Su la cetra amorosa - Merula
Do you know about the ciaccona? The word is cognate with chaconne, a term perhaps more familiar to many of us because one of Bach's most famous pieces--the Partita in D Minor--includes a cosmically searching example of this form of composition. Here it is, with Bach's manuscript scrolling by in stately fashion.
The essential element of a ciaccona (or of a chaconne) is a harmonic pattern, repeated ad infinitum. This is usually (but not always) carried out by means of a recurrent bass line. (Sometimes the harmonic pattern is projected or implied without the bass line actually being present.)
This sounds like it might get tedious. I suppose in the wrong hands, this might be so. Clearly not in Bach's hands. His Chaconne draws so much from a descending chromatic line and subsequent cadence, creating thereby a vast universe of thought and feeling and spiritual expression.
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Before Bach, plenty of composers included so-called ground basses in their works. Another famous example is Dido's Lament from Henry Purcell's opera 'Dido and Aeneas', which features a line very like Bach's, but does something very different with it.
Even earlier, there was a popular bass line which spread across Europe like lightning. It's generally called the 'Zefiro' bass line (after Monteverdi's famous duet 'Zefiro torna'), a two-bar triple-time pattern which from the tonic descends a fourth; then up a step; then down another fourth; then walks up to the dominant. The meter is triple, but the rhythm is syncopated: short long, short long, short long, short long.
Confused? Well, they say a picture is worth a thousand words.
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Of course we've already focused upon Monteverdi's great 'Zefiro' in our madrigal series; but as a reminder, here's a fabulous performance by L'Arpeggiata, with the soprano Nuria Rial and the countertenor Philippe Jaroussky featured on Monteverdi's vocal lines. Of course, the piece includes two (shall we say) recitative-like passages, in which the protagonist confesses that all this apparent happiness is naught but wishful thinking: Love has fled, leaving nothing but ashes where formerly burned a bright flame. But otherwise the piece is All Ciaccona All the Time.
Here's another example of a composition based upon the Zefiro bass line. This one, by Tarquinio Merula (1595-1655), is instrumental, featuring two treble instruments over the ciaccona. A score to the piece is attached hereto. Here's a very nice performance with scrolling score; and don't miss this utterly magical live performance by a group called Ensemble I Zefirelli, complete with evocative free introduction.
Now, what if a composer decided to loosen the reins on his (or her) Ciaccona setting? Why does it have to be always in the same key? The short answer is: It Doesn't. Check out this Ciaccona by Andrea Falconieri (c1585-1656), in a sprightly performance by La Ritirata. A score is attached for your reading pleasure.
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And finally (ta-da!), we arrive at today's piece, Merula's 'Su la cetra amorosa', which combines the threads of 1) the ciaccona itself; 2) the inclusion of a vocal line; and 3) a special license taken to transpose the repeating bass line at will, in response to the exigencies of a long and fabulous poem. A score is attached, along with a good text-translation sheet.
If you really want to grok the piece, I suggest taking a close look at the text. It is in the first person, and our hero (or heroine, if you like), having lost his/her former love and resolved to lead a life of abstinence and regret in a cave (literal or figurative) somewhere, is being called back to the dance of love. Not certain whether the ol' body and soul are up to it, he/she nevertheless dutifully begins to gear up for another round of the sometimes exhausting, often challenging, but always compelling Amorous Merry-Go-Round.
Merula composes incredible vocal lines over the ground bass. But further, as he traverses the story he supports the words (and the changing ideas and emotions expressed therein, as our protagonist gradually comes around to committing to another bout of love) by altering the key of the Ciaccona--sometimes major, sometimes minor; sometimes a brief digression, other times a long episode in an alternate key.
It's an amazing piece, and it'll have you sitting on the edge of your seat, or possibly even jumping out of same. (Please exercise caution while driving or using power tools.)
I'm featuring two recordings, both wonderful. They're sung at different pitch levels and with subtle differences of tone and expression. The first features Tone Wik, a Norwegian soprano; the second features Paola Quagliata, an Italian singer who specializes in early music.
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I hope you enjoy (and get a lift from) this wonderful music and these great performances. I feel so lucky to be able to explore this fabulous music from the comfort of my easy chair, anytime day or night. There are some positive elements to these difficult times we are navigating...might as well be grateful for them!
Do you know about the ciaccona? The word is cognate with chaconne, a term perhaps more familiar to many of us because one of Bach's most famous pieces--the Partita in D Minor--includes a cosmically searching example of this form of composition. Here it is, with Bach's manuscript scrolling by in stately fashion.
The essential element of a ciaccona (or of a chaconne) is a harmonic pattern, repeated ad infinitum. This is usually (but not always) carried out by means of a recurrent bass line. (Sometimes the harmonic pattern is projected or implied without the bass line actually being present.)
This sounds like it might get tedious. I suppose in the wrong hands, this might be so. Clearly not in Bach's hands. His Chaconne draws so much from a descending chromatic line and subsequent cadence, creating thereby a vast universe of thought and feeling and spiritual expression.
-----
Before Bach, plenty of composers included so-called ground basses in their works. Another famous example is Dido's Lament from Henry Purcell's opera 'Dido and Aeneas', which features a line very like Bach's, but does something very different with it.
Even earlier, there was a popular bass line which spread across Europe like lightning. It's generally called the 'Zefiro' bass line (after Monteverdi's famous duet 'Zefiro torna'), a two-bar triple-time pattern which from the tonic descends a fourth; then up a step; then down another fourth; then walks up to the dominant. The meter is triple, but the rhythm is syncopated: short long, short long, short long, short long.
Confused? Well, they say a picture is worth a thousand words.
-----
Of course we've already focused upon Monteverdi's great 'Zefiro' in our madrigal series; but as a reminder, here's a fabulous performance by L'Arpeggiata, with the soprano Nuria Rial and the countertenor Philippe Jaroussky featured on Monteverdi's vocal lines. Of course, the piece includes two (shall we say) recitative-like passages, in which the protagonist confesses that all this apparent happiness is naught but wishful thinking: Love has fled, leaving nothing but ashes where formerly burned a bright flame. But otherwise the piece is All Ciaccona All the Time.
Here's another example of a composition based upon the Zefiro bass line. This one, by Tarquinio Merula (1595-1655), is instrumental, featuring two treble instruments over the ciaccona. A score to the piece is attached hereto. Here's a very nice performance with scrolling score; and don't miss this utterly magical live performance by a group called Ensemble I Zefirelli, complete with evocative free introduction.
Now, what if a composer decided to loosen the reins on his (or her) Ciaccona setting? Why does it have to be always in the same key? The short answer is: It Doesn't. Check out this Ciaccona by Andrea Falconieri (c1585-1656), in a sprightly performance by La Ritirata. A score is attached for your reading pleasure.
-----
And finally (ta-da!), we arrive at today's piece, Merula's 'Su la cetra amorosa', which combines the threads of 1) the ciaccona itself; 2) the inclusion of a vocal line; and 3) a special license taken to transpose the repeating bass line at will, in response to the exigencies of a long and fabulous poem. A score is attached, along with a good text-translation sheet.
If you really want to grok the piece, I suggest taking a close look at the text. It is in the first person, and our hero (or heroine, if you like), having lost his/her former love and resolved to lead a life of abstinence and regret in a cave (literal or figurative) somewhere, is being called back to the dance of love. Not certain whether the ol' body and soul are up to it, he/she nevertheless dutifully begins to gear up for another round of the sometimes exhausting, often challenging, but always compelling Amorous Merry-Go-Round.
Merula composes incredible vocal lines over the ground bass. But further, as he traverses the story he supports the words (and the changing ideas and emotions expressed therein, as our protagonist gradually comes around to committing to another bout of love) by altering the key of the Ciaccona--sometimes major, sometimes minor; sometimes a brief digression, other times a long episode in an alternate key.
It's an amazing piece, and it'll have you sitting on the edge of your seat, or possibly even jumping out of same. (Please exercise caution while driving or using power tools.)
I'm featuring two recordings, both wonderful. They're sung at different pitch levels and with subtle differences of tone and expression. The first features Tone Wik, a Norwegian soprano; the second features Paola Quagliata, an Italian singer who specializes in early music.
-----
I hope you enjoy (and get a lift from) this wonderful music and these great performances. I feel so lucky to be able to explore this fabulous music from the comfort of my easy chair, anytime day or night. There are some positive elements to these difficult times we are navigating...might as well be grateful for them!