternal samsara of birth and of death, ever 'so distant from salvation'.
Monteverdi uses a six-voice texture for the piece, plus two violins and basso continuo. He constantly varies the texture from tutti to solo voice, from duets to answering trios. And, of course, the style (as defined in Monteverdi's preface) varies throughout--'temperate'; 'languid'; 'warlike'--as required by Petrarch's poem: The words as the mistress of the music.
It truly is an amazing piece. All necessary materials are attached for A Good Musical Time. Hope you enjoy the ride!