The Cambridge Companion to MonteverdiClaudio Monteverdi is one of the most important figures of 'early' music, a composer whose music speaks powerfully and directly to modern audiences. This book, first published in 2007, provides an authoritative treatment of Monteverdi and his music, complementing Paolo Fabbri's standard biography of the composer. Written by leading specialists in the field, it is aimed at students, performers and music-lovers in general and adds significantly to our understanding of Monteverdi's music, his life, and the contexts in which he worked. Chapters offering overviews of his output of sacred, secular and dramatic music are complemented by 'intermedi', in which contributors examine individual works, or sections of works in detail. The book draws extensively on Monteverdi's letters and includes a select discography/videography and a complete list of Monteverdi's works together with an index of first lines and titles. |
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Spis treści
| 1 | |
| 20 | |
Monteverdis early works | 31 |
Ecco mormorar londe 1590 | 45 |
Monteverdi at Mantua 15901612 | 53 |
Spaces for music in late Renaissance Mantua | 76 |
The Mantuan madrigals and the Scherzi musicali | 95 |
Ahi come a un vago sol cortese giro 1605 | 111 |
The Venetian sacred music | 199 |
Magnificat SV281 1641 | 219 |
Monteverdis late operas | 227 |
Il ritorno dUlisse 1640 Act V scene 10 | 243 |
Monteverdi studies and new musicologies | 249 |
Monteverdi in performance | 261 |
Notes | 280 |
Bibliography | 299 |
Orfeo 1607 | 119 |
The Mantuan sacred music | 141 |
Laetatus sum 1610 | 155 |
Music in Monteverdis Venice | 163 |
The Venetian secular music | 179 |
Lamento della ninfa 1638 | 195 |
Selected discography | 310 |
catalogue and index | 314 |
Index of titles and first lines | 339 |
Index of names and subjects | 349 |
Cambridge Companions to Music | 359 |
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Kluczowe wyrazy i wyrażenia
Alessandro Striggio aria Arianna Artusi Ballo bars bass Battista Guarini Besutti Book of Madrigals cadence Cambridge Companion canzonettas Carter century choir church Claudio Monteverdi composer compositions concertato continuo court culture di¤erent ducal duet Duke duke’s e¤ect Early Music edition Eighth Book ensemble Fabbri feast Fenlon Ferdinando Gonzaga Fifth Book final first five Florence Francesco Gabriello Chiabrera Giaches de Wert Giambattista Marino Gonzaga Hall of Mirrors identified imitation influence instruments Italy L’incoronazione di Poppea lament letter libretto Madrigali madrigals maestro di cappella Magnificat Mantova Mantua Marco modern Monteverdi’s music motets Musical Theatre musicians musicology o¤er opera Orfeo Ottavio Rinuccini perf performance piece psalm published reflected Renaissance ritornellos ritorno d’Ulisse Rosand sacred music Scherzi musicali score setting seventeenth-century significant singers singing solo soprano specific stanza Striggio strophic style sung Teatro tenor texture theatre Tomlinson tonal Ulisse Venetian Venice verse Vespers Vincenzo vocal voices Whenham
Popularne fragmenty
Strona 220 - He hath put down the mighty from their seat : and hath exalted the humble and meek. He hath filled the hungry with good things : and the rich he hath sent empty away. He remembering his mercy, hath holpen his servant Israel : as he promised to our forefathers, Abraham and his seed for ever.
Strona 220 - Deposuit potentes de sede, * et exaltavit humiles. 8. Esurientes implevit bonis: * et divites dimisit inanes. 9. Suscepit Israel puerum suum, * recordatus misericordiae suae.
Strona 156 - Laetatus sum in his quae dicta sunt mihi: In domum Domini ibimus.
Strona 156 - Jerusalem, quae asdificatur ut civitas, ":;~ cujus participatio ejus in idipsum. Illuc enim ascenderunt tribus, tribus Domini : * testimonium Israel ad confitendum nomini Domini.
Strona 164 - Musicke, which was both vocall and instrumental, so good, so delectable, so rare, so admirable, so superexcellent, that it did even ravish and stupifie all those strangers that never heard the like. But how others were affected with it I know not; for mine owne part I can say this, that I was for the time even rapt up with Saint Paul into the third heaven.
Strona 124 - Orfeo" stellte er folgenden orchestralen Apparat auf: „Duoi Gravicembali, duoi contrabassi de Viola, dieci Viole da brazzo, un' Arpa doppia, duoi Violini piccoli alla francese, duoi Chitaroni, duoi Organi di legno, tre bassi di gamba, quattro Tromboni, un Regale, duoi Cornetti, un Flaufino alla vigesimaseconda (?), un Clarino con tre trombe sordine.
Strona 156 - Cuius participatio eius in idipsum. 4. Illuc enim ascenderunt tribus, tribus Domini, Testimonium Israel, Ad confitendum nomini Domini. 5. Quia illic sederunt sedes in judicio, Sedes super domum David. 6.
Strona 145 - Sanctissimae Virgini Missa senis vocibus ac Vesperae pluribus decantandae, cum nonnullis sacris concentibus, ad Sacella sive Principum Cubicula accommodata. Opera a Claudio Monteverde nuper effecta ac Beatiss.
Strona 282 - Bloom, The Anxiety of Influence: A Theory of Poetry (New York, 1973), 512.
Strona xx - ... tangled that I give Your Most Illustrious Lordship my word that I labour more than if I were to compose it all by myself; and that if it had to be left to him to write it, it would take time and plenty of it (and if I were not at his heels so much, he would not have done half of what he has done). It is true that the labour is great, and tedious; but still, he is a man who likes to talk things over in company at great length (and about this, I make it a rule to take the opportunity away from...
Informacje bibliograficzne
| Tytuł | The Cambridge Companion to Monteverdi Cambridge Companions to Music |
| Redaktorzy | John Whenham, Richard Wistreich |
| Wydawca | Cambridge University Press, 2007 |
| ISBN | 1139828223, 9781139828222 |
| Eksportuj cytowanie | BiBTeX EndNote RefMan |