Monteverdi Early career Monteverdi, the son of a barber-surgeon and chemist, studied with the director of music at Cremona cathedral, Marcantonio Ingegneri, a well-known musician who wrote church music and madrigals of some distinction in an up-to-date though not revolutionary style of the s. Monteverdi was obviously a precocious pupil, since he published several books of religious and secular music in his teens, all of them containing competent pieces in a manner not far from that of his master.
Early years[ edit ] According to biographer Leonardo Cozzandowriting in the late 17th century, Marenzio was born at Coccaglioa small town near Bresciaas Claudio monteverdi of seven children to a poor family.
His father was a notary clerk in Brescia. A birthdate of October 18, has been proposed, based his father's stating in that his son was 35, and a suggestion that he may have been named after St.
Luke, whose feast day is on October He may also have gone with Contino to Mantua in when Contino began serving the Mantuan Gonzaga family; later in his life, Marenzio mentioned having spent five years in Mantua in the service of the Gonzaga family, but was unspecific as to when exactly this happened.
Since Madruzzo had been the employer of Contino in Trent, this may have been arranged by Contino. After the cardinal's death Marenzio served at the court of Cardinal Luigi d'Estewho was a friend of Madruzzo; according to Marenzio himself, writing in the dedication of his first madrigal book, he was the cardinal's maestro di cappella, although Luigi's musical establishment only included a handful of musicians.
Marenzio had the opportunity to travel with Luigi in winter to spring — to Ferrarathe home of the Este family and one of the principal centers for composition of progressive secular music in the late 16th century. While there he took part in the wedding festivities for Vincenzo Gonzaga and Margherita Farnesean opulent affair requiring equally opulent music.
Marenzio would have had an opportunity to hear the newly formed Concerto delle donnethe virtuoso female singers with the repertory of "secret music" that so influenced the course of madrigal composition at the end of the Renaissance.
A comment by Marenzio to the Duke Claudio monteverdi Mantua indicates that he may have had considerable other income from freelancing in Rome, either as a singer or a lutenist.
Several times during his tenure with Luigi, he tried to find other work: He also became known as an expert lutenist, as indicated in a letter of from a singer to Luigi d'Este; Claudio monteverdi by the time the cardinal died inMarenzio had become internationally famous as a composer, with his numerous books of madrigals published and reprinted not only in Italy, but in the Netherlands.
The popularity of his work during this period is evident also in the frequency with which his madrigals appeared in anthologies. It is highly probable that he was already in the service of Ferdinando while the latter was still a cardinal living in Rome, and that he followed him to Florence when he succeeded to the granducal throne in It is hard to assess the influence of Florentine composers on Marenzio's music.
According to Alfred Einstein, " On November 30, Marenzio returned to Rome, where he served several patrons, while retaining considerable independence; he lived in the Orsini palace untilin the service of Virginio Orsini, the nephew of the Grand Duke of Tuscany.
This cardinal, who presided over an informal academy that gathered together men of letters and learning, assigned to Marenzio an apartment in the Vatican. Dowland got as far as Florence, and indicated that he wanted to study with Marenzio, but it is not known if he did: He went to Poland in between late and earlystaying at least through Octoberaccepting a position as maestro di cappella at the court of Sigismund III Vasa in Warsaw ; his predecessor, Annibale Stabilehad just died after only being there two months.
According to preth-century writers, the trip to Poland, which was ordered by the Pope, ruined Marenzio's health.
He was buried in the church of San Lorenzo in Lucina. They vary enormously in style, technique and tone through the two decades of his composing career.
To Marenzio, each madrigal text presented its own problem, which he solved in terms of that text alone: According to him, each madrigal text was a challenge of translation: By late in his career he was easily the most influential madrigal composer in Europe, and his earlier madrigals became the model for the new school of madrigal composition in England.
Nine of the collections are for five voices and it is possible that he produced a final tenth book ; six are for six voices; two are for four voices; one is for four to six voices; and the remaining five are books of villanellea lighter form popular in the late 16th century, for three voices only.
In addition to secular music, he published two books of motetsone of which is lost, a book of antiphons now lostand a book of Sacrae cantiones for five to seven voices.
Almost all of his works were initially published in Venice, except for the madrigali spirituali, which appeared in Rome. Most of the madrigals are for five voices, but he also wrote many four and six voice pieces, as well as a few exceptional settings for more, including one madrigal for eighteen voices for a Florentine intermedio in He varies textures, using imitative counterpointchordal texture, recitatives as needed to express the text.
Close to separate compositions survive. Stylistically, his compositions show a generally increasing seriousness of tone throughout his life, but in all periods he was capable of the most astonishing mood-shifts within a single composition, sometimes within a single phrase; rarely does the music seem disunified, since he closely follows the texts of the poems being sung.
During his last decade he not only wrote more serious, even sombre music, but experimented with chromaticism in a daring manner surpassed only by Gesualdo. Madrigal O voi che sospirate a miglior note, bars 35—41, featuring a modulation through almost the entire circle of fifths MIDI version Problems playing this file?
Even more characteristic of his style, and a defining characteristic of the madrigal as a genre, is his use of word-painting: An obvious example would be a setting of the phrase "sinking in the sea" to a descending series of notes, or accompanying the word "anguish" with a dissonant chord followed by an unsatisfying resolution.
Marenzio was often referred to as "the divine composer" or "the sweetest swan" by his successors. Like many of his contemporaries, he used pastoral and love poems from well-known Italian poets, such as Dante and Petrarchbut few set texts as attentively to their full expressive potential as did Marenzio.
Using vivid imagery expressed through text-painting, he highlighted the specific emotions and moods contained in the poem. Consequently, historians claim Marenzio brought the Italian madrigal to its highest point of artistic and technical development.
A History of Musical Thought.Claudio Monteverdi, Charles Medlam, Nigel Rogers, Chiaroscuro, London Baroque, London Cornett & Sackbut Ensemble, Emma Kirkby, Jennifer Smith, Patrizia Kwella, Helena Alfonso - Monteverdi: L'Orfeo - timberdesignmag.com Music.
Claudio Monteverdi fue un impresionante músico italianovanguardista en la transición del modo de renacimiento de la música de temporada barroca.
Il Conservatorio "Monteverdi" Conservatorio di musica "Claudio Monteverdi", l'Istituto di alta formazione musicale / Istituto superiore di studi musicali della provincia di Bolzano. Choir Midi Learning Files for works by Claudio Monteverdi.
Luca Marenzio (also Marentio; October 18, or – August 22, ) was an Italian composer and singer of the late timberdesignmag.com was one of the most renowned composers of madrigals, and wrote some of the most famous examples of the form in its late stage of development, prior to its early Baroque transformation by timberdesignmag.com .
Claudio Monteverdi, Charles Medlam, Nigel Rogers, Chiaroscuro, London Baroque, London Cornett & Sackbut Ensemble, Emma Kirkby, Jennifer Smith, Patrizia Kwella, Helena Alfonso - Monteverdi: L'Orfeo - timberdesignmag.com Music.