VII Libro Settimo (1).pdf
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Glossa Music, s. l.
Claudio Monteverdi (1567-1643)
Setttimo Libro dei Madrigali,
.
Symphonia - Tempro la Cetra
voce sola
Ohimè, dov’è il mio ben
Romanesca a due Soprani
Ah, che non si conviene
a due Tenori
Vaga su spina ascosa
a
.
Due Tenori e Basso
Se i languidi miei sguardi
Lettera amorosa a voce sola in genere rappresentativo
Chiome d’oro
Canzonetta a due voci concertata
Interrotte speranze
a due Tenori
Tu dormi?
a
.
Soprano Alto Tenore Basso
Ecco vicine, o bella Tigre
a due Tenori
Non è di gentil core
a due Soprani
Eccomi pronta ai baci
a
.
Due Tenori e Basso
Soave libertate
a due Tenori
Vorrei baciarti, o Filli
a due Contralti
Se’l vostro cor, Madonna
a Tenore e Basso
A quest’olmo
a
.
Concertato
total time
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Setttimo Libro dei Madrigali,
.
Con che soavità
Concertato a una voce e
strumenti
Parlo, miser, o taccio?
a
.
Due Soprani e Basso
Perché fuggi tra salci
a due Tenori
Augellin
a
.
Due Tenori e Basso
O come sei gentile
a due Soprani
Se pur destina
Partenza amorosa a voce sola
Amor che deggio far
Canzonetta a
concertata
Non vedrò mai le stelle
a due Tenori
Io son pur vezzosetta
a due Soprani
Al lume delle stelle
a
.
Due Soprani Tenore e Basso
Tornate, o cari baci
a due Tenori
O viva fiamma
a due Soprani
Dice la mia bellissima Licori
a due Tenori
Tirsi e Clori. Ballo
Concertato con voci e strumenti a
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www.glossamusic.com/monteverdiedition
Claudio Monteverdi
New concertos
In
Monteverdi dedicated his
Seventh Book of
Madrigals
to Catherine de’ Medici, Duchess of
Mantua. The decision might seem somewhat strange
since seven years earlier the composer had seen
himself obliged to leave the city when Francesco
Gonzaga dismissed him for reasons that are still not
altogether clear. Although many hypotheses have
been forwarded for this sudden rupture, what is
certain is that Monteverdi continued to enjoy
cordial relations with his former patrons, to the
extent that he even received an occasional
commission from them (one of them, the dance
Tirsi
e Clori,
closes the new collection of madrigals). For
this reason, some have seen the publication of the
Seventh Book
as a preparatory step towards a possible
retur n to Mantua.
If the dedication to Catherine de’ Medici suggests a
set of new professional circumstances, which, on the
other hand, never came about (from
till his
death, the composer held on to his position as
maestro di cappella in Venice), of much more
import are the novelties which the
Seventh Book
offers
from a musical perspective. For the
edition
Monteverdi chooses a title which in itself is a
declaration of intentions:
Concerto.
The term
‘concerto’ is ambivalent. On the one hand, its
etymology suggests conflict (the Latin verb
concertare
means to fight, to combat, to compete). On the
other, the same word has a subtle connection with
the participle
consertum
(intertwined, connected),
which establishes the principle of union. Seen in the
context of the madrigal, a genre traditionally
polyphonic in nature, the two meanings at the same
time oppose, join and somehow balance one another.
Consequently, the voices assert their individuality,
conflicting with each other. Each one expresses its
own point of view, independently of the others. But
at the same time their movements are unified by a
common base: the harmonic platform provided by
the basso continuo.
The concerto’s dimension implies a certain diversity,
and in this sense the
Seventh Book
marks another
turning-point. The new publication renounces the
Plik z chomika:
Ariz1967
Inne pliki z tego folderu:
I Libro Primo & Libro Nono.pdf
(1136 KB)
II Libro Secondo.pdf
(1677 KB)
III Libro Terzo.pdf
(1097 KB)
IV Libro Quarto.pdf
(1825 KB)
Live in Corsica (1).pdf
(28385 KB)
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