Claudio Monteverdi: A Research and Information Guide 9780415837330, 9780203379936

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CLAUDIO MONTEVERDI Claudio Monteverdi: A Research and Information Guide is an annotated bibliography that navigates the vast scholarly resources on the composer with the most updated compilation since 1989. Claudio Monteverdi transformed and mastered the principal genres of his day and his works influenced generations of musicians and other artists. He initiated one of the most important aesthetic debates of the era by proposing a new relationship between poetry and harmony. In addition to scholarship by musicologists and music theorists, Monteverdi’s music has attracted attention from literary scholars, cultural historians, and critical theorists. Research into Monteverdi and Renaissance and early Baroque studies has expanded greatly, with the field becoming more complex as scholars address such issues as gender theory, feminist criticism, cultural theory, new criticism, new historicism, and artistic and popular cultures. The guide serves both as a foundational starting point and as a gateway for future inquiry in such fields as court culture, opera, patronage, and Italian poetry. Susan Lewis is Professor and Dean of the Faculty of Fine Arts at the University of Victoria in British Columbia, Canada. Her other publications include Editing Music in Early Modern Germany (Ashgate, 2007; Routledge, 2017), The Madrigal: A Research and Information Guide (Routledge, 2012), Music in the Baroque World: History, Culture, and Performance (Routledge, 2016), and numerous articles and reviews. Her work has been supported by the Social Sciences and Humanities Research Council of Canada, The Helen Riaboff Whiteley Center at the University of Washington, and the University of Victoria. Maria Virginia Acuña holds a PhD in musicology from the University of Toronto and has taught courses at Kwantlen Polytechnic University and Simon Fraser University. Her research has been funded and recognized by the Joseph-Armand Bombardier Canada Graduate Scholarship from the Social Sciences and Humanities Research Council of Canada, the Eugene K. Wolf Grant awarded by the American Musicological Society, and the SOCAN Foundation/George Proctor Prize.

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CLAUDIO MONTEVERDI A Research and Information Guide

Susan Lewis and Maria Virginia Acuña

ROUTLEDGE MUSIC BIBLIOGRAPHIES

First published 2018 by Routledge 711 Third Avenue, New York, NY 10017 and by Routledge 2 Park Square, Milton Park, Abingdon, Oxon, OX14 4RN Routledge is an imprint of the Taylor & Francis Group, an informa business © 2018 Taylor & Francis The right of Susan Lewis and Maria Virginia Acuña to be identified as authors of this work has been asserted by them in accordance with sections 77 and 78 of the Copyright, Designs and Patents Act 1988. All rights reserved. No part of this book may be reprinted or reproduced or utilized in any form or by any electronic, mechanical, or other means, now known or hereafter invented, including photocopying and recording, or in any information storage or retrieval system, without permission in writing from the publishers. Trademark notice: Product or corporate names may be trademarks or registered trademarks, and are used only for identification and explanation without intent to infringe. Library of Congress Cataloging-in-Publication Data A catalog record for this book has been requested ISBN: 978-0-415-83733-0 (hbk) ISBN: 978-0-203-37993-6 (ebk) Typeset in Minion by Apex CoVantage, LLC

Contents Preface

ix

Introduction: Monteverdi in His World and Ours

xi

Acknowledgments

xv

Abbreviations

xvii

Monteverdi: A Chronology

xxi

1.

Reference

1

General Reference 1 Monteverdi Reference 4 Catalogs of Monteverdi’s Music 6 Monteverdi’s Letters, Documents, and Writings 6 2.

Collections of Essays and Conference Proceedings

3.

Studies of Monteverdi’s Life and Works

9 17

Specialized Studies 17 Studies of Documents and Sources 22 Iconography 28 4.

Claudio’s Brother: Giulio Cesare Monteverdi

31

5.

Theory and Aesthetics

33

Theoretical Contexts 33 Aesthetics and Debates on the seconda pratica 6.

40

Canzonetta and Madrigal Books Secular Song Around 1600 48 Monteverdi as Madrigalist 52 Monteverdi in Relation to His Contemporaries Monteverdi’s Poetic Choices 63 Madrigali, Libri I–III 69 Madrigali, Libri IV–V 71

48

56

v

vi

Contents

Scherzi musicali (1607) 75 Madrigali, Libro VI 76 Madrigali, Libro VII 76 Scherzi musicali (1632) 77 Madrigali Guerrieri et Amorosi, Libro VIII Madrigali, Libro IX 82 Spiritual Madrigals and Contrafacta 82 7.

78

Dramatic Works

86

General Studies of Early Opera 86 Venetian Opera and Opera in Venice 95 Studies of Monteverdi’s Dramatic Works 99 L’Orfeo (1607) 106 Arianna (1608) and the Lament Tradition 125 Il ritorno d’Ulisse in patria (1639–40) 127 Le nozze d’Enea in Lavinia (1640–1) 130 L’incoronazione di Poppea (1642–3) 130 Other Dramatic Works 141 Le nozze di Tetide (1616–7) 141 Andromeda (1620) 141 Il Combattimento di Tancredi e Clorinda (1624) 142 Musical Festivities for Parma (1628) 146 Proserpina Rapita (1630) 147 Ballet Music 148 8.

Sacred Music

152

Monteverdi’s Sacred Music in Context 152 Sacred Music for Mantua and the 1610 Vespers 157 Later Sacred Works 167 9.

Issues of Performance

172

General Studies 172 Monteverdi: Specialized Studies 176 Instruments and Instrumentation 180 Ornamentation and Singing Technique 183 10. Monteverdi’s Historical Position and Status Reputation up to 1900 191 The Twentieth Century and Beyond

191 195

Contents

vii

Appendices Monteverdi’s Works 205 Guide to Editions of Monteverdi’s Complete Works Selected Discography 223

205 220

Index of Monteverdi’s Works

227

Index of Authors

231

Index of Names and Places

239

Preface Claudio Monteverdi (1567–1643) is regarded as one of the most important composers before 1700. He excelled in all genres popular in his lifetime and became a model for future generations of musicians both in Italy and abroad. Monteverdi’s stature is signaled by the huge role he plays in studies of music of the late-sixteenth through mid-seventeenth centuries. His music provides a framework for our understanding of musical styles, genres, and aesthetics of the period. His music is readily available in modern editions and recordings, and his works remain part of the standard repertory of opera houses and early music ensembles around the world. Tens of thousands of entries in WorldCat and RILM Abstracts connect scholars and students to the work of leading musicologists who have devoted their careers to all aspects of Monteverdi’s music and influence, and the numerous recordings and frequent staging of his operas indicate the enthusiasm of a broad public. The surge in digital media and high-quality research on Monteverdi has only increased in the last thirty years. This creates both opportunities and challenges. On the one hand, the sheer mass of material online, much of it credible and by top scholars in the field, opens up access and availability of information on Monteverdi on a scale hitherto unimagined. A Google search for “Monteverdi” yields over eight million hits. Entering his name in WorldCat results in 22,845 hits from the categories of sound, scores, books, visual, internet, articles, archival, computer, and serials. Given the prominence of Monteverdi, the explosion of digital resources, and the immense change in scope, vision, and focus of musicology since the 1980s, there is a need for a bibliography to supplant Claudio Monteverdi: A Guide to Research (New York: Garland, 1989) by K. Gary Adams and Dyke Kiel (no. 17). Claudio Monteverdi: A Research and Information Guide helps us navigate the scholarship on Monteverdi and offers a tool to further the study and performance of his music. The volume is a user-friendly reference bibliography detailing the vast resources on Monteverdi and musical culture from ca. 1550—ca. 1650. It combines the benefits of a music bibliography, an analytical guide to resource material, and an interactive gateway to diverse media for use by scholars, performers, librarians, community groups, and students. As an annotated bibliography, Claudio Monteverdi: A Research and Information Guide gives an account of the research that has been done on the composer, with each entry providing a concise summary and assessment of its value or relevance. Each citation provides all of the necessary information to identify and locate the resource, and includes the author, title, edition statement, place of publication, name of publisher, publication date, pagination, series title if any, ISBN (International Standard Book Number), and Library of Congress number. Annotations summarize the content, suggest its relevance and standing in the literature, and provide cross-references and comments on scholarly debates. ix

x

Preface

An important consideration when completing an annotated bibliography is what to include and exclude. It is necessary to set boundaries that are clearly defined. Claudio Monteverdi: A Research and Information Guide includes the core literature that a scholar entering the field must know, the most important resources that performers will need to interpret Monteverdi’s music, and what scholars need to stay current in the field. Items for inclusion are drawn from RILM Abstracts with a cut-off publication date of 2015. A cut-off date of 2017 has been chosen for items in the Selected Discography in the appendices. From this vast pool of citations, we focus on research from after 1985 and direct readers to Adams and Kiel (no. 17) for a broader range of material from before 1985. Our guide annotates works of current significance published in the major languages relevant to Monteverdi scholarship: English, Italian, French, and German. We omit articles in popular magazines, master’s theses, reviews of books, editions, and recordings, and limit our consideration of doctoral dissertations to the most influential contributions. Several entries, mainly from Chapter 5, “Theory and Aesthetics” and Chapter 6, “Canzonetta and Madrigal Books,” revise and update entries from the author’s (SL) The Madrigal: A Research and Information Guide (Routledge, 2012) to reflect the focus on Claudio Monteverdi. All items that appear in the guide have been examined directly. The second major methodological consideration is how to arrange the contents. We have organized the volume by main subject and subsidiary subjects, beginning with general reference works, major studies of life and works, studies of the music arranged by genre, issues of performance, and Monteverdi’s historical position and influence. Within these categories, citations are organized alphabetically by author to facilitate quick identification of the main scholars in the field. There are many cases where an item of scholarship fits multiple chapters or sub-chapters in the guide. We have endeavored to select the most fitting placement for each item, and exclude duplicate appearances of the same citation. Readers can consult the index or search online across the book to locate items across the volume on a particular topic or by a specific author.

Introduction Monteverdi in His World and Ours

Claudio Monteverdi is among the best-known composers of early music. He was equally adept in both the older and newer styles of music, coining the terms prima pratica and seconda pratica (first and second practices). The first style drew rules for counterpoint and dissonance according to the strict practices of the Italian theorist Gioseffo Zarlino (1517–90), while the second practice implied a freer treatment of dissonance and counterpoint in response to textual meaning. Monteverdi transformed and mastered the principal genres of his day—madrigals (secular settings of poetry), operas, and sacred music—and his works influenced generations of musicians and other artists. By proposing a new relationship between poetry and harmony, he initiated one of the most important aesthetic debates of the era. Monteverdi’s life and works are emblematic of the debate that surrounds the decades around 1600. Are these years best viewed as the end of the Renaissance or as the beginning of the Baroque? Is Monteverdi a Renaissance or a Baroque composer? Does it matter? Monteverdi’s life and works straddle both eras. He spent his early years in his birthplace of Cremona, in northern Italy, where he studied with the music director of the local cathedral, Marc’Antonio Ingegneri (1535-6–1592). He became proficient on string instruments, entering the court of Duke Vincenzo Gonzaga as a string player in 1591; he remained for twenty-one years at Mantua. In 1601, he was appointed head of the chapel at the Mantuan court. This was a productive period for Monteverdi, who completed his third through fifth books of madrigals, the operas Orfeo and Arianna, the 1610 Vespers, and two ballets. However, when Vincenzo died in 1612, his son Francesco dismissed many court artists, including Monteverdi. This initiated the composer’s move to Venice and the last phase of his career. From 1613 Monteverdi held the prominent post of music director at the Basilica of St. Mark’s. His landmark operas of the 1640s, L’incoronazione xi

xii

Introduction

di Poppea and Il ritorno d’Ulisse, had a significant impact on the rise of commercial opera in Venice. Monteverdi thus played a key role in the beginnings of both courtly and public opera, the former at the start of his career, the latter at its finish. His lifespan also coincided with the commercialization and expansion of the music print industry: most of his music appeared in print during his lifetime, and some in multiple editions, both in Italy and northern Europe. Scholars, performers, and critical theorists have grappled with interpreting Monteverdi’s music and its influence for decades. Raphael Georg Kiesewetter, Gottfried Wilhelm Fink, Francesco Caffi, François-Joseph Fétis, and Carl von Winterfeld recognized Monteverdi as one of the most important composers of the Baroque period. The basic details of his biography were first outlined in 1887 in an expansive article by Emil Vogel that appeared in the third issue of the Vierteljahrsschrift für Musikwissenschaft. Vogel grouped Monteverdi’s activity by locale: Cremona, Mantua, and Venice—an approach to studying Monteverdi’s life and works that proved lasting. A series of influential studies of Monteverdi appeared across Europe in the first half of the twentieth century by Henry Prunières (1924), Hans F. Redlich (1949), Claudio Sartori (1953), and Leo Schrade, whose Monteverdi: Creator of Modern Music (1950, no. 83) was the first definitive biography of the composer in English. Studies of Monteverdi’s life and works mirrored renewed interest in performing and editing his music. Orfeo has attracted the attention of renowned scholars and composers, including Robert Eitner, Luigi Torchi, Jack Alan Westrup, Hans Ferdinand Redlich, Vincent d’Indy, Giacomo Orefice, Ottorino Respighi, Carl Orff, Benjamin Britten, Luigi Dallapiccola, Ernst Krenek, Paul Hindemith, and Hans Werner Henze. Eitner (1881) published the first modern edition of Orfeo; a facsimile edition by Adolf Sandberger appeared in 1928. Vincent d’Indy led the first performance of Orfeo in France at the Schola Cantorum in Paris on February 25, 1904. There is a strong relationship between the revival of Monteverdi’s music and the emerging musical modernity of composers such as Hindemith, Orff, and Dallapiccola in the first half of the twentieth century. A turning point for the study and performance of Monteverdi’s music lies with the publication of the first complete edition by Gian Francesco Malipiero (1926–42, second edition, 1954–68). Malipiero issued the composer’s works in sixteen volumes, opening the set with Monteverdi’s first book of madrigals (see Guide to Editions of Monteverdi’s Complete Works in the Appendices). Malipiero’s pioneering edition made Monteverdi’s music available to large audiences for the first time. He did not conceive the series as critical editions of Monteverdi’s works. The series is full of editorial markings such as tempo suggestions, dynamics, bar lines, phrasing, and basso continuo realization. It remains the only finished complete works; it is cross-referenced in the works list for Monteverdi in GMo (no. 19) and in Richard Wistreich’s list of works in The Cambridge Companion to Monteverdi (no. 63). These pioneering biographies, performances, and early editions established the foundations for further research into source material, letters and documents, and archival studies. In this respect, research on Monteverdi in the 1960s and 1970s reflected broader musicological trends toward archival and source studies. Monteverdi scholarship benefited from the findings of research on his contemporaries and patrons: Giaches de Wert, Benedetto Pallavicino, Salamone Rossi, and the Gonzaga family of Mantua. Monteverdi

Introduction

xiii

studies surged in terms of quantity and scope in 1967 with a stream of publications marking the quatercentenary of Monteverdi’s birth. These include conferences with published proceedings (see Chapter 2), plans for a new complete edition of his music, and major projects such as The Monteverdi Companion (no. 33). Vital editions of Monteverdi’s letters and documents followed: Domenico de’Paoli’s edition of the letters, dedications, and prefaces (no. 29), and Denis Stevens’s English translation (1980) of the letters (no. 31). In this context of growth in Monteverdi studies, the Fondazione Claudio Monteverdi of Cremona embarked on a new collected works series in 1970. The series is conceived in twenty volumes; each volume has its own editor (some editors will be responsible for more than one volume). The series is near completion and represents cutting-edge scholarship on the composer (see Guide to Editions of Monteverdi’s Complete Works in the Appendices). Contents are cross-referenced in the works list for Monteverdi in GMo (no. 19) and in Richard Wistreich’s list of works in The Cambridge Companion to Monteverdi (no. 63). The Guide to Editions of Monteverdi’s Complete Works tracks progress on the Opera omnia, which has slowed at times. At present, there are three volumes forthcoming. The 1980s was an impressive decade for Monteverdi scholarship, with the publication of a series of influential studies by Paolo Fabbri (1985, no. 75), Silke Leopold (1982, no. 80), and Gary Tomlinson (1987, no. 89). These scholars reframed Monteverdi studies; they reflect a clear departure from the assumptions, biases, and agendas of the first half of the twentieth century. The 300th anniversary of Monteverdi’s death in 1993 occasioned a similar highpoint in scholarship with two dedicated issues of Early Music (no. 48), influential studies of the composer’s reception in Germany (no. 51), collected essays by leading scholars (nos. 39, 40), and studies on performance practice, among them the collection of essays, Performing Practice in Monteverdi’s Music: The Historic-Philological Background (no. 55). The boom in performances of Monteverdi’s operas in the 1980s and 1990s occasioned new editions of the operas by Alan Curtis (L’incoronazione di Poppea [London: Novello, 1989] and Il ritorno d’Ulisse [London: Novello, 2002]). Here the gulf between scholarly and performance editions is narrowed as Curtis skillfully combines the authoritative evaluation of source material with an approach geared to performers. Discography and videography offer further vantage points for approaching performance, the elucidation of style (whether that of an individual performer or of a school or a period), and historical shifts in aesthetic priorities. In 1937, Nadia Boulanger led her vocal ensemble at the piano in recordings of Monteverdi’s madrigals that were highly influential, both in terms of interpretation and scope, as the most comprehensive survey of Monteverdi’s music on record to date. Nikolaus Harnoncourt and Jean-Pierre Ponnelle led what has been dubbed a “Monteverdi Renaissance” in recordings in the 1970s. Recordings have played a vital role in the reception of Monteverdi over the past fifty years. Commercial, mass media made Monteverdi’s music accessible to wider audiences in increased numbers. The internet has fundamentally changed how we access and listen to music. Recordings of Monteverdi’s music are readily available on CD, DVD, and through internet services such as iTunes and Spotify (see Selected Discography in the Appendices). The new millennium saw renewed efforts to consolidate and review findings. The new editions of GMo (2001, with updates, no. 13), the MGG2 (no. 4), and Oxford

xiv

Introduction

Bibliographies Online (no. 21) provide ready reference information on Monteverdi’s works, sources, and an overview of his biography and music. Journals such as the onlineonly Journal of Seventeenth-Century Music (http://sscm-jscm.org/) and digital databases such as JSTOR (www.jstor.org/) and Project Muse (https://muse.jhu.edu/) have made research on Monteverdi more accessible to readers. The new millennium also offered an opportunity to look at Monteverdi from the perspective of the “new musicology,” a term coined in 1991 to identify a paradigm shift in the field. Suzanne Cusick’s essay (no. 802) for The Cambridge Companion to Monteverdi (no. 63) surveys the intersections of Monteverdi studies with these new trends and notes, in particular, the scholarship of Gary Tomlinson, Ellen Rosand, and Susan McClary as leading the way. The past two decades have seen online resources play an increasingly important part in research on Monteverdi and on sixteenth- and seventeenth-century composers, artists, and authors more generally. Eighteen volumes of Malipiero’s edition of Monteverdi’s music are readily available on IMSLP—Petrucci Music Library (http://imslp.org/wiki/ Main_Page). The collections of major European libraries, notably the French Bibliothèque Nationale, the Bavarian State Library in Munich, and The British Library, make full scores of original music books available free of charge to anyone with an internet connection. This opens up the field of Monteverdi studies to a broader audience on a scale hitherto unknown. Readers of this book will be struck by the depth and diversity of scholarship on Monteverdi. At the same time, there remains work to be done. There is much to be learned about Monteverdi’s music through comparative study with contemporaneous composers of sacred music, madrigals, and opera. The study of Monteverdi’s influence on the next generation of composers, particularly in the regions of France, Spain, Poland, and Scandinavia, offers opportunities for further learning and research. There is a need for more English translations of core theoretical writings, including those of Giovanni Maria Artusi. Monteverdi’s theatrical works require ongoing interpretation in light of contemporary trends and approaches to musicology. Many of the more complicated intersections of Monteverdi’s music and performance remain underexplored. As the field of musicology evolves, so will our questions and thoughts on Monteverdi. Our knowledge and interpretation of Monteverdi is constantly evolving alongside the discipline of musicology itself.

Acknowledgments It is a pleasure for us to take the opportunity to thank those who assisted and supported our research and efforts. This research was supported by an Insight Grant from the Social Sciences and Humanities and Research Council of Canada, by internal research funds from the University of Victoria, and by The Helen Riaboff Whiteley Center at Friday Harbor, which provided an ideal setting for working on the early contours of the project. We also wish to acknowledge the superb services of the Interlibrary Loan Office at the University of Victoria Libraries, which handled countless requests for materials from across North America, the United Kingdom, and Europe. The University of Victoria’s Music Library kindly permitted flexible access to reference materials. The libraries of the Faculty of Music at the University of Toronto and the School of Music at the University of British Columbia made collections available to us, and served as major research centers for this project. A network of scholars shared their ideas and commented on the work at various stages and they deserve special thanks here. Reports from anonymous grant evaluators and readers for Routledge provided valuable comments and suggestions that improved the final version in significant ways. SL presented a template of the bibliography and benefited from discussions of methodology at presentations for the Sixteenth-Century Studies Conference in October, 2015. (SL) I want to thank Maria Virginia Acuña for being an exceptional collaborator and scholar. It was a delight to work with her on this project. Elissa Poole compiled the chronology on Monteverdi and conducted research for the works lists that appear in the appendices. Research assistants Rena Roussin, Monica Zaborowski, Zsofie Surjan, Konstantin Bozhinov, Bradley Pickard, and Michael Dias completed tasks large and small that greatly improved the study and facilitated its more timely completion. Students in graduate seminars at the University of Victoria offered a venue for testing theories and issues of methodology. Our colleagues and support staff at the University of Victoria offered encouragement and assistance and deserve special thanks here. It was a pleasure to work with Constance Ditzel and her team at Routledge. They offered valuable advice and feedback at all stages of the project. We thank Jennifer Bonnar and Anne Konkle at Apex CoVantage for their expertise and diligence in copyediting the volume. (SL) My warm thanks and appreciation go to my family—my parents, husband, Mitch, and children, Zachary and Abigail. Their ongoing love and support are a constant source of inspiration, for which I am most grateful.

xv

Abbreviations BIBLIOGRAPHICAL ABBREVIATIONS ACR AfM AH AM AMe Analisi AnM AnnM ASO AY BMB Chelys CI CJ CM COJ DM EM EMA EMH EMP EMR Eunomio FAM FMI FoMRHI GfMKB GMo Goldberg HJ HLB HLQ HP HR IAMR IJM

American Choral Review Archiv für Musikwissenschaft Artibus et historiae Acta musicologica Atti e memorie dell’Accademia nazionale virgiliana di scienze, lettere ed arti Analisi: Rivista di teoria e pedagogia musica Analecta musicologica Annales musicologiques L’avant-scène opera Yearbook of the Alamire Foundation Bibliotheca Musica Bononiensis Chelys, The Journal of the Da Gamba Society Critical Inquiry Choral Journal Current Musicology Cambridge Opera Journal Documenta Musicologica Early Music Early Music America Early Music History Early Music Performer: Journal of the National Early Music Association Early Music Review Eunomio: Parole di musica Fontes artis musicae Fonti musicali italiane: Periodico di ricerca musicologica Fellowship of Makers and Researchers of Historical Instruments Gesellschaft für Musikforschung: Kongress—Bericht Grove Music online Goldberg: Early Music Magazine Hindemith-Jahrbuch Harvard Library Bulletin, n.s. The Huntington Library Quarterly Historical Performance: The Journal of Early Music America The Hopkins Review Inter-American Music Review International Journal of Musicology xvii

xviii

IM IMSCR Intégral IPSR ISiM ISM It ITR JaM JAMS JIH JM JMEMS JMR JRBM JRMA JSCM LS MA MÄ MAPM MAu MF Mf MGG MGG2 MI MiA MK ML MM MMMLF MMR MQ MR MRF MSa MSD MT MTh MTS MuK MuS Musical MVGSN

Abbreviations

Imago musicae: International Yearbook of Musical Iconography International Musicological Society Congress Report Intégral: The Journal of Applied Musical Thought International Political Science Review Interdisciplinary Studies in Musicology Israel Studies in Musicology The Italianist Indiana Theory Review Jahrbuch alte Musik Journal of the American Musicological Society The Journal of Interdisciplinary History Journal of Musicology Journal of Medieval and Early Modern Studies Journal of Musicological Research Journal of Renaissance and Baroque Music Journal of the Royal Musical Association Journal of Seventeenth-Century Music Lute Society of America Quarterly Music Analysis Musik & Ästhetik Musurgia: Analyse et pratique musicales Musicology Australia Music Forum Die Musikforschung Die Musik in Geschichte und Gegenwart Die Musik in Geschichte und Gegenwart, 2nd ed. Musica Iagellonica Music in Art: International Journal for Music Iconography Musik-Konzepte Music and Letters Miscellanea Musicologica: Adelaide Studies in Musicology Monuments of Music and Music Literature in Facsimile Monthly Musical Record Musical Quarterly Music Review Music Research Forum Musica Sacra Musicological Studies and Documents Musical Times Musiktheorie Music Theory Spectrum Musik und Kirche Musica e storia Musical: Revue de Théâtre Musical de Paris-Châtelet Mitteilungen des Vereins für Geschichte der Stadt Nürnberg

Abbreviations

MW MZ NA NGM NGM2 NMJ Notes NRMI NS NV OM ON OQ PP PPR PRMA QMM RBM RdM Recercare ReM RES RILM RIM RIMS RISM RM RMARC RMI RMSR RMu RQ RRMBE RSM RVSM Scherzo SIMG SJ SJM SM SMA SR

xix

Muziek & Wetenschap Muzikološki zbornik/Musicological annual Note d’archivio per la storia musicale The New Grove Dictionary of Music and Musicians, ed. Stanley Sadie, 1st ed., 20 vols., 1980 The New Grove Dictionary of Music and Musicians, ed. Stanley Sadie, 2nd ed., 29 vols., 2001 Neues Musikwissenschaftliches Jahrbuch Periodical published by the Music Library Association Nuova rivista musicale italiana New Sound: International magazine for music Nuovo Vogel Orbis musicae Opera News Opera Quarterly Past and Present Performance Practice Review Proceedings of the Royal Musical Association Quaderni musicali marchigiani Revue belge de musicologie Revue de musicologie Recercare: Rivista per lo studio e la pratica della musica antica Revista de Musicologia The Review of English Studies Répertoire international de la littérature musicale (RILM Abstracts) Rivista italiana de musicologia Rivista internazionale di musica sacra Répertoire international des sources musicales Revue de musicologie Royal Musical Association Research Chronicle Rivista musicale italiana Revue musicale de Suisse romande Ricerche musicali Renaissance Quarterly Recent Researches in the Music of the Baroque Era Il saggiatore musicale: Rivista semestrale di musicologia Rassegna veneta di studi musicali Scherzo: Revista de música Sammelbände der International Musikgesellschaft Schütz-Jahrbuch Schweizer Jahrbuch für Musikwissenschaft/Annales suisses de musicologie/ Annuario svizzero di musicologia Studi musicali Studies in Music (Australia) Studies in the Renaissance

xx

SRo SS ST THAMT TP TS

Abbreviations

Studi romani Studi secenteschi Studi Tassiani Theoria: Historical Aspects of Music Theory Theory and Practice I Tatti Studies: Essays in the Renaissance

GENERAL ABBREVIATIONS bc MS no., nos. p., pp. pt., pts. ser. vol., vols. v, vv. vn

basso continuo manuscript, manuscripts number, numbers page, pages part, parts series volume, volumes voice, voices violin

Monteverdi: A Chronology Compiled by Elissa Poole

1567

Baptized on May 15 in the church of SS Nazaro e Celso in Cremona (part of the state of Milan and under Spanish rule). His father, Baldassare (b ca. 1542), an apothecary, surgeon, and doctor, married his mother, Maddalena Zignani, in early 1566.

1573

Claudio’s younger brother Giulio Cesare baptized January 31.

ca. 1576–7

Soon after the death of Monteverdi’s mother, his father remarries Giovanna Gadio. They had two children.

1582

Publication of Monteverdi’s first printed collection, the three-voice motets Sacrae cantiunculae, by Angelo Gardano in Venice. Title page describes him as a “discepolo” of Marc’Antonio Ingegneri, the maestro di cappella of Cremona Cathedral, whose instruction Monteverdi acknowledges in four further publications.

1583

Publication of the four-voiced Madrigali spirituali a4 by Vincenzo Sabbio in Brescia.

1584

Publication of Monteverdi’s first volume of secular music, Canzonette, Libro I a3, by Giacomo Vincenti and Ricciardo Amadino in Venice.

1587

Publication of Monteverdi’s Madrigali, Libro I a5, with a dedication to Count Marco Verità, a prominent patron in Verona.

1590

Publication of Monteverdi’s Madrigali, Libro II a5, by Angelo Gardano in Venice, with a dedication to Giacomo Ricardi, president of the Milanese senate, for whom Monteverdi plays the vivuola (or viola). Most of the texts for this volume are by the poet Torquato Tasso. xxi

xxii

Monteverdi: A Chronology

Monteverdi’s appointment, by early in the year, as singer, composer, and instrumentalist to the capella of Vincenzo I Gonzaga, Duke of Mantua. In his dedication to the Madrigali, Libro III a5, published two years later, Monteverdi indicates that the primary reason for his appointment is his virtuosity as a string player. The Duke’s musical establishment includes such eminent musicians as the composer and maestro di cappella, Giaches de Wert, Salamone Rossi, and Giovanni Giacomo Gastoldi. 1592

Publication of the Madrigali, Libro III a5, with a dedication to Duke Vincenzo Gonzaga, by Ricciardo Amadino in Venice.

1594

Publication of four selections from Monteverdi’s Canzonette by Antonio Morsolino. Sends four canzonette to Duke Alfonso II d’Este in Ferrara.

1595

Monteverdi is one of five singers accompanying Duke Vincenzo to Hungary between June and November in his expedition against the Turks.

1596

Death of Giaches de Wert in May. Although Monteverdi is the highest paid of the Duke’s musicians after Wert, he is passed over as his replacement and the post of maestro di cappella goes to a colleague of longer standing, Benedetto Pallavicino.

1597

Six of Monteverdi’s madrigals are included in Fiori del giardino di diversi eccellentissimi autori, published in Nuremberg.

1598

The young tenor virtuoso Francesco Rasi, who eventually sings the title role in Monteverdi’s Orfeo, accepts a position as a singer in Vincenzo’s court. Battista Guarini’s Il pastor fido receives three performances in Mantua, in November. The final performance, on November 22, is before the visiting Margherita of Habsburg, en route to Ferrara to marry Philip III of Spain (represented by proxy) later that month. Performances of madrigals by Monteverdi and other moderns sponsored by the dilettante Antonio Goretti prompts the so-called Artusi–Monteverdi controversy, which comes to a head in 1600.

1599

Monteverdi marries court singer Claudia Cattaneo, daughter of his colleague in the string ensemble, Giacomo Cattaneo, on May 22. Between June and October, he travels with the Duke to Flanders, and becomes acquainted (according to his brother Giulio Cesare’s preface to the Scherzi musicali in 1607) with the canto alla francese, or “song in the French manner.”

1600

Giovanni Maria Artusi, a Bolognese canon and conservative music theorist, launches his first attack on Monteverdi’s compositional style in

Monteverdi: A Chronology

xxiii

L’Artusi, overo Delle imperfettioni della moderna musica (1600). Artusi criticizes Monteverdi’s disrespect for modal procedure, his unconventional treatment of dissonance, and his inelegant melodic lines. Monteverdi is probably among the musicians accompanying Duke Vincenzo to Florence for the festivities celebrating the wedding of Maria de’ Medici and Henri IV in October 1600, when Jacopo Peri’s opera Euridice receives its first performance. 1601

Baptism of Monteverdi’s first son, Francesco Baldassare, on August 27. Death of Benedetto Pallavicino in November. Monteverdi applies for the post of maestro di cappella, with expanded duties to include both the household cappella and responsibility for the sacred music of S. Barbara. In December, the Duke appoints him in the former capacity only, and expects Monteverdi to manage the cappella musicians when they perform chamber music in the ducal salon. The cappella includes three adult female singers (one of whom is probably Monteverdi’s wife Claudia), introduced in emulation of Ferrara’s virtuosic trio of female singers, the concerto delle dame.

1602

Granted Mantuan citizenship on April 10, Monteverdi moves to a house near the ducal palace in the parish of S. Pietro.

1603

In the Seconda parte dell’Artusi, Artusi continues his attack against Monteverdi’s dissonance treatment and unconventional modal procedures in passages chosen from madrigals that are later published in Monteverdi’s Madrigali, Libri IV–V a5. Publication of Monteverdi’s Madrigali, Libro IV a5, with a dedication to the Accademia degli Intrepidi of Ferrara, after an eleven-year hiatus. Many of these madrigals were composed in the 1590s. Thirteen-year-old soprano Caterina Martinelli arrives at the Mantuan court and is soon one of the stars of the court’s music. Between 1602 and 1605, the size of Vincenzo’s musical establishment expands from eighteen to thirty-five members.

1604

Monteverdi complains of overwork in a letter to the Duke in December.

1604–5

Composition of the ballo Gli amori di Diana ed Endimione (lost) for Carnival.

1605

Publication of Monteverdi’s Madrigali, Libro V a5, with a dedication to Duke Vincenzo Gonzaga. A preface “to the Studious Reader” promises a response to Artusi’s criticism that Monteverdi intends to call Seconda Pratica, overo Perfettione della Moderna Musica.

1606–7

The opera Orfeo is commissioned by Prince Francesco Gonzaga, heir to the throne, for Carnival.

xxiv

1607

Monteverdi: A Chronology

First performance of Orfeo in Mantua, before the Accademia degli Invaghiti, on February 24, with at least one further performance at court on March 1. Publication of Monteverdi’s Scherzi musicali by Giulio Cesare in July, with a dedication to Prince Francesco Gonzaga. Giulio Cesare’s preface expands upon Claudio’s earlier note “to the Studious Reader,” making it a manifesto of the “second practice” that justifies contrapuntal license in the service of text expression and sanctions the coexistence of different styles for different ends. Monteverdi returns to Cremona to be with his wife in July, who has been ill since November the previous year. Reprinting of Monteverdi’s first four madrigal books in Venice (the fifth has already received a second edition). Monteverdi is admitted to Cremona’s Accademia degli Animosi August 10. He also travels to Milan, where Aquilino Coppini is converting some of his secular madrigals into sacred contrafacta with Latin texts. The first of three volumes is published in September. Death of Monteverdi’s wife Claudia on September 10. (She is buried in SS Nazaro e Celso.) Monteverdi is recalled to Mantua in October to compose music for the festivities celebrating the wedding of Prince Francesco Gonzaga and Margherita of Savoy, including some of the intermedi accompanying Gabriello Chiabrera’s play L’idropica (Monteverdi’s music is lost); a sung scena with dance entitled Ballo delle ingrate; and a new pastoral opera, Arianna, based on the mythological tale of Ariadne. Work probably starts on Arianna in late October, during the visit of the librettist, Ottavio Rinuccini, to Mantua.

1608

First performance of Arianna during Carnival in May, with a lastminute substitution of the singing actress, Virginia RamponiAndreini, in the title role. She replaces Caterina Martinelli, for whom the role of Arianna was written, but who died of smallpox in March, soon after her first starring role as Venus in Marco da Gagliano’s Dafne. Ramponi-Andreini’s performance of Arianna’s lament, the only music of the opera to survive, reportedly moves the audience to tears. Performances of L’idropica, an intermedio, and the Ballo delle ingrate in June. In July, Monteverdi retires to Cremona, exhausted and ill from overwork. With his father acting as intermediary, he attempts to reduce his workload, asking to serve only as maestro di cappella for the church of S. Barbara. The Duke refuses, requesting instead a new ballet, and Monteverdi tenders his resignation.

Monteverdi: A Chronology

xxv

1609

In response to Monteverdi’s resignation, Duke Vincenzo finally confirms a long-promised annual pension and increases Monteverdi’s salary on January 19. Monteverdi returns to Mantua, and the Duke accommodates Monteverdi’s objection to the arduous composition of large-scale theatrical music by requesting no further operas from him.

1609

Publication of the score of Orfeo in Venice with a dedication to Francesco Gonzaga.

1610

Arrival in Mantua in August of virtuoso soprano Adriana Basile, for whom Monteverdi composed the Sestina: “Lagrime d’amante al sepolcro dell’amata” and the polyphonic “Lamento d’Arianna,” later included in the Madrigali, Libro VI. Publication of Monteverdi’s Vespro della Beata Vergine in September, followed by a trip to Rome in October to present the volume to its dedicatee, Pope Paul V.

1611

On March 26 Monteverdi sends Prince Francesco the eight-voice “Dixit Dominus,” as well as a “little” motet for two voices to be sung at the Elevation and another for five voices in honor of the Blessed Virgin.

1612

Death of Vincenzo Gonzaga on February 18 and succession of Francesco Gonzaga, who dismisses both Monteverdi and his brother from court July 29.

1613

Death of Giulio Cesare Martinengo, maestro di cappella of San Marco in Venice, in July. Monteverdi auditions for the post and is appointed less than three weeks later, on August 19. He arrives in Venice in early October.

1614–9

Performances of Orfeo in Salzburg, probably due to the presence of the virtuoso tenor Francesco Rasi, who sang the title-role in Mantua.

1614

Publication of Monteverdi’s Madrigali, Libro VI, which contains the polyphonic version of the “Lamento d’Arianna,” by Ricciardo Amadino in Venice.

1615

Reprint of Madrigali, Libri III–V a5 by Pierre Phalèse in Antwerp.

1616

Performance, in January, of the ballo Tirsi e Clori in Mantua for newly-crowned Duke Ferdinando Gonzaga.

1617

Monteverdi sets the prologue to Giovanni Battista Andreini’s La Maddalena, a sacra rappresentazione, which is performed as part of the celebrations for the February wedding of Duke Ferdinando Gonzaga and Caterina de’ Medici. Death of Monteverdi’s father on November 10.

xxvi

Monteverdi: A Chronology

1619–20

Performance of Ercole Marigliani’s opera Andromeda in Carnival (with a ballet, Apollo). Monteverdi received the libretto early in 1618, but its composition was laborious.

1619

Publication of Monteverdi’s Madrigali, Libro VII, with a dedication to Duchess Caterina de’ Medici, by Bartolomeo Magni in Venice. The Gonzagas attempt to woo Monteverdi back to Mantua without success. Monteverdi’s letter refusing their offer shows that he still resents his earlier treatment. Monteverdi transfers his son Francesco to the University of Bologna from Padua University, where he is studying law, hoping to dampen Francesco’s preference for music.

1620–2

Reissue of Monteverdi’s Madrigali, Libro VII, by Bartolomeo Magni, printer of Libri I–VII. Monteverdi’s son Francesco quits his law studies to join the Order of Discalced Carmelite Fathers and returns to Venice, where he is listed among the singers of San Marco.

1621

Francesco sings the introductory “O vos omnes attendite” for the memorial service for Grand Duke Cosimo II of Tuscany at SS Giovanni e Paolo in Venice. The music is directed and primarily composed by Claudio, and includes a Dies Irae and De Profundis .

1622

Contributes at least two intermedi for Marigliani’s Le tre costanti, which is performed to celebrate the marriage of Eleonora Gonzaga and Emperor Ferdinand II in Mantua. Monteverdi’s son Massimiliano is accepted to study medicine in Bologna.

1623

Publication of the monody version of Lamento d’Arianna, by Bartolomeo Magni in Venice. Monteverdi directs music in honor of the Duke and Duchess of Mantua’s visit to Venice in May. Antonio Taroni, a former Mantuan musician now in the service of King Sigismund III of Poland, offers Monteverdi a substantial salary to move to Poland. Monteverdi has Taroni write to Duke Ferdinando Gonzaga asking for permission to leave Italy.

1624–5

Performance of the Combattimento di Tancredi e Clorinda (not published until 1638, in Madrigali guerrieri et amorosi, Libro VIII) during a Carnival entertainment sponsored by Monteverdi’s patron, Girolamo Mocenigo. In it, the composer exploits various martial musical devices that he refers to as his genere concitato—most

Monteverdi: A Chronology

xxvii

notably the rapid reiteration of a single pitch—to “imitate the utterance and accents of a brave man who is engaged in warfare.” 1625

Monteverdi provides music for the March visit to San Marco of Crown Prince Władisław Sigismund of Poland, and for private concerts during his stay in Venice. He may still have been considering the offer of court employment in Poland.

1626

Death of Duke Ferdinando Gonzaga on October 29 and succession of Vicenzo II. Monteverdi’s son Massimiliano graduates in medicine in Bologna.

1626–7

Composes the dramatic cantata Armida abbandonata.

1627

Works on the music for a comic opera for Mantua, La finta pazza Licori (with a libretto by Giulio Strozzi), that is later abandoned. Duke Vincenzo hopes to tempt Monteverdi back to Mantua, but Monteverdi refuses. Instead he asks the Duke to use his influence to help him gain a canonry in Cremona that will secure for him an annual income. Death of Duke Vincenzo without an heir, setting the stage for the bitter War of the Mantuan Succession. Monteverdi’s son Massimiliano imprisoned by the Inquisition for reading a prohibited book. The procedures for clearing him of the charge take over a year.

1628

Composition of six intermedi for a performance of Torquato Tasso’s Aminta, and the tournament Mercurio e Marte, for festivities celebrating the wedding in Parma of Duke Odoardo Farnese and Margherita de’ Medici in December. Production of a mascherata Gli Argonauti (music now lost) on a text by Claudio Achillini for Carnival in March. Performance in April of a cycle of five sonnets for two voices on texts by Giulio Strozzi (I cinque fratelli) in honor of Grand Duke Ferdinando II and Prince Giovanni Carlo de’ Medici, at a banquet in the Arsenale, Venice.

1628–9

Contact with Heinrich Schütz during his second visit to Venice.

1630

Composition of the short opera Proserpina rapita (the music is now lost except for a single canzonetta) to a libretto by Giulio Strozzi for the wedding of Lorenzo Giustiniani and Giustiniana Mocenigo in April. Sack of Mantua by plague-bearing Imperial troops July 18–21, part of the War of the Mantuan Succession. A diplomatic mission to Venice led by Count Alessandro Striggio brings plague to Venice; 50,000 die in the city alone, including Striggio.

xxviii

Monteverdi: A Chronology

1631

Monteverdi’s music for a solemn Mass of Thanksgiving on November 21 to celebrate the cessation of plague includes the “Gloria” (with added “trombe squarciate”) later published in the Selva morale e spirituale.

1632

Monteverdi enters the priesthood on April 16, with an eye toward retiring to the clergy of Cremona. Publication of a selection of his Scherzi Musicali by Bartolomeo Magni in Venice.

1633

Monteverdi’s response to theorist Giovanni Battista Doni’s request for his views on modern music indicates that he still intends to complete his long-promised treatise on the “second practice” (now to be entitled Melodia, overo Seconda pratica musicale). Attains the Cremonese benefice through the influence of Emperor Ferdinand II and his wife Eleonora Gonzaga.

1636

Monteverdi’s ongoing attempt to maintain a fruitful relationship with the Habsburgs in Vienna probably accounts for his ballo Volgendo il ciel per l’immortal sentiero, which may have been intended for the coronation of Emperor Ferdinand III; the revision of the Ballo delle ingrate made during this same period may also be for Vienna. Composers Benedetto Ferrari and Francesco Manelli move to Venice from Rome and Monteverdi employs them as singers in the choir of San Marco.

1637

Production of the first commercial opera, Manelli’s Andromeda, in Venice, during Carnival, at the Teatro S. Cassiano.

1638

Publication of Monteverdi’s Madrigali guerrieri et amorosi, Libro VIII with a dedication to the Holy Roman Emperor Ferdinand III, by Alessandro Vincenti in Venice.

Carnival 1639–40 Revival of Arianna for the inauguration of opera at the Teatro S. Moisé. 1640

Production of Monteverdi’s Il ritorno d’Ulisse at the Teatro S Cassiano (GMo) or Teatro SS Giovanni e Paolo (See Chronology in The Cambridge Companion to Monteverdi, no. 63). Il ritorno d’Ulisse was successful enough to be toured by the Ferrari-Manelli troupe, to be produced in Bologna, and to be revived in Venice the next year.

Carnival 1640–1

Production of Monteverdi’s penultimate Venetian opera, Le nozze d’Enea in Lavinia (lost), at the Teatro SS Giovanni e  Paolo or the Teatro Grimani.

Monteverdi: A Chronology

1641

xxix

Performance of the ballet Vittoria d’Amorei in February, with a text by Bernardo Morando (the music is lost), to celebrate the birth of Duke Odoardos Farnese’s seventh child. Publication of Selva morale e spirituale, with a dedication to Eleonora Gonzaga, the widow of the Holy Roman Emperor Ferdinand II (some partbooks dated 1640), by Bartolomeo Magni in Venice.

1643

Production of L’incoronazione di Poppea, Monteverdi’s final Venetian opera, at the Teatro SS Giovanni e Paolo. Travels to Lombardy and Mantua, still hoping for a guarantee of his Mantuan pension. Monteverdi dies November 29 after a brief illness and is buried in Santa Maria Gloriosa dei Frari. The official document of Monteverdi’s death lists his age at 73. The funeral music is directed by his assistant and eventual replacement at San Marco, Giovanni Rovetta.

1650

Posthumous publication of the Messa et salmi, by Alessandro Vincenti in Venice.

1651

Posthumous publication of the Madrigali, Libro IX, by Alessandro Vincenti in Venice.

1651

Revival of L’incoronazione di Poppea by the Febiarmonici in Naples.

1 Reference

GENERAL REFERENCE 1.

Basso, Alberto, ed. Dizionario enciclopedico universale della musica e dei musicisti. Turin: Unione Tipografico-Editrice Torinese, 1983–90. Pt. 1: Il lessico (subject), 4 vols. Pt. 2: Le biografie (biographical), 9 vols. ISBN 8802037329. ML100.D6 1983. The standard reference work in the Italian language, with approximately 37,000 signed entries. Like MGG2 it is divided into subject and biographical entries. Part 2 (biographical) includes works lists that, for major composers such as Monteverdi, list contents by madrigal book, rather than alphabetically by first line as in GMo. For more complete bibliographies, consult GMo. The last volume (vol. 13) is a biographical supplement.

2.

Bianconi, Lorenzo. “Weitere Ergänzungen zu Emil Vogels Bibliothek der gedruckten weltlichen Vocalmusik Italiens, aus den Jahren 1500–1700 aus italienischen Bibliotheken.” AnM 9 (1970): 142–202 and AnM 12 (1973): 370–97. Final supplement to Vogel’s Bibliothek der gedruckten weltlichen Vocalmusic Italiens aus den Jahren 1500–1700 (no. 15). An inventory of madrigal and cantata prints found in Italian archives. Entries include a transcription of the title page and dedication, a list of contents, and notes on surviving sources.

3.

Brown, Howard Mayer. Instrumental Music Printed before 1600: A Bibliography. Cambridge, MA: Harvard University Press, 1965. 559p. No ISBN. ML128.I65.B77. Valuable reference bibliography that catalogs and describes all of the instrumental music published before 1600, including lists of lost volumes, theoretical treatises that deal wholly with instruments or with the music written for them, 1

2

Reference

volumes of music for instruments and voices, and anthologies that contain some vocal music and some instrumental music. An important resource for tracking instrumental intabulations of madrigals. Indexes of libraries, notations, performing medium, names, and first lines and titles. 4.

Finscher, Ludwig, ed. Die Musik in Geschichte und Gegenwart. 2nd ed. 28 vols. in 2 parts. Sachteil, 9 vols. Personenteil, 17 vols. Kassel, Germany: Bärenreiter, 1994–2008. ISBN 3761811004. ML100.M92 1994. [MGG2]. A substantial update and revision of the first edition (ed. Friedrich Blume, 17 vols. [Kassel, Germany: Bärenreiter, 1949–86]). Entries for madrigal, canzonetta, and villanella in the subject encyclopedia are authored by James Haar, Ruth I. DeFord, and Donna G. Cardamone, respectively, and follow the structure of the authors’ corresponding entries in GMo. Haar’s extensive bibliography is an excellent resource for locating modern editions and secondary literature up to 1996. Cardamone’s entry on the villanella includes an extensive short-title list of villanella anthologies (from RISM B/I, 15044 to RISM B/I, 15778) and a list of modern editions. The biographical encyclopedia includes entries for composers of madrigals with bibliographies often more up to date than the corresponding entries in GMo.

5.

Ghisalberti, Alberto M., ed. Dizionario biografico degli italiani. Rome: Istituto della Enciclopedia Italiana fondata da Giovanni Treccani, 1960—. A—M = 73 vols. up to 2009. ISBN 9788812000326 (set). CT1123.D5 Biog. Indispensable tool for scholars of Italian history, culture, literature, art, and music. Entries for poets and composers include detailed biographies, notes on modern editions, and extensive bibliographies.

6.

Giger, Andreas, ed. Saggi musicali italiani. Center for the History of Music Theory and Literature, University of Indiana. www.chmtl.indiana.edu/smi/ Full-text, searchable database of major Italian music treatises from the Renaissance to present. Materials added on an ongoing basis. Ten treatises from the sixteenth century available as of August 10, 2010, including works by Pietro Aaron, Ercole Bottrigari, and Gioseffo Zarlino. Treatises can be downloaded, browsed, and searched. Includes graphics and musical examples.

7.

Hilmar, Elmar. “Weitere Ergänzungen zu Emil Vogels Bibliothek der gedruckten weltlichen Vocalmusik Italiens, aus den Jahren 1500–1700.” AnM 4 (1967): 154–206 and AnM 5 (1968): 295–8. Supplements to Vogel’s bibliography of Italian secular vocal music prints (no. 15). Entries include a transcription of the title page and dedication, a list of contents, and notes on surviving sources. Includes many examples from US libraries.

8.

Lincoln, Harry B. The Italian Madrigal and Related Repertories: Indexes to Printed Collections, 1500–1600. New Haven, CT: Yale University Press, 1988. ix, 1139p. ISBN 0300036833. ML128.M2.L56 1988.

Reference

3

Massive thematic index of more than 9,000 Italian-texted madrigals and related forms found in sixteenth-century printed anthologies (defined, following RISM, as volumes with more than one composer represented). The main index is arranged by composer and includes melodic incipits for each surviving voice part. This is followed by an alphabetical index to first lines, a thematic locator (using numerical language designating intervals, such as +2 for a rising second), and an index of sources arranged by RISM number. 9.

Mangani, Marco. Il repertorio vocale profano nelle raccolte a stampa del secolo XVII. Rome: Torre d’Orfeo, 1993. 125p. (Istituto di paleografia musicale—Roma, ser. 1, Studi e testi, 8; Bibliografia, 1). ISBN 8885147534. ML120.I8. Chronological list of seventeenth-century anthologies of secular vocal music. Entries include an alphabetical list of contents with text attributions where known. The index of first lines, composers, and poets makes it easy to locate items relevant to the study of Monteverdi.

10.

RISM A/I. Einzeldrucke vor 1800. 9 vols. A—Z. Ed. Karlheinz Schlazer. Kassel, Germany: Bärenreiter, 1976–81. 4 vols. of Addenda and Corrigenda. Kassel, Germany: Bärenreiter, 1986–99. Index of Publishers, Printers, and Engravers and Index of Places to vols. 1–9 and 11–4. Kassel, Germany: Bärenreiter, 2003. ISBN 3761802285. ML113.I6 vol. AI. Alphabetical listing by composer of single-author volumes of music printed before 1800. Monteverdi’s printed editions are listed as RISM M3443—M3505 in vol. 6 with divisions into sacred vocal music, stage works, secular vocal music, and collections. Information on locations should be confirmed with other sources.

11.

RISM A/II. Musikhandschriften, 1600–1800. Munich: K.G. Saur, published on CD-ROM, updated annually, and by NISC on the Internet. www.nisc.com. Comprehensive annotated index and guide to 620,000 works by over 22,500 composers transmitted in manuscripts produced after 1600; the database includes images of over 506,000 searchable music incipits.

12.

RISM B/I. Recueils imprimés XVI–XVII siècles. Liste chronologique. Ed. François Lesure. Kassel, Germany: Bärenreiter, 1960. 639p. ML113. I6 vol. BI. Chronological list of music anthologies published in the sixteenth and seventeenth centuries. An anthology is defined as a volume with music by more than one composer. Indexed by title, author, publisher, and printer.

13.

Root, Deane, ed. Grove Music Online. Oxford Music Online. www.oxfordmusiconline.com [GMo]. Indispensable online resource that offers the full texts of The New Grove Dictionary of Music and Musicians, 2nd ed., The New Grove Dictionary of Opera (1992), and The New Grove Dictionary of Jazz, 2nd ed. (2001), along with updates and revisions. Over 60,000 signed articles by more than 6,000 scholars. The search functions enable users to locate titles and first lines of musical works across the

4

Reference

dictionaries, a useful tool for finding a specific work or for locating parallel settings of a single text. Valuable resource for information on musical genres and contemporaries of Monteverdi. It is possible to limit a keyword search to a single article. Works lists may include either a list of printed volumes or a detailed list of first lines of texts, at the author’s discretion. Periodic updates to bibliographies. 14.

Sadie, Stanley, and John Tyrrell, eds. The New Grove Dictionary of Music and Musicians. 29 vols. London: MacMillan, 2001. ISBN 1561592390. ML100.N48 2000. [NGM2]. The standard English-language reference work for all aspects of music research. Bibliography up to the mid-1990s.

15.

Vogel, Emil. Bibliothek der gedruckten weltlichen Vocalmusik Italiens aus den Jahren 1500–1700. 2 vols. Hildesheim, Germany: Georg Olms, 1962. Vol. 1: xxiii, 530p. Vol. 2: 832p. No ISBN. L120.I8.V8 1962. (Reprint; original published Berlin, 1892.) Superseded by no. 16, Vogel’s 1892 bibliography remains useful because volume 2 includes a chronological list of anthologies with full listings of contents. An important source for tracking the dissemination of Monteverdi’s madrigals outside of Italy. Anthologies are indexed by title of collection, printer, publisher, place of printing, and persons. The 1962 reprint includes Alfred Einstein’s revised and enlarged bibliography of secular vocal anthologies.

16.

Vogel, Emil, Alfred Einstein, François Lesure, and Claudio Sartori. Bibliografia della musica italiana vocale profana pubblicata dal 1500 al 1700 [NV]. 3 vols. Pomezia, Italy: Staderini, 1977. Vols. 1–2: xxii, 1888p. Vol. 3 (Index): 615p. No ISBN. L120.I8.B18 1977. Revision of Vogel’s Bibliothek (no. 15) partly based on corrections made by Vogel and Einstein. The bibliography grew from 2,499 single-composer and anthology editions to 3,030 single-composer volumes of Italian secular vocal music printed between 1500 and 1700. Entries for Monteverdi are found in vol. 2, NV1898– 1955, beginning with Canzonette, Libro I a3 (1584) and ending with the composer’s Selva morale e spirituale (1640–1). Though NV excludes anthologies, it remains an indispensable tool for finding copies of madrigals and related genres, for finding works by a particular composer, and for tracking multiple settings of a poem. Its principal function is as an enumerative, rather than descriptive, bibliography. Transcriptions of title pages are abbreviated and spellings modernized. The physical description and pagination or foliation information is often inaccurate. The addition of an index of composers named on title pages, poets, dedicatees, editors, and first lines makes the bibliography easy to navigate.

MONTEVERDI REFERENCE 17.

Adams, K. Gary, and Dyke Kiel. Claudio Monteverdi: A Guide to Research. New York: Garland, 1989. xviii, 273p. (Garland Composer Resource Manuals, 23). ISBN 0824077431. ML134.M66.A5.

Reference

5

With 878 descriptive entries through 1986, this remains a useful guide to studies of Monteverdi and his musical context between 1550 and 1650. Divided into five sections: Monteverdi’s works, general background, biography, music, and Monteverdi today. The works list includes Stattkus numbers (abbreviated SV, see no. 23) and cross-references to Gian Francesco Malipiero’s edition of Monteverdi’s collected works (Vienna: Universal Edition, ca. 1926–68). Gives only a partial list of Monteverdi’s works included in anthologies (use no. 23 instead). Index of authors, proper names, and compositions. 18.

An Alphabetical Index to Claudio Monteverdi: Tutte le opere nuovamente date in luce da G. Francesco Malipiero, Asolo, 1926–1942. New York, 1964. (Music Library Association Index Series, i). No ISBN. No LC. Indexes Gian Francesco Malipiero’s edition of Monteverdi’s complete works. See Guide to Editions in the Appendices.

19.

Carter, Tim, and Geoffrey Chew. “Monteverdi, Claudio.” In Grove Music Online: Oxford Music Online. Oxford University Press, accessed July 15, 2017. www.oxfordmusiconline.com.ezproxy.library.uvic.ca/subscriber/article/grove/ music/44352 Definitive reference and information on Monteverdi. With search features and more frequent updates, Carter and Chew’s entry for Claudio Monteverdi in the GMo has largely superseded the print version (no. 20). Search functions are particularly useful for navigating the works list.

20.

Carter, Tim, and Geoffrey Chew. “Monteverdi, Claudio.” In NGM2 no. 17, pp. 29–60. Essential reference and information on Monteverdi. The article is divided into ten sections: Cremona; Mantua; Venice; Theoretical and Aesthetic Basis of Works; Tonal Language; Imitatio and Use of Models; Early Works; Works from the Mantuan Years; Works from the Venetian Years; and Historical Position. Tim Carter’s works list includes SV numbers (see no. 23), date and place of first performance of dramatic works, and notes on sources, where relevant. Geoffrey Chew’s bibliography is comprehensive and includes scholarship up to 1999.

21.

Koldau, Linda Maria. “Claudio Monteverdi.” In Oxford Bibliographies in Music, accessed July 15, 2017. www.oxfordbibliographies.com/view/document/obo9780199757824/obo-9780199757824-0015.xml Straightforward account of Monteverdi’s life and works with resources for scholars at every stage of research on the composer. Divided into life and works, editions, contexts, musical development, performance practice, reception, and studies of his music. Includes annotations of reference works, conference proceedings, and collections of essays.

22.

Leopold, Silke. “Monteverdi, Claudio.” In MGG2, Personenteil, 12, cols. 389–422. Standard reference work in German and a useful starting point for research on Monteverdi. Divided into biography, list of works with cross-references to Gian

6

Reference

Francesco Malipiero’s Tutte le opera and Opera omnia (Fondazione Claudio Monteverdi), aesthetic discourse, vocal and instrumental music, the development of the madrigal, opera, ballet, and theater music, sacred music, and reception. Includes a list of principle modern editions and bibliography up to 2003. CATALOGS OF MONTEVERDI’S MUSIC 23.

Stattkus, Manfred H. Claudio Monteverdi: Verzeichnis der erhaltenen Werke. Bergkamen, Germany: Stattkus, 1985. 183p. No ISBN. ML134.M66.S7. Catalog of Monteverdi’s collections, individual works, and works of questionable authenticity. Includes both printed and manuscript sources. Entries include scoring, range, contrafacta, and presence in publishers’ catalogs. Accessible by indexes of titles, subtitles, incipits, instrumentation, contrafacta, arrangements, editors, publishers, modern edition, chronology of printing, cited literature, and libraries.

MONTEVERDI’S LETTERS, DOCUMENTS, AND WRITINGS 24.

Fabris, Dinko. Mecenati e musici: documenti sul patronato artistico dei Bentivoglio di Ferrara nell’epoca di Monteverdi. Lucca, Italy: Libreria musicale italiana, 1999. viii, 514p. (ConNotazione, 4). ISBN 9788870962253. ML290.8.F45.F33 1999. Descriptive catalog of 1,067 items from the archives of the Bentivoglio family from the years 1586 to 1645, when the family was based in Ferrara. Cardinal Guido Bentivoglio (1579‒1644) was an avid consumer of the arts and patron of Girolamo Frescobaldi. The collection features letters that shed light on artistic and musical life in Rome, Ferrara, Parma, and Mantua. The index provides easy access to documents that mention or pertain to Monteverdi.

25.

Gianuario, Annibale. L’ estetica di Claudio Monteverdi attraverso quattro sue lettere. Sezze Romano, Italy: Fondazione Centro Studi Rinascimento Musicale, 1993. 111pp. No ISBN. No LC. Transcriptions, facsimile reproductions, and commentary on four of Monteverdi’s letters: two letters to Alessandro Striggio (December 9, 1616 and January 6, 1617) and two letters to Giovanni Battista Doni (October 22, 1633 and February 2, 1634). No translations. For English translations, see no. 31.

26.

Lax, Éva, ed. Claudio Monteverdi: Lettere. Florence: Olschki, 1994. 219p. (Studi e testi per la storia della musica, 10). ISBN 8822242149. ML410.M77.A4 1994. Complete and authoritative edition of 127 letters in Italian from 1601 to 1643. Each entry includes details of archival sources and references to secondary literature. Indexes of recipients and names cited.

27.

Monteverdi, Claudio. “Preface.” In Il quinto libro de madrigali a cinque voci [Venice, 1605]. Facsimile ed. in Tutte le opere di Claudio Monteverdi, ed. G. Francesco

Reference

7

Malipiero, vol. 10, p. 69ff. Vienna: Universal Edition, 1929. Eng. trans. in Source Readings in Music History, ed. Oliver Strunk, rev. ed. Leo Treitler, pp. 535–44. New York: Norton, 1998. xxii, 1552p. ISBN 0393037525. ML160. S89 1989. In the preface to Madrigali, Libro V, Monteverdi famously coined the term seconda pratica to distinguish his own freer approach to contrapuntal writing, particularly dissonance treatment, from the practice taught in Gioseffo Zarlino’s Istitutioni harmoniche (1558), in which dissonances were strictly controlled. 28.

Monteverdi, Giulio Cesare. “Dichiaratione della lettera stampata nel Quinto libro de suoi madrigali.” In Scherzi musicali a tre voci [Venice, 1607]. Facsimile ed. in Tutte le opera di Claudio Monteverdi, ed. G. Francesco Malipiero, vol. 10, p. 69ff. Vienna: Universal Edition, 1929. Eng. trans. in Source Readings in Music History, ed. Oliver Strunk, rev. ed. Leo Treitler, pp. 535–44. New York: Norton, 1998. xxii, 1552p. ISBN 0393037525. ML160.S89 1989. In the preface to Scherzi musicali (1607), Claudio’s brother, Giulio Cesare Monteverdi, explains that in the seconda pratica, harmony is the servant of the text, while in the prima pratica the harmony is the mistress over the text. Giulio and Claudio wrote in response to Giovanni Maria Artusi (no. 158), who enumerated some of the new style’s characteristics: unprepared or improperly prepared suspensions, unprepared diminished fifths and sevenths, false relations, difficult melodic intervals, incorrect part-writing after a flat or sharp, abuse of note-against-note chordal style, and other departures from the learned manner of writing counterpoint.

29.

Paoli, Domenico de, ed. Claudio Monteverdi: Lettere, dediche e prefazioni. Rome: Edizioni de Santis, 1973. 426p. No ISBN. ML410.M78 A3 1973. Edition of 124 letters with transcriptions and commentary, and title pages and dedicatory prefaces to Monteverdi’s works from Sacrae cantiunculae a3 (1582) through Selva morale e spirituale (1640–1). Includes a handy alphabetical listing with capsule biographies of both recipients of Monteverdi’s letters and contemporaries cited in them; alphabetical list of cited compositions.

30.

Russo, Annonciade, and Jean-Philippe Navarre. Correspondance, préfaces et épîtres dédicatoires. Sprimont, Belgium: Mardaga, 2001. 286p. (Ars Musices Iuxta Consignationes Variorum Sciptorum. 2nd. ser. Renaissance et période préclassique. Domaine italien, 3). ISBN 9782870097434. No LC. French translation of 127 of Monteverdi’s letters and prefaces and dedications to the composer’s printed editions. Translations are presented alongside transcriptions of the original Italian. Introduction by Jean-Philippe Navarre. An indispensable resource for accessing primary materials in French. The chronological index of letters includes addressees.

31.

Stevens, Denis, ed. and trans. The Letters of Claudio Monteverdi. London: Faber & Faber, 1980. 443p. ISBN 0571115519. ML410.M77.A4 1980. Revised ed. Oxford: Clarendon, 1995. xviii, 458p. ISBN 0198164149. ML410.M77.A4 1995. Trans. into German as Briefe, 1601‒1643. Munich: Piper, 1989.

8

Reference

All of Monteverdi’s letters translated into English for the first time. The 126 letters (127 in the revised edition) span the years from 1601 to 1643 and address such topics as operatic aesthetics, relationships with patrons and librettists, hiring musicians, alchemy, finances, and court intrigue. Useful synoptic table of letters with date, addressee, and place. Stevens’s commentaries for each letter constitute a major contribution to Monteverdi biography. With bibliography, list of works mentioned in the letters and commentaries, and general index. Major additions and revisions for the 1995 edition include an introductory chapter on Monteverdi’s life to 1601, a newly discovered letter of March 9, 1630 (letter #122; first published by Carlo Vitali in NRMI 14 [1980]: 410–2), and a renumbering of the letters, unfortunately without reference to the previous edition. Carlo Vitali questions Denis Stevens’s identification of recipients of Monteverdi’s letters from the different courtesy formulas used by the composer (“Far filologia col grimaldello: Ancora un epistolario ‘definitivo’ di Claudio Monteverdi” in NRMI 16/1 [January—March 1982]: 73–5). This is also taken up in Domenico de Paoli's review (NRMI 15/2 [April—June 1981], 278–9).

2 Collections of Essays and Conference Proceedings

32.

Anfuso, Nella, Marco Bolzoni, et al. “. . . Monteverdi al quale ognuno deve cedere . . .”: Teorie e compozicioni musicali, rappresentazioni e spettacoli dal 1550 al 1628. Parma, Italy: Archivio di Stato di Parma, 1993. 254p. No ISBN. ML410. M77.M66 1993. Conference proceedings commemorating the 350th anniversary of Monteverdi’s death with contributions by Nella Anfuso on vocal style during Monteverdi’s lifetime, Marco Bolzani, Marzio Dall’Acqua, Enrico Mantovani, Raffaella Nardella, Marzio Pieri, Renato Scrollavezza, Stefano Tomassini, and Ilaria Poldi.

33.

Arnold, Denis, and Nigel Fortune, eds. The Monteverdi Companion. New York: Norton, 1968. 2nd. ed. New York: W.W. Norton, 1972. 328p. ISBN 0393336360. ML410.M7.A75. Occasioned by the quatercentenary of Monteverdi’s birth, the eleven essays consider various aspects of the composer’s music and its contexts. Includes forty of Monteverdi’s letters translated with commentaries by Denis Stevens (see no. 31 for complete letters in translation), chapters on Monteverdi’s teachers, colleagues, and pupils, Monteverdi’s musical thought, and essays by Robert Donington and Janet E. Beat on Monteverdi as an opera composer. Includes a guide to many of the editions of Monteverdi’s music published up to 1967. Stuart Reiner’s review (JAMS 23/2 [1970], pp. 343‒9; amplified in JAMS 24/3 [1971], p. 495) criticized translations and “misinformation.” It sparked a series of “Communications” with responses by Robert Donington (JAMS 24/1[1971], pp. 140‒1), Denis Stevens (JAMS 24/2 [1971], pp. 320‒23 and JAMS 26/3 [1973], p. 501), and a counterresponse by Reiner (JAMS 25/2[1972], pp. 283‒5). 9

10

34.

Essays and Conference Proceedings

Arnold, Denis, and Nigel Fortune, eds. The New Monteverdi Companion. London: Faber & Faber, 1985. 353p. ISBN 0571131484. ML410.M77.N5. Update of no. 33 with the essays by Denis Arnold, Claude V. Palisca, Jerome Roche, Nigel Fortune, and Denis Stevens retained with minimal revision. Includes new essays by John Whenham on “The Later Madrigals and MadrigalBooks” (no. 333), Iain Fenlon on “The Mantuan Stage Works” (no. 402), Jane Glover on “The Venetian Operas,” and Denis Arnold on “Performing Practice” (no. 711). Index. Relevant contributions are entered individually by author in this research guide.

35.

“Atti del convegno di studi dedicato a Claudio Monteverdi. Siena, 28–30 aprile 1967.” RIM 2/2 (1967): 201–389. No ISBN. No LC. Published proceedings of conference on Monteverdi occasioned by the 400th anniversary of the composer’s birth. From a historiographical perspective, the volume of twenty-three essays gives a snapshot of Monteverdi scholarship from the 1960s and reflects trends in musicological research of the time. Includes contributions by major scholars of the mid-twentieth century, among them Karl Gustav Fellerer, Claudio Gallico, Wolfgang Ostoff, Hans Friedrich Redlich, and Elena [Ferrari] Barassi. Friedrich Blume’s “Salute al convegno: Conquiste e prospettive monteverdiane” provides an overview of research on Monteverdi’s music and its influence in Italy and German-speaking lands.

36.

Awouters, Mia, and Anne-Emmanuelle Ceulemans, eds. Orfeo son io: favola al suono de tutti gli stromenti. Brussels: Muziekinstrumentenmuseum, 2008. 227p. ISBN 9782960077803. No LC. An accessible collection of essays by Mia Awouters, Anne Cahen-Delhaye, AnneEmmanuelle Ceulemans, Maria Cornaz, and Godelieve Spiessens that positions Monteverdi as part of the European artistic and musical scene of his day and ours. The book focuses on Monteverdi’s instrumentation for the first performance (1607) and first printing (1609) of Orfeo. Relevant scholarship is entered individually by author in this research guide.

37.

Bacchelli, Riccardo. Monteverdiana: Per le celebrazioni centenarie in Mantova, 1967. Mantua, Italy: Istituto Carlo D’Arco, 1967. 41p. No ISBN. ML410.M77.B2. Overview and observations on Monteverdi’s life and works occasioned by the 400th anniversary of his birth.

38.

Barblan, Guglielmo, ed. Claudio Monteverdi nel quarto centenario della nascita. Turin: Edizioni Rai Radiotelevisione Italiana, 1967. 366p. No ISBN. ML410.M77.B4. Important study of Monteverdi occasioned by the quatercentenary of his birth. Divided into three parts, the volume addresses Monteverdi’s biography in chapters 1–3 by Guglielmo Barblan, which follow a conventional division into Cremona, Mantua, and Venice. The four chapters by Claudio Gallico examine Monteverdi’s theatrical music with a focus on Orfeo, the spectacles of 1608, and

Essays and Conference Proceedings

11

the late works. Guido Pannain provides the final nine chapters on the nine madrigal books, sacred music of 1610, and the Selva morale e spirituale. 39.

Besutti, Paola, Teresa M. Gialdroni, and Rodolfo Baroncini, eds. Claudio Monteverdi: Studi e prospettive. Atti del Convegno Mantova, 21–24 ottobre 1993. Florence: Olschki, 1998. xv, 631p. (Accademia Nazionale Virgiliana di Scienza Lettere e Arti, Miscellanea, 5). ISBN 8822245814. ML410.M77.C626 1998. Seminal volume of twenty-eight essays occasioned by the 350th anniversary of Monteverdi’s death on the composer’s sacred, secular, and dramatic works, and source material. Points to desiderata in the field. Essays are entered individually by author in this research guide.

40.

Caraci Vela, Maria, and Rodobaldo Tibaldi, eds. Intorno a Monteverdi. Lucca, Italy: Libreria musicale italiana, 1999. xiii, 543p. (Con Notazioni, 2). ISBN 9788870962040. ML410.M77.I65 1999. Occasioned by the 350th anniversary of the death of Monteverdi, this diverse collection of fourteen essays embraces studies of archival documents, new analyses of his music, sacred music, and Monteverdi’s contemporaries. Index of works, single titles, and names. Essays are entered individually by author in this research guide.

41.

Carter, Tim. Monteverdi and His Contemporaries. Aldershot, England: Ashgate, 2000. xii, 256p. (Variorum Collected Studies). ISBN 0860788237. ML290.2.C3598. Collection of twelve essays originally published between 1984 and 1998 on issues of print culture, aesthetics, early seventeenth-century solo song, and Monteverdi’s madrigals and late operas. Relevant contributions receive separate entries in this research guide.

42.

Carter, Tim, and John Butt, eds. The Cambridge History of Seventeenth-Century Music. Cambridge: Cambridge University Press, 2005. xxvii, 591p. ISBN 0521792738 9780521792738. ML194.C23. A collection of fourteen essays by leading scholars on the principle genres and forms of secular, sacred, and instrumental music of the seventeenth century with an emphasis on cultural, artistic, and intellectual contexts. Tim Carter’s opening chapter, “Renaissance, Mannerism, Baroque” offers a useful assessment of periodization; Lois Rosow (chapter 8, “Power and Display: Music in Court Theatre”) includes a section on Monteverdi’s Orfeo. Three appendices by Stephen Rose provide useful reference for chronology, places and institutions, and personalia.

43.

Cypess, Rebecca, Beth L. Glixon, and Nathan Link. Word, Image, and Song. Vol. 1: Essays on Early Modern Italy. Rochester: University of Rochester, 2013. xiv, 398p. ISBN 1580464297 9781580464291. ML290.2.W67 2013. Dedicated to Ellen Rosand, this volume on early modern Italy contains a collection of eighteen articles divided into six sections: Source Studies, Performance

12

Essays and Conference Proceedings

Studies, Eroticisms and Identities, Music and Classical Literature, and Music and Painting. Relevant scholarship is entered individually by author in this research guide. 44.

El mundo clásico en la ópera de Monteverdi: IV centenario de L’Orfeo, 1607–2007: exposición. Madrid: Comunidad, Consejería de Cultura y Turismo, 2007. xxi, 299p. No ISBN. ML141.M23.M86 2007. Occasioned by the quatercentenary of the composition of Monteverdi’s Orfeo, this book is divided into two sections: 1) ten articles that explore different aspects of the cultural context in which Monteverdi’s Orfeo was developed, as well as the reception of the myth of Orpheus in Renaissance Spain, and 2) a description of the commemorative exhibit that took place in the city of Madrid, where thirty-one paintings from the sixteenth and seventeenth centuries were selected to illustrate different dramatic works by Monteverdi. With illustrations and bibliography.

45.

Engelhardt, Markus, ed. In Teutschland noch gantz ohnbekandt: MonteverdiRezeption und frühes Musiktheater in deutschsprachigen Raum. Frankfurt: Peter Lang, 1996. xiv, 354p. (Perspektiven der Opernforschung, 3). ISBN 3631500629. ML410.M66.E64 1996. Comprises fifteen papers given at a conference at Schloss Thurnau in 1994 on the theme of Monteverdi’s reception north of the Alps and the influence of Italian music in seventeenth-century German-speaking lands. Essays by Getraut Haberkamp, Herbert Seifert, Sibylle Dahms, Galliano Ciliberti, Martin Bircher, Norbert Dubowy, and Michael Heinemann address various aspects of theatrical music and dance in German-speaking lands during the seventeenth century. Paola Besutti’s essay highlights the strong musical connections between Mantua and the Habsburg imperial court in Vienna (“I rapporti musicali tra Mantova e Vienna durante il Seicento”). Julia Liebscher examines the influence of monody on German vocal music of the mid-seventeenth century (“Von ‘Liedern welche in genere recitativo gesetzet’—Zum Einfluβ der Monodie in der deutschen Vokalmusik des 17. Jahrhunderts, dargestellt am Beispiel der Arien [1638–1650] von Heinrich Albert”). Select essays are entered individually by author in this research guide.

46.

Finscher, Ludwig, ed. Claudio Monteverdi: Festschrift Reinhold Hammerstein zum 70. Geburtstag. Laaber, Germany: Laaber, 1986. 508p. ISBN 3890071058. ML55. H356 1986. Important collection of essays on Monteverdi’s sacred, secular, and operatic works. Relevant scholarship is entered individually by author in this research guide.

47.

Gallico, Claudio. Sopra li fondamenti della verità: Musica italiana fra XV e XVII secolo. Rome: Bulzoni, 2001. 441p. ISBN 8883195752. ML290.2.G28.

Essays and Conference Proceedings

13

Brings together major contributions by Gallico on Italian music of the early modern period originally published between 1961 and 1999. Seven essays pertain to Monteverdi and include “Nuovi documenti su Monteverdi” (pp. 25–8; originally published under same title in Rassegna musicale 32 [1962], pp. 21–4 and in English trans. as “Newly Discovered Documents Concerning Monteverdi,” MQ 48 [1962]: 68–72); “Emblemi strumentali negli Scherzi di Monteverdi” (pp. 109–26; originally published under same title in RIM 2/1 [1967]: 54–72); “Strutture strumentali nella musica da camera di Monteverdi” (pp. 127–31; originally published under same title in RIM 2/2 [1967]: 282–7); “La Lettera amorosa di Monteverdi e lo stile rappresentativo” (pp. 133–47; originally published under same title in NRMI 1/2 [July—August, 1967]: 287–302); “I due pianti di Arianna di Claudio Monteverdi” (pp. 149–61; originally published under same title in Chigiana: Rassegna annuale di studi musicologici 24/4 [1967]: 29–42); “‘Contra Claudium Montiuiridum’” (pp. 205–16; originally published under same title in RIM: In onore di Nino Pirrotta 10 [1975]: 346–59); and “Liberata o Conquistata? Svolte nel Combattimento di Monteverdi” (pp. 401–4; originally published under same title in no. 280, pp. 1225–30). 48.

Knighton, Tess, ed. “Monteverdi I.” EM 21/4 (November 1993): 514‒672 and “Monteverdi II.” EM 22/1 (February 1994): 5‒98. Feature issues occasioned by the 350th anniversary of Monteverdi’s death. The 1993 issue includes five essays on Monteverdi and the 1994 issue contains a further five contributions, all by top scholars in the field of Monteverdi studies. Essays are entered individually in this volume.

49.

Knights, Francis, ed. “Monteverdi.” EM 39/4 (November 2011): 487‒545. A series of four articles by Tim Carter, Gordon Haramaki, Ilias Chrissochoidis, and Roger Bowers that address structure, origination, and performance practice in specific works by Monteverdi or collections. Entries are listed by author and annotated in the relevant section of this guide.

50.

Kurtzman, Jeffrey G. Approaches to Monteverdi: Aesthetic, Psychological, Analytical and Historical Studies. Farnham, UK: Ashgate, 2013. ISBN 9781409463337. ML410.M77.K872 2013. Collection of twelve essays representing Kurtzman’s different approaches (e.g., philosophical and psychological) to the study of Monteverdi, as well as some of his interests, including the editing of music of the period. This volume is divided into three general sections: Aesthetic and Psychological Studies (five essays), Sacred Music Studies (six essays), and Critical Editions (one essay). With one exception—essay 12, “Collected works of Claudio Monteverdi: the Malipiero and Cremona editions” (no. 102)—the articles appearing in this volume were originally published between 1991 and 2011. Essay 4, first published in Italian under the title “Intrusioni del caos nell’ Orfeo di Monteverdi,” appears here in English as “Imitations of chaos in Monteverdi’s L’Orfeo” (no. 465). With bibliography and

14

Essays and Conference Proceedings

indexes. Relevant scholarship is entered individually by author in this research guide. 51.

Leopold, Silke, and Joachim Steinheuer, eds. Claudio Monteverdi und die Folgen: Bericht über das Internationale Symposium Detmold 1993. Kassel, Germany: Bärenreiter, 1998. 497p. ISBN 3761814054. ML410.M7716 1993. Collection of twenty-three essays grouped in two broad themes: sources for Monteverdi reception in Europe (including studies of the composer’s influence in England, Germany, France, the Netherlands, and Poland), and Monteverdi and his contemporaries. Select essays are annotated individually in this volume.

52.

Metzger, Heinz-Klaus, and Rainer Riehn, eds. Claudio Monteverdi: Vom Madrigal zur Monodie. Munich: Edition text + kritik, 1994. 186p. (Musik-Konzepte, 83–4). ISBN 3883774502. No LC. Collection of five essays on Monteverdi’s secular vocal music. Relevant scholarship is listed individually by author in this research guide.

53.

Metzger, Heinz-Klaus, and Rainer Riehn. Claudio Monteverdi: um die Geburt der Oper. Musik-Konzepte, 88. Munich: Edition Text + Kritik, 1995. 109p. ISBN 9783883774954. No LC. Collection of eight essays on Monteverdi’s Orfeo and the composer’s musical language and theory of the early seventeenth century. Relevant scholarship is entered individually by author in this research guide.

54.

Monterosso, Raffaello, ed. Congresso internazionale sul tema Claudio Monteverdi e il suo tempo: Relazioni e communicazioni, Venezia—Mantova—Cremona, 3–7 maggio 1968. Verona: Valdoneza, 1969. xxi, 638p. No ISBN. ML410.M77.C6. Mammoth collection of thirty-five essays occasioned by the fourth centenary of Monteverdi’s birth. Essays are grouped by genre into sections on theatrical works (with contributions by Anna Amalie Abert, Nino Pirrotta, Paul Collaer, Kurt von Fischer, Francesco Degrada, Hellmuth Christian Wolff, Anna Maria Monterosso Vacchelli, Adriano Cavicchi, Riccardo Allorto), sacred music (Willi Apel, Denis Arnold, Elena Ferrari Barassi, Helmut Hucke, Jürgen Jürgens, Federico Ghisi, Knud Jeppesen, Denis Stevens, Gianfranco Spinelli), madrigals (Siegfried Hermelink, Lorenzo Bianconi, Giorgio Pestelli, Pierluigi Petrobelli), theory (Giuseppe Verdi, Giuseppe Massera, Primarosa Ledda), interpretation and performance practice (Jack A. Westrup, Claudio Gallico, Mauro Uberti, Oskar Schindler), and the epoch of Monteverdi (Leila Galleni Luisi, Angela Teresa Cortellazzo, Carlo Delfrati, Federico Mompellio). The essays reflect then current trends in Monteverdi scholarship and remain of historiographical value. No index.

55.

Monterosso, Raffaello, ed. Performing Practice in Monteverdi’s Music: The HistoricPhilological Background: Proceedings of the International Congress, Goldsmith’s College, University of London, 13–14 December 1993. Cremona, Italy: Fondazione

Essays and Conference Proceedings

15

Claudio Monteverdi, 1995. 283p. (Instituta et monumenta, 2/13). ISBN 8886288255. ML410.M77.I58 1993. Contains thirteen essays presented at the 1993 International Congress on Performance Practice in Monteverdi’s Music (Goldsmith’s College, University of London [13–14 December 1993]). With index. Relevant essays are listed by individual author in this research guide. 56.

Monteverdi, Claudio, Giovanni Francesco Busenello, Michel Orcel, et al. “Le couronnement de Poppée.” ASO 115 (December 1988). Dedicated to Monteverdi’s L’incoronazione de Poppea, this issue gathers the contributions of twenty authors, including musicologists, performers, and conductors. Includes a synopsis of the opera by Alain Duault, and a transcription of Giovanni Francesco Busenello’s libretto, with a translation into French by Michel Orcel. With discography and bibliography. Select essays are listed by individual author in this research guide.

57.

Monteverdi, Claudio, Giovanni Francesco Busenello, Denis Morrier, Michel Orcel, et al. “Le couronnement de Poppée.” ASO 224 (January–February 2005). Issue dedicated to Monteverdi’s L’incoronazione di Poppea that supersedes this journal’s previous issue on Poppea (no. 56). Contains a synopsis of the opera by Michel Pazdro and Giovanni Francesco Busenello’s libretto for L’incoronazione di Poppea, with a French translation by Michel Orcel. Includes discography, videography, and bibliography. Select essays are listed by individual author in this research guide.

58.

Monteverdi, Claudio, Maurice Fleuret, Alessandro Striggio, et al. “L’Orfeo.” ASO 5 (September–October 1976). Issue dedicated to Monteverdi’s Orfeo. Contains a synopsis of the opera by François Azouvi that includes a transcription of Alessandro Striggio’s libretto accompanied by a French translation. Contains ten essays on Monteverdi’s Orfeo. Includes discography and bibliography. Relevant essays are listed by individual author in this research guide.

59.

Monteverdi, Claudio, Michael Pazdro, Elisabetta Soldini, Alessandro Striggio, et al. “L’Orfeo.” ASO 207 (March–April 2002). Issue dedicated to Monteverdi’s Orfeo that supersedes this journal’s previous issue on this opera (no. 58). Seven essays are distributed into two sections: the work itself (L’oeuvre) and views on the work (Regards sur l’oeuvre). Contains a transcription of the letters exchanged between Francesco and Ferdinand Gonzaga regarding Orfeo, with a French translation by Elisabetta Soldini, a synopsis of the opera by Michael Pazdro, and a new translation of Alessandro Striggio’s libretto into French by Claudio Mancini (no. 475). Includes discography, videography, and bibliography. Relevant essays are listed by individual author in this research guide.

16

60.

Essays and Conference Proceedings

Pirrotta, Nino, Piero Gargiulo, and Paola Besutti. Attualità di Monteverdi: Cremona 1995. Cremona, Italy: Comitato nazionale per le celebrazioni del 350° anniversario della morte di Claudio Monteverdi, 1995. 49p. No ISBN. No LC. Compact volume of three essays occasioned by the 350th anniversary of Monteverdi’s death in 1993. Essays by Nino Pirrotta on Monteverdi’s operatic works (“Opera: da Monteverdi a Monteverdi”), Piero Gargiulo on “Claudio Monteverdi: il canto, la scena, gli affetti,” and Paola Besutti on the seconda pratica (“Oltre la seconda pratica”). No index.

61.

Pistone, Danièle, Pierre Brunel, and Marie-Françoise Hamard, eds. Musiques d’Orphée. Paris: Presses Universitaires de France, 1999. 193p. ISBN 2130498523. ML3849.M985 1999. Collection of twelve essays on musical works inspired by, or based on, the myth of Orpheus. With bibliography. Relevant essays are listed by individual author in this research guide.

62.

Whenham, John, ed. Claudio Monteverdi: Orfeo. Cambridge: Cambridge University Press, 1986. xiv, 216p. (Cambridge Opera, 16). ISBN 0521241480 0521284775. ML410.M77.C55 1985. Collection of nine essays divided into three main areas: Text and context, The rediscovery of Orfeo, and Re-creating Orfeo for the modern stage. With appendices, notes, bibliography, discography, and index. All essays are listed by individual author in this research guide.

63.

Whenham, John, and Richard Wistreich, eds. The Cambridge Companion to Monteverdi. Cambridge: Cambridge University Press, 2007. xxi, 358p. ISBN 9780521875257. ML410.M77.C34 2007. Indispensable resource with fourteen essays and case studies of individual works by thirteen leading specialists of Monteverdi’s sacred, secular, and dramatic music. Essays on reception, sources, early works, Mantua, Venice, scholarship, and performance. Includes a compact chronology, bibliography (updating Geoffrey Chew’s entry in GMo), discography/videography, works list, and index of first lines and titles. Relevant scholarship is entered individually by author in this research guide.

64.

Wistreich, Richard, ed. Monteverdi. The Baroque Composers, Series ed. David Ledbetter. Farnham, UK: Ashgate, 2010. xxxiv, 535p. ISBN 9780754629023. ML410.M77.M656 2011. Collects seventeen previously published essays on Monteverdi into a single volume in four parts: music, text, and representation; theory and genre; criticism, analysis, and history; and institutional, source, and performance issues. Relevant scholarship is entered individually by author in this research guide.

3 Studies of Monteverdi’s Life and Works

SPECIALIZED STUDIES 65.

Arnold, Denis. Monteverdi. London: J.M. Dent & Sons, 1963. 2nd ed. 1975. ix, 212p. (The Master Musician Series). ISBN 0460031554. ML410.M77.A8 1975. An accessible introduction to Monteverdi designed for the English general reader with limited knowledge of Italian music. Redresses the balance between secular and sacred music in the 1975 edition with greater attention given to church music. Divides Monteverdi’s biography into chapters on Cremona, Mantua, and Venice; chapters on each major genre of production. Much of the information is now superseded, but the volume remains useful for insight into scholarship on Monteverdi from the 1960s.

66.

Arnold, Denis, and Tim Carter. Monteverdi. London: Dent, 1990. x, 245p. (The Master Musicians Series). ISBN 0460860267. 3rd ed. paperback, Oxford: Oxford University Press, 2000. ISBN 0198164653. ML410.M77.A8 2000. Modifies and emends no. 65 in light of recent scholarship, including an updated account of the staging of Orfeo and of the composition of La finta pazza Licori. With new translations of Monteverdi’s letters and other contemporary documents. Updated footnotes direct the reader to more recent sources. Revises the appendices (calendar, catalog of works, bibliography) to account for new findings in the scholarship. New concluding chapter 9 gives an overview of developments in the study of Monteverdi’s music since the 1967 quatercentenary.

67.

Beaussant, Philippe. Claudio Monteverdi. Paris: Fayard, 2003. 120p. ISBN 2213614652. No LC. 17

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Studies of Monteverdi’s Life and Works

Provides a straightforward life-and-works study of Monteverdi that is intended more for the general reader than the music specialist. With bibliography and index. 68.

Bowers, Roger. “Monteverdi at Mantua.” In no. 63, pp. 53–75. Provides an examination of Monteverdi’s career in Mantua between 1590 and 1612, which Bowers divides into five distinct periods: “1590–1601: the rank-andfile musician,” “1601–6: master of the cappella, servant of the duke,” “1606–9; exploitation and confrontation,” “1609–12: achievement and apprehension,” and “1612: crisis and dismissal.” Monteverdi’s relationship with the Gonzaga family is explored.

69.

Calcagno, Mauro P. From Madrigal to Opera: Monteverdi’s Staging of the Self. Berkeley: University of California Press, 2012. xii, 334p. ISBN 9780520267688. ML410.M77.C33 2012. Examines two genres—madrigals and opera—within the historical and cultural context of Petrarchism. Calcagno argues in this insightful book that Petrarchism influenced madrigalists of the sixteenth century (e.g., Philippe Verdelot, Jacques Arcadelt, Adrian Willaert, Cipriano de Rore, Giaches de Wert, Luca Marenzio), as well as Monteverdi, and that these composers appropriated the Petrarchan view of the self. This book is divided into three parts. Chapters in part 1, “La Musica and Orfeo,” investigate Monteverdi’s Orfeo while establishing contextual bases and providing a terminology about subjectivity; chapters in part 2, “Constructing the Narrator,” explore expressions of self, beginning with Petrarch and moving on to musical Petrarchism in madrigals by Verdelot, Arcadelt, Marenzio, Willaert, Rore, and Wert; chapters in part 3, “Staging the Self,” deal with Monteverdi, whose works are, according to Calcagno, “seen as the culmination of the Petrarchist process of progressive appropriation of the narrator’s voice” (p. 6). With musical examples, textual excerpts, translations, and index. Appendix 1 includes tables of contents of the madrigal books discussed in Calcagno’s study; appendix 2 provides the text and the translation of Monteverdi’s Combattimento di Tancredi e Clorinda.

70.

Chafe, Eric. “Aspects of Durus/Mollis Shift and the Two-System Framework of Monteverdi’s Music.” SJ 12 (1990): 171–206. Proposes a modal-hexachord system (shown in Figure 1 in this article) that builds upon Carl Dahlhaus’s analysis of Monteverdi’s madrigals (in Untersuchungen über die Entstehung der harmonischen Tonalität [Kassel, Germany: Bärenreiter, 1968]) and draws on the works by the seventeenth- and eighteenth-century theorists Athanasius Kircher, Johann David Heinechen, and Lorenzo Penna. This tonal framework consisting of two systems (flat or mollis and natural or durus) is used to analyze Monteverdi’s settings of texts. Monteverdi’s three-part cycle “Ch’i t’ami, e t’ami piú della mia vita” (Madrigali, Libro V), the Combattimento di Tancredi e Clorinda, and Orfeo are examined.

Studies of Monteverdi’s Life and Works

71.

19

Chafe, Eric. Monteverdi’s Tonal Language. New York: Schirmer, 1992. xviii, 442p. ISBN 0028704959. ML410.M77.C4. Important study of Monteverdi’s music in the context of seventeenth-century tonal practice. Valuable bibliography of 176 items up to 1991, title index, and general index.

72.

Chew, Geoffrey. “A Model Musical Education: Monteverdi’s Early Works.” In no. 63, pp. 31–43, 45–52. Examines the use of models upon which Monteverdi’s early works and musical style developed. Following a discussion of the pedagogical practice of imitation recommended by Renaissance writers, Chew explores Monteverdi’s technique of imitation at the beginning of his career. Comparisons are made between Monteverdi’s “Quam pulchra es” (in Sacrae cantiunculae, 1582) and Constanzo Festa’s setting of the same text (1521), Monteverdi’s “Canzonette d’amore” and “Raggi, dov’è il mio bene?” (Canzonette, Libro I a3, 1584) and Orazio Vecchi’s settings in his first volume of canzonettas (1578 or 1579), and Monteverdi’s “Non si levav’ancor l’alba novella” (Madrigali, Libro II a5, 1590) and Luca Marenzio’s “Non vidi mai dopo notturna pioggia” (from Marenzio’s Libro I, 1585). An appended “Intermedio” (Intermedio I) provides an analysis of Monteverdi’s “Ecco mormorar l’onde (1590),” which “interweaves two sharp models from [Giaches de] Wert’s Eighth Book, ‘Io non son però morto’ and ‘Vezzosi augelli’” (45). With musical examples.

73.

Cornaz, Marie. “Musiciens et Facteurs d’Instruments Contemporains de Monteverdi à Crémone et Mantoue (1567–1613).” In no. 36, pp. 93–122. Overview of the musicians, singers, and instrument makers in Monteverdi’s orbit during his time in Cremona (1567–91) and Mantua (1591–1612).

74.

Dobrzanska-Fabianska, Zofia. “The Modality of Claudio Monteverdi’s Works: The Heritage of Renaissance Polyphony.” MI 2 (1997): 83–102. Building on the theories of Bernhard Meier (Die Tonarten der klassischen Vokalpolyphonie, 1974), the author provides an introduction to the modal framework for Monteverdi’s music with sections on pitch material, tonal systems, finales and modal scales, texture and modal relations of voices, and modal plan. Considers a cross-section of works by Monteverdi.

75.

Fabbri, Paolo. Monteverdi. Trans. Tim Carter. New York: Cambridge University Press, 1994. xv, 350p. ISBN 0521351332. ML410.M77.F2. Condensed English translation of Fabbri’s Monteverdi. Turin: EDT Musica Torino, 1985. ix, 460p. (Biblioteca di cultura musicale. Autori e opere). ISBN 8870630358. ML410.M77.F2 1985. Influential life-and-works study arranged chronologically with each major work or published collection given its own section within the three large parts on Cremona, Mantua, and Venice. Fabbri integrates writings by theorists, contemporaries, and Monteverdi himself and provides useful commentary on scholarly literature. Index of works and names.

20

76.

Studies of Monteverdi’s Life and Works

Fenlon, Iain. “Music in Monteverdi’s Venice.” In no. 63, pp. 163–78. Through close readings of documents that include descriptions of visitors, private letters, and printed music, Fenlon explores Venetian musical life during Monteverdi’s time. Music in parishes, scuolas, public ceremonies and processions (including the ducal procession known as the “andata”), as well as the basilica of St. Mark’s where Monteverdi was employed, is discussed. The official rhetoric of Venetian self-presentation is considered. With illustrations.

77.

Gallico, Claudio. Monteverdi: Poesia musicale, teatro e musica sacra. Turin: Giulio Enaudi, 1979. 191p. (Piccola Biblioteca Einaudi, 373). No ISBN. ML410. M77.G28. Remains important for the influence Gallico had on the criticism and interpretation of Monteverdi’s works.

78.

Gianturco, Carolyn. Claudio Monteverdi: stile e struttura. Pisa: ETS, 1978. 132p. No ISBN. ML410.M77.G5. A focused study of elements of style and structure with chapters on Madrigali, Libro II, the second act of Orfeo, sacred music with specific reference to the three masses, the Lamento d’Arianna, and the exchanges between Monteverdi and Giovanni Maria Artusi.

79.

Guaccero, Dominico. “Monteverdi zwischen alter und neuer Musik.” MK 83–84 (1994): 6–13. Provides a compact yet broad account of musical styles and changes of the sixteenth and seventeenth centuries as a backdrop for assessing Monteverdi’s historical position.

80.

Leopold, Silke. Monteverdi: Music in Transition. Trans. Anne Smith. Oxford: Clarendon, 1991. xii, 262p. ISBN 0193152487. ML410.M77.L4613 1991. Condensed English translation of Leopold’s Claudio Monteverdi und seine Zeit. Laaber, Germany: Laaber, 1982. 368p. ISBN 3921518725. ML410.M77.L5 1985. Good biography with a straightforward discussion of musical works grouped into chapters on changing styles, pastoral themes, ostinato and other bass models, the lament, and church music. Positions Monteverdi as a transitional figure, rooted in tradition yet looking ahead in his approach to text setting. Chronological list of works includes contents of madrigal books. Useful chronology of Monteverdi and the period, bibliography, name index.

81.

Prunières, Henry. Monteverdi; His Life and Work. Trans. from French by Marie D. Mackie. New York: Dover, 1972. vii, 293p. ISBN 0486227707. ML410.M77. P771 1972. (Reprint of London: J.M. Dent, 1926). Pioneering study of Monteverdi’s life and work in relation to his artistic circle of contemporaries. Originally published in English in 1926, it was an important study for its time.

Studies of Monteverdi’s Life and Works

82.

21

Redlich, Hans Ferdinand. Claudio Monteverdi: Life and Works. Trans. Kathleen Dale. Westport, CT: Greenwood Press, 1952. vi, 204p. No ISBN. ML410.M77. R432. Originally published as Claudio Monteverdi: Leben und Werk. Olten, Switzerland: Walter, 1949. 232p. An influential study for its time. Includes chapters on the stages of Monteverdi’s career, madrigals, operas, sacred music, reception, and issues of editing and performance. List of works and bibliography superseded by GMo.

83.

Schrade, Leo. Monteverdi: Creator of Modern Music. New York: W.W. Norton, 1950. 384p. No ISBN. ML410.M77.S35. (Multiple reprints, including New York: W.W. Norton, 1969; New York: Da Capo Press, 1979). Pioneering study of the composer that positions Monteverdi as an innovator. Divided into four parts, Schrade frames his study to reinforce this narrative and includes chapters on “The ‘Perfect Art’: A Prelude to Monteverdi,” “The Struggle with the Past,” “Rise to Fame: The Foundation of the New,” and “The Years of Fulfillment.” Remains an important part of Monteverdi historiography.

84.

Spiessens, Godelieve. “De Hertog van Mantua in Antwerpen (1599).” In no. 36, pp. 75–91. Describes the cultural scene in Antwerp during the period of the visit of Duke Vincenzo Gonzaga in August, 1599. Though it is not clear whether Monteverdi spent time in Antwerp, the composer accompanied the Duke on the northern trip; suggests that Monteverdi may have met the Antwerp-based printer Pierre Phalèse during this trip. Phalèse went on to reprint Monteverdi’s Madrigali, Libro IV a5 in 1615.

85.

Stevens, Denis. “Monteverdi, Petratti, and the Duke of Bracciano.” MQ 64/3 (1978): 275–94. Reproduces three letters (with English translations) from Monteverdi to Paolo Giordano II, the Duke of Bracciano, that point to Monteverdi’s role in assisting the Duke with the publication of a volume of solo songs by Francesco Petratti. Includes a transcription of “Pescatrice Anguillarina” by Francesco Petratti and a facsimile of the title page of Pettrati’s Primo Libro d’Arie (Venice, 1620).

86.

Stevens, Denis. Monteverdi: Sacred, Secular, and Occasional Music. Cranbury, NJ: Associated University Presses, 1978. 147p. ISBN 0838619371. ML410.M77.S8. A brief critical study of Monteverdi’s music based on Gian Francesco Malipiero’s complete edition of the composer’s works. An accessible study organized by genre and with commentary on Monteverdi’s lost works.

87.

Stevens, Denis. Monteverdi in Venice. Cranbury, NJ: Associated University Presses, 2001. 233p. ISBN 0838638791. ML410.M77.S79 2001. Focuses on the composer’s three decades in Venice as music director at St. Mark’s and as a composer of commercial opera for the city’s public opera houses.

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Valuable discussions of performance practice and iconography. Reproduces a facsimile edition of Fiori Poetici (Venice, 1644, Biblioteca Nazionale di San Marco, Venice, Misc. 1399 no. 23), a collection of laudatory poems by Monteverdi’s contemporaries occasioned by the composer’s death. 88.

Tellart, Roger. Claudio Monteverdi. Paris: Fayard, 1997. 667p. (Bibliothèque des grands musiciens). ISBN 2213031657. ML410.M77.T45 1997. Provides a valuable contribution to the literature on Monteverdi that is intended more for the music lover than the music scholar. This book is divided into twenty-two chapters covering Monteverdi’s personal and professional life, and his entire musical output. Includes a catalog of Monteverdi’s works. With indexes and selected bibliography.

89.

Tomlinson, Gary. Monteverdi and the End of the Renaissance. Berkeley: University of California Press, 1987. xii, 280p. ISBN 0520053486. ML410.M77.T7 1987. Contextualizes Monteverdi’s secular music through a study of its rich intellectual and social background. Tomlinson approaches the madrigal books chronologically with an emphasis on Monteverdi’s poetic choices. Includes chapters on Torquato Tasso, Battista Guarini, Ottavio Rinuccini, Giambattista Marino, and Petrarch. Argues for a strong connection between Monteverdi’s opera Arianna and the composer’s settings of texts from Guarini’s Il pastor fido of the late 1590s; reveals Monteverdi’s dependence on Jacopo Peri’s L’Euridice in composing the recitatives of Orfeo. Index of works, general index. Parts of the study appeared earlier in nos. 275–6 and as “Giambattista Guarini and Monteverdi’s Epigrammatic Style” in no. 46, pp. 435–52. See Tim Carter’s critical review in EMH 8 (1988): 245–60.

STUDIES OF DOCUMENTS AND SOURCES 90.

Bates, James. “Monteverdi, the Viola Bastarda Player.” In The Italian Viola da Gamba; Proceedings of the International Symposium on the Italian Viola da Gamba, Magnano, Italy, 29 April–1 May 2000, ed. Christophe Coin and Susan Orlando, pp. 53–72. Turin: A. Manzoni, 2002. ISBN 2950934250. No LC. Demonstrates through the study of Monteverdi’s letters and Mantuan pay records that Monteverdi was bound to his duties as a bastarda player throughout his tenure in Mantua. Adding to Anthony Newcomb’s research on the madrigal at Ferrara (see The Madrigal at Ferrara, 1579–1597 [Princeton, NJ: Princeton University Press, 1980]), Bates suggests that the long-standing tradition of viola bastarda performance at the d’Este court in Ferrara (with virtuoso players Alfonso della Viola, Oratio Bassano, and Vincenzo Bonizzi) may have been the actual origin for the style of singing practiced by the concerto delle donne in this city. Giovanni Maria Artusi’s critique of Monteverdi’s compositional style is discussed in relation to the tradition of bastarda playing. Transcribes documents pertaining to Monteverdi’s court duties and salary.

Studies of Monteverdi’s Life and Works

91.

23

Bridgman, Nanie. “L’homme Monteverdi d’après sa correspondence et le jugement de quelques-uns de ses contemporains.” In no. 56, pp. 6–13. (Reprinted in Musiques, Signes, Images, ed. Joël-Marie Fauquet, pp. 33–40, Geneva: Éditions Minkoff, 1988). Examines Monteverdi’s character through a discussion of a few of the composer’s letters and the opinions on Monteverdi given by some of his contemporaries, including Marco da Gagliano, Adriano Banchieri, and Matteo Caberlotti. With illustrations that include a facsimile copy of a letter from Monteverdi to Vincenzo Gonzaga, dated November 26, 1608.

92.

Campagnolo, Stefano. “Storia di un tracciato incompiuto: Gaetano Cesari e Claudio Monteverdi.” In La filologia musicale: Istituzioni, storia, strumenti critici, vol. 3, ed. Maria Caraci Vela, pp. 515‒51. Lucca, Italy: Libreria Musicale Italiana, 2013. ISBN 9788870967326. No LC. Contextualizes Monteverdi editions within the framework of published editions from the nineteenth century to present. Focuses on the editorial work of musicologist and fellow Cremonese native, Gaetano Cesari, who transcribed the nine madrigal books by Monteverdi between 1904 and 1907. Gives examples of musical and textual variants between Cesari’s manuscripts and the editions of Monteverdi’s works prepared by Gian Francesco Malipiero and Anna Maria Monterosso Vacchelli.

93.

Carter, Tim. “Musical Sources.” In no. 63, pp. 20–30. Examines source-based issues related to music letterpress printing in Monteverdi’s printed output. These include differences between a first edition and its subsequent reissues, variations caused by stop-press corrections in single printed editions, and the indiscriminate printing of materials given to the typesetter (for example, instructions for the printer not meant to be printed may appear in a printed edition). Issues stemming from these bibliographical axioms, specifically in Monteverdi’s 1610 Vespers, Orfeo, Arianna, and Combattimento di Tancredi e Clorinda, are explored.

94.

Charteris, Richard. “The Huntington Library Part Books, Ellesmere MMS El 25 A 46–51.” HLQ 50 (1987): 59–84. Description, provenance, and suggested dating of the Ellesmere MSS housed in the Huntington Library. Charteris dates the manuscripts to ca. 1600. Includes a complete list of contents with works by Felice Anerio, Giovanni Croce, Alfonso Ferrabosco (both the elder and the younger), John Jenkins, Thomas Lupo, Luca Marenzio, Monteverdi, Giovanni Battista Mosto, Benedetto Pallavicino, Lucrezio Quinziani, Orazio Vecchi, Stephano Venturi, Thomas Weelkes, and Giaches de Wert. Includes eleven madrigals by Monteverdi: “O primavera, gioventú dell’anno,” “Perfidissimo volto,” “Stracciami pur il core,” “O rossignuol che il queste verdi fronde,” “La giovinetta pianta,” “‘Rimanti in pace’ a la dolente e bella,” and “Ond’ei di morte la sua faccia impressa.”

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95.

Studies of Monteverdi’s Life and Works

Chiarelly, Francesca. “(Dis) Regarding the Practicalities: An Investigation into Monteverdi’s Response to Rinuccini’s Narciso.” In The Influence of Italian Entertainments on Sixteenth- and Seventeenth-Century Music Theatre in France, Savoy, and England, ed. Marie-Claude Canova-Green and Francesca Chiarelli, pp. 37–49. Lewiston, NY: Edwin Mellen Press, 2000. (Series in History and Interpretation of Music, 68). ISBN 0773476059. ML1702.I53 2000. Examines a letter of 1627 by Monteverdi to Alessandro Striggio in which the composer states his reasons for not setting Ottavio Rinuccini’s Narciso to music. Suggests that Monteverdi may have been concerned that the libretto (which called for too many sopranos, did not present enough variety, and concluded with a tragic finale) would disappoint the audience. Transcribes the passage in Monteverdi’s letter that refers to Narciso.

96.

Cornaz, Marie. “Monteverdi de Mantoue à Bruxelles. Les voyages de l’archiduc Albert en Italie (1598) et de Vincenzo Gonzaga dans les anciens Pays-Bas (1599).” In no. 36, pp. 29–72. Details the dynastic travel and exchange between the Mantuan and Brussels courts at the end of the sixteenth century. In Mantua, the Habsburg rulers attended a performance of Battista Guarini’s Il pastor fido with intermedi involving Monteverdi and the singer Francesco Rasi. Monteverdi was one of three musicians to accompany Vincenzo Gonzaga on his tour of the Spanish Netherlands in 1599. The Italian entourage visited Spa, Liège, and Antwerp before arriving in Brussels where they stayed for three weeks. The Italians were guests of Charles-Philippe de Croy, who in 1624 ordered four violins from Cremona.

97.

Dangel-Hofmann, Frohmut. “Eine bisher unbekannte Monteverdi-Quelle.” Mf 35/3 (July–September 1982): 251–4. Reports that the music score Sig. 817 of the collection of the Duke of Schönborn-Wiesentheid (1677‒1754) contains a manuscript copy of Monteverdi’s Mass from the Selve morale e spirituale. Based on a letter from the Italian singer Raffaello Signorini, who served the Schönborn family, the author proposes that Monteverdi’s music was acquired in 1733. A comparison against the printed edition reveals twenty variants. Examines a second Mass setting from the collection and proposes Giovanni Rovetta as its author. Includes a useful provisional list of manuscript sources found north of the Alps for Monteverdi’s sacred works.

98.

Ehrmann, Sabine. Claudio Monteverdi: Die Grundbegriffe seines musiktheoretischen Denkens. Pfaffenweiler: Centaurus-Verlagsgesellschaft, 1989. 206p. (Musikwissenschaftliche Studien, 2). ISBN 9783890851686. ML410.M77.A25. Update of the author’s doctoral dissertation (Ph.D. from Albert-LudwigsUniversität, Freiburg im Breisgau, 1986). Looks at Monteverdi’s use of terminology as evident in select letters and prefaces, which are appended in the original Italian and in German translation.

Studies of Monteverdi’s Life and Works

99.

25

Fabbri, Paolo. “Inediti monteverdiani.” RIM 15 (1980): 71–86. Sheds light on documents that demonstrate connections between Monteverdi and the Este family of Modena. In addition to noting published operas and musical fragments that bear connections to the Este family, Fabbri transcribes documents that include unpublished letters of Monteverdi and Cherubino Ferrari. Appendix includes the “Ballo del Monte Verde,” first published in Vero e facil modo by Pietro Milioni and Lodovico Monte (Rome, 1637).

100.

Glixon, Jonathan. “Was Monteverdi a Traitor?” ML 72 (1991): 404–6. Provides an annotated transcription of a newly-found document in which Monteverdi is accused of treason and blasphemy (Venice, Archivio di Stato, Inquisitore del Statto, Busta 643, Riferte dei Confidenti senza data). Glixon suggests that the author of the anonymous document may have been a singer in the chapel of St. Mark’s where Monteverdi was chapel master. The original text is provided in the Appendix.

101.

Gregori, Gianpaolo. “Claudio Monteverdi nei documenti cremonesi.” In no. 40, pp. 5–62. Richly detailed study of archival documents connecting Monteverdi to his birthplace of Cremona. While Cremona is recognized as an important context for Monteverdi’s early life and works, the presentation of new documents in this study suggests that Cremona remained important to Monteverdi throughout his lifetime. Includes a chronological list, with index, of 197 documents dating from 1478 until 1652 housed in archives in Cremona (Archivio di Stato, Archivio Storico Diocesano, and Biblioteca Statale) and Venice (Archivio Storico Patriarcale and Archivio di Stato). Includes a genealogical tree for Monteverdi.

102.

Kurtzman, Jeffrey. “Collected Works of Claudio Monteverdi: The Editions.” In no. 50, Essay 12, pp. 1–28. Surveys the contents of the collected works editions by Gian Francesco Malipiero (1882–1973) and the Fondazione Claudio Monteverdi. Malipiero’s pioneering edition made Monteverdi’s music available to large audiences for the first time. Malipiero edited with performers in mind and did not conceive the series as critical editions of Monteverdi’s works. The series is full of editorial markings such as tempo suggestions, dynamics, bar lines, phrasing, and basso continuo realization. The Fondazione Claudio Monteverdi of Cremona embarked on a new collected works series in 1970. The series is conceived in twenty volumes; each volume has its own editor (some editors will be responsible for more than one volume). A substantial introduction to each volume typically includes a transcription of the dedication and other prefatory material; a comparison of the various editions of each publication; an analytical discussion of the pieces contained in the print; a discussion of performance issues; critical apparatus based on all the surviving editions; a critical edition of the texts of all the compositions; and a complete facsimile of the principal source(s) used for the modern edition.

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Kurtzman includes a summary listing of volumes found in both the Malipiero and Fondazione series. 103.

Paoli, Domenico de. Monteverdi. Milan: Rusconi, 1979. 592p. No ISBN. ML410. M77.P35. Enlarged 2nd ed. of the author’s Claudio Monteverdi. Milan, 1945. Builds on documentation assembled by his edition of the letters, prefaces, and dedications (no. 29). Divided into chapters on Cremona (1567–90), Mantua (1590–1612), and Venice (1613–43). Includes a chronology and list of works (superseded by GMo no. 19 and NGM2 no. 20) Notes on discography, bibliography, and index of works found in the book, index of names. Includes transcriptions of title pages of Monteverdi prints.

104.

Parisi, Susan Helen. “Ducal Patronage of Music in Mantua, 1587–1627: An Archival Study.” Ph.D. diss. University of Illinois at Urbana-Champaign, 1989. xxii, 782p. UMI 9010979. Parisi offers a valuable and comprehensive archival-based study of music in Mantua under the Gonzaga Dukes Vincenzo I (1587–1612), Francesco (1612), Ferdinand (1613–26), and Vincenzo II (1627). Monteverdi’s relationship with the Gonzaga family is discussed in chapters 3 and 4. Includes biographical sketches of 141 musicians employed at the Mantuan court between 1587 and 1627 (Appendix 1), a reconstruction of the court’s musical holdings between 1587 and 1623 (Appendix 2), and details of a new manuscript of Mantuan-Roman monody and canzonette (Appendix 3). With bibliography.

105.

Parisi, Susan. “Musicians at the Court of Mantua during Monteverdi’s Time: Evidence from the Payrolls.” In Musicologia Humana: Studies in Honor of Warren and Ursula Kirkendale, ed. Siegfried Gmeinwieser, David Hiley, and Jörg Riedlbauer, pp. 183–208. (Historiae Musicae Cultores Biblioteca, 74). Florence: Leo S. Olschki, 1994. ISBN 8822242343. ML55.K6 1994. Reprinted in no. 64, Essay 13, pp. 413–38. Summarizes new data based on new accounts and letters and more precise datings of the seven extant court payrolls between 1577 and 1627 that allows for the reconstruction of the size of the cappella in different years, the identification of musicians, their voice ranges, instruments, and salaries. Organizes the data by decade from the 1580s through 1620s, a period that chronicles the growth and decline of the court musical establishment in Mantua under the reign of Duke Vincenzo I Gonzaga, Prince Francesco, and Duke Ferdinand. Important information about the musical complement of the Gonzaga court during Monteverdi’s period of service.

106.

Parisi, Susan. “Acquiring Musicians and Instruments in the Early Baroque: Observations from Mantua.” JM 14 (1996): 117–50. Examines the recruiting and hiring practices of singers and instrumentalists at the Mantuan court during Monteverdi’s time. The first part of this archival study discusses recruiting territories (Naples, Florence, Rome, and Venice) and

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the types of recruiters (musicians connected with the Gonzaga family, and Mantuan ambassadors at other Italian courts) that were entrusted with finding wellestablished virtuoso singers and instrumentalists, as well as promising young singers. Monteverdi, for example, “was increasingly prevailed upon to help find singers” for the Mantuan court during his years in Venice (p. 128). The second part of this article is a case study of singer and chapel master in the papal court, Paolo Faccone, Mantua’s principal agent in Rome. Several aspects of the recruitment processes, such as auditions, interviews, financial inducements, and etiquette, are explored. 107.

Parisi, Susan. “Response to Edmond Strainchamps.” JSCM 6/1 (2000). www. sscm-jscm.org/v6/no1/parisi.html#AuthorNoteRef Responds to Edmond Strainchamps’s article “Marco da Gagliano in 1608: Choices, Decisions, and Consequences,” published in the same issue of this journal. Taking as a point of departure Strainchamps’s examination of Galiano’s letters describing the events surrounding his appointment as maestro di cappella in the cathedral of Florence, including Ferdinand Gonzaga’s reaction after failing to win Gagliano for his own service, Parisi explores the character and personality of Ferdinand Gonzaga, the conduct of Gagliano, and the subsequent relationship between Gagliano and Ferdinand Gonzaga. Parisi suggests that Gagliano may have chosen a cathedral post over a court position in Mantua because church positions afforded greater job security. Monteverdi’s experiences as a composer for the Mantuan court are considered.

108.

Parisi, Susan. “The Brussels-Mantua Connection: Vincenzo Gonzaga’s State Voyages to the Low Countries in 1599 and 1608.” AY 7 (2008): 275–305. Examines details from two voyages from Mantua to the Low Countries undertaken by Duke Vincenzo Gonzaga and his retinue, first in 1599 and later in 1608, and discusses the significance of these experiences for Monteverdi (present in the trip of 1599) and Francesco Rasi (present on both tours). New primary sources presented in this study in English translation reveal that the Duke’s musicians participated in several festivities and ceremonies, such as the celebrations at the archducal court of Albert and Isabella in Brussels, 1599, and the funeral of the Duke of Lorraine in Nancy in 1608. Based on documentary evidence, Parisi suggests that these trips presented an opportunity for Vincenzo Gonzaga’s musicians “to absorb the music of their northern colleagues, and perhaps, conversely, for the latter to learn something” from the musicians coming from Mantua (p. 298). Includes Duke Vincenzo Gonzaga’s travel itineraries in 1599 and 1608. Excerpts from original documents are provided in the appendix.

109.

Preti, Paolo. “Una Denuncia Anonima Contro Claudio Monteverdi.” RVSM 5–6 (1989): 371–3. Reproduces and discusses an anonymous and undated document against Monteverdi (Archivio di Stato di Venezia, Inquisitori di Stato, riferte di confidenti, b. 643, s.d.).

28

110.

Studies of Monteverdi’s Life and Works

Tomlinson, Gary A. “Twice Bitten, Thrice Shy; or Monteverdi’s ‘Finta’ Finta pazza.” JAMS 36/2 (Summer 1983): 303–11. Re-examines Monteverdi’s letters of 1627 related to an operatic project for Mantua entitled Licori finta pazza inamorata d’Aminta, suggesting that, contrary to what has been commonly believed, Monteverdi never completed this opera. (For the topos of the mad scene in this opera, see Paolo Fabbri no. 75.)

111.

Vacchelli, Anna Maria. “Monteverdi as a Primary Source for the Performance of His Own Music.” In no. 55, pp. 23–52. Suggests that Monteverdi’s letters, captions, prefaces, and music represent the only sources needed for the edition and performance of Monteverdi’s music. Issues of transposition, instrumentation, manner of playing, agogics, and ornamentation are considered. With musical examples.

112.

Vio, Gastone. “Ultimi ragguagli monteverdiani.” RVSM 2–3 (1986–7): 347–64. Presents archival documents that pertain to Monteverdi’s efforts to join the priesthood around 1630, the composer’s lifelong contacts with his birthplace of Cremona, and his contacts with musicians at St. Mark’s during his tenure as maestro della cappella.

113.

Watty, Adolf. “Monteverdi und Galileo Galilei.” In Beiträge zur musikalischen Quellenforschung: Kolloquien im Rahmen der Köstritzer Schütz-Tage 7. Oktober 1993, 4. Oktober 1994, ed. Ingeborg Stein and Gisela Böttcher, pp. 126–44. Köstritz, Germany: Heinrich-Schütz-Haus, 1995. (Protokollbände wissenschaftlicher Kolloquien, 3). ISBN 9783980620826. ML410.S396.B423. Brings forward evidence of letters exchanged by Galileo Galilei and Fulgenzio Micanzio in which Monteverdi is often mentioned. This correspondence adds to the comparisons that have been made (see Gary Tomlinson, no. 89) between Galileo and Monteverdi in terms of their innovations to their respective fields and position in history.

114.

Watty, Adolf. “‘Confitebor tibi Domine a 6’: von Monteverdi oder Rosenmüller?” SJ 17 (1995): 141–9. Examines the authorship of the six-voice “Confitebor tibi Domine” from the manuscript collection at University Library, Uppsala (Signature Vok. Mus. i hdskr. 29:22 and 79:10). Studies the surviving source material and different versions, and compares the piece to works by Monteverdi and Rosenmüller. Concludes that Monteverdi composed the work.

ICONOGRAPHY 115.

Bergquist, Stephen A. “Scapino: A Portrait of Francesco Gabrielli.” MiA 39/1–2 (January 2014): 98–101.

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Correspondence between Monteverdi and theorist Giovanni Battista Doni suggests that the composer knew of the unusual stringed instruments played by the commedia dell’arte actor and musician Francesco Gabrielli (1588‒1636), whom he may have seen on stage in Mantua. The instruments are portrayed by Milanese sculptor Carlo Biffi (ca. 1605‒ca. 1675) in an etched portrait of Gabrielli dating from 1633 (included as Figure 1). 116.

Bridgman, Nanie. “Portraits de musiciens: Le dernier avatar de Monteverdi.” Imago musicae: International Yearbook of Musical Iconography 4 (1988): 161–9. A short survey of portraits of Monteverdi. With ten illustrations.

117.

Konold, Wulf. Claudio Monteverdi: Mit Selbstzeugnissen und Bilddokumenten. Hamburg: Rowohlt, 1986. (Rowohlts Monographien, 348). 141p. ISBN 3499503484. ML410.M77.K65 1986. Account of Monteverdi’s life in Cremona, Mantua, and Venice, with many illustrations from contemporaneous sources and extensive quotations from the composer’s letters, many of which appear in German for the first time. Brief overview of his works that positions Monteverdi as “the last madrigalist” and “the first opera composer.” Assesses the contemporaneous and twentieth-century reception of Monteverdi’s music and the state of research on the composer up to the early 1980s. With a compact chronology.

118.

Kurtzman, Jeffrey G. “Lessons Learned from the Iconography of Venetian Ceremonies: Claudio Monteverdi and trombe squarciate.” MiA 32/1–2 (Spring/Fall 2007): 113–32. Summarizes aspects discussed by Kurtzman, with Linda Maria Koldau, in no. 704. Through an iconographic investigation of Venetian processions and ceremonies, and of the instruments depicted in them, Kurtzman suggests that the term “trombe squarciate” appearing in Monteverdi’s Mass of Thanksgiving of November 21, 1631 refers to a four-foot straight trumpet with wide bells. Discusses and provides illustrations for sixteen iconographic sources, beginning with Vittore Carpaccio’s cycle of St. Ursula (1495) and ending with Alessandro Piazza’s “The transport of the Body of the Doge from Napoli di Romania” (ca. 1694).

119.

Logu, Giuseppe de. “An Unknown Portrait of Monteverdi by Domenico Feti.” Burlington Magazine 109/777 (1967): 706–9. Identifies Monteverdi as the subject of a portrait by Domenico Feti. The portrait was previously known as “Portrait of an Actor.” De Logu compared the portrait to engravings of Monteverdi and to a portrait of the composer attributed to Bernardo Strozzi to reach the conclusion that Monteverdi was the subject matter.

120.

MacNeil, Anne. “Dynastic Iconography and Musical Allusion in Giovan Battista Andreini’s La Centaura.” In Music Observed: Studies in Memory of William C. Holmes, ed. Colleen Reardon and Susan Parisi, pp. 261–80. Warren, MI:

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Harmonie Park, 2004. (Detroit Monographs in Musicology/Studies in Music, 42). ISBN 0899901255. ML55.H625 2004. Examines Florentine Giovanni Battista Andreini’s musical drama entertainment, La centaura (Paris: Nicolas della Vigna, 1622), in relation to its compositional models and its cultural and political milieu. MacNeil explores the personal associations that Maria de’ Medici may have had for the play, and its author and actors. Monteverdi’s relationship with Giovanni Battista and Virginia Andreini (who sang the title role of Arianna) is considered. 121.

Steinheuer, Joachim. “Herzensfestungen und Luftschlösser: Zur Ikonographie militärischer Architekturen im Liebeskrieg bei Cipriano de Rore, Nicolò Fontei, Claudio Monteverdi und Barbara Strozzi.” MTh 21/2 (2006): 101–29. Studies the emblematic and illustrative traditions that underpin Monteverdi’s settings of genere guerriero in Madrigali guerrieri et amorosi, Libro VIII in connection with traditions that date back to the late fifteenth century. The poetry of Giulio Strozzi figures prominently. Closely examines three settings of his poetry by Nicolò Fontei, Monteverdi, and Barbara Strozzi, each published in Venice in the 1630s. Musical, textual, and illustrative examples.

4 Claudio’s Brother Giulio Cesare Monteverdi

122.

Bonomo, Gabriele. “Giulio Cesare Monteverdi e gli inni della raccolta Delli affetti musici.” RIM 27/1–2 (1992), 41–101. Detailed analysis of the music, text, and contexts of Giulio Cesare Monteverdi’s collection of concerted motets, Delli affetti musici (1620). Analysis of four works from the volume: “Veni, cara mi,” “Dies festus,” “Audite, qui astatis,” and “Incipite Virgini.” Draws comparisons with the works of Monteverdi and relates the collection to the Scherzi musicali of 1607.

123.

Bonomo, Gabriele. “Delli affetti musici di Giulio Cesare Monteverdi: Morfologia e secolarizzazione del mottetto concertato del primo Seicento.” In no. 40, pp. 233–87. Traces shifts in the meaning of the concertato motet in the first half of the seventeenth century. Argues that Giulio Cesare Monteverdi’s collection of concerted motets balances an appreciation of convention with the expressivity of the concertato style. Includes a full listing of contents and scoring for Giulio Cesare’s Delli affetti musici (1620) with twenty-six pieces from one-to-six voices and instruments. With extensive musical examples and a list of textual sources and their function in the liturgy.

124.

Data, Isabella. “Il ‘Rapimento di Proserpina’ di Giulio Cesare Monteverdi e le feste a Casale nel 1611.” In no. 39, pp. 333–46. Examines a printed report (Biblioteca Reale, Turin, Misc. 296/6) of the lavish festivities celebrating the twenty-second birthday of Margherita, Duchess of Mantua, that took place in Casale, a residence of the Mantuan ducal family between 1609–11. The birthday celebration took place between April 29 and May 7, 1611, 31

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and culminated with the opera Il rapimento di Proserpina by Giulio Cesare Monteverdi, Claudio’s younger brother who at the time served as maestro di cappella to the Duke of Mantua, Francesco Gonzaga. Ercole Marigliani (or Marliani) (1580–1630) supplied the libretto; both the opera and its libretto are lost. The work was repeated to mark the arrival of Carlo Emanuele I, the Duke of Savoy, on May 2. 125.

Leopold, Silke. “Monteverdi, Giulio Cesare.” In MGG2, Personenteil, 12, col. 422. Compact biography and list of musical works by Giulio Cesare Monteverdi (1573–1630–31?). Bibliography up to 1998.

5 Theory and Aesthetics

THEORETICAL CONTEXTS 126.

Annibaldi, Claudio. “Towards a Theory of Musical Patronage in the Renaissance and Baroque: The Perspective from Anthropology and Semiotics.” Recercare 10 (1998): 173–82. Appeared first in Italian as “Per una teoria della committenza musicale all’epoca di Monteverdi.” In no. 39, pp. 459–75. Building on semiotic and anthropological methods, Annibaldi interprets musical works as symbols of a patron’s social status and reputation. Applies this approach to Monteverdi’s Combattimento di Tancredi e Clorinda and to Girolamo Frescobaldi’s toccatas for keyboard.

127.

Ehrmann-Herfort, Sabine. “‘Mirabili effetti’: Anmerkungen zur Musikanschauung um 1600.” In no. 45, pp. 307–20. Provides a theoretical backdrop for Monteverdi’s writings and theories of musical emotions through a study of the theories of musical affects and emotions in the writings of Marsilio Ficino (1433‒99) and their reception in the decades around 1600. Contrasts Monteverdi’s approach to musical affect with that of Leonhard Lechner, J. (Handl) Gallus Carniolus, Emilio de’ Cavalieri, and Sigmund Theophil Staden.

128.

Ellis, Mark. A Chord in Time: The Evolution of the Augmented Sixth from Monteverdi to Mahler. Burlington, VT: Ashgate, 2010. xviii, 249p. ISBN 9780754663850. ML444.E44 2009. Offers a valuable study that traces the evolution of the augmented sixth sonority from the late Renaissance to the early twentieth century. This book is divided 33

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into nine chapters dealing with different aspects in the history and development of this chord, beginning with a survey of its harmonic features and evolution (chapters 1 and 2), continuing with an exploration of its place in the seventeenth and early eighteenth centuries (chapter 3 and 4), in Bach’s music (chapter 5), in music treatises from the end of the seventeenth through to the early nineteenth centuries (chapter 6), in the classical period (chapter 7), and in the early nineteenth century (chapter 8), and concluding with a discussion of its role in the late nineteenth and early twentieth centuries (chapter 9). In chapter 3, “Painted Words,” Ellis demonstrates that during the seventeenth century the augmented sixth chord traditionally appeared in vocal sources and was generally “triggered by words such as ‘weeping’, ‘sorrow’, ‘wailing’ and ‘tormenting’” (p. 81). Excerpts from Monteverdi’s L’incoronazione di Poppea, “Lamento della ninfa,” and Selva morale e spirituale are discussed. With over one hundred musical examples. Includes bibliography and index. 129.

Fend, Michael. “The Changing Function of Senso and Ragione in Italian Music Theory of the Late 16th Century.” In The Second Sense: Studies in the History of Hearing and Musical Judgment, ed. Charles Burnett, Michael Fend, and Penelope Gouk, pp. 199–221. London: The Warburg Institute, University of London, 1993. ISBN 085481082X. No LC. Provides an examination of how and why the roles of sense perception and reason were altered in music theory in the late sixteenth century. Discusses the Pythagorean and Aristoxenian tuning systems, and the growing acceptance toward the late sixteenth century of Aristoxenus’s proportionless tuning system and of his reliance on a combination of “hearing and reason.” Examines the perception and evaluation of elementary sound qualities in relation to judgments about musical compositions, including those by Monteverdi. Writings on tuning systems by Bartolomeo Ramos de Pareira (1482), Gioseffo Zarlino (1558), Vincenzo Galilei (1581), and Giovanni Maria Artusi (1600) are discussed.

130.

Fico, Lorenzo. Zarlino: Consonanza e dissonanza nelle ‘Istitutioni harmoniche’. Intro. Claude V. Palisca. Bari: Adriatica Editrice, 1989. 166p. No ISBN. MT5.5.Z343.FJ 1989. Comprehensive examination of Zarlino’s theory of consonance and dissonance. Zarlino maintained that musical practice should be based on numeri sonori, the ratios of intervals that governed consonances and restricted dissonances.

131.

Galilei, Vincenzo. Dialogo della musica antica et della moderna [Florence, 1581]. New York: Broude Brothers, 1967. 162p. (MMMLF, ser. 2, no. 20). No ISBN. ML171.G36.1581b. Facsimile edition of the most influential work of the Italian theorist, composer, lutenist, singer, and teacher, Vincenzo Galilei (late 1520s—91). His Dialogo promotes Greek-inspired monody while attacking his former teacher, Gioseffo Zarlino. Galilei deplores the madrigalists’ text-setting devices: the pictorialisms,

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the rhythmic extremes, and the harmonic dissonance composers used to express the text. Inspired by Greek musical thought, Galilei recommends a more sensitive rendering of the natural affective qualities of the words. 132.

Galilei, Vincenzo. Il fronimo [Venice, 1584]. Bologna: Arnaldo Forni, 1969. 182p. (BMB, ser. 2, no. 22). No ISBN. MT640.G25.1584A. First printed in 1568/9. Treatise on lute playing calling for simplicity of style that later crystallized as monody. Vincenzo Galilei’s intabulations of madrigals favor homophonic textures, clear declamation, simple harmony, and clear rhythmic design. For an English translation of the 1584 edition, see Carol MacClintock (Rome: American Institute of Musicology, 1985 [MSD, 39]).

133.

Galilei, Vincenzo. Dialogue on Ancient and Modern Music. Trans. with introduction and notes by Claude V. Palisca. New Haven, CT: Yale University Press, 2003. lxix, 390p. (Music Theory Translation Series). ISBN 0300090455. MT5.5.G313 2003. English translation, with extensive and thoughtful commentary, of Vincenzo Galilei’s famous Dialogo della musica antica et della moderna. Galilei’s influential treatise contains chapters on tuning, a critique of counterpoint, ancient music, and ancient and modern instruments and instrumental music. Galilei cites Adrian Willaert’s setting of Petrarch’s sonnet “Aspro core, e selvaggio” as an example of the misguided direction taken by madrigalists, particularly evident in the expressive use of dissonance.

134.

Giger, Andreas, ed. Saggi musicali italiani. Center for the History of Music Theory and Literature, University of Indiana. www.chmtl.indiana.edu/smi/ Full-text, searchable database of major Italian music treatises from the Renaissance to the present. Materials added on an ongoing basis. Available treatises from the sixteenth century include works by Pietro Aaron, Ercole Bottrigari, and Gioseffo Zarlino. Treatises can be downloaded, browsed, and searched. Includes graphics and musical examples.

135.

Haar, James. “A Sixteenth-Century Attempt at Music Criticism.” JAMS 36/2 (Summer 1983): 191–209. (Reprinted in Haar’s, The Science and Art of Renaissance Music, ed. Paul Edward Corneilson, pp. 3–19. Princeton, NJ: Princeton University Press, 1998. ISBN 0691028745. ML172.H3 1998). Focuses on passages from Lodovico Zacconi’s Prattica di musica seconda parte (1622) that address the necessary skills of a composer. Zacconi distinguishes, yet leaves unexplained, seven attributes necessary for excellence in polyphonic mensural music: arte, modulatione, diletto, tessitura, contraponto, inventione, and buone dispositione. Haar translates lengthy excerpts from the treatise in which Zacconi distinguished the grand’arte of Adrian Willaert’s motets and madrigals for their careful ordering of melodic and contrapuntal materials and contrapuntal artifice.

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136.

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Harrán, Don. “Vicentino and His Rules of Text Underlay.” MQ 59/4 (October 1973): 620–32. Study of the rules of text underlay as stipulated in L’antica musica ridotta alla moderna prattica (1555) by Nicola Vicentino (1511–ca. 1576), a chief proponent of the adaptation of the Greek chromatic and enharmonic genera to modern polyphonic practice. Harrán highlights Vicentino’s novel rules that are not included in the writings of Gioseffo Zarlino and Gaspar Stocker: 1) in Italian verse, the vowels at the end of a word and at the beginning of the next are elided; 2) when two verses, with vowels between them, are joined without rests, their vowels are not to be elided; and 3) a dissonant note is to be set to the same syllable as the note that precedes it.

137.

Holzer, Robert R. “‘Sono d’altro garbo . . . Le canzonette che si cantano oggi’: Pietro Della Valle on Music and Modernity in the Seventeenth Century.” SM 21/2 (1992): 253–306. Positions Pietro Della Valle’s writings within the context of seventeenth-century polemics surrounding the merits of old and new music. Della Valle’s “Della musica dell’età nostra” remarks that the late sixteenth-century performance style of canzonettas and villanellas was now outmoded.

138.

Howard, John Brooks. “Form and Method in Lippius’s Synopsis musicae novae.” JAMS 38/3 (1985): 524–50. Examines Johann Lippius’s theory of form articulated in Synopsis musicae novae (1612) in relation to Monteverdi’s and Gioseffo Zarlino’s views on composition. Suggests that “there is an agreement of thinking between [Monteverdi’s] second practice and Lippius’s theory of form” (541). Includes three useful diagrams: 1) the logical structure of argument in Lippius’s Synopsis musicae novae (Figure 1, p. 538), 2) Lippius’s classification of triads in Synopsis musicae novae and Disputatio musica tertia (Figure 2, p. 550), and 3) Lippius’s classification of modes in Synopsis musicae novae (Figure 3, p. 550).

139.

Leopold, Silke. “Das Madrigal und die wahre Theatermusik: Die Stillehre Giovanni Battista Donis.” MTh 4 (1989): 143–51. Compact assessment of stylistic categories detailed in “Trattato della musica scenica” (Bologna, Civico Museo Biblioteca, MS D143) by Italian classicist, philologist, and music theorist, Giovanni Battista Doni (1595–1647). Doni claims that the most significant difference between stile madrigalesco and stile recitativo lay in the melodic quality.

140.

Mei, Girolamo. Letters on Ancient and Modern Music to Vincenzo Galilei and Giovanni Bardi: A Study with Annotated Texts. Ed. and trans. Claude V. Palisca. Rome: American Institute of Musicology, 1960. xi, 213p. (MSD, 3). No ISBN. ML169.M45. Palisca’s extended introduction emphasizes the antiquarian, Aristotelian, and humanistic bases of Mei’s thought as expressed in his letters to Vincenzo Galilei

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and Giovanni de’Bardi. Mei (1519–94) was a fellow Italian humanist, editor of Greek texts, and historian of Greek music. Index of subjects (in Italian), index locorum classicorum (in Latin), and index of names (in English). Full list of works, letters, and sources. 141.

Mei, Girolamo. Discorso sopra la musica antica et moderna [Venice, 1602]. Bologna: Forni, 1968. 17 leaves. (BMB, ser. 2, no. 35). No ISBN. ML169. M44 1602ab. Facsimile edition with brief preface by Giuseppe Massera.

142.

Palisca, Claude V. “Vincenzo Galilei and Some Links between ‘Pseudo-Monody’ and Monody.” MQ 46/3 (July 1960): 344–60. Based on Vincenzo Galilei’s manuscript arrangements of madrigals, villanellas, and related works, for solo voice and lute, Palisca argues that Galilei’s reaction against polyphony, encapsulated in his famous Dialogo, was principally the result of a devotion to the homophonic idiom of Italian popular music rather than a humanistic enthusiasm for Greek practices.

143.

Palisca, Claude V. The Florentine Camerata: Documentary Studies and Translations. New Haven, CT: Yale University Press, 1989. vi, 234p. ISBN 0300039166. MT5.5.F63 1989. See pp. 45–77 for a translation of Mei’s letter to Vincenzo Galilei of May 8, 1572. Written at the height of popularity of polyphonic composition, Mei proposes that only monody could move the listener’s affections and not merely yield pleasure. Palisca’s introduction highlights the significance of the letter: it ushered in a series of correspondence that was central to the meetings of the Camerata, it introduced Vincenzo Galilei to ancient theoretical traditions, and it inspired Giovanni Battista Doni to focus his research and writing on music.

144.

Praetorius, Michael. Syntagma musicum III: Termini musici [Wolfenbüttel, 1619]. Ed. Wilibald Gurlitt. Kassel, Germany: Bärenreiter, 1978. (DM, ser. 1, no. 15). ISBN 376180184x. ML174.P7. Facsimile edition of Praetorius’s treatise on musical styles and terminology. Continues the tradition of Pietro Pontio and Pietro Cerone with a discussion of stylistic norms for contemporary music genres.

145.

Praetorius, Michael. Syntagma musicum III. Ed. and trans. Jeffery T. Kite-Powell. New York: Oxford University Press, 2003. 288p. (Oxford Early Music). ISBN 0195145631. ML100.P8213 2004. English translation of Syntagmatis musici tamus teritius: Termini musici, Praetorius’s influential treatise on musical terms and styles. Important for introducing the Italian style to German-speaking readers. Includes an “Introduction in the Modern Italian Manner for Boys with a Special Love and Desire to Sing.”

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146.

Theory and Aesthetics

Schaal, Susanne. “Musica scenica”: Die Operntheorie des Giovanni Battista Doni. Frankfurt: Peter Lang, 1993. 295p. (Europäische Hochschulschriften, ser. 36, vol. 96). ISBN 3631459939. ML1733.2.S27 1993. Study of Giovanni Battista Doni’s “Trattato della musica scenica,” which surveys developments in theatrical music up to his time. Important for its explanation of Giovanni Battista Doni’s stylistic categories of stile monodico, stile recitativo, stile rappresentativo, stile espressivo, and stile madrigalesco.

147.

Schmidt, Lothar. “Theoretikerauthorität und Komposerauthorität von Tinctoris bis Monteverdi.” In Autorität und Autoritäten in musikalischer Theorie, Komposition und Aufführung, ed. Laurenz Lütteken and Nicole Schwindt, pp. 41–52. Kassel: Bärenreiter, 2003. (Trossinger Jahrbuch für Renaissancemusik, 3). ISBN 3761816170. No LC. The writings of Claudio and Giulio Cesare Monteverdi demonstrate a shift in authority from theorist to composer. While Heinrich Glarean (Dodekachordon, 1547) looked to classical authors and authorities to bolster his theories, only five decades later the Monteverdi brothers cite musical examples and compositional practice to demonstrate their claims about music and text.

148.

Tomlinson, Gary. Music in Renaissance Magic: Towards the Historiography of Others. Chicago: University Press, 1993. xvi, 291p. ISBN 0226807916. ML190. T65 1993. Extensively reviewed (see Maria Rika Maniates’s review in JAMS 48/1 [1995], pp. 115‒26), Tomlinson adopts a methodology rooted in hermeneutics and a Foucault-inspired “archaeological” approach interested in the hidden structure of ideas. Chapter 7, “Archaeology and Music: Apropos of Monteverdi’s Musical Magic” focuses on two of the composer’s madrigals, “Sfogava con le stelle” and the “Lamento della ninfa,” published respectively in Monteverdi’s Madrigali, Libro IV a5 (1603) and his Madrigali guerrieri et amorosi, Libro VIII (1638). Contrasts the explicit magical orientation of “Sfogava con le stelle” with the objective, non-metaphysical stance of the lament text. Tomlinson aligns this contrast with a broader tendency evident across the development of the Italian lyric from 1550 to 1650 as evidenced in the history of Monteverdi’s poetic choices: the shift away from the expression of amorous paradox rooted in the magical psychology of love toward Marinist-inspired scintillating objectivism. Foucault’s archaeology of knowledge and its potential to contribute to the discourse on the Italian lyric is further discussed in Karol Berger, “A propositio di archeologia musicale” (RIM 30/1, pp. 213–26).

149.

Vicentino, Nicola. L’antica musica ridotta alla moderna prattica [Rome, 1555]. Ed. Edward E. Lowinsky. Kassel, Germany: Bärenreiter, 1959. (DM, ser. 1, no. 17). No ISBN. MT40.A2.V77. Facsimile edition with brief postface in English. Libro III on music practice concerns modes and cadences of the three genera—diatonic, chromatic, and

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enharmonic—in modern vocal polyphony with fifty-five music examples, including “Soav’e dolc’ardore,” “Dolce mio ben,” and “Madonna, il poco dolce.” 150.

Vicentino, Nicola. Ancient Music Adapted to Modern Practice. Trans. Maria Rika Maniates, ed. Claude V. Palisca. New Haven, CT: Yale University Press, 1996. lxix, 487p. (Music Theory Translation Series). ISBN 0300066015. MT5.5.V5313 1996. Translation, with extensive commentary, of Vicentino’s famous treatise on the application of the Greek chromatic and enharmonic genera to contemporary music, voice-leading, rules of counterpoint, prosody and the representation of moods and images of a text, and the archicembalo. The madrigal “Soav’e dolc’ardore” exemplifies enharmonic music; “Dolce mio ben” and “Madonna, il poco dolce” demonstrate mixed genera. Maniates gives a lengthy list of errata in the music examples. Bibliography of 233 items of primary and secondary literature up to 1993. Expansive general index.

151.

Wiering, Frans. “Zarlino and Polyphonic Modality in Italy.” In Chapter 7.1 of the  author’s The Language of the Modes: Studies in the History of Polyphonic Modality, pp. 159–98. New York: Routledge, 2001. ISBN 0815333420. ML171. L27 2001. Based on the author’s doctoral dissertation (University of Chicago, 1995). Provides an excellent overview of Gioseffo Zarlino’s modal theory as transmitted in Istitutioni harmoniche (1558); a facsimile of the treatise may be found in the series MMMLF (ser. 2, no. 1, New York: Boude Brothers, 1965). Includes a chart of compositions mentioned in part 4 of the treatise, which feature madrigal excerpts by Adrian Willaert, Cipriano de Rore, Francesco Viola, and Zarlino.

152.

Zarlino, Gioseffo. The Art of Counterpoint: Part Three of “Le Istitutioni Harmoniche,” 1558. Trans. Guy A. Marco and Claude V. Palisca. New Haven, CT: Yale University Press, 1968. xxvi, 294p. (Music Theory Translation Series). No ISBN. MT55.Z2313. English translation of the enduring study of counterpoint by Gioseffo Zarlino (1517–90) based on the 1558 edition. Palisca’s introduction gives a general overview of the entire Le istitutioni harmoniche, and explains the medieval notion that music is the harmonizing agent of the universe, a concept still accepted by Zarlino. Comments on the changed order of chapters in part 3 of the 1573 edition, and includes the fuller captions of the 1573 edition, making it possible to know what Zarlino intended his musical examples to illustrate. Cites sacred music of the Josquin generation through Adrian Willaert.

153.

Zarlino, Gioseffo. Sopplimenti musicali [Venice, 1588]. New York: Broude Brothers, 1979. 366p. (MMMLF, ser. 2, no. 15). ISBN 0845022156. ML171.Z37 1588b. Facsimile edition of Zarlino’s response to attacks by Vincenzo Galilei, a former student who lashes out against Zarlino in his Dialogo della musica (nos. 131, 133).

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Theory and Aesthetics

Zarlino, Gioseffo. On the Modes: Part Four of “Le Istitutioni Harmoniche,” 1558. Trans. Vered Cohen, ed. with introduction, Claude V. Palisca. New Haven, CT: Yale University Press, 1983. xxiii, 120p. (Music Theory Translation Series). ISBN 0300029373. MT5.5.Z3813 1983. English translation of the most important theoretical account of modal practice in the sixteenth century. Palisca’s introduction provides useful background information on Zarlino’s sources and describes the larger Istitutioni harmoniche from which On the Modes is drawn. The translation follows the 1558 edition; in it the modes and species of consonances are numbered in the conventional order (1–12), borrowing heavily from Heinrich Glarean’s Dodecachordon (Basel, 1547). Significant additions by Zarlino to the 1573 edition are indicated in footnotes. Zarlino cites his own works and sacred and secular pieces by Adrian Willaert. Index of classical passages cited and general expansive index.

155.

Zarlino, Gioseffo. Le istitutioni harmoniche [Venice, 1561]. Intro. Iain Fenlon and Paolo Da Col. Variants of the 1589 edition and index by Paolo Da Col. Bologna: Forni, 1999. 101, 347p. (BMB ser. 2, no. 39). No ISBN. MT5.5.Z348 1999. Facsimile edition of Zarlino’s influential treatise with introductory essays in Italian and English. Da Col’s list of variants between the 1561 and 1589 editions includes changes in pagination, significant variants of content, the expansion of the chapters on double counterpoint and fughe, and the addition of marginalia indicating all the sources cited.

AESTHETICS AND DEBATES ON THE SECONDA PRATICA 156.

Anfuso, Nella. “La seconda pratica: Esthétique et pratique vocale.” Littératures classiques 12 (January 1990): La voix au XVIIe siècle, 337–42. Drawing on the writings of Monteverdi, Giulio Cesare Monteverdi, Giulio Caccini, Pietro Della Valle, and others, Anfuso links the aesthetic of the seconda pratica with the realization of the unity of poetry and music in the Platonic sense. The representation of the affects or emotions (affetti) was crucial to this new musico-poetic style.

157.

Arcangeli, Pier Giuseppe. “Le impossibili Institutioni melodiche di Claudio Monteverdi.” In Musica e poesia: Celebrazioni in onore di Carlo Goldoni (1707–1793): atti dell’incontro di studio, Narni, 11–12 dicembre 1993, ed. Galliano Ciliberti and Biancamaria Brumana, pp. 19–26. Perugia: Centro di musica in Umbria, 1994. 111p. No ISBN. ML2110.M88 1994. Summarizes Monteverdi’s aesthetics stemming back to Giulio Cesare’s preface to Madrigali, Libro V a5 as it appeared in the opening of the Scherzi musicali of 1607 that mentions Claudio’s intent to produce a full-scale treatise entitled “Seconda pratica.” Arcangeli proposes that the fact that Claudio never completed the treatises is evidence that the composer favored musical composition over theorizing.

Theory and Aesthetics

158.

41

Artusi, Giovanni Maria. L’Artvsi, ouero Delle imperfettioni della moderna musica [Venice, 1600]; Seconda parte dell’Artvsi [Venice, 1603]; Discorso secondo mvsicale di Antonio Braccino da Todi [Venice, 1608]. Bologna: Forni, 1968. 71, 56, 54, 15p. (BMB, ser. 2, no. 36). No ISBN. ML171.A78. English translation of excerpts in Source Readings in Music History, ed. Oliver Strunk, rev. ed. Leo Treitler, pp. 526–35. New York: Norton, 1998. xxii, 1552p. ISBN 0393037525. ML160.S89 1989. Facsimile editions of Giovanni Maria Artusi’s seminal set of treatises that defend the harmonic practice of Gioseffo Zarlino against the moderns. Artusi (ca. 1540– 1613) is now famous for his critique of madrigals by Claudio Monteverdi. Artusi’s polemical writings spurred responses by Claudio Monteverdi and his brother, Giulio, that appeared in the composer’s Madrigali, Libro V a5 (1605) and Scherzi musicali (1607), respectively.

159.

Bisaro, Xavier, Giuliano Chiello, and Pierre-Henry Frangne. L’ombre de Monteverdi: La querelle de la nouvelle musique (1600–1638). L’Artusi, ou des imperfections de la musique modern de Giovanni Artusi (1600). Rennes, France: Presses Universitaires de Rennes, 2008. 216p. (Collection Aesthética). ISBN 9782753506732. No LC. Annotated translation into French of Giovanni Maria Artusi’s L’Artusi, overo, Delle imperfettioni della moderna music (1600), a critique of modern music and of Monteverdi’s madrigals. Includes an introduction, bibliography, and index.

160.

Bonomo, Gabriele. “Melodia overo seconda pratica musicale: Monteverdi e la prospettiva di una nuova Institutione—uno studio preliminare.” In Musicam in subtilitate scrutando: Contributi alla storia della teoria musicale, ed. Daniele Sabaino, Maria Teresa Rosa Barezzani, and Rodobaldo Tibaldi, pp. 243–309. Lucca, Italy: Libreria musicale italiana, 1994. ISBN 887096101X. MT6.M9631 1994. Contributes to the rich scholarship on the Artusi–Monteverdi controversy through an in-depth analysis of the theoretical and practical discourse on music in the early seventeenth century. Draws on the writings of Claudio Monteverdi, Giulio Cesare Monteverdi, Giovanni Maria Artusi, Girolamo Mei, and others to point to the difficulties of framing the debate using shared terminology. Approaches the music from a linear perspective, arguing that the goal of Monteverdi’s seconda pratica was the perfection of melody.

161.

Bottrigari, Ercole. Il desiderio, or, Concerning the playing together of various musical instruments. Discourse sopra la musica [by] Vincenzo Giustiniani. Trans. Carol McClintock. [n.p.]: American Institute of Musicology, 1962. 85p. (MSD, 9). No ISBN. ML171.B74713. Offers a rich account of musical life at the Ferrarese court at the end of the sixteenth century as told by Italian scholar, mathematician, architect, music theorist, composer, and poet, Ercole Bottrigari (1531–1612). Names Luca Marenzio as a leader of the new hybrid madrigal of the 1580s.

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Bottrigari, Ercole. Il Melone e il Melone secondo [Ferrara, 1602]. Bologna: Forni, 1969. 24, 46, 5, 39, 5p. (BMB, ser. 2, no. 29). No ISBN. No LC. Facsimile edition of Ercole Bottrigari’s treatise on speculative theory. Defends Nicola Vicentino against his attacks issued in Gandolfo Sigonio’s Discorso sopra i madrigali.

163.

Brauner, Charles S. “The seconda pratica, or, the Imperfections of the Composer’s Voice.” In Musical Humanism and Its Legacy: Essays in Honor of Claude V. Palisca, ed. Nancy Kovaleff Baker and Barbara Russano Hanning, pp. 195–212. Stryvesant, NY: Pendragon Press, 1992. (Festschrift Series, 11). ISBN 0945193297. ML55.P286.M9 1992. Adding to the literature on the Artusi–Monteverdi controversy, Brauner discusses Monteverdi’s new approach to dissonance in his Madrigali, Libri IV–V a5 through the voice of two fictional characters: Teofilo and Christoforo. “Ohimè, se tanto amate” and “Voi pur da me partite, anima dura” from Libro IV and “O Mirtillo” and “Cruda Amarilli” from Libro V are analyzed.

164.

Brncic Isaza, Gabriel. “Alcune riflessioni sulla globalizazzione del suono elettronico e sull’apparizione di une terza prattica.” In Musica e tecnologia domani: Convegno internazionale sulla musica elettroacustica, Teatro alla Scala, 20–21 Novembre 1999, ed. Roberto Favaro, pp. 227–56. Lucca, Italy: Libreria musicale italiana, 2002. ISBN 8870963187. ML1380.M864 2002. Likens the development and globalization of electronic sound to a “third practice” that defines a new age of music; in a similar way, Monteverdi’s seconda pratica defined a new practice.

165.

Carapezza, Paolo Emilio. “Tasso e la seconda pratica.” In no. 252, pp. 1–16. Discussion of Torquato Tasso’s La cavaletta (1584–5) that positions the poet’s plea for composers to bring back the loftier sentiment of the madrigal within the context of poetic and musical reform movements of the decades around 1600.

166.

Carapezza, Paolo Emilio. “Prima und seconda pratica: Musikalische Beschaffenheit, kompositorische Struktur, Aufführungspraxis.” In no. 52, pp. 14–30. Examines the differences between prima and seconda pratica through a rich source field of musical and theoretical writings including Gioseffo Zarlino, Adrian Willaert’s Musica nova (1559), Monteverdi’s “Dolcissimi legami” from Madrigali, Libro II a5 (1590), and excerpts from Le musiche da cantar solo (1609) by Sigismondo d’India. Sees the role of chords as a key distinction between the two styles, distinguishing between the role of chords and tone color in prima pratica and the role of chords in creating a meaningful context for speech-like music in seconda pratica. Links this latter function to the role of phonemes in the structural linguistics of Ferdinand de Saussure (Cours de linguistique général, Paris, 1962).

167.

Carter, Tim. “Artusi, Monteverdi and the Poetics of Modern Music.” In Musical Humanism and Its Legacy: Essays in Honor of Claude V. Palisca, ed. Nancy

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Kovaleff Baker and Barbara Russano Hanning, pp. 171–94. Stryvesant, NY: Pendragon Press, 1992. (Festschrift Series, 11). ISBN 0945193297. ML55.P286.M9 1992. Reprinted in no. 41, Essay 6, pp. 171–94 and no. 64, Essay 5, pp. 171–94. A self-proclaimed footnote to Palisca’s account of the Artusi–Monteverdi debate (no. 181). Carter argues that the flurry of publications on the merits of modern music reflects a broader discussion in Italian academies and salons of musical style and genre in the decades around 1600. 168.

Carter, Tim. “Two Monteverdi Problems, and Why They Matter.” JM 19/3 (2002): 417–33. Discusses Monteverdi’s problematic settings of two texts, “Zefiro torna, e di soavi accenti” (1632) and “Su, su, su pastorelli vezzosi” (1638, 1651), (also discussed by Nino Pirrotta no. 269 and Massimo Ossi no. 240), while examining such issues as the composer’s fidelity to his poetry and the status of his literary and musical sources. Carter suggests that an exploration of these issues “further calls into question the modern reception of [Monteverdi’s] agenda for the so called seconda pratica” (p. 433). With textual and musical excerpts.

169.

Carter, Tim. “Cerberus Barks in Vain: Poetic Asides in the Artusi–Monteverdi Controversy.” JM 29/4 (Fall 2012): 461–76. Examines a little-studied section in Alessandro Striggio’s libretto of Orfeo that Monteverdi did not set to music (“But what heart was ever so bold . . . and now in vain does Cerberus bark and bite”). Carter suggests that, within the context of the Artusi–Monteverdi controversy, this line articulates Striggio’s position vis-à-vis Giovanni Maria Artusi, whom the librettist may have regarded as “a yapping cur, nipping jealously and impotently at Monteverdi’s heels” (p. 474). Within this context, the following encomia included in the printed books that took part of this dispute are considered: three sonnets and a Latin carmen in the treatise L’Artusi, overo Delle imperfettioni della moderna musica (1600), and two madrigals by Cherubino Ferrari in Monteverdi’s Madrigali, Libro V a5 (1605). With textual excerpts.

170.

Carter, Tim. “‘E in rileggendo poi le proprie note’: Monteverdi responds to Artusi?” RQ 26/1 (February 2012): 138–55. Casts Monteverdi’s “Piagne e sospira, e quando i caldi raggi” as a musical response to the composer’s controversy with Giovanni Maria Artusi and the theoretical debate that ensued. Monteverdi positioned the setting at the close of his Madrigali, Libro IV a5 (1603), and dedicated the volume to the Accademia degli Intrepidi of Ferrara. Monteverdi’s choice of text (from Torquato Tasso’s Gerusalemme conquistata, 1593), dedicatee, and affinity with Giaches de Wert reflect the composer’s musical manifesto of seconda pratica.

171.

Cusick, Suzanne G. “Gendering Modern Music: Thoughts on the Monteverdi– Artusi Controversy.” JAMS 46/1 (Spring 1993): 1–25. Reprinted in no. 64, Essay 6, pp. 195–219.

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Controversial essay on gender metaphors in the documents surrounding the Monteverdi–Artusi debate. The author argues that the focus on “Cruda Amarilli” and “O Mirtillo” by both parties sexualized modern music and feminized its sonorous traits by associating them with images of the sensual and disobedient body. The Monteverdi brothers’ defense of the seconda pratica was no more than a rhetorical effort to legitimize modern music as an alternative patriarchy. Charles Brauner (“Communications,” JAMS 47/3 [Autumn 1994]: 550–54) questions the validity of Cusick’s tables of gendered oppositions, and asserts that she misreads key evidence. 172.

Dahlhaus, Carl. “Seconda pratica und musikalische Figurenlehre.” In no. 53, pp. 3–12. First appeared in no. 46, pp. 141–50. Approaches the Artusi–Monteverdi clash from the perspective of musical rhetoric or Figurenlehre, as developed by Christoph Bernhard. Points out that the concept of seconda pratica is a reception-based principle designed to rationalize dissonance, rather than a concept rooted in Monteverdi’s intentions. Includes an analysis of “O Mirtillo” that claims the madrigal lacks any unified tonality. The author proposes instead the notion of an association of six partial keys.

173.

Della Valle, Pietro. “Della musica dell’età nostra che non è punto inferiore, anzi è migliore di quella dell’età passata” [January 16, 1640]. In Le origini del melodramma, ed. Angelo Solerti, pp. 148–79. Hildesheim, Germany: Olms, 1969. vi, 262p. No ISBN. ML1702.S682 1969b. (Reprint; originally published Turin, 1903). English translation of excerpts in Source Readings in Music History, ed. Oliver Strunk, rev. ed. Leo Treitler, pp. 544–51. New York: Norton, 1998. xxii, 1552p. ISBN 0393037525. ML160.S89 1989. Response to Lelio Guidiccioni’s attack on modern music by Italian librettist, writer on music, composer, and ethnographer, Pietro Della Valle (1586–1652). Della Valle holds the music of Girolamo Frescobaldi, Luigi Rossi, and Orazio Michi in higher esteem than the contributions of the previous generation.

174.

Jenkins, Chadwick. “Giovanni Maria Artusi and the Ethics of Musical Science.” AMc 81/1 (2009): 75–97. Examines the philosophical, moral, and aesthetic underpinnings of Giovanni Maria Artusi’s criticisms of Monteverdi through an in-depth exploration of Artusi’s notion of music. Points to Artusi’s grounding in the theories of Gioseffo Zarlino as a basis for his view of music as science. By extension, composers who abandoned the principle of music as science corrupted the communication of meaning—a problem that Artusi saw in the extravagances of Monteverdi’s music.

175.

Kurtzman, Jeffrey. “Monteverdi and Early Baroque Aesthetics: The View from Foucault.” In no. 50, Essay 1, pp. 105–19. (Originally published in Italian in Il madrigale oltre il madrigale: Dal barocco al Novecento: Destino di una forma e problemi di analisi. Atti del IV Convegno internazionale sulla musica italiana nel secolo XVII. Lenno-Como, 29–30 August, 1991, ed. Alberto Colzani, Andrea

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Luppi, and Maurizio Padoan, pp. 105–19. Como, Italy: Antiquae Musivae Studiosi, 1994. [Contributi musicologici del Centro ricerche dell’A.M.I.S.—Como, 8]). ML2633.C65 1991. Insightful article that attempts to understand Monteverdi’s role in the aesthetic and stylistic watershed of the early seventeenth century by drawing from Michel Foucault’s epistemological theories as articulated in his Les Mots et les Choses: Une Archéologie des Sciences Humaines (Paris, Editions Gallimard, 1966; trans. into English as The Order of Things: An Archaeology of the Human Sciences, New York, Pantheon Books, 1971). Foucault’s view that the sixteenth and seventeenth centuries were each characterized by distinctive thought processes (i.e., the search for resemblance vis-à-vis the emphasis on identities and differences) helps better understand the development of Monteverdi’s late music. Kurtzman draws evidence from the writings of Monteverdi and his brother, Giulio Cesare, on the seconda pratica (1607), and Monteverdi’s preface to Madrigali guerrieri et amorosi, Libro VIII (1638) on concitato. Argues against Tomlinson’s negative assessment of Monteverdi’s madrigals from Madrigali guerrieri et amorosi, Libro VIII (no. 89), noting that any attempt to understand and analyze Monteverdi’s later works must account for the taxonomic impetus and its aesthetics. 176.

Kurtzman, Jeffrey. “Monteverdi’s Changing Aesthetics: A Semiotic Perspective.” In Festa Musicale: Essays in Honor of George Buelow, ed. Thomas J. Mathiesen and Benito V. Rivera, pp. 233–55. Stuyvesant, NY: Pendragon Press, 1995. ISBN 94519370. ML55B.84 1995. Examines, from a semiotic standpoint, Monteverdi’s changing aesthetics through the lens of the composer’s Dichiaratione of 1607 and his preface to Madrigali guerrieri et amorosi, Libro VIII of 1638. Suggests that whereas the Dichiaratione reflects an aesthetic based on resemblances between text and musical settings, the preface of 1638 establishes “taxonomies of the passions, of the voice, and of music” (p. 249). Some of the material presented here appears in another published article by the author (no. 175).

177.

Maniates, Maria Rika. “Bottrigari versus Sigonio: On Vicentino and His Ancient Music Adapted to Modern Practice.” In Musical Humanism and Its Legacy: Essays in Honor of Claude V. Palisca, ed. Nancy Kovaleff Baker and Barbara Russano Hanning, pp. 79–107. Stryvesant, NY: Pendragon Press, 1992. (Festschrift Series, 11). ISBN 0945193297. ML55.P286.M9 1992. Presents Gandolfo Sigonio’s attack on Nicola Vicentino, whom he claims “does not observe one iota of the rules of counterpoint” (p. 82), along with commentary on Ercole Bottrigari’s rebuttal. Includes English translations of extended passages from the treatises and excerpts from madrigals by Nicola Vicentino.

178.

Maniates, Maria Rika. “The Cavalier Ercole Bottrigari and His Brickbats: Prolegomena to the Defense of Don Nicola Vicentino against Messer Gandolfo Sigonio.” In Music Theory and the Exploration of the Past, ed. Christopher Hatch and

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David W. Bernstein, pp. 137–88. Chicago, IL: University of Chicago Press, 1993. ISBN 0226319016. MT6.M869. Summarizes the debate between Ercole Bottrigari and Giovanni Maria Artusi over the pseudonymous publication of Il desiderio and the private papers of Annibale Melone (d. 1598). 179.

Ossi, Massimo. Divining the Oracle: Monteverdi’s Seconda Prattica. Chicago, IL: University of Chicago Press, 2003. xviii, 280p. ISBN 0226638839. ML410.M77. O78 2003. The section on “Con che soavità” originally appeared as “Between Madrigale and Altro genere di canto: Elements of Ambiguity in Claudio Monteverdi’s Setting of Battista Guarini’s ‘Con che soavità’.” In Guarini: La musica, i musicisti, ed. Angelo Pompilio, pp. 13–29. Lucca, Italy: Libreria Musicale Italiana, 1997. (Con Notazioni, 3). ISBN 8870961931. ML2633.P66 1997. Sophisticated interpretation of Monteverdi’s seconda pratica through close readings of documents (including writings by Giovanni Maria Artusi, Giovanni Battista Doni, Girolamo Mei, Vincenza Galilei, Aristotle, Plato, and Monteverdi himself) and in-depth musical and textual analyses of madrigals from Madrigali, Libri IV‒V a5, Libro VII, and Gloria a7 concertata from the Selva morale e spirituale (1640–1). Ossi demonstrates that a dramatic impulse lies at the root of Monteverdi’s madrigals from after the turn of the century. With extensive bibliography to 2001.

180.

Palisca, Claude V. “Vincenzo Galilei’s Counterpoint Treatise: A Code for the Second pratica.” JAMS 9/2 (Summer 1956): 81–96. Reprinted with introduction in Claude V. Palisca, Studies in the History of Italian Music and Music Theory, pp. 30–53. New York: Oxford University Press, 1994. ISBN 0198161670. ML290.1.P35 1994. One of the first to draw attention to Vincenzo Galilei’s treatise of 1588–91 on harmonic practice, which Palisca argues is a direct precursor to Monteverdi’s seconda pratica. Galilei proposed a new method for treating dissonance that was linked to the expression of the text rather than the potential for contrast with consonant intervals, as Zarlino held. With musical examples.

181.

Palisca, Claude V. “The Artusi–Monteverdi Controversy.” In no. 33, pp. 127–58 and no. 34, pp. 127–58. Reprinted in Claude V. Palisca, Studies in the History of Italian Music and Music Theory, pp. 54–87. New York: Oxford University Press, 1994. ISBN 0198161670. ML290.1.P35 1994. Straightforward account of the debate that ensued during the years around 1600 over what constitutes good harmonic practice. Palisca lays out a chronology of publications by the theorist Giovanni Battista Artusi, Giulio and Claudio Monteverdi, and related commentators. Includes numerous excerpts from theoretical writings in English translation and musical examples cited in the debate.

182.

Scacchi, Marco. Breve discorso sopra la musica moderna. Warsaw: Pietro Elert, 1649. English trans. in Claude V. Palisca, “Marco Scacchi’s Defense of Modern Music (1649).” In Words and Music: The Scholar’s View: A Medley of Problems

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and Solutions Compiled in Honor of A. Tillman Merritt by Sundry Hands, ed. Laurence Berman, pp. 189–235. Cambridge, MA: Harvard University, Department of Music, 1972. No ISBN. M1495.W9. Claude Palisca’s introduction positions Marco Scacchi (ca. 1600–ca. 1681) as a key defendant of the seconda pratica. Scacchi was an Italian composer and theorist active at the Warsaw court. His Breve discorso distinguishes two practices and three styles: the church, chamber, and theatrical styles. Scacchi’s classifications formed the basis for further elaboration by Christoph Bernhard, Angelo Berardi, and Johann Mattheson. With transcriptions of two four-voice madrigals with basso continuo and a duet recitative from Scacchi’s Cribrum musicum (1643). 183.

Schedensack, Elisabeth. “Stile antico and stile moderno in the Early Vocal Compositions of Isabella Leonarda.” SM 24/1 (1995): 49–61. Examines selected musical works by Isabella Leonarda (1620–1704) written in the stile antico (prima pratica) and in the stile moderno (seconda pratica), focusing on Leonarda’s music for vespers in opus 4, Messa, e Salmi, concertati, & a Capella con Istromenti ad libitum . . . (1674) and opus 8, Vespro a Capella della beata Vergine e Mottetti Concertate . . . (1678). The origin and the historical definitions of the terms prima pratica and seconda pratica, including Monteverdi’s role in their creation, are discussed.

184.

Tagliaferri, Pietro. “‘Seconda prattica’ negli Scherzi musicali a tre voci di Claudio Monteverdi (1607).” NRMI 28/2 (April–June 1994): 217–22. Reviews scholarship on Monteverdi’s Scherzi musicali (1607), which has focused on the Dichiarazione by Giulio Cesare and the question of canta alla francese, and adds insight to the notion of seconda pratica elements in the collection.

185.

Tanay, Dorit. “Monteverdi, Foucault and the Transition from Renaissance to Baroque.” OM 13 (2003): 73–80. Argues that Foucault’s simple dichotomy between the old and the new epistemology (see Tomlinson’s application of Foucault’s concepts to the analysis of Monteverdi’s expressive style in no. 148) distorts the complexity and heterogeneity of music in the decades around 1600. Assesses the Artusi–Monteverdi controversy, suggesting that it reflects the broader dispute between the scholastic/Aristotelian worldview and that of the new anti-scholastic philosophers (later known as Cartesians).

186.

Werbeck, Walter. “Heinrich Schütz und der Streit zwischen Marco Scacchi und Paul Siefert.” SJ 17 (1995): 63–79. Recounts the debate over prima pratica and seconda pratica reignited by Warsaw Hofkapellmeister Marco Scacchi and Danzig organist Paul Siefert. Siefert adopted the German position of blending the two styles, while Scacchi called for clear delineations between the styles. Following the German model, Heinrich Schütz’s Geistliche Chor-Musik brought elements of the madrigal into his concerted sacred music with basso continuo.

6 Canzonetta and Madrigal Books

SECULAR SONG AROUND 1600 187.

Dürr, Walter. “Sprachliche und musikalische Determinanten in der Monodie: Beobachtungen.” In no. 46, pp. 151–62. Observes that textual images found reinforcement in musical images or madrigalisms in the prima pratica, whereas in monody, imitating the sound of speech and the creation of a musical gesture were more important.

188.

Fortune, Nigel. “Italian Secular Song from 1600 to 1635: The Origins and Development of Accompanied Monody.” Ph.D. diss. University of Cambridge, 1954. vii, 474p.; Appendix 126p. [Appendix IV, “A Representative Anthology of Italian Secular Monodies Published Between 1602 and 1635” is bound separately.] The first comprehensive study of monody in the English language. This highly influential study features extensive analysis of songs and texts, and an important chapter on the legacy of monodies after 1635 and the influence of monody outside Italy before 1635. Appendices include a chronological list of books of Italian secular monodies (1600–35), a list of manuscripts that contain Italian secular monodies (1600–35), and a sampling of twenty-seven monodies in transcription with text translations. An overview of the topic can be found in no. 758.

189.

Gerbino, Giuseppe. “Orpheus in Arcadia: The Creation of Pastoral Mode in the Sixteenth-Century Madrigal.” Ph.D. diss. Duke University, 2001. x, 486p. UMI 3041581. Comprehensive study that addresses the Renaissance pastoral and music, Florence and the early madrigal, pastoral theater, pastoral fashion of the 1580s as

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exemplified by Luca Marenzio and the revival of Jacopo Sannazaro, and early opera. Includes a graph of madrigal settings of texts from Sannazaro’s Arcadia, 1540–1635. Bibliography of 226 items up to 1999. 190.

Hall, Frederick Albert. “The Polyphonic Italian Madrigal: 1638–1745.” Ph.D. diss. University of Toronto, 1978. iv, 526p. UMI NK36679. Remains one of the few studies of the later development of the polyphonic madrigal, beginning with Domenico Mazzocchi’s Partitura De’Madrigali (1638) and ending with the last published madrigals of Giovanni Clari (1745). Hall limits his discussion to settings that are non-strophic, for two-to-five voices with or without basso continuo, and set poetry dealing with pastoral and/or love themes. Through a study of treatises and prefaces, poetry, four- and five-voice settings, three-voice madrigals, and two-voice works, Hall demonstrates the viability of the madrigal as a Baroque genre. Includes a chronological list of publications containing madrigals and locations of manuscript sources. With an index to over 900 capoversi and madrigal titles.

191.

Leopold, Silke. Al modo d’Orfeo: Dichtung und Musik in italienischen Sologesang des frühen 17. Jahrhunderts. 2 vols. Laaber, Germany: Laaber, 1995. (AnM 29/1–2). Vol. 1: viii, 298p. ISBN 3890072771. Vol. 2: vii, 395p. ISBN 389007278X. ML2833.L46 1995. Expansion of the author’s Habilitation Document (Fachbereich 1, Technische Universität, Berlin, 1987). Surveys accompanied Italian solo song of the early seventeenth century. Presents the first part of the seventeenth century as a transition between the old polyphonic madrigal and the new chamber cantata. The reform of the Italian metric, under Gabriello Chiabrera, led to the emergence of the periodically regular arias of the mid-seventeenth century. Sections on Giulio Caccini, Giovanni Battista Doni, Pietro Della Valle, declamation, principles of solo song (divided into “madrigalian,” “declamatory,” and “musical-formal” works), poetic form, and musical form. Volume 1 includes an index of names. Volume 2 transcribes fifty-seven musical examples and presents a massive catalog of 3,082 Italian-texted solo songs published between 1601 and 1644. Entries are arranged chronologically and list first lines, composer, place of printing, time signature, form, and author of poetic text. Includes an index of first lines, a list of concordances, and an index of names.

192.

Lewis, Susan Gail. “Collecting Italia Abroad: Anthologies of Italian Madrigals in the Print World of Northern Europe.” Ph.D. diss. Princeton University, 2001. xii, 308p. UMI 3017431. Study that explores the history of Italian madrigal printing in northern Europe, using Antwerp, Nuremberg, and Copenhagen as case studies to examine transalpine receptions of the madrigal. The author argues that printed anthologies were an important medium for disseminating Italian repertory outside Italy. Chapters focus on Musica divina (1583), Harmonia celeste (1583), Symphonia angelica (1585), Gemmae musicae I–III (1588–90), Melodia olympica (1591),

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Fiori giardino (1597; 1604), and Giardino novo I–II (1605–6). Important sources for the transmission of Monteverdi’s madrigals outside Italy. Transcriptions of title pages, dedications, lists of contents, and surviving locations are included as appendices. Includes a bibliography of 389 items up to 2001. 193.

Mabbett, Margaret Anne. “The Italian Madrigal, 1620–1655.” 2 vols. Ph.D. diss. University of London, King’s College, 1989. Vol. 1: 296p. Vol. 2: 330p. UMI C283694. The only comprehensive study of the madrigal during the first half of the seventeenth century with a focus on settings for three or more voices. Mabbett considers the social and political context for the madrigal, music publishing, text setting, centers of production, major composers, and related genres. Volume 2 includes transcriptions and translations of documents, notes on patrons, notes on instrumental participation and continuo practice, transcriptions of fortythree madrigals, and a useful list of sources of the Italian madrigal, 1620–55, that revises NV.

194.

Macy, Laura. “Speaking of Sex: Metaphor and Performance in the Italian Madrigal.” JM 14/1 (Winter 1996): 1–34. Argues that metaphoric language adapted to accommodate changing modes of performance in the sixteenth-century madrigal. Jacques Arcadelt’s famous “Il bianco e dolce cigno” demonstrates the early madrigal’s tendency for casual reading by able amateurs. The use of the first person implicates the participants in its sexual discourse. Settings of Battista Guarini’s widely popular text “Tirsi morir volea” by Giovanni Gabrieli, Giovanni Croce, and Giaches de Wert reflect the new semi-theatrical context with professional singers that characterized madrigal performances in the 1580s. Luca Marenzio’s setting of Antonio Ongaro’s “Stillò l’anima in piano” (1594) captures eroticism and sexual tension in its subtext for the enjoyment of a passive audience.

195.

McClary, Susan. Modal Subjectivities: Self-Fashioning in the Italian Madrigal. Berkeley: University of California Press, 2004. xii, 374p. ISBN 0520234936. ML2633.2.M33 2004. Exciting contribution from a scholar who has devoted much of her career to the role of gender and subjectivity in the madrigal. McClary argues that “from around 1525 the Italian madrigal serves as a site . . . for the explicit, self-conscious construction in music of subjectivities” (p. 6). Building on the work of Michel Foucault, Stephen Greenblatt, and Peter Burke, McClary charts the break with traditional epistemologies as musical style and thought plunged into a crisis of authority, knowledge, power, and identity. The author addresses the best-known composers and works of the sixteenth century, and offers a critical interpretation of the structural, expressive, ideological, and cultural means through which works produce their effects. Huge appendix with complete settings of twentytwo madrigals by Philippe Verdelot, Jacques Arcadelt, Adrian Willaert, Cipriano de Rore, Giaches de Wert, Luca Marenzio, Carlo Gesualdo, and Monteverdi. No bibliography. Good expansive index.

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196.

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Parisi, Susan. “Bologna Q 27 IV/V: A New Manuscript Source of Italian Monody and Canzonette.” SM 26/1 (1997): 73–104. Detailed study of Bologna, Civico Museo Bibliografico Musicale, MS Q 27 IV/V, a compilation of one Latin canon and 224 Italian secular and devotional songs of the late sixteenth and seventeenth centuries. An important source for Enrico Antonio Radesca, Giulio Caccini, Giovanni Maria Nanino, Orazio Vecchi, Gemignano Capilupi, Gherardo Pedrali, Amante Franzoni, Antonio Morsolino, and Monteverdi. Parisi dates the compilation of the manuscript from the 1610s and suggests Mantuan or Roman provenance. Includes a list of printed concordances, a detailed inventory with thematic incipits of the eighteen hitherto unknown monodies, and an appendix of manuscript sources of Italian solo songs from the late sixteenth and early seventeenth centuries.

197.

Piperno, Franco. “Madrigal Anthologies by Northern Printers and Monteverdi.” In no. 51, pp. 29–50. Statistical tables and commentary on the printed transmission of Italian madrigals by Monteverdi and his contemporaries in anthologies from Antwerp, London, Nuremberg, and Copenhagen. Twenty-seven anthologies (forty-eight editions) of 1,197 madrigals appeared at northern presses between 1575 and 1634. Includes a list of contents of Fiori del giardino (Nuremberg, 1597).

198.

Roche, Jerome. The Madrigal. 2nd ed. (1st ed., London: Hutchinson, 1972). London: Oxford University Press, 1990. vi, 184p. (Early Music Series, 11). ISBN 0193131315. ML2600.R63 1990. Valuable summary of the history of the madrigal that takes into account the genre’s development on both sides of the Alps. Includes an alphabetical list of madrigals discussed in the text, with notes on modern editions. Much of the literature suggested for further reading is now supplanted by more recent scholarship.

199.

Schick, Hartmut. Musikalische Einheit im Madrigal vom Rore bis Monteverdi: Phänomene, Formen und Entwicklungslinien. Tutzing, Germany: Hans Schneider, 1998. 400p. (Tübingen Beiträge zur Musikwissenschaft, 18). ISBN 3795209269. ML2600.S25 1998. Revision of the author’s Habilitation Document (Tübingen University, 1996). A thoughtful study of musical unity in madrigals of the second half of the sixteenth century, with sections on unity, variety, coherence in the late works of Cipriano de Rore, closed forms in the madrigal alla francese (1558–87), thematic coherence after Rore, refrain forms, and multivoice counterpoint. Schick concludes that composers exercised a wide variety of techniques for achieving musical unity, a goal whose realization changed with the emergence of the basso continuo around 1600. Judicious use of musical examples. Bibliography of 159 items to 1995 and an extensive list of musical sources and modern editions. Excellent expansive index of names and titles. See pp. 142–6, 175–7, 190–2,

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234–9, 254–8, 307–9, 334–6, 338–41, 347–9, and 352–4 for analyses of Monteverdi’s madrigals. 200.

Selfridge-Field, Eleanor. “Associative Aspects of Perceived Musical Similarity and Their Intersections with Seconda-prattica affetti.” In A Fresco: Mélanges offerts au professeur Etienne Darbellay, ed. Brenno Boccadoro and George Starobinski, pp. 433–52. New York: Peter Lang, 2013. ISBN 9783034313971. ML3800.F74 2013. Examines audio and perceptual studies in relation to precepts of the early Baroque, specifically Monteverdi’s doctrine of the affects. Associative similarity takes into account similarity of features, timbre, mood, and musical intensity. Performance interjects additional variables: timbre, mood, intensity, and tempo. Proposes some striking resonances between the musical motivations of certain associative correlates of similarity in recent studies and the musical motivation of affetti in the early seventeenth century as exemplified in Monteverdi’s stile concitato or agitated style from the Combattimento di Tancredi e Clorinda.

201.

Willetts, Pamela. “A Neglected Source of Monody and Madrigal.” ML 43/4 (October 1962): 329–39. Study and inventory of London, British Library, MS Add. 31,440, an English source of unidentified early Italian monody and of twenty-eight works by Monteverdi, among them the famous “Cruda Amarilli.” Proposes Walter Porter, who may have studied with Monteverdi, as the manuscript’s compiler. The author subsequently revised this attribution (“Autographs of Angelo Notari,” ML 50/1 [1969]: 124–6) and correctly identified the hand of Angelo Notari.

MONTEVERDI AS MADRIGALIST 202.

Barezzani, Maria Teresa Rosa. “I segni di mensura nei madrigali di Claudio Monteverdi: Alcune considerazioni.” In no. 40, pp. 125–58. Considers both general features of Monteverdi’s use of mensuration signs and specific examples of coloration and changes of mensuration signs from across the composer’s madrigal oeuvre. With extensive musical examples and schematic diagrams.

203.

Bielitz, Mathias. “Zum Verhältnis von Form und Semantik in der Musik von Monteverdi.” In no. 46, pp. 53–122. Draws examples from across Monteverdi’s madrigal, sacred, and theatrical works that suggest his music operates on a complex semantic level of symbols and semantic figures. Lacks musical examples.

204.

Braun, Werner. “Monteverdis groβe Bassmonodien.” In no. 46, pp. 123–40. Examines Monteverdi’s twenty-five bass monodies from the composer’s theatrical, sacred, and chamber works. Points to the challenges composers faced with

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bass settings in terms of weakening the counterpoint or idiomatic bass character of the music. Compares Monteverdi’s approach to that of Heinrich Schütz. 205.

Braun, Werner. “Scherzo e Scherzando: Alcune Annotazioni sullo Stile Concertante.” In Seicento inesplorato: L’evento musicale tra prassi e stile—Un modello di interdipendenza. Atti del III Convegno Internazionale sulla Musica in Area Lombardo-Padana del Secolo XVII. Lenno—Como, 23–25 giugno 1989, ed. Alberto Colzani, Andrea Luppi, and Maurizio Padoan, pp. 11–18. Como, Italy: Antiquae Musicae Italicae Studiosi (AMIS), 1992. Looks at examples from theoretical and musical sources of the terms scherzo and scherzando in the early decades of the seventeenth century. Useful context for Monteverdi’s application of the term for Scherzi musicali (1607) and Scherzi musicali (1632).

206.

Burnett, Henry. “A New System of Hexachord Modulation in the Late Sixteenth and Early Seventeenth Centuries.” IJM 8 (1999): 115–75. Proposes that an extended gamut of eleven available pitches (i.e., the total pitch material, both diatonic and ficta, associated with a given three-hexachord system) governs madrigals from about 1542 (the year of Cipriano de Rore’s Libro I a5) to the 1670s. Madrigals from Monteverdi’s first eight books are listed with cantus, final, missing pitch-classes, modulatio, number of pitchclasses, and indication of three-hexachord system. Burnett concludes that the appearance of three-hexachord system modulation in the works of Monteverdi is linked to the emergence and development of the seconda pratica; Monteverdi’s prima pratica works never modulate beyond their central hexachord systems.

207.

Caraci Vela, Maria. “Madrigali nel tempo: diasistemi monteverdiani.” In no. 39, pp. 133–45. Applies a philological approach to assessing the interpretation and copying of Monteverdi’s Madrigali, Libri I–VI over the centuries.

208.

Carter, Tim. “Resemblance and Representation: Towards a New Aesthetic in the Music of Monteverdi.” In no. 353, pp. 118–34. Reprinted in no. 41, Essay 8, pp. 118–34 and no. 64, Essay 4, pp. 151–67. Carter explores the changes in music aesthetics in the early seventeenth-century through the analysis of select works by Monteverdi, including “Zefiro torna, e di soavi accenti,” “O sia tranquillo il mare, o pien d’orgoglio,” “Lamento d’Arianna,” and “Lamento della ninfa.” Discusses the contrasting notions of representation of the Renaissance and the Baroque (the first interpreting the relationship between signifier and signified in terms of resemblance, and the latter in terms of difference) in relation to music. With musical examples.

209.

Carter, Tim. Music in Late Renaissance and Early Baroque Italy. Portland, OR: Amadeus, 1992. 288p. ISBN 0931340535. ML290.2C22 1992.

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Of value to both specialists and nonspecialists, Carter synthesizes recent researches and incorporates his own insight on music from the century after the death of Josquin des Prez (1521). Chapter 14 considers madrigals after 1600 with a focus on Monteverdi’s Madrigali, Libro VII (1619). 210.

Carter, Tim. “The Venetian Secular Music.” In no. 63, pp. 179–94, 290–1. Surveys Monteverdi’s Venetian secular music taking into account the difficulties that issues such as chronology, environment, and function may pose in assessing this output. Suggests that this music—some of which was written for Venice, Mantua, Vienna, or elsewhere in Italy—is “stylistically inconsistent and even at times troublesome in its mixtures of old and new, and of the conventional and inspired” (194). Monteverdi’s relationship with prominent individuals in Mantua, Venice, and elsewhere in Italy and Europe is discussed. An appended “Intermedio” (Intermedio IV) examines Monteverdi’s “Lamento dell ninfa” included in his Madrigali guerrieri et amorosi, Libro VIII. His setting of Ottavio Rinuccini’s text is compared with three other settings: a solo song by Antonio Brunelli (1614), a duet by Giovanni Girolamo Kapsperger (1619), and an anonymous solo voice setting that appears in a Florentine manuscript. With musical examples.

211.

Ciacchi, Laura Mary. “Rhythm, Text and Formal Design in the Ostinato Madrigals of Claudio Monteverdi.” Ph.D. diss. Yale University, 1993. iii, 465p. UMI 9426191. Elevates the importance of rhythm to the study of Monteverdi’s madrigals. Offers a multifaceted approach to the study of rhythm that integrates theory with historical information, music criticism, and text analysis. Ciacchi applies a theory of rhythm that is non-hierarchical and non-accentual. Argues that large-scale rhythmic processes combine with motivic and textual elements to provide continuity and coherence in Monteverdi’s ostinato madrigals. With extended analysis of the romanesca from “Ohimè dov’è il ben mio, dov’è il mio core?,” the seven other strophic madrigals, the ciaccona, “Zefiro torna, e di soavi accenti,” and the descending tetrachord piece, “Lamento della ninfa” from Madrigali guerrieri et amorosi, Libro VIII.

212.

Coluzzi, Seth J. “‘Se vedesti qui dentro’: Monteverdi’s O, Mirtillo, Mirtillo anima mia and Artusi’s Offence.” ML 94/1 (February 2013): 1–37. Provides a detailed musical analysis of Monteverdi’s “O Mirtillo, Mirtillo anima mia” (1605) that differs from those offered by other scholars (Carl Dahlhaus, Studies on the Origin of Harmonic Tonality [Princeton, NJ: Princeton University Press, 1990] and Eric Chafe no. 71), and re-examines Artusi’s attack on Monteverdi’s music within the context of the political and cultural landscape of Northern Italy. The author suggests that extra-musical factors, such as the “open display of erotic-like passion and arousal” (p. 36) and the political agendas of the rulers of Northern Italy, may have provoked Giovanni Maria Artusi to attack Monteverdi. Cadences and background structure of Monteverdi’s “O Mirtillo, Mirtillo anima mia” are provided in Table 1; readings of its cadential plan (by

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Dahlhaus, Chafe, and Seth Coluzzi) are summarized in Table 2. With musical examples. 213.

Georis, Christophe. Claudio Monteverdi: Letterato ou les Métamorphoses du Texte. Paris: Honoré Champion Éditeur, 2013. 743p. (Bibliothèque de Littérature Générale et Comparée dirigée par Jean Bessière, 113). ISBN 9782745325372. ML410.M77G46 2013. A thorough study of Monteverdi’s madrigals from the perspective of semiotics. With sections or complete chapters on Monteverdi and oration, literary and musical texts, and all eight books of madrigals. Includes Italian texts with French translations for the contents of Monteverdi’s Madrigali, Libri I–VIII.

214.

Gordon, Bonnie. Monteverdi’s Unruly Women: The Power of Song in Early Modern Italy. Cambridge: Cambridge University Press, 2004. x, 234p. (New Perspectives in Music History and Criticism). ISBN 0521845297. ML82.G67 2004. Building on her doctoral dissertation (University of Pennsylvania, 1998), Gordon offers an important gender-based study of Monteverdi’s madrigals and operas. She argues that when women sang, they challenged the social and cultural norms of early modern Italy. Gordon uses medical and literary representations of the female body to enrich the discourse on selected works, including the soprano duet “O come sei gentile” (1619), Il ballo delle ingrate, Arianna, “Sí ch’io vorrei morire” and “Cor mio, mentre vi miro” from Madrigali, Libro IV a5, the continuo madrigal “Mentre vaga angioletta” (1638), and music for Clorinda and Poppea from the Combattimento di Tancredi e Clorinda and L’incoronazione di Poppea, respectively. Chapter 2, “Back Talk: The Power of Female Song on the Stage” is a slightly revised version of the author’s previously published article bearing a similar title (no. 611). Bibliography of 396 items up to 2003. Expansive index.

215.

Hammerstein, Reinhold. “Versuch über die Form im Madrigal Monteverdis.” In Sprachen der Lyrik: Festschrift für Hugo Friedrich zum 70. Geburtstag, ed. Erich Köhler, pp. 220–41. Frankfurt: Vittorio Klostermann, 1975. ISBN 3465011163. PN1136.S67. Reprinted in no. 46, pp. 9–33. It. trans. “Questioni formali nei madrigali di Monteverdi.” In Il madrigale tra Cinque e Seicento, ed. Paolo Fabbri, pp. 335–55. Bologna: Società editrice il Mulino, 1988. ISBN 8815019928. ML2602.M34 1988. Influential essay that analyzes selections from Monteverdi’s eight madrigal books from the perspective of their poetic and musical makeup. The author includes schematic diagrams and numerous musical examples. While Monteverdi’s early madrigals adhere closely to the poetic structure of individual lines, the composer’s shift to the highly segmented poetry of Giambattista Marino and Gabriello Chiabrera in his later madrigals resulted in greater segmentation of musical form as well. Paolo Fabbri presents an alternative view (“La parola cantata,” in no. 39, pp. 513–23), arguing that purely musical considerations dominate the early madrigal books; this dominance is later overturned by a dominance of the text.

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Haramaki, Gordon. “Beyond the Seconda Prattica: Claudio Monteverdi and the Poetics of Genre After Orfeo.” Ph.D. diss. University of California at Los Angeles, 2008. xv, 369p. UMI 3322018. This study explores Monteverdi’s Madrigali, Libri VI (1614), VII (1619) and VIII (1638), arguing that Monteverdi creates meaning in these works by juxtaposing genres through montage in what the author calls a “poetics of genre.” Divided into five chapters that explore the ways in which Monteverdi injects new musical gestures and formats from outside the genre into the madrigal. Portions of chapter 3, “‘In Grembo a Citherea’: Genre Montage and the Orphic Self,” appear in a published article by the author (no. 313). With appendix and bibliography.

217.

Jessie, Mark Newman. “Performance Practice Considerations in the Madrigals of Claudio Monteverdi.” DMA diss. University of Oklahoma, 1987, 1988. xi, 217p. UMI 8721967. A study of performance practice in Italian secular, vocal compositions, with an emphasis on the madrigals by Monteverdi, that is intended as a handbook for performers of late Renaissance and early Baroque music. Chapters on aspects of performance including performing forces, sound quality ornamentation, rhythmic form, messa di voce, accentuation, articulation, tempo, and expression. Includes English translations of primary source information pertaining to performance practices and musical examples drawn from Monteverdi’s madrigal books. With a chronological list of relevant treatises and a selected bibliography.

MONTEVERDI IN RELATION TO HIS CONTEMPORARIES 218.

Arnold, Denis. “Monteverdi and His Teachers.” In no. 33, pp. 91–109 and no. 34, pp. 91–106. Discusses Monteverdi’s early madrigals in relation to techniques learned from his primary influences, Marc’Antonio Ingegneri and Giaches de Wert. With numerous musical examples.

219.

Arnold, Denis. “Monteverdi: Some Colleagues and Pupils.” In no. 33, pp. 110–30 and no. 34, pp. 107–24. Assesses cross-influences in the music of Monteverdi and his Mantuan colleagues Benedetto Pallavicino, Giaches de Wert, and Giovanni Giacomo Gastoldi, and in Venetian colleagues Alessandro Grandi and Francesco Cavalli. Includes musical examples.

220.

Arnold, Denis. “The Second Venetian Visit of Heinrich Schütz.” MQ 71/3 (1985): 359–74. An examination of the Venetian musical style cultivated by Monteverdi, Alessandro Grandi, and their contemporaries, at the time of Heinrich Schütz’s second Venetian visit in 1628 (almost twenty years after his first visit in 1609). The

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emergence of the basso continuo and of the virtuoso solo singer, as well as the use of stile concitato and the expression of the text through musical devices, are considered. With musical examples. 221.

Balsano, Maria Antonella. “Vade, mane redi: Noterelle su alcuni madrigali di Schütz, D’India e Monteverdi.” In no. 51, pp. 245–65. Studies parallel settings of Giambattista Marino’s texts by Heinrich Schütz, Sigismondo D’India, Ascanio Mayone, Salomone Rossi, Alessandro Scialla, and Giovanni Priuli.

222.

Bianconi, Lorenzo. “Ah dolente partita: Espressione ed artificio.” SM 3 (1974): 105–30. Study of Achille Falcone’s setting of Battista Guarini’s famous poem “Ah dolente partita” (1603) with comparative examples of parallel settings by Monteverdi, Frederik Wynant, Giovanni Antonio Cirullo, Antonio Artusini, Scipione Dentice, Antonio Cifra, Fattorin da Reggio, Giovanni Battista De Bellis, Antonio Taroni, Salomone Rossi, Agostino Agresta, Vincenzo Liberti, Luca Marenzio, Giuseppe Olivieri, and Antonio Il Verso. Focuses on the interaction and independence of elements of artifice (imitation, quotation, notational mannerisms) and expression (dissonances, unusual contrapuntal procedures).

223.

Braun, Werner. “Konzertante Kanzonette und Musiktheater.” In no. 45, pp. 283–306. Defines the German canzonetta and probes its influence in stage works by Heinrich Albert and Abraham Friedrich. The author discovers Johann Staden’s “Wie wann von Gold ein Ring” (1633) to be a reworking of Monteverdi’s “Ohimé ch’io cado, ohimé” (1624).

224.

Caraci Vela, Maria. “Lamento polifonico e lamento monodico da camera all’inizio del Seicento: affinità stilistiche e reciprocità di influssi.” In Seicento inesplorato: L’evento musicale tra prassi e stile: un modello di interdipendenza. Atti del III Convegno internazionale sulla musica in area Lombardo-padana del secolo XVII, ed. Alberto Colzani, Andrea Luppi, and Maurizio Padoan, pp. 339–83. Como, Italy: Antiquae Musicae Italicae Studiosi, 1993. (Contributi musicologici del Centro Ricerche dell’A.M.I.S.-Como, 7). 622p. No ISBN. ML290.7.L65C38 1989. Study of correspondences between five-voice polyphonic laments and monodic lament settings of the early seventeenth century. Includes examples by Giaches de Wert, Monteverdi, Benedetto Pallavicino, Luca Marenzio, Gioseffo Biffi, Giuseppe Guami, Salamone Rossi, Sigismondo D’India, Benedetto Magni, and Francesco Costa. Observes declamatory and homophonic styles within the chamber madrigal of the Mantuan circle.

225.

Carapezza, Paolo Emilio. “Schützens Italienische Madrigale: Textwahl und Stilistische Beziehungen.” SJ 1 (1979): 44–69. Important study of the first book of madrigals by Heinrich Schütz published in the inaugural volume of the Schütz-Jahrbuch. Carapezza notes that Schütz’s

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poetic choices reflect contemporaneous trends with six texts drawn from Battista Guarini’s Il pastor fido, ten from Giambattista Marino’s Rime, and a further three in the style of Marino. Schütz’s musical settings of Guarini draw on musical models by Luca Marenzio and Monteverdi. Models for the settings of Marinist texts are found in the works of Neapolitan composers, among them Pomponio Nenna, Scipione Dentice, and Gian Domenico Montella. 226.

Carter, Tim. “New Songs for Old? Guarini and the Monody.” In Guarini: La musica, i musicisti, ed. Angelo Pompilio, pp. 61–75. Lucca, Italy: Libreria Musicale Italiana, 1997. (Con Notazioni, 3). ISBN 8870961931. ML2633.P66 1997. Reprinted in no. 41, Essay 4, pp. 61–75. Charts the ambivalent attitude toward Battista Guarini among monodists through an analysis of solo settings of Guarini texts by Giulio Caccini, Francesco Rasi, Giovanni Ghizzolo, Giovanni Francesco Capello, Domenico Visconti, Benedetto Ferrari, and others.

227.

Chater, James. “‘Un pasticcio di madrigaletti’? The Early Musical Fortune of Il pastor fido.” In Guarini: La musica, i musicisti, ed. Angelo Pompilio, pp. 139–55. Lucca, Italy: Libreria Musicale Italiana, 1997. (Con Notazioni, 3). ISBN 8870961931. ML2633.P66 1997. Reviews contemporary critical reactions to Battista Guarini’s Il pastor fido and attributes ambivalent attitudes to the play’s overly madrigalian content. Reconstructs the musical reception of Il pastor fido between 1584 and 1594, and credits the post-1594 settings of Giaches de Wert, Luca Marenzio, and Monteverdi with a move away from rhyme-rich madrigalian texts to rhetorically infused ones with quasidramatic potential.

228.

Cumino, Renata. “Il secondo libro di canzonelle a tre e quattro voci di Gasparo Fiorino e Il primo libro di canzonette a tre voci di Claudio Monteverdi: Analogie e differenze.” In Villanella, napolitana, canzonette: Relazioni tra Gasparo Fiorino, compositori calabresi e scuole italiane del Cinquecentro. Atti del Convegno Internazionale di StudiArcavacata di Rende—Rossano Calabro 9–11 dicembre 1994, ed. Maria Paola Borsetta and Annunziato Pugliese, pp. 259–72. Vibo Valentia, Italy: Istituto di Bibliografia Musicale Calabrese, 1999. No ISBN. ML2633.2.V55 1999X. Analysis of parallel settings of “Vita dell’alma mia, cara mia vita,” “Chi vuol veder d’inverno un dolce aprile,” “Già mi credev’un sol esser in cielo,” and “Giú li a quell petto giace un bel giardino,” from Gasparo Fiorino’s Libro secondo di canzonelle, 3–4vv. (1574) and Monteverdi’s Canzonette, Libro I a3 (1584).

229.

Drebes, Gerald. “Schütz, Monteverdi und die‚ Vollkommenheit der Musik: ‘Es steh Gott auf aus den Symphoniae sacrae II’ (1647).” SJ 14 (1992): 25–55. Examines the nature of the influence of Monteverdi on Heinrich Schütz’s setting of “Es steh Gott auf.” Though the psalm setting appears in Schütz’s collection of 1647, Drebes proposes a dating for the work between 1632 and 1643. Drebes

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compares the psalm setting to selections from Monteverdi’s Madrigali guerrieri et amorosi, Libro VIII. Given the relative complexity of Schütz’s setting, Drebes concludes that the relationship is best understood as one of emulation, rather than parody as expressed in the scholarly literature (Werner Braun, “Schütz und der ‘scharffsinnige Herr Claudius Monteverdi’,” in Heinrich Schütz im Spannungsfeld seines und unseres Jahrhunderts: Schütz-Konferenz Dresden 1985, ed. Wolfram Steude, part 2, pp. 16–23 [Leipzig: C.F. Peters, 1988]). 230.

Fabris, Dinko. “La diffusion della musica vocale nelle intavolature per liuto dell’epoca di Monteverdi (1585–1645).” In no. 40, pp. 497–509. Study of the diffusion of vocal music in lute tablatures between 1585 and 1645. Notes that transmission rates at times contradict notions of composer popularity, exemplified by the high content of Gasparo Fiorino (thirty titles) and Jacopo Gorzanis (twenty-four titles) in comparison to the relative absence of Monteverdi (two titles).

231.

Gargiulo, Piero. “Da Cortellini a Monteverdi? Intonazioni a confronto su un testo di Filippo Alberti.” In no. 39, pp. 191–213. Comparison of parallel settings of Filippo Alberti’s “Tutte le bocce belle” by Camillo Cortellini (1586) and Monteverdi (1590). Similarities of melody, rhythm, motivic content, ornamentation, scoring, and counterpoint suggest that Monteverdi was inspired by Cortellini’s setting.

232.

Gargiulo, Piero. “Luzzaschi, Monteverdi, Gesualdo: Tre intonazioni per T’amo mia vita.” In All’ombra principesca. Atti del convegno di studi Carlo Gesualdo nella storia d’Irpinia, della musica e delle arti (Taurasi—Gesualdo [Avellino] 6–7 dicembre 2003), ed. Piero Mioli, pp. 57–68. Lucca, Italy: Libreria Musicale Italiana, 2006. ISBN 887096454X. ML410.G29.C66 2006. Battista Guarini’s “‘T’amo, mia vita’ la mia cara vita” inspired twenty-one musical settings by composers across Europe. Compares approaches to setting this famous text taken by Luzzasco Luzzaschi (1601), Monteverdi (1605), and Carlo Gesualdo (1609), and notes the textual variants in Gesualdo’s setting of Guarini’s poem in comparison to the poem’s appearance in the poet’s Rime of 1598. Includes a list of all twenty-one settings of Guarini’s famous text between 1591 and 1622.

233.

Hammerstein, Irmgard. “Zur Monteverdi-Rezeption in Deutschland: Johann Hermann Scheins ‘Fontana d’Israel’.” In no. 46, pp. 175–212. Examines the under-researched area of Monteverdi’s reception in Germanspeaking lands in the first decades of the seventeenth century. Focuses on Johann Hermann Schein’s Fontana d’Israel (Leipzig, 1623), whose title page advertised music auf eine sonderbar Anmutige Italiän. Madrigalische Manier. Schein’s collection shows a break from the motet style of Orlande de Lassus and the newer style from Monteverdi’s Madrigali, Libri II–V a5. Rich in musical examples.

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Heller, Adalbert. “Heinrich Schütz in seinen italienischen madrigalen.” In Gustav Becking zum Gedächtnis. Eine Auswahl seiner Schriften und Beiträge seiner Schüler, ed. Walter Kramolisch, pp. 373–412. Tutzing, Germany: Hans Schneider, 1975. ISBN 3795201241. ML55.B33 1975. Comparative study of Heinrich Schütz’s Libro I a5 that emphasizes the composer’s Germanic style as a point of departure from his Italian predecessors. Adalbert Heller compares text setting, rhythm, melodic contour, and harmonic language in parallel settings of “Di manno siéte” by Pietro Pace, Orazio Vecchi, and Schütz and of “O primavera, gioventú dell’anno” by Luca Marenzio, Monteverdi, and Schütz. The author argues that Schütz uses a larger melodic range, less clearly defined rhythmic contours, and poor textual accentuation, a problem also found in madrigals by Johann Grabbe.

235.

Hoekstra, Gerald R. “The Reception and Cultivation of the Italian Madrigal in Antwerp and the Low Countries, 1555–1620.” MD 48 (1994): 125–87. In-depth study that pinpoints the roots of Antwerp’s interest in the madrigal to Orlande de Lassus’s Le quatoirsiesme livre a quatre parties contenant dixhuyct chansons italiennes (Antwerp: Susato, 1555). The reception of the madrigal peaked in the 1580s and 1590s with the appearance of large-scale anthologies such as Musica divina (1583) issued by Pierre Phalèse and Jean Bellère. Includes a bibliography of all publications, including Italian-texted music printed in the Low Countries between 1555 and 1620. Citations give a short title, place of publication, printer, date, RISM number, and notes on relationships with other editions.

236.

Jacobsen, Jens Peter. “T’amo mia vita by Claudio Monteverdi, Hans Nielsen, and Mogens Pedersøn.” In Heinrich Schütz und die Musik in Dänemark zur Zeit Christians IV: Bericht über die wissenschaftliche Konferenz in Kopenhagen, 10–14 November 1985, ed. Anne Ørbaek Jensen and Ole Kongsted, pp. 289–97. Copenhagen: Engstrøm & Sødring, 1989. ISBN 8787091275. ML410.S35.H46 1989. Compares Monteverdi’s “‘T’amo, mia vita’ la mia cara vita” (Madrigali, Libro V a5, 1605) with parallel settings by Hans Nielsen (1606), and Mogens Pedersøn (Madrigali, Libro I, 1608). Text and form are explored. Suggests that Monteverdi created “a little dramatic scene in a strict musical form showing the way for the chamber cantata in the future” (297). With examples.

237.

Küster, Konrad. “Schütz’ Monteverdi-Rezeption und seine zweite Italienreise.” In no. 51, pp. 419–32. Points to the importance of Heinrich Schütz’s second trip to Italy in 1628–9 for the development of the composer’s recitative and declamatory styles in solo singing. Monteverdi played a critical role in this development.

238.

Leopold, Silke. “Ohimè ch’io cado ohimè—eine wohlbedachte Wahl.” In In cantu et in sermone: for Nino Pirrotta on His 80th Birthday, ed. Fabrizio Della Seta and Franco Piperno, pp. 323–34. Florence: Leo S. Olschki, 1989. viii, 400p. ISBN 8822236416. ML55.P58 1989.

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Studies text-music relationships in Monteverdi’s setting of the madrigal “Ohimé ch’io cado, ohimé” (SV 316) published in 1624 in Carlo Milanuzzi’s Quarto Scherzo delle ariose vaghezze. The work is among Monteverdi’s earliest in the cantata idiom, a genre of strophic-through composed vocal chamber music with instrumental ritornellos. 239.

Newcomb, Anthony. “The Ballata and the ‘Free’ Madrigal in the Second Half of the Sixteenth Century.” JAMS 63/3 (Fall 2010): 427–97. Demonstrates that the fourteenth-century ballata was adopted by many influential poets of the second half of the sixteenth century, among them Giovanni Battista Pigna, Torquato Tasso, and Battista Guarini. Newcomb analyzes ballatamadrigals set by Giaches de Wert, Marc’Antonio Ingegneri, Luzzasco Luzzaschi, Luca Marenzio, and Monteverdi, and positions them as part of the sub-genre of madrigale libero. Newcomb connects the madrigale libero with the earlier ballatamadrigal—a term coined by Don Harrán (“Verse Types in the Early Madrigal,” JAMS 22/1 [Spring 1969]: 27–53) to denote a style of free madrigal poetry set to music in the 1530s and 1540s.

240.

Ossi, Massimo. “A Sample Problem of Seventeenth-Century Imitatio: Claudio Monteverdi, Francesco Turini, and Giovanni Battista Guarini’s ‘Mentre vaga angioletta’.” In Music in Renaissance Cities and Courts Studies in Honor of Lewis Lockwood, ed. Jessie Ann Owens and Anthony M. Cummings, pp. 253–70. Warren, MI: Harmonie Park, 1997. ISBN 0899901026. ML240.2.M87 1997. Despite shared thematic motives, Ossi draws a sharp contrast between Francesco Turini’s conservative setting of “Mentre vaga angioletta” and that of Monteverdi. Ossi argues that Monteverdi’s version approaches the genere rappresentativo evident in his operatic works.

241.

Paget, Laurie. “Monteverdi as Discepolo: Harmony, Rhetoric and Psalm-Tone Hierarchies in the Works of Ingegneri and Monteverdi.” JMR 15/3 (1995): 149–75. Positions Monteverdi in the role of disciple to Marc’Antonio Ingegneri, from whom he learned elements of text expression and rhetoric, specifically, the construction of cadential pitch hierarchies corresponding to the eight ecclesiastical modes and the eight psalm-tones. The technique is described in Pietro Pontio’s Ragionamento di musica (1588), and found in Ingegneri’s “I’piango et ell ail volto” and “Parto et vi lascio il core” (includes transcriptions of both) and Monteverdi’s “Sfogava con le stelle” (Madrigali, Libro IV a5).

242.

Schick, Paul Christopher. “Concordia Discourse: Polyphony and Dialogue in Willaert, Wert, and Monteverdi.” Ph.D. diss. Yale University, 1997. 323p. UMI 9731069. Compares the musical dialogue settings of Adrian Willaert, Giaches de Wert, and Monteverdi, and draws parallels with the development of the sixteenthcentury literary dialogue and literary pastoral. Argues that the principle of concordia

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discors [“concord out of discord”] provided a conceptual link between polyphony and dialogue. Bibliography of 232 items up to 1995. 243.

Sirch, Licia. “‘Era l’anima mia’: Monteverdi, Fontanelli, Pecci e Pallavicino: Note sulla ‘seconda pratica’.” RVSM 5–6 (1989–90): 103–35. Compares settings of Battista Guarini’s “Era l’anima mia” as set to music by Monteverdi (1605), Alfonso Fontanelli (1604), Tommaso Pecci (1612), and Benedetto Pallavicino (1600). While all four composers adopt seconda pratica techniques of text expression for the last four lines of the poem, each composer has a distinct stylistic profile that Sirch connects with his local environment.

244.

Steinbeck, Wolfram. “Lyrik und Dramatik im italienischen Madrigal: Zur Sprachvertonung und Musiksprache bei Schütz und Monteverdi.” In Heinrich Schütz und die Musik in Dänemark zur Zeit Christians IV: Bericht über die wissenschaftliche Konferenz in Kopenhagen, 10–14 November 1985, ed. Anne Ørbaek Jensen and Ole Kongsted, pp. 217–40. Copenhagen: Engstrøm & Sødring, 1989. ISBN 8787091275. ML410.S35.H46 1989. Explores the influence of Monteverdi’s Madrigali, Libri IV–V a5 (1603, 1605) on Heinrich Schütz, whose Venetian visits immersed the composer in contemporaneous madrigal styles of Italian composers. Draws an affinity between Monteverdi’s setting of “Cruda Amarilli” from Madrigali, Libro V a5 and Schütz’s “O dolcezze amarissime d’amore” from Italienische Madrigale (1611).

245.

Steinheuer, Joachim. “Zur musikdramatischen Umsetzung epischer Texte bei Monteverdi und seinen italienischen Zeitgenossen.” In no. 51, pp. 191–213. Surveys epic texts by Ludovico Ariosto and Torquato Tasso set by Monteverdi and his contemporaries Francesco Eredi, Francesco Fiamengo, Biagio Marini, Domenico Mazzocchi, and Giovanni Felice Sances. Attempts to connect the epic with the dramatic can be seen in Italy between 1620 and 1650 when composers attempted to distinguish between narrative sections and verbal speech in their works. One method was to take the sections of speech in madrigals for several voices and transfer them to soloists who embody the persons they speak. The other approach was to assign the narrative parts to a particular soloist who serves as a narrator.

246.

Stras, Laurie. “Le nonne della ninfa: Feminine Voices and Modal Rhetoric in the Generations before Monteverdi.” In Gender, Sexuality, and Early Music, ed. Todd M. Borgerding, pp. 123–65. New York: Routledge, 2002. xiii, 297p. (Criticism and Analysis of Early Music). ISBN 0815333943. ML3838.G373 2001. Argues that madrigalists employed compositional strategies such as writtenout ornamentation, cadential disposition, modal hierarchies, and harmonic language to represent or imitate feminine elocution. Examples of madrigals by Giovanni Alcarotti, Domenico Ferrabosco, Cipriano de Rore, Giaches de Wert, Marc’Antonio Ingegneri, and Monteverdi.

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247.

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Szweykowski, Sygmunt M. “‘Ah dolente partita’: Monteverdi—Scacchi.” Quadrivium 12/2 (1971): 56–76. Compares settings of Battista Guarini’s text “Ah dolente partita” by Monteverdi (Madrigali, Libro IV a5) and Marco Scacchi, who includes it in Cribrum musicum (1643). While both composers follow seconda pratica ideals of text expression, Scacchi did not use Monteverdi as a direct model. Includes a transcription of Scacchi’s “Ah dolente partita.”

248.

Teo, Kian-Seng. “John Wilbye’s Second Set of Madrigals (1609) and the Influence of Marenzio and Monteverdi.” SMA 20 (1986): 1–11. Demonstrates John Wilbye’s debt to Luca Marenzio and Monteverdi evident in his use of sequential repetition and chromaticism. With musical examples.

249.

Teo, Kenneth S. “Chromaticism in Thomas Weelkes’s 1600 Collection: Possible Models.” MAu 13 (1990): 2–14. Identifies possible models for Thomas Weelkes’s “adventurous” use of chromaticism in his Madrigals of 5. And 6. Parts (1600). Concludes that Weelkes owed most to Thomas Morley, John Dowland, Peter Philips, and, especially, the Italian practices of Luca Marenzio and Monteverdi.

250.

Watkins, Glenn E., and Thomasin La May. “‘Imitatio’ and ‘Emulatio’: Changing Concepts of Originality in the Madrigals of Gesualdo and Monteverdi in the 1590s.” In no. 46, pp. 453–87. Explores the literary notion of imitation and emulation in the late sixteenthcentury madrigals of Carlo Gesualdo and Monteverdi. Their early works feature frequent borrowing from concordant settings. But as mature composers, Gesualdo and Monteverdi expressed concern with establishing the originality of their works; there is a sharp decline in parallel settings for their later madrigal books. Includes content listings for each composer’s Madrigali, Libri I–III a5 and Monteverdi’s Canzonette, Libro I a3 with lists of parallel settings by their contemporaries.

251.

Whenham, John. “Martino Pesenti’s Madrigali guerrieri, et amorosi.” In no. 51, pp. 267–89. Demonstrates the influence of the stile concitato on Martino Pesenti, who, like Monteverdi, dedicated publications to the Habsburgs.

MONTEVERDI’S POETIC CHOICES 252.

Balsano, Maria Antonella, and Thomas Walker, eds. Tasso: La musica, i musicisti. Florence: Olschki, 1988. ix, 215p. (Quaderni della Rivista Italiana di Musicologia Società Italiana di Musicologia, 19). ISBN 8822235924. ML80.T37.T37 1988. Collection of seven essays on music inspired by Torquato Tasso’s poetic and dramatic works. Non-expansive index of names. Contributions of relevance to Monteverdi are entered separately by author in this research guide.

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Bianchi, Fulvio, and Paolo Russo, eds. La scelta della misura: Gabriello Chiabrera, l’altro fuoco del barocco italiano. Atti del convegno di studi su Gabriello Chiabrera nel 350˚ anniversario della morte, Savona, 3–6 novembre 1988. Genoa: Costa & Nolan, 1993. 541p. ISBN 8876481699. PQ4618.Z5.C66 1988. Important collection of twenty-six essays occasioned by the 350th anniversary of Gabriello Chiabrera’s death. Relevant contributions are entered individually by author in this research guide.

254.

Buja, Maureen E. Italian Renaissance Poetry: A First-Line Index to Petrarch, Ariosto, Tasso and Others. New York: Garland, 1987. xi, 204p. ISBN 0824085817. PQ4210.B8 1987. Indispensable first-line index to the central works of poets most often set by madrigalists: Petrarch’s Canzoniere, Torquato Tasso’s Gerusalemme liberata, Ludovico Ariosto’s Orlando furioso, Pietro Bembo’s Rime, Giovan Battista Strozzi the Elder’s Madrigali, Luigi Cassola’s Madrigali, and Giovanni Della Casa’s Rime. Includes capsule biographies of poets. Buja indexes capoversi of two-part poems, first lines of all stanzas, and first and ninth lines of sonnets.

255.

Chater, James. “Il pastor fido and Music: A Bibliography.” In Guarini: La musica, i musicisti, ed. Angelo Pompilio, pp. 157–83. Lucca, Italy: Libreria Musicale Italiana, 1997. (Con Notazioni, 3). ISBN 8870961931. ML2633.P66 1997. Bibliography of all musical compositions whose verbal text is based on or inspired by passages from Il pastor fido.

256.

Chegai, Andrea, and Cecilia Luzzi, eds. Petrarca in musica. Atti del convegno internazionale di studi VII centenario della nascita di Francesco Petrarca. Arezzo, 18–20 Marzo 2004. Lucca, Italy: Libreria Musicale Italiana, 2005. xxii, 563p. ISBN 8870964493; 9788870964493. PQ4549.M8.P48 2005. Collection of twenty essays occasioned by the 700th anniversary of Petrarch’s birth. The essays are divided into three groups: manuscript sources and early prints from the sixteenth century; style features of the madrigal, circulation and social function of musical Petrarchism; and Petrarch in the modern era. Index of first lines and titles (including translations of Petrarchan poetry into foreign languages) and an index of names. Relevant entries are entered individually by author in this research guide.

257.

Davey, Laura. “Le due sorelle: Music and Poetry in Monteverdi’s Settings of Marino.” It 9 (1989): 89–102. Survey of Monteverdi’s settings of Giambattista Marino’s poetry, which was an important source for the composer’s Madrigali, Libri VI–VIII. Davey concludes that the Renaissance unity of “le due sorelle” was replaced by an aesthetic system whereby musical material departed from poetic design.

258.

Fabbri, Paolo. “Metro letterario e metro musicale nelle pagine di un critico di Chiabrera: Il ‘Discorso delle ragioni del numero del verso italiano’ di Lodovico

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Zuccolo.” In no. 253, pp. 342–52. A version appears as “Metro letterario e metro musicale nelle pagine di un critico di Chiabrera.” In Musicologia Humana: Studies in Honor of Warren and Ursula Kirkendale, ed. Siegfried Gmeinwieser, David Hiley, and Jörg Riedlbauer, pp. 373–81. Florence: Olschki, 1994. (Historiae Musicae Cultores, 74). ISBN 8822242343. ML55.K575 1994. Examines the reception of Gabriello Chiabrera in Lodovico Zuccolo’s treatise Discorso delle ragioni del numero del verso italiano (1623), where the theorist argues that Chiabrera’s verse is deeply indebted to music. 259.

Fabbri, Paolo. “Monteverdi legge Tasso.” In no. 280, pp. 1221–4. Argues that Monteverdi’s selection of poetry by Torquato Tasso for Madrigali, Libri I–III a5 (1587, 1590, 1592) follows guidelines espoused in the poet’s La Cavaletta (1587), which calls for a return to the serious, lofty character of the early madrigal.

260.

Gioviale, Fernando. “‘Guerra e morte avrai’: Note su Tancrede e Clorinda, ‘Passioni Contrarie’ di Tasso in Monteverdi.” In no. 280, pp. 1231–48. Studies Monteverdi’s settings of Torquato Tasso, which date back to the composer’s Madrigali, Libro III a5 (1592) with “Vattene pur, crudel, con quella pace” sung by Armida upon being abandoned by Rinaldo (from Tasso’s Gerusalemme liberata, XVI, 59–60 and 63). Focuses on Monteverdi’s new style of concitato genere from his Venetian works.

261.

Leopold, Silke. “Madrigali sulle egloghe sdrucciole di Iacobo Sannazaro: Struttura poetica e forma musicale.” Trans. Paolo Fabbri. RIM 14/1 (1979): 75–127. Important study of the musical reception of Jacopo Sannazaro in the sixteenth century. Leopold argues that composers, Roman in particular, were attracted to the strongly accentuated rhythm of the poet’s versi sdruccioli. Further, the turn to Sannazaro in the 1580s foreshadowed Gabriello Chiabrera’s strongly accentuated meters and periodic structures that mark the musical poetics of the early Baroque. Includes the most complete list of musical settings based on Sannazaro’s texts; indexed by first line.

262.

Leopold, Silke. “Chiabrera und die Monodie: Die Entwicklung der Arie.” SM 10/1 (1981): 75–106. Studies the transition between the polyphonic madrigal of the late sixteenth century and the new chamber aria and cantata of the seventeenth century. Credits Gabriello Chiabrera with reforming Italian metrical verse. Chiabrera’s call for simplified verse forms and simple meters led to the emergence of the aria in the mid-seventeenth century.

263.

Leopold, Silke. “Arkadien im Madrigal.” In Die Geschichte der Musik I: Die Musik von den Anfängen bis zum Barock, ed. Matthias Brzoska and Michael Heinemann, pp. 223–32. Laaber, Germany: Laaber, 2001. ISBN 3890075215. ML160. G33 2001.

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Uses Monteverdi’s poetic choices as a case study for examining the predilection for pastoral topics in madrigals of the late-sixteenth and early-seventeenth centuries. 264.

Mace, Dean T. “Tasso, La Gerusalemme liberata, and Monteverdi.” In Studies in the History of Music. Vol. 1: Music and Language, pp. 118–56. New York: Broude Brothers, 1983. ISBN 0845074016. ML1.S899. Through a study of madrigals of the two Torquato Tasso cycles in Monteverdi’s Libro III a5 (1592), Mace points out that the polarity between the soprano and bass was not purely a musical development of the late sixteenth century. Rather, the dramatic bass was subject to the rhythmic and tonal movement of the words. The ultimate source of this development was the emphasis by Tasso on accents, rhythms, and sounds as the chief sources of poetic expression.

265.

Mangani, Marco. “Le canzoni della ‘lira’ del Marino nelle stampe musicali del ’600.” RVSM 5–6 (1989): 75–101. Assessment of the quantity of musical settings of Giambattista Marino’s poetry. Lists the twenty-eight opening verses of Marino’s canzoni (based on Giovan Battista Ciotti’s 1602 edition) with formal schema and an index of 491 first lines for each strophe. Includes a chronological list of music books transmitting Marino’s poetry, 1602–62, with NV numbers, names of composers, and places of publication.

266.

Marazzini, Claudio. Il secondo Cinquecento e il Seicento . Bologna: Il Mulino, 1993. 403p. (Storia della lingua italiana). ISBN 8815040331. PC1079.M37 1993. Comprehensive history of the Italian language from about 1550 to 1700. The chapter “Il linguaggio poetico e la teoria letteraria” focuses on polemics surrounding the style and theories of Torquato Tasso. The last chapter, “Il poema e la lirica barocca,” examines the new directions taken by Giambattista Marino in Lira (1602) and Adone (1623). Compact review of scholarship; bibliography. Index of names. Useful, expansive general index.

267.

Martini, Alessandro. “Marino e il madrigale attorno al 1602.” In no. 39, pp. 525–47. An examination of madrigal typology in the years around 1600, using Giambattista Marino’s second book of Lira (1602), which transmitted 200 madrigals, as a case study. The madrigals are characterized by formal variety and brevity of form evident in a reduction in the number and length of lines. Martini draws parallels between the combination of variety and caprice evident in poetry of Padre Angelo Grillo, Tomasso Stigliani, and Cesare Rinaldi.

268.

Pestelli, Giorgio. “Considerazioni sulle musiche per Il pastor fido di Giambattista Guarini.” In Politica e cultura nell’eta di Carlo Emanuele I: Torino, Parigi, Madrid: Turin 1995, ed. Mariarosa Masoero, Sergio Mamino, and Claudio Rosso, pp. 411–17. Florence: Olschki, 1999. (Università degli Studi di Torino, Facoltà di Lettere e

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Filosofia, Fondo di Studi Parini-Chirio, 2). ISBN 882224799X. DG618.42.P65 1999. Pestelli argues that the musical importance of Battista Guarini’s Il pastor fido lies in the madrigal settings of single excerpts of the poem rather than on any influence the drama had on early opera. Guarini dedicated his play to Charles Emmanuel I. It inspired polyphonic madrigals by Philippe de Monte, Monteverdi, Luca Marenzio, Giovanni Piccioni, Giovanni Niccolò Mezzogorri, and others. 269.

Pirrotta, Nino. “Monteverdi’s Poetic Choices.” In Chapter 18 of the author’s Music and Culture in Italy from the Middle Ages to the Baroque, pp. 271–316. Trans. David Morgenstern. Cambridge, MA: Harvard University Press, 1984. (Studies in the History of Music, 1). ISBN 0674591089. ML290.1.P57 1984. Originally appeared as “Scelte poetiche di Monteverdi.” NRMI 2/1 (January–February 1968): 10–42, 226–54. Reprinted in no. 64, Essay 1, pp. 3–73. Magisterial account that draws on biographical evidence to explain the composer’s knack for keeping abreast of current trends of poetic production. Pirrotta considers selections from all the madrigal books, and tracks the anonymous texts of Canzonette, Libro I a3 (1584), the arioso quality of Madrigali, Libro I a5, the influence of Torquato Tasso on Madrigali, Libri II–III a5, Battista Guarini on Madrigali, Libri IV–V a5, Gabriello Chiabrera for the Scherzi musicali (1607), and Giambattista Marino for Madrigali, Libro VII and Madrigali guerrieri e amorosi, Libro VIII.

270.

Pompilio, Angelo, ed. RePIM: Repertorio della poesia italiana in musica, 1500– 1700. University of Bologna, Dipartimento di musica e spettacolo. http://repim. muspe.unibo.it/ Begun in 1977 by Lorenzo Bianconi and Antonio Vassalli, the RePIM database traces poetic texts, parallel settings, and variants of Italian poetry set to music between 1500 and 1700. Now online, the database includes about 43,000 incipits from musical sources and about 13,000 from poetic sources. Requires free registration. Users can trace the original sources of many of the Italian lyrics set by Monteverdi as madrigals, canzonettas, and arias.

271.

Russo, Paolo. “Chiabrera e l’ambiente musicale romano.” In no. 253, pp. 370–6. Emphasizes the importance of Gabriello Chiabrera’s texts, with their short strophes and straightforward scansion, for the development of monody.

272.

Santagata, Marco, ed. IUPI: Incipitario unificato della poesia italiana. Volume I: A–M. Modena: Panini, 1988. Volume II: M–Z, ed. Marco Santagata. Modena: Panini, 1988. Volume III: Edizioni di lirica antica, ed. Bruno Bentivogli and Paola Vecchi Gallo. Modena: Panino, 1990. Volume IV: Edizioni di lirica antica, ed. Silvia Bigi and Maria Giovanna Miggiani. Modena: Panini, 1996. ISBN 8876861203. PQ4210.I9 1988.

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Massive index of incipits of Italian poetry from the thirteenth to the seventeenth centuries. Entries include references to scholarship, including the NV. Important search tool for locating madrigal texts. Volume IV contains citations for 1,853 scholarly writings on Italian lyric poetry, from its origins to Torquato Tasso, published between 1868 and 1989 in specialized literary journals. Alphabetical incipits comprise 5,304 entries that give the relevant numbered citation, manuscript or printed source if known, and poet. Well indexed. 273.

Simon, Roger, and D. Gidrol. “Appunti sulle relazioni tra l’opera poetica di G.B. Marino e la musica del suo tempo.” SS 14 (1973): 81–187. Brief introduction and catalog of seventeenth-century music books that contain settings of poetry by Giambattista Marino. The first part of the catalog is arranged alphabetically by composer and lists individual settings by title. The second part lists entries by poetic type and first line, which makes it easy to track parallel settings of Marino’s works.

274.

Stevens, Denis. Claudio Monteverdi. Songs and Madrigals. Lanham, MD: Scarecrow Press, 1998. xvii, 235p. ISBN 0910839342. ML54.7M66 1998. Aims to increase the knowledge of poetry among singers and performers of Monteverdi’s music. Presents a selection of parallel texts and translations of twenty songs and dialogues that were set as madrigals by Monteverdi. With index of poets.

275.

Tomlinson, Gary. “Madrigal, Monody, and Monteverdi’s ‘via naturale alla immitatione’.” JAMS 34/1 (Spring 1981): 60–108. Reprinted in no. 64, Essay 2, pp. 75–123. Following Nino Pirrotta (no. 269), Tomlinson aligns Monteverdi’s monodic and madrigal styles, demonstrating how the crucial developments in the composer’s musical language depended upon his setting of texts by poets whose primary goal was the expression of human passion through vivid rhetorical structure. Examples drawn from Orfeo, “Lamento d’Arianna,” “Sí ch’io vorrei morire,” Il ritorno d’Ulisse in patria, and L’incoronazione di Poppea.

276.

Tomlinson, Gary. “Music and the Claims of Text: Monteverdi, Rinuccini, and Marino.” CI 8/3 (Spring 1982): 565–89. Reprinted in Baroque Music, vol. 1, ed. Ellen Rosand, pp. 265–89. New York: Garland, 1985. (Garland Library of the History of Western Music, 5). ISBN 0824074548. ML194.B23 1985. Assesses Monteverdi’s poetic choices over the course of his career, noting that the composer relied on pictorial madrigalisms as an important means of text expression in the last half of his life. While Tomlinson praises the close union of music and text found in Monteverdi’s early madrigals and lament for Ariadne, the author claims there is a less profound interaction of text and music found in Madrigali, Libro VII, the Combattimento di Tancredi et Clorinda, Il ritorno d’Ulisse in patria, and L’incoronazione di Poppea.

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277.

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Vassalli, Antonio. “Il Tasso in musica e la trasmissione dei testi.” In no. 252, pp. 45–90. The first part traces the musical trajectory of Torquato Tasso’s poems in an attempt to locate patrons or other intermediaries who provided a link between the poet and the composers who set his texts. The bulk of the essay is a huge appendix of settings of his poetry in madrigal and monody books, compiled with Lorenzo Bianconi and Angelo Pompilio, based on Tasso’s Aminta, Gerusalemme liberata, Rime (sonnets, madrigals, canzonettas, sestinas, and canzone), La lagrime della beata vergine, Torrismondo, Rinaldo, and Egloghe. Entries follow the order of the source text; composers are listed in chronological order. Includes NV numbers and RISM B/I concordances for anthology transmissions. With an index of first lines; no composer or chronological indexes. The list supersedes Alfred Einstein’s “Orlando furioso and La Gerusalemme liberata as Set to Music during the 16th and 17th Centuries” (Notes 8/4 [September 1951]: 623–30).

278.

Vassalli, Antonio. “Chiabrera, la musica e i musicisti: Le rime amorose.” In no. 253, pp. 353–69. Surveys Gabriello Chiabrera’s reception among composers and includes a list of poems set to music between 1601 and 1643.

279.

Vassalli, Antonio, and Angelo Pompilio. “Indice delle rime di Battista Guarini poste in musica.” In Guarini: La musica , i musicisti , ed. Angelo Pompilio, pp. 185–225. Lucca, Italy: Libreria Musicale Italiana, 1997. (Con Notazioni, 3). ISBN 8870961931. ML2633.P66 1997. Extensive index of Battista Guarini’s texts set to music.

280.

Venturi, Gianni, ed. Torquato Tasso e la cultura estense. Florence: Olschki, 1999. 3 vols. viii, 1460p. (Biblioteca dell’ ‘Archivum Romanicum’. Serie I: Storia, Letteratura, Paleografia, 280). ISBN 8822247477. PQ4646.T63 1999. Massive study of Torquato Tasso’s works, their cultural contexts, and musical transformations. Volume 3 includes a mammoth general bibliography (pp. 1329–1408) and non-expansive index of names. Individual contributions relevant to the madrigal are entered separately by author in this research guide. Relevant scholarship is annotated individually by author in this volume.

MADRIGALI, LIBRI I–III 281.

Carapezza, Paolo Emilio. “‘Non si levava ancor l’alba novella’: cantava il Gallo sopra il Monteverde.” In no. 52, pp. 167–86. Analysis of Monteverdi’s “Non si levava ancor l’alba novella” on a text by Torquato Tasso from the composer’s Madrigali, Libro II a5 (1590). Draws comparisons and suggests references to Giovanni Pierluigi da Palestrina’s setting of a sonnet by Ippolito Capilupi, “Vestiva i colli” (1566), and a parallel setting of “Non si levava

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ancor l’alba novella” by Vincenzo Gallo from Le rise a vicenda, vaghi e dilettevoli madrigali a cinque voci (Venice, 1598). Includes a detailed analysis of the poetic structure and subject matter of “Non si levava ancor l’alba novella.” 282.

Chew, Geoffrey. “Intermedio I: ‘Ecco mormorar l’onde’ (1590).” In no. 63, pp. 45–52. Considers two contrasting madrigals from Giaches de Wert’s Libro VIII a5 as models for Monteverdi’s “Ecco mormorar l’onde.” Both “Io non son però morto” and “Vezzosi augelli” have been identified as Monteverdi’s sources hitherto, but Chew is the first to assess their influence together.

283.

Cowen, Graeme. “A Monteverdi Madrigal Rebarred.” CJ 35/1 (August 1994): 47–8. Discusses a system of rebarring created to provide greater clarity and guidance to conductors, musicians, and performers of Renaissance music. Two sets of metrical divisions are given in this method: “one to guide the preparation of each line, the other to guide the ensemble of lines in the later context” (p. 47). The use of this system is exemplified in Monteverdi’s madrigal “Ecco mormorar l’onde” (Madrigali, Libro II a5 [1590]).

284.

Dahlhaus, Carl. “Ecco mormorar l’onde. Versuch, ein Monteverdi-Madrigal zu interpretieren.” In Chormusik und Analyse: Beiträge zur Formanalyse und Interpretation mehrstimmiger Vokalmusik, vol. 1, ed. Heinrich Poos, pp. 139–54. Mainz, Germany: Schott, 1983. ISBN 3795702992. ML1500.C56 1983. Trans. Italian as “‘Ecco mormorar l’onde’: Saggio d’interpretatione di un madrigale di Monteverdi.” Analisi 2/6 (1991): 4–18. Identifies Giaches de Wert’s “Io non son però morto” as a model for Monteverdi’s “Ecco mormorar l’onde.” The madrigals share the monodic declamation of the first line, the rhythmic pattern 3 + 3 + 2, the imitative answer to the main subject in the tenor by a fugal answer in parallel thirds, and the canzonetta rhythm of the second line.

285.

Delfino, Antonio. “Osservazioni su ‘Quell’ombra esser vorrei’ (Monteverdi, ‘Secondo libro de madrigali,’ 1590).” In no. 40, pp. 63–76. Proposes Marc’Antonio Ingegneri’s “Quell’acqu’esser vorrei” (1587) as a model for Monteverdi’s “Quell’ombr’esser vorrei” (Madrigali, Libro II a5) on a poem by Girolamo Casone. The works share similar textual metaphors and musical themes. With extensive musical examples.

286.

Fabbri, Paolo. “Concordanze letterarie e divergenze musicali intorno al ‘Madrigali a cinque voci [. . .]¸ Libro Primo’ di Claudio Monteverdi.” In Contributi in occasione del festival ‘Musicae filologia’ Verona, 30 settembre–18 ottobre 1982, ed. Marco Di Pasquale and Richard Pierce, pp. 53–83. Verona: Edizioni della Societa Letteraria, 1983. (Quaderni della Societa Letteraria, 1). Compares parallel settings of madrigals from Monteverdi’s Madrigai, Libro I a5 (1587) with those of his contemporaries, namely “Ch’ami la vita mia nel tuo bel nome” by Lelio Bertani (1583), “A che tormi il ben mio” set by Paolo Masenelli

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(1585) and Luca Marenzio (1584), “Baci soavi e cari” by Masenelli (1585), “Tra mille fiamme e tra mille catene” by Orazio Vecchi (1583), and “Ardo sì, ma non t’amo” and “Ardi o gela a tua voglia” by Marc’Antonio Ingegneri (1583). With musical examples and complete transcriptions of madrigals by Bertani, Vecchi, and Ingegneri. 287.

Gargiulo, Piero. “Da Cortellini a Monteverdi? Intonazioni a confronto su un testo di Filippo Alberti.” In no. 39, pp. 191–213. Comparison of parallel settings of Filippo Alberti’s “Tutte le bocce belle” by Camillo Cortellini (1586) and Monteverdi (1590). Similarities of melody, rhythm, motivic content, ornamentation, scoring, and counterpoint suggest that Monteverdi was inspired by Cortellini’s setting.

288.

La May, Thomasin Kathleen. “Imitazione in Monteverdi’s Canzonettas and the Madrigals, Books I–III.” Ph.D. diss. University of Michigan, 1987. 772p. UMI 8712157. Detailed analysis of influence and imitation in Monteverdi’s early madrigal books.

289.

Owens, Jessie Ann. “Assessing the Early Madrigal Books: Two Unsolved Problems.” In no. 39, pp. 97–112. Useful summary and commentary on recent scholarship on Madrigali, Libri I–V a5 (1587–1605). The Artusi–Monteverdi controversy dominates much of this research. The author concludes that we need a better understanding of the historical context in which Monteverdi lived and worked.

290.

Welker, Lorenz. “Monteverdi, Tasso und der Hof von Mantua: ‘Ecco mormorar l’onde’ (1590).” AfM 53/3 (1996): 194–206. Monteverdi’s setting of Torquato Tasso’s “Ecco mormorar l’onde” features repetition, echo effects, word play, juxtapositions of musical and textual syntax, and an opening citation of a madrigal by Giaches de Wert. The arrangement of Monteverdi’s Madrigali, Libro II a5, his choice of texts, and compositional style point to the taste of the Mantuan court and likely helped the composer secure employment there.

MADRIGALI, LIBRI IV–V 291.

Carter, Tim. “Sfogava con le stelle Reconsidered: Some Thoughts on the Analysis of Monteverdi’s Mantuan Madrigals.” In no. 39, pp. 147–70. Reprinted in no. 41, Essay 7, pp. 147–70. Summarizes scholarly studies of Monteverdi’s “Sfogava con le stelle,” from the composer’s Madrigali, Libro IV a5, and compares it with parallel settings by Giulio Caccini (in Le nuove musiche, 1602) and Salamone Rossi (Madrigali, Libro II a5, 1602). Monteverdi’s setting is distinguished by its heightened sensitivity to

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text expression and model inspecificity, a feature that Carter relates to the mixed narrative mode of the poem itself. Carter argues that the next madrigal in Madrigali, Libro IV a5, “Volgea l’anima mia soavemente,” offers conceptual and musical resolution with its structural clarity and similarities to “Sfogava con le stelle” in terms of texture, tessitura, and motive. 292.

Chew, Geoffrey. “The Perfections of Modern Music: Consecutive Fifths and Tonal Coherence in Monteverdi.” MA 8/3 (October 1989): 247–74. Chew cautions that rather than adopting a Rameau-derived focus on dissonance structures as evidence of tonal design, the scholarly study of tonality would be better served by examining background, middleground, and foreground patterns as evidence of Monteverdi’s tonal goals. Chew applies Schenkerian principles to his analysis of “O Mirtillo” and demonstrates that middleground and background patterns are constructed around tonal, rather than text-based, goals. Useful review of recent analyses of Monteverdi’s music. Includes an edition of “O Mirtillo.”

293.

Decker, Gregory J. “Strategies for Opposition, Ambiguity, and ‘Amarilli’ in the ‘Seconda Prattica’ Italian Madrigal.” Intégral 28–29 (January 2014): 181–219. Compares Monteverdi’s “Cruda Amarilli” with parallel settings by Luca Marenzio and Sigismondo d’India. Adding to scholarly studies of this madrigal (notably nos. 71, 195, 298), Decker explores the compositional tools and strategies (e.g., modal structure, dissonance treatment, chromaticism, and referential intertexts) employed by each of these three composers. With musical examples. Includes bibliography and discography.

294.

Horsley, Imogene. “Monteverdi’s Use of Borrowed Material in ‘Sfogava con le stelle’.” ML 59/3 (July 1978): 316–28. Discusses the possible connections between Monteverdi’s and Francesca Caccini’s settings of “Sfogava con le stelle.” Horsley focuses on general similarities, direct quotations, and the broader aesthetic issue of solo song versus polyphony. Tim Carter (no. 291) argues that Salomone Rossi’s five-voice setting of 1602 provides a more obvious model for Monteverdi.

295.

La Via, Stefano. “Monteverdi esegeta: Rilettura di ‘Cruda Amarilli’/‘O Mirtillo’.” In no. 40, pp. 101–23. Detailed tonal and structural analysis of “Cruda Amarilli” and “O Mirtillo,” both settings drawn from Battista Guarini’s Il pastor fido and included in Madrigali, Libro V a5. The author is the first to propose that Monteverdi conceived the two madrigals as a single musical outpouring of an expression of lament. With musical examples, summary tables of tonality and cadential patterns, and extensive notes commenting on the literature surrounding the Artusi–Monteverdi controversy.

296.

Ossi, Massimo. “‘L’ordine novo e la via naturale all’immitatione’: Struttura e rappresentazione nei madrigali concertati del ‘Quinto Libro’ di Monteverdi.” In no. 39, pp. 113–31.

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Argues that the first five of the six closing madrigals from Madrigali, Libro V a5 are distinguished from the rest of the volume by their use of basso continuo obbligato and by their common poetic source, namely, Battista Guarini’s Rime. The set forms a continuous poetic narrative that Monteverdi reinforces through melodic returns, common aspects of texture and structure, and tonal elements. 297.

Ossi, Massimo. “The Mantuan Madrigals and Scherzi musicali” and “Intermedio II: ‘Ahi, come a un vago sol cortese giro’ (1605).” In no. 63, pp. 95–109, 111–7. Discusses Monteverdi’s Scherzi musicali and Madrigali, Libri III–VI composed during his Mantuan years (1590–1612). Ossi explores the different poetic voices and aesthetics in these works (Torquato Tasso’s, Battista Guarini’s, and Gabriello Chiabrera’s), as well as Monteverdi’s changing approach to text setting. The author suggests that during this time, Monteverdi’s “compositional techniques and aesthetics were in a constant state of transition” (p. 109). An appended “Intermedio” (Intermedio II) analyzes “Ahi, come a un vago sol cortese giro” (1605), the opening piece of a cycle of five continuo madrigals appearing at the end of Monteverdi’s Madrigali, Libro V a5. With textual transcriptions and musical examples.

298.

Ossi, Massimo. “Monteverdi, Marenzio, and Battista Guarini’s ‘Cruda Amarilli’.” ML 89/3 (August 2008): 311–36. Compares Monteverdi’s “Cruda Amarilli” with parallel settings by Luca Marenzio, Giaches de Wert, and Benedetto Pallavicino and concludes that Marenzio’s setting from his Libro VII a5 (1595) is the closest model for Monteverdi. Drawing on the early history of Battista Guarini’s Il pastor fido, Ossi argues that Monteverdi may have turned to Marenzio for their shared interest in Ferrarese musical, literary, and patronage circles. With numerous musical examples and tables of contents, poets and sources, clefs, systems, and finals for Marenzio’s Libro VII a5 and Monteverdi’s Libro V a5.

299.

Petrobelli, Pierluigi. “‘Ah, dolente partita’: Marenzio, Wert, Monteverdi.” In no. 54, pp. 361–76. Comparative study of settings of the last lines (III, 3) of Battista Guarini’s Il pastor fido by Luca Marenzio (1594), Giaches de Wert (1595), and Monteverdi (1603). Each composer approached the madrigal with different goals: Marenzio focused on text declamation, Wert built contrasting sections out of each line of poetry, and Monteverdi concentrated on text affect. With musical examples.

300.

Powers, Harald Stone. “Monteverdi’s Model for a Multimodal Madrigal.” In In cantu et in sermone: for Nino Pirrotta on His 80th Birthday, ed. Fabrizio Della Seta and Franco Piperno, pp. 185–219. Florence: Leo S. Olschki, 1989. ISBN 8822236416. ML55.P58 1989. Building on Bernhard Meier’s influential study of tonality (Die Tonarten der klassischen Vokalpolyphonie, 1974), Powers uses Cipriano de Rore’s “Quando signor lasciaste” to help interpret Monteverdi’s approach to multimodality. Examines

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Giulio Cesare Monteverdi’s modal ascriptions for Rore’s “Quando signor lasciaste” in the concluding passage of the Dichiaratione commenting on the brief preface to his brother Claudio’s Madrigali, Libro V a5. Giulio Cesare based his defense of the alleged modal irregularities of his brother’s “O Mirtillo, Mirtillo anima mia” on what he called “mixed modes” (the tonal structure of a piece that uses two or more different modes not sharing the same species of the fourth and the fifth). Giulio Cesare cited three items of plainchant and four polyphonic pieces, among them Rore’s “Quando signor lasciaste,” as instances of modal mixture. Concludes that while a modal category is necessarily always represented by a tonal type, only some tonal types were deemed suitable for representing modal categories; modality is ascribed rather than inherent. 301.

Pride, Margaret J. “The Performance Practice of Claudio Monteverdi’s Fifth Book of Madrigals.” DMA diss. University of Southern California, 1989. x, 248p. UMI DP29529. A study of performing practice issues of Monteverdi’s Madrigali, Libro V a5 (1605). Chapters on instrumental accompaniment, ornamentation, musica ficta, rhythm and tempo, vocal production, and expression. Contains no abstract, introduction, or conclusion. With musical examples and bibliography.

302.

Privitera, Massimo. “Piagn’e sospira: Forme della ‘seconda pratica’ nel Quarto libro di Monteverdi.” RSM 6/1–2. (1999): 39–62. Analysis of “Ah, dolente partita,” on a text by Battista Guarini, and “Piagne sospira, e quando i caldi raggi,” a setting of an ottava from Torquato Tasso’s Gerusalemme liberata, both from Madrigali, Libro IV a5 (1603). While “Ah, dolente partita” remains diatonic, Privitera emphasizes the highly chromatic nature of “Piagne sospira, e quando i caldi raggi” in light of contemporary theoretical writings by Ercole Bottrigari and Giovanni Maria Artusi and music by Nicola Vicentino, Francesco Orso, and Tarquinio Merula. Numerous musical examples.

303.

Salzer, Franz. “Heinrich Schenker and Historical Research: Monteverdi’s Madrigal Oimè, se tanto amate.” In Aspects of Schenkerian Theory, ed. David Beach, pp. 135–52. New Haven, CT: Yale University Press, 1983. ISBN 0300028008. MT6.A766 1983. Argues that Heinrich Schenker’s approach to structural analysis can be applied to all periods of music. Uses Monteverdi’s “Ohimé, se tanto amate” on a text by Battista Guarini, from the composer’s Madrigali, Libro IV a5 to demonstrate the efficacy of the approach. Analyzes the structure of the poetic text and traces tonal coherence across the madrigal. Concludes with a graph depicting the entire contents of the madrigal in condensed form. Though the author demonstrates originality in his application of Schenker’s theory to Monteverdi, Schenker’s method has not received widespread application as a tool for the analysis of Monteverdi’s music.

304.

Schmalzriedt, Siegfried. “Manierismus als Kunst des Überbietens: Anmerkungen zu Monteverdis und D’Indias Madrigalen Cruda Amarilli.” In Festschrift Ulrich

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Siegele zum 60. Geburtstag, ed. Rudolf Faber, Anton Förster, Hans Ryschawy, Jutta Schmoll-Barthel, and Rolf W Stoll, pp. 51–66. Kassel, Germany: Bärenreiter, 1991. ISBN 3761819342. ML55.S596 1991. Reviews Giovanni Maria Artusi’s attack on Monteverdi’s use of dissonance in “Cruda Amarilli,” compares Monteverdi’s setting with that of Sigismondo D’India on the same text, and debates the application of the term Manierismus (mannerism) to this repertory. 305.

Siegele, Ulrich. “Cruda Amarilli, oder: Wie ist Monteverdis ‘seconda pratica’ satztechnisch zu verstehen?” In no. 52, pp. 31–102. Comprehensive study of Monteverdi’s “Cruda Amarilli” based on a thorough evaluation of the Artusi–Monteverdi dispute; an analysis of Monteverdi’s “Cruda Amarilli” with comparisons to parallel settings by Giaches de Wert, Luca Marenzio, Sigismondo D’India, and Benedetto Pallavicino; a rich analysis of syntax, rhythm, text setting, cadential structure; and an evaluation of the term seconda pratica in the context of Giovanni Maria Artusi’s ties to the papacy and Monteverdi’s links to the Signori Accademici Intrepedi di Ferrara, to whom he dedicated Madrigali, Libri IV a5. Nineteen musical examples.

SCHERZI MUSICALI (1607) 306.

Ossi, Massimo. “Claudio Monteverdi’s Ordine novo, bello et gustevole: The Canzonetta as Dramatic Module and Formal Archetype.” JAMS 45/2 (Summer 1992): 261–304. Reprinted in no. 64, Essay 7, pp. 221–64. Scholars have long thought the presence of Monteverdi’s light canzonettas with his brother Giulio Cesare’s serious “Dichiaratione” in the Scherzi musicale (1607) an incongruous pairing. But key passages in the text indicate a closer connection and date the pieces to 1599–1602, earlier than has generally been assumed, and contemporaneous with the production of his Madrigali, Libri IV–V a5. The Scherzi anticipate Monteverdi’s concertato style with their schematic forms; alteration of tuttis, solos, and instrumental ritornellos; and passion for the poetry of Gabriello Chiabrera. Ossi compares Monteverdi’s use of the canzonetta in the Scherzi, Orfeo (1607), and the “Lamento della ninfa” (1638).

307.

Sopart, Andreas. “Claudio Monteverdis ‘Scherzi musicali’ (1607) und ihre Beziehungen zum ‘Scherzo’-Begriff in der italienischen Barocklyrik.” AfM 38/3 (1981): 227–34. Introduction to Monteverdi’s Scherzi musicali (1607), which Sopart views as the earliest musical settings in this style. At least nine (and up to twelve) of the poems are by Gabriello Chiabrera, whom Monteverdi may have met at the Gonzaga court. Monteverdi titled the collection scherzi, rather than canzonettas, to indicate the novel use of a simple harmonic style, homophonic texture, strong soprano and bass contrasts, syncopated and dance-like rhythms, and instrumental ritornellos.

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MADRIGALI, LIBRO VI 308.

Poos, Heinrich. “Monteverdi-Studien. I: Zum experimentellen Kontrapunkt Arianna-Monodie; II: Fragmente zu Theorie und Praxis des monodischen Generalbasses.” In no. 52, pp. 103–66. Corrections published as “Corrigenda zu Heinrich Poos, ‘Monteverdi Studien’.” In no. 53, pp. 110–11. Argues that Monteverdi’s new approach to counterpoint, evident in “Cruda Amarilli” (1605), “Lamento della ninfa” (1638), and “Lamento d’Arianna” (1614), is rooted in his reception of Plato’s writings on imitation, harmony and discord, arch structure, and affect. Poos applies this interpretation of Monteverdi to new realizations of the basso continuo of the “Lamento d’Arianna,” “Ahi come a un vago sol cortese giro” (1605), and “Troppo ben può” (1605).

309.

Pryer, Anthony. “Monteverdi, Two Sonnets and a Letter.” EM 25/3 (1997), 357–71. Reprinted in no. 64, Essay 11, pp. 337–52. Reveals the contents of a letter penned by Monteverdi to the Duke of Mantua’s official in Genoa in 1607 that references two compositions with sonnet texts. Pryer proposes that these two pieces may represent the origins of a volume of secular music later published as his Madrigali, LibroVI a5 in 1614.

310.

Schmidt, Lothar. “Monteverdis Lagrime d’Amante al sepolcro dell’Amata und die Anlage des 6. Madrigalbuches.” In Tod und Musik im 17. und 18. Jahrhundert. XXVI. Internationale wissenschaftliche Arbeitstagung, Michaelstein, 12. bis 14. Juni 1998, ed. Günther Fleischhauer, pp. 63–81. Blankenburg, Germany: Stiftung Kloster Michaelstein, 2001. (Michaelsteiner Konferenzberichte, 59). ISBN 3895121177. ML193.I59 2001. Detailed study of the text and musical features of Monteverdi’s sextet “Lagrime d’amante al sepolcro dell’amata” (on a text by Scipione Agnelli) from Madrigali, Libro VI (1614). Schmidt considers Monteverdi’s poetic choices more broadly in the early seventeenth century with reference to his interest in the poetry of Giambattista Marino.

311.

Watty, Adolf. “Zwei Stücke aus Claudio Monteverdis 6. Madrigalbuch in handschriftlichen Frühfassungen.” SJ 7–8 (1985–86): 124–36. Comparative analysis of manuscript copies of “Presso a un fiume tranquillo” and “Misero Alceo, dal caro albergo fore,” which survive in the University Library of Kassel, with their later printed transmissions in Monteverdi’s Madrigali, Libro VI a5. Watty speculates that Heinrich Schütz acquired these early manuscript versions in Italy and brought them back to Kassel in 1612 upon his return from Venice.

MADRIGALI, LIBRO VII 312.

Gagné, David. “Monteverdi’s Ohimè dov’è il mio ben and the Romanesca.” MF 6/1 (1987): 61–91.

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Schenkerian-based analysis of “Ohimè dov’è il mio ben, dov’è il mio core?,” a duet from Madrigali, Libro VII based on the repeating bass pattern of the romanesca. Using musical examples presented with Schenkerian foreground, middleground, and background graphs, Gagné demonstrates that Monteverdi achieved a sense of overall form and motivic unity across the four sections of the madrigal through the extensive and varied use in the upper voices of the characteristic fourths of the romanesca bass. Gagné proposes that Renaissance strophic-bass forms represent an important stage in the development of harmony. 313.

Haramaki, Gordon. “‘In grembo a Cithera’: The representation of ingenium and ars in Claudio Monteverdi’s Tempro la cetra.” In no. 49, pp. 503–18. Analyzes Monteverdi’s setting of Giambattista Marino’s sonnet, “Tempro la cetra, e per cantar gli onori” that opens the composer’s Madrigali, Libro VII in relation to concepts of ingenium, the inspiration sent by a muse, and ars, the physical diligence and skill needed to bring inspiration to fruition. Proposes that Monteverdi set the madrigal as an expanded quasi-operatic prologue to elevate the action of poetry in creating something new.

314.

Ossi, Massimo. “Between Madrigale and Altro genere di canto: Elements of Ambiguity in Claudio Monteverdi’s Setting of Battista Guarini’s Con che soavità.” In Guarini: La musica, i musicisti, ed. Angelo Pompilio, pp. 13–29. Lucca, Italy: Libreria Musicale Italiana, 1997. (Con Notazioni, 3). ISBN 8870961931. ML2633.P66 1997. Demonstrates that the conflict inherent in Battista Guarini’s “Con che soavità”— the mutual exclusivity of words and kisses—is transferred to Monteverdi’s setting of the poem in Madrigali, Libro VII. Monteverdi casts the madrigal as an amalgam of contrasts: monody and vocal polyphony; sectional form versus monody; instrumentation and function; instrumentation and style; localized and overall syntax; and single harmonic events and overall harmonic layout.

315.

Ossi, Massimo. “‘Pardon Me, But Your Teeth Are in My Neck’: Giambattista Marino, Claudio Monteverdi, and the bacio mordace.” JM 21/2 (Spring 2004): 175–200. Explores the background of the kiss imagery found in Monteverdi’s setting of Giambattista Marino’s text “Eccomi pronta ai baci” from Madrigali, Libro VII. Ossi applies Emanuele Tesauro’s analysis of the device of deception or reversal in comedy to the “bacio mordace” (“kiss-turned-bite”) of Marino’s poem, and to Monteverdi’s setting of it. He concludes that Monteverdi exaggerates the comic scene through the use of insistent repetition, rhythmically decisive motives, syllabic pattering rhythms, and gender mismatch between singer and poetic voice with the ensemble choice of two tenors and bass.

SCHERZI MUSICALI (1632) 316.

Ossi, Massimo. “L’armonia raddoppiata: On Claudio Monteverdi’s Zefiro torna, Heinrich Schütz’s Es steh Gott auf, and Other Early Seventeenth-Century Ciaccone.” SM 17/2 (1988): 225–53.

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Takes Monteverdi’s “Zefiro torna, e di soave accenti” (from the Scherzi musicali of 1632), a set of vocal variations on the ciaccona ostinato bass, as the model for Heinrich Schütz’s “Es steh Gott auf ” (from Symphoniae Sacrae II), the nonstrophic aria “Voglio di vita uscir” attributed to Monteverdi, and “Chi vol che m’innamori,” a sacred canzonetta from Monteverdi’s Selva morale e spirituale (1640–1). Unlike his contemporaries, whose melodic lines adhere to the ostinato, Monteverdi highlights the disjunction of the melodic line and the repetitive bass. 317.

Watty, Adolf. “Giovanni Battista Camarellas ‘Madrigali et Arie’ und Claudio Monteverdis ‘Scherzi musicali’ von 1632: Ein kritischer Vergleich.” In Beiträge zur musikalischen Quellenforschung: Kolloquien im Rahmen der Köstritzer SchützTage 7. Oktober 1993, 4. Oktober 1994, ed. Ingeborg Stein and Gisela Böttcher, pp. 135–44. Köstritz, Germany: Heinrich-Schütz-Haus, 1995. (Protokollbände wissenschaftlicher Kolloquien, 3). ISBN 9783980620826. ML410.S396.B423 1998. Compares Monteverdi’s “Ecco di dolci raggi il sol armato,” as it survives in the Scherzi musicali (1632) and in Giovanni Battista Camarella’s collection Madrigali et arie (1620). Adolf Watty proposes that Heinrich Schütz may have known of Monteverdi’s setting, which he cites as a model for his own “Es steh Gott auf ” (SWV 356), through this earlier print. Reproduces title pages, prefaces, and “Ecco di dolci raggi” as it appears in the 1620 volume.

MADRIGALI GUERRIERI ET AMOROSI, LIBRO VIII 318.

Angles, David Lloyd. “The Rhetoric of the Madrigal: Musical and Rhetorical Figures in Monteverdi’s Madrigali guerrieri, et amorosi (1638).” Ph.D. diss. University of Western Ontario, 2001. vii, 461p. UMI NQ68025. Study of the role of musical and rhetorical figures in Monteverdi’s Madrigali guerrieri et amorosi, Libro VIII with a focus on “Hor che’l’ ciel e la terra e’l vento tace.” Applies theories drawn from Joachim Burmeister’s Musica poetica (1606) and argues that solecisms (devices used to express in music the passions of the poetic text) be included in the scope of the term seconda pratica.

319.

Biaggi, Marisa. “‘Ogni amante è guerrier’: Monteverdi and the War of Love in Early Modern Italy.” Ph.D. diss. Princeton University, 2006. ix, 885p. UMI 3208869. A comprehensive interdisciplinary study of the topos of love and war across music, art, and poetry in Italy during the early modern period through an exploration of Madrigali guerrieri et amorosi, Libro VIII and its precursors. Valuable chapters on the visual and musical language of love and war from 1561 until 1632 that sets the context for Monteverdi’s Madrigali guerrieri et amorosi, Libro VIII. Useful narrative/formal charts of the canti guerrieri and canti amorosi are included as appendices.

320.

Carter, Tim. “Composer as Theorist? Genus and Genre in Monteverdi’s Combattimento di Tancredi e Clorinda.” In Music in the Mirror: Reflections on the

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History of Music Theory and Literature for the 21st Century, ed. Andreas Giger and Thomas J. Mathiesen, pp. 77–116. Lincoln: University of Nebraska Press, 2002. (Publications of the Center for the History of Music Theory and Literature, 3). ISBN 0803232195. ML3845.M974 2002. Analyzes the preface to Monteverdi’s Madrigali guerrieri et amorosi, Libro VIII and the composer’s notes immediately preceding the full-score of the Combattimento di Tancredi e Clorinda and argues that the apparently straightforward link between theoretical discourse and the music is a façade. Carter embarks on a sweeping analysis of the performance history, reception, source history, textual variants, and generic attributions of the Combattimento in an effort to determine more precise social and cultural contexts for the work. 321.

Carter, Tim. “Intermedio IV: Lamento della ninfa (1638).” In no. 63, pp. 195–8, 290–1. Summarizes scholarly debate, gives an account of earlier settings of Ottavio Rinuccini’s text, and stresses Monteverdi’s concept of the central lament (stanzas 4–9) as stile rappresentativo.

322.

Chew, Geoffrey. “The Platonic Agenda of Monteverdi’s Seconda Pratica: A Case Study from the Eighth Book of Madrigals.” MA 12/2 (July 1993): 147–68. Reprinted in no. 64, Essay 10, pp. 315–36. Argues that Madrigali guerrieri et amorosi, Libro VIII is governed by Platonic ideals of good statesmanship, accompaniment by stringed instruments, use of pyrrhic foot (successions of short syllables) associated with warlike dances, and affective use of tonal types. Chew proposes that most of the contents of the eighth book of madrigals were composed or revised as an elaborate homage for Ferdinand III occasioned by the 1636 Regensburg Electoral meeting, thus a fitting context for Platonic ideals.

323.

Drebes, Gerald. “Monteverdis ‘Kontrastprinzip’, die Vorrede zu seinem 8. Madrigalbuch und das ‘Genre concitato’. MTh 6/1 (1991): 29–42. Explores Monteverdi’s preface to Madrigali guerrieri et amorosi, Libro VIII for its theoretical description of genere concitato, and Monteverdi’s practical example of the Combattimento di Tancredi e Clorinda. Positions Monteverdi’s concept of genere concitato as both part of the second pratica and an extension of it. Notes the influence of Monteverdi’s genere concitato on Heinrich Schütz’s “Es steh Gott auf ” from the German composer’s Symphoniae sacrae II (1647).

324.

Fabbri, Paolo. “Lessico Monteverdiano: Intorno al ‘genere rappresentativo’.” In La musica nel Veneto dal XVI al XVIII secolo, ed. Francesco Passadore, pp. 89–97. Adria, Italy: Antiquae Musicae Italicae Studiosi, 1984. vii, 215p. No ISBN. No LC. Examines Monteverdi’s use of the term genere rappresentativo for the works “Se i languidi miei sguardi,” the “Lamento d’Arianna,” Madrigali guerrieri et amorosi, Libro VIII, Ballo delle ingrate, and the Combattimento di Tancredi et Clorinda.

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Hanning, Barbara Russano. “Monteverdi’s Three Genera: A Study in Terminology.” In Musical Humanism and Its Legacy: Essays in Honor of Claude V. Palisca, ed. Nancy Kovaleff Baker and Barbara Russano Hanning, pp. 145–70. Stryvesant, NY: Pendragon Press, 1992. (Festschrift Series, 11). ISBN 0945193297. ML55. P286.M9 1992. Also appears in no. 64, pp. 265–90. Focuses on the three genera or styles of musical expression codified in Monteverdi’s short preface to Madrigali guerrieri et amorosi, Libro VIII: the concitato, molle, and temperato. The styles correspond to the three basic affections—anger, humility or supplication, and moderation—derived from the ancient tripartite division of musical ethos. The concitato style requires a high range and rhythmic patterns resembling agitated speech. The stile molle, by contrast, features a chromatic and dissonant style typical of the late sixteenth-century madrigal and demonstrated in Monteverdi’s madrigali amorosi. The more elusive temperato style portrays neutral dispositions. With a useful schematic illustration of the interplay of function, category, style, range, and affection found in Monteverdi’s preface.

326.

Küster, Konrad. “Monteverdis ‘Genere concitato’ und die Vollkommenheit der Musik.” In Musik und Szene: Festschrift für Werner Braun zum 75. Geburtstag, ed. Bernhard R. Appel, Karl W. Geck, and Herbert Schneider, pp. 41–55. Saarbrücken, Germany: Saarbrücker Druckerei und Verlag, 2001. 701p. ISBN 3930843668. ML55.B715. Explores Monteverdi’s concept of genere concitato and his application of this style to works published in Madrigali guerrieri et amorosi, Libro VIII (1638). Traces examples of the martial affect in music from before and after Monteverdi. Monteverdi’s approach was influential on Heinrich Schütz’s Symphoniae sacrae II (1647).

327.

Kurtzman, Jeffrey. “A Taxonomic and Affective Analysis of Monteverdi’s ‘Hor che’l ciel e la terra’.” MA 12/2 (July 1993): 169–95. In contrast to Gary Tomlinson (no. 89), Kurtzman takes a more favorable view of Monteverdi’s late madrigals, arguing that the new aesthetic outlined in the preface to Madrigali guerrieri et amorosi, Libro VIII governed the composer’s approach to text setting. Kurtzman’s analysis of the preface emphasizes the composer’s interest in taxonomies as Monteverdi lays out tripartite divisions of emotional states, vocal registers, and musical styles. This translates into a more generalized approach to the relationship of text and music, a feature Kurtzman demonstrates in his analysis of Monteverdi’s setting of Petrarch’s sonnet “Hor che’l’ ciel e la terra e’l vento tace.” With text, translation, and eleven musical examples.

328.

Mabbett, Margaret. “Madrigalists at the Viennese Court and Monteverdi’s Madrigali guerrieri, et amorosi.” In no. 51, pp. 291–310. A version of this essay appeared in Italian as “Le connessioni stilistiche tra l’Ottavo Libro di Monteverdi ed il Madrigale ‘Avant-Garde’ a Vienna.” In Il madrigale oltre il madrigale: Dal barocco al Novecento: Destino di una forma e problemi di analisi. Atti del

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IV Convegno internazionale sulla musica italiana nel secolo XVII. Lenno-Como, 29–30 August, 1991, ed. Alberto Colzani, Andrea Luppi, and Maurizio Padoan, pp. 75–103. Como, Italy: Antiquae Musivae Studiosi, 1994. (Contributi musicologici del Centro ricerche dell’A.M.I.S.—Como, 8). ML2633.C65 1991. Studies the influence of Habsburg tastes and resources on Monteverdi’s Madrigali guerrieri et amorosi, Libro VIII with consideration of performing forces and instrumentation, structure and selection of texts, the stile concitato, and the role of the bass voice. See Steven Saunders (no. 329) on Monteverdi’s connections with the Habsburgs. Includes tabular summaries of Italian composers active in Vienna; madrigal books produced under Habsburg patronage between 1620 and 1655; and the contents, performing resources, and possible dating of canti guerrieri and amorosi. 329.

Saunders, Steven. “New Light on the Genesis of Monteverdi’s Eighth Book of Madrigals.” ML 77/2 (May 1996): 183–93. Proposes a Habsburg link to Monteverdi’s Madrigali guerrieri et amorosi, Libro VIII. The author argues that Monteverdi presented the contents of the volume to Ferdinand II in manuscript as an act of goodwill to facilitate his patron’s support in a pending legal suit, presumably the composer’s attempt to secure a Cremonese canonry. Monteverdi then subsequently augmented and revised the contents for publication. This moves the terminus ante quem for much of Madrigali guerrieri et amorosi, Libro VIII to 1633.

330.

Stevens, Denis. “Madrigali Guerriri et amorosi: A Reappraisal for the Quatercentenary.” MQ 53/2 (April 1967): 161–87. Valuable summary of the contents, musical and poetic style, contexts, and early research on Monteverdi’s Madrigali guerrieri et amorosi, Libro VIII. Speculates on the dates and occasions for compositions.

331.

Sýkora, Pavel. “‘Amico, hai vinto: Io ti perdon’: Agonal Elements in the Depiction of War in Monteverdi’s Eighth Book of Madrigals.” MZ 48/1 (January 2012): 5–15. Examines Monteverdi’s Madrigali guerrieri et amorosi, Libro VIII (1638) in the context of the Thirty Years’ War, focusing on Monteverdi’s depiction of war in the Combattimento di Tancredi et Clorinda (1624, publ. 1638). Suggests that, rather than depict the horrors of the war, this madrigal “is conceived in the Renaissance spirit as a knightly play, a contest” (p. 10). Provides a brief reading of this madrigal in relation to Johan Huizinga’s concept of war as articulated in his Homo Ludens: Proeve Ener Bepaling Van Het Spelelement Der Cultuur (Haarlem, The Netherlands: H. D. Tjeenk Willink, 1938; trans. into English as Homo Ludens: A Study of the Play-Element in Culture, London, Routledge & Kegan Paul, 1949). With musical examples.

332.

Whenham, John. Duet and Dialogue in the Age of Monteverdi. 2 vols. Ann Arbor, MI: UMI Research Press, 1982. Vol. 1: xii, 287p. Vol. 2: vii, 469p. (Studies in British Musicology, 7). ISBN 083571313X. ML1633. W53.D8 1982.

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Revision of the author’s doctoral thesis (Ph.D., Oxford, 1978). Remains an important study of secular music for small vocal ensembles from the first half of the seventeenth century. Chapters on concertato duets, poetry, madrigalian duos, madrigal and aria, 1615–43, and Venetian dialogue settings, 1624–42. Extensive bibliography that includes poetic works previously not available in modern editions, among them settings by Tomaso Cecchino, Enrico Antonio Radesca, and Domenico Viscenti. Includes text translations and commentary. With a useful analytical catalog of the secular duet and dialogue repertory from ca. 1600–ca. 1643 that covers over 300 prints and manuscript sources. See vol. 2, pp. 203–7 for discussion of the stile concitato in Monteverdi’s Combattimento di Tancredi et Clorinda. 333.

Whenham, John. “The Later Madrigals and Madrigal-Books.” In no. 34, pp. 216–47. Useful overview of Monteverdi’s Madrigali, Libri VII–VIII and the posthumous Madrigali e canzonette of 1651. The influence of Alessandro Grandi, coupled with Monteverdi’s tenure as a freelance composer and performer in Venice, helps explain the composer’s turn to music for small vocal ensembles with continuo for Libro VII. Whenham summarizes the controversy over the term canto alla francese and concludes that it may refer both to a manner of performance— singing with full voice (as Monteverdi designates two madrigals from Madrigali guerrieri et amorosi, Libro VIII)—and to a melodic style with clear phrasing that does not disrupt the underlying musical meter, as found in the Scherzi musicali of 1607.

MADRIGALI, LIBRO IX 334.

Silke, Leopold. “Der schöne Hirte und seine Vorfahren.” In De musica et cantu: Studien zur Geschichte der Kirchenmusik und der Oper: Helmut Hucke zum 60. Geburtstag, ed. Peter Cahn and Ann-Katrin Heimer, pp. 471–80. New York: Georg Olms, 1993. 621p. ISBN 3487097931. ML55.H78 1993X. Explores Monteverdi’s two-voiced dialogue “Bel pastor dal cui bel guardo” from the composer’s posthumous Madrigali e Canzonette Libro IX (1651). The piece is atypical for Monteverdi in that it is not polyphony, but rather a duet for two voices separated by an octave. Compares the work to a parallel setting by Marco da Gagliano that appeared in Piero Benedetti’s Musiche (Florence, 1611).

SPIRITUAL MADRIGALS AND CONTRAFACTA 335.

Budzińska-Bennett, Agnieszka. “Musica fatta spirituale: Aquilino Coppini’s contrafacta of Monteverdi’s Fifth Book of Madrigals.” ISiM 11 (January 1, 2012): 273–303. Aims to show Aquilino Coppini’s mastery in transforming Monteverdi’s Madrigali Libro V a5 into Latin religious works, published as Musica tolta da I Madrigali

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di Claudio Monteverde, e d’altri autori [. . .] e fatta spiritual (Milan, 1607). Coppini operated in the circle of Cardinal Federico Borromeo (1564–1631), Archbishop of Milan, and his cousin, Cardinal Carlo Borromeo (1538–84), principle architect of the Tridentine reform of church music and dedicatee of the first of Coppini’s three collections of contrafacta. Coppini’s contrafacta transferred the stylistic elements and attention to text expression of the seconda pratica to church music. 336.

Ehrmann-Herfort, Sabine. “Ad religionem ergo referatur musica: MonteverdiKontrafakturen bei Aquilino Coppini.” In no. 51, pp. 325–38. Study of Aquilino Coppini’s trilogy of religious contrafacta of Monteverdi madrigals (1607–9).

337.

Ferrari Barassi, Elena. “Il madrigale spirituale nel Cinquecento e la raccolta monteverdiana del 1583.” In no. 54, pp. 217–52. Overview of Monteverdi’s Madrigali spirituali a4 (Brescia, 1583) that addresses laudi and spiritual madrigals in the sixteenth century, the Counter-Reformation, Jesuits and the diffusion of the spiritual madrigal, and texts. Madrigal texts are included in an appendix.

338.

Kurtzman, Jeffrey. “An Early 17th-Century Manuscript of Canzonette e madrigaletti spirituali.” SM 8 (1979): 149–71. Inventory with analysis of Brescia, Biblioteca Queriniana, MS L.IV.99, a volume of sixty-seven spiritual madrigals and canzonets, fifty-nine for two voices and eight for three parts, with twenty-four different composer attributions. Notable for its unica of Monteverdi, Carlo Gesualdo, Pomponio Nenna, Orazio Vecchi, Salomone Rossi, and Tomas Luis de Victoria.

339.

Leopold, Silke. “Curtio Precipitato—Claudio parodiato.” In The Well Enchanting Skill: Music, Poetry, and Drama in the Culture of the Renaissance: Essays in Honour of F.W. Sternfeld, ed. John Caldwell, Edward Olleson, and Susan Wollenberg, pp. 65–76. Oxford: Clarendon Press, 1990. ISBN 0193161249. ML55.S832 1989. Proposes that Tarquinio Merula’s collection Curtio precipitato (1638) was conceived as a parody of Monteverdi’s Combattimento di Tancredi e Clorinda and of several features of Monteverdi’s style in general. Merula’s collection is a series of serious and parodic pieces, of popular melodies and texts, some with dialect. Cf. Denis Arnold’s discussion of the relationship of these works in no. 34, pp. 120f.

340.

Monterosso, Raffaello. “Un travestimento spirituale della canzonetta ‘Chiome d’oro’ di Claudio Monteverdi.” In Musicologia Humana: Studies in Honor of Warren and Ursula Kirkendale, ed. Siegfried Gmeinwieser, David Hiley, and Jörg Riedlbauer, pp. 359–81. Florence: Olschki, 1994. (Historiae Musicae Cultores, 74). ISBN 8822242343. ML55.K575 1994. Study of the relationship between “Chiome d’oro” from Monteverdi’s Madrigali, Libro VII (1619) and its spiritual contrafactum, “Ecce panis angelorum,” transmitted in Modena, Museo della Cattedrale, MS Music 47. Includes a full

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transcription of “Ecce panis angelorum” for three voices (two soprano and tenor), two violins, and basso continuo. 341.

Powers, Katherine Susan. “The Spiritual Madrigal in Counter-Reformation Italy: Definition, Use, and Style.” Ph.D. diss. University of California at Santa Barbara, 1997. x, 574p. UMI 9800481. Valuable survey of the post-Tridentine production of spiritual madrigals, Italiantexted polyphonic songs with religious texts drawn from Petrarch, devout poetry from popular sixteenth-century poets, and devotional poetry collections. The first part focuses on patronage of the spiritual madrigal by religious reformers, academies and noble houses of the Veneto, and the Mantuan court. Part 2 traces the sources of spiritual madrigal texts, and divides settings on the basis of their text into conservative settings of Petrarch’s “I’vo piangendo i miei passati tempi,” works with liturgical music devices such as head motive and cantus firmus, and settings of sermon-like poems. Useful context for Monteverdi’s Madrigali spirituali a4 (Brescia, 1583). Bibliography of 373 items up to 1994. Though reliant on published indexes and secondary literature, the listing of spiritual madrigals ca. 1526–99 remains useful.

342.

Rorke, Margaret Ann. “Sacred Contrafacta of Monteverdi’s Madrigals and Cardinal Borromeo’s Milan.” ML 65/2 (April 1984): 168–75. Short study of Aquilino Coppini’s sacred contrafacta of Monteverdi’s madrigals (Milan, 1607–9). Using “Felle amaro” (a transformation of “Cruda Amarilli”) as a case study, Rorke summarizes Coppini’s method: he preserves the number and length of lines, rhythm of the words, and syntax of the original; he places the expressive words of the new texts where similar expressive words occur in Monteverdi’s texts; and he retains many of the same words. Cardinal Federico Borromeo sponsored the collection, which suggests that Milan was sympathetic to the use of secular music in the service of religion.

343.

Sponheim, Kristin. “Ambrosius Profe’s Sacred Contrafacta of Monteverdi’s Madrigals.” In no. 51, pp. 339–58. Fourteen madrigals by Monteverdi were set to sacred texts by Ambrosius Profe and published under the title Geistliche Concerten in the 1640s. Sponheim analyzes the relationship of text and musical imagery in “O du mächtiger Herr hoch ins Himmelsthrone” (a contrafactum of “Hor che’l’ ciel e la terra e’l vento tace”) and “Resurrexit de sepulchro” and “Veni soror mea” (both set to the music of “Vago augelletto”).

344.

Sponheim, Kristin Marie. “The Anthologies of Ambrosius Profe (1589–1661) and the Transmission of Italian Music in Germany.” Ph.D. diss. Yale University, 1995. viii, 298p. UMI 9538693. Examines the dissemination of Italian music in Germany during the early seventeenth century through the lens of Ambrosius Profe’s series of anthologies. Profe’s anthologies include 140 pieces by thirty-seven different composers, among

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which the most frequently represented is Monteverdi. Sponheim suggests that these anthologies “offered Germans a good look at current Italian composition, both sacred and secular” (p. 91). Chapter 2, “Profe’s Criteria for Selection of the Contents of his Anthologies,” discusses the life and works of several Venetian composers, including Monteverdi. Chapter 4, “Parody and Profe’s Anthologies,” discusses Profe’s contrafacta of Monteverdi works. A full list of contrafacta of Monteverdi madrigals in Profe’s anthologies is provided in Appendix 4B. Inventories of all five anthologies are provided in Appendix 1a; Appendix 2 lists the composers. With musical examples and bibliography. 345.

Wolf, Uwe. “‘Prima Arianna, poi Maria’. Rielaborazioni religiose di musica vocale profana degli Inizi del XVII secolo.” In no. 40, pp. 351–66. Examines the practice of contrafactum in Italy around the years 1600 whereby liturgical texts and biblical compilations replaced the texts of madrigals. Linguistic parallels dictated the choice of source text since rhythm, accentuation, and textual emphasis needed to align between the source and target texts. Includes a discussion of Aquilino Coppini’s Musica tolta da i madrigali di Claudio Monteverdi (Milan, 1607), a collection of contrafacta that concentrate on madrigals from Monteverdi’s Madrigali, Libri III–V a5.

7 Dramatic Works

GENERAL STUDIES OF EARLY OPERA 346.

Arias, Enrique Alberto. “Reflections from a Cracked Mirror: Madness in Music and Theory of the Seventeenth and Eighteenth Centuries: An Overview.” In Essays in Honor of John F. Ohl: A Compendium of American Musicology, ed. Enrique Alberto Arias, Susan M. Filler, William V. Porter, and Jeffrey Wasson, pp. 133–54. Evanston, IL: Northwestern University Press, 2001. ISBN 0810115360. ML55. O39 2000. Adding to scholarly studies of madness in early opera (see Paolo Fabbri no. 352 on the origins of an operatic topos and Ellen Rosand no. 374 on operatic madness), Arias provides a valuable overview of madness in music from the seventeenth and eighteenth centuries. Madness is examined in relation to opera, monody, French opera, the English madsong, the later seventeenth-century cantata, the eighteenth-century serious opera, melodrama, comedy, instrumental music, and theory (music, philosophy, and medicine). In his discussion of madness in early Italian opera, including La finta pazza (1641; music by Francesco Sacrati) and Licori finta pazza innamorata d’Aminta (text offered to Monteverdi in the 1620s), Arias makes a distinction between mad scenes, which “employ boldly contrasting sections,” and laments, which maintain “a degree of musical unity” (p. 137).

347.

Bianconi, Lorenzo, and Thomas Walker. “Production, Consumption and Political Function of Seventeenth-Century Opera.” EMH 4 (1984): 209–96. Examines opera in the seventeenth century within a political, social, and economic context that includes political allegory, public cultural horizons and taste, and monetary systems. Compares three operas and their productions: Chi soffre

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speri by Virgilio Mazzocchi and Marco Marazzoli (Rome, rev. 1639), Antioc (Venice, 1659) by Francesco Cavalli, and the anonymous work, Il talamo preservato della fedelta d’Eudossa (Reggio Emilia, 1683). In discussing the musico-literary tradition of the lament, the authors state that Monteverdi’s “Lamento della ninfa” (1638) “became a model for every operatic lament aria of Cavalli from 1639 on” (p. 255–6). Includes appendices. 348.

Bokina, John. Opera and Politics: From Monteverdi to Henze. New Haven, CT: Yale University Press, 1997. xiv, 240p. ISBN 0300069359. ML1700B74 1997. Exciting contribution to the study of opera, a genre that Bokina interprets as “an eminently political art” (p. 2). Chapter 1, “The Prince as Deity, Beast, and Giant: Monteverdi’s Orfeo, Ulisse, and Poppea,” is a revised version of an earlier published paper bearing a similar title (no. 397). It considers Monteverdi’s three extant operas through the lens of Machiavellian models of the ideal ruler. With notes and index.

349.

Carter, Tim. “A Florentine Wedding of 1608.” AM 55/1 (January–June 1983): 89–107. Reprint in Tim Carter, Music, Patronage and Printing in Late Renaissance Florence. Aldershot, Hampshire, UK; Burlington, VT, USA: Ashgate, 2000. Essay 4: 89–107. Examines the circumstances surrounding the production of Michelangelo Buonarroti the younger’s comedy Il giudizio de Paride, performed at the festivities of 1608 for the marriage of Cosimo de’ Medici, heir to the throne of Tuscany, and Archduchess Maria Magdalena of Austria. The comedy’s six intermedi, modeled on the magnificent production by Emilio de’ Cavalieri (Florence, 1589), were intended to surpass the Gonzaga-Savoy wedding festivities held in Mantua earlier in the year that featured Monteverdi’s Arianna and Ballo delle ingrate. Carter suggests that due to the unsuccessful production of opera for an earlier Florentine wedding (that of 1600 in which Rinuccini/Peri’s Euridice and Cabriera/Caccini’s El rapimento di Cefalo were produced), the Florentine court chose not to stage an opera for the 1608 festivities, preferring instead to rely on the “tried and tested formula” of the intermedi (p. 93). A list of the musicians that performed in the sixth intermedio, Il tempo delle Pace, is given in the appendix.

350.

Davidson, Jane W. “Creative Collaboration in Generating an Affective Contemporary Production of a Seventeenth-Century Opera.” In Collaborative Creative Thought and Practice in Music, ed. Margaret S. Barrett, pp. 173–87. Farnham, UK: Ashgate, 2014. (SEMPRE Studies in the Psychology of Music). ISBN 9781472415844. ML3838.C646 2014. Describes the process and the result of applying cultural-historical activity theories, specifically Yrjö Engeström’s activity system model, to a production of Monteverdi’s Orfeo directed by Andrew Lawrence-King. Davidson’s chapter explores how this production “functions as an example of an activity system, within which the performers move towards the knowledge and expectations of the dominant community—the production team—as the whole company generates a modern

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day production of the historical work” (p. 173). Includes a useful graphic (Fig. 12.1) that depicts Engeström’s activity system model applied to the production of Orfeo. 351.

Donington, Robert. The Rise of Opera. London: Faber & Faber, 1981. 399p. ISBN 0571116744. ML1700.D67 1981. A significant contribution to the study of early opera. Donington argues that the Neoplatonic view of art greatly influenced the development of opera. Part 2, “The achievement of opera,” includes two chapters on Monteverdi: chapter 11, “Monteverdi and his Orfeo,” offers an extensive Neoplatonic reading of Orfeo; and chapter 14, “Monteverdi at Venice,” examines Il ritorno d’Ulisse in patria and L’incoronazione di Poppea against the same backdrop of Neoplatonic thought. With notes, select bibliography, and index.

352.

Fabbri, Paolo. “On the Origins of an Operatic Topos: The Mad-Scene.” In no. 353, pp. 157–95. Discusses two works by Giulio Strozzi—La finta pazza (1641; music by Francesco Sacrati) and Licori finta pazza innamorata d’Aminta (text offered to Monteverdi in the 1620s)—and their important role in the creation of the operatic topos of the mad scene (see also Ellen Rosand’s article on operatic madness, no. 374). Fabbri traces the development of this topos, from a ridiculous and comical scene inspired by commedia dell’arte mad scenes to an increasingly serious and dramatic scene toward the end of the seventeenth century. With textual excerpts in Italian and English. A transcription of act 2, scenes 12–13 of Adriano Morselli’s Falaride tirano d’Agrigento (1684) is provided in the appendix.

353.

Fenlon, Iain, and Tim Carter, eds. ‘Con che soavità’: Essays in Italian Baroque Opera, Song and Dance, 1580–1740. Oxford: Oxford Clarendon Press, 1995. viii, 336p. ISBN 0198163703. ML1633.C66 1995. Collection of thirteen essays on Italian music of the seventeenth and eighteenth centuries dedicated to Nigel Fortune on the occasion of his seventieth birthday. With index. Relevant essays are listed by individual author in this research guide.

354.

Hanning, Barbara Russano. Of Poetry and Music’s Power: Humanism and the Creation of Opera. Ann Arbor: UMI Research Press, 1980. xv, 371p. ISBN 0835710718. MLl702.H36. Author’s largely unrevised Ph.D. dissertation (Yale University, 1968). Hanning examines the important role of Ottavio Rinuccini’s poetry, including the philosophical influences upon his work, in the development of early opera. Monteverdi’s “Lamento d’Arianna,” Orfeo, and “Udite Donne, udite i saggi detti” from Ballo delle ingrate are examined. Appendix E includes a reprint of Alessandro Striggio’s Orfeo. With musical examples, textual transcriptions, bibliography, and index.

355.

Hanning, Barbara Russano. “Powerless Spirit: Echo on the Musical Stage of the Late Renaissance.” In no. 43, vol. 1, pp. 193–218.

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Explores the versatile literary trope of Echo—a marker for virtuosity, a companion to laments, and a device suitable for invocation—in the poetry of Angelo Poliziano and in Italian librettos from the turn of the seventeenth century, including Battista Guarini’s Il pastor fido (ca. 1590), Jacopo Peri’s La pellegrina (1589, attributed to Ottavio Rinuccini), Rinuccini’s La Dafne (1598), and “MonteverdiStriggio-Rinuccini’s Orfeo of 1607 and 1609” (this authorship is proposed in no. 354). Hanning examines Echo’s musical presence in Orpheus’s lament in act 5 and, expanding on previous research by Robert Donington (no. 351), Frederik W. Sternfeld (nos. 376, 496, 497), and John Whenham (no. 504), proposes that Echo is represented in Orpheus’s “Possento spirito” not through voice but through an instrumental echo. Provides musical examples and textual excerpts with English translations. 356.

Herreid, Grant. “Thoughts on Rhetorical Use of Mode in the Earliest Operas.” LS 40/2 (2005): 9–12. Examines how Jacopo Peri, Monteverdi, and Marco da Gagliano interpreted and employed in their early operas the affective properties assigned to modes. The discrepancies found in the descriptions of modal attributes in the treatises by Gioseffo Zarlino, Lorenzo Penna, Scipione Cerreto, and Giulio Cesare Marinelli are considered. Examines the prologues of Peri’s Euridice, Monteverdi’s Orfeo, and Gagliano’s La Dafne. With musical examples.

357.

Kelly, Thomas Forrest. First Nights: Five Musical Premieres. New Haven, CT: Yale University Press, 2000. xvi, 387p. ISBN 0300077742 9780300077742. ML63.K44 2000. This book is divided into five chapters, each dealing with the first performance of a famous piece and “with the societies that brought [each one of them] into existence” (p. ix): Monteverdi’s Orfeo (1607), George Frideric Handel’s Messiah (1742), Ludwig van Beethoven’s Ninth Symphony (1824), Hector Berlioz’s Symphonie fantastique (1830), and Igor Stravinsky’s Le sacre du printemps (1913). The chapter on Monteverdi’s Orfeo contains a wealth of helpful background information for the analysis of the music and poetry in this work. With supplementary documentation (translated into English), including Monteverdi’s dedication of the score of Orfeo (1609) and his instrumental indications in this edition, and excerpts from nine letters of Francesco and Ferdinand Gonzaga relating to the performance of Orfeo (dated between January 5, 1607 and March 1, 1607), as well as other relevant letters pertaining to Monteverdi and Orfeo (by Giovanni Striggio, Carlo Magno, Cherubino Ferrari, and Eugenio Cagnani).

358.

Kirkendale, Warren. “The Myth of the ‘Birth of Opera’ in the Florentine Camerata Debunked by Emilio de’ Cavalieri: A Commemorative Lecture.” OQ 19/4 (2003): 631–43. Kirkendale argues for the importance of Emilio de’ Cavalieri in the development of early opera, while exploring the historical and political reasons for which this composer’s contribution to the genre may have been disregarded. Contends that

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Cavalieri wrote two pastorals before Peri’s pastoral Dafne, and that Cavalieri’s Anima e corpo is the first extant opera and not Peri’s Euridice, as is commonly believed. After summarizing Cavalieri’s musical innovations, Kirkendale states that Cavalieri was “the most original composer of his epoch, between Renaissance and Baroque” (p. 638) and that Monteverdi was “much indebted to Cavalieri” (p. 642). 359.

Lee, M. Owen. A Season of Opera: From Orpheus to Ariadne. Toronto: University of Toronto Press, 1998. xi, 241p. ISBN 0802042961. MT95L483 1998. This book is a collection of essays on opera by the author written over the course of three decades and previously published in various music journals and magazines, such as The Opera Quarterly, Opera News, and The San Francisco Opera Magazine. The first essay in the collection, “The Birth of Opera from the Spirit of Orpheus,” traces the origins of the myth of Orpheus in classical antiquity and its treatment in stage works of the fifteenth through the eighteenth century. Works by Angelo Poliziano, Jacopo Peri, Monteverdi, and Christoph W. Gluck are briefly discussed. With index.

360.

Legrand, Raphaëlle. “Orphee baro/queer.” Transposition. Musique et sciences sociales 3 (2013). http://transposition.revues.org/135. Provides an insightful discussion of the myth of Orpheus in opera from a queer theory perspective. Legrand examines “different incarnations of Orpheus’s complex masculinity” in relation to the sex and voice type of the opera singers (i.e., tenor, alto castrato, mezzo soprano) performing the role of Orpheus. Operas on Orpheus by Jacopo Peri, Giulio Caccini, Monteverdi, Stefano Landi, Luigi Rossi, Louis Lully, Georg Philipp Telemann, and Christoph W. Gluck are considered.

361.

MacDonald, Marianne. Sing Sorrow: Classics, History, and Heroines in Opera. Westport, CT: Greenwood Press, 2001. viii, 343p. (Contributions to the Study of Music and Dance). ISBN 0313315671. ML2100.M34 2001. Investigates the representation of female characters appearing in eight operas based on Ancient Greek and Latin epic poetry, beginning with Monteverdi’s Il ritorno d’Ulysse in patria (1640) and ending with Mikis Theodorakis’s Medea (1991). This comprehensive study is divided into ten chapters that include an introduction, eight case study chapters, and a conclusion. In “Monteverdi’s Il ritorono d’Ulisse in patria: Heroism at Home,” MacDonald analyzes BadoaroMonteverdi’s Penelope in relation to Homer’s, while taking into consideration historical contexts, as well as issues of gender, religion, and text-music relationship. Suggests that in this opera, “Penelope is more heroic than Ulisse” (p. 24). Includes a useful appendix that lists, in chronological order, over ninety operas about Ulysses produced between the seventeenth and twentieth centuries (pp. 37–42). With bibliography, index, and an extensive appendix (95 pages), containing a partial list of operas and demi-operas based on Classics.

362.

MacNeil, Anne. “The Divine Madness of Isabella Andreini.” JRMA 120/2 (1995): 195–215.

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Examines Isabella Andreini’s 1589 performance of La pazzia d’Isabella (The Madness of Isabella), presented in Florence as part of the Lorraine-Medici wedding festivities. MacNeil’s analysis of Giuseppe Pavoni’s account of this performance, including his commentaries on Andreini’s songs performed “in the French manner” (189), reveals that Andreini’s mad scene predated by ten years Monteverdi’s songs in the new French style (canto alla francese) published in his Scherzi musicali (1607). The author suggests that Monteverdi’s compositions seem to represent a codification, rather than an invention, of a style that already existed in Italy as a performance practice. These songs by Monteverdi, the author proposes, may also be understood as potential theatrical pieces. 363.

Mazzotta, Giuseppe. “Giambattista Marino’s operatic aesthetics.” In no. 43, vol. 1, pp. 251–264. Suggests that the incipient genre of opera impacted the work of Giambattista Marino (1569–1625) and that Marino saw in this art form “a new mode of expression that would help him to redefine the language and purposes of poetry for his time” (p. 251). Examines two works by Marino: Diceri sacre (1614) and L’Adone (1623).

364.

Morey, Carl. An Opera Sampler: Miscellaneous Essays on Opera. Toronto: Dundurn Press, 1998. 160p. ISBN 155002308X. ML1700.M845 1998. A collection of essays on opera, many of which have appeared in Opera Canada and Canadian University Music Review, that is intended more for the general reader than the music specialist. The essay entitled “Orfeo: The First Masterpiece” (pp. 21–4) discusses Monteverdi’s Orfeo in relation to seventeenth-century Florentine dramma per musica.

365.

Muir, Edward. The Culture Wars of the Late Renaissance: Skeptics, Libertines, and Opera. Cambridge, MA: Harvard University Press, 2007. xiii, 175p. ISBN 9780674024816. DG675.6.M76 2007. Uniting the histories of science, philosophy, literature, religion, and music, this valuable study explores currents of thought in Padua and Venice that clashed against the views of the defenders of the Catholic orthodoxy, beginning with the Paduan student riots against the Jesuit college in 1591 (the Jesuits were banished from Venice in 1606) and concluding with the demise, in about 1660, of the Venetian Accademia degli Incogniti. This book is divided into three main chapters that examine a range of ideas—from education, politics, and religion to the place of women in society—that skeptics, libertines, and librettists explored under the protection of Venice’s rulers. Chapter 3, “The Librettists: Poppea in the Opera Box,” examines the success of commercial opera in Venice and discusses Monteverdi’s last opera as a comment on the cultural, ecclesiastical, and sexual politics of the day. With index.

366.

Murata, Margaret. “The Recitative Soliloquy.” JAMS 32/1 (Spring 1979): 45‒73. While aria writing has occupied a lot of scholarly attention (see Nino Pirrotta no. 370), recitative was the medium of choice for expressions of passion and affect in

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Italian opera before 1650. Through a study of operas by Roman-based composers Virgilio Mazzocchi, Stefano Landi, and Luigi Rossi, along with Monteverdi, Francesco Cavalli, and others, Murata demonstrates that the unit of musical and dramatic form is the scene. Includes a useful table of operas with soliloquies, 1632‒46. 367.

Petrobelli, Pierluigi. “On Dante and Italian Music: Three Moments.” COJ 2/3 (1990): 219–49. Discusses the approaches to music by Italian composers influenced by Dante’s poetry. This article is divided into three sections, each reflecting one of three lectures given by Petrobelli in Autumn 1988, when he was chair of Italian Culture at the University of California, Berkley: “Monteverdi and Orfeo,” “From Rossini to Verdi,” and “Dallapiccola and Ulisse.” Examines the presence of a line from Dante’s Divine Comedy—Lasciate ogni speranza, voi ch’entrate (“Abandon all hope, ye who enter here”)—in the third act of the libretto of MonteverdiStriggio’s Orfeo. Suggests that the entire musical scene in which Orpheus enters the world of the dead is “heavily influenced by Dante’s poetry, and especially by the third canto of Inferno” (p. 223). With musical examples.

368.

Picard, Timothée. “Les figures lyriques d’Orphée (ou a représentation allégorique que l’opéra s’offre de lui meme): Étude du mythe d’Orphée dans les operas du XVIIe et du XVIIIe siècle.” In no. 61, pp. 63–88. Intended more for the opera lover than the music specialist, this essay examines the myth of Orpheus in four operas developed in four different historical and cultural contexts: Monteverdi’s Orfeo (1607), Georg Philipp Telemann’s Orpheus ou la Merveilleuse Constance de l’Amour d’Orphée (1726), Christoph W. Gluck’s Orfeo ed Euridice (1762/1774), and Joseph Haydn’s Orfeo ed Euridice, L’anima del filosofo (1791). The socio-political context of Monteverdi’s Orfeo is briefly considered.

369.

Pinchard, Bruno, and Annibale Gianuario. Une juste plainte, une juste prière: Ariane et Orphée aux origines du chant orphique de Claudio Monteverdi; Introduction à la connaissance du “Parlar cantando” et du chant humaniste à Annibale Gianuario. Fiesole, Firenze: Stilnovo, 1997. 33p. (Nuova metodologia, Studi musicologici, 13). No ISBN. ML410.M77.P56 1997. Written in tribute to the late musicologist Annibale Giannuario, Pinchard’s essay examines Giannuario’s views on the origins of Italian monody, specifically the “parlar cantando,” within the context of humanist thought and culture. Monteverdi’s Orfeo, L’incoronazione di Poppea, and the Lamento d’Arianna are considered. Includes a brief biography of Giannuario.

370.

Pirrotta, Nino. “Early Opera and Aria.” In New Looks at Italian Opera: Essays in Honor of Donald Jay Grout, ed. William W. Austin, pp. 39–107. Ithaca, NY: Cornell University Press, 1968. ML1733.1.A92 1968. Reprinted. in no. 371. Surveys the development of recitative style and aria and their use in early opera. Discusses works by Jacopo Peri, Emilio de’ Cavalieri, Francesco Cavalli, and Giulio Caccini. Brief references to Monteverdi’s Orfeo are included.

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371.

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Pirrotta, Nino, and Elena Povoledo. Music and Theatre from Poliziano to Monteverdi. Trans. Karen Eales. Cambridge: Cambridge University Press, 1982. xi, 392p. (Cambridge Studies in Music). ISBN 0521232597. ML290.2. (Reprint, originally published as Li due Orfei da Poliziano a Monteverdi. Turin: Edizioni RAI Radiotelevisione Italiana, 1969. 518p. ML410.M77.P57). Chapter 6, “Early Opera and Aria,” is reprinted from New Looks at Italian Opera: Essays in Honor of Donald J. Grout (see no. 370). Part 1 by Nino Pirrotta, “Studies in the Music of Renaissance Theatre,” includes chapters on Angelo Poliziano’s Orfeo, the role of music in classicizing vernacular theater before the intermedi, and the musical and theatrical aesthetics of the intermedi and early opera. Includes references to Monteverdi’s Arianna, Il ballo delle ingrate, Combattimento di Tancredi e Clorinda, Orfeo, and Le nozze d’Enea in Lavinia. Part 2 by Elena Povoledo, “Origins and Aspects of Italian Scenography,” comprises four chapters dealing with Italian scenography from the end of the fifteenth century to the Florentine intermedi of 1589. With illustrations, musical examples, and index.

372.

Palisca, Claude V. “Aria in Early Opera.” In Festa Musicologica: Essays in Honor of George J. Buelow, ed. Thomas J. Mathiesen and Benito V. Rivera, pp. 257–69. Stuyvesant, NY: Pendragon Press, 1995. (Festschrift Series, 14). ISBN 094519370X. ML55.B84 1995. Analyzes the function and characteristics of early arias, which are often characterized as recitatives, and argues that these pieces must be understood within the music traditions of the sixteenth century. One such example is Monteverdi’s “Possente spirto” (Orfeo, act 3). As Palisca argues, “for this six-stanza poem, Monteverdi invented a new aria for singing capitolo [or terza rima], similar in structure to those used in the early sixteenth century” (p. 264). With musical examples.

373.

Palisca, Claude V. “Aria Types in the Earliest Operas.” JSCM 9/1 (2003). http:// sscm-jscm.press.uiuc.edu.ezproxy.library.uvic.ca/jscm/v9/no1/ Palisca.html Includes solo madrigals and the strophic canzonetta among the seven types of aria found in early seventeenth-century operas.

374.

Rosand, Ellen. “Operatic Madness: A Challenge to Convention.” In Music and Text: Critical Inquiries, ed. Steven Paul Scher, pp. 241–87. Cambridge: Cambridge University Press, 1992. ISBN 0521401585. ML3849.M935 1991. Traces the development of operatic mad scenes, as well as Monteverdi’s important role in its formation, and analyzes the textual and musical representation of madness in Monteverdi’s Il ritorno d’Ulisse in patria (1640; text by Giacomo Badoaro), Francesco Sacrati’s La finta pazza (1641; text by Giulio Strozzi), and George Frideric Handel’s Orlando (1732; text by Carlo Sigismondo Capece). A comparison of the mad scenes appearing in these operas reveals “a different kind of interaction between text and music, and a different hierarchy

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between the two languages” (p. 286). Includes textual transcriptions and musical examples. 375.

Savage, Roger, and Matteo Sansone. “Il corago and the Staging of Early Opera: Four Chapters from an Anonymous Treatise Circa 1630.” EM 17/4 (November 1989): 495–511. After offering a detailed account of the etymology of the word corago, Roger Savage and Matteo Sansone examine an anonymous manuscript-treatise entitled Il corago (ca. 1630), which outlines the skills and responsibilities of a stager (“corago”) of sung or spoken drama. The authors propose that the author of this manuscript, probably written between 1628 and 1637, may have been Francesco Rinuccini (1592–1657), son of the Florentine poet and collaborator of Monteverdi, Ottavio Rinuccini. Translations of four chapters are offered: chapter 1: “On the name and duties of the Corago as that term is here employed,” chapter 15: “On the way of acting in music,” chapter 16: “Of choruses,” and chapter 23: “Some general advice to the Corago.”

376.

Sternfeld, Frederick W. The Birth of Opera. Oxford: Clarendon Press, 1993. xiv, 266p. ISBN 0198161301. ML1733.2.S73 1993. Insightful study of early opera, its classical heritage (particularly, Ovid’s Metamorphoses and Heroides), and its two primary elements: the solo lament and the ensemble finale. Chapter 1, “Orpheus, Ovid, and Opera,” which appears in an earlier version in no. 497, provides a rich cultural and literary context for the study of Orpheus in the operatic repertoire, including Monteverdi’s Orfeo. Chapter 2 deals with definitions of the terms “opera” and “intermedio,” and chapters 3 to 5 explore the “doleful lament,” which according to Sternfeld, “acts as a foil for the lieto fine” (p. ix). This book concludes with two final chapters discussing two standard rhetorical devices found in the lament: repetitio and echo. Includes musical examples, indexes, and bibliography.

377.

Sternfeld, Frederick W. “Aspects of Aria.” In no. 353, pp. 111–7. Explores two aspects of aria in early opera: the structural principle of repetition exemplified in strophic repetition and the importance of words and music, namely, the contrast between recitar cantando and cantar recitando. Discusses Monteverdi’s Orfeo, Il ritorno d’Ulisse in patria, and L’incoronazione di Poppea.

378.

Tomlinson, Gary. Metaphysical Song: An Essay on Opera. Princeton, NJ: Princeton University Press, 1999. x, 192p. ISBN 0691004099. ML3858.T66. Though he makes only a few direct references to Monteverdi’s operas, Tomlinson’s study is an influential analysis of opera that connects the beginning of the genre with a definitive separation of song from speech. Tomlinson connects this shift with Descartes’s dualism of mind and body.

379.

Weiss, Peter, Eliot. “Forgotten Reality, Remembered Fiction: Production, Values and Court Opera, 1598–1608.” Ph.D. diss. The University of Toronto, 1999. 450p. UMI 304558435.

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In this interdisciplinary study, Weiss constructs hypothetical productions or “historicized ideal performance texts” of select stage works from the period 1598–1608 by analyzing primary sources pertaining to both performance practices of the period and to select dramatic works. Readings of performances of Monteverdi’s Orfeo and Arianna are provided in chapters 3 and 4, respectively. 380.

Wilbourne, Emily. “La Florinda: The Performance of Virginia Ramponi Andreini.” Ph.D. diss. New York University, 2008. xii, 555p. UMI 3330195. In this valuable study that explores the intersection between the Italian commedia dell’arte and early opera and music theater, Wilbourne traces the life and performances of the commedia dell’arte actress and singer Virginia Andreini by combining “traditional archive research of historical musicology with critical reading practices drawn from interdisciplinary work in Italian studies, feminist theory and performance studies” (p. vi). Wilbourne examines Monteverdi’s Ballo dell’ingrate and Lamento d’Arianna through the lens of Andreini in chapter 3, “‘Mosse l’Arianna per essere donna’: Claudio Monteverdi, Virginia Andreini and the traces of Arianna.” Offers a valuable discussion of eleven musical sources for Monteverdi’s famous lament. With musical examples and two useful tables: 1) Musical sources for the Lamento d’Arianna (Table 3.1, p. 259), and 2) Characters in Ottavio Rinuccini’s Arianna (Table 3.3, p. 307). Wilbourne’s dissertation led to a book entitled Seventeenth-Century Opera and the Sound of the Commedia dell’Arte (University of Chicago Press, 2016).

VENETIAN OPERA AND OPERA IN VENICE 381.

Bianconi, Lorenzo, and Thomas Walker. “Dalla ‘Finta pazza’ alla ‘Veremonda’: storie di Febiarmonici.” RIM 10 (1975): 379–454. Richly documented study of opera in mid-seventeenth century Italy, with specific attention on the introduction of Venetian opera into Naples and the role of the Febiarmonici lyric company. Examines conventional features and Venetian elements in Giulio Strozzi’s Delia (1639) and La finta pazza (1641), the role of the Accademia delgi Incogniti, and the Teatro Novissimo in the early 1640s. Important context for Monteverdi’s Venetian operas.

382.

Calcagno, Mauro P. “Staging Musical Discourses in Seventeenth-Century Venice: Francesco Cavalli’s Eliogabalo (1667).” Ph.D. diss. Yale University, 2000. xiv, 394. UMI 9991129. Divided into three parts, this important study deals with various issues concerning text and music in seventeenth-century Venice. The first part concerns the relationship between words and the voice, as described in the writings of members of the Accademia degli Incogniti; the second examines Francesco Cavalli’s last opera, L’Eliogabalo, and the third investigates the associations among words, music, and dramatic action drawing from recent linguistic theories. Part 1

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considers Monteverdi’s madrigal setting of Battista Guarini’s “Mentre vaga angioletta,” as well as the word “la [bellezza]” sung by Seneca in act 1, scene 6 of L’incoronazione di Poppea. Part 3 applies the semiotic-pragmatic theory of deixis to Monteverdi’s Orfeo (see also Calcagno’s recent articles, nos. 437, 535). With appendices, bibliography, and musical examples. 383.

Glixon, Beth Lise. “Recitative in Seventeenth-Century Venetian Opera: Its Dramatic Function and Musical Language.” Ph.D. diss. Rutgers University, 1985. ix, 462p. UMI 8520360. Important study on the Venetian operatic recitative from the period 1641–84. Challenging the conventional view that the recitative is “musically inferior to the aria” (p. 6), Glixon’s study reveals the importance of the recitative verse in the libretto and also its dual function of advancing the plot and depicting the changing emotions of the characters. Divided into five chapters dealing with aspects of the libretto, the musical elements of the recitative, and the analysis of sample scenes, this study includes over fifty musical examples, four of which are taken from Monteverdi’s L’incoronazione di Poppea (examples 35–8). The use of recitative in this opera is discussed in depth in chapter 3, “Recitative in the 1640s.” With appendices and bibliography.

384.

Glixon, Beth. “Private Lives of Public Women: Prima Donnas in Mid SeventeenthCentury Venice.” ML 76/4 (November 1995): 509–31. Valuable study on the role of women in mid-seventeenth-century Venetian opera that focuses on the career of Anna Renzi, who first performed the role of Ottavia in Monteverdi’s L’incoronazione di Poppea (Teatro SS Giovanni e Paolo; 1642–3 season). Drawing from a wealth of primary sources that include court and chapel records, the surviving correspondence of singers and patrons, and the papers of the impresario Marco Faustini, Glixon examines the social status of female singers and their professional opportunities within the Venetian context. Renzi’s operatic roles are discussed.

385.

Glixon, Beth. “Scenes from the Life of Silvia Gailarti Manni, a SeventeenthCentury Virtuosa.” EMH 15 (1996): 97–146. Describes the entrance of female performers into the profession of music in seventeenth-century Italy, focusing on the life of singer Silvia Gailarti Manni (b. ca. 1629). Divided into several sections, this article discusses Silvia’s personal dramas during her youth, her early career, and her contacts with members of the Accademia degli Incogniti as well as her association with Monteverdi, her marriage to Piero Manni in 1645, and her subsequent professional activities throughout Italy. Through a careful reading of extant legal documents, Glixon explores the relationship between the singer Dionora Luppi, Silvia’s mother, and Monteverdi. These documents reveal that Luppi sued Monteverdi in 1642 for breach of contract, and suggest that both Luppi and her daughter Silvia participated in one of Monteverdi’s operas performed at the Teatro SS Giovanni e Paolo during the 1640–1 season. The dangers and risks faced by young girls and women pursuing

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a musical career in Italy are examined. A list of operas connected with Silvia and Pietro Manni is included in the appendix. 386.

Glixon, Beth, and Jonathan Glixon. Inventing the Business of Opera: The Impresario and His World in Seventeenth-Century Venice. Oxford: Oxford University Press, 2006. xxvi, 398p. ISBN 9780195154160. ML1733.8.V4.G65 2005. Divided into four sections, “The Business of Opera,” “The Musical Production,” “The Physical Production,” and “Consumers and Patrons,” this book is a valuable contribution to the study of opera in mid-seventeenth-century Venice. The authors discuss aspects in the performances of operas by Monteverdi, including the revisions to the libretto for the 1640 Venetian revival of Arianna, as well as the sets and machines used in the productions of Il ritorno d’Ulisse in patria and L’incoronazione di Poppea. With appendices, glossary, bibliography, and index.

387.

Heller, Wendy. “Chastity, Heroism, and Allure: Women in the Opera of Seventeenth-Century Venice.” Ph.D. diss. Brandeis University, 1995. xviii, 697p. UMI 9532701. Heller’s dissertation—revised and expanded in a 2003 monograph (no. 388)— examines the representation of emblematic heroines appearing in Venetian operas from the period 1641–80, while taking into account local contemporary notions of female virtue and behavior. The role of Ottavia in Monteverdi’s L’incoronazione di Poppea is discussed in chapter 4. Includes musical examples and bibliography.

388.

Heller, Wendy. Emblems of Eloquence: Opera and Women’s Voices in SeventeenthCentury Venice. Berkeley: University of California Press, 2003. xvii, 386p. ISBN 0520209338. ML2100.H45 2003. Building on her doctoral dissertation (Brandeis University, 1995; no. 387), Heller offers an important gender-based study of opera in seventeenth-century Venice. Heller analyzes five operatic female roles against a cultural and historical background that imposed silence and grieving upon women. These include the roles of Dido in Francesco Cavalli’s Didone, Octavia in Monteverdi’s L’incoronazione di Poppea, Calisto in Cavalli’s Calisto, Queen Semiramis of Assyria in Pietro Andrea Ziani’s Semiramide, and Messalina in Carlo Pallavicino’s Messaline. In chapter 4, “‘Disprezzata regina’: Woman and Empire,” Heller explores the (ahistorical) representation of Ottavia in Giovanni Francesco Busenello’s text, including her intriguing lament, within the context of history, opera, and politics. With musical examples, bibliography, and index. Reviewed extensively in scholarly journals (see Robert R. Holzer’s review in JAMS 60/1 [Spring 2007]: 193–200).

389.

Heller, Wendy. “Venice’s Mythic Empires: Truth and Verisimilitude in Venetian Opera.” In Opera and Society in Italy and France from Monteverdi to Bourdieu, ed. Victoria Johnson, Jane F. Fulcher, and Thomas Ertman, pp. 34–52. Cambridge: Cambridge University Press, 2007. (Cambridge Studies in Opera). ISBN 9780521856751. ML3918.064.064 2007.

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In this essay, Heller examines Venetian operatic topics and settings—all “marked by their apparent temporal, physical, and even political distance from the Republic of Venice” (p. 35), while suggesting that, by altering historical record and manipulating verisimilitude and truth, composers and librettists could create “alternative realities or mythic empires” (p. 36) in which Venetian people could envision themselves differently. Several operas are discussed, including Monteverdi’s L’incoronazione di Poppea. 390.

Mehltretter, Florian. Die unmögliche Tragödie: Karnevalisierung und Gattungsmischung im Venezianischen Opernlibretto des siebzehnten Jahrhunderts. Frankfurt: Peter Lang, 1994. (Europäische Hochschulschriften, 36). ISBN 3631473435. Based on the author’s Ph.D. from Freie Universität Berlin, 1993. Study of the seventeenth-century Venetian opera libretto from a broad cultural framework that includes both the pastoral tradition and the semiotic system of carnival. The volume considers well-known works, including a chapter on Giovanni Francesco Busenello’s libretto for L’incoronazione di Poppea, alongside operatic texts by Giulio Cesare Corrado, Giovanni Filippo Apolloni, and Pietro Dolfino. Important study for framing Busenello’s work as a librettist (in addition to L’incoronazione di Poppea, Mehltretter discusses La Didone, La Statira, La prosperità infelice di Giulio Cesare).

391.

Pirrotta, Nino. “Early Venetian Libretti at Los Angeles.” In Essays in Musicology in Honor of Dragan Plamenac, ed. Gustave Reese and Robert J. Snow, pp. 233–43. Pittsburgh, PA: University of Pittsburgh Press, 1969. ISBN 822910985. ML55.P65.R44 1969. Provides a description of the first four volumes (1637–43) of a chronologically ordered collection of more than one hundred volumes containing Venetian librettos preserved in the Music Library of the University of California at Los Angeles. These four volumes cover the early years of operatic activity in Venice while providing evidence of revivals (e.g., Monteverdi’s Arianna) and examples of scenarios (e.g., vol. 1, no. 6). Includes a valuable appendix identifying the title, printer, and date of publication for the librettos contained in volumes 1–4.

392.

Rosand, Ellen. Opera in Seventeenth-Century Venice: The Creation of a Genre. Berkeley: University of California Press, 1991. xxii, 684p. ISBN 0520068084. ML1733.8V4R67 1991. In this authoritative study dealing with the development of Italian opera during the period 1637 to 1678, Rosand argues that opera defined itself as a genre in Venice. Monteverdi’s works and legacy are examined in this lengthy book divided into two parts and comprising thirteen chapters dealing with such issues as reception, chronologies of theaters and librettos, and the roles of librettists, composers, and singers. Chapters 1 and 9 in part 1 explore Monteverdi’s Orfeo, L’incoronazione di Poppea, and Il ritorno d’Ulisse in patria, while chapters 11 and 12 in part 2 examine the development of operatic conventions that became standard in the genre (love duets, laments, trumpet arias, and mad scenes, among others) and whose roots can be traced to Monteverdian models. Includes illustrations, musical examples, appendices, bibliography, and index.

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393.

99

Schulze, Hendrik. Odysseus in Venedig: Sujetwahl und Rollenkonzeption in der venezianischen Oper des 17. Jahrhundert. Frankfurt: Peter Lang, 2004. xiv, 433p. (Perspektiven der Opernforschung, 11). ISBN 3631504950 9783631504956. ML1733.8.V4.S36 2004. Based on the author’s dissertation (Ruprecht-Karls-Universität, Heidelberg, 2002). In-depth study of the figure of Odysseus, a character who featured prominently in nine operas staged in Venice in the seventeenth century. Includes chapters on the reception of authors of antiquity in seventeenth-century Italy, Odysseus in visual arts, literature, and music of the Venetian Seicento, sources and methodology, individual chapters devoted to Il ritorno d’Ulisse in patria and La finta pazza Licori, and four chapters on Odysseus in Venetian opera from the early modern period until the beginning of the eighteenth century. Monteverdi’s portrayal of Odysseus as a hero contrasted from contemporaneous interpretations that highlighted his ambivalence.

394.

Termini, Olga. “The Transformation of Madrigalisms in Venetian Operas of the Later Seventeenth Century.” MR 39/1 (1978): 4–21. The author reviews sixteenth-century examples and advice (citing Thomas Morley) on word painting, and locates numerous examples of sound imitation in Venetian operas by Monteverdi, Gasparo Sartorio, Giacomo Antonio Perti, Fortunato Chelleri, and Antonio Pollarolo. Termini concludes that madrigalisms became the points of departure of general stylistic features of Baroque operatic style, such as coloratura and the comparison aria. Specific word description coexisted with the expression of the basic affection of the poem.

395.

Whenham, John. “Perspectives on the Chronology of the First Decade of Public Opera at Venice.” RSM 11 (2004): 253–302. Expands on existing source studies on early Venetian librettos and opera productions. Challenging Pirrotta’s “date of dedication=date of performance” hypothesis in “Early Venetian Libretti at Los Angeles” (no. 391) and Ellen Rosand’s “past participle” theory in Opera in Seventeenth-Century Venice (no. 392), in which the past participle rapprasentato in a given libretto signifies that such libretto was printed after the production of the opera. Whenham argues that each libretto has to be considered individually. The author examines accounts of contemporary observers present at Venice during the first decade of public opera performances and shows that operas were indeed played in the city in the 1645–6 carnival. Suggests that a possible 1646 performance of L’incoronazione di Poppea “can no longer be ruled out on the grounds that the Venetian opera theaters were closed in that year” (p. 285). With tables and appendices of documents and supporting information.

STUDIES OF MONTEVERDI’S DRAMATIC WORKS 396.

Arnold, Denis. “Intermedio, Ballet and Opera in the Oeuvre of Monteverdi.” In La musique et le rite sacré et profane: IMSCR 13 (1982), vol. 1, ed. Marc

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Honegger, Christian Meyer, and Paul Prévost, pp. 363–70. Strasbourg: Association des Publications près les Universités de Strasbourg, 1986. ISBN 2868201075. ML3797.1.I59 1982. Argues for a pluralistic and all-encompassing approach for the study of early opera and its development, while showing the weakness in linear and singular approaches. Uses Monteverdi’s career, including the composer’s mastery of many music genres, to exemplify the wider context in which opera emerged. With a useful list of non-operatic entertainments of the period 1600–43. 397.

Bokina, John. “Deity, Beast, and Tyrant: Images of the Prince in the Operas of Monteverdi.” IPSR 12 (1991): 48–66. Analyzes Baroque political thinking through the lens of Monteverdi’s three surviving operas. Focusing on the operatic depiction of princes, Bokina suggests that the Mantuan opera Orfeo embodies absolutist ideals, and that its lieto fine version, in particular, “permits an instructive lesson in Platonic rulership” (p. 53). The Venetian operas Il ritorno d’Ulisse in patria and L’incoronazione di Poppea, in contrast, reflect seventeenth-century republican paradigms. Useful bibliography that includes references to studies on political thought and theories.

398.

Calcagno, Mauro. “‘Imitar col canto chi parla’: Monteverdi and the Creation of a Language for Musical Theater.” JAMS 55/3 (Winter 2002): 383–431. Drawing from the fields of linguistic pragmatics and semiotics, as well as theater studies, Calcagno’s study examines how Monteverdi emphasized discourse meanings by musically imitating speech and, particularly, by highlighting deictic words (“empty” in meaning and dependent on the context of the utterance, normally referring to time, space, and subjectivity [i.e., “now,” “here,” and “I”]). Analyzes scenes from Orfeo, Il ritorono d’Ulisse in patria, and L’incoronazione di Poppea. With textual transcriptions and analyses, musical examples, and bibliography. Reproduces a useful graph representing the “deictic field” of language (Figure 1) and also a diagram of the relationships between deictics and body movements (Figure 2).

399.

Carter, Tim. “Possente spirto: On Taming the Power of Music.” In no. 48, EM 21/4 (November 1993): 517–22. Reprinted in no. 41, Essay 9, pp. 517–22. Discusses the evolution of Monteverdi’s compositional approach to emotional arousal within the context of changing musical aesthetics during the early seventeenth century. Carter begins his essay with a discussion of Monteverdi’s early style exemplified in Orpheus’s “Possente Spirto” (act 3 of Orfeo), and explores the musical changing world of the 1610s as well as the aria-influenced styles of the 1620s and 1630s. Analyzes, and provides musical examples of, Giovanni Battista Piazza’s “Non havea Febo ancora” (1633) and Monteverdi’s “Lamento della ninfa” (1638) and “Sfogava con le stelle” (1603).

400.

Carter, Tim. Monteverdi’s Musical Theatre. New Haven, CT: Yale University Press, 2002. x, 326p. ISBN 0300096763. ML410.M77.C37 2002.

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Carter’s study—the first book in the English language dedicated entirely to Monteverdi’s dramatic works—is a valuable addition to the literature on Monteverdi. The book opens with an introductory chapter—“Monteverdi and the ‘problems of opera’” stemming from Nino Pirrotta’s lecture and publication bearing the same title (no. 409) that is followed by nine chronologically-arranged chapters, each exploring Monteverdi’s time and dealing with important aspects of his compositions. Discusses Orfeo (1607), Il ritorno d’Ulisse in patria (1640), L’incoronazione di Poppea (1643), the balli, the dramatic madrigal Combattimento di Tancredi e Clorinda (1624), and the composer’s lost works. Includes musical examples, bibliography, and two useful indexes: “Monteverdi’s theatrical works” and “Names, institutions, and theatres.” Reviewed extensively in scholarly journals (see Barbara Russano Hanning’s review in JSCM 12/1 [2006]. https://sscm-jscm.org/v12/ no1/hanning.html). 401.

Fabbri, Paolo. “Monteverdi e il teatro per musica da Mantova a Venezia” and “Monteverdi und das Musiktheater zwischen Mantua und Vendig.” In Mito opera: Percorso nel mondo del melodramma/Ein Weg in die Welt des Musiktheaters, ed. Giacomo Fornari, pp. 9–17 (Italian) and pp. 115–24 (German). Lucca, Italy: Libreria Musicale Italiana (LIM), 2002. xv, 213p. ISBN 8870963055. ML1733.M64 2002. Brief overview of Monteverdi’s operas; in Italian and German.

402.

Fenlon, Iain. “The Mantuan Stage Works.” In no. 34, pp. 251–87. Shows that Monteverdi’s first Mantuan opera, Orfeo (1607), does not represent a break from the composer’s previous music; rather, it builds on the composer’s musical experience, particularly with the five-voice madrigal, and also draws from the rich musical style cultivated in the Mantuan court. Fenlon explores the differences in Monteverdi’s second Mantuan opera, Arianna (1608), in which, for example, “madrigalisms are abandoned” (p. 280). With musical examples.

403.

Fischer, Kurt von. “Versuch einer Interpretation von Monteverdis Opern.” In no. 53, pp. 13‒9. (First appeared in summary with the program book for the Zurich Opera house in Neue Züricher Zeitung [May 28‒29, 1977], pp. 123–4.) Also in Aufsätze zur Musik: Aus Anlass des 80. Geburtstages von Kurt von Fischer. Zurich: Hug, 1993. pp. 80–5. ISBN 9783906415857. No LC. Addresses Monteverdi as an interpreter of the libretto: music itself is the central character in Orfeo, whereas the frailty of humanity is the central subject in Il ritorno d’Ulisse in patria and erotic love is the main theme in L’incoronazione di Poppea.

404.

John, Nicholas, ed. The Operas of Monteverdi. London: Calder Publications Ltd., 1992. 208p. (Opera Guide, 45). ISBN 0714542075. ML49.M75.R52 1992. Collection of eleven essays on the operas of Monteverdi intended more for the general reader than for the music specialist. Includes the librettos with English translations of Orfeo, Il ritorno d’Ulisse in patria, and L’incoronazione di Poppea. With illustrations and discography.

102

405.

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Mahling, Christoph-Hellmut. “Zum Verhältis von Klangraum und dramatischer Gestaltung in Claudio Monteverdis L’Orfeo (1607) und L’incoronazione di Poppea (1642).” In no. 46, pp. 347–58. Draws a contrast between Monteverdi’s approach to tonality in his early and late operas. In Orfeo, tonal areas are associated with particular characters and emotional worlds. Tonal areas play an important part in the dramatic concept of Orfeo, whereas they play a secondary role in L’incoronazione di Poppea. Mahling sees this shift in Monteverdi’s approach to tonality as evidence of the composer’s development as a dramatist.

406.

McClary, Susan. “Constructions of Gender in Monteverdi’s Dramatic Music.” COJ 1/3 (November 1989): 203–23. Published in German as “Konstruktionen des Geschlechts in Monteverdis dramatischer Musik.” In no. 53, pp. 34–56. Reprint of the original as chapter 2 of the author’s Feminine Endings: Music, Gender, and Sexuality. Minneapolis: University of Minnesota Press, 1991 and in no. 64, pp. 293–313. Insightful and influential article dealing with representations of gender in Monteverdi’s operas Orfeo (1608) and L’incoronazione di Poppea (1643). According to McClary, Monteverdi developed two kinds of rhetoric for Orpheus: first, the “rhetoric of seduction” illustrating the character’s rhetorical virtuosity, a skill normally associated with men, and second, the rhetoric of lament. The latter, she suggests, “precipitated a crisis in gender representation for the musical stage” (as lamenting male characters were viewed as effeminate) and thus influenced the subsequent operatic convention of associating laments with female characters (p. 217). Analyzes Poppea’s power of persuasion, normally a male attribute, in the context of reversals of representations of gender in the seventeenth century. “Rosa del ciel” and “Io non dirò” from Monteverdi’s Orfeo are examined. With musical examples. Jeffrey Kurtzman responds to this article in no. 463.

407.

Mellers, Wilfred. The Masks of Orpheus: Seven Stages in the Story of European Music. Manchester: Manchester University Press, 1987. 174p. ISBN 0719024560. ML1720.M44 1997. Traces the origins of Orpheus and the different treatments of the myth, beginning with Angelo Poliziano’s La favola di Orfeo (1480) and ending with Harrison Birtwistle’s The Masks of Orpheus (1986). This book is divided into seven chapters that present a chronological examination of musical works in which the figure of Orpheus is present in either a concrete or symbolic manner. Monteverdi’s Orfeo (1607) and L’incoronazione di Poppea (1642) are examined within their artistic and historic context in, respectively, chapter two, “Christ-Orpheus Platonised in the High Renaissance,” and chapter 3, “Orpheus Crestfallen and Restored.” With index.

408.

Nordon, Vincent. “L’usure marine.” Musical 3 (May 1987): 66–77. Provides a straightforward discussion of Monteverdi’s operas and aesthetics that is intended more for the general reader than the music specialist. Includes illustrations and textual excerpts.

Dramatic Works

409.

103

Pirrotta, Nino. “Monteverdi and the Problems of Opera.” Chapter 16 of the author’s Music and Culture in Italy from the Middle Ages to the Baroque: A Collection of Essays, pp. 235–53. Trans. David Morgenstern. Cambridge, MA: Harvard University Press, 1984. (Studies in the History of Music, 1). ISBN 0674591089. ML290.1.P57. Published in Italian as “Monteverdi e i problemi dell’opera.” In Studi sul teatro veneto fra Rinascimento ed età barocca, ed. Maria Teresa Muraro, pp. 321–43. Florence: Leo S. Olschki, 1971. (Civiltà veneziana, 24). Challenges the notion of Monteverdi’s singular greatness as an inventor of opera. Emphasizes the influence of Jacopo Peri’s L’Euridice (1600) and the so-called Florentine Camerata on Monteverdi through a detailed comparison with Orfeo. Drawing from the same subject matter, Pirrotta provides useful comparisons of parallel settings by the respective librettists, Ottavio Rinuccini and Alessandro Striggio. While Monteverdi’s instrumentation is more flexible and inventive and his choral parts more expansive, the style of the dialogues and monologues derives from Peri. Brief treatment of Arianna and L’incoronazione di Poppea.

410.

Pirrotta, Nino. “Theater, Sets, and Music in Monteverdi’s Operas.” Chapter 17 of the author’s Music and Culture in Italy from the Middle Ages to the Baroque: A Collection of Essays, pp. 235–53. Trans. David Morgenstern. Cambridge, MA: Harvard University Press, 1984. (Studies in the History of Music, 1). ISBN 0674591089. ML290.1.P57. Reconsiders Monteverdi’s operas from 1607–8 and those from his final years in Venice in light of contemporaneous performance and theatrical conventions. Monteverdi’s Mantuan operas fall within a phase of theatrical history belonging to the Renaissance; Pirrotta presents various hypotheses as to where in the ducal palace Monteverdi’s Orfeo was staged. Argues that Monteverdi composed Il ritorno d’Ulisse in patria to be performed in Bologna in fall 1639 and that its Venetian performances were at the Teatro SS Giovanni e Paolo (whereas most scholars agree that it was staged at the Teatro San Cassiano).

411.

Povoledo, Elena. “Controversie monteverdiane: Spazi teatrali e immagini presunte.” In no. 39, pp. 357–89. Identifies the location of the first performance of Monteverdi’s Orfeo as a room in the Corte Vecchia, rather than the Teatro Grande of the court. Povoledo proposes the “Sala dei Fiumi” as the specific room in which Orfeo was first performed. Suggests that Monteverdi’s Arianna received its first performance in a provisional theater located in a courtyard, likely the Prato della Mostra. In contrast to the lavish expenditures of court opera, commercial opera required a tighter profit margin: the start of commercial opera coincided with a halt in the development of expensive scenography. Venetian theaters were equipped with a stock of sets. Features twenty-one illustrations of opera sets from Florence, Parma, Rome, Venice, Ferrara, and Vienna that provide a visual context for Monteverdi’s productions.

412.

Ringer, Mark. Opera’s First Master: The Music Dramas of Claudio Monteverdi. Pompton Plains, NJ: Amadeus Press, 2006. xiv, 344p. + 1 CD. (Unlocking the Masters, 8). ISBN 1574671103. ML410.M77.R56 2006.

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A valuable guide to Monteverdi’s life and dramatic works intended for the general reader, as well as for music and theater enthusiasts. Divided into seven chapters that examine different aspects of Monteverdi’s Orfeo, Il ritorno d’Ulisse in patria, L’incoronazione di Poppea, Arianna, Il ballo della ingrate, and Combattimento di Tancredi e Clorinda. Includes a selected discography and videography of Monteverdi’s operas. With bibliography, index, and a description of the CD contents. 413.

Rosand, Ellen. “Operatic Ambiguities and the Power of Music.” COJ 4/1 (March 1992): 75–80. Article written in response to Edward T. Cone’s assessment of Poppea’s lyrical response to the news of the death of Seneca (act 2, scene 10), and his assertion that all characters in opera “go around singing songs all the time” (“The World of opera and its inhabitants,” in Music: A View from Delphi: Selected Essays, ed. Robert P. Morgan, pp. 125–38, Chicago: University of Chicago Press, 1989) and to Peter Kivy’s response to that essay (“Opera Talk: A Philosophical ‘Phantasie’,” COJ 3/1 [1991]: 63–77). Rosand discusses the many compositional devices, aside from songs, used by Monteverdi to represent different emotions and instances in his operas.

414.

Rosand, Ellen. Monteverdi’s Last Operas: A Venetian Trilogy. Berkeley: University of California Press, 2007. xxiv, 447p. ISBN 9780520249349. ML410.M477.R67 2007. A major contribution to the literature on Monteverdi’s operas, this comprehensive study draws on a wealth of primary and secondary sources to propose a new interpretation of the composer’s Venetian works. Rosand views Monteverdi’s Il ritorno d’Ulisse in patria (1640) and L’incoronazione di Poppea (1643) not as a pair, but as part of a Venetian trilogy that includes Le nozze d’Enea in Lavinia (1641), an opera whose music has not yet surfaced. This book is divided into three parts (a division described by Rosand in her preface [p. xvii–xviii] but not reflected in the table of contents) that are preceded by an introductory chapter introducing Venetian figures involved in the productions of these operas. Chapters 2 through 4 (part 1) investigate issues of reception and sources; chapter 5 (part 2) aims to “recover a sense of the missing music of Nozze” (p. xviii) through the comparative analysis of all three operas, and chapters 6 through 8 (part 3) examine the interactions between music and text, as well as the characters appearing in these three works. Includes illustrations, musical examples, appendices containing valuable documents and supporting information, bibliography, and index.

415.

Rosand, Ellen. “Monteverdi’s Late Operas.” In no. 63, pp. 227–42, 243–8. Explores Monteverdi’s two surviving Venetian operas, Il ritorno d’Ulisse in patria (1640) and L’incoronazione di Poppea (1643), in relation to the aesthetics of the Accademia degli Incogniti—to which Venetian librettists Giovanni Francesco Busenello and Giacomo Badoaro belonged—and of Monteverdi’s late style. Through a careful reading of the sources, Rosand examines the formal structure of the libretti and the music-text relationship in these two works, and establishes

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important differences between the two librettos. Rosand shows that whereas Badoaro’s Ulisse is a classicizing drama adhering to the rules of tragedy, Busenello’s Poppea is a “modern ‘drama musicale’” (p. 242). An appended “Intermedio” (Intermedio VI) examines the moment in which Ulysses reveals his identity to Penelope in act 5, scene 10 of Il ritorno d’Ulisse in patria (1640). With musical examples. The ideas presented in this article are expanded in Rosand’s book on Monteverdi’s late operas (no. 414). 416.

Schmalzriedt, Siegfried. “Fabel und Drama: Zur musikalischen Szenengestaltung in den Opern Claudio Monteverdi.” In Zur Dramaturgie der Barockoper: Bericht über die Symposien der Internationalen Händel-Akademie Karlsruhe, ed. Hans Joachim Marx, pp. 167–80. Laaber, Germany: Laaber, 1994. (Veröffentlichungen der Internationalen Händel-Akademie Karlsruhe, 5). ISBN 3890072992. ML410. H13.Z87 1994. Explores Monteverdi’s aesthetic of musical realism as the basis for the composer’s approach to dramatic works of the 1620s onward. This is reflected in his turn to more life-like subjects, dissonance treatment, concitato style, and ostinato patterns.

417.

Tamburini, Elena. “A partire dall’ Arianna Monteverdiana pensando ai Comici: Luoghi Teatrali alla corte di Mantova.” In no. 39, pp. 415–29. Compact assessment of the venues for staging operas, plays, and related theatrical events in Mantua during the seventeenth century. While most Italian courts had two venues of different size (grande and piccolo), Tamburini points to the possibility of a third theater at the Mantuan court, the teatro di Castello, built by Viannini in 1608 for the wedding of Prince Francesco. Tamburini identifies the theater as the cortile della mostra, located directly adjacent to the teatro grande.

418.

Titone, Antonino. “‘E quai nuovi rumori’: Neben-und komische Rollen in Monteverdis Musiktheater.” In no. 53, pp. 20‒33. (Reprinted in Italian in Musicus discologus. II: Musiche e scritti per l’80° anno di Carlo Marinelli, ed. Maria Emanuela Marinelli and Anna Grazia Petaccia, pp. 729–40. Pisa, Italy: ETS, 2007). Studies supporting and comic roles from across Monteverdi’s operas, among them Euridice, Ottavia, Arnalta, Drusilla, Caronte, and Penelope. Points to Monteverdi’s success in infusing these roles with musical and dramatic depth.

419.

Tomlinson, Gary. “Clamor vincit omnia: The Decline of Love and the Emergence of Music.” In Amor vincit omnia: Karajan, Monteverdi und die Entwicklung der Neuen Medien: Symposium 1999, ed. Sigrit Fleiss and Ina Gayed, pp. 34–59. Vienna: Paul Zsolnay, 2000. 236p. ISBN 9783552049604. ML3845.A5. Takes as his starting point three vital figures in the history of early modern song and love: Marsilio Ficino (1433–99), Monteverdi, and Giambattista Vico (1668–1744). Tomlinson positions Monteverdi as the mid point: Arianna (1608) recalled the tenuous materiality or “airy song” of Ficino, while L’incoronazione di

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Poppea (1643) looked forward to the anti-metaphysical song and the modernity espoused in Vico’s Scienza nuova. 420.

Whenham, John. “Monteverdi, Opera, and Oratorio.” In Heritage of Music, I: Classical Music and Its Origins, ed. Michael Raeburn and Alan Kendall, pp. 72–95. Oxford: Oxford University Press, 1989. ISBN 0195053702. ML160.H3527 1988. Offers an overview of the life and works of Monteverdi, as well as the development of opera and oratorio, that is intended more for the general reader than for the music specialist. With illustrations that include paintings, sculptures, theater designs and costumes, architecture, and music sheets.

L’Orfeo (1607) 421.

Ackermann, Peter. “Musikgeschichte und historische Aufführungspraxis: Paul Hindemiths Versuch einer Rekonstruktion der ersten Aufführung von Monteverdis Orfeo.” HJ 23 (1994): 61–81. Assesses the historical significance and aesthetic values of Paul Hindemith’s transformation of Monteverdi’s Orfeo, first performed in Vienna on June 3–4, 1954, a decade after Hindemith completed his reworking of Monteverdi’s masterpiece while at Yale University. Hindemith based his Orfeo on the 1609 publication of Monteverdi’s opera, which Hindemith knew through Adolf Sandberger’s facsimile reproduction in 1927. Evidence of Hindemith’s aesthetic updating can be found in his expansive color spectrum and instrumentation. With musical examples.

422.

Alessandrini, Rinaldo, Georg Nigl, Roberta Invernizzi, and Claudio Monteverdi. Claudio Monteverdi: l’Orfeo: Rinaldo Alessandrini, Teatro alla Scala. Milano: Electa, 2010. 143p. + 2 sound discs + 1 DVD-ROM. (Vox imago). No ISBN. No LC. Collected essays by various authors with photographs from the September, 2009 production at Teatro alla Scala; includes photos of the ducal palace in Mantua where the opera was premiered February 24, 1607. Accompanying compact discs contain the live performance at Teatro alla Scala, September, 2009; accompanying DVD-ROM contains the libretto, essays, video recording of opera performance highlights. Performed by the soloists, chorus, and orchestra of the Teatro alla Scala with Rinaldo Alessandrini conducting with Georg Nigl as Orfeo and Roberta Invernizzi as Euridice.

423.

Arlt, Wulf. “Der Prolog des Orfeo als Lehrstrück der Aufführungspraxis.” In no. 46, pp. 35–51. Compares Monteverdi’s prologue to Orfeo with contemporaneous examples from early operas by Jacopo Peri, Giulio Caccini, and Marco da Gagliano that only notate the first strophe of music. The through-composed strophes of Monteverdi’s prologue to Orfeo offer a performance guide for operatic prologues around 1600. With musical examples.

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424.

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Azouvi, François. “Analyse structurale acte par acte.” In no. 58, pp. 20–61. Intended as a centerpiece in the issue, this article provides a detailed musical, literary, and historical analysis of Monteverdi’s Orfeo. Azouvi offers a scene-byscene examination of the text-music relationship in Monteverdi’s work. Includes the complete libretto of Alessandro Striggio’s Orfeo, accompanied by a French translation. With musical examples and illustrations.

425.

Azouvi, François. “Orphée au nom fameux: du mythe a la legénde.” In no. 58, pp. 8–13. Traces the evolution of the myth of Orpheus, from its depiction as a hero in classical antiquity to that of a lover in Alessandro Striggio’s libretto. An appendix (indicated by a new title: “Remarque sur le trois versions du myth d’Orfée”) offers a comparative analysis of Virgil’s, Ovid’s, and Striggio’s versions of the myth.

426.

Baroncini, Rodolfo. “Scelte e idiomi strumentali nell’Orfeo e in altri luoghi monteverdiana.” In no. 39, pp. 289‒332. Study of the instrumentation of Monteverdi’s Orfeo with special attention to the viola d braccio consort. Concludes that Monteverdi’s approach was influenced by his immediate, Mantuan surroundings, rather than by Florentine precedent.

427.

Barraqué, Jean. Jean Barraqué: Écrits. Ed. Laurent Feneyrou. Paris: Publications de la Sorbonne, 2001. 603p. (Série Esthéthique, 3). ISBN 2859444181. ML60.B24 2001. Collection of essays on music that includes “L’Orfeo de Monteverdi” (pp. 119–22), previously published in the Guide du concert (1955). Barraqué offers a brief discussion of the performances and the different editions of the opera produced in the twentieth century, including those by Vincent d’Indy, Gian Francesco Malipiero, Ottorino Respighi, and Maurice Le Roux.

428.

Beaussant, Philippe. Le chant d’Orphée selon Monteverdi: essai. Paris: Fayard, 2002. 207p. ISBN 2213611734. MT100.M74.B43 2002. A valuable addition to the literature on Monteverdi’s Orfeo that is intended for non-music specialists. This book, which opens with a prologue (“Preambule”) and ends with a conclusion (“Épilogue”), contains seven sections, each discussing one section within the opera. In order to aid the reader, Beaussant makes references to tracks and minutes in a specific recording of this opera (not included in this edition) when discussing musical passages in Orfeo (the selected CD is Gabriel Garrido’s recording of Orfeo [France: K617, 1996]). With illustrations and a chronology that includes historical events, the history of Mantua, and literature and arts.

429.

Berger, Karol. “Monteverdi’s L’Orfeo, or the Anxiety of the Moderns.” HR 1/1 (Winter 2008): 30–52. An excerpt of the author’s book Bach’s Cycle, Mozart’s Arrow: An Essay on the Origins of Musical Modernity (University of California Press, 2007), this article

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examines the birth of opera within the context of philosophical and artistic changes of the late sixteenth and early seventeenth centuries. Berger proposes that early operas, including Monteverdi’s Orfeo, “dramatize the anxiety of the early moderns in their relationship to the ancients, [including] the fear that the project of bringing back ancient music may be somehow not viable” (pp. 49–50). With musical examples. 430.

Bernardi, Guillaume. “Le regard d’Orphée: Trisha Brown, la vidéo e l’Orpheo de Monteverdi/The Gaze of Orpheus: Trisha Brown & the Use of Video in Monteverdi’s Orfeo.” In Trisha Brown: Danse, précis de liberté: exposition du 20 julliet au 27 septembre 1998, Centre de la Vieille Charité, Marseille, pp. 136–41. Paris: Réunion des Musées Nationaux, 1998. ISBN 2711837076. NC139.B77.A4 1998. Text given in French and English. Describes Trisha Brown’s stage direction and choreography of Monteverdi’s Orfeo. Brown’s work begins with the use of video recording as a working technique in which approximately two hundred hours of improvisation are captured on camera and are later edited in a studio. The final product is presented to the singers, who rehearse their roles based on Brown’s work. With illustrations.

431.

Bisaro, Xavier. “Orfeo de Mantoue à Paris: Itinéraires de l’opéra de cour au XVIIe siècle.” MAPM 11/3 (2004): 39–57. An exploration of two different settings of the myth of Orpheus—MonteverdiStriggio’s Orfeo (Mantua, 1607) and Luigi Rossi-Francesco Buti’s Orphée—with a focus on the socio-political context in which each work was developed. The author suggests that whereas the first reflects a humanistic vision of the myth during times of relative peace, the latter reveals the overarching geopolitical ambitions of France under Cardinal Mazzarin. With textual excerpts, musical examples, and bibliography.

432.

Bowers, Roger. “Proportional Notations in Monteverdi’s ‘Orfeo’.” ML 76/2 (May 1995): 149–67. Expanding on his earlier research (no. 647), Bowers argues that modern transcriptions of music from the late Renaissance and the very early Baroque should recognize and convey the intended meaning of the proportional notation inherent in the original scores. Examines and provides transcriptions of several excerpts in Monteverdi’s Orfeo, including the ritornellos and arias “Vi ricorda,” “In questo prato,” “Ma s’il nostro gioir,” “Mira, deh mira Orfeo,” “Alcun non sia che disperato in preda,” the chorus “Lasciate i monti,” and the Sinfonia in act 2.

433.

Brisson, Elisabeth. Operas mythiques. Paris: Ellipses, 2008. 741p. ISBN 9782729840884. ML1700.B83 2008. Discusses twelve operas derived from well-known myths, beginning with Monteverdi’s Orfeo and ending with Alban Berg’s Wozzeck. Part 1 in Brisson’s book is dedicated to Orfeo. This section is comprised of nine chapters that discuss historical context, Monteverdi’s compositional style, the librettist and libretto, its

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performers, and its contribution to the history of the genre and to culture. With bibliography, glossary, and index. 434.

Brown, Julia. “Tragedy and Treatment of Tragic Elements in the Legend of Orpheus: A Comparison of the Underworld Scenes in Mythological Sources with the Operas of Monteverdi and Sartorio.” MRF 11/2 (1996): 1–18. Examines the tragic elements in the myth of Orpheus by comparing the poems of Ovid and Virgil with Monteverdi and Striggio’s Orfeo (1607) and Antonio Sartorio and Aurelio Aureli’s L’Orfeo (1672). Explores the definition and the origins of the term “tragedy” and applies Geoffrey Brereton’s principles of tragedy to Monteverdi’s and Aureli’s works on the subject of Orpheus (Principles of Tragedy: A Rational Examination of the Tragic Concept in Life and Literature, Coral Gables, FL. University of Miami Press, 1969). Brown concludes that these operas cannot be labelled as tragedy but rather as dramas “with tragic episodes and elements” (18).

435.

Brunel, Pierre. “Introduction aux musiques d’Orphée.” In no. 61, pp. 7–26. Provides an overview of vocal and instrumental music inspired by, or based on, the myth of Orpheus, beginning with Angelo Poliziano’s Favola di Orfeo (1494) and ending with Henri Sauguet’s Concerto d’Orphée (1953). Discusses works by Jacopo Peri, Stefano Landi, Luigi Rossi, Marc-Antoine Charpentier, Christoph W. Gluck, and Darius Milhaud, among others. Monteverdi’s Orfeo is briefly considered.

436.

Burton, Deborah. “Orfeo, Osmin, and Othello: Towards a Theory of Opera Analysis.” SM 33/2 (2004): 359–85. Discusses the hybrid nature of opera, a genre that must make sense as music and as a reflection of the drama, and proposes new terminology and procedural guidelines that may “serve to clarify some fundamental analytical issues” that analysts face when examining operas (p. 366). Introduces nine theoretical definitions, among them the “M-tools, which are the composer’s working materials” (p. 369). Applies the new theoretical paradigm to selections from Monteverdi, Mozart, and Verdi. Includes a discussion of Monteverdi’s use of M-tools (e.g., meter, form, melodic direction) in act 4 of his Orfeo. With musical examples.

437.

Calcagno, Mauro. “Monteverdi’s parole sceniche.” JSCM 9/1 (2003). www.sscmjscm.org/v9/no1/calcagno.html Explores the text-music relationships in Monteverdi’s Orfeo from the perspective of deixis, which in the field of linguistic pragmatics refers to words such as “me,” “now,” and “here” that are dependent on the context of the utterance (on this topic, see also Calcagno, no. 398). Offers a discussion of linguist Karl Bühler’s study of deictics (Sprachtheori: Die Darstellungsfunktion der Sprache [Jena: G. Fisher, 1934]; trans. Donald Fraser Goodwin as Theory of Language: The Representational Function of Language [Amsterdam: J. Benjamins, 1990]) and the three kinds of deictics in language: personal, temporal, and spatial. Calcagno

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proposes that Alessandro Striggio purposely uses deictic words for dramatic purposes and that Monteverdi “even modifies the libretto to add his own deictics.” With examples. 438.

Carter, Tim. “Singing Orfeo: On the Performers of Monteverdi’s First Opera.” Recercare 11 (1999): 75–118. Examines the range and demands of the roles in Orfeo while considering the extant documentary evidence regarding the availability of singers during the period 1606–8. Demonstrates that the first performance of Orfeo was intended for an all-male cast, with castrati performing the female roles in the opera, and proposes a number of doublings in the opera. Suggests that Monteverdi’s intention “was to use three castratos in Orfeo, each taking two solo roles” (109). Includes useful tables summarizing Carter’s analysis on vocal range and allocation of roles in Orfeo. With an appendix and musical examples.

439.

Carter, Tim. “Some Notes on the First Edition of Monteverdi’s Orfeo (1609).” ML 91/4 (2010): 498–512. Provides a close observation of four different copies of the 1609 edition of Orfeo held in four different libraries: the Biblioteca Nazionale Centrale in Florence, the Biblioteca Estense Universitaria in Modena, the Biblioteca Universitaria in Genoa, and the Biblioteca del Conservatorio di Musica “Santa Cecilia” in Rome. Through a comparison of these four sources, Carter identifies music errors occasioned during the printing process while raising questions regarding the identity of the proofreader, materials, and performance.

440.

Chrissochoidis, Ilias. “An Emblem of Modern Music: Temporal Symmetry in the Prologue of L’Orfeo (1607).” In no. 49, pp. 519–29. This article draws on the author’s master’s thesis, “Striggio-Monteverdi’s L’Orfeo: An excursion into its Neoplatonic layers” (University of London, King’s College, 1995). Chrissochoidis’s examination of the distribution of semibreves per line of text for each section of the prologue of Monteverdi’s Orfeo reveals a palindromic structure in La Musica’s prologue that reflects large-scale symmetries in the opera. Provides three useful tables: “Distribution of semibreves in La Musica’s Prologue,” “Distribution of semibreves per line of text,” and “Distribution of notes in La Musica’s Prologue.”

441.

Collaer, Paul. “Notes concernant l’instrumentation de l’Orfeo de Claudio Monteverdi.” In no. 54, pp. 69–73. Collaer discusses his 1942 performance of Monteverdi’s l’Orfeo in relation to his own interpretation of Monteverdi’s instrumental indications, as shown in Gian Francesco Malipiero’s edition of Orfeo. Arguing that the number of instruments given is “inexact” (p. 69), Collaer offers suggestions regarding the number of instruments that should be used (e.g., five trombones instead of four), doubling, and continuo instruments and realization.

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Corboz, Michel, Guy Coutance, and Françoise Ferrand. “Apropos de L’Orfeo.” In no. 58, pp. 72–4. Transcribes an interview with conductor Michel Corboz on the subject of his interpretation of Monteverdi’s Orfeo. Issues of performance practice, orchestration, and modern-day interpretation are considered.

443.

Coutance, Guy. “L’Orfeo au temps de la fête baroque.” In no. 58, pp. 75–7. Discusses the development of opera within the context of the increasing wealth and power of European courts during the early seventeenth century. Baroque festivities of the period, including Monteverdi’s Orfeo (Mantua, 1607), Les Noces de Pélée et de Thétis (Paris, 1654), and L’hipermestra (Florence, 1658), are considered.

444.

Csampai, Attila, and Dietmar Holland, eds. Claudio Monteverdi: Orfeo. Christoph Willibald Gluck: Orpheus und Eurydike. Texte, Materialien, Kommentare. Hamburg: Rowohlt, 1988. 330p. (Rororo Sachbuch, Rororo Opernbücher, 8398). ISBN 9783499183980. ML48.M77.O74 1988. Collection of essays by leading scholars on the myth of Orpheus and Euridice, Monteverdi’s Orfeo, and Christophe W. Gluck’s Orfeo ed Euridice, with bibliography and discography. Includes a German translation by Ursula Jürgens-Hasenmeyer of Alessandro Striggio’s libretto. Essays by Silke Leopold, Anna Amalie Abert, Hans Ferdinand Redlich, Carl Orff, Andres Briner, and Nikolaus Harnoncourt address issues of source material, reception, dramaturgy, interpretation, and performance practice.

445.

Desquilbe, Fabienne. “Les techniques de la narration aux origines de l’opéra: Isotopies et stratégies narratives dans L’Orfeo de Claudio Monteverdi—Projet d’une approche interdisciplinaire de la naissance de l’opéra en Italie.” In Musical Semiotics in Growth, ed. Eero Tarasti, Paul Forsell, and Richard Littlefield, pp. 437–50. Bloomington: Indiana University Press, 1996. ISBN 0253329493 0253210097. ML3845.M9755 1996. Applies Algirdas Julien Greimas’s semantic theory (Sémantique Structurales, recherché de méthode, Paris: Larousee, 1966; trans. into English as Structural Semantics: An Attempt at a Method, trans. Daniele McDowell, Ronald Schleifer, and Alan Velie, Lincoln, Nebraska: University of Nebraska Press, 1983) to analyze narrative form in Monteverdi’s music, with a focus on Orfeo. Greimas’s theory is based on two semantic markers: the seme (the minimal unit of significance) and the isotopy (a field of signification recognized in many works). Using Greimas’s theory, Desquilbe distinguishes five isotopies and two bi-isotopies in Orfeo: the pastoral isotopy (and the pastoral bi-isotopy of happiness), the religious isotopy, the infernal isotopy, the allegorical isotopy, the isotopy of triumph and glory, and the funereal isotopy (and the funereal bi-isotopy of grief). Useful table that categorizes all elements of Orfeo by isotopy and seme.

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Drouot, Valérie. “L’Orfeo de Monteverdi: L’oeuvre fondatrice.” In no. 61, pp. 39–52. Offers a straightforward discussion of Monteverdi’s Orfeo that includes a brief biography of the composer, as well as references to the cultural context in which this work was produced. Text-music relationship, vocal range, and the representation of the passions in Orfeo are considered. No bibliography.

447.

Drummond, John D. “L’Orfeo.” In no. 53, pp. 57‒73. Based on the final section of chapter 4, “Rebirth,” from the author’s Opera in Perspective (London, 1980). Proposes Monteverdi’s Orfeo as the work that established secular music-drama as a leading form. Positions Monteverdi’s use of cadential phrases, the tonal cycle of fifths, and Leitmotif as the composer’s solutions to the core problem of giving musical shape to developing narrative drama.

448.

Fenlon. Ian. “Monteverdi’s Mantuan Orfeo: Some New Documentation.” Early Music 12/2 (May, 1984): 163–72. Also in no. 64, pp. 439–48. Presents a series of previously unknown letters between Francesco and Ferdinand Gonzaga that, as Fenlon suggests, may help solve the problems that normally arise when performing Orfeo. Discusses the occasion and venue for the first performance of the opera as well as the role of the castrato Giovanni Gualberto Magli and the circumstances surrounding the Apollo ending. With illustrations. The letters mentioned in this article are reproduced in no. 449.

449.

Fenlon, Iain. “The Mantuan Orfeo.” In no. 62, pp. 1–19. Expanding on his earlier article (no. 448), Fenlon examines and reproduces a series of unpublished letters between Francesco and Ferdinand Gonzaga that shed new light on the origins and first performance of Monteverdi’s Orfeo. These letters, Fenlon suggests, show that the work was first performed using “a fairly limited number of singers and instrumentalists” and that it “was probably played in a relatively small room” that did not allow for the use of machinery (p. 16). Quite possibly, the lieto fine version, which includes the use of sophisticated machines, was prepared to impress an important visitor at the Mantuan court: Carlo Emanuele, Francesco’s future father-in-law. Appendix 1 includes a transcription of thirteen letters written between January 5, 1607 and August 22, 1607.

450.

Ferrand, Françoise. “La ‘juste prière’ de Claudio Monteverdi.” In no. 58, pp. 69–71. Discusses the religious and spiritual significance of the myth of Orpheus within Neoplatonic and humanistic thought. Ferrand examines the plot and characters of Monteverdi’s Orfeo within this context, while drawing parallels between Orpheus and Monteverdi himself.

451.

Fessaguet, Isabelle. “Les enfances d’Orphée.” Textuel 18 (1986): 9–14. Following an account of the literary works on the myth of Orpheus, Fessaguet compares two parallel passages from Jacopo Peri’s Euridice and Monteverdi’s Orfeo: the prologue and the announcement of Euridice’s death.

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Fleuret, Maurice. “L’Orfeo et son temps.” In no. 58, pp. 4–7. Offers a brief discussion of the historical, political, and cultural context in which Monteverdi’s musical style developed, and examines the composer’s life and works.

453.

Fortune, Nigel. “The Rediscovery of Orfeo.” In no. 62, pp. 78–118. Surveys the general histories of music and studies on Monteverdi beginning with the writings by Charles Burney and John Hawkins in the eighteenth century and ending with the earliest edition of Monteverdi’s Orfeo: Robert Eitner’s 1881 publication of the opera. Identifies at least forty modern editions of Orfeo, which Fortune divides into two types: “impure” or “recreative” versions, that is, adaptations of the original (e.g., Vincent d’Indy’s and Carl Orff ’s arrangements of the opera in the early 1900s and 1920s, respectively), and “pure” versions that reflect a concern for a faithful recreation of the original work (e.g., the editions by Gian Francesco Malipiero [1923 and 1930] and J. A. Westrup [1923]). Includes illustrations of seven different performances of Orfeo.

454.

Freeman, David. “Recreating Orfeo for the Modern Stage: Telling the Story.” In no. 62, pp. 156–66. Unlike Jane Glover, who faithfully recreated Orfeo for the modern stage (see no. 456), David Freeman offered a freer adaptation of this opera in 1981 and 1983. Freeman questions the importance of “authentic” productions and explains that his staging of Orfeo “was not an interpretation; it was an attempt to tell the story in as allusive, tangible, ambivalent and unsentimental a way as possible” (p. 159). Discusses, and provides explanations for, the use of specific costumes, the changes in dramatic structural units, the appearance of Apollo in the first act, and the doublings of roles.

455.

Ginot, Isabelle. “Entretien avec Trisha Brown: En ce temps là l’utopie . . .” In Danse et utopie, ed. Isabelle Ginot, pp. 107–11. Paris: L’Harmattan, 1999. ISBN 2738473652. GV1783.D367 1999. Interview held in New York, on January 6, 1998, with Trisha Brown on the subject of her choreographies. Brown discusses topics such as her relationship with dancers, her views on the “democracy of the body” (p. 108) (in which all parts of the body, including those traditionally ignored, are now used), and her production of Monteverdi’s Orfeo at the Théâtre Royal de la Monnaie in Brussels on May 13, 1998. Provides a brief comment on her working relationship with the singers in this production.

456.

Glover, Jane. “Recreating Orfeo for the Modern Stage: Solving the Musical Problems.” In no. 62, pp. 138–55. Glover, who directed Monteverdi’s Orfeo at Oxford in 1975, discusses the problems encountered when attempting to recreate a modern performance of Orfeo that is as faithful to the original work as possible. These problems arise from

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inaccuracies and lack of instructions in the 1615 edition of the opera regarding the dramatis personae and instruments in the work. Glover offers solutions that fall into four main categories: “deployment of instruments,” “vocal scoring,” “minor editorial adjustments,” and “rehearsal-room procedures.” 457.

Hanning, Barbara Russano. “The Ending of L’Orfeo: Father, Son, and Rinuccini.” JSCM 9 (2003). http://sscm-jscm.press.uiuc.edu/jscm/v9no1.html Hanning attempts to substantiate her hypothesis that Ottavio Rinuccini was the author of the Apollonian, and lieto fine, ending of Orfeo, first proposed in the author’s Ph.D. dissertation (Yale University, 1968) and in no. 354. Hanning’s hypothesis, which differs from those offered by other scholars (e.g., Fenlon no. 449), is based on stylistic characteristics of the libretto printed in the 1609 score. The author concludes that the Apollonian ending is not the original one, but rather a revision of Alessandro Striggio’s fifth act for the 1607 premiere of Orfeo.

458.

Heuillon, Joël. “Retrover Orphée.” In no. 59, pp. 98–101. Briefly discusses Monteverdi’s Orfeo by examining the use of rhetoric, as articulated by Aristotle, in relation to the different passions projected in Alessandro Striggio’s libretto. Ottavio Rinuccini’s libretto of L’Euridice (1600) is considered.

459.

Kelly, Thomas Forrest. “Orfeo da Camera: Estimating Performing Forces in Early Opera.” HP 1 (Spring 1988): 3–9. Discusses similarities between Jacopo Peri’s Euridice and Monteverdi’s Orfeo. Kelly suggests that singers in the original performance of Orfeo performed multiple roles, and that “the vocal scoring in both Euridice and Orfeo provides internal evidence that sole characters can practicably perform choral parts” (6). Contains tables, musical examples, and an appendix. Tables 2 and 3 provide, respectively, the vocal distribution in Euridice and Orfeo. The appendix contains the instrumental indications in the 1615 score of Orfeo.

460.

Kerman, Joseph. “Orpheus: The Neoclassic Vision.” In no. 62, pp. 126–37. Reprinted from Kerman’s Opera as Drama (no. 461) with slight modifications. This article—in John Whenham’s view “the finest short introduction to the opera [Orfeo]” up to 1986 (p. xii in no. 62)—is a critical essay intended for a wider audience, specifically for opera-goers. Kerman’s discussion of the music and libretto of Orfeo covers several aspects of Monteverdi’s recitative and of Alessando Striggio’s libretto. The function of the recitative, the use of syncopation and ritornelli, and the opening and closing sections of each act are discussed. Provides a musical example of the use of syncopation. Omits the discussion on Christoph W. Gluck’s Orfeo ed Euridice that appears in the original version.

461.

Kerman, Joseph. Opera as Drama. Revised edition. Berkeley: University of California Press, 1988. xvii, 232p. ISBN 0520062736 05250062744. ML3858.K4 1988. (Reprint; originally published New York: A. A. Knopf, 1956).

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A new and slightly revised edition of Kerman’s influential book published in 1956 that explores opera from its origins in the Italian Renaissance courts of the sixteenth century to the early twentieth century, with the music of Alban Berg and Igor Stravinsky. Divided into seven chapters dealing with different composers and operas, this book devotes one chapter to Monteverdi’s Orfeo, reproduced with minor revisions in no. 62. 462.

Kirkendale, Warren. “Zur Biographie des ersten Orfeo, Francesco Rasi.” In no. 46, pp. 297–329. Important biographical information on Francesco Rasi (1574; d Mantua, 30 Nov 1621) based on documents and presented in chronological order. Rasi sang lead roles in court operas and dramatic works in the years around 1600 and had strong ties to Mantua and Florence. Rasi remained in Monteverdi’s musical network: he sang in Monteverdi’s Arianna in 1608 and is mentioned in the documents surrounding Il nozze di Tetide in 1617. Includes six illustrations, among them facsimile reproductions of title pages from Rasi’s two surviving collections of monodies, Vaghezze di musica (1608) and Madrigali (1610).

463.

Kurtzman, Jeffrey G. “Deconstructing Gender in Monteverdi’s L’Orfeo.” JSCM 9/1 (2003). www.sscm-jscm.org/vol9/no1/kurtzman.html Written in response to McClary’s analysis of gender representation in Monteverdi’s Orfeo (no. 406). Kurtzman suggests that McClary’s “approach is to take a modern conception of tonality and gender and impose it on Monteverdi.” This article is divided into eleven sections that either respond directly to McClary or discuss issues of gender in relation to scholarship and politics. Analyzes Orfeo’s “Rosa del ciel.” The text and translation for this wedding song are provided in the appendix.

464.

Kurtzman, Jeffrey. “The Psychic Disintegration of a Demi-God: Conscious and Unconscious in Striggio’s and Monteverdi’s L’Orfeo.” In Music and Consciousness: Philosophical, Psychological, and Cultural Perspectives, ed. David Clarke and Eric Clarke, pp. 343–74. New York: Oxford University Press, 2011. ISBN 9780199553792. ML3830.M963 2011. Reprinted in no. 50, Essay 5, pp. 343–74. This insightful article examines, from a psychological standpoint, the ways in which Alessandro Striggio and Monteverdi conveyed poetic and musical expression in Orfeo (1607). In his analysis of the psychology of Orpheus, Kurtzman draws from the writings of Carl Gustav Jung, particularly from Jung’s definition of the unconscious, the idea of psychological growth through self-knowledge, the identification of psychological types, and the concepts of ‘anima’ and ‘animus’ (the feminine and masculine sides) in men and women. Suggests that the moral lesson in the opera not only lies on the importance of moderation, but also on the need for psychological growth and improvement. With musical examples, acknowledgements, references, and notes.

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Kurtzman, Jeffrey G. “Imitations of Chaos in Monteverdi’s L’Orfeo.” In no. 50, Essay 4, pp. 179–204. (Originally published in Italian in Il melodramma italiano in Italia e in Germania nell’età barocca: Atti del V Convegno internazionale sulla musica italiana nel secolo XVII: Die italienische Barockoper, ihre Verbreitung in Italien und Deutschland: Beiträge zum fünften internationalen Symposium über die italienische Musik im 17. Jahrhundert, Loveno di Menaggio [Como], 11–13 luglio 1995, ed. Alberto Colani, pp. 179–204. Como, Italy: Antique Musicae Italicae Studiosi, 1995. [Contributi Musicologici del Centro Ricerche dell’AMIS, 9].) Takes as a point of departure Robert Donington’s analysis of Monteverdi’s use of the tritone to depict sadness in Orfeo (see “Monteverdi’s First Opera” in no. 33) to discuss Orpheus’s growing mental chaos, precipitated by the loss of Euridice. Investigates how the music in the opera mirrors this character’s psychological disintegration. Monteverdi’s use of dissonances and chromaticism, among other devices used to convey musical chaos, are explored. With numerous examples.

466.

Lamothe, Virginia Christy. “Dancing at a Wedding: Some Thoughts on Performance Issues in Monteverdi’s Lasciate in monti (‘Orfeo,’ 1607).” EM 36/4 (November 2008): 533–45. Explores the dimension of dance in the music of “Lasciate in monti” (the sung balleto in act 1 of Monteverdi’s Orfeo), suggesting that an understanding of its dance steps can help answer questions about the music’s form, tempo, and social context. Compares the music of “Lasciate in monti” to the instructions, music, and choreography given in the treatises by two dancing masters from the late sixteenth and early seventeenth centuries: Marco Fabritio Caroso (Il ballerino [1581] and La nobilita di dame [1600]) and Cesare Negri (Le gratie damore [1602]). With musical examples.

467.

La Via, Stefano. “Allegrezza e perturbazione, peripezia e danza nell’Orfeo di Striggio e Monteverdi.” In Pensieri per un maestro: Studi in onore di Pierluigi Petrobelli, ed. Stefano La Via and Roger Parker, pp. 61–93. Turin: EDT, 2002. (Biblioteca di cultura musicale: Documente e saggi, 24). ISBN 8870636453. ML55.P49 2002. Insightful analysis of Monteverdi’s Orfeo that focuses on his depiction of contrasting emotions, a trait of poetry and dramatic texts by Petrarca, Torquato Tasso, and Battista Guarini. La Via associates dance idioms with the portrayal of joy, and uses as examples “Vi ricordi, o boschi ombrosi” and “Qual honor di te fia degno.” Includes a detailed synoptic table of the dramatic structure of Orfeo with tonal areas; a second table compares Alessandro Striggio’s Orfeo, act 2 to Tasso’s Aminta, act 4, scene 2.

468.

Leoni, Stefano A. E. “Orpheus tra retorica e passione: un mito barocco per l’Opera.” In Orfeo, Il mito, La musica: Percorsi tra musicologia e antropologia musicale. Atti delle Giornate di Studio Orfeo, Il mito, La musica, Alessandria, 24–25 novembre 1999, ed. Stefano A.E. Leoni, pp. 169–84. Turin: Trauben, 2002. ISBN 888839804X. No LC.

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Though the essay does not address music specifically, it offers a worthwhile account of the reception of Orpheus in the medieval and Renaissance periods that informed Alessandro Striggio and Monteverdi’s approach to the myth. 469.

Leopold, Silke. “Lyra Orphei.” In no. 46, pp. 337–45. Assesses the challenges in determining the instrumentation for the sinfonia in Monteverdi’s Orfeo.

470.

Marchenkov, Vladimir Leonidovich. “The Orpheus Myth in Musical Thought of Antiquity, the Renaissance and the Modern Times.” Ph.D. diss. Ohio State University, 1998. 215p. UMI 9834028. Interdisciplinary study that examines the treatment of the myth of Orpheus (or its Russian counterpart, the myth of Sadko) by select composers and philosophers in three historical periods: Plato in classical antiquity, Marsilio Ficino and Monteverdi in the Renaissance, and Nikolaj Rimskij-Korsakov, Vjačeslav Ivanovič Ivanov, and Alexander Scriabin in modern times. Chapter 4, “From Ficino to Monteverdi: Transformation of Orpheus’ Power,” introduces Renaissance notions of the power of music while focusing on “the contrasts between the humanistic and hermetic, mythical and aesthetic, and magical and operatic uses of the Orpheus myth” (p. 4). Includes a brief and straightforward description of the music without any musical examples. With bibliography.

471.

Markovic, Tatjana. “Opera: Paradigm of a Creator’s Poetics in a Given Style.” New Sound (Special Issue 1998): 63–8. Discusses Monteverdi’s Orfeo in relation to early seventeenth-century dramatic conventions while focusing on the composer’s own creative style. Briefly considers the role of Euridice in relation to women’s position in society in early modern Italy.

472.

McGee, Timothy J. “Orfeo and Euridice, the First Two Operas.” In Orpheus: The Metamorphoses of a Myth, ed. John Warden, pp. 163–81. Toronto: University of Toronto Press, 1982. ISBN 0802055184 0802065937. BL820.O7.O76. A comparative study of Jacopo Peri and Ottavio Rinuccini’s Euridice (1600) and Monteverdi’s and Alessandro Striggio’s Orfeo (1607). McGhee shows that Striggio used Rinuccini’s text as a model, and that both libretti take elements from Angelo Poliziano’s influential Festa d’Orfeo (1480). Further, McGhee suggests that the analysis of the music of Euridice and Orfeo “disclose[s] a similar dependence of Monteverdi on the music by Peri” (p. 167). Compares Orpheus’s lament in both works. With musical examples.

473.

Michot, Pierre. “L’Orpheo: Vidéographie.” In no. 59, pp. 116–9. Provides background for the analysis of video cassette recordings of six performances of Orfeo. Compares three out of these six stage productions: those by Harnoncourt-Ponnell (Opera of Zurich, 1978), Michel Corboz-Goretta (Opera of Lyon, 1986), and Jacobs-Brown (Concerto Vocale, 1998). Includes a table with

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information regarding the production of all six versions of Orfeo (years 1960, 1966, 1968, 1978, 1986, and 1998). 474.

Monterosso, Raffaello. “Claudio Monteverdi: la nouvelle musique.” Trans. MarieHelène Poli. In no. 58, pp. 15–19. Examines Monteverdi’s compositional style within the artistic and musical context of the era, suggesting that Monteverdi was a great musician but not the great innovator he is believed to be. Monteverdi’s style is compared to that of Carlo Gesualdo, Jacopo Peri, Giovanni Pierluigi Palestrina. The Renaissance interest in Aristotle’s Poetics, including Vincenzo Galilei’s interpretation of classical theories, is considered.

475.

Morrier, Denis. “Commentaire musical.” In no. 59, pp. 16–85. This article, intended as a centerpiece in the ASO issue, provides a detailed musical, literary, and historical analysis of Monteverdi’s Orfeo. After providing a brief discussion of Aristotle’s poetics in relation to Alessandro Striggio’s text, Morrier offers a scene-by-scene examination of the text-music relationship in Monteverdi’s favola. Sources, vocal ranges, orchestra, and the composer’s musical language are considered. Includes the complete libretto of Striggio’s Orfeo, with a new French translation by Claudio Mancini, completed by Elizabetta Soldini and Denis Morrier. With musical examples, bibliography, and illustrations.

476.

Morrier, Denis. “L’Orfeo: Vue d’ensemble.” In no. 59, pp. 13–7. Introduction to ASO 207, dedicated to Monteverdi’s Orfeo. Morrier discusses the occasion and venue for the performance of Orfeo, suggesting that the prince and heir to the duchy of Mantua, Francesco Gonzaga, had political motives when he commissioned this work. Includes a transcription of the letters exchanged between Francesco and Ferdinand Gonzaga regarding Orfeo, with a French translation by Elisabetta Soldini.

477.

Müller, Reinhard. Der stile recitativo in Claudio Monteverdis Orfeo: dramatischer Gesang und Instrumentalsatz. Tutzing, Germany: Hans Schneider, 1984. (Münchner Veröffentlichungen zur Musikgeschichte, 38), 126p. ISBN 3795204143. Revision of the first part of the author’s dissertation (Ph.D. University of Munich, 1978). Explores Monteverdi’s approach of using natural speech as his model for setting words to music. Compares his approach to that of Jacopo Peri and Giulio Caccini. Adopts an analytical perspective with an emphasis on musical syntax and structure with examples from the prologue and “Possente spirto” from Orfeo.

478.

Noccili, Cecilia. “Il mito d’Orfeo e l’art coreica nel primo Seicento in Italia: Prima o Second Pratica.” Philomusica on-line: Rivista del Dipartimento di scienze musicologiche e paleografico-filologiche: Atti del Convegno Internazionale “Quattro secoli di mito. L’Orfeo di Claudio Monteverdi nel quarto centenario” 8/2 (2009): 91–104. Examines dance in Monteverdi’s stage works through a study of contemporaneous dance manuals and treatises such as Cesare Negri’s Le gratie d’Amore

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(1602), the anonymous treatise Il Corago overo alcune osservazioni per metter bene in scena le composizioni drammatiche, ca. 1623–37 (see nos. 375, 698), and Giovanni Battista Doni’s Trattato della musica scenica (1635). While Monteverdi does not include details on choreography and design in his operatic works, books on dance and scene designs give us an indication of how to interpret and approach dance in early opera. 479.

Osthoff, Wolfgang. “Contro le legge de’ Fati: Polizianos und Monteverdis Orfeo als Sinnbild künstlerischen Wettkampfs mit der Natur.” AnM 22 (1984): 11–68. Rich study of the origins of the myth of Orpheus in Classical sources and its revival in the fifteenth century with an emphasis on Angelo Poliziano’s fabula di Orpheo (1480) and its influence on Alessandro Striggio and Monteverdi’s Orfeo. Includes six figures illustrating representations of the myth, musical examples, and detailed footnotes referencing relevant scholarship.

480.

Osthoff, Wolfgang. “Monteverdis Orfeo: sein erste Druck und ein handschriftliches Fragment aus dem 17. Jahrhundert.” In Festschrift Klaus Hortschansky zum 60. Geburtstag, ed. Axel Beer and Laurenz Lütteken, pp. 59–79. Tutzing, Germany: Hans Schneider, 1995. ISBN 379520822X. ML55.H646 1995. Reviews the source material for Monteverdi’s Orfeo and examines the notation of the opera’s first edition (Venice: Ricciardo Amadino, 1609) and second edition (1615). The appendix lists 100 corrections for the first and second editions.

481.

Phelan, Peggy, “Trisha Brown’s Orfeo: Two Takes on Double Endings.” In Of the Presence of the Body: Essays on Dance and Performance Theory, ed. André Lepecki, pp. 13–28. Middletown, CT: Wesleyan University Press, 2004. ISBN 9780819566126. GV1588.6 2004. Examines Trisha Brown’s choreography of Monteverdi’s Orfeo at the Théâtre de la Monnaie in Brussels, May 1998, while drawing parallels with Brown’s own life and career, and her understanding of death and mourning. Discusses Brown’s “audacious solution to one of the most troublesome aspects of Orfeo: the double ending” and shows how Brown’s finale constitutes a “third interpretation” (p. 20) that melds elements from Alessandro Striggio’s libretto of 1607 and that of the printed score of 1609.

482.

Pickett, Philip. Behind the Mask: Monteverdi’s L’Orfeo. London: P. Pickett, 1992. 65p. No ISBN. No LC. This book is intended to accompany the performance and recording of Orfeo, with Philip Pickett as conductor (L’Orfeo DECCA L’Oiseau-lyre 433 545–2). It is divided into six parts: 1) “The first performance,” 2) “The orchestra,” 3) “The continuo,” 4) “15th-Century Traditions,” 5) “Staging L’Orfeo,” and 6) “A Bacchic ending.” With appendices.

483.

Pickett, Philipp. “‘Armonia Celeste’: Orchestral Colour and Symbolism in Monteverdi’s Orfeo.” In no. 55, pp. 143–62.

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Discusses the association between instrument ensembles and three different types of scenes (Olympian, pastoral, and infernal) commonly found in works in the intermedio tradition. Proposes that in Orfeo Monteverdi uses the same three instrument ensembles “with only subtle changes of scoring for symbolic effect” (p. 145). Pickett suggests a few changes to the list of instruments required by Monteverdi for the performance of Orfeo (for example, one chitaroni instead of two, and four trumpets instead of one). With bibliography. 484.

Rogers, Nigel. “Some Thoughts on Monteverdi’s Orfeo and a Suggested Alternative Ending.” In no. 55, pp. 183–90. Analyzes Alessandro Striggio’s tragic ending in the original libretto of Orfeo (1607; music lost) and explores the anomalies about the [anonymous] ending in Monteverdi’s extant score of Orfeo (1609), namely, the setting of the text in the chorus “Vanne Orfeo felice a pieno.” Rogers suggests that “this music may have had different words originally, possibly part of [Striggio’s] ‘Choro di Baccanti’” (p. 185). Compares Striggio’s Bacchanal chorus, “Evohe padre Lieo,” to a poem of almost identical words to Striggio’s chorus by Gabriello Chiabrera—“Evoè Padre Lieto”—set to music by Marco da Giuliano (Madrigali, Libro VI [1627]). Presents his conclusions following a modern performance of Orfeo that used for its ending the Chiabrera-Giuliano madrigal. A transcription of this madrigal is provided.

485.

Rolland, Romain. “A Review of Vincent d’Indy’s Performance (Paris 1904).” In no. 62, pp. 119–25. Reviews Vincent d’Indy’s 1904 performance of Orfeo at the Schola Cantorum in Paris. (This review complements Nigel Fortune’s discussion of Vincent d’Indy’s edition of the opera in another article in Claudio Monteverdi: Orfeo [no. 62].) After surveying the history of opera and Monteverdi’s first opera, Rolland thanks Vincent d’Indy for bringing Orfeo back “to life again” and for returning to it “the beauty it once had, freeing it from the clumsy restorations which [had] disfigured it” (125). The original 1904 review is reproduced here in English translation.

486.

Roughol, Sophie. “Monteverdi: L’Orfeo.” Goldberg 4 (1998): 34–43. Informative and valuable article on the birth of opera and the compositional history of Monteverdi’s Orfeo intended more for the music enthusiast than for the music specialist. With illustrations that include paintings on the subject of Orpheus by Domenico Frilli Croci, Alessandro Varotari, Jacopo Vignali, and Gregorio Lazzarini. An English translation by Claire Fonjin appears alongside the original French.

487.

Russomanno, Stefano. L’Orfeo: Favola in musica. Claudio Monteverdi; Mantua, 1607. San Lorenzo de El Escorial: Glossa, 2006. 92p. +2CDs. ISBN 8461141369. Occasioned by the quatercentenary of the composition of Monteverdi’s Orfeo, this book (a limited edition of 3,099 copies) contains three essays on Orfeo, as well as transcription of the libretto both in the original Italian and in Spanish

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translation, and notes on the 2006 production of Orfeo at San Carlo Church in Modena (February 2–6, 2006; Ensemble La Venexiana; Conductor, Claudio Cavina). The first essay, by Stefano Russomanno, discusses the historical context in which Monteverdi’s work was conceived; the second, by Alberto Bernabé, explores the origins of the myth; and the third, by Stefano Aresi, examines the 2006 performance of Orfeo in relation to relevant primary sources and to music practices of the era. Includes the recording of this performance. 488.

Saxer, Marion. “Grenzüberschreitung in Monteverdis L’Orfeo oder: Warum schläft Caronte ein? Neues zur Entstehung der Oper.” MÄ 12/48 (2008): 37–54. Highlights Alessandro Striggio and Monteverdi’s reworkings of the myth of Orpheus in response to their contemporaneous culture and setting. Includes a table comparing key plot elements from the myth as treated by Euripides, Virgil, Ovid, Boethius, Angelo Poliziano, and Ottavio Rinuccini.

489.

Schwindt, Joel. “Academicism in Monteverdi’s Orfeo: Oratory and Symmetry as Manifestations of the Accademia degli Invaghiti’s Philosophy and Practice.” Ph.D. diss. Brandeis University, 2014. ix, 209p. UMI 3687283. Focusing on the topics of oratory and symmetry, this dissertation discusses Alessandro Striggio and Monteverdi’s Orfeo as a reflection of the Accademia degli Invaghiti’s humanist philosophy. Chapter 1 deals with the topic of oratory in Orfeo (see also Schwindt’s article on this topic, no. 490); chapter 2 explores the symmetrical structures in the opera in relation to the Accademia degli Invaghiti’s views of physical and spiritual beauty, including its views on gender attributes and roles; and chapter 3 examines “the presence and musico-dramaturgical function of analogous symmetrical structures in Monteverdi’s setting of Striggio’s libretto” (p. 5). Regarding symmetry in the prologue of this opera, see Chrissochoidis, no. 440. With musical examples and bibliography.

490.

Schwindt, Joel. “‘All that Glisters’: Orpheus’s Failure as an Orator and the Academic Philosophy of the Accademia degli Invaghiti.” COJ 26/3 (November 2014): 239–70. Examines Orfeo’s aria-oration “Possente spirto” in the context of the practice and philosophy of oratory, as interpreted by members of the Accademia degli Invaghiti—for whom Orfeo was composed. The academic and social philosophy of the Invaghiti, as Schwindt proposes, reflected teachings and views of the Ancients regarding the orator’s moral duty to instruct (docere) before attempting to move (movere) or please the listener (delectare). Monteverdi and Alessandro Striggio, both educated in rhetoric and oratory, composed Orfeo “as an exercise in academic study” (p. 239). Compares two orations in the opera: Orfeo’s “Possente spirto” (directed at Charon) and La Musica’s Prologue. Concludes that Orfeo is unable to persuade Charon with his aria because, unlike La Musica, he fails as an orator. Includes musical examples and textual excerpts.

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Segell, Glen. Striggio-Monteverdi’s L’Orfeo: An Excursion into Its Neoplatonic Layers. London: G. Segell, 1997. 44p. ISBN 1901414027 9781901414028. No LC. Investigates the manner in which text and music are combined to produce symbolic meaning in Monteverdi’s Orfeo. This study is divided into four parts or “areas of questions” (p. 8): 1) “La Musica’s Prologue: An Advertisement of Music’s Power?,” 2) “‘Possente Spirto’: the Power or the failure of Music,” 3) “Do the Maenads still dismember Orpheus? A Refutation of McClary’s Reading of Orfeo,” and 4) “Does Orfeo Really have Two Finales?” This study does not present new evidence; rather, it engages with scholarship on Orfeo up to 1996, particularly with Susan McClary’s “Constructions of Gender in Monteverdi’s Dramatic Music” (no. 406).

492.

Seidel, Wilhelm. “Die Rückkehr des Orpheus zur Musik: Die Wirkungen der Musik in Monteverdis erster Oper.” In no. 46, pp. 409–25. With reference to Monteverdi’s letters, prefaces, and general aesthetics, Seidel points out that Monteverdi positioned Orpheus as a singer. Monteverdi departs from earlier accounts that present Orpheus as a hero of poetry. Positioning Orpheus as singer was necessary for Monteverdi to move the emotions of his listeners.

493.

Soldini, Elisabetta. “L’oeuvre à l’affiche.” In no. 59, pp. 120–31. Provides a list of first performances of Monteverdi’s Orfeo around the world, from 1904 to 2002. Includes venues, conductors, stage directors, costume designers, and cast. With illustrations.

494.

Solomon, Jon. “The Neoplatonic Apotheosis in Monteverdi’s Orfeo.” SM 24/1 (1995): 27–47. Provides a careful reading of the Neoplatonic concept of ascent articulated in the works of Marsilio Ficino and Matteo Palmieri and traces Neoplatonic symbolism, references, and imagery in Alessandro Striggio’s libretto of Orfeo (1607), focusing on the prologue, act 4, and the revised act 5 of 1609. In contrast to Barbara Russano Hanning who attributes the revised ending to Ottavio Rinnucini based on an examination of the stylistic characteristics of the 1609 libretto (no. 457), Solomon traces a Neoplatonic thread throughout the opera that suggests, in his view, “that the same hand composed the entire opera, including the revised fifth act” (p. 45). Includes excerpts from Ficino’s Theologia Platonica and from Striggio’s libretto.

495.

Steinheuer, Joachim. “Orfeo (1607).” In no. 63, pp. 119–40. Outlines the characteristics of early opera and discusses the two new achievements of the genre: the treatment of longer dramatic monologues and dialogues, and the development of a comprehensive musical dramaturgy and architecture for longer and more complex compositions. Examines the ways in which Monteverdi’s Orfeo surpasses the attempts at musical drama by his contemporaries,

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Jacopo Peri, Giulio Caccini, and Emilio de’ Cavalieri. The use of instruments and recitation, and also the significance of high, middle, and low styles are considered. With examples. 496.

Sternfeld, Frederick W. “The Orpheus Myth and the Libretto of Orfeo.” In no. 62, pp. 20–34. Cambridge: Cambridge University Press, 1986. ISBN 0521241480. ML410.M77.C55 1986. Examines the sources of Alessandro Striggio’s libretto of Orfeo, including Ovid’s Metamorphoses, Virgil’s Georgics, and Ottavio Rinuccini’s libretto of Euridice. Includes an English translation of Orpheus’s and Eurydice’s dialogue in act 5 that is, according to Sternfeld, “the most interesting fusion of Ovid and Virgil in Striggio’s dramatisation” (p. 24).

497.

Sternfeld, Frederik W. “Orpheus, Ovid, and Opera.” JRMA 113/2 (1988): 172–202. This article, reprinted with a few minor modifications as chapter 1 in Sternfeld’s book The Birth of Opera (no. 376), discusses early opera in relation to its classical heritage (Ovid’s Metamorposes and Heroides) and to the humanistic interpretations of archetypal mythical figures, including that of Orpheus. Examines re-workings of the finale in the Orpheus myth in Angelo Poliziano and Alessandro Striggio. Includes three useful tables: “Settings of the Orpheus myth (1599– 1699),” “Orpheus and related tales in Ovid’s Metamophoses,” and “Rifacimenti of Poliziano’s Orfeo.” With bibliography.

498.

Stubbs, Stephen. “L’armonia sonora: Continuo Orchestration in Monteverdi’s Orfeo.” In no. 48, EM 22/1 (February 1994): 86–98. Following a discussion of continuo groupings provided by Lodovico Viadana, Giulio Caccini, Emilio de’ Cavalieri, and Agostino Agazzari, Stubbs proposes a series of hypotheses regarding the possible instrument, or combination of instruments, that may have realized the bass in specific sections of Monteverdi’s Orfeo. Includes a useful table (Table 1) that reproduces nine continuo indications for the accompaniment of Orfeo.

499.

Theweleit, Klaus. “Monteverdi’s L’Orfeo: The Technology of Reconstruction.” In Opera through Other Eyes, ed. David J. Levin, pp. 147–76. Stanford, CA: Stanford University Press, 1994. ISBN 0804722390 0804722404. ML1700.O68 1993. A translation of a portion of Klaus Theweleit’s Buch der Könige, vol. 1: Orpheus und Eurydike (Basel: Stroemfeld/Roter Stern, 1988), with slightly abridged texts and notes. Offers a plot summary of Orfeo and discusses the imbalance between the two main characters and also the use of echo in the opera.

500.

Van, Gilles de. “Métamorphoses d’Orphée.” In no. 58, pp. 62–8. Provides an overview of five dramatic works based on the myth of Orpheus: Angelo Poliziano’s Favola di Orfeo (1494), Ottavio Rinuccini-Jacopo Peri’s Euridice (1600), Alessandro Striggio-Claudio Monteverdi’s Orfeo (1607), Christoph W. Gluck’s Orfeo ed Euridice (Vienna 1762; Paris 1774), and Jacques

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Offenbach’s Orphée aux Enfers (1858). Offers a brief discussion of Striggio’s and Rinuccini’s librettos. 501.

Van, Gilles de. “Métamorphoses d’Orphée.” In no. 59, pp. 90–7. Update of an earlier article on the same subject (no. 500). Compares three settings of the myth of Orpheus: Monteverdi’s Orfeo (1607 and 1609), Christophe W. Gluck’s Orfeo ed Euridice (1762), and Jacques Offenbach’s L’Orphee aux enfers (1858). Monteverdi’s work is analyzed within the context of the contemporary understanding of the myth and its early theatrical representations (i.e., Angelo Poliziano’s Favola di Orfeo [1480] and Jacopo Peri’s L’Euridice [1600]).

502.

Vetter, Edie. “The Power of Music: Striggio and Monteverdi’s L’Orfeo.” In ‘Music’s Obedient Daughter’: The Opera Libretto from Source to Source, ed. Sabine Lichtenstein, pp. 11–36. New York: Rodopi, 2014. ISBN 9789042038080. ML2110. M89 2014. Examines Striggio-Monteverdi’s Orfeo (1607) in relation to earlier accounts of the myth (those by Ovid and Virgil) and to ancient and widely propagated philosophical views on the power of music (such as those by Plato and Pythagoras). Discusses how Monteverdi expresses the power of music in five key sections of the opera: the prologue, the beginning of act 2 (Orpheus’s festive mood), the new of Euridice’s death, Orpheus’s lament, and his song “Possente spirto.” With musical examples.

503.

Whenham, John. “Five Acts: One Action.” In no. 62, pp. 42–77. Through the analysis of the score and the libretto of Orfeo, Whenham proposes that Monteverdi’s Orfeo was meant to be played without interruptions. Provides a careful reading of Striggio’s text that, as Whenham shows, reveals “much information about the staging of the first performance and its intended shaping into episodes” (p. 48). Suggests that only two stage sets were used in the original performance of the opera. With musical examples and textual excerpts.

504.

Whenham, John. “Orfeo, Act V: Alessandro Striggio’s Original Ending.” In no. 62, pp. 35–41. Reprints the text for act 5 of Orfeo, with Alessandro Striggio’s original ending, and provides a parallel English translation. This text is transcribed from the manuscript located at the Wolfenbüttel, Herzog-August-Bibliothek, 549 Quodl. (referred to as “source C”).

505.

Whenham, John. “Producing Monteverdi’s Orfeo: Some Fundamental Considerations.” In Lo stupor dell’invenzione: Firenze e la nascita dell’opera, ed. Piero Gargiulo, pp. 73–86. Florence: Leo S. Olschki Editore, 2001. ISBN 8822250478. ML1702.S78 2001. Develops some of the ideas presented in an earlier article by the author (no. 503). Whenham explores the link between Orfeo and the intermedio in relation to the opera’s staging, and suggests that, in a continuous performance of the opera, “the

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important divisions are not the act endings, but the [two] scene changes” (p. 75). Moreover, Monteverdi and Alessandro Striggio developed Orfeo around these two main dramatic divisions. Includes a useful table that shows the three types of divisions—acts, action, and setting—in the opera. With musical examples. Arianna (1608) and the Lament Tradition 506.

Carter, Tim. “Lamenting Ariadne?” EM 27/3 (August 1999): 395–405. Offers a new reading of Monteverdi’s famous lament based on the analysis of Ottavio Rinuccini’s libretto. Carter examines the anomalies in Rinuccini’s libretto, suggesting that Arianna’s lament may have been an addition to the libretto, and that the lament may have been written specifically for the commedia dell’arte singer-actress Virginia Andreini.

507.

Cusick, Suzanne G. “‘There was not a lady who failed to shed a tear’: Arianna’s Lament and the Construction of Modern Womanhood.” In no. 48, EM 22/1 (February 1994): 21–43. Based on early modern notions on gender and marriage, Cusick proposes that Arianna’s lamento may be understood as the moment in which the character renounces her “self ” so that she can assume “her proper destiny in the marriage ideology of early modern Europe” (p. 36). Arianna thus moved Monteverdi’s female audience of 1608 because “she was recognizable as an early modern woman” (p. 22). The author analyzes Monteverdi’s setting of the lament in relation to conventional (and predominantly patriarchal) ideas of womanhood of the era. With musical examples.

508.

Cusick, Suzanne G. “Re-Voicing Arianna (And Laments): Two Women Respond.” EM 27/3 (August 1999): 436–49. Summarizes scholarly studies of the Lamento d’Arianna (nos. 406, 506, 507, 512) and discusses Francesca Caccini’s aria sopra la romanesca “Dove io credea le mie speranze vere” (Il primo libro delle musiche, 1618) as a counter-discourse to Monteverdi’s Lamento d’Arianna. Cusick suggests that “unlike Monteverdi’s Arianna, Caccini’s [re-imagined Arianna] refused to silence or chastise her own subjectivity” (p. 445). With musical examples.

509.

Danckwardt, Marianne. “Das Lamento d’Olimpia ‘Voglio voglio morir’: eine Komposition Claudio Monteverdis?” AfM 41/3 (1984): 149–75. Challenges the attribution of “Voglio, voglio, morir, voglio morire” to Monteverdi found on the manuscript copy in The British Library (Gb-Lbl Add. 30491). Danckwardt reaches this conclusion on the basis of the work’s “inferior” status (geringere Qualität) in relation to the composer’s Lamento d’Arianna, a lack of similarity with other known works by Monteverdi, and a stylistic similarity to a large group of lamenti by contemporaneous composers, among them Severo Bonini, Antonio Il Verso, and Sigismondo d’India.

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Holdford-Stevens, Leofranc. “‘Her eyes became two sprouts’: Classical Antecedents of Renaissance Laments.” EM 27/3 (1999): 379‒93. Provides important historical and literary context for Monteverdi’s lament writing. Highly erudite examination of the classical, medieval, and Renaissance interpretation of poetical laments by deserted women such as Catullus’s Ariadne and Virgil’s Dido.

511.

Kaleva, Daniela. “Performative Research: A Performance-Led Study of Lamento d’Arianna with Historically Informed Rhetorical Gesture.” MAu 36/2 (December 2014): 209–34. A part of Kaleva’s “Arianna Project,” this study contributes both to the literature on Monteverdi’s Lamento d’Arianna and to historically informed performance practice. Kaleva provides a reading of the gestural movement encoded in the extant score of Arianna’s lament (i.e., decorum, deixis, phrasing, and the stroke) while considering “the process of transfer through the embodied practice of historically informed rhetorical gesture of Lamento d’Arianna” (p. 231). With illustrations of the performance of this lament (on September 28, 2012, at the Harley Playhouse, University of South Australia) and musical examples that include gestural notation. Appendix 1 includes gestural notation symbols according to Gilbert Austin’s Chironomia, or, a Treatise on Rhetorical delivery (London, 1806).

512.

MacNeil, Anne. “Weeping at the Water’s Edge.” EM 27/3 (August 1999): 406–17. Contextualizes the performance of Arianna as one of four representations of the marriage rite offered at the marriage festivities of Francesco Gonzaga and Margherita of Savoy in 1608. The power relations implicit in Arianna’s lament are considered.

513.

Porter, Andrew. “Arianna.” Opera (Special Issue, 2000): 118–23. Review of “Arianna, lost opera by Claudio Monteverdi in eight scenes composed again by Alexander Goehr.” Porter discusses the production of this opera at Covent Garden, on September 15, 1995, while commenting on the conducting of Ivor Bolton and the performances of Susan Graham (Arianna) and J. Patrick Raftery (Teseo), among others. Includes four photographs of the production.

514.

Porter, William V. “Lamenti recitativi da camara.” In no. 353, pp. 73–110. Reviews the expressive language of Monteverdi’s recitative-lament of Ariadne and traces the impact of Monteverdi’s influential work upon recitative laments for chamber performance by Italian composers of the first third of the seventeenth century, including Sigismondo D’India, Ottavio Catalani, Giovanni Rovetta, and Jacopo Peri. Includes textual excerpts and musical examples.

515.

Rosand, Ellen. “The Descending Tetrachord: An Emblem of Lament.” MQ 65/3 (1979): 346–59. Seminal article on the early Italian lament (1608–60). Following an introduction to the origins of the lament in classical antiquity and its emergence in

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early Italian opera, Rosand examines Monteverdi’s setting of Ottavio Rinucini’s text, the “Lamento della ninfa,” constructed over a descending tetrachord bass. Rosand proposes two possible accompaniments for this pattern: “either a modal sequence of root position triads or a more tonal succession involving two firstinversion triads: I, v6, iv6, V” (p. 349). The relationship between this pattern and the laments by Monteverdi’s student, Francesco Cavalli, is also explored. With examples. 516.

Strainchamps, Edmond. “The Life and Death of Caterina Martinelli: New Light on Monteverdi’s ‘Arianna’.” EMH 5 (1985): 155–86. Valuable study on the life and career of singer Caterina Martinelli (d. March 7, 1608), for whom Monteverdi developed the leading role in his opera Arianna (1608). Strainchamps discusses the turmoil in the Mantuan court caused by the death of Martinelli a few months before the opera was to be presented for the Gonzaga-Savoy wedding festivities. Martinelli’s relationship with Claudio and Claudia Monteverdi is examined. Over ten letters and other relevant documents pertaining to Martinelli (from Archivio di Stato, Archivio Gonzaga) are included in the appendix. Includes facsimile copies of letters by Duke Vincenzo and Duchess Eleonora, as well as excerpts from the Lamento d’Arianna.

Il ritorno d’Ulisse in patria (1639–40) 517.

Allison, John. “Il ritorno d’Ulisse in patria: Aix-en Provence, 2000.” Opera. Special Issue: Great First Nights (September 2005): 60–1. Allison nominates the production of Monteverdi’s Il ritorno d’Ulisse in patria at the Thêâtre du Jeu de Paume (July 9, 2000) for this journal’s special issue on “Great First Nights.” Provides a brief description of this opera’s opening night, while commenting on the conducting of William Christie and the performances of Marijana Mijanović (Penelope), Krešimir Spicer (Ulisse), Cyril Auvity (Telemaco), Stéphanie d’Oustrac (Fortuna and Melanto), and Robert Burt (Iro).

518.

Arnold, Denis. “‘Il ritorno d’Ulisse’ and the Chamber Duet.” MT 106 (1965): 183–5. Occasioned by the first London performance of Il ritorno d’Ulisse in patria (St Pancras Town Hall, March 16–17, 1965), this article briefly explores Monteverdi’s “use of the duet in summing up a love scene or the meeting of friends” (p. 184). With musical examples.

519.

Brèque, Jean-Michel. “L’esprit même de L’Odyssée.” ASO 159 (May–June 1994): 94–9. Discusses Homer’s Odyssey, which is comprised of three main sections: Telemachus’s journeys (Books 2–4), stories surrounding Alcinous (Books 5–7), and Ulysses’s vengeance (13–23). Explores the ways in which Giacomo Badoaro

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comprised the final eleven books in his libretto of Il ritorno d’Ulisse in patria. The structure of Homer’s poem and Badoaro’s new interpretation of a few of Homer’s characters (e.g., Melanto, Euromaco, Eumete, and Telemaco) are examined. 520.

Carter, Tim. “‘In Love’s Harmonious Consort’? Penelope and the Interpretation of Il ritorno d’Ulisse in patria.” COJ 5/1 (March 1993): 1–16. Reprinted in no. 41, Essay 11, pp. 1–16. Explores the status of the aria in Badoaro-Monteverdi’s Il ritorno d’Ulisse in patria within the changing aesthetics of verisimilitude and the portrayal of emotions of the era. Carter examines the structure of Badoaro’s libretto, while remarking Monteverdi’s occasional decision to override the text in order to have characters sing arias rather than recitatives (e.g., Eumente’s “Oh gran figlio d’Ulisse” [opening, act 2]). Suggests that, by so doing, Monteverdi was able to add greater depth to the character of Penelope. Analyzes Penelope’s “Ho si ti riconosco” and “Illustratevi o cieli.” With textual excerpts and musical examples.

521.

Dubowy, Norbert. “Bemerkungen zu einigen Ulisse-Opern des 17. Jahrhunderts.” In no. 51, pp. 215–43. Examines the figure of Ulysses in dramatic works from the seventeenth century and concludes that it was an era of epic musical theater in the spirit of the original source, Homer’s Odyssey. Provides a valuable literary and dramatic context for Monteverdi’s Il ritorno d’Ulisse in patria, on a libretto by Giacomo Badoaro. Homer’s Odyssey served as the basis for a further sixteen dramatic works first performed between 1644 and 1697 in Venice, Vilna, Brussels, Pisa, Mantua, Heidelberg, Pressburg, Ferrara, Vienna, and Düsseldorf.

522.

Giuntini, Francesco. “Prologo e Morale nel Ritorno d’Ulisse in patria.” In Florilegium Musicae: Studi in onore di Carolyn Gianturco, ed. Patrizia Radicchi and Michael Burden, pp. 595–602. Pisa: Edizioni ETS, 2004. ISBN 9788711250. ML55.G53 2005. Analyzes the libretto for the prologue to Il ritorno d’Ulisse in patria in relation to allegory and the portrayal of Love.

523.

Maryland Opera Studio, and English National Opera. The Return of Ulysses to His Homeland = Il Ritorno D’Ulisse in Patria. College Park: Maryland Opera Studio, University of Maryland, 1994. 32p. No ISBN. No LC. Program book produced for the first performance of the English National Opera’s version of Il ritorno d’Ulisse in patria (Ulrich Recital Hall, University of Maryland, College Park, December 28, 1994). Contents include notes on the production, an interview with conductor Kenneth Slowik and Robert McCoy, music director of the Maryland Opera Studio, and three short essays: Lillian Doherty and Judith Hallet’s “The Classical Tradition,” Rachel Wade’s “Il ritorno d’Ulisse in patria: Historical Background,” and Howard Serwer’s “Monteverdi and the Musical Theater of his Day.”

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524.

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Pass, Walter. “Monteverdis Il ritorno d’Ulisse in patria: Überlegung zur Entstehungs-, Rezeptions- und Wirkungsgeschichte sowie zu Fragen einer musikalisch immanenten Rekonstruktion.” In no. 55, pp. 175–81. Reviews the surviving sources and early scholarship on Il ritorno d’Ulisse in patria to inform approaches to performing the work up to the revivals occasioned by the 350th anniversary of Monteverdi’s death in 1993.

525.

Poloni, Claudio. “Le retour d’Ulysse à Genéve.” RMSR 59/3 (2006): 12. Offers a brief discussion of the Grand Théâtre de Genève’s production of Monteverdi’s Il ritorno d’Ulisse in patria at the end of the 2005–6 season, with Attilio Cremonesi (conductor), Kresimir Spicer (Ulisse), and Marie-Claude Chappuis (Penelope).

526.

Rosand, Ellen. “Iro and the Interpretation of Il ritorno d’Ulisse in patria.” JM 7/2 (Spring 1989): 141–64. Through a re-examination of the character of Iro, Rosand offers a new reading of Badoaro-Monteverdi’s Il ritorno d’Ulisse in patria that considers this opera in relation to L’incoronazione di Poppea (text by Giovanni Francesco Busenello) and to the philosophical debates of the Accademia degli Incognito regarding love, passion, and reason. Rosand demonstrates that Iro is significantly emphasized in this opera and that he does not conform to the conventional comical roles established in Venetian opera. Analyzes and compares Iro’s climactic monologue, “O dolor, o marti che l’alma,” in which the character speaks of suicide, to Seneca’s death in L’incoronazione di Poppea. Suggests that, taken as a pair, these two operas present two sides of the Incognito debate: “whether chaste [i.e., Penelope’s] or unchaste [i.e. Poppea’s] love be the more powerful” (p. 164). With textual excerpts and musical examples.

527.

Rosand, Ellen. “The Bow of Ulysses.” JM 12/3 (Summer 1994): 376–95. Explores the working relationship between Monteverdi and Giacomo Badoaro, the librettist of Il ritorno d’Ulisses in patria (1640), while suggesting that Badoaro, like the anonymous librettist of Le nozze d’Enea in Lavinia (1641), sought to please Monteverdi. Through a careful examination of the text and music of Ritorno, Rosand shows that “practically every scene shows evidence of the composer’s intervention” (p. 384). Analyzes the text and music of Ulysse’s aria “O fortunato Ulysse” (act 1, scene 9) and Ericlea’s aria “Ericlea, che voi far” (act 3, scene 8). Reproduces the text and the music of both arias. Suggests a possible identification of the composer with the character of Ulysse, while proposing that Il ritorno d’Ulisses in patria may have represented Monteverdi’s return to, and claim for, his domain of the operatic stage. These ideas are developed further in Rosand’s monograph on Monteverdi’s Venetian operas (no. 392).

528.

Rosand, Ellen. “Monteverdi’s Il ritorno d’Ulisse in patria and the Power of Music.” COJ 7 (1995): 179–84.

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Analyzes the characters in this opera in terms of their ability or inability to produce music, while paying special attention to Ulysse and Penelope. Suggests that “Monteverdi very carefully controls his characters’ manner of expression to create their emotions—and their nature” (p. 182). Le nozze d’Enea in Lavinia (1640–1) 529.

Michelassi, Nichola. “Michelangelo Torcigliani e l’incognito autore delle Nozze di Enea con Lavinia.” SS 48 (2007): 381–6. Among the few studies of Monteverdi’s lost penultimate Venetian opera, Il nozze d’Enea in Lavinia. The work was performed at the Teatro Grimani in 1641. Proposes Michelangelo Torcigliani, an associate of the Venetian academy of the Incognito, as the librettist.

530.

Sevieri, Maria Paola. Le nozze d’Enea con Lavinia. Genoa, Italy: De Ferrari, 1997. 143p. ISBN 9788871720913. ML410.M77.S48 1997. Major study of Le nozze d’Enea in Lavinia with parallel transcriptions of the libretto drawn from its two major sources: 1) Los Angeles, University of California, Music Library Special Collections, Raccolta de’Drammi II, n. 18 and 2) Venice, Museo Correr, ms. Cicogna 192, n. 3331. The study opens with three chapters on theatrical traditions and contexts, sources for the libretto, the status, style, and rhetoric of the text, and musical conventions. Among the few stand-alone studies of Le nozze d’Enea in Lavinia; footnotes and bibliography direct the reader to the most recent and relevant scholarship in Italian, German, and English.

L’incoronazione di Poppea (1642–3) 531.

Bachmann, Claus-Henning, and Nikolaus Harnoncourt. “Comprendre autrement le discours musical.” Trans. Brigitte Hébert. In no. 56, pp. 130–3. French translation of an interview held in Zurich, 1979, with Nikolaus Harnoncourt on the subject of Monteverdi’s L’incoronazione di Poppea. Issues of performance practice, orchestration, improvisation, and modern-day audiences are considered.

532.

Boesmans, Philippe, Sylvain Cambreling, and Fernand Leclercq. “Monteverdi recréé: Une dramaturgie du timbre.” In no. 56, pp. 138–42. French translation of an interview with Philippe Boesmans on the subject of his performing version of Monteverdi’s L’incoronazione di Poppea, prepared for a production at the Théâtre Royal de la Monnaie (Brussels, 1989). Boesmans’s views on timbre as a means to convey the dramatic elements in the opera are explored.

533.

Boogaart, Jacques. “Octavia Reincarnated: Busenello’s and Monteverdi’s L’incoronazione di Poppea.” In ‘Music’s Obedient Daughter’: The Opera Libretto

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from Source to Source, ed. Sabine Lichtenstein, pp. 37–67. New York: Rodopi, 2014. ISBN 9789042038080 9789401210553. ML2110.M89 2014. Provides the plot line of the libretto of L’incoronazione di Poppea along with the problems connected with its sources and interpretations. Boogaart then investigates the literary ancestry of Ottavia and the interpretation of this role in Giovanni Francesco Busenello and Monteverdi’s opera. Analyzes Busenello’s libretto in relation to Seneca’s tragedy, and examines the musical setting of Ottavia’s lament. With textual excerpts and a transcription, provided in the appendix, of Ottavia’s lament. 534.

Brèque, Jean-Michelle. “Sur un prétexte historique, une oeuvre d’une portée universelle.” In no. 56, pp. 18–27. Drawing from Tacitus’s account of the reign of Nero (Annals, Books 12–16) and Seneca’s writings, Brèque offers a literary and historical context for the analysis of Giovanni Francesco Busenello’s libretto of L’incoronazione di Poppea. Includes biographical information for each historical figure appearing in the opera, as well as a transcription of Tacitus’s account of the story of Poppea and Othon, and of Seneca’s writings on clemency (De Clementia). With illustrations.

535.

Calcagno, Mauro. “Signifying Nothing: On the Aesthetics of Pure Voice in Early Venetian Opera.” JM 20/4 (Fall 2003): 461–97. Provides a new interpretation of Seneca’s melisma on the word “la [bellezza]” in act 1, scene 6 of L’incoronazione di Poppea that differs from previous readings on this passage by Wendy Heller (no. 547) and Iain Fenlon and Peter N. Miller (no. 543). Calcagno explores this section in Monteverdi’s opera within the context of the aesthetics of the Accademia degli Incogniti, epitomized in two recurring tropes used by members of this academy “to refer to pure voice and overvocalization: the concept of nothingness and the singing of the nightingale” (p. 465). According to Calcagno, Seneca’s melisma on “la”—an example of “asynchronicity” between word meaning and vocal gesture that represents an idiomatic feature of the style of the period—serves to underline the concept that beauty, particularly in relation to Poppea, is “a mere appearance and indeed Nothing” (p. 493). Transcribes excerpts of writings by members of the Accademia degli Incogniti and its subgroup, the Accademia degli Unison, on the aesthetics and philosophy of the concept of nothing. This concept is analyzed in depth in Giambattista Marino’s poem L’Adone (1623). With musical examples.

536.

Carter, Tim. “Re-Reading ‘Poppea’: Some Thoughts on Music and Meaning in Monteverdi’s Last Opera.” JRMA 122/2 (1997): 173–204. Reprinted in no. 41, Essay 12, pp. 173–204. Through the exploration of dramatic and musical ambiguities of the character of Seneca in L’incoronazione di Poppea, Carter provides alternative readings of Monteverdi’s last opera that both differ from the interpretations provided by Ellen Rosand (no. 568) and Iain Fenlon and Peter N. Miller (no. 543) and expand

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on the author’s previous research on arias of the early seventeenth century (nos. 208, 520). Discusses act 1, scene 4, and act 2, scenes 1, 2, and 5. With musical examples that include intertextual references to Monteverdi’s Orfeo and “Non partir, ritrosetta” (from Madrigali guerrieri, et amorosi, Libro VIII). 537.

Curtis, Alan. “‘La Poppea impasticciata’ or, Who Wrote the Music to L’incoronazione (1643)?” JAMS 42/1 (Spring 1989): 23–54. Reprinted in no. 64, pp. 475–506. Re-examines the source-material for L’incoronazione di Poppea, while reassessing the attribution of Poppea to Monteverdi. Analyzes musical discrepancies between the two surviving extant music scores (Venice and Naples). Based on stylistic features, suggests that a younger composer, or younger composers (e.g., Francesco Sacrati, Francesco Cavalli, Benedetto Ferrari), rewrote the role of Ottone, which he tailored “for a singer with a slightly higher voice” (p. 29), and composed a few other passages in the opera (the prologue, act 2, scenes 1 and 4, and the final sinfonia). With musical examples.

538.

Curtis, Alan. “Il ritorno di Poppea: A New German Source Provokes Some New Thoughts—and Old Arguments.” In no. 43, vol. 1, pp. 26–36. Reports the discovery of a manuscript libretto for the opera L’incoronazione di Poppea in the Gottfried Wilhelm Leibniz Bibliothek-Niedersächsische Landesbibliothek (Ms. IV, 588a. Il Nerone) in Hannover, Germany. Curtis examines novelties in this libretto dating from 1655 at the latest, including the word “Balletto” at the end of act 2, the intriguing lines 19–21 in the prologue, and the line “Vanne ben mio,” which is, in Curtis’s view, misattributed to Poppea. Reproduces an excerpt from the manuscript libretto (fol. 31r.).

539.

Day, Christine J. “The Theater of SS. Giovanni e Paolo and Monteverdi’s L’incoronazione di Poppea.” CM 25 (1978): 22–38. Explores the history of the Teatro SS Giovanni e Paolo (Venice, 1639–1700), while focusing on the years surrounding the theater’s premiere and revival of L’incoronazione di Poppea (1642 and 1646). Day’s analysis of extant theater records and documentation sheds light on the first production of Poppea. Includes illustrations of the profile, floor plan, and stage machines of the Teatro SS Giovanni e Paolo, ca. 1670 (Figures 1–3). With a synopsis of sets and use of flying machines in Monteverdi’s L’incoronazione di Poppea (Table 1) and two sets designed by Giovanni Burnacini, Teatro SS Giovanni e Paolo’s stage designer during the time of the performances of Poppea (Figure 4 and 5).

540.

Deacon, Theodore Ralph. “The Comic Intrusion: An Analysis of the Origins and Function of the Comedic Elements in Giovanni Francesco Busenello and Claudio Monteverdi’s L’incoronazione di Poppea.” DMA diss. University of Washington, Seattle, 1990. vi, 225p. UMI 9117941. Provides documentation and critique of the author’s performance edition of L’incoronazione di Poppea, staged at the University of Washington in March of

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1988. This study is divided into two parts. Section 1, “Analysis of the Comedic Elements,” suggests that while the two nurses in L’incoronazione di Poppea— Arnalta and the “nutrice”—have a classical precedent, they are transformed here into traditional Venetian comical figures that help form the characterization of their respective mistresses, Poppea and Ottavia; section 2, “Documentation of the Production,” describes issues pertaining to Deacon’s staging of Monteverdi’s opera during the regime of Benito Mussolini (1924–45). With musical examples, bibliography, and several appendices that include supplementary documentation as well as reviews of Deacon’s production. 541.

Fabbri, Paolo. “New Sources for Poppea.” Trans. Tim Carter. ML 74/1 (February 1993): 16–23. Examines two manuscript librettos of L’incoronazione di Poppea: a little-known source that survives in Warsaw, Biblioteka Naradowa (MS BOZ.1043), and a newly discovered manuscript that survives in Udine, Biblioteca Comunale (Fondo Joppi 496). Discusses three salient features in the Udine manuscript: first, the stage directions; second, a colophon that includes the name of the opera, its librettists and composer, and the venue and year of its performance, and third, a poem dedicated to an anonymous “Signora” (her name is left blank) that played the role of Poppea (thus confirming that a woman, not a castrato, sang this role). Suggests that this manuscript was not taken from another libretto but from a lost score.

542.

Fabbri, Paolo. “Monteverdi et le Théâtre musical.” Trans. Valérie Julia and Elisabetta Soldini. In no. 57, pp. 102–5. Surveys the development of opera in Venice in relation to Mantua and Florence. The Venetian political context as well as Monteverdi’s and Giovanni Francesco Busenello’s contributions to the genre are considered.

543.

Fenlon, Iain, and Peter N. Miller. The Song of the Soul: Understanding ‘Poppea’. London: Royal Musical Association, 1992. viii, 96p. (Royal Musical Association Monographs, 5). ISBN 9780947854041. ML410.M77.F4 1992. In this valuable interdisciplinary study of Monteverdi’s L’incoronazione di Poppea, Iain Fenlon and Peter N. Miller propose that “Poppea is perhaps best appreciated as part of an internal debate within the Accademia degli Incognito, of which both Giacomo Badoaro [librettist for Il ritorno d’Ulysse in patria] and Giovanni Francesco Busenello were members, about the nature of love, beauty and the role of music” (p. 93). For a similar interpretation, see Ellen Rosand no. 526. This monograph, which opens with an introduction by Fenlon and closes with an epilogue by Miller, includes chapters on literary sources (Suetonius, Dio Cassius, and Tacitus), Tacitism, Senecan Neostoicism and its influence on the Venetian Accademia, and the analysis of the characters of Poppea, Nero, and Seneca (chapters 2–6, by Miller), as well as one devoted to the analysis of the opera itself (chapter 7, by Fenlon). With index.

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Flinois, Pierre. “Vidéographie comparée.” In no. 57, pp. 142–6. Critical videography for Monteverdi’s L’incoronazione di Poppea from Bruno Bartoletti’s version for the Festival d’Aix on July 17, 1961, through Marc Minkowski’s version for the same festival in 1999. Major interpreters of this work also include Nikolaus Harnoncourt (Zurich, 1979), Alan Curtis (Spoleto Festival, 1979), Raymond Leppard (Glyndebourne Festival, 1984), and René Jacobs (Innsbruck, 1990).

545.

Giannuario, Annibale. L’Incoronazione di Poppea è di Claudio Monteverdi? Florence: Villa Medicea La Ferdinanda, 1991–92. 10p. (Cento Studi Rinascimento Musicale). No ISBN. ML410.M77.G53 1991. Reopens the question of who wrote L’incoronazione di Poppea. Points out the inconsistencies and errors in the surviving sources in relation to authorship of the opera.

546.

Giuntini, Francesco. “L’amore trionfante nell’ Incoronazione di Poppea.” In no. 39, pp. 347–56. Contributes to the scholarly discourse on the interpretation of Monteverdi’s Poppea that pits stoic virtue against passion. Giuntini follows Monteverdi’s Prologue: Love conquers both Fortune and Virtue, as demonstrated by the events that lead to Poppea’s coronation. Notes that the virtues of constancy and fortitude asserted by Ottone and Drusilla, which are rooted in love, are the same virtues preached by Seneca. A similar parallel exists between Poppea’s final apotheosis and that of Seneca.

547.

Heller, Wendy. “Tacitus Incognito: Opera as History in L’incoronazione di Poppea.” JAMS 52/1 (Spring 1999): 39–96. Examines the use of Tacitus’s history of Imperial Rome in this opera—including Giovanni Francesco Busenello’s manipulation of history—in light of Venetian views on politics and sensual pleasures articulated in the writings of members of the Accademia degli Incogniti. Provides an insightful discussion of two crucial sections in the opera that reflect the Incogniti’s views on sensuality: first, their rejection of stoic and neostoic philosophies (embodied by Seneca), as manifested in Seneca’s “Ringrazia la fortuna” (act 1, scene 6)—particularly, in the “absurd long melisma” (p. 67) in the passage “la bellezza” (see Calcagno no. 535 for an opposing view)—and second, the Incogniti’s approval of the fulfillment of natural instincts and physical urges exemplified in Lucano’s and Nero’s highly sensual duet “Hor che Seneca è morto.” With musical examples.

548.

Heller, Wendy. “‘O delle donne miserabil sesso’: Tarabotti, Ottavia, and L’Incoronazione di Poppea.” RSM 8 (2000): 5–46. Provides an informative and well-researched account of the life and works of the Venetian nun Arcangela Tarabotti, “seicento Venice’s most outspoken defender for the female sex” (p. 6). Discusses her relationship with Giovanni Francesco

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Busenello and other members of the Accademia degli Incogniti. Suggests that Tarabotti’s unconventional voice may have found its way into L’incoronazione di Poppea, namely, into Busenello’s representation of the figure of the abandoned woman, embodied in the problematic character of Ottavia. With musical examples and textual excerpts. 549.

Heller, Wendy. “Poppea’s Legacy: The Julio-Claudians on the Venetian Stage.” JIH 36/3 (2006): 379–99. Explores the Venetian treatments of the Julio-Claudians that followed Monteverdi-Busenello’s L’incoronazione di Poppea, focusing on an opera heavily influenced by the Roman historian Cornelius Tacitus: Giovanni Boretti and Aurelio Aureli’s Claudio Cesare (1672). Examines the use of music in this opera to convey lessons of history. Includes a useful table describing the use of Tacitus in Aureli’s Claudio Cesare (1672) and its significance in the opera.

550.

Heller, Wendy. “The Veil, the Mask, and the Eunuch: Sight, Sound, and Imperial Erotics in L’incoronazione di Poppea.” In no. 43, vol. 1, pp. 145–166. Examines the relationship of power between Poppea and Nerone in L’incoronazione di Poppea against a backdrop of historical accounts, including Poppea’s practice of veiling her face in public, Nero’s obsession with Poppea, and, following her death, his castration of a boy named Sporus (who he later married). Heller argues that the veil, also used by seventeenth-century Venetian courtiers to hide their beauty and thus increase desire in men, is “emblematic of Poppaea’s skilled use of artifice to dominate Nero” (p. 146). Heller analyzes the interplay of sight and sound in three scenes in this opera (act 1, scene 3; act 1, scene 10; act 3, scene 5), while focusing on the sensual power of Monteverdi’s music. Includes musical examples, textual excerpts, and translations.

551.

Joly, Jacques. “Busenello ou les contradictions du baroque.” In no. 56, pp. 14–7. Straightforward discussion of the life and works of Giovanni Francesco Busenello (1598–1659). Includes a brief commentary on the dramatist’s “political pessimism and demystifying humor” (p. 16).

552.

Kennedy, Michael. “L’incoronazione di Poppea: Salzburg, 1993.” Opera. Special Issue: Great First Nights (September 2005): 52–3. Kennedy nominates the production of Monteverdi’s L’incoronazione di Poppea patria at the Grosses Festspielhaus (July 24, 1993) for this journal’s special issue on “Great First Nights.” Provides a brief description of this opera’s opening night, while commenting on the conducting of Nikolaus Harnoncourt and the performances of Sylvia McNair (Poppea), Philip Langridge (Nero), Marjana Lipovšek (Ottavia), Jochen Kowalski (Ottone), Andrea Rost (Drusilla), and Kurt Moll (Seneca).

553.

Krummacher, Friedhelm. “Pur ti miro—Monteverdi zugeschrieben?” In ‘Critica Musica’: Studien zum 17. und 18. Jahrhundert: Festschrift Hans Joachim Marx

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zum  65. Geburtstag, ed. Nicole Ristow, Wolfgang Sandberger, and Dorothea Schröder, pp. 165–83. Stuttgart, Germany: J.B. Metzler, 2001. ISBN 3476452611. ML193. Observations on the authorship and sources for “Pur ti miro,” the famous final duet from L’incoronazione di Poppea. Krummacher reviews the surviving sources for the duet and considers the question of its authorship with reference to Alan Curtis’s argument (no. 537) that Francesco Sacrati or Benedetto Ferrari is the likely composer. 554.

Leopold, Silke. “A dio, musico spirto—Kraack, Karajan und die Krönung der Poppaea.” In Amor vincit omnia: Karajan, Monteverdi und die Entwicklung der Neuen Medien: Symposium 1999, ed. Sigrit Fleiss and Ina Gayed, pp. 13–33. Vienna: Paul Zsolnay, 2000. ISBN 9783552049604. ML3845.A5 2000. Questions the legitimacy of updating Monteverdi’s works for modern audiences. Reassesses the 1963 production of the Vienna State Opera of Monteverdi’s L’incoronazione di Poppea, staged by Günther Rennert and conducted by Herbert von Karajan (recorded on the Wuppertaler Bühnen label, T 74 422). Leopold focuses on Erich Kraack’s free adaptation of the score, using Ottavia’s lament “A Dio Roma, a Dio patria” (act 1, scene 6) as an example. Kraack (1898–1975), a violist and conductor himself, prefaces the lament with a lengthy orchestral introduction that draws on Monteverdi’s “Mentre vaga angioletta” from the composer’s Madrigali guerrieri et amorosi, Libro VIII. Kraack transforms the work into a lateRomantic opera that Leopold argues is less original than Monteverdi’s creation.

555.

Lewis, Rachel A. “Love as Persuasion in Monteverdi’s L’incoronazione di Poppea: New Thoughts on the Authorship Question.” ML 86 (2005): 16–41. Proposes that the gender confusion at the heart of the Poppea-Nerone relationship may be understood within the context of the sexually double nature of Renaissance rhetoric, “which was perceived as a combination of masculine ‘force’ and feminine ‘guile’” (p. 25). With the exception of the finale, this confusion throughout the opera stems from the musical representation of Poppea as a dominant personality vis-à-vis Nero’s passive and womanish characteristics. Based on the newly established relationship between Nero and Poppea in “Pur ti miro”—in which Nero dominates—Lewis  suggests that a composer other than Monteverdi wrote the finale. Examines Nerone’s and Poppea’s duets in act 1, scene 3 and act 3, scenes 5 and 8, as well as Nerone’s duet with Lucano in act 2, scene 5. Includes musical examples.

556.

Magini, Alessandro. “Le monodie di Benedetto Ferrari e L’incoronazione di Poppea: un rilevamento stilistico comparativo.” RIM 11/2 (1986): 266–99. Compares Benedetto Ferrari’s three collections of monody, Musiche varie a voce sola (1633, 1637, and 1641) to Giovanni Francesco Busenello’s libretto and Monteverdi’s music for L’incoronazione di Poppea. Further comparisons are made between sections of L’incoronazione di Poppea and Giovanni Faustini’s libretto

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for Doriclea (1645), set to music by Francesco Cavalli. With extensive musical and textual examples. Includes a transcription of the title page and complete list of contents for each volume of Musiche varie a voce sola. 557.

Malfitano, Catherine. “Une modernité shakespearienne.” In no. 56, pp. 150–2. Opera singer Catherine Malfitano discusses her interpretation of Poppea and her changing perceptions of this role as she prepares for a production of L’incoronazione di Poppea, under the direction of Luc Bondy (Théâtre Royal de la Monnaie, Brussels, 1989).

558.

Morrier, Denis. “Le labyrinthe des sources.” In no. 56, pp. 114–8. Critical discussion of the sources of Monteverdi’s L’incoronazione di Poppea, beginning with Cristoforo Ivanovich’s catalog of Venetian operas, Memorie teatrali di Venezia, and ending with Lorenzo Bianconi’s examination of the genesis of the opera’s final duet, “Pur ti miro.” Includes a list of surviving scores and librettos, including their location.

559.

Morrier, Denis. “Poppée au XX siècle: le dédale des versions.” In no. 56, pp. 119–28. Discusses a “maze of versions” of L’incoronazione di Poppea, beginning with the 1905 performance of the opera by the Schola Cantorum of Paris and ending with Nikolaus Harnoncourt’s 1973 performance of Poppea in Darmstadt, Germany. Different performances and editions of this opera are considered, including those by Giacomo Benvenuti, Ernst Krenek, Gian Francesco Malipiero, and Raymond Leppard, among others.

560.

Morrier, Denis. “Guide d’écoute.” In no. 57, pp. 24–101. Intended as a centerpiece in the issue, this article provides a detailed musical and literary analysis of Monteverdi’s L’incoronazione di Poppea. Morrier offers a scene-by-scene examination of the text-music relationship in Monteverdi’s opera. Includes the complete libretto of Giovanni Francesco Busenello’s L’incoronazione di Poppea, with a French translation by Michel Orcel, completed by Denis Morrier and Elizabetta Soldini. With musical examples, bibliography, and illustrations.

561.

Morrier, Denis. “Introduction au guide d’écoute.” In no. 57, pp. 10–23. Provides background information intended to prepare the reader for listening to Monteverdi’s L’incoronazione di Poppea (no. 560). Discusses issues pertaining to sources, scenography, vocal ranges, singers, orchestra, musical style and form, music and rhetoric, the composer’s musical language, and the characters in this opera.

562.

Morrier, Denis. “Les metamorphoses d’une partition.” In no. 57, pp. 125–33. Useful summary of the modern editions and performances of Monteverdi’s L’incoronazione di Poppea up to the late 1980s. Editions and performances by

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Vincent D’Indy, Raymond Leppard, Nikolaus Harnoncourt, and Philippe Boesmans, among others, are considered. Includes a list of editions of this opera appearing between 1901 and 1989. 563.

Morrier, Denis. “Retour dans le labyrinth des sources.” In no. 57, pp. 120–4. This article supplements the author’s earlier discussion of the sources of Monteverdi’s L’incoronazione di Poppea (no. 558). Offers a summary of the debates surrounding the authorship of this opera up to the year 2004.

564.

Morrier, Denis. “Discographie.” In no. 57, pp. 134–41. Critical discography for L’incoronazione di Poppea beginning with Walter Goehr’s recording of 1953 and ending with Gabriel Garrido’s recording of 2000.

565.

Pirrotta, Nino. “Forse Nerone cantò da tenore.” In Musica senza aggettivi: Studi per Fedele d’Amico, vol. 1, ed. Agostino Ziino, pp. 47–60. Florence: Leo S. Olschki, 1991. (Quaderni della Rivista italiana di musicologia, 25). ISBN 8822239032. ML55.D22 1991. Considers Monteverdi’s choice of voice type for the characters in L’incoronazione di Poppea. Pirrotta proposes that assigning the roles of Nerone and Ottone to a soprano and contralto, respectively, is inconsistent with how the parts would have been performed during Monteverdi’s lifetime. Proposes that transposing Nerone’s part down an octave yields a tenor register that is more suitable and consistent with known tenor parts in early Venetian opera.

566.

Pryer, Anthony. “Authentic Performance, Authentic Experience and ‘Pur ti miro’ from Poppea.” In no. 55, pp. 191–213. Outlines issues relating to issues of authenticity in the performance of “Pur ti miro,” the final movement of L’incoronazione di Poppea (these range from performance pitch and instrumentation to the composer’s intentions). Re-examines the evidence against Monteverdi’s authorship of this duet recently given by some scholars (for example, Alan Curtis no. 537) suggesting that it is not possible to know with certainty the origin and authorship of “Pur ti miro.” With musical examples.

567.

Reijen, Willem van. “Der Rest des Trauerspiels heisst Musik.” In Amor vincit omnia: Karajan, Monteverdi und die Entwicklung der Neuen Medien: Symposium 1999, ed. Sigrit Fleiss and Ina Gayed, pp. 150–92. Vienna: Paul Zsolnay, 2000. ISBN 9783552049604. ML3845.A5 2000. A brief appendix on L’incoronazione di Poppea connects Reijen’s exploration of Walter Benjamin’s views on German Baroque tragedy to Monteverdi and Giovanni Francesco Busenello’s opera.

568.

Rosand, Ellen. “Seneca and the Interpretation of L’incoronazione di Poppea.” JAMS 38/1 (Spring 1985): 34–71. Examines the characterization of Seneca in L’incoronazione di Poppea within the context of the philosophical and moral ideas of the members of the Accademia

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degli Incogniti, including Giovanni Francesco Busenello, and of Monteverdi’s musical aesthetics. Offers a comparative analysis of the two sources for Poppea: Octavia (attributed to Seneca) and Tacitus’s The Annals (Books 13–16). Argues that Busenello’s libretto reveals the centrality of Seneca in the opera, as well as the importance of his death in the second act. Suggests that while Busenello’s text reflects an ambivalent and somewhat negative attitude toward Seneca, particularly at the moment of his death, Monteverdi’s music ennobles both the character and his acceptance of death. With musical examples. 569.

Rosand, Ellen. “Monteverdi’s Mimetic Art: L’incoronazione di Poppea.” COJ 1/2 (1989): 113–37; repr. in Studies in Musical Sources and Style: Essays in Honor of Jan LaRue, ed. E.K. Wolf and E.H. Roesner (Madison, WI, 1990); Also in no. 64, pp. 125–49. Discusses Monteverdi’s developing ideas regarding music-text relationship, as well as the mimetic qualities of his music. Examines the use of madrigalisms in Monteverdi’s earlier works (as in Arianna’s lament in the opera Arianna [1608]) and the new ways in which text and music interact in his later works, specifically, in L’incoronazione di Poppea (1643). With musical examples.

570.

Rosand, Ellen. “Did Monteverdi write L’incoronazione di Poppea, and Does it Matter?” ON 59/1 (1994): 20–3. Adding to the scholarly debate around the authenticity and meaning of Monteverdi’s L’incoronazione di Poppea (see Alan Curtis no. 537), Rosand offers a clear and witty discussion of this opera and its surviving sources that is accessible to a wider audience. The author identifies the areas in the surviving score that raise questions of authenticity and discusses the opera’s final duet (“Pur ti miro,” possibly written by Benedetto Ferrari, Filiberto Laurenzi, Francesco Sacrati, or Francesco Cavalli) within the operatic traditions and conventions of the era. These include the practice of pasticcio and the use of love duets as a closing movement to an opera.

571.

Rosenthal, Harold, and Raymond Leppard. “Réaliser Monteverdi.” In no. 56, pp. 134–5. French translation of an interview held in London, 1971, with Raymond Leppard on the subject of Monteverdi’s L’incoronazione di Poppea. The performance of early Baroque operas as a whole is considered.

572.

Saint-André, Pascale. “Commentaire musicale et littérarie.” In no. 56, pp. 30–113. Intended as a centerpiece in the issue, this article provides a detailed musical, literary, and historical analysis of Monteverdi’s L’incoronazione di Poppea. SaintAndré offers a scene-by-scene examination of the text-music relationship in Monteverdi’s opera. Sources, vocal ranges, orchestra, and the composer’s musical language are considered. Includes the complete libretto of Giovanni Francesco Busenello’s L’incoronazione di Poppea, with a French translation by Michel Orcel. With musical examples, bibliography, and illustrations.

140

573.

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Sánchez-Archidona, María. “Rinaldo Alessandrini: ‘La música de Bach es absolutamente perfecta’.” Scherzo 21/203 (2005): 58–62. Interview held in Spain with Italian conductor and harpsichordist Rinaldo Alessandrini on the subject of his production and performance of Monteverdi’s L’incoronazione di Poppea (Salamanca, 2005).

574.

Schneider, Magnus Tessing. “Seeing the Empress Again: On Doubling in L’incoronazione di Poppea.” COJ 24/3 (November 2012): 249–91. Suggests that singer-actress Anna Renzi played the role of Drusilla in L’incoronazione di Poppea in addition to the role of Ottavia. By playing both roles, Schneider suggests, Renzi displayed her mastery of tragedy and comedy as well as her skills as a quick-change artist. Schneider discusses Renzi’s skills in the context of seventeenth-century theatrical practices, while examining doubling practices and plans in early Venetian opera, including Monteverdi and Giovanni Francesco Busenello’s L’incoronazione di Poppea. Provides cast lists for Venetian operas from the period 1637–68 and for the Teatro SS Giovanni e Paolo in 1643, a doubling chart for the 1643 premiere of L’incoronazione di Poppea, and a list of the roles of Anna Renzi. With two musical examples.

575.

Schröder, Dorothea. “Abbild der Laster, Opfer der Lust: Die Darstellung des Kaisers Nero bei Monteverdi und in drei Hambuger Barockopern.” In no. 45, pp. 321–34. Traces the reception of the character of Nero in three opera productions in Hamburg’s Gänsemarkt-Oper in the early eighteenth century: in Reinhard Keiser’s Octavia (1705), George Frideric Handel’s Nero (1705), and Giuseppe Maria Orlandini’s Nerone (1723). A comparison of the librettos for Monteverdi’s L’incoronazione di Poppea and those for its eighteenth-century imitators reveals a strong contrast in their aesthetic values, depiction of Nero, and treatment of religion. Accordingly, the author situates the three operas as foreshadowing the German Enlightenment.

576.

Starobinski, Jean. “Voix et visages de la seduction: Poppée.” In no. 57, pp. 116–9. Straightforward discussion of Poppea that traces the character’s personality as well as her increasing seductive power over Nero as the opera develops. Includes a French translation of Seneca’s advice to Nero (which appears in Seneca’s De Clementia) and of Tacitus’s account of the story of Poppea and Othon.

577.

Scott, Derek. “Sexuality and Musical Style from Monteverdi to Mae West.” In The Last Post: Music after Modernism, ed. Simon Miller, pp. 132–49. Manchester: United Press, 1993. ISBN 0719036097. ML3795.L256 1993. Republished in From the Erotic to the Demonic: On Critical Musicology. New York: Oxford University Press, 2003, pp. 17–57. 258p. ISBN 0195151968. ML3795.S28. Focusing on the interrelationships between style and ideology, Scott examines the conventions involved in representations of sexuality in music in three differing

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musical styles: Baroque opera, the Victorian drawing room ballad, and popular music of the 1920s and 1930s in the United States of America. The representation, performance, and recognition of eroticism in Monteverdi’s L’incoronazione di Poppea are explored. 578.

Soldini, Elisabetta and César Arturo Dillon. “L’oeuvre à l’affiche.” In no. 57, pp. 148–55. Provides a list of first performances of Monteverdi’s L’incoronazione di Poppea around the world from 1913 to 2005. Includes venues, conductors, stage directors, costume designers, and cast. With illustrations.

579.

Steinbeck, Wolfram. “Pur ti miro—Schritte der Näherung: Die Dramaturgie in Claudio Monteverdis L’incoronazione di Poppea.” In Aspetti musicali: Musikhistorische Dimensionen Italiens 1600 bis 2000: Festschrift für Dietrich Kämper zum 65. Geburtstag, ed. Norbert Bolin, Christoph von Blumröder, and Imke Misch, pp. 141–52. Cologne-Rheinkassel: Christoph Dohr, 2001. 400p. ISBN 3925366830. ML290.1.A87 2001. While acknowledging the challenges in determining the authorship of the music and text for the final duet, “Pur ti miro,” Steinbeck reviews the surviving source material and shows connections between the duet and earlier motivic and stylistic features of the opera.

OTHER DRAMATIC WORKS Le nozze di Tetide (1616–7) 580.

Carter, Tim. “Winds, Cupids, Little Zephyrs and Sirens: Monteverdi and Le nozze di Tetide (1616–1617).” In no. 49, pp. 489–502. A close reading of Monteverdi’s letters and related documents of 1616 regarding Le nozze di Tetide, a favola on a maritime subject by Mantuan courtier, Scipione Agnelli. Monteverdi’s correspondence with Alessandro Striggio, who was tasked with procuring Monteverdi’s involvement in the proposed entertainment, reveals his distaste for the libretto, his diplomatic skills, and his aesthetics of theatrical music.

Andromeda (1620) 581.

Carter, Tim. “Monteverdi, Early Opera and a Question of Genre: The Case of Andromeda (1620).” JRMA 137/1 (January 2012): 1–34. Provides a new examination of the printed libretto for Monteverdi-Marigliani’s opera Andromeda (1620) discovered by Albi Rosenthal in 1985 (no. 583). Carter considers the plot and the characteristics of Hercole Marliani’s text within the contexts of the Mantuan courtly world and of local literary practices and genres

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of the period, while comparing it to Alessandro Striggio’s Orfeo (1607), Ottavio Rinuccini’s Arianna (1608), and Gabriello Chiabrera’s Galatea (1615). Includes textual excerpts and translations. 582.

Fenlon, Iain. “Mantua, Monteverdi and the History of Andromeda.” In no. 46, pp. 163–74. Illustrates the place of Andromeda (1620; music now lost) within the context of Monteverdi’s increasingly difficult relationship with the Gonzaga family. Discusses Ferdinand Gonzaga’s interest in promoting Florentine composers and performers, as well as his apparent indifference to Monteverdi. Earlier dramatic works on the subject of the myth of Andromeda (e.g., Rudolfo Campeggi’s tragedy of 1610 and Jacopo Cicognini’s “favola marittima” of 1611) are considered.

583.

Rosenthal, Albi. “Monteverdi’s Andromeda: A Lost Libretto Found.” ML 66 (1985): 1–8. Reports the discovery of the libretto Andromeda by Ercole Marigliani (or Marliani), with music by Monteverdi (now lost). Rosenthal offers a discussion of the libretto in relation to Monteverdi’s letters about this opera, written between 1618–20. Includes facsimiles of the title page, the dedication, the dramatis personae, as well as a page of the text (“Choro di pescatori”). The libretto appears in a volume published by the brothers Osanna in 1620.

Il Combattimento di Tancredi e Clorinda (1624) 584.

Abegg, Werner. “Monteverdis Combattimento im Lichte der Venezianerischen Manierismus.” In Festschrift Christoph-Hellmut Mahling zum 65. Geburtstag, ed. Axel Beer, Kristina Parr, and Ruf Wolfgang, pp. 1–10. Tutzing, Germany: Hans Schneider, 1997. ISBN 3795209005. ML55.M23 1997. An innovative approach to studying Monteverdi’s music that draws on iconography and art historical studies. Compares Monteverdi’s Combattimento di Tancredi e Clorinda with Jacopo Tintoretto’s Crucifixion (1565) and reveals similarities in approach and structural principles that include an asymmetrical syntactical structure, division into partial scenes, and destabilization. Active in Venice, Tintoretto was associated with mannerist movement in that city in the second half of the sixteenth century.

585.

Arnold, Ben. “War Music and its Innovations.” MR 55/1 (1994): 52–7. Suggests that war music was “an early proponent of several techniques that later became prominent in non-programmatic music” (p. 52). Examines eight representative works, beginning with Clément Janequin’s La guerre (1528) and ending with Krzysztof Penderecki’s Tren ofiarom Hiroszimy (“Threnody for the victims of Hiroshima,” 1960). Describes Monteverdi’s two innovative devices in the Combattimento di Tancredi e Clorinda (1624): stile concitato and pizzicato.

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Includes a list of innovative musical techniques originating in music related to war (Table 1). 586.

Brunel, Pierre. “Le texte sublimé.” L’Alphée 3 (1980): 54–63. Presents a valuable discussion of Monteverdi’s Combattimento di Tancredi e Clorinda that is intended more for music enthusiasts than for the music specialist. This essay is preceded by a reprint of the poem by Torquato Tasso, with a French translation by Michel Orcel.

587.

Carter, Tim. “Composer as Theorist? Genus and Genre in Monteverdi’s Combattimento di Tancredi e Clorinda.” In Music in the Mirror: Reflections on the History of Music Theory and Literature for the 21st Century, ed. Andreas Giger and Thomas J. Mathiesen, pp. 77–116. Lincoln: University of Nebraska Press, 2002. (Publications of the Center for the History of Music Theory and Literature, 3). ISBN 0803232195. ML3845.M974 2002. Carter provides a comprehensive discussion of several problematic issues in Monteverdi’s Combattimento di Tancredi e Clorinda, particularly, those stemming from the composer’s theoretical and practical discussion of the work. Suggests that if Monteverdi conceived the Combattimento with a theoretical plan in mind, he did not adhere to it in a consistent manner. Transcribes Monteverdi’s discussion of the piece included in the preface to Madrigali guerrieri et amorosi, Libro VIII and in its Basso continuo partbook. With musical examples. A useful analytical description of the different sections in the Combattimento di Tancredi e Clorinda (including the action in the story as well as the key, instruments, and genere) is included in the appendix.

588.

Carter, Tim. “Another Monteverdi Problem (And Why It Still Matters).” In Fiori Musicali: Liber amicorum Alexander Silbiger, ed. Claire Fintijn and Susan Parisi, pp. 83–94. Sterling Heights, MI: Harmonie Park Press, 2010. ISBN 0899901441. ML55.S65.F56 2010. Discusses Monteverdi’s “mistakes” in setting Torquato Tasso’s poetry in his Combattimento di Tancredi e Clorinda, while paying special attention to the allocation to Clorinda of words intended for the narrator in the second line of stanza 53 ([—Guerra e morti avrai, disse;—io non rifuto] darlati se la cerchi:—e ferma attende. [. . .]). The nature of Monteverdi’s sources is considered.

589.

Collaer, Paul. “Lyrisme baroque et tradition populaire.” Studia Musicologica Academiae Scientiorum Hungaricae 7 1/4 (1965): 25–40. Also in Les colloques de Wégimont. IV: Le Baroque musical—Recueil d’études sur la musique du XVIIe siècle, pp. 109–130. Paris: Les Belles Lettres, 1963. Traces the oral traditions developed throughout Italy, focusing on the cantastorie of central and southern Italy from which the declamatory style of Monteverdi’s Combattimento di Tancredi e Clorinda (1624) is derived. Challenging the notion that stile rappresentativo is the result of the simplification of polyphony, Collaer proposes that local ancient practices and traditions “served as examples and

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models” to composers from the turn of the seventeenth century (p. 38). Includes textual excerpts and musical examples. 590.

Cusick, Suzanne G. “‘Indarno chied’: Clorinda and the Interpretation of Monteverdi’s Combattimento.” In no. 43, vol. 1, pp. 117–44. In this insightful article, Cusick offers a Clorinda-centered reading of Monteverdi’s Combattimento di Tancredi e Clorinda (performed as a carnival entertainment in 1624; published in the Madrigali guerrieri et amorosi, Libro VIII in 1638). Cusick analyzes Monteverdi’s setting as a centerpiece in the composer’s book of madrigals and as a carnivalesque piece, while also considering the sociohistorical context in which the piece was performed and published. By exploring the pre- and early-modern European understanding of gender and sexuality in Christian Europe and in the Ottoman world, the author unpacks the multiple alterities and ambiguities in the character of Clorinda. Includes musical examples as well as a useful table including three versions of the opening and ending lines of Il combattimento di Tancredi e Clorinda: first, the Italian version as printed in Canto, second, Stanley Applebaum’s translation, and third, retranslation [from the original French into the English language] of Jean Toscan’s interpretation based on his lexicon of erotic double entendres.

591.

Frangne, Pierre-Henry. “Les larmes de Tancrède: La voix et le voir dans Le combat de Tancrède et Clorinde de Claudio Monteverdi.” MAPM 11/1–2 (2004): 11–20. Proposes that Monteverdi’s madrigals may be understood as a medium that creates a visual and audible space and temporality in which sight and sound interact. Frangne then offers a philosophical reading of Il combattimento di Tancredi e Clorinda in which Tancredi’s tears, and the quivering of the voice, epitomize the philosophical and theological notion of the union of sight and sound, space and time, thought and gesture, and body and soul.

592.

Gallico, Claudio. “Liberata o Conquistata? Svolte del Combattimento di Monteverdi.” In no. 280, pp. 1225–9. Argues that Monteverdi relied on two parallel poetic sources for his Combattimento di Tancredi e Clorinda: Torquato Tasso’s Gerusalemme liberata (1581) and the poet’s revision of the work as Gerusalemme conquistata (1593). Gallico traces the reception of both versions of Tasso’s epic in (quasi-)dramatic works produced for Venice and Rome.

593.

Kesting, Marianne. “Tasso und Monteverdi: Il Combattimento di Tancredi e Clorinda.” In Die Semantik der musiko-literarischen Gattungen: Methodik und Analyse. Eine Festgabe für Ulrich Weisstein zum 65. Geburtstag/The Semantics of the Musico-Literary Genres: Method and Analysis in Honor of Ulrich Weisstein on His 65th Birthday, ed. Walter Bernhart, pp. 21–33. Tübingen, Germany: Gunter Narr, 1994. ISBN 3823346555. No LC. A study of Il combattimento di Tancredi e Clorinda that positions the piece as an experimental work of mixed genre (“ein experimentelles Mischgenre”).

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Monteverdi first turned to Torquato Tasso’s poetry in his Madrigali, Libro II a5 (1590), and the poet played a key role in the aesthetics of the Madrigali guerrieri e amorosi, Libro VIII (1638), specifically in the realm of the genere concitato. Monteverdi creates a rhetorical language in which music represents the words to form a coherent drama. 594.

La Via, Stefano, Fraçoise Siguret, and Agostino Magro. “Le combat retrouvé: Les ‘passions contraires’ du ‘divin Tasse’ dans la représentation musicale de Monteverdi.” In La Jérusalem délivrée du Tasse: Poésie, peinture, musique et ballet, ed. Giovanni Careri, pp. 109–58. Paris: Musée du Louvre, 1999. (Conférences et colloques du Louvre, 1158–677X). ISBN 2252032359. NX652.T37.J47 1999. Discusses the role of Monteverdi not only as a composer but also as a dramatist that synthesizes the ancient and Christian worlds in his Combattimento di Tancredi e Clorinda. Includes three useful tables: 1) a synopsis and dramatic structure of Il combattimento di Tancredi e Clorinda, 2) a comparison of the peripeteia of Clorinda and Tancredi in the final resolution of Il combattimento di Tancredi e Clorinda, and 3) a synthesis of the tonal and cadential plan as well as the rhythmic and agogic organization. Appendix 1 includes a transcription followed by French translation of Monteverdi’s preface to Madrigali guerrieri et amorosi, Libro VIII and Torquato Tasso’s words on Tancredi and Clorinda. Appendix 2 provides the synopsis and macrostructure of Tasso’s Gerusalemme Liberata, while Appendix 3 presents an analysis of its text together with the musical structure. With musical examples and references.

595.

La Via, Stefano. “Dal Tasso di Monteverdi: Una lettura aristotelica del Combattimento di Tancredi e Clorinda.” In L’arme e gli amori: Ariosto, Tasso, and Guarini in late Renaissance Florence, vol. 1, ed. Massimiliano Rossi and Fiorella Gioffredi Superbi, pp. 159–76. Florence: S. Olschki, 2004. ISBN 8822253604. MLPQ4080. A87 2004. Sophisticated exploration of the dramatic principles of unity of action and peripeteia (the reversal of circumstances), as articulated by Aristotle in the Poetics, in Monteverdi’s Combattimento di Tancredi e Clorinda on a text by Torquato Tasso. Useful diagrams of the work’s dramatic structure and themes.

596.

Le Coat, Gérard. “Il combattimento di Tancredi e Clorinda: Le topos rhétorique de la guerre chez Monteverdi.” RMSR 40/2 (1987): 66–78. Explores the rhetoric of war and the gradual reinforcement of tension in the music of Il combattimento di Tancredi e Clorinda. Offers a brief discussion of the harmonic, melodic, polyphonic, and rhythmic topoi in the work. With musical examples.

597.

Martinez, José Luiz. “Monteverdi’s Combattimento: A Semiotic Analysis.” In Musical Semiotics Revisited, ed. Eero Tarasti, Paul Forsell, and Richard Littlefield, pp. 440–455. Helsinki: International Semiotics Institute, 2003. ISBN 9525431037. ML3845.M9756 2003.

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In this essay, Martinez applies his semiotic theory of music, which is based on Charles Sanders Peirce’s general theory of signs, to the analysis of Monteverdi’s Combattimento di Tancredi e Clorinda. Considers the interaction of three fields of inquiry in music semiotics—intrinsic musical semiotics, musical reference, and musical interpretation—in his discussion of the Combattimento. Includes Peirce’s diagram for the sign (Figure 1). With musical examples and references. 598.

Woitas, Monika. “‘Combattimento’ & Co. Choreographie und imitatio in den Torneo-Täntzen um 1600 und in Monteverdis ‘Combattimento’.” In no. 51, pp. 167–90. Compares torneo dances transmitted in the works of dance masters Fabritio Caroso and Cesare Negri with passages from Il combattimento di Tancredi e Clorinda to demonstrate the close analogies in choreographic and musical structures. Summarizes these connections in a useful table of choreographical-musical structures that compares Negri’s “Torneo amoroso” (from Le Gratie d’Amore), Caruso’s “Barriera” from Nobilità di Dame, and Monteverdi’s Combattimento di Tancredi e Clorinda.

MUSICAL FESTIVITIES FOR PARMA (1628) 599.

Carter, Tim. “Intriguing Laments: Sigismondo d’India, Claudio Monteverdi, and Dido alla Parmigiana (1628).” JAMS 49/1 (Spring 1996): 32–69. Reprinted in no. 41, Essay 11, pp. 32–69. Examines the circumstances surrounding the Medici-Farnese Parma wedding festivities of 1628, for which Monteverdi wrote music, focusing on Sigismondo d’India’s (failed) attempt to gain the commission for the music for such festivities. Compares d’India’s recitative lament “Lamento di Didone” to Monteverdi’s Lamento d’Arianna, and analyzes Ascanio Pio di Savoia’s second intermedi (accompanying Torquato Tasso’s Aminta) in relation to Monteverdi’s own lamenting Dido for the 1628 festivities (music now lost). Carter proposes that the structure of this text “suggests a shift away from the recitative laments characteristics of the genre in the first decades of the seventeenth century in favour of aria-based styles” (p. 69). Includes a transcription of a letter by Sigismundo d’India addressed to the impresario for the Parma festivities, Enzo Bentivoglio, in which the composer shows proof of his ability to compose music for the stage. A transcription of Ascanio Pio di Savoia’s text, as well as D’India’s “Lamento di Didone,” are included in the appendix. With musical examples.

600.

Fabris, Dinko. “Bentivoglio Goretti Monteverdi e gli altri ancora sulle feste di Parma del 1628.” In no. 39, pp. 391–414. Highlights the contributions of the Ferrarese Marchese Enzo Bentivoglio (brother of Cardinal Guido Bentivoglio) to the entertainments that opened the Teatro Farnese of Parma in 1628, for which Monteverdi composed most of the music. Draws on letters from the Archivio Bentivoglio of Ferrara for 1585–1645

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to position Bentivoglio as a talent scout, inventor of a new genre of spectacle, the opera-torneo (opera tourney), and impresario ante litteram who provided a vital link between the official employer and the artists. 601.

Lavin, Irving. “Lettres de Parmes (1618, 1627–28) et débuts du théâtre baroque.” In Le lieu théâtral à la Renaissance: Royaumont 1963, ed. Jean Jacquot, Elie Konigson, and Marcel Oddon, pp. 105–58. Paris: Éditions du Centre National de la Recherche Scientifique, 1964. PN2171.J3. Through the examination of a series of letters written in Parma during the period 1627–28 (manuscript no. 660, Biblioteca Communale de Ferrare), Lavin explores the development of Baroque theater in Parma, as well as the early years of the Teatro Farnese during the years surrounding the Farnese-Medici wedding festivities (1628), for which Monteverdi wrote music. Transcribes thirtyeight letters, three of which mention Monteverdi (nos. 7, 9, and 13). Includes an appendix with supporting documents that include an inventory of the Teatro degli Intrepidi in Ferrara (1640), a description of an ephemeral theater erected in the courtyard of San Pieto Martire, as well as architectural designs and illustrations of theatrical productions.

602.

Mamczarz, Irene. Le Théâtre Farnèse de Parme et le drame musical italien (1618– 1732): Etude d’un lieu théâtral, des représentations, des formes: drame pastoral, intermèdes, opera-tournoi, drame musical. Florence: Leo S. Olschki Editore, 1988. 525p. ISBN 8822235495. ML1733.8 P27.M35 1988. Provides a historical and literary analysis of the stage works presented at the Teatro Farnese in Parma between 1618 and 1732, including those with music (now lost) by Monteverdi: Claudio Achillini’s prologue Teti e Flora and Ascanio Pio’s five intermedi prepared for the 1628 revival of Torquato Tasso’s Arminta, and Achillini’s tournament opera (“opéra-tournoi”) Mercurio e Marte (1628). Includes textual excerpts, transcriptions of unpublished letters, and bibliography.

603.

Reiner, Stuart. “Preparations in Parma, 1618, 1627–28.” MR 25 (1964): 273–301. Examines documents of the Antonelli collection and the Bentivoglio archive in Ferrara and transcribes letters pertaining to the Bentivoglio-Parma productions. The examination of these sources reveals “the specific and peculiar circumstances of Monteverdi’s Parma assignment” (p. 274). Letters transcribed include those by Alfonso Pozzo, Bartolomeo Bassi, Sigismondo d’India, Antonio Goretti, Fabio Scotti, Cardinal Guido Bentivoglio, Francesco Giutti, and Ascanio Pio Savoia.

Proserpina Rapita (1630) 604.

Covell, Roger. “Monteverdi’s Proserpina rapita: Clues in Absentia.” In Sound and Reason: Music and Essays in Honour of Gordon D. Spearritt, ed. Warren A. Bebbington and Royston Gustavson, pp. 471–60. St Lucia: Faculty of Music, University of Queensland, 1992. x, 234p. ISBN 0867764597; 9780867764598. ML55. S689 1992.

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Examines the surviving text and music of the trio “Come dolce hoggi l’Auretta” belonging to Strozzi-Monteverdi’s Proserpina rapita (1630), and analyzes the musical similarities between this trio and “Pur ti miro,” the final duet of L’incoronazione di Poppea. Addressing recent speculations on the authorship of L’incoronazione di Poppea, Covell suggests that the stylistic similarities between these two pieces seem to confirm Monteverdi’s authorship of the opera’s final duet. Includes a textual transcription of the trio as found in Giulio Strozzi’s libretto for Proserpina rapita (Strozzi, Proserpina rapita, Venice, 2nd ed., 1644, pp. 12–3) as well as a musical transcription of “Come dolce hoggi l’Auretta” printed in Madrigale e Canonetti a due e tre voci (Venice: Vicenti, 1651). 605.

Zoppelli, Luca. “Il rapto perfettissimo: Un ‘inedita testimonianza sulla Proserpina di Monteverdi.” RVSM 2–3 (1986): 343–5. Compact article that reports on an entry of April 16, 1630 preserved in a manuscript diary from the early seventeenth century housed at I-Vnm MS It. VII.2493/3. The entry describes the musical festivities occasioned by the wedding of Giustiniana Mocenigo and Lorenzo Giustiniani, notably Giulio Strozzi’s and Monteverdi’s Proserpina rapita. The writer positions Proserpina rapita as a novel work, which leads Zoppelli to suggest that this work (rather than Ermiona of 1636) may be the true precursor to Venetian opera.

BALLET MUSIC 606.

Bouquet-Boyer, Marie Thérèse. “Le ballet de cour en Italie.” In Spectaculum Europæum: Theater and spectacle in Europe/Histoire du spectacle en Europe (1580–1750), ed. Pierre Béhar and Helen Watanabe-O’Kelly, pp. 513–21. Wiesbaden, Germany: Harrassowitz, 1999. ISBN 3447040394. PN2570.S74 1999. Traces the origins and evolution of the ballet de cour in Mantua, Florence, and Turin. Briefly discusses Monteverdi’s and Ottavio Rinuccini’s Il ballo delle ingrate (1608), including its seven-part structure as well as its use of dialogue, solo singing, dances, and instruments. With a useful appendix that includes a brief review of the existing literature on court ballet in Italy and a description of primary sources held in the National and Royal Libraries of Turin.

607.

Carter, Tim. “New Light on Monteverdi’s Ballo delle ingrate (Mantua, 1608).” RSM 6 (1999): 63–90. Analyzes Monteverdi’s Il ballo delle ingrate in relation to Marco da Gagliano’s Il sacrificio d’Ifigenia within the broader context of the Florentine and Mantuan sung balli, beginning with Emilio de’ Cavalieri’s ballo in the intermedi of Girolamo Bargagli’s comedy La pelegrina (perf. in Florence, May, 1589) and ending with “De la bellezza le docute lodi” (included in the Scherzo musicali of 1607). Following an examination and comparison of Monteverdi’s and Gagliano’s works, Carter concludes that these balli—both performed in Mantua and

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premiered successively on June 4 and 5, 1608—were written in competition with one another. 608.

Chiarle, Angelo, ed. L’arte della danza ai tempo di Claudio Monteverdi: Atti del convegno internazionale, Torino, 6‒7 settembre 1993. Turin: Istituto per i Beni Musicali in Piemonte, 1996. 309p. No ISBN. ML3433.2.A784 1996. Published proceedings from a conference on dance in the era of Monteverdi. Contributions by Paolo Fabbri (“‘Movete al mio bel suon le piante snelle’: Inviti monteverdiani alla danza”) and Irene Alm (“Theatrical Dance in Venetian Opera 1637‒1660”) are especially relevant to considerations of dance in Monteverdi’s dramatic works.

609.

Dahms, Sybille. “Monteverdi und die italienische Tanzkunst zwischen Renaissance und Barock.” In no. 51, pp. 153–66. Among the few studies that focus on Monteverdi’s dance music. Monteverdi wrote dances largely in connection with his theatrical works. Though there is little by way of source material on the performance of his dance music, Dahms points to contemporaneous treatises on dance by Fabritio Caroso, Caesare Negri, Livio Lupi, and Prospero Lutij for guidance on dance conventions from the period.

610.

Fenlon, Iain. “The Origins of Seventeenth-Century Staged Ballo.” In no. 353, pp. 13–40. Traces the seventeenth-century large-scale staged ballo to Emilio de’ Cavalieri’s 1589 ballo performed in Florence on the occasion of Grand Duke Ferdinando de’ Medici’s marriage to Christine of Lorraine. Suggests that Cavalieri’s work “provided a model for a whole series of self-contained dance spectacles composed for the Italian courts, of which Monteverdi’s Mantuan balli are simply the most prominent survivals” (p. 31).

611.

Gordon, Bonnie. “Talking Back: The Female Voice in Il ballo delle ingrate.” COJ 11 (1999): 1–30. Insightful article that examines Monteverdi and Ottavio Rinuccini’s Il ballo delle ingrate within the broader context of early modern medical, social, and literary understandings of the female body. Provides a rich cultural background that includes the analysis of poetry by Ovid, Boccacio, Petrarch, and Baldassare Castiglione, as well as a discussion of the medical theories concerning the female body in Galen, Avicenna, and Jaques Ferrand. Suggests that, in the context of the festivities in which it was performed (the 1608 Mantuan festivities for the marriage of Francesco Gonzaga and Margherita de Savoy), Il ballo delle ingrate served, much like a conduct manual, to teach women how to quietly obey patriarchal precepts (see also Cusick no. 507 for similar views on Monteverdi’s Lamento d’Arianna). Yet, toward the end of the piece, “the solo lamenter and her echoers use their voices for a moment to resist confinement and defy the

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silencing impulses of early modern discourses” (p. 2). Includes textual excerpts and musical examples. 612.

Malkiewicz, Michael. “On the Choreography of Claudio Monteverdi’s Ballet Music: Aspects of (Re)Construction.” Recercare 13 (2001): 125–45. Examines Monteverdi’s staged ballets within the context of court dance practices of the period. Malkiewicz discusses two works in depth: first, the ballet Gli amori di Diana ed Endimione (1604; music and libretto now lost), for which he suggests a possible order (summarized in Table 1) and shows Monteverdi’s conception for the choreography of the balletto of the stars (summarized in Table 2), and second, the balletto “De la bellezza le dovute lodi” (Scherzi musicali, 1607), which consists of seven parts, but for which Malkiewicz provides a choreographic reading that is based on the balletto-type in four parts typical of social court dances. With musical examples.

613.

Morgan, Jonathan. “Singing and Dancing on the Italian Stage: The Functions of Late 16th-Century Balli.” In The Influence of Italian Entertainments on Sixteenthand Seventeenth-Century Music Theatre in France, Savoy, and England, ed. MarieClaude Canova-Green and Francesca Chiarelli, pp. 29–36. Lewiston, NY: Edwin Mellen Press, 2000. (Studies in History and Interpretation of Music, 68). ISBN 0773476059. ML1702.I53 2000. Examines the sung ballo of late sixteenth-century theatrical entertainments within the context of the seconda pratica, and notes that poetry is given a minor position within the creative process (as the emphasis of the music lies on the rhythmic patterns used by dancers). Morgan explores the ballo’s function within the genre (e.g., providing context for the sung sections) and within the theater (e.g., reflecting behavioral codes of courtly life). Monteverdi’s Ballo delle ingrate (Mantua, 1608) is considered within this context.

614.

Patuzzi, Steffano. “S’a questa d’Este valle: Claudio Monteverdi and a Mascherata of 1607 in Mirandola.” EM 31/4 (November 2003): 541–56. Reports the discovery of a series of letters written by Francesco Borsato to Alessandro Striggio regarding a mascherata to be performed in the small town of Mirandola (Duchy of Mantua) on Carnival Thursday, February 22, 1607, and whose entrata and balletto were to be set to music by Monteverdi. Patuzzi’s study of these epistolary documents contributes to a better understanding of both the history of Mirandola, including its rich musical traditions, and Monteverdi’s activity during this period. Translations of these letters into English are provided throughout this article; an appendix includes a full transcription of Borsato’s letters.

615.

Schmid, Bernhold. “Claudio Monteverdis Ballo delle ingrate: Eine Persiflage auf den Totentanz?” In Tod in Musik und Kultur: Zum 500. Todestag Philipps des Schönen, ed. Stefan Gasch and Birgit Lodes, pp. 377–98. Tutzing, Germany: Hans Schneider, 2007. (Wiener Forum für ältere Musikgeschichte, 2). ISBN 9783795212391. ML3275.T63 2007.

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Draws connections between Monteverdi’s Ballo delle ingrate and the Totentanz tradition, and suggests the ballo was intended as a satire in the context of the wedding celebrations honoring Prince Francesco Gonzaga and Margherita of Savoy. Suggests that Monteverdi may have come into contact with the tradition through librettist Ottavio Rinuccini, who was many times in France between 1600 and 1604, or painter Peter Paul Rubens, who spent 1600–1608 at the Mantuan court. 616.

Stevens, Denis. “Claudio Unclouded: A Ballet in Five Parts.” MT 101/1403 (1960): 23. Reports the discovery of a single instrumental part that fits perfectly with Monteverdi’s dances in four-part harmony in Il ballo delle ingrate (performed in 1608; published in Madrigali guerrieri et amorosi, Libro VIII of 1638). With two musical examples.

617.

Stevens, Denis. “Monteverdi’s Earliest Extant Ballet.” EM 14/3 (1986): 358–66. Examines Monteverdi’s baletto, “De la bellezza le dovute lodi” (printed in the Scherzi musicali [1607]), within the musical conventions of late sixteenth and early seventeenth-century ballet music, which called for a five-part texture. Suggests that, although this balletto appears to be for three voices, some of its movements may well have been written for five parts, and that Monteverdi may have decided to omit the “filler” parts in the publication “so that everything could neatly fit the format of the Scherzi; one single book containing all three parts” (p. 361). With musical examples.

8 Sacred Music

MONTEVERDI’S SACRED MUSIC IN CONTEXT 618.

Arnold, Denis. “A Background Note on Monteverdi’s Hymn Settings.” In Scritti in onore di Luigi Ronga, no editor, pp. 33–44. Milan: Riccardo Ricciardi, 1973. No ISBN. ML55.R63 1973. Surveys Monteverdi’s hymn settings from “Ave maris stella” from the 1610 Vespers to the seven hymns from Selva morale e spirituale (1640–1). Draws connections between Monteverdi and Alessandro Grandi, Francesco Cavalli, Tarquinio Merula, Giovanni Rovetta, and Natale Monferrato.

619.

Arnold, Denis. Monteverdi Church Music. London: British Broadcasting Corporation, 1982. 64p. (BBC Music Guides). ISBN 9780563128847. ML410.M77. A815 1982. An approachable summary of Monteverdi’s biography, early studies with Marc’Antonio Ingegneri, and employment in Mantua and Venice. Devotes a chapter to Monteverdi’s 1610 Vespers. Eighteen musical examples. No bibliography.

620.

Arnold, Denis. “A Venetian Anthology of Sacred Monody.” In Florilegium musicologicum: Hellmut Federhofer zum 75. Geburtstag, ed. Christoph-Hellmut Mahling, pp. 25–35. Tutzing, Germany: Hans Schneider, 1988. (Mainzer Studien zur Musikwissenschaft, 21). ISBN 3795205549. ML55.F32 1988. Study of the anthology Ghirlanda sacra (Venice, 1625), which contains fortysix solo sacred motets. The volume was assembled by Leonardo Simonetti, castrato and singer in the choir of St. Mark’s. Includes works by Monteverdi and his colleagues, Alessandro Grandi, Monteverdi’s assistant maestro di cappella, and

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Grandi’s successor, Giovanni Rovetta. The contents show the influence of Monteverdi and demonstrate the popularity (evident through three editions) and relevance of the genre in the seventeenth century. 621.

Arpini, Flavio. “Una lettura della musica sacra del primo Seicento a Crema: Giovanni Battista Leonetti fra Gabrieli e Monteverdi.” In no. 40, pp. 161–231. Traces the influence of Giovanni Gabrieli and Monteverdi on the religious music of Giovan Battista Leonetti (active 1604–17). With extensive musical examples and detailed footnotes.

622.

Baroffio, Giacomo Bonifacio. “A proposito di esecuzioni filologiche.” NRMI 27/2 (1993): 221–6. A historic performance of Monteverdi’s Selva morale e spirituale took place at the cathedral of Cremona on May 15, 1993 to commemorate the 350th anniversary of Monteverdi’s death. In this context, Baroffio explores the liturgical role of music within Roman Catholicism through a study of Monteverdi’s Selva morale e spirituale.

623.

Federhofer, Hellmut. “Musica poetica und musikalische Figur in ihrer Bedeutung für die Kirchenmusik des 16. und 17. Jahrhunderts.” AM 65/2 (July–December 1993): 119–33. Challenges the notion of a stylistic dualism in Italy and Catholic German-speaking lands in contrast to the more conservative, contrapuntal writings in Protestant contexts. Proposes evidence for stylistic pluralism, evident in the writings of Christoph Bernhard and Marco Scacchi, and in the music of Monteverdi.

624.

Jung, Hermann. “Schütz und Monteverdi: Einige Aspekter ihrer historischen und stilistischen Beziehung.” In no. 46, pp. 271–95. Positions Monteverdi and Heinrich Schütz as proponents of musical innovation in the first half of the seventeenth century, with Monteverdi leading and Schütz transforming Monteverdi’s style for German-speaking lands. Traces the reception of the two composers in the scholarly literature. Compares settings of parallel texts of “Magnificat” and psalm texts.

625.

Kang, You Young. “The Art of Counterpoint in stile nuovo Sacred Polyphony in Seventeenth-Century Italy.” Ph.D. diss. University of Pennsylvania, 1999. xiii, 309p. UMI 9953551. Argues that Italian sacred music of the first half of the seventeenth century assimilated a new virtuosic, representational style of composition with the contrapuntal practice of the previous century. Focuses on two collections of polyphonic sacred music: motets by Giacomo Carissimi composed for the German College in Rome and psalms and vespers by Monteverdi written for performance at St. Mark’s in Venice. Chapter 4 (“Monteverdi’s Venetian Models for Sacred Music”) examines Monteverdi’s sacred compositional techniques through analyses of the liturgical repertory contained in the composer’s Selva morale e spirituale

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(1640‒1) and Messa a quattro voci et salmi (1650), composed during his tenure as maestro di capella at St. Mark’s. Argues that it was Monteverdi’s unconventional harmonizing of linear bass lines and use of sequences that give his music an unusual harmonic quality. Building on James Moore’s study of Vespers at St. Mark’s (no. 629), Kang proposes that Monteverdi signaled “older” styles with “a 4 da cappella” titles and newer ones with large-scale concertato writing. Kang concludes that all of Monteverdi’s compositions are stile nuovo. 626.

Kurtzman, Jeffrey. “Monteverdi’s Sacred Music: The State of Research.” In no. 39, pp. 3–29. Examines the current state of research on sacred music and suggests issues and directions for future research. Divides his assessment and recommendations into seven areas: modern editions; archival research and documents; liturgical practice; historical performance practices; Monteverdi in the context of other composers; social contexts, including aesthetic and intellectual backgrounds for Monteverdi’s sacred music; and analysis.

627.

Kurtzman, Jeffrey. “Monteverdi’s Missing Sacred Music: Evidence and Conjectures.” In Muzykolog Wobec Świadectw Źródłowych i Dokumentów: Księga Pamiątkowa dedykowana Profesorowi Piotrowi Poźniakowi w 70. rocznicę urodzin/ The Musicologist and Source Documentary Evidence: A Book of Essays in Honour of Professor Piotr Poźniak on His 70th Birthday, ed. Zofia Dobrzańska-Fabiańska, Jakub Kubieniec, Andrzej Sitarz, and Piotr Wilk, pp. 187–208. Cracow, Poland: Musica Iagellonica, 2009. ISBN 9788370991654. Reprinted in no. 50, Essay 11, pp. 187–208. Kurtzman grapples with questions of the precise corpus of Monteverdi’s sacred repertory as he seeks to determine what sacred music by Monteverdi is missing and what sacred music he is likely to have written, of which there is no distinct record. Examines Monteverdi’s letters for citations of individual compositions or groups of sacred music that we know Monteverdi wrote, and references to his obligations for specific celebrations or for sacred music at various seasons of the year where it is clear that Monteverdi was responsible for preparing the performances.

628.

Kurtzman, Jeffrey G. Studies in Sixteenth- and Seventeenth-Century Italian Sacred Music. Farnham, UK: Ashgate, 2014. xx, 338p. ISBN 9781409469827. ML2933.2. K87 2014. Collection of nine essays on various aspects of sacred music of sixteenth- and seventeenth-century Italy. This volume is divided into three sections: “Critical and Analytical Essays” (four essays), “Performance Matters” (three essays), and “Historical Issues” (two essays). With one exception (article 9), the essays in this volume were originally published between 1977 and 2012. A synopsis of each article is given in the introduction. With bibliography and indexes.

629.

Moore, James H. Vespers at St. Mark’s: Music of Alessandro Grandi, Giovanni Rovetta and Francesco Cavalli. 2 vols. Ann Arbor, MI: UMI Research Press, 1981. (Studies in Musicology, 30). ISBN 0835711439. ML290.8.V26.M66 1981.

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Surveys the music for the liturgy of Vespers by the three most prominent figures at St. Mark’s during the epoch of Monteverdi and the following few decades. Fulfills the dual purpose of filling the gap in scholarship on Venetian sacred music during the years of development and maturity of Venetian opera and examines Monteverdi’s influence upon the works of his colleagues and successors at St. Mark’s. Includes a chapter on the Vespers liturgy at St. Mark’s and remarks on archival sources in the era of maestro Monteverdi. The second volume consists of an edition of works by Alessandro Grandi, Giovanni Rovetta, and Francesco Cavalli. 630.

Moore, James H. “Venezia Favorita Da Maria: Music for the Madonna Nicopeia and Santa Maria Della Salute.” JAMS 37/2 (Summer 1984): 299–355. Seeks to explain the sudden surge of Marian motets at St. Mark’s in the first half of the seventeenth century. Links the growth in motets in the 1620s, most evident in the works of Alessandro Grandi, with the altar of the Madonna Nicopeia, which assumed a heightened role in the rite of St. Mark’s. Monteverdi’s contributions to this trend consist of the Litany of Loreto (1620), three motets from the Song of Songs and two settings of the Salve Regina from 1624– 25, a Magnificat antiphon for Marian feasts printed in 1627, and a large motet for the Annunciation (1629). Argues that Marian devotion played a greater importance in his later works. Monteverdi played a central role in the founding of the Church of Santa Maria della Salute, a votive church commissioned by the Venetian State in the hope that the Virgin would intercede with Christ to end the plague. Includes a table of music linked to a trilogy of ceremonies from 1630–1 for the founding of the Santa Maria della Salute and identifies the musical contents and proposes Monteverdi and Giovanni Rovetti as the principle composers. Links Marian works from Monteverdi’s Selva morale e spirituale (1640‒1) with the ceremonies of 1630–1. Knowledge of the ceremonies overturns the reception of Monteverdi’s Selva morale e spirituale; Moore’s evidence positions the collection as a tightly organized volume rather than a miscellany.

631.

Morche, Günther. “Monteverdis lateinische Musik ‘da concerto’.” In no. 46, pp. 369–85. Examines Monteverdi’s use of the term da concerto in his vocal music. Most famously, Monteverdi used Concerto as a title word for his Madrigali, Libro VII (1619). Morche looks at examples from the Latin repertory of Monteverdi and his contemporaries, among them Vincenzo Ruffo and Giovanni Gabrieli.

632.

Morche, Günther. “Monteverdi, sein organist und seine Nachfolger: Carlo Filago, Giovanni Rovetta, Natal Monferrato—Einige Salve Regina—Vertonungen im Vergleich.” In no. 51, pp. 393–418. Compares “Salve Regina” settings by Monteverdi, Carlo Fillago (ca. 1586–1644), Giovanni Rovetta (1595–7–1668), and Natale Monferrato (ca. 1615–85). Demonstrates that Monteverdi had little influence on this next generation of composers.

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Morche concludes that Monteverdi is best positioned as the end, rather than the beginning of a new musical era. With musical examples. 633.

Murata, Margaret. “Quia amore langueo, or, Interpreting ‘affetti sacri e spirituali’.” In no. 39, pp. 79–96. Despite the small number of few-voiced Latin works that have survived by Monteverdi, these pieces played an important role in the dissemination of solo styles of singing in the decades around 1600. The stile moderno in religious music was far more accessible than court opera to audiences around 1620. Murata draws connections between Monteverdi’s languishing and seductive musical rhetoric for Orfeo and the composer’s motets “O quam pulchra es anima mea” and “Ego flos campi” setting texts from the Song of Songs.

634.

Noske, Frits. “An Unknown Work by Monteverdi: The Vespers of St John the Baptist.” ML 66 (1985): 118–22. Reconstructs Monteverdi’s setting of the Vespers of St. John the Baptist, a lost work described by Flemish humanist and diplomat Constantijn Huygens in a journal entry from his travels to Venice in 1620.

635.

Roche, Jerome. “The Duet in Early Seventeenth-Century Italian Church Music.” PRMA 93 (1966–7): 33–50. Sets a context for Monteverdi’s church duets, a medium more suited for small parish churches than Venice or the Gonzaga court at Mantua where Monteverdi worked. Though the genre was more thoroughly explored by Alessandro Grandi, settings such as Monteverdi’s “Salve Regina” in the Selva morale e spirituale remain among the finest church duets of the early seventeenth century.

636.

Roche, Jerome. North Italian Church Music in the Age of Monteverdi. Oxford: Clarendon Press, 1984. xii, 177p. ISBN 9780193161184. ML2933.R6 1984. Builds on the author’s Ph.D. dissertation (University of Cambridge, 1968). Richly contextualized study considers the influence of the Council of Trent and the Counter Reformation Jesuits and oratorians, social and geographic contexts, liturgical contexts, and musical developments around 1600. Musical analysis is divided into four chapters, two each on small-scale and large-scale church music. Numerous references to Monteverdi’s church music, notably the 1610 Vespers and Selva morale e spirituale.

637.

Roche, Jerome. “‘Aus den berühmbsten italiänischen Autoribus’: Dissemination North of the Alps of the Early Baroque Italian Sacred Repertory through Published Anthologies and Reprints.” In no. 51, pp. 13–28. Positions the reception of Monteverdi’s sacred music north of the Alps within the broader context of the distribution of Italian sacred music outside Italy. Includes tables of original printings of music by Italians outside Italy, putative reprints (no Italian original extant), German reprints of Italian motet books, Antwerp reprints of Italian motet books, northern European anthologies of small-scale motets (including a table of source material for Johann Donfrid’s Promptuarii musici I–II,

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1622–3), and most represented Italians in Ambrosius Profe’s six anthologies (Monteverdi is the third most represented Italian composer with twelve pieces). 638.

Roste, Vaughn. “The Three Extant Masses of Claudio Monteverdi.” CJ 53/1 (August 2012): 30–9. An exploration of Monteverdi’s three extant masses: SV 205 “Missa in illo tempore” (1610), SV 257 “Missa da capella” (1641), and SV 190 “Messa da capella” (1650). The circumstances surrounding the composition and publication of each Mass are considered. With illustrations, musical examples, and bibliography.

639.

Steinbeck, Wolfram. “Motettisches und madrigalisches Prinzip in der geistlichen Musik der Schütz-Zeit: Monteverdi, Schütz, Schein.” SJ 11 (1989): 5–14. Revisits the impact of Monteverdi’s seconda pratica on vocal genres of the early seventeenth century. Proposes that Monteverdi combines the polyphonic idiom of the madrigal with a monodic chordal style in sacred music from his 1610 Vespers. Heinrich Schütz, by contrast, retained a polyphonic and contrapuntal approach to his madrigal writing of the same period (1611). Steinbeck positions Johann Hermann Schein as a middle ground between these two composers.

640.

Theis, Claudia. “Claudio Monteverdi und Johann Hermann Schein.” In no. 51, pp. 433–55. Examines Monteverdi’s influence on that Italianate works of Johann Hermann Schein (1586–1630). Compares examples from Schein’s Fontana d’Israel, Israelis Brünlein (Leipzig, 1623) with similar works by Monteverdi, Luca Marenzio, and Heinrich Schütz. While a direct line of influence from Monteverdi to Johann Hermann Schein cannot be traced in the German composer’s sacred madrigals (see Irmgard Hammerstein no. 233), Theis compares Schein’s vocal concerto “Komm heiliger Geist, Herre Gott” and Monteverdi’s “Sonata sopra Sancta Maria” from the 1610 Vespers and concludes that Monteverdi may have influenced Schein’s piece.

SACRED MUSIC FOR MANTUA AND THE 1610 VESPERS 641.

Arnold, Denis. “The Monteverdi Vespers: A Postscript.” MT 1045/1439 (January 1963): 24–5. Defends his edition of Monteverdi’s 1610 Vespers and argues for the possibility that the extra-liturgical motets would be inserted into the performance of Vespers in early seventeenth-century Venice. Concludes that the decision of how much of the 1610 Vespers to perform rests with the conductor/ensemble, and that multiple options are suitable.

642.

Arnold, Denis. “More Monteverdi Vespers.” MT 108/1493 (1967): 637–8. Compact review of Gottfried Wolters’ edition of the Vespers (Wolfenbüttel, Germany: Möseler Verlag, 1966) that opens with an overview of core challenges in editing the work.

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643.

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Besutti, Paola. “‘Ave maris stella’: la tradizione mantovana nuovamente posta i musica da Monteverdi.” In no. 39, pp. 57–78. Compares the cantus firmus from Monteverdi’s “Ave maris stella” from the 1610 Vespers with versions of the same melody found in manuscript and printed sources of the Gregorian tradition. While there are few melodic variants, there are significant differences in textual underlay that reflect Monteverdi’s use of a variant model associated with usage at the court chapel of S. Barbara. This usage strengthens the collection’s Mantuan links and indicates that during his Mantuan years, while officially engaged at the private chapel of the Gonzaga court, Monteverdi also had contact with the palace chapel. Likens Monteverdi’s formal organization of the piece to the architecture of the Basilica.

644.

Blazey, David. “A Liturgical Role for Monteverdi’s Sonata sopra Sancta Maria.” EM 17/2 (May 1989): 175–82. Challenges Stephen Bonta’s thesis (no. 645) that Monteverdi’s “Sonata sopra Sancta Maria” was performed as a psalm antiphon within the 1610 Vespers in which it was published. Blazey compares Monteverdi’s “Sonata sopra Sancta Maria” with similar settings by Arcangelo Crotti (1608) and Amante Franzoni (1613) and concludes that: 1) the dominant sonority of each movement is instrumental; 2) the text invokes the Virgin as represented in an ostinato repetition of the litany chant; 3) the melodic formula of the litany as presented in the ostinato closely resembles the text of the Magnificat antiphon, “Sancta Maria succurre misens”; 4) the Magnificat antiphon was often displaced by an instrumental movement; and 5) the instrumental pieces with vocal ostinati meet the definition sopra l’obligo. Blazey concludes that the melodic and formal construction of the Sonata suggests that it was meant as a substitute for the Magnificat and should be performed in that order, rather than where it falls in Amadino’s print.

645.

Bonta, Stephen. “Liturgical Problems in Monteverdi’s Marian Vespers.” JAMS 20/1 (Spring 1967): 87–106. Reprinted in Stephen Bonta’s Studies in Italian Sacred and Instrumental Music in the 17th Century, pp. 87–106. Burlington, VT: Ashgate, 2003. (Variorum/Collection Studies, 749). ISBN 9780860788782. ML290.2.B66 2003. First to propose the now widely accepted view that the paraliturgical motets published with the 1610 Vespers were intended to be performed as psalm antiphons in the Vespers service. Assigned the same role to the “Sonata sopra Sancta Maria” on the basis of its Marian text and position in the publication, immediately after the psalm “Lauda Jerusalem” (see David Blazey no. 644). Supports argument with theories of Adriano Banchieri (1568–1634), Giovanni Battista Fasolo (ca. 1598–after 1664), and Thomas Coryate (ca. 1577–1617). Concludes that Monteverdi’s 1610 Vespers should be performed as printed, without omissions. The relationship between music and liturgy in the Roman rite, the problem of providing polyphonic settings of the Proper, and the role played by instrumental music in a vespers service are discussed.

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646.

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Borin, Alessandro. “Relazioni motiviche e procedure parodistiche nel Kyrie della ‘Missa in Illo tempore’ di Claudio Monteverdi: Un approccio analitico comparato.” In no. 39, pp. 31–56. Adopts Quintin W. Quereau’s theory of “graphic resolution” to assess relations between motivic entries in Monteverdi’s Kyrie. Developed for his study of Giovanni Pierluigi da Palestrina masses, Quereau’s approach is a powerful analytical tool for comparing a parody reworking with its original model. Demonstrates that Monteverdi uses a wide range of techniques for direct musical borrowing: simple motifs, links, complexes of motivic links, and macroforms. Monteverdi’s techniques for transformations include the juxtaposition of links within the original contrapuntal fabric, the derivation or creation of completely new links between the motifs of the model, and the introduction of new motivic material not found in the model. Applies the score-segmenter developed at the Laboratorio di Informatica Musicale (LIM) at the University of Milan to identify the work’s primary musical objects, namely, the ten fughe of the mass.

647.

Bowers, Rogers. “Some Reflection Upon Notation and Proportions in Monteverdi’s Mass and Vespers of 1610.” ML 73/2 (August 1992): 347–98. Examines Monteverdi’s publication of the 1610 Vespers, containing the “Missa ‘In illo tempore’,” the Vespers proper, and the intervening sacri concentus as an example of the standard notation of the early Baroque which, according to Bowers, was a mature form of mensural notation. In his analysis of Monteverdi’s notation, Bowers identifies principles of mensural notation (e.g., relationships in the hierarchy of note values or the non-imperfectability of rests), as well as coloration (blackening), and the proportional mensuration signatures of tripla and sesquialtera. The author concludes that the notation of this music should be interpreted (and transcribed in modern notation) precisely the way it looks: as “an intelligent, rational, consistent and professional application of the historic mensural system” (p. 395). With musical examples and appendices.

648.

Bowers, Rogers. “An ‘Aberration’ Reviewed: The Reconciliation of Inconsistent Clef-Systems in Monteverdi’s Mass and Vespers of 1610.” EM 31 (November 2003): 527–38. Written in response to Andrew Parrott’s article (no. 669) in which the author proposes that movements written in high clefs (e.g., in Monteverdi’s seven-voice “Magnificat” from the 1610 Vespers) ought to be transposed down a fourth. Through a careful reading of the music as well as theoretical writings of the era, Bowers proposes that the interval of transposition is not a perfect 4th but rather a major 2nd.

649.

Bowers, Roger. “Claudio Monteverdi and Sacred Music in the Household of the Gonzaga Dukes of Mantua (1590–1612).” ML 90/3 (August 2009): 331–71. In this richly detailed study, Bowers provides an institutional framework for Monteverdi’s repertory of sacred music for the liturgical service in the chapels

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and for the domestic religious entertainment of his employers. The Gonzaga household included an ecclesiastical staff, a director of music, and ten adult male singers, who supported the two chapels within the ducal palace at Mantua (distinct from the ducal basilica of Santa Barbara, a collegiate church). Monteverdi served first as a member, since 1590, and from 1601 as maestro of the capella staff of the ducal household. Bowers positions Monteverdi’s 1610 Vespers as a miscellany of works of varied styles and scoring. 650.

Bowers, Roger. “Of 1610: Claudio Monteverdi’s Mass, Motets, and Vespers.” MT 151/1912 (Autumn, 2010): 41–6. A concise account of Monteverdi’s motivations for composing the 1610 Vespers and the work’s reception with a compact, critical perspective on the history of editing, recording, and performing the music.

651.

Bowers, Roger. “‘The High and Lowe Keyes Come Both to One Pitch’: Reconciling Inconsistent Clef-Systems in Monteverdi’s Vocal Music for Mantua.” In no. 49, pp. 531–45. Continues the long-standing debate on transposition in the 1610 Vespers (see nos. 648, 669, 671). Challenging Andrew Parrott’s view that movements written in high clefs (e.g., in Monteverdi’s Magnificat a7 and Vespers) ought to be transposed down a fourth (no. 669, 671), Bowers examines Monteverdi’s use of the dual system of clef-configuration, and reiterates his argument for a downward transposition of a major 2nd for Monteverdi’s high-clef writing, particularly in the 1610 Magnificat a7, proposed in an earlier published article (no. 648). Monteverdi’s vocal and instrumental ranges are considered in relation to the ability (and, at times, virtuosity) of the singers and musicians at the Mantuan court. Affirms his recommendation regarding high-clef pieces, of downward compensation by a major 2nd in relation to the standard-clef pieces. Table 1 includes a list of musicians of the household of Vincenzo, Duke of Mantua, 1591. With examples.

652.

Dixon, Graham. “Monteverdi’s Vespers of 1610: ‘della Beata Vergine’?” EM 15/3 (August 1987): 386–9. Proposes that Monteverdi wrote the 1610 Vespers to celebrate the feast of St. Barbara, the patron of the Gonzaga court chapel, thus overturning the view that the work was first performed on a Marian feast in 1609 (see Pierre M. Tagmann no. 674) and Iain Fenlon’s view that it was performed to inaugurate a new order of knighthood in honor of Christ the Redeemer (no. 655).

653.

Eberlein, Roland. “Die Taktwechsel in Monteverdis Marienvesper.” MuK 62/4 (July–August 1992): 184–9. Compares notations for meter change in editions of Monteverdi’s Vespro della Beata Vergine and advises on performance practice and interpretation in relation to the original notation of the 1610 Vespers. Focuses on the edition by Gottfried Wolters (Vesperae beatae verginae, ed. Wolters, Wolfenbüttel, Germany, 1966). Concludes

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that his shortening of the original note values in triple-meter passages results in those passages being too fast in performance relative to the duple-meter sections. An alternative view is presented by Uwe Wolf (“Monteverdi und die Proportionen: Eine Entgegnug auf Roland Eberleins Die Taktwechsel in Monteverdis Marienvesper,” MuK 63/2 [March-April, 1993]: 91–95), to which Eberlein responded in a subsequent article (Roland Eberlein, “Nochmals zu den Taktwechseln in Monteverdis Marienvesper: Eine Erwiederung auf Uwe Wolfs These,” MuK 63/5 [1993]: 277–9). 654.

Fallows, David. “Monteverdi: Vespers (1610).” In Choral Music on Record, ed. Alan Blyth, pp. 1–9, 264–5. New York: Cambridge University Press, 1991. ISBN 0521363098. ML156.4.V7.C54 1990. Compact and critical essay on recordings of the 1610 Vespers with discography 1953 until 1989.

655.

Fenlon, Iain. “The Monteverdi Vespers: Suggested Answers to Some Fundamental Questions.” EM 5/3 (1977): 380–7. Reviews the debate on the artistic and liturgical unity of the 1610 Vespers and accepts the volume as a unified entity. Proposes that the work was first performed in the church of Sant’ Andrea in Mantua as part of the events celebrating the marriage of the Gonzaga heir, Francesco, to Margherita of Savoy.

656.

Forget, Marie-Christine. “Le cantus firmus dans le Vèpres de Monteverdi: Rèferences et analogies.” In Itinéraires du cantus firmus. V: Réminiscences, référence et pérennité, ed. Édith Weber, pp. 125–30. Paris: Presses de l’Université de ParisSorbonne, 2001. ISBN 2840501538. ML446.I93 1994. Brief account of Monteverdi’s approach to cantus firmus treatment in the 1610 Vespers that shows the composer’s range of treatment across the volume.

657.

Hucke, Helmut. “Die fälschlich so genannte “Marien”-Vesper von Claudio Monteverdi.” In IMSCR: Bayreuth 1981, ed. Christoph-Hellmut Mahling and Sigrid Wiesmann, pp. 295–305. Kassel, Germany: Bärenreiter, 1983. Regarded as a pathbreaking article that reviewed the controversies over the Vespers psalms and opened the way for new research. Hucke follows Kurtzman’s view that the 1610 Vespers follows the tradition of compiling collections of Vespers psalms, masses, and other church music. Argues that Monteverdi’s text choices reveal the composer’s desire to create church music for private chapels at princely courts. The psalms proved fertile ground for Monteverdi to merge the new style of the seconda pratica with the conventional structure of the cantus firmus.

658.

Koldau, Linda Maria. “‘Divino Claudio’ oder Komponist seiner Zeit? Claudio Monteverdis Dixit Dominus-Vertonungen und die Entwicklungen des concertatoStils um die Mitte des Seicento.” In Musikkonzepte-Konzepte der Musikwissenschaft: Kongr. Bericht GfM Halle (Saale) 1998, ed. Kathrin Eberl and Wolfgang Ruf, vol. 2, pp. 186–93. Kassel, Germany: Bärenreiter, 2001.

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Examines Monteverdi’s four settings of the psalm “Dixit dominus,” all for eight voices and dating from his tenure in Venice. Two of the settings appeared in the Selva morale e spirituale (1640‒1) and two in the posthumous Messa a quattro et salmi (1650). Some of the settings appear with the designation concertato, which signals the importance of this style to Monteverdi’s sacred music and to the music of his contemporaries. 659.

Kurtzman, Jeffrey. “Observations: An Aberration Amplified.” EM 13/1 (1985): 73–6. Supports Andrew Parrott’s position (no. 669) to transpose downward the pieces from the 1610 Vespers notated in the chiavette or high clefs, namely the “Lauda Jerusalem” and the two Magnificats. Kurtzman’s critical edition of the Mass and Vespers (Oxford: Oxford University Press, 1999) makes an even stronger case for transposition of all of the pieces notated in chiavette.

660.

Kurtzman, Jeffrey. “Why Would Monteverdi Publish a Vespers in 1610? Lifting the Shadows on the Development of a Repertoire.” In De musica et cantu: Studien zur Geschichte der Kirchenmusik und der Oper: Helmut Hucke zum 60. Geburtstag, ed. Peter Cahn and Ann-Katrin Heimer, pp. 419–55. New York: Georg Olms, 1993. (Musikwissenschaftliche Publikationen Hochschule für Musik und Darstellende Kunst Frankfurt/Main, 2). ISBN 3487097931. ML55.H78 1993. An outgrowth of bibliographical studies in preparation for a detailed catalog of all surviving printed Italian office music from 1542–1725. Holds the view that Monteverdi understood the 1610 Vespers as a single liturgical entity, even if the separate compositions may have been written over a period of several years and may, at the user’s discretion, be extracted individually or in  various combinations for either liturgical or private devotional use. Kurtzman disputes Helmut Hucke’s claim (no. 657) that Monteverdi’s print was never intended as a liturgical cycle for Marian feasts. In this article, Kurtzman surveys publications of Vesper music from the period, and notes a surge in publications of polyphonic antiphons in the first decade of the seventeenth century. In this context, Monteverdi produced an ideal publication with old-style Mass and a modern Vespers that suited his goal of demonstrating his capacity as a composer of sacred music. Kurtzman’s footnotes offer a useful summary of the controversy over this publication to date.

661.

Kurtzman, Jeffrey. The Monteverdi Vespers of 1610: Music, Context, Performance. New York: Oxford University Press. 1999, xix, 601p. ISBN 9780198164098. ML410.M77.K87. Kurtzman’s most important contribution to the study of Monteverdi’s sacred music, which has been the focus of the scholar’s career. This volume is an extension of the author’s Essays on the Monteverdi Mass and Vespers of 1610 (Houston, TX: William Marsh Rice University, 1978) and the preparation of his critical edition of the 1610 Vespers (Oxford: Oxford University Press, 1999). Divided into three parts: 1) the context of Monteverdi’s 1610 Vespers in terms of the liturgy

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for Vespers, Vesper publications of the sixteenth and early seventeenth centuries, the stylistic context of the first two decades of the seventeenth century, and modern scholarly debates; 2) an analytical study of the music, with a detailed examination of “Nigra sum”; and 3) a study of performance practice issues. Six appendices include a list of psalm cursus and their feasts; rubrics for Vespers and for the use of the four seasonal Marion antiphons; texts and structural outlines of compositions based on a cantus firmus; discography; list of contemporaneous musical sources; and theoretical sources. Chapter 3 is a reprint with revision of no. 660; chapter 4 updates and expands the author’s “Some Historical Perspectives on the Monteverdi Vespers,” AnM 10 (1974), pp. 29–86 and in revised form in Essays on the Monteverdi Mass and Vespers of 1610 (Houston, TX: William Marsh Rice University, 1978). 662.

Kurtzman, Jeffrey. “Write to Reply: Kurtzman on Holman.” MT 142/1887 (2001): 52–60. Kurtzman’s response to Peter Holman’s review of The Monteverdi Vespers of 1610 (no. 661). Holds that the performer and the scholar have different duties and responsibilities that have become blurred in Holman’s review (“Silver Service” MT 141/1872 [Autumn, 2000], pp. 52–7). Attempts to clarify and correct the “puzzling inaccuracies, careless readings, and methodological weaknesses” in the review.

663.

Kurtzman, Jeffrey G. “Il Vespro della Beata Vergine di Claudio Monteverdi e il repertorio italiano dei Vespri dal 1610 al 1650: Un quadro riassuntivo.” In Barocco padano. II: Atti del X Convegno internazionale sulla musica sacra nei secoli XVII– XVIII, ed. Alberto Colzani, Andrea Luppi, and Maurizio Padoan, pp. 5–39. Como, Italy: Antique Musicae Italicae Studiosi, 2002. ISBN 9788885155985. ML2933.7.P6.C66 1999. Contextualizes Monteverdi’s 1610 Vespers through a comparison of the work’s structure with that of contemporaneous collections of sacred music and the composer’s own Selva morale e spirituale and Messa a quattro voci et salmi. Valuable appendix with transcriptions of title pages and lists of contents of collections of sacred music of Adriano Banchieri, Giovanni Rovetta, Francesco Usper, and others.

664.

Kurtzman, Jeffrey. “The Mantuan Sacred Music.” In no. 63, pp. 141–54, 155–61. Reprinted in no. 50, Essay 7, pp. 141–54. Surveys the documentary evidence related to Monteverdi’s sacred compositions for the Mantuan court, most of which were never published and are now lost, and suggests that Monteverdi wrote considerable amounts of sacred music for the Gonzagas. Analyzes the music of Monteverdi’s 1610 Vespers, which contains both new and older works. An appended “Intermedio” (Intermedio III) explores the use of the psalm tone in the “Laetatus sum,” focusing on the repetitive bass patterns that form the underlying structure of the piece. With musical examples.

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Lockwood, Lewis. “Monteverdi and Gombert: The Missa In illo tempore of 1610.” In De musica et cantu: Studien zur Geschichte der Kirchenmusik und der Oper: Helmut Hucke zum 60. Geburtstag, ed. Peter Cahn and Ann-Katrin Heimer, pp. 457–69. New York: Georg Olms, 1993. (Musikwissenschaftliche Publikationen Hochschule für Musik und Darstellende Kunst Frankfurt/Main, 2). ISBN 3487097931. ML55.H78 1993. Proposes that Monteverdi, in imitating Nicolas Gombert’s motet, attempted to achieve a difficult technical feat that stressed the interweaving of motives into the texture. Monteverdi may have selected Gombert on the basis of Gombert’s reputation for dense textures, the interplay of motives, and the absence of rests. Monteverdi lists Gombert’s motet motives in the Bassus Generalis partbook of his Mass; Lockwood bases his discussion on the table of motives from both the Monteverdi print and from the motet as given in Gerhard Hust, “Untersuchungen zu Claudio Monteverdi’s Meßkompositionen” (Ph.D. dissertation, RuprechtKarl-Universität: Heidelberg, 1970, p. 48). Lockwood reproduces the table of motives with commentary. Assesses the genre, character, and larger structure of Gombert’s motet; he concludes that Monteverdi generally chooses motives from Gombert that best fit the portion of the Mass text he is setting at the moment. Monteverdi’s internal choices of motives for segments of the Mass may also be due to the verbal association of motet text-units to Mass text-units. Closes by speculating that Monteverdi’s choice of model could have been influenced by Pope Paul V’s predilection for Marian worship and his ambition to create a chapel to house a picture ascribed to Saint Luke. Shares Helmut Hucke’s conviction that the Mass and Vesper Psalms, published together, combine in one publication a traditional style of composition and a set of compositions in the new style that Monteverdi was then advancing in other genres. Calls for more analytical work on Monteverdi’s procedures in this Mass and in his use of the motives derived from Gombert.

666.

Mari, Licia, and Jeffrey Kurtzman. “A Monteverdi Vespers in 1611.” EM 36/4 (November 2008): 547–55. Reproduces in facsimile, transcription, and English translation a letter from Lorenzo Campagna, servant to Duke Vincenzo Gonzaga, to Fabio Gonzaga of May 14, 1611 that mentions hearing “newly composed” Vespers music by Monteverdi on the Feast of the Ascension two days earlier. Mari and Kurtzman argue that the music was at most the Respond, two psalms, and Magnificat from the 1610 Vespers (rather than the entire work). Instead, they propose that the letter reveals the possibility of otherwise unknown sacred music written by Monteverdi during his tenure in Mantua.

667.

Meier, Bernhard. “Zur Tonart der Concertato-Motetten in Monteverdis Marienvesper.” In no. 46, pp. 359–67. Demonstrates that the concertato motets of the 1610 Vespers are based on the same system of authentic and plagal modes as the Gregorian-based psalms,

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Magnificat, and hymns. Includes summary tables of cadential structures for “Duo Seraphim,” “Audi coelum,” and “Omnes hanc ergo sequamur.” 668.

Newcomb, Anthony. “A New Context of Monteverdi’s Mass of 1610.” In Studien zur Musikgeschichte: eine Festschrift für Ludwig Finscher, ed. Annegrit Laubenthal unter Mitarbeit von Kara Kusan-Windweh, pp. 163–73. Kassel, Germany: Bärenreiter, 1995. ISBN 3761812221. ML55.F49 1995. Proposes a new hypothesis to the enigma of why Monteverdi composed a “parody” mass. Whereas modern scholars (Paolo Fabbri no. 75) note the style of the 1610 Mass as particularly appropriate for Rome, Newcomb argues that the parody Mass had not been abandoned by northern Italian composers by 1600; Monteverdi selected Nicolas Gombert as the basis for his parody Missa ‘In illo tempore’ to demonstrate his own ability in imitative polyphony. In fact, its inclusion may be related to Giovanni Maria Artusi’s attacks against the composer (1600, 1603) over his perceived lack of skill in counterpoint. Compares Monteverdi’s setting to the style of Costanzo Porta, who was praised by Artusi and held a high reputation in the Po Valley as a master of the traditional style. Suggests that the 1610 Vespers may have been intended to advance Monteverdi’s status at Mantua; Monteverdi’s turn to Rome happened after conditions worsened in Mantua in 1608–9.

669.

Parrott, Andrew. “Transposition in Monteverdi’s Vespers of 1610: An ‘Aberration’ Defended.” EM 12/4 (November 1984): 490–516. Reprinted in no. 64, Essay 15, pp. 449‒74. Justifies the downward transposition of movements written in high clefs in works by Monteverdi, suggesting, through a careful reading of primary sources, that “‘obligatory transposition’ is implicit in the notation of much vocal music of the late 16th and early 17th centuries,” including Monteverdi’s “Lauda Jerusalem” and the Magnificat a7 (p. 491) from the 1610 Vespers. Discusses conventions of transpositions in Italian and German sources of the period (including the theoretical writings by Gioseffo Zarlino, Michael Praetorius, Pietro Cerone, Agostino Diruta, Juan Bermudo, and Vincenzo Galilei), as well as transposition in keyboard and non-keyboard instruments, and performing instructions in musical sources. Speculates briefly on Monteverdi’s reasons for using high clef notation in certain movements. With musical examples and illustrations.

670.

Parrott, Andrew. “Getting it Right: Some Lingering Misconceptions of Performance Practice in Monteverdi’s Vespers of 1610.” MT 136/1832 (October 1995): 531–5. Revised as “Monteverdi Vespers of 1610 Revisited,” in no. 55, pp. 163–74. Expanding on his previous article on Monteverdi’s 1610 Vespers (no. 669), Parrott discusses three aspects pertaining to the performance practice in Monteverdi’s 1610 Vespers: implied transpositions, historical pitch standards, and contemporary liturgical practice. With examples.

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Parrott, Andrew. “Monteverdi: Onwards and Downwards.” EM 32/2 (May 2004): 303–17. Written in response to Bowers’s article on clef systems in Monteverdi (no. 648). Rejecting Bowers’s suggestion that the high-clef movements such as those in Monteverdi’s Magnificat a7 should be transposed down a whole tone, Parrott reiterates his arguments for a downward transposition of a fourth (first expressed in no. 669). This article offers supporting documentation for the claim that high clefs ought to be transposed down a fourth (these sources include Giovanni Croce’s Motteti [1594], Adriano Banchieri’s Cartella overo regolle [Bologna, 1601], Silverio Picerli’s Specchio secondo di musica [Naples, 1631]). Vocal scoring and ranges, as well as instruments, are considered. With musical examples.

672.

Parrott, Andrew. “High Clefs and Down-to-Earth Transposition: A Brief Defence of Monteverdi.” EM 40/1 (February 2012): 81–5. Written in response to Roger Bowers’s article (no. 651), in which the author proposes that movements written in high clefs should be transposed down a major 2nd, and not a perfect 4th as Parrott has repeatedly proposed. Parrott provides a list of “100 documented cases of the explicit link between high-clef notation and transposition [down] a 4th or 5th” (Table 1), while arguing that “not a single contemporary example of downward transposition by as little as a tone [downward second] has this far been identified in association with high clefs” (p. 81). Transposition issues in Monteverdi’s Magnificat a7 are discussed.

673.

Schalz, Nicolas. “Monteverdi’s Vesper von 1610: Eine musikalische Einheit?” JaM 1 (1989): 29–104. Positions the 1610 Vespers among the first aesthetically autonomous works of “modern composition.” Proposes that the work may have functioned as a sacred court spectacle. Includes tables detailing the structural organization of the 1610 Vespers as a whole and of its component parts.

674.

Tagmann, Pierre M. “The Palace Church of Santa Barbara in Mantua, and Monteverdi’s Relationship to Its Liturgy.” In Festival Essays for Pauline Alderman, ed. Burton L. Karson, pp. 53–60. Provo, UT: Brigham Young University Press, 1976. ISBN 0842501010. ML.A5 1976. While sixteenth-century church music practice was closely linked to and dependent upon liturgical needs, Tagmann points to a new musical practice at the Gonzaga court that veered away from purely liturgical needs. The rise of instrumental music and the growing status of instrumentalists at the Gonzaga court led to three distinct levels of music: the traditional church music practice; the courtly church music at Santa Barbara; and the secular chamber music cultivated for the Gonzaga residences. Proposes that Monteverdi’s 1610 Vespers could have been performed in its entirety in the spring of 1610, preceding Monteverdi’s trip to Rome on September 8, 1610.

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675.

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Torrisi, Adriane Mary. “Monteverdi’s 1610 Vespers: A Conductor’s Resource.” DMA diss. University of Southern California, 1996. vi, 118p. UMI 9705185. A resource of information about Marian Vespers with a focus on Monteverdi’s setting, intended for a conductor wishing to perform Monteverdi’s 1610 Vespers. Chapters on the development of the divine office, the historical background of the 1610 Marian Vespers, musical analysis, and issues in performance practice. Issues of continuo instruments and realization, voice and choirs, vocal style, pitch and transposition, instrumental doubling and substitution for vocal parts, meter and tempo, and vocal and instrumental ornamentation are considered. Includes a bibliography and an appendix of Latin translations.

676.

Wainwright, Jonathan P. “Case Study: Monteverdi, Vespers (1610).” In The Cambridge History of Musical Performance, ed. Colin Lawson and Robin Stowell, pp. 448–69. Cambridge: Cambridge University Press, 2012. ISBN 9780521896115. ML457.C35 2012. Examines the range of performance possibilities for the 1610 Vespers with reference to the original musical notation, contemporaneous music treatises, and recent scholarship. Concludes that the 1610 publication is a compendium of sacred music composed over a period of time and designed to be drawn from in accordance with the occasion and performing forces at hand. Useful comments on modern editions of the 1610 Vespers.

677.

Whenham, John. Monteverdi: Vespers (1610). Cambridge: Cambridge University Press, 1997. viii, 140p. (Cambridge Music Handbooks). ISBN 9780521453776. ML410.M77 W44 1997. An important study of a work that has attracted substantial scholarly interest and debate on Monteverdi’s purpose for publishing the work and its function. Whenham positions the 1610 Vespers as both a vanity publication to display Monteverdi’s portfolio of work and a resource book for choirmasters. He includes chapters on the 1610 settings and the liturgy of Vespers, the 1610 print and Monteverdi’s career, analysis of the music, and performance contexts and resources. With select bibliography and discography of recordings from 1953 until 1996.

LATER SACRED WORKS 678.

Besutti, Paola. “Tra Cremona e Venezia: Nuovi elementi sulla Messa a 4 della Selva morale di Claudio Monteverdi.” In ‘Et facciam dolçi canti’: Studi in onore di Agostino Ziino in occasione del suo 65° compleanno, ed. Bianca Maria Antolini, Teresa M. Gialdroni, and Annunziato Pugliese, vol. 1, pp. 613–27. Lucca, Italy: Libreria Musicale Italiana, 2003. ISBN 8870963217. No LC. Analytical study of Monteverdi’s Mass from the composer’s Selva morale e spirituale. Compares the work to Monteverdi’s madrigal, “La vaga pastorella” and the “Magnificat primi toni” of Rodiano Barera (d. 1623); proposes a connection

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with Cremona. With musical examples and a table of principle motives [soggetto principale] from the Messa e salmi. 679.

Downey, Peter. “Monteverdi’s ‘Mass of Thanksgiving’: Aspects of Tension in Historical Musicology.” In The Maynooth International Musicological Conference 1995: Selected Proceedings, I: Irish Music Studies 4–5 (1996), ed. Patrick F. Devine and Harry White, pp. 152–88. ISBN 1851822607. ML3799.I75 1990. In-depth critical assessment of assumptions, methodology, and conclusions put forward by Jeffrey Kurtzman in 1994 (no. 685) surrounding the performance of Monteverdi’s concertato church music. Looks at a wide variety of contemporaneous source material that, taken together, provides some clues as to how to perform Monteverdi’s music. Particular emphasis is placed on the interpretation of trombe squarciate.

680.

Kendrick, Robert L. “Monteverdi modello o deviazione? Strutture salmodiche della Selva morale nell contesto dell’Italia settentrionale.” In no. 39, pp. 41–56. Looks for notable stylistic characteristics that run across the entire Selva morale e spirituale (1640‒1), an eclectic mix of psalm settings, other liturgical pieces, and vernacular works. Identifies the refrain structures as a common thread that underpins most pieces in the volume. Considers Monteverdi’s techniques for vesper psalms settings in relation to genetic changes occurring in the genre in Venice and on the north Italian mainland, notably the troping of refrains into the liturgical text. Reveals the influence of a younger generation of composers, Giovanni Antonio Rigatti and Gasparo Casati. These new structural procedures personalized the standard liturgical texts and, in so doing, reflected new currents in Italian spirituality after ca. 1620: an emphasis on individual illumination and the reworking of generic items for specific personal and political occasions.

681.

Koldau, Linda Maria. “Exegese mit musikalischen Mitteln: die Psalmvertonungen Claudio Monteverdis.” MuK 67/6 (1997): 367–75. Focuses on Monteverdi’s settings of psalms, which were among his key responsibilities during his tenure as maestro di cappella at St. Mark’s, Venice. Monteverdi developed a tool kit of conventions and motives for expressing the text that can be seen in his setting of “Nisi dominus” for three voices and two violins (1650).

682.

Koldau, Linda Maria. “‘Non sit quid volo sed fiat quod tibi placet’: I ‘contrafacta’ sacri del ‘Lamento d’Arianna’ di Claudio Monteverdi.” RIM 36/2 (2001): 281–314. Study of three sacred contrafacta based on Monteverdi’s “Lamento d’Arianna.” One of the contrafacta was created by Monteverdi as “Pianto della Madonna” and included in the composer’s Selva morale e spirituale (1640–1); the other two are anonymous Italian contrafacta entitled “Lamento della Maddelena” in which Mary Magdalen stands in for Arianna. In addition to textual changes, the composer of the latter of the two anonymous contrafacta expands the music to embrace a more operatic recitative style. With musical and textual examples.

Sacred Music

683.

169

Koldau, Linda Maria. Die venezianische Kirchenmusik von Claudio Monteverdi. Kassel, Germany: Bärenreiter, 2001. xiii, 590p. ISBN 9783761815700. No LC. Update of the author’s doctoral dissertation (Ph.D. from Rheinische FriedrichWilhelms-Universität, Bonn, 2001. Kassel, Germany: Bärenreiter, viii, 590p.).

684.

Kurtzman, Jeffrey. “What Makes Claudio Divine? Criteria for Analysis of Monteverdi’s Large-Scale concertato Style.” In Seicento inesplorato: L’evento musicale tra prassi e stile—Un modello di interdipendenza. Atti del III Convegno Internazionale sulla Musica in Area Lombardo-Padana del Secolo XVII. Lenno—Como, 23–25 giugno 1989, ed. Alberto Colzani, Andrea Luppi, and Maurizio Padoan, pp. 259– 302. Como, Italy: Antiquae Musicae Italicae Studiosi (AMIS), 1992. Reprinted in no. 50, Essay 6, pp. 259–302. Probes the question of why Monteverdi’s music has been singled out as “divine,” a status that dates from the composer’s lifetime. In contrast to Gary Tomlinson’s assessment of Monteverdi’s concertato works as “musical simplification” (see no. 89), Kurtzman proposes that the concertato style represents an adjustment to a new aesthetic with its own value system. Draws examples from the “Dixit Dominus” from the Selva morale et spirituale (1640–1) and includes extensive musical examples.

685.

Kurtzman, Jeffrey G. “Monteverdi’s ‘Mass of Thanksgiving’ Revisited.” EM 22/1 (February 1994), pp. 63‒76, 78‒84. Reprinted in no. 64, Essay 17, pp. 507‒27. Refutes James Moore’s thesis (“Venezia favorita da Maria: Music for the Madonna Nicopeia and Santa Maria della Salute,” JAMS 37 [1984], pp. 299‒355) that the first part of Monteverdi’s Selva morale e spirituale, consisting of five spiritual madrigals, a complete four-voice polyphonic Mass, a seven-voice concertato Gloria, three segments of a concertato Credo, and the motet “Ab aeterno ordinata sum,” and seven motets at the end, constitute music for the Venetian plague ceremonies in 1631. Proposes that the Mass in F, the concertato Gloria a7, and the three concertato Credo segments of the Selva morale e spirituale were the “Mass of Thanksgiving” described in two contemporaneous descriptions of the Mass of November 21, 1631. Examines Monteverdi’s partbooks for guidance on performance practice, including the size of the choir and choice of instruments.

686.

Kurtzman, Jeffrey. “Monteverdi’s Mass of Thanksgiving: Da Capo.” In Fiori Musicali: Liber amicorum Alexander Silbiger, ed. Claire Fintijn and Susan Parisi, pp. 95–128. Sterling Heights, MI: Harmonie Park Press, 2010. vii, 595p. ISBN 0899901441. ML55.S65.F56 2010. Major contribution to the scholarly debate surrounding Monteverdi’s Mass setting for the November 21, 1631 celebrations that marked the end of the plague in Venice. Refutes arguments that the Gloria a7, three Credo fragments, and three movements of the “Missa a quattro” published in the Selva morale e spirituali (1640–1) were remnants of the 1631 “Mass of Thanksgiving.” Kurtzman reviews the scholarly literature dating back to the early twentieth century, identifies the

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trombe squarciate as distinct instruments, and brings forward letters and archival documents that suggest that Monteverdi composed far more sacred music during his tenure in Venice than what survives. Kurtzman suggests the Selva morale e spirituale was assembled for the Habsburg court in Vienna. 687.

Passadore, Francesco. “Claudio Monteverdi e il funus a Venezia nella prima metà del Seicento.” In Erasmo e il funus: Dialoghi sulla morte e la libertà nel Rinascimento, ed. Achille Olivieri, pp. 171–87. Milan: Unicopli, 1998. (Biblioteca di cultura filosofica, 3). ISBN 8840005056. PA8509.F83.E73 1998. Study of music and celebrations for Venetian funeral rites in the early seventeenth century. Monteverdi wrote music for the service honoring the memory of Cosimo II de Medici (Grand Duke of Tuscany, d. 1621). Contemporary accounts indicate that the “best singers and instrumentalists” performed for Monteverdi’s two Venice funerals. Includes descriptions of the event and laudatory texts published for the occasion.

688.

Rintoul, Pamela Beth. “Performing Monteverdi’s Beatus Vir (Primo) in the 21st Century.” DMA diss. University of California, Los Angeles, 2001. vii, 67p. UMI 3024143. Divided into two chapters, “Beatus vir (Primo): Origins, Content, and Structure” and “Performance Practice Issues,” this study offers suggestions to issues of performance practice in Monteverdi’s “Beatus vir.” Choir size, instrumentation, ensemble size, vocal techniques, ornamentation, articulation, dynamics, and tempo are considered. Appendix one and two include, respectively, a full transcription of Monteverdi’s “Chiome d’oro” from Madrigali, Libro VII and “Beatus vir.” No musical examples. With bibliography.

689.

Roche, Jerome. “Monteverdi: An Interesting Example of Second Thoughts.” MR 33 (1971): 193–204. Traces the progress of structural devices in psalm settings to their culmination in Monteverdi’s two settings of the “Confitebor” from the 1650 Messa e salmi, proposing that the two-voice is a revision of the one-voice version. Adopts a progressivist approach, arguing that Monteverdi’s “Confitebor” for two voices is superior and, by extension, composed later than the one-voice version. Proposes that Monteverdi may have been influenced by Tarquinio Merula in his use of ostinato techniques in liturgical music.

690.

Sabaino, Daniele. “Funzioni proemiali del primo sonetto del Canzoniere petrarchesco nella Selva morale e spirituale di Claudio Monteverdi.” In no. 40, pp. 101–23. Uses Petrarch’s sonnet “Voi ch’ascolate in rime sparse il suono” to demonstrate the similarity between the ordering of a poetic and musical structure. Applies the analysis to Monteverdi’s Selva morale e spirituale, in which Petrarch’s sonnet appears as the second piece. Sabaino points to the common rhetorical functions operating both within the sonnet and across the collection as a whole.

Sacred Music

691.

171

Steele, John. “The Concertato Synthesis: Monteverdi’s ‘Beatus Primo’.” In no. 46, pp. 427–34. Study of the musical relationships between “Beatus vir” from his Selva morale e spirituale and “Chiome d’oro” from Madrigali, Libro VII. While Monteverdi maintained a connection with traditional polyphonic psalm settings in his retention of the plainsong cantus firmus in his psalm settings from the 1610 Vespers, in “Beato Primo,” Monteverdi sets the psalm text without the structural contours of a cantus firmus.

692.

Whenham, John. “The Venetian Sacred Music.” In no. 63, pp. 199–218, 219–25. Discusses Monteverdi’s Venetian sacred music, which includes large and smallscale works such as motets, spiritual madrigals, music for the Mass, music for Vespers, psalms, hymns, Magnificats, and Salve Regina settings. An appended “Intermedio” (Intermedio V) analyzes Monteverdi’s Magnificat SV281 (1641). With music examples.

693.

Whenham, John. “Monteverdi’s ‘Selva morale e[t] spirituale’ (1641): Some Anomalies Explored Through the Five Exemplars.” ML 95/4 (November 2014): 511–49. Supporting Jeffrey Kurtzman’s conclusion that Monteverdi’s Selva morale et spirituale was published in 1641 (no. 685), Whenham takes into account all surviving exemplars of this collection to explore such anomalies as the dual title pages in the Bologna exemplar (one dated 1640, the other 1641), the structure of the tavole found at the end of the partbooks, and the publication of instrumental parts in place of the alto and basso secondo vocal parts for the first of the two Magnificat settings (SV 281). Through a close study of the watermarks, Whenham suggests that the second section of the book was printed before the first. The collation of each partbook is provided in Table 1; the contents of the Selva morale et spirituale are listed in Table 2. A review of the five surviving exemplars—in Bologna, Brussels, Mdina, Vienna, and Wroclaw—is provided in the appendix. With illustrations.

9 Issues of Performance

GENERAL STUDIES 694.

Barbieri, Patrizio. “Chiavette and Modal Transposition in Italian Practice (c.1500–1837).” Recercare 3 (1991): 5–79. Valuable study of transposition clefs or chiavi trasportate, generically known as chiavette, in Italian music from the sixteenth through the early nineteenth centuries. Barbieri surveys the origins of the term and the use of transportation clefs in Italy, and discusses issues of transposition and vocal tessitura, and clef groupings. With numerous examples and illustrations.

695.

Bartlett, Clifford. “Editing Early Music: The Margot Leigh-Milner Lecture Given at the Nema Day on 30 November 2002.” EMP 11 (2003): 24–8. Outlines the tasks of an editor of early music, focusing on issues of notation in particular works by George Frideric Handel, Johann Sebastian Bach, Francesco Cavalli, and Monteverdi. Select passages from Monteverdi’s 1610 Vespers and L’incoronazione di Poppea are discussed.

696.

Brown, Howard Mayer, and Stanley Sadie, eds. Performance Practice: Music before 1600. London: Macmillan, 1989. xi, 281p. (Norton/Grove Handbooks in Music). ISBN 0393028070. ML457.P47 1989. Unlike other volumes in the Grove Handbook series, the content is not drawn from entries in NGM2. The following chapters are relevant to scholars and performers of madrigalian repertory: Karol Berger, “Musica ficta,” Alejandro Planchart, “Tempo and Proportions,” Howard M. Brown, “Introduction [to the Renaissance],” Anthony Newcomb, “Secular Polyphony in the 16th Century,”

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and James Haar, “Monophony and the Unwritten Traditions.” Handy bibliography of sixteenth-century treatises that include information about performance practice. Good expansive index. 697.

Bryant, David. “The cori spezzati of St. Mark’s: Myth and Reality.” EMH 1 (1981): 165–86. Discusses several aspects of the performance practice of cori sprezzati at the Basilica of St. Mark during the fifteenth and early seventeenth centuries, including the number and position of the singers and the participation of the organists and instrumentalists. Suggests that this manner of performance set “a precedent for the systematic contrast between solo and ripieno voices used by Monteverdi in a number of his Vespers psalms” (p. 169). Gioseffo Zarlino’s and Giovanni Maria Artusi’s views on the spatial separation of choirs are considered. With illustrations that include St. Mark’s interior and ground-plan.

698.

Fabbri, Paolo, and Angelo Pompilio. Il corago, ovvero Alcune osservazioni per metter bene in scena le composizioni drammatiche. Florence: Leo S. Olschki, 1983. 128p. (Studi e testi per la storia della musica, 4). ISBN 9788822231765. No LC. Modern edition of the anonymous treatise Il corago completed between 1628 and 1637 in various hands. Based on MSS no. F.G.11 of the Campari Collection, Modena Biblioteca Estense. In Italy, the corago was akin to an artistic director who oversaw the artistic elements of a theatrical production. The treatise offers insight into the performance of theatrical music in Italy in the first half of the seventeenth century.

699.

Hawthorne, Walter. “The Choral Conductor and Proportio Sesquialtera.” CJ 22/7 (1982): 19–23. Surveys proportio sesquialtera in choral works by Josquin des Prez, Nicolas Gombert, Monteverdi, Henry Purcell, Johann Sebastian Bach, George Frideric Handel, Wolfang Amadeus Mozart, Franz Schubert, and Johannes Brahms. Argues that the conductor “may well alter the tempos from the exact proportional relationships if he deems such alteration necessary for aesthetic considerations” (p. 23). Monteverdi’s Sacrae Cantiunculae (1582) and 1610 Vespers are considered. With examples.

700.

Jackson, Roland John. Performance Practice, Medieval to Contemporary: A Bibliographic Guide. New York: Garland, 1988. xxix, 518p. (Music Research and Information Guides, 9). ISBN 0824015126. ML128.P235.J3 1988. The chapter on the sixteenth century includes 144 annotations of books, articles, introductions to editions, and dissertations from 1960 to 1986. See PPR for updates. Indexes of theorists, authors, and subjects.

701.

Jackson, Roland John. Performance Practice: A Dictionary-Guide for Musicians. New York: Routledge, 2005. xxvii, 513p. ISBN 0415941393. ML100.J29 2005. Surveys and summarizes performance research and makes it more accessible through an alphabetical arrangement of topics that include musical terms,

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composers, genres, and instruments. Most entries include bibliographical citations. Relevant entries for Italian secular vocal music include musica ficta, pitch, madrigal, and madrigal comedy. General index and index of theorists and early writers. 702.

Kite-Powell, Jeffery T., ed. A Performers’ Guide to Renaissance Music. 2nd ed. Bloomington: Indiana University Press, 2007. xxi, 474p. (Publications of the Early Music Institute). ISBN 9780253348661. ML457.P48 2007. Revision of the first edition (New York: Schirmer, 1994). For the most relevant material on vocal music, see Alexander Blachly (“On Singing and the Vocal Ensemble I,” pp. 14–27), Anthony Rooley (“Practical Matters of Vocal Performance,” pp. 42–51), Jack Ashworth and Paul O’Dette (“Proto-Continuo,” pp. 225–37), and Bruce Dickey (“Ornamentation in Sixteenth-Century Music,” pp. 300–24).

703.

Knighton, Tess, and David Fallows, eds. Companion to Medieval and Renaissance Music. London: Orion, 1992. xx, 428p. ISBN 0028712218. ML172.C65 1992. Handbook on early music by leading experts. Gives concise information on preperformance decisions (editing, mode, musica ficta, pitch, text underlay, pronunciation, and the contexts for performance) and performance techniques (text, vocal style, tuning, tempo, ornamentation, and instruments).

704.

Kurtzman, Jeffrey, and Linda Maria Koldau. “Trombe, Trombe d’argento, Trombe squarciate, and Pifferi in Venetian Processions and Ceremonies of the Sixteenth and Seventeenth Centuries.” JSCM 8/1 (2002). http://sscm-jscm.press.uiuc.edu/ jscm/v8no1/Kurtzman.html. Richly documented study of the use of instruments in Venetian processions and ceremonies, including trumpets, pifferi, and other instruments. Attempts to clarify what kind of instrument is meant by the term tromba squarciata. Heavily informed by pictorial representations and descriptions in Venetian chronicles, in addition to etymological evidence, Kurtzman and Koldau suggest that Monteverdi’s trombe squarciate called for in his “Mass of Thanksgiving” are mid-length straight trumpets (see also Kurtzman no. 118 on Venetian ceremonies).

705.

Leibowitz, René. Les fantômes de l’opéra. Essais sur le théâtre lyrique. Paris: Gallimard, 1972. 399p. (Bibliothèque des idées). No ISBN. ML1700.1.L43. Discusses issues of performance and reception of opera in six case studies, each examined in a separate chapter: Ludwig van Beethoven’s Fidelio, Carl Maria von Weber’s Euryanthe, Giuseppe Verdi’s Don Carlos, Pyotr Ilyich Tchaikovsky’s Queen of Spades, Giacomo Puccini’s Tosca, Claude Debussy’s Pelléas et Mélisande. Chapter 12, “Un revenant du fond des âges: Claudio Monteverdi,” provides a summary of the life and works of Monteverdi and discusses the composer’s contribution to the development of opera. Analyzes the role of the orchestra in L’incoronazione di Poppea. Raymond Leppard’s and Alan Curtis’s versions of this opera are discussed. Includes musical examples. No index or bibliography.

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706.

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Lüdtke, Karsten. Con la sudetta sprezzatura: Tempomodifikation in der italienischen Musik der ersten Hälfte des 17. Jahrhunderts. Kassel, Germany: Gustav Bosse, 2006. 476p. (Kölner Beiträge zur Musikwissenschaft, 5). ISBN 3764927054. MT42.L947.C743 2006. Revision of the author’s dissertation of the same title (Universität Köln, 2004). Lüdtke’s analysis of forewords to toccata and madrigal books, and of musical texts of accompanied solo songs as well as vocal and instrumental ensemble music, demonstrates that a flexible tempo is generally possible, and often necessary, for virtually all Italian music of the early Baroque. Bibliography of 368 items up to 2000. Nonexpansive general index.

707.

MacClintock, Carol, ed. Readings in the History of Music in Performance. Bloomington: Indiana University Press, 1979. 432p. ISBN 0523144957. ML457.R4. Important collection of sixty-six texts and translations from historical sources relevant to the history of music in performance. This book is divided into four sections: “Before 1500” (chapters 1–2), “The Renaissance” (chapters 3–5), “The Seventeenth Century” (chapters 6–13), and “The Eighteenth and Early Nineteenth Centuries” (chapters 14–22). Chapter 12, “Music for the Theatre,” transcribes and translates into English four letters by Monteverdi that reveal the composer’s views on writing for the theater. These letters are dated December 1604, December 9 and 29, 1616, and January 6, 1617.

708.

McGee, Timothy J. Medieval and Renaissance Music: A Performers’ Guide. Toronto: University of Toronto Press, 1985. xx, 273p. ISBN 0802025315. MT457. M48 1985. Balanced introduction to historically informed performance practices for music before 1600 with the exclusion of chant. The most relevant sections include reading editions, text underlay, voices and instruments, and ornamentation.

709.

Parrott, Andrew. Composer’s Intentions? Lost Traditions of Musical Performance. Woodbridge, Suffolk: Boydell Press, 2015. xiii, 407. ISBN 9781783270323. ML457. P37 2015. Collection of eighteen essays on topics that include vocal scoring, Monteverdi, Henry Purcell, and Johann Sebastian Bach. The section on Monteverdi contains four essays (chapters 5–8) previously published (nos. 669, 670, 671, 672). With a list of selected recordings, further writings, and index.

710.

Welker, Lorenz. “Die Musik der Renaissance.” In Musikalische Interpretation, ed. Hermann Danuser, pp. 139–215. Laaber, Germany: Laaber, 1992. (Neues Handbuch der Musikwissenschaft, 11). ISBN 3890070418. ML160.N389 Bd.11. Argues that combinations of instruments and voices were the norm for much sixteenth-century repertory, including madrigals. Considers transposition, temperaments, musica ficta, tempo and tactus, text underlay, and ornamentation. Bibliography of 279 items up to 1991.

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MONTEVERDI: SPECIALIZED STUDIES 711.

Arnold, Denis. “Performing Practice.” In no. 34, pp. 319–33. Divides discussion of performance practice into two sections that mark the two phases of Monteverdi’s career: the first as a late-Renaissance court musician at Mantua, and the second as the Baroque maestro di cappella in Venice. While a free approach to rhythm is necessary, Arnold advises close adherence to Monteverdi’s performing resources (single players on most of his instrumental parts, for instance) and prescriptions for vocal embellishment.

712.

Awouters, Mia. “String Instruments in Monteverdi’s Lifetime: The Cremonese Environment.” In no. 36, pp. 125‒60. Awouters turns to the string traditions of Cremona, Monteverdi’s birthplace and residence until 1591, as the root of the composer’s inspiration for string writing. Reviews and provides a new interpretation of the history of the Amati family, who played a key role in elevating the city to the forefront of violin-building across Europe. Suggests that Monteverdi’s homogeneity in size and use of the string group in Orfeo departs from the diversity of instrumentation found in the 1589 Florentine intermedi; rather, Monteverdi’s choice and use of string instrumentation reflects his Cremonese background.

713.

Besutti, Paola. “The ‘Sala degli Specchi’ Uncovered: Monteverdi, the Gonzagas and the Palazzo Ducale, Mantua.” EM 27/3 (August 1999): 451–65. Contributes to the growing scholarship on the actual or possible locations in Cremona, Mantua, and Venice in which Monteverdi’s music was performed. Reports on the uncovering of a room in the Palazzo Ducale in Mantua in which music was performed during Monteverdi’s lifetime; possible location for the first performance of Orfeo in February, 1607. Argues that the “Sala degli Specchi” [Hall of Mirrors] to which Monteverdi referred dates back to the sixteenth century; it was replaced with a set of newly-constructed lodgings in the eighteenth century.

714.

Besutti, Paola. “Spaces for Music in Late Renaissance Mantua.” In no. 63, pp. 76–94. Examines the relationship between music and spaces for music during Monteverdi’s Mantuan years, taking into account the configuration for the Gonzaga palace. Provides a description of several royal chambers and halls including the “Hall of Mirrors,” where the partial trial of Arianna (March 14, 1608) and two performances of madrigals (during the winter of 1610–1) took place, and also the room in which Orfeo was performed for the first time (February 24, 1607). Discusses the Palatine Basilica of St. Barbara and other sacred spaces in Mantua. With illustrations that include a virtual reconstruction and a plan of the Hall of Mirrors, a plan of the ducal palace (1743), and a plan of the Palatine Basilica of St. Barbara.

Issues of Performance

715.

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Bowers, Rogers. “Proportioned Notations in Banchieri’s Theory and Monteverdi’s Music.” In no. 55, pp. 53–92. Offers a valuable discussion of the use and understanding of proportioned notations in early seventeenth-century music by examining Adriano Banchieri’s Conclusioni nel suono dell’Organo (1609) and Cartella musicale (1614). Bowers applies the principles of proportioned notations articulated by Banchieri to the analysis of Monteverdi’s Selva morale et spirituale (Venice, 1640–1). The author argues that “throughout the first two or three decades of the seventeenth century the historic system of proportioned notations was understood by composers to remain in full effective force” (p. 90). With examples. Reproduces Fernando de las Infantas’ Sacrum varii styli cantionum (Venice, 1578) and a passage from Monteverdi’s Selva morale et spirituale (Venice, 1640–1).

716.

Brown, Kate. “Representations: The Integration of Scholarship and Modern Subjective Interpretation in the Staging of Early Opera, with Reference to the Modern Revival of Seventeenth-Century Operas.” In no. 55, pp. 265–73. Describes the process of staging in Glasgow, in 1990, the first modern revival of Giulio Rospigliosi’s and Marco Marazzoli’s allegorical opera La vita humana (Rome, 1656). Discusses the challenges that modern directors face when reviving Baroque operas, making reference to a few modern productions of Monteverdi’s operas, including David Freeman’s production of Orfeo (no. 454).

717.

Conlon, Joan Catoni. Performing Monteverdi: A Conductor’s Guide. Chapel Hill, NC: Hinshaw Music, 2001. xviii, 382p. ISBN 0937276278. ML410.M77.C63 2001. Aims to introduce choral conductors to the particular issues of performing Monteverdi’s works. A chapter on texts includes both Italian and English translations of Monteverdi’s settings of poetry by Petrarch, Torquato Tasso, Battista Guarini, Ottavio Rinuccini, Scipione Agnelli, Giambattista Marino. Chapters on stylistic features of Monteverdi’s music divide repertory into prima pratica and seconda pratica with attention given to madrigals from Libri I–VIII. A chapter on sacred works includes advice on performing forces. A chapter on rhythm, tempo, voices, and instruments addresses these issues from across Monteverdi’s repertory. Provides guidance to conductors on score study, diction, transpositions, and programming. Includes English translations of Monteverdi’s preface to Madrigali, Libro V a5 and the “Declaration” by Giulio Cesare from the Scherzi musicali (1607). Selected bibliography includes scores and facsimiles. With index.

718.

Discogs. www.discogs.com/artist/154174-Claudio-Monteverdi. An innovative approach to discography in the twenty-first century. A huge online music database and marketplace with discographies of labels and artists. Discographies are cross-referenced. There is an international marketplace built off of the database to connect buyers and sellers around the world. Registered users can track collections, contribute to the database, and buy and sell recordings.

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Discogs is based on a user-built database to build up a catalog of more than 8,700,000 recordings and 5,100,000 artists. As of July 20, 2017, there are 1,734 entries for Monteverdi representing 666 albums. 719.

Ehrmann-Herfort, Sabine. “Claudio Monteverdis ‘tempo del’affetto del animo’ und seine Folgen.” In Festschrift Otto Biba zum 60. Geburtstag, ed. Ingrid Fuchs, pp. 31–46. Tutzing, Germany: Hans Schneider, 2006. ISBN 9783795212148. ML246.8.V6.F47 2006. Examines the increase in tempo markings in new genres of Italian music of the first half of the seventeenth century. The text-based aesthetic of the seconda pratica required a more flexible approach to tempo. Monteverdi linked tempo to textual affect in the preface to his “Lamento della ninfa” from Madrigali a guerrieri et amorosi, Libro VIII.

720.

Giuliani, Roberto. “La diffusione del madrigale monteverdiano attraverso le fonti sonore: Edizioni, prassi esecutiva e ricezione.” In no. 39, pp. 171–89. Assesses how approaches to the performance of Monteverdi’s madrigals have changed in the twentieth century through a comparison of recordings of the complete Madrigali, Libro IV a5 by Ensemble Vocal Marcel Couraud (1955), the soloists of the Glyndebourne Opera Chorus directed by Raymond Leppard (1973), I Soloisti del Madrigale directed by Giovanni Acciai (1991), and the Concerto Italiano directed by Rinaldo Alessandrini (1993).

721.

Harnoncourt, Nikolaus. The Musical Dialogue: Thoughts on Monteverdi, Bach and Mozart. Trans. Mary O’Neill. London: Helm, 1989. 220p. ISBN 093134008X. ML60.H33713 1989. Translated into multiple languages, this book presents a collection of lectures, talks, and essays by Nikolaus Harnoncourt on the subject of Monteverdi, Johann Sebastian Bach, and Wolfgang Amadeus Mozart. It offers valuable insight into Harnoncourt’s interpretation of the works by these three composers. Divided into two parts, the first section of this book deals with musical developments and performative practices during times of Monteverdi, Bach, and Mozart, while the second section focuses on specific works of each composer. Monteverdi’s operas (Orfeo, Il ritorno d’Ulisse in patria, and L’incoronazione di Poppea) and the Marian Vespers are considered. Includes a preface, table of contents, and select discography. No Index.

722.

Johnstone, Andrew. “‘High’ Clefs in Composition and Performance.” EM 34/1 (2006): 29–53. Adding to the debate on the performance practice of Monteverdi’s compositions in high clefs (see Andrew Parrott nos. 669 and 671 and Roger Bowers no. 648), Johnstone draws from a wealth of primary sources to explain the reasons why “low tesitura is indeed something to be expected of music notated in the apparently ‘high’ clefs” (p. 29). Modern interpretations of the two standard clef combinations (including transposition methods by Raphael Georg Kiesewetter, Arthur Mendel,

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Siegfried Hermelink, and Harold Powers) are considered. A summary of the difference of opinion between Parrott and Bowers regarding the performance practice of these works is provided in the introduction. With examples and appendices. 723.

Monterosso, Raffaello. “Tempo and Dynamics in Monteverdi’s Secular Polyphony.” In no. 55, pp. 93–117. Discusses musical meter, dynamics, and swelling interpretation in Monteverdi’s music through close readings of documents (including writings by Lodovico Zacconi, Agostino Pisa, Euchario Hoffman, Cyriaco Snegasio, Nicola Vicentino, Giulio Caccini, and Monteverdi himself). With examples.

724.

Pascucci, Daphne. “European Stage Design in the Age of Monteverdi: Costume in Early Italian Opera and Spectacle.” In no. 55, pp. 265–73. Presents and discusses thirty-three illustrations relating to well-known characters in Renaissance melodrama, suggesting that these characters “would have looked very much the same in a Monteverdi opera” (p. 216). Describes each illustration in relation to one or more dramatic works from the turn of the seventeenth century.

725.

Rooley, Anthony. “L’humore universale.” MT 134/1807 (1993): 490–5. As director of the Consort of Musicke, Rooley reflects on the performance of music by Monteverdi, focusing on what constituted passionate singing in Monteverdi’s time. The quality of the voices of the singing ladies in the concerto delle donne at Alfonso II’s court in Ferrara is discussed (see Anthony Newcomb’s The Madrigal at Ferrara, 1579–1597 [Princeton, NJ: Princeton University Press, 1980] for further details).

726.

Schiltz, Katelijne. “Church and Chamber: The Influence of Acoustics on Musical Composition and Performance.” EM 31/1 (February 2003): 64–78. Valuable study of Nicola Vicentino’s L’antica musica ridotta alla moderna prattica (1555) that explores the theorist’s acoustical considerations in a broader framework of extra-musical factors that include place of performance, performers, audience, the listening occasion, and surrounding theoretical concepts. Schiltz then discusses their effect on compositional decisions and performance practice. Vicentino’s views on acoustics in relation to those of contemporary theorists (Gioseffo Zarlino, Juan Bermudo, Vincente Galilei, Girolamo Diruta, and Pietro Cerone) are examined. With illustrations.

727.

Sempé, Skip. “Monteverdi Demythified.” MT 134/1805 (1993): 371–4. Discusses current performance practices of Monteverdi. Focusing on Monteverdi’s “Lamento d’Arianna” and Il combattimento di Tancredi e Clorinda, Sempé argues that there cannot be “a definitive performing edition for our time” (p. 372) of these works, since so much of this music was improvised by the performers in the seventeenth century. Discusses his recent recording of these two works with his ensemble Cappricio Stravagante.

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Stevens, Denis. “Sound without Fury: Current Approaches to Performing Monteverdi.” MT 136/1827 (May 1995): 220–4. An examination of performance practice issues involving the music of Monteverdi. Discusses texture, vibrato, and balance, as well as the use of continuo, and argues that “nothing in Monteverdi requires transposition” (p. 221). See Andrew Parrott no. 669 for a different view regarding transposition.

729.

Stevens, Denis. “Monteverdi e la prassi esecutiva.” NRMI 29/4 (October–December 1995): 595–605. Draws from Monteverdi’s letters and prefaces to guide readers on the performance and interpretation of the composer’s works. Special attention is given to vibrato, transposition, musica ficta [equilibrio sonoro], and basso continuo. See Andrew Parrott’s communication in NRMI 30 (1996): 312–3.

730.

Stevens, Denis. “Claudio Monteverdi: Acoustics, Tempo, Interpretation.” In no. 55, pp. 9–22. Discusses extra-musical factors that may have shaped the interpretation of Monteverdi’s works during the composer’s lifetime. These include, for example, the “dampening effect brought about by the voluminous court costumes worn at the time by both men and women” (p. 11) and the size and architectural design of rooms, chapels, churches, and cathedrals. Suggests that the overall acoustics and reverberation time will determine the tempo of the piece. The tempo in Monteverdi’s “Sonata sopra Santa Maria” is considered.

731.

Wistreich, Richard. “Monteverdi in Performance.” In no. 63, pp. 261–79. Examines the relationship between Monteverdi and the singers and instrumentalists for whom he wrote music, and suggests that whatever Monteverdi wrote was based “on a culture of shared conventional musical knowledge and, specifically, on what his musicians could already do” (p. 264). Discusses Monteverdi’s duties as music director. Singers and singing, voice types, vocal technique and style, rehearsal time, instrumentalists, and ensembles are explored.

INSTRUMENTS AND INSTRUMENTATION 732.

Adkins, Cecil D., and Alice Dickinson. “The Organ in Miniature.” In De musica hispana et aliis: Miscelánea en honor al Prof. Dr. José López-Calo, S.J., en su 65º cumpleaños, vol. 2, ed. Emilio Casares and Carlos Villanueva, pp. 435–54. Santiago de Compostela, Spain: Universidad de Santiago de Compostela, 1990. ISBN 8471915901. ML315.D4 1990. Discusses the process of miniaturization applied to the positive organ of the mid-sixteenth to mid-eighteenth centuries, discussing the use of such instruments in several works, including Monteverdi’s Orfeo (1607). With numerous illustrations.

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733.

181

Dixon, Graham. “Continuo Scoring in the Early Baroque: The Role of BowedBass Instruments.” Chelys 15 (1986): 38–53. An examination of bowed string instruments as part of the continuo body in the early seventeenth century. Based on an examination of early sources, Dixon suggests that doubling the continuo bass with a cello or viola da gamba did not become the normal practice until after the 1670s. Writings on the subject of continuo scoring by Agostino Agazzari, Giulio Caccini, Vincenzo Giustiniani, Luigi Rossi, and Monteverdi are discussed.

734.

Jackson, Roland. “It Can ‘Spoil all the Beauty’: The Duplicating of Solo Dissonances in Seventeenth-Century Thorough—bass Accompaniment.” PPR 11/1 (2006): 1–46. Examines the views of seventeenth-century music theorists (Bartolomeo Bismantova, Lorenzo Penna, and Andreas Werckmeister) regarding the accompanying of solo dissonances in relation to the written-out and unrealized basses in the musical compositions of composers such as Monteverdi, Giacomo Carissimi, Antonio Cesti, Alessando Scarlatti, and Henry Purcell, among others. Argues that, although modern transcribers and editors tend to duplicate in the accompaniment the dissonances present in a solo part, seventeenth-century composers avoided such doublings. “The practice of setting consonant chords against dissonances,” according to the author, “became a means of more sharply defining these dissonances” (p. 45). The treatment of solo dissonance in the seventeenthcentury lament is considered. With over fifty musical examples, which include passages taken from Monteverdi’s Orfeo and “Amor” (part two of his “Lamento della ninfa”).

735.

Jackson, Roland. “Realizing the Continuo in Monteverdi’s Lamento della ninfa and Its Implications for Early-Seventeenth-Century Italian Continuo.” PPR 14/1 (2009): 134–50. Discusses one of two possible accompaniments in Monteverdi’s “Amor dicea” (“Lamento della ninfa”) proposed by Ellen Rosand (no. 515): the pattern featuring descending sixth chords in its middle two members (I, v6, iv6, V). Making a case for it (over the other possible accompaniment, i-vii-vi-V), Jackson explores the dissonances occurring from this pattern within the broader context of Monteverdi’s use of dissonances as well as that of his contemporaries (Girolamo Frescobaldi, Giovanni Girolamo Kapsperger, and Carlo Gesualdo, among others). Suggests that this pattern “provides evidence that dissonance during the 17th century, at least in certain exceptional cases, may have been more intense than has been generally assumed” (p. 150).

736.

Lawrence-King, Andrew. “The Harp as a Continuo Instrument in Early Italian Opera.” In Historische Harfen: Beiträge zur Theorie und Praxis historischer Harfen/Historical Harps: Theoretical and Practical Aspects of Historical Harps, ed. Heidrun Rosenzweig, pp. 133–44. Basel: Im Eigenverlag der Musik-Akademie der Stadt Basel, 1991. No ISBN. ML1005.H57 1991.

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Examines the different uses of the harp in Monteverdi’s Orfeo, in which the arpa doppia is used both as a continuo and a solo instrument. Continuo instrumentation, texture of the continuo, doubling of the solo part, and realizing continuo accompaniments are discussed. With examples. 737.

Leopold, Silke. “The Orchestra in Early Opera.” MQ 80/2 (1996): 265‒8. The article appears in German as “Das Orchester in der frühen Oper.” In Das Orchester: Geschichte und Gegenwart, ed. Renate Herklotz, pp. 11–15. Leipzig, Germany: Gewandhaus, 1996. (Dokumente zur Gewandhaus, 10). Brief discussion of the role of the orchestra in early opera. Leopold concludes that a homogenous orchestra with a unified coherent image of sound did not exist in early opera. Uses Monteverdi’s Orfeo as an example.

738.

Morelli, Arnaldo. “Monteverdi and Organ Practice.” In no. 55, pp. 125–41. Evaluates Monteverdi’s knowledge of organ practice by exploring the opinions expressed by the composer himself regarding contemporary organists and by re-examining his 1610 Vespers in the context of performance practice of the era. Suggests that Monteverdi was fully aware of contemporary organ practices and that his registrations “are by no means exceptional but are in fully keeping with the practice of the time” (p. 131). With musical examples.

739.

Segerman, Ephraim. “Comm. 1562: The Early Violino and the Viole da braccio Family.” FoMRHI 90 (1998): 40–3. Offers an account of the developments in the history of the early violino and the viole da braccio. Lodovico Zacconi’s writings on viole da braccio tunings (1592) and the ranges of parts found in Monteverdi’s Orfeo are explored.

740.

Segerman, Ephraim. “Comm. 1604: The Tuning and Seizes of de Viole de Braccio: A Correction and New Theory.” FoMRHI 93 (1998): 23–6. A revision of Segerman’s deductions of Ludovico Zacconi’s viola da braccio tunings and sizes, and of the author’s interpretation of the use and ranges of the viole da braccio in Monteverdi’s Orfeo that is intended to replace the information given in an earlier article published in this same journal (no. 739). Taking into consideration relevant documentary evidence, Segerman offers a brief account of the early development in Italy of the violin family.

741.

Selfridge-Field, Eleanor. Venetian Instrumental Music from Gabrieli to Vivaldi. 3rd revised ed. New York: Dover, 1994. xxvi, 411p. ISBN 0486281515. ML290.8.V26. S4 1994. (Reprint; originally published Oxford: Basil Blackwell, 1975). Drawing from an abundance of archival sources, this important contribution to the study of Venetian instrumental music provides a rich description of the artistic milieu, venues, and patronage during the period ca. 1580–1750. Part 1, “A Documentary History,” discusses instrumental music at St. Marco and elsewhere in Venice (e.g., parish, confraternities and academies, among other places); part 2, “A History of Musical Style,” discusses instrumental genres performed

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and developed in Venice, focusing on the life and works of composers active in Venice during the period under examination. Chapter 4, “The Sonata from 1615 to 1630,” discusses Monteverdi’s importance for Venetian instrumental music. With appendices, glossary, bibliography, and index. Includes musical examples. 742.

Sirch, Licia. “‘Violini piccoli alla francese’ e ‘canto alla francese’ nell’ Orfeo e negli ‘Scherzi musicali’ di Monteverdi.” NRMI 15/1 (1980): 50–65. Important study for approaching issues of performance in Monteverdi’s Orfeo and Scherzi musicali (1607). Sirch explores the organological scholarship on the term violini piccolo alla francese, and examines Giulio Cesare Monteverdi’s use of the term canto alla francese in the preface to the Scherzi musicali (1607).

743.

Wolff, Christoff. “Zur Frage der Instrumentation und des Instrumentalen in Monteverdis Opern.” In no. 46, pp. 489–98. Monteverdi approached depicting the power of music in Orfeo by expanding his instrumental palette; his instrumentation is anomalous in terms of contemporaneous operatic works (including his own). Wolff criticizes twentieth-century attempts to modernize the instrumentation as a misguided return to nineteenthcentury aesthetics of orchestral dominance. Useful summary tables of instrumentation for Monteverdi’s Orfeo (1607), Il ritorno d’Ulisse in patria (1640), and L’incoronazione di Poppea (1642), and the house ensembles of the Venetian Teatro SS Giovanni e Paolo in 1658–9 and 1665.

ORNAMENTATION AND SINGING TECHNIQUE 744.

Alessandrini, Rinaldo. “Performance Practice in the Seconda Prattica Madrigal.” EM 27/4 (November 1999): 632‒9. Alessandrini argues that madrigals from around 1600 demand a high level of technical precision and expressive mobility from singers. Based on his reading of historical sources, Alessandrini advises modern performers to minimize vibrato and dynamic range and to take liberties in their treatment of rhythm.

745.

Arnold, Denis. “Monteverdi’s Singers.” MT 111/1532 (October 1970): 982–5. Through the analysis of letters, theater records, and singing practices of the era, Arnold discusses the types of singers that performed Monteverdi’s works. Compares and contrasts the vocal range and quality required for the early Mantuan works with those featuring in the Venetian operas (many of which included singers from St. Mark’s choir). The impact of the availability of singers in Venice upon Monteverdi’s compositional process is discussed.

746.

Berger, Karol. Musica Ficta: Theories of Accidental Inflections in Vocal Polyphony from Marchetto da Padova to Gioseffo Zarlino. Cambridge: Cambridge University Press, 1987. xvii, 266p. ISBN 0521328713. ML190.B47. (Paperback reissue; Cambridge: Cambridge University Press, 2004. ISBN 052154338X).

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Groundbreaking study that clarifies the meaning and use of the conventions governing the practice of implied accidentals in vocal polyphony from the early fourteenth to the mid-sixteenth century. Extensive bibliography and expansive index. 747.

Brown, Howard Mayer. Embellishing Sixteenth-Century Music. London: Oxford University Press, 1976. xiv, 79p. (Early Music Series, 1). ISBN 0193231751. MT80.B76. Practical advice for singers and instrumentalists based on sixteenth-century instruction manuals by Silvestro di Ganassi, Diego Ortiz, Giovanni Camillo Maffei, Girolamo Dalla Casa, Giovanni Bassano, Richardo Rogniono, Giovanni Luca Conforti, Giovanni Battista Bovicelli, and Aurelio Virgiliano.

748.

Caccini, Giulio. Le nuove musiche. Ed. and trans. H. Wiley Hitchcock. Madison, WI: A—R Editions, 1970. 140p. (RRMBE, 9). M2.R238 v.9. Eng. trans. of excerpts in Source Readings in Music History, ed. Oliver Strunk, rev. ed. Leo Treitler, pp. 607–17. New York: Norton, 1998. xxii, 1552p. ISBN 0393037525. ML160.S89 1989. Modern edition of Le nuove musiche with an English translation of the preface and rich commentary by Hitchcock. Hitchcock’s commentary was previously published in no. 763.

749.

Caccini, Giulio. Le nuove musiche [Florence, 1601]. New York: Broude Brothers, 1973. 52p. (MMMLF, ser. 1, no. 29). M2.M488 v. 29. Facsimile edition of Giulio Caccini’s collection of solo songs. Caccini’s influential preface deals with monodic style, embellishment for singers, and continuo practices.

750.

Canning, Hugh. “Danielle de Niese.” Opera 59/5 (May 2008): 507–511+513. An interview with the soprano, Danielle de Niese, on the occasion of her upcoming performance as Poppea at Glyndebourne (Sussex, UK). De Niese’s career and operatic roles are discussed.

751.

Carter, Stewart. “Francesco Rognoni’s Selva de varii passaggi (1620): Fresh Details Concerning Early-Baroque Vocal Ornamentation.” PPR 2/1 (1989): 5–33. Study of an important diminution manual by Francesco Taegio Rognoni (ca. 1550–ca. 1626), head of instrumental music at the ducal court and maestro di cappella at Santo Ambrosio Maggiore in Milan. Rognoni makes a clear distinction between instrumental and vocal practices, and is among the first to include illustrations of the newer smaller-scale ornaments. While clarity of text is important, Rognoni followed Giulio Caccini in his emphasis on expressing the idea of the soul. Reproduces musical examples from Rognoni’s treatise. For a facsimile of the treatise, see Francesco Taegio Rognoni, Selva de varii passaggi (Bologna: Arnaldo Forni, [1970], [BMB, ser. 2 no. 153]).

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752.

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Celletti, Rodolfo. A History of Bel Canto. Trans. Frederick Fuller. Oxford: Clarendon Press, 1991. 218p. ISBN 9780193132092. ML1460.C413 1991. Surveys the evolution of Italian opera from Renaissance Florence to Gioachino Rossini, focusing on the contributions to this genre by composers, librettists, and singers. Chapter 2, “The Vocal Art in Baroque Opera,” traces the development of Italian opera both in and outside Italy during the seventeenth and early eighteenth centuries, and offers a discussion of dramatic works by Monteverdi, among other composers. Monteverdi’s Orfeo, Il ballo delle ingrate, Il combattimento di Tancredi e Clorinda, Il ritorno d’Ulisse in patria, and L’incoronazione di Poppea are examined. With musical examples and index.

753.

Clivio, Gianrenzo P. “Italian.” In Singing Early Music: An Introductory Guide to the Pronunciation of European Languages in the Middle Ages and Renaissance, ed. Timothy McGee, Arthur George Rigg, and David N. Klausner, pp. 187–211. Bloomington: Indiana University Press, 1996. (Music scholarship and performance). ISBN 0253329612. MT883.S56 1996. Handy primer on spelling, stress, consonants, and vowels. Includes transcriptions with pronunciation marks for Marchetto Cara’s “A la absentia che me acora” and “Donne leggiadr’e voi vaghe donzelle.” Both examples are recorded on the accompanying CD.

754.

Conforti, Giovanni Luca. Breve et facile maniera d’essercitarsi (1593?). English translation in no. 757. Systematic singer’s manual on the art of ornamentation by Italian composer, falsetto singer, and writer, Giovanni Luca Conforti (ca. 1560–1608). Addresses passaggi in a variety of rhythmic patterns, groppi and trilli, and cadential formulas. Conforti’s three volumes of Salmi passaggiati (1601–3) demonstrate a practical application of his theories.

755.

Ferand, Ernest T. “Die Motetti, Madrigali, et Canzoni Francese . . . Diminuiti . . . des Giovanni Bassano (1591).” In Festschrift Helmuth Osthoff zum 65. Geburtstage, ed. Lothar Hoffmann-Erbrecht and Helmut Hucke, pp. 75–101. Tutzing, Germany: Hans Schneider, 1961. ML55.O8H6. Introduction to Giovanni Bassano’s Motetti, madrigali, et canzoni francese . . . (Venice, 1591), an influential sixteenth-century diminution manual. Includes a list of contents with notes on modern editions.

756.

Ferand, Ernest T. “Didactic Embellishment Literature in the Late Renaissance: A Survey of Sources.” In Aspects of Medieval and Renaissance Music: A Birthday Offering to Gustave Reese, ed. Jan LaRue, pp. 154–72. New York: Norton, 1966. ML55.R4.L4. Survey of embellishments of polyphonic works from the late sixteenth and early seventeenth centuries that formed part of the theoretical and didactic literature of the time. Excludes tablatures. Includes a chronological list of manuals, treatises,

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and collections of embellished compositions (1535–1615); an alphabetical list of composers and works; and an alphabetical list of text incipits or titles. Cipriano de Rore is the most represented composer with over forty embellished versions of his madrigals, most by Girolamo Dalla Casa and Giovanni Bassano. 757.

Foreman, Edward, ed. and trans. Late Renaissance Singing. Minneapolis, MN: Pro Musica, 2001. xxi, 241p. (Masterworks on Singing, 9). ISBN 1887117156. No LC. English translations of four important manuals on singing and vocal ornamentation: Giovanni Camillo Maffei’s Discorso (1562), Lodovico Zacconi’s Prattica di musica, Libro Primo, Capitolo LVIII–LXXX (1592), Giovanni Battista Bovicelli’s Regole, passaggi di musica (1594), and Giovanni Luca Conforti’s Breve et facile maniera d’essercitarsi (1593?).

758.

Fortune, Nigel. “Italian 17th-Century Singing.” ML 35/3 (July 1954): 206–19. Reprinted in Baroque Music. I, ed. Ellen Rosand, pp. 72–85. New York: Garland, 1985. (Garland Library of the History of Western Music, 5). ISBN 0824074548. ML194.B23 1985. Important essay that presents prefatory material from books of secular monodies, monodic motets, operas, madrigals, essays, and treatises (ca. 1580–1640). Editors and theorists provide valuable advice on matters of voice type, contemporaneous performers, embellishment, volume, and rubato.

759.

Galliver, David. “Vocal Color in Monteverdi’s cantar parlando.” In All Kinds of Music: In Honour of Andrew D. McCredie, ed. Graham Strahle and David Swale, pp. 166–70. Wilhelmshaven, Germany: F. Noetzel, Heirichshofen-Books, 1998. ISBN 3795906038. ML3797.1.A45 1998. Examines the exact nature of the vocal color required for cantar parlando (Monteverdi’s term for the recitar cantando of Giulio Caccini and Jacopo Peri). Proposes that vocal timbre reflects not only the Galliver melodic but also the harmonic concepts of Monteverdi’s music, using Orfeo as an example.

760.

Greenlee, Robert K. “The Techniques of Italian Melismatic Articulation in the Latter Half of the Sixteenth Century.” Ph.D. diss. Indiana University, 1985. xv, 257p. UMI 0375741. Examines embellishment tutors, treatises, descriptive accounts, and music prints from 1530 to 1620 to determine methods singers used for articulating rapid melismas (embellishments, gorgie, passaggi, diminutions). Numerous citations of music from treatises, including Lodovico Zacconi’s Prattica di musica, Giovanni Luca Conforti’s Breve et facile maniera, and Giovanni Battista Bovicelli’s Regole, passaggi di musica.

761.

Greenlee, Robert K. “Dispositione di voce: Passage to Florid Singing.” EM 15/1 (February 1987): 47–55. Condensed version of the author’s dissertation (no. 760). Relates theoretical examples by Giovanni Battista Bovicelli, Lodovico Zacconi, Giovanni Luca

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Conforti, and Girolamo Dalla Casa to practical examples of embellishment in madrigals by Cipriano de Rore, Luzzascho Luzzaschi, and Giovanni Pierluigi da Palestrina. Greenlee concludes that modern technique is unsuitable; late sixteenth-century florid embellishment requires greater flexibility and agility. 762.

Haenen, Grete. “Der Sänger und das Madrigal: Der Interpret und die neue Musik.” AY 1 (1995): 347–60. Examines the range of performance practices prevalent at Italian courts at the end of the sixteenth century and notes the technical and aesthetic differences between emerging “schools” of vocal instruction.

763.

Hitchcock, H. Wiley. “Vocal Ornamentation in Caccini’s Nuove Musiche.” MQ 56/3 (July 1970): 389–404. Addresses the issue of vocal ornamentation in Le nuove musiche (1602) from Giulio Caccini’s perspectives as composer, singer, and voice teacher. The author divides the vocal devices cited in Caccini’s preface into these three categories. The fact that Caccini writes out all of the ornaments described in the preface in the accompanying songs suggests that he is speaking as composer. While Caccini reviles the indiscriminate application of passaggi by contemporaneous singers, as a virtuoso singer himself he preserves passagework but restricts it to accented syllables and cadences.

764.

Maffei, Giovanni Camillo. Delle lettere del Signor Gio. Camillo Maffei da Solofra, libri due, dove . . . v’è un discorso della voce e del modo d’apparare di cantar di garganta [Naples, 1562]. English translation of the Discorso in no. 757, pp. 8–31. Maffei’s Discorso on embellished song remains an important manual on passaggi as practiced by sixteenth-century Italian singers. Maffei (fl. 1562–73) was an Italian physician, singer, and lutenist. Illustrated with numerous musical examples.

765.

Mihelcic, Sonja. “Similarities in the Use of Dramatic Recitative Style in the Music of Claudio Monteverdi and Giuseppe Verdi, with Some Performance-Practice Issues.” DMA diss. University of North Texas, 2001. v, 160p. UMI 3065591. An examination of the fundamental similarities between the dramatic recitative styles of Monteverdi and Giuseppe Verdi that takes into account the historic and artistic milieu in which the operas by these two composers were created. Compares the use of recitative style in two scenes by Monteverdi and two by Verdi, respectively, “Lamento d’Arianna” from Arianna and “Disprezzata regina” from L’incoronazione di Poppea, and “Condotta ell’era in ceppi” from Il Trovatore and “Judgement Scene” from Aida. Chapters on the origins and development of the recitative, the lament, musical analysis, and performance practices. With musical examples, textual excerpts, and bibliography.

766.

Morelli, Arnaldo. “Cantare sull organo: An Unrecognised Practice.” Recercare 10 (1998): 183–208.

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Valuable study of a little-known performance practice from the late fifteenth to the early seventeenth century referred to as cantare sull organo (“singing on the organ”). Through a close reading of archival and literary evidence, Morelli demonstrates that the expression cantare sull organo referred to solo singing accompanied by the organ and that, in most cases, this was a practice performed by boys or youths. Morelli traces the development of this practice into the early seventeenth century, focusing on Monteverdi’s 1610 Vespers. In this context, the Magnificat and the hymn “Ave maris stella” are examined. Includes a discussion of an iconographic piece of evidence (Figure 1) related to this performance practice. With examples. 767.

Sanford, Sally. “A Comparison of French and Italian Singing in the Seventeenth Century.” JSCM 1/1 (1995). http://sscm-jscm.org/v1/no1/sanford.html. Aiming to define the differences between French and Italian singing in the seventeenth century, this article examines several areas of vocal technique and practice, including breathing, vibrato, speech mode, pronunciation, consonants, throat articulation, and responses to musical notation. Orpheus’s aria “Possente Spirto,” from act 3 of Monteverdi’s Orfeo, is discussed.

768.

Sarcina, Paola. “Tecnica del canto e caratteristiche del ‘cantare cantilene’, villanelle e canzonette nella Prattica di musica di Ludovico Zacconi.” In Villanella, napolitana, canzonette: Relazioni tra Gasparo Fiorino, compositori calabresi e scuole italiane del Cinquecentro. Atti del Convegno Internazionale di StudiArcavacata di Rende—Rossano Calabro 9–11 dicembre 1994, ed. Maria Paola Borsetta and Annunziato Pugliese, pp. 49–58. Vibo Valentia, Italy: Istituto di Bibliografia Musicale Calabrese, 1999. No ISBN. ML2633.2.V55 1999X. Analyzes passages from Lodovico Zacconi’s Prattica di musica (1592) on singing technique and performance practice in the sixteenth-century villanella.

769.

Sherr, Richard. “Guglielmo Gonzaga and the Castrati.” RQ 33 (1980): 33–56. Reprinted in Chapter 16 of the author’s Music and Musicians in Renaissance Rome and Other Courts. Aldershot, Brookfield, UK: Ashgate Variorum, 1999. ISBN 0860787680. ML3033.8.R66 S5 1999. Explores the introduction of castrati into Italy through the lens of the court of Guglielmo Gonzaga, third Duke of Mantua (reigned 1550–87), whose interest in castrati dates from the 1550s. Through a careful reading of documents in the Archivio Gonzaga pertaining to the Duke’s attempts to hire castrati (included in the appendices), Sherr explains that “what was to become an exclusive Italian practice in the eighteenth century was in its origins a foreign import, the supply coming from France and Spain” (p. 37).

770.

Termini, Olga. “The Role of Diction and Gesture in Italian Baroque Opera.” PPR 6/2 (1993): 146–57. Explores Italian Baroque opera through the lens of acting, taking into account contemporary views on what constituted good diction and gesture. Briefly

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discusses what Monteverdi and his contemporaries required of opera singers (beautiful voice, expressiveness in singing, good diction, skill in acting), as well as the interpretative skills of Monteverdi’s first Orfeo, Francesco Rasi, and first Ottavia, Anna Renzi. The assessment of singers and performance practices by seventeenth- and eighteenth-century Italian and French observers, including St. Didier, Pier Francesco Tosi, and Giambattista Mancini, are discussed. 771.

Uberti, Mauro, and Oskar Schindler. “Contribution à la recherche d’un art vocal monteverdien: la couleur.” Trans. Gilles de Van. In no. 58, pp. 78–82. Discussion of the vocal technique and color required for the performance of Monteverdi’s music. Monteverdi’s indications regarding voices in several of his works are considered.

772.

Uberti, Mauro. “Vocal Techniques in Italy in the Second Half of the 16th Century.” Trans. Mark Lindley. EM 9/4 (October 1981): 486–95. The author draws on theorists Nicola Vicentino, Gioseffo Zarlino, Giovanni Camillo Maffei, and Lodovico Zacconi for information on register, timbre, agility, articulation, and volume. Uberti concludes that in camera singing, the clarity of vowels was aided by not opening the mouth much more than in speaking, whereas in cappella singing, the mouth was opened wider for a bigger sound.

773.

Wistreich, Richard. “ ‘La voce e grata assai, ma ...’: Monteverdi on Singing.” In no. 48, EM 22/1 (February 1994): 7–19. Draws information from a series of letters by Monteverdi and other sources that discuss singing techniques (such as those by Gioseffo Zarlino, Giovanni Battista Doni, Giulio Caccini) to examine bass singing in Venice in the 1620s. Vocal range and technique, as well as issues of terminology regarding the terms voce della golla and voce del petto, for example, are considered.

774.

Wistreich, Richard. “Reconstructing Pre-Romantic Singing Technique.” In The Cambridge Companion to Singing, ed. John Potter, pp. 178–91. Cambridge: Cambridge University Press, 2000. ISBN 0521622255. ML1460.C28 2000. Drawing on treatises by Giovanni Camillo Maffei (1562), Giulio Caccini (1602), Marin Mersenne (1636), Bénigne de Bacilly (1679), and Pier Francesco Tosi (1723), among others, Wistreich surveys techniques in art singing in Europe in the sixteenth through the early nineteenth century, focusing on issues such as range, volume, intonation, and aesthetics. Suggests that during Monteverdi’s time, the proper connection of two separate vocal ranges (e.g., in chest and falsetto singers) “had already become a hallmark of a properly trained singer” (p. 184). Reproduces an excerpt of Ragoni’s vocal exercises from Selva di varii passaggi (1620).

775.

Wistreich, Richard. “Real Basses, Real Men: Virtù and Virtuosity in the Construction of Noble Male Identity in Late Sixteenth-Century Italy.” In TroJa: Trossingen Jahrbuch für Renaissance Musik 2: Gesang zur Laute, ed. Nicole Schwindt, pp. 59–77. Kassel, Germany: Bärenreiter, 2003. ISBN 376181612X. No LC.

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Focusing on the life and career of Neapolitan nobleman and bass singer Giulio Cesare Brancaccio, Wistreich explores sixteenth-century Italian notions of nobility, honor, virtue, and masculinity in relation to musical performance (revised sections of this article appear throughout the author’s monograph, no. 776, particularly in chapter 7). Discusses Brancaccio’s alla bastarda singing performances, in which he performed, as a soloist, polyphonic vocal movements. 776.

Wistreich, Richard. Courtier, Warrior, Singer: Giulio Cesare Brancaccio and the Performance of Identity in the Late Renaissance. Burlington, VT: Ashgate, 2007. xii, 332p. ISBN 9780754654148. ML420.B7713.W57 2007. Building on his doctoral dissertation (Royal Holloway College, University of London, 2002), Wistreich offers an important study of the style of singing of late Renaissance bass singers through the lens of the Neapolitan warrior, courtier, and virtuoso bass singer, Giulio Cesare Brancaccio (dates unknown). Part 1, “Identity of a Performer,” presents an account of Brancaccio’s life; part 2, “Bass Song,” deals with Brancaccio’s life as a bass singer in Italy in the sixteenth century, and part 3 explores Brancaccio’s virtuosity in relation to contemporary notions of nobility, honor, virtue, and masculinity. Appendix 1 provides a list of primary sources relating to Brancaccio; relevant archival documents are reproduced in Appendix 2. With bibliography and index.

777.

Wistreich, Richard. “Of Mars I Sing: Monteverdi Voicing Virility.” In Masculinity and Western Musical Practice, ed. Ian Biddle and Kirsten Gibson, pp. 67–93. Burlington, VT: Ashgate, 2009. ISBN 9780754662396. ML193.B53 2008. Adding to the literature on Monteverdi, the seconda pratica, and the stile concitato, Wistreich explores the voicing of virility in Monteverdi’s songs of war contained in Madrigali guerrieri et amorosi, Libro VIII (1638). The author examines the use of the singing bass and the implications of warrior-singers in these madrigals within the larger context of late Renaissance discourses about male identity and singing. Monteverdi’s “Altri canti d’amor” and “Ogni amanti è guerrier” are analyzed. With musical examples.

778.

Zacconi, Lodovico. Prattica di musica [1592]. Bologna: Arnaldo Forni, 1967. (BMB, ser. 2, nos. 1–2). MT40.A2.Z34.1592A. ML171.Z23 1592a. English translation of Book I, chapters 58–80 in no. 757. Comprehensive manual for singers that addresses notation, embellishments, modes, prolations, and the suitability and classification of musical instruments by Italian theorist and priest, Lodovico Zacconi (1555–1627). Section 16 on the history of musica pratica assesses the work of three generations: the antichi (exemplified by the generation of Josquin, Heinrich Isaac, and Jean Mouton), the vecchi (Adrian Willaert, Cipriano de Rore, Gioseffo Zarlino, and Giovanni Pierluigi da Palestrina), and the moderni.

10 Monteverdi’s Historical Position and Status

REPUTATION UP TO 1900 779.

Fabbri, Paolo. “Un Mozart du Seicento.” Trans. Elisabetta Soldini. In no. 59, pp. 86–9. Taking as a point of departure Ernst Ludwig Gerber’s claim that Monteverdi was a “Mozart of his time” (Nouveau lexique historico-bibliographique des musiciens, 1813), Fabbri provides a brief examination of Monteverdi’s innovative musical style within seventeenth-century Italian musical practices.

780.

Giustiniani, Vincenzo. “Discorso sopra la musica de’suoi tempi” [1628] (MS, Lucca, Archivio di Stato). In Angela Solerti’s Le origini del melodramma, pp. 98–128. Hildesheim, Germany: Olms, 1969. vi, 262p. (Reprint; originally published Turin, 1903). English translation by Carol MacClintock, Il desiderio; or Concerning the Playing Together of Various Musical Instruments [by] Hercole Bottrigari; Discorso sopra la musica [by] Vi[n]cenzo Giustiniani. pp. 63–80. Rome: American Institute of Musicology, 1962. 85p. (MSD, 9). ML171.B74713. Giustiniani (1564–1637) describes Italian musical fashion in Rome, Ferrara, and Florence of the sixteenth century. References to Alessandro Striggio, Luca Marenzio, Ruggiero Giovannelli, Carlo Gesualdo, Alfonso Fontanelli, Monteverdi, and Filippo Azzaiolo.

781.

Hilse, Walter, ed. and trans., and Christoph Bernhard. “The Treatises of Christoph Bernhard.” MF 3 (1973): 1–196. English translations of “Von der Singe-Kunst, oder Maniera” (ca. 1649), “Tractatus compositionis augmentatus” (ca. 1657), and “Ausführlicher Bericht vom Gebrauche der Con- und Dissonantien.” In his famous treatise, Christoph 191

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Bernhard (1628–92) classified music into three distinct styles based on the relationship of words and music, the place of performance, and dissonance treatment. Bernhard’s “Tractatus” develops a system of stylistic classification that represents the first efforts at a theory of musical style. Bernhard’s stylus gravis and stylus luxurians harken back to Monteverdi’s prima and seconda pratica, while his subdivision of stylus luxurians into communis and theatralis resembles Marco Scacchi’s categories of church, chamber, and theatrical music. 782.

Hust, Gerhard. “Claudio Monteverdi in Darstellungen und Wertungen der ersten Hälfte des 19. Jahrhunderts.” In no. 46, pp. 249–69. Among the few studies of Monteverdi’s reception in the late-eighteenth and nineteenth centuries. Positions the reception of Monteverdi within the context of the renewed interest in the music of Giovanni Pierluigi da Palestrina, Johann Sebastian Bach, George Frideric Handel, Wolfgang Amadeus Mozart, and Ludwig van Beethoven. Looks at the reception of Monteverdi in the historiographical writings of Esteban de Arteaga, Francesco Caffi, Raphael Georg Kiesewetter, Gottfried Wilhelm Fink, and Carl von Winterfeld.

783.

Lionnet, Jean. “Qui était Claudio Monteverdi pour un français du grand siècle?” In no. 51, pp. 123–9. Following a discussion of French sources from the seventeenth century, Lionnet argues that Monteverdi’s influence on French music was “indirect” as it occurred through composers Alessandro Grandi and Giovanni Legrenzi. Writings on Monteverdi and Italian music by André Maugars (in Response faite a un curieux sur le sentiment de la musique d’Italie [1639]), as well as the contents of Sébastien de Brossard’s music collection, are considered.

784.

Möller, Eberhard. “Deutsche Monteverdi-Quellen des 17. Jahrhunderts.” In no. 45, pp. 243–63. Quantifies Monteverdi’s northern influence through a comprehensive survey of bookfair catalogs, inventories, treatises, anthologies, poetry, correspondence, parodies, and contrafacta.

785.

Nuchelmans, Jan. “Monteverdi in den Niederlanden.” In no. 51, pp. 131–52. Reviews Monteverdi sources in the Netherlands from 1597 until 1661. The Antwerp-based printing and publishing firm of Pierre Phalèse played an important role in the dissemination of Monteverdi’s sacred and secular works north of the Alps.

786.

Piperno, Franco. “Madrigal Anthologies by Northern Printers and Monteverdi.” In no. 51, pp. 25–50. Statistical tables and commentary on the printed transmission of Italian madrigals by Monteverdi and his contemporaries in anthologies from Antwerp, London, Nuremberg, and Copenhagen. Twenty-seven anthologies (forty-eight editions) of 1,197 madrigals appeared at northern presses between 1575 and 1634. Includes a list of contents of Fiori del giardino (Nuremberg, 1597).

Monteverdi’s Historical Position

787.

193

Rose, Stephen. “A Lübeck Music Auction, 1695.” SJ 30 (2008): 171–90. An examination of a catalog of a book-auction held in Lübeck, 1695, that includes manuscript and printed music. The Italian motets from the early seventeenth century found in this collection provide evidence of the dissemination of works by Monteverdi, among other Italian composers, as far north as Hanseatic towns. Rose suggests that the collection may have belonged to Bernhard Olffen, organist at the Ägidienkirche in Lübeck from 1682 until his death in 1691.

788.

Schwab, Heinrich. “Italianità in Danimarca: Zur Rezeption des Madrigals am Hofe Christian IV.” In Europa in Scandinavia: Kulturelle und soziale Dialoge in der frühen Neuzeit, ed. Robert Bohn, pp. 127–53. Frankfurt: Peter Lang, 1994. ISBN 363146875X. DL131.E58 1994. Useful overview of the reception of the madrigal at the Danish court of Christian IV. Includes an appendix listing music books likely known, available, or performed at the Danish court around 1600.

789.

Seifert, Herbert. “Monteverdi und die Habsburger.” In no. 51, pp. 77–92. Explores connections between Monteverdi and the Habsburg courts of Innsbruck and Prague that stem from the composer’s presence at these courts in 1595. The connections continued in the form of commissions and dedications (including Madrigali guerrieri et amorosi, Libro VIII and Selva morale e spirituale), familial ties (Archduke Maximilian Ernst became the godfather of Monteverdi’s son, Massimiliano in 1604), and the activity of musicians from St. Mark’s in Venice at the Habsburg courts.

790.

Steude, Wolfraum. “Zur Frage nach einer deutschen Monteverdi-Rezeption im 17. Jahrhundert.” In no. 45, pp. 227–42. Uses stylistic evidence to downplay Monteverdi’s influence on Johann Hermann Schein and Heinrich Schütz.

791.

Stockigt, Janice B. “Szenen in Zelenka’s Vespers Psalm Settings.” MAu 21 (1998): 50–8. Investigates psalm settings composed, collected, and reworked by Bohemian composer Jan Dismas Zelenka (1679–1745), active in the Catholic court of Dresden during the first half of the eighteenth century. Suggests that specific patterns of composition found in Zelenka’s psalm settings (specifically, the enclosed dramatic episodes or sections, known as szenen) from part of a tradition that can be traced back to Monteverdi. With musical examples.

792.

Szweykowska, Anna. “Monteverdi in Seventeenth-Century Poland.” MI 2 (1997): 71–81. Appears in German as “Monteverdi in Polen.” In no. 51, pp. 93–104. Seeks to answer the question: were Monteverdi’s works known in Poland during the seventeenth century? The author demonstrates the extent of the composer’s impact in seventeenth-century Poland by exploring the relationship between

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Polish aristocrats and Italian composers, including Monteverdi, and by establishing Monteverdi’s influence on Marco Scacchi, active at the Warsaw court since the 1620s. 793.

Szweykowski, Zygmunt Marian. “Kapsperger: Successor to Monteverdi?” In no. 51, pp. 311–23. Pursues Athanasius Kircher’s observation in Musurgia universalis (Rome, 1650) that Giovanni Giromalo Kapsperger was a worthy successor of Monteverdi. Kircher placed en par the recitative style of Monteverdi’s Lamento d’Arianna and the monodic writing of Kapsperger. Kapsperger’s most sophisticated monodic writing can be found in Poematia et carmina (1624), which set poetry by cardinal Maffeo Barberini.

794.

Waczkat, Andreas. “Claudio Monteverdi und die deutsche Musiktheorie.” In no. 51, pp. 457–71. Traces the reception of Monteverdi among German theorists from the composer’s lifetime through the eighteenth century. Johann Christoph and Johann David Stössel note Monteverdi as a famous composer of the stylo recitativo and madrigale in their brief biography (1737), a sentiment shared in notations on the composer by Wolfgang Caspar Printz (1690) and Johann Gottfried Walter (1732). These observations reflect the fascination among seventeenth-century German theorists, including Michael Praetorius, Marco Scacchi, Paul Siefert, and Christoph Bernhard, with Monteverdi’s madrigals, recitative style, and theoretical disputes with Giovanni Maria Artusi.

795.

Wainwright, Jonathan P. “The Dissemination and Influence of Monteverdi’s Music in England in the Seventeenth Century.” In no. 51, pp. 105–21. Overview of literary references to Monteverdi in contemporary writings on music, surviving printed editions of the composer’s music in British libraries, and early seventeenth-century manuscripts containing music by Monteverdi (listed as an appendix).

796.

Wollny, Peter. “The Distribution and Reception of Claudio Monteverdi’s Music in Seventeenth-Century Germany.” In no. 51, pp. 51–75. Provides an overview of the dissemination and reception of Monteverdi’s works in German-speaking protestant regions north of the Alps. Outlines the ways in which Italian music was distributed in seventeenth-century Germany [musical life at court, German anthologies devoted to Italian music, and professional music dealers selling copies of Italian prints] and discusses Venetian models, including Monteverdian idioms, in two German musical sources of the period: Johann Rosenmüller’s sacred concerto “O welch eine Tiefe des Reichtums” and Heinrich Bach’s vocal concerto “Ich danke dir, Gott.” Includes musical examples as well as a list of Monteverdi’s works in German anthologies (Table 1) and in German manuscript collections and inventories (Table 2).

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THE TWENTIETH CENTURY AND BEYOND 797.

Baroque Opera at Smith College, 1926–1931, Record of a Pioneer Venture in Music: Monteverdi and Handel Operas as Performed under the Direction of Werner Josten. New York, 1966. x, 187p. ML1711.8.N67S67. Compiles information on productions of eight dramatic works by Monteverdi and George Frideric Handel given at Smith College between 1926 and 1931. These include: Coronation of Poppea (April 27–28, 1926), Julius Cesar (May 14, 1927), Combattimento di Tancredi e Clorinda and Xerxes (May 12, 1928), Orfeo and Apollo e Dafne (May 11, 1929), Rodelinda (May 9, 1931), and Costanza e Fortezza (May 7, 1938).

798.

Buci-Glucksmann, Christine. “L’opéra baroque saisi par le voile et le cliché.” InHarmoniques 6 (1990): 16–27. Discusses the contrasting productions of two Baroque operas: Peter Sellars’s Giulio Cesare by Georg Frideric Handel and Luc Bondy’s L’incoronazione di Poppea by Monteverdi. Explores the symbolism of Poppea’s veil (also examined by Wendy Heller in no. 550), which Buci-Glucksmann interprets as a “metaphor of the amorous seduction” and “of female power” (p. 19). Discusses the ways in which the veil is used in Bondy’s production of L’incoronazione di Poppea.

799.

Buci-Glucksmann, Christine. L’enjeu du beau: Musique et passion. Paris: Gallilée, 1992. 201p. ISBN 2718604050. ML3845.B74 1992. Divided into five sections comprising fourteen chapters, this book offers a discussion of opera in relation to aesthetics and philosophical theories of beauty. Chapter 1 in part 2, “Le voile et le cliché,” reprints and expands the author’s previously published article on Luc Bondy’s and Peter Seller’s productions of, respectively, L’incoronazione di Poppea and Giulio Cesare (no. 798). Chapter 3 in part 2, “De l’érotisme musical,” discusses eroticism in the literary and operatic representations of the legend of Don Juan through the lens of the philosophies of Friedrich Nietzsche and Søren Kierkegaard, while briefly considering Monteverdi’s L’incoronazione di Poppea.

800.

Camp, Gregory. “Monteverdi’s Infinite Variety.” EM 38/3 (August 2010): 460–3. Reviews recordings of Orfeo and the 1610 Vespers in light of the surge of recordings of these works during their respective quadricentennials in 2007 and 2010.

801.

Camp, Gregory Louis. “Monteverdi on the Modern Stage.” Ph.D. diss. The Queen’s College, Oxford, 2012. 261p. UMI U603658. Study that explores the performance and reception of Monteverdi’s operas, beginning in the early twentieth century and up to 2010, within the political, cultural, and social contexts of each early modern revival. Chapter 1, “Politicising Monteverdi between the Wars,” examines the politicized performances of Monteverdi’s operas in France, Germany, and Italy during the first half of the

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twentieth century (On Italy, see also Anthony Dell’Antonio no. 807 and Fenlon no. 809). Chapters 2 through 4, each focusing on one extant opera by Monteverdi, explore Monteverdi’s place on modern opera stages “from the perspectives of the staging of socio-cultural attitudes, directorial re-shaping, and vocal performance practice” (p. 32). Includes bibliography and a comprehensive list of modern editions and recordings of Monteverdi operas. 802.

Cusick, Suzanne. “Monteverdi Studies and ‘New’ Musicologies.” In no. 63, pp. 249–60. Surveys the intersections of Monteverdi studies with the new and more interdisciplinary-based approaches to music scholarship that have emerged over the past few decades. Examines the contributions of Monteverdi scholars—Gary Tomlinson, Ellen Rosand, and Susan McClary, among others—to the field of musicology. The origin of the term “new musicology,” used in 1991 to identify a paradigm shift in this discipline, is discussed.

803.

Fauser, Annegret. “Archéologue malgré lui: Vincent d’Indy et les usages de l’histoire.” In Vincent d’Indy et son temps, ed. Manuela Schwartz, pp. 123–33. Sprimont, Belgium: Mardaga, 2006. ISBN 287009888. ML1711.8.N67. Following an overview of Vincent d’Indy’s archeological music research, Fauser discusses d’Indy’s role in the promotion of Monteverdi’s operas in Paris between 1904 and 1913. D’Indy’s views on Monteverdi’s Orfeo and L’incoronazione di Poppea are considered.

804.

Cohn, Richard. “Uncanny Resemblances: Tonal Signification in the Freudian Age.” JAMS 57/2 (2004): 285–323. Drawing from psychological theories of the uncanny (Ernst Jentsch’s “On the Psychology of the Uncanny” and Sigmund Freud’s “The Uncanny”), Cohn’s study explores musical representations of the uncanny across the ages, from Carlo Gesualdo to Arnold Schoenberg, while focusing on an unusual harmonic pairing used to depict uncanny phenomena. Briefly discusses this type of harmonic pairing, which the author refers to as a “hexatonic pole,” in act 4 in Monteverdi’s Orfeo. With musical examples and bibliography.

805.

Dalmonte, Rossana. “La morte di Orfeo.” In Visioni e archetipi: Il mito nell’arte sperimentale e di avanguardia del primo Novecento, ed. Francesco Bartoli, Rossana Dalmonte, and Corrado Donati, pp. 191–208. Trento, Italy: Università degli studi, 1996. (Labirinti, 19). 505p. ISBN 9788886135443. NX650.M9.C66 1994. Surveys twentieth-century works inspired by the Orpheus myth. Includes an examination of versions of Monteverdi’s Orfeo by Gian Francesco Malipiero (1923) and Ottorino Respighi (1931).

806.

Degrada, Francesco. “Il teatro di Claudio Monteverdi: Gli studi sullo stile.” In no. 39, pp. 263–83. Useful overview of scholarship and approaches to studying Monteverdi’s dramatic works with extensive footnotes leading readers to the best-known resources. Notes

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197

that recent scholarship moves away from broader interpretative frameworks to studies of individual works and aspects of his technique. Argues that the notion of a “late opera style” remains problematic, particularly in reference to L’incoronazione di Poppea. 807.

Dell’Antonio, Andrew. “Il divino Claudio: Monteverdi and Lyric Nostalgia in Fascist Italy.” COJ 8/3 (November 1996): 271–84. Investigates the rhetoric of lyric nostalgia in Italy during the 1920s and 1930s, as well as the narrative of Monteverdi as father of opera promoted by Italian scholars and critics from the fascist period. Dell’Antonio discusses the development of the myth of Monteverdi in the writings by the influential Italian cultural figure Gabriele D’Annunzio, and its continuation throughout the twentieth century.

808.

Einstein, Alfred. The Italian Madrigal. 3 vols. Trans. Alexander H. Krappe, Roger H. Sessions, and Oliver Strunk. Princeton, NJ: Princeton University Press, 1949. ISBN 0691091129. ML2633.E32 1949. Influential study of the madrigal and its related forms that has shaped research on the genre ever since its publication. Volumes 1–2 divide the genre’s history into chapters on the origins of the madrigal, its subgenres, literary history, social context, and major composers; volume 3 comprises transcriptions of ninety-seven complete works dating from 1470 to 1650. Positions Monteverdi at the close of the genre’s development with chapter 8, “Monteverdi and the ‘Madrigale Concertato’ — The End.”

809.

Fenlon, Iain. “Malipiero, Monteverdi, Mussolini and Musicology.” In Sing Ariel: Essays and Thoughts for Alexander Goehr’s Seventieth Birthday, ed. Alison Latham, pp. 241–55. Aldershot, UK: Ashgate, 2003. ISBN 0754634973. ML410. G563.S45 2003. Adding to scholarly studies of the revival of Monteverdi during fascist Italy (see Anthony Dell’Antonio no. 807), Fenlon discusses the relationship between Mussolini and Italian music and musicology in the 1920s and 1930s. Gian Francesco Malipiero’s editorial interest in Monteverdi, as well as his role in promoting Monteverdi’s music, is explored.

810.

Hinton, Stephen. “The Emancipation of Dissonance: Schoenberg’s Two Practices of Composition.” ML 91/4 (2010): 568–79. Explores Arnold Schoenberg’s concept of “emancipation of dissonance,” including the political, sociological, and personal connotations inherent in Schoenberg’s suggestive phrase. Hinton suggests that, in this respect, Schoenberg’s atonal and twelve-tone works ought to be “accounted for in terms of two distinct practices” (p. 578). Considers the extent to which Schoenberg’s atonal music is linked aesthetically to Monteverdi’s seconda pratica.

811.

Hunkemöller, Jürgen. “Stravinsky rezipiert Monteverdi.” In no. 46, pp. 237–47. Assesses the impact of Monteverdi on Igor Stravinsky, who reported first hearing the music of Monteverdi in 1905. Stravinsky’s familiarity increased after WWII

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through his contact with Nadia Boulanger and his broader interest in Venetian music. Stravinsky’s interest in Monteverdi was well known; he was interviewed for Harper’s Magazine upon the 400th anniversary of Monteverdi’s birth in 1967. Following Leo Schrade (no. 83), Stravinsky viewed Monteverdi as the “creator of modern music.” Musical connections are more general: Eric Walter White noted that Stravinsky’s music took up Monteverdi’s “translucent emotion and noble proportions” (p. 242). Links between the two composers’ settings of the myth of Orpheus remain largely in the domain of the subject matter. 812.

Kennedy, Ruth Wedgwood. “Foreword: Happy Musical Recollections.” In Baroque Opera at Smith College, 1926–1931, Record of a Pioneer Venture in Music: Monteverdi and Handel Operas as Performed under the Direction of Werner Josten, pp. vii–viii. New York: n.p., 1966. ML1711.8.N67S67. A brief commentary on the productions of Monteverdi’s Orfeo and George Frideric Handel’s Giulio Cesare in Egitto under the direction of Werner Josten. Includes the names of the professional performers, as well as faculty members of Smith College, that participated in these productions.

813.

Leopold, Silke. “Orffeo: Carl Orff bearbeitet Monteverdi.” In Wege, Umwege und Abwege: Antike und Oper in der 1. Hälfte des 20. Jahrhunderts, ed. Jürgen Leonhardt, Silke Leopold, and Mischa Meier, pp. 99–127. Stuttgart, Germany: Franz Steiner, 2011. ISBN 9783515099288. ML1729.5.L46 2011. Addresses the reception of Monteverdi’s Orfeo in the first half of the twentieth century through the lens of Carl Orff ’s reinterpretation of the opera. Traces the history of the revival of Orfeo in the decades around 1900 leading up to Orff ’s engagement with the work in the 1920s. Compares scenes from Orff ’s adaptation of the opera with Monteverdi’s original, with attention given to the prologue, messenger scene, and instrumentation.

814.

Maclean, Clare. “Threads of Past and Present in Two Choral Works: Misera, ancor do loco and Vive in Deo.” Resonate Journal 5 (2009). www.australianmusiccentre.com.au/article/threads-of-past-and-present-in-two-choral-works-emmisera-ancor-do-loco-em-and-em-vive-in-deo-em. Discusses two of her choral works that deal with separation and connection with the past: Misera, ancor do loco and Vive in Deo. Whereas the latter takes fragments from a Johannes Brahms’s intermezzo, the former reworks part of Monteverdi’s “Lamento d’Arianna” using contemporary musical techniques. Misera, ancor do loco is a reworking of the fifth section in this monody into a five-part madrigal that is “modelled on Monteverdi’s reworkings of parts one to four” (published in his Madrigali, Libro VI). With musical examples.

815.

Mosch, Ulrich. “Gian Francesco Malipiero: Una festa a Mantova, a Ballet for Orchestra after Music by Claudio Monteverdi, 1935–36.” In Canto d’Amore: Classicism in Modern Art and Music, 1914–1935, ed. Gottfried Boehm, Ulrich Mosch, and Katharina Schmidt, pp. 200–1. Basel: Öffentliche Kunstsammlung

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Basel/Kunstmuseum: Paul Sacher Foundation in association with Merrell Holberton Publishers, 1996. ISBN 1858940354. NX454.5.M63 C36 1996. Provides a brief description of Gian Francesco Malipiero’s interest in Monteverdi, including Malipiero’s twenty-six-volume edition of Monteverdi’s works, and presents a few facsimile sketches of Malpiero’s ballet Una festa a Mantova (1935–6) after music by Monteverdi. Mosch demonstrates that in these sketches, “it is possible to see how closely editorial and compositional activity mesh in the process of arrangement” (p. 200). Includes three facsimile copies of Malipiero’s sketches for Una festa a Mantova, one of which includes the beginning of Monteverdi’s “Lamento d’Arianna.” 816.

Piccioni, Emilia Bricchi. Catalogo dei manoscritti di Gaetano Cesari nella Libreria Civica di Cremona. Cremona, Italy: Editrice Turris, 1993. 127p. ISBN 8879290401. ML136.C85. Published inventory of the manuscripts of musicologist Gaetano Cesari (1870– 1934) occasioned by the celebrations of the quatercentenary of Monteverdi’s death in 1993. Cesari donated his collection to the city library of Cremona, a birthplace he shared with Monteverdi. The catalog describes one hundred and ninety-six items that range from notes on individual composers to compositions to miscellaneous letters and documents concerning the complete edition of Monteverdi’s works (item 105/1). Concludes with an essay by Stefano Campagnolo (“Storia di un tracciato incompiuto: Gaetano Cesari e Claudio Monteverdi,” pp. 101–127) that considers Cesari’s publications of Monteverdi’s music.

817.

Poterack, Kurt R. “Musica Moderna Part I: A Tale of Two Venetians—Claudio Monteverdi and Giuseppe Sarto.” Sacred Music 125/3 (Fall 1998): 19–27. Discusses Pope Pius X’s Motu proprio on sacred music (in Tra le sollecitudini, 1903) and his rejection of modern music in the church. Argues that the modern music that the pontiff refers to is that generated by the innovations of Monteverdi. Provides a useful account of the history and style of composition of the Venetian School (developed during the sixteenth century), the development of harmony in the Renaissance, and the rhetorical aspect of secular music in the time of Monteverdi.

818.

Pryer, Anthony. “Approaching Monteverdi: His Culture and Ours.” In no. 63, pp. 1–19. Explores the modern ways in which Monteverdi has been constructed as a “cultural phenomenon” by looking at different historical interpretations of the term culture, particularly in relation to national identity, artistic and popular cultures, progress, technology, and civilization. Offers a discussion of Monteverdi’s place within the composer’s own culture and ours. The composer’s life, career, and contribution to Western music are examined. With musical examples.

819.

Rosenthal, Albi. “Aspects of the Monteverdi Revival in the 20th Century.” In no. 55, pp. 119–23.

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Monteverdi’s Historical Position

Following a brief discussion of the contributions by August W. Ambros, Robert Eitner, and Emil Vogel to the increasing interest in Monteverdi during the late nineteenth century, Rosenthal surveys the Monteverdi revival in the twentieth century, up to the 1950s. Both performances and editions of Monteverdi’s works are considered. 820.

Sartori, Claudio. “Monteverdiana.” Trans. Alice Levine. MQ 38/3 (1952): 399–413. Examines Monteverdi’s years in Milan and his relationship with two Milanese friends, Aquilino Coppini and Padre Cherubino Ferrari. Transcribes excerpts from two letters by Coppini that refer to Monteverdi, dated March 26, 1609 and July 1609. The latter makes reference to the execution of the madrigals by Monteverdi (“[they] require longer pauses and, as it were, the beating of time between the singing [i.e., articulated phrases], resting occasionally, allowing retardation, and at times even pressing on” [p. 406]). Includes a short discussion of the composer Benedetto Pallavicino.

821.

Scherliess, Volker. “‘Torniamo all’antico e sarà un progresso’: Creative Longing in Music.” In Canto d’Amore: Classicism in Modern Art and Music, 1914– 1935, ed. Gottfied Boehm, Ulrich Mosch, and Katharina Schmidt, pp. 39–62. Basel: Öffentliche Kunstsammlung Basel/Kunstmuseum: Paul Sacher Foundation in association with Merrell Holberton Publishers, 1996. ISBN 1858940354. NX454.5.M63.C36 1996. Provides an in-depth discussion of the increasing interest in the use of earlier models, as well as rediscovery and publication of older music, during the first three decades of the twentieth century. Among the numerous works, composers, and examples considered is Ottorino Respighi’s orchestration of Monteverdi’s “Lamento d’Arianna” and Orfeo, as well as Gian Francesco Malipiero’s edition of Monteverdi’s works.

822.

Schneider, Herbert. “Carl Orff ’s Neugestaltung von Monteverdis Orfeo und ihre Vorgeschichte.” In no. 46, pp. 387–407. Examines the revival of Orfeo from the modern editions of Robert Eitner (1881) and Vincent d’Indy in the early twentieth century through Carl Orff ’s rediscovery and reinterpretation of the opera that culminated in his edition of 1939/40. Orfeo has attracted the interest of renowned scholars and composers, including Eitner, Luigi Torchi, Jack Alan Westrup, Hans Ferdinand Redlich, d’Indy, Giacomo Orefice, Ottorino Respighi, Orff, Benjamin Britten, Luigi Dallapiccola, Ernst Krenek, Paul Hindemith, and Hans Werner Henze. Focuses on a stylistic assessment of Orff ’s edition. Useful musical examples and summary tables of instrumentation and structural comparisons with Monteverdi’s original.

823.

Schneider, Michael. “Possente spirto: Monteverdi, Hindemith and Historical Interpretation Practice.” EMR 51 (June 1999): 8–9. Discusses Hindemith’s performance of Orfeo in 1960, after Adolf Sandberger’s facsimile edition (1928) and before the Monteverdi Renaissance led by Nikolaus

Monteverdi’s Historical Position

201

Harnoncourt and Jean-Pierre Ponnelle in the 1970s. Summarizes Hindemith’s reworking of Monteverdi’s opera, and shows the composer’s “concern for a performance which tried to be true to the original” (p. 9). A revised and expanded version of this study was published as “Possente spirto: Monteverdi, Hindemith und die Historische Interpretationspraxis.” In Provokation und Tradition: Erfahrungen mit der Alten Musik, ed. Hans-Martin Linde, Regula Rapp, and Klaus L. Neuman, pp. 356–76. Stuttgart, Germany: J.B. Metzler, 2000. 824.

Schwob, Rainer J. “Ernst Krenek Bearbeitung von Monteverdis L’incoronazione di Poppea.” Studien zur Musikwissenschaft: Beihefte der Denkmäler der Tonkunst in Österrreich 53 (2007): 219–70. Examines the reception, scholarship, and source materials for Monteverdi’s L’incoronazione di Poppea in the early twentieth century as a context for Ernst Krenek’s arrangement of the opera of 1935–6 and its performance in Vienna and the United States.

825.

Sommerfield, David. “A Monteverdi Discography.” CM 9 (1969): 215–32. Lists all Monteverdi recordings available commercially in 1969 in the United States. Excludes recordings containing only short excerpts. Includes foreign and deleted recordings in cases where material is not available in domestic versions. Indexed. Identifies gaps in the recorded literature, which reflect broader trends in the reception of the composer in the mid-twentieth century.

826.

Stenzl, Jürg. “Claudio Monteverdi im Zeitalter der technischen Reproduzierbarkeit.” In Rezeptionsästhetik und Rezeptionsgeschichte in der Musikwissenschaft, ed. Hermann Danuser and Friedhelm Krummacher, pp. 269–306. Laaber, Germany: Laaber, 1991. (Hochschule für Musik und Theater Hannover, 3). Trans. Italian as “Claudio Monteverdi nell’epoca della riproducibilità tecnica.” In L’esperienza musicale: Teoria e storia della ricezione, ed. Gianmario Borio and Michela Garda. (Biblioteca di cultura musicale: Documenti e saggi). Turin: EDT, 1989. Traces the reception of Monteverdi’s music from the earliest editions of the nineteenth century through the recording craze that erupted in the 1960s. Argues that recordings have played a vital role in the reception of Monteverdi over the past fifty years. Commercial, mass media made Monteverdi’s music accessible to wider audiences. Scholarly discourse now turns to assessments of performances and interpretations of Monteverdi’s works, rather than solely examining the music in relation to the composer. Special attention given to Monteverdi’s operatic works. Includes a summary table of editions of Monteverdi’s operas from Robert Eitner’s 1881 edition of Orfeo through Luciano Sgrizzi’s edition of L’incoronazione di Poppea of 1986 and a discography from 1942 through 1987 for Orfeo, Il ritorno d’Ulisse in patria, and L’incoronazione di Poppea.

827.

Tsugami, Motomi. “What Incited the ‘Monteverdi Renaissance’?” In Musicology and Globalization: Proceedings of the International Congress in Shizuoka 2002,

202

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ed. Yoshio Tozawa and Nihon Ongaku Gakkai, pp. 184–8. Tokyo: Musicological Society of Japan, 2004. xix, 560p. ISBN 9784990228200. ML3797.1.M874x 2004. Positions the appearance of the Tutte le opera di Claudio Monteverdi (1926–42) by Gian Francesco Malipiero as critical for the modern revival of the composer and his music. 828.

Wilby, Philip. “Lutoslawski and the View of Musical Perspective.” In Companion to Contemporary Musical Thought, vol. 2, ed. John Paynter, Tim Howell, Richard Orton, and Peter Seymour, pp. 1127–46. New York: Routledge, 1992. ISBN 415086957. ML55.C74 1992. Examines Witold Lutosławski’s distinction between two sorts of musical perception, active and passive, arguing that listeners “can perceive music on both these levels simultaneously, hearing music as it is played, and at the same time, appreciating broader formal aspects” (p. 1141). Provides examples taken from Monteverdi, Johann Sebastian Bach, and Lutosławski. Monteverdi’s 1610 Vespers is considered. With musical examples.

829.

Westerlund, Gunnar, and Eric Hughes. Music of Claudio Monteverdi: A Discography. London: British Institute of Recorded Sound, 1972. viii, 72p. ISBN 9780900208058. ML156.5.M65.W6. Though dated, the discography remains important for considering the reception of Monteverdi’s music on record. Grouped by genre. Lacks critical commentary and annotations.

830.

Wilms, Bernd. Von der Schönheit alter Jahrhunderte: Hans Werner Henzes Bearbeitung von Claudio Monteverdis Il ritorno d’Ulisse in patria. Saarbrücken: Pfau, 1997. 226p. ISBN 3930735660. ML410.H483.W54 1997. The author’s doctoral disseration (Ph.D. from Universität des Saarlandes). Examines Hans Werner Henze’s aesthetics and approach to music of the past. Includes a chapter on Monteverdi operas in the twentieth century with attention given to early editions of Orfeo and Il ritorno d’Ulisse in patria by Robert Eitner, Robert Haas, Gian Francesco Malipiero, August Wenzinger, Carl Orff, Luigi Dallapiccola, Nicolaus Harnoncourt, and Hans Werner Henze. Detailed study of Henze’s arrangement of Il ritorno d’Ulisse in patria (1985) that demonstrates that Henze’s musical language and approach is firmly rooted in the twentieth century.

831.

Youngren, William H. “Monteverdi’s Modernity.” The Atlantic Monthly 259 (April 1987): 82–5. Youngren assesses three recent recordings of Monteverdi’s Orfeo (Nikolaus Harnoncourt, 1969; Nigel Rogers and Charles Medlam, 1983; and Michel Corboz, 1985) while discussing the reasons for the popularity of Monteverdi’s first opera among twentieth-century composers and conductors. Argues that the opera’s Apollonian ending reflects the aesthetic preferences and philosophical thinking of the era, including Monteverdi’s.

Monteverdi’s Historical Position

832.

203

Zeller, Hans Rudolf. “Unbestimmtheiten und die zweite seconda pratica.” In no. 53, pp. 74‒93. Examines the relationship between the revival of Monteverdi’s music in the early twentieth century and the emerging musical modernity of composers such as Carl Orff, Paul Hindemith, Luigi Dallapiccola, and Nadia Boulanger. Sees “new music” as a seconda pratica, drawing similarities between Monteverdi’s seconda pratica and modernist notions of free notation, mixed genres, instrumentalization of the human voice, and the incorporation of gestural elements into concert music.

Appendices

MONTEVERDI’S WORKS The lists of Monteverdi’s works are intended to provide the reader with essential information at a quick glance and include works published during Monteverdi’s lifetime, manuscript sources for secular and sacred vocal music and dramatic works, contrafacta of Monteverdi’s music (set with different texts), and a summary listing of lost works. Tim Carter provides an excellent account of Monteverdi’s lost dramatic works with reference to the composer’s letters (Monteverdi’s Musical Theatre, no. 400, esp. pp. 197–236). For more information and further details, readers may consult Tim Carter’s list of Monteverdi’s works in GMo (no. 19) and NGM2 (no. 20) and John Whenham’s “The Works of Monteverdi: Catalogue and Index” in Cambridge Companion to Monteverdi (no. 63). These sources were indispensable in preparing these lists. Marcus Stattkus’s catalog of Monteverdi’s works (Claudio Monteverdi: Verzeichnis der erhaltenen Werke, no. 23) provides further details on sources. RISM Sigla A—Wn D—Bds D—Dl D—GD D—Hs D—Kl

Austria, Vienna, Österreichische Nationalbibliothek, Musiksammlung Germany, Berlin, Deutsche Staatsbibliothek Germany, Dresden, Sächsische Landesbibliothek—Staats- und UniversitätsBibliothek, Musikabteilung Germany, Goch-Gaesedonck, Collegium Augustinianum Germany, Hamburg, Staats- und Universitätsbibliothek Carl vonOssietzky, Musiksammlung Germany, Kassel, Gesamthochschul-Bibliothek 205

206

D—Lr GB—Och GB—Lbl I—Bc I—BRq I—Fn I—Moe I—Nf I—Rvat I—Vc P—WRu S—Uu

Appendices

Germany, Lüneburg, Ratsbücherei, Musikabteilung Great Britain, Oxford, Christ Church Library Great Britain, London British Library Italy, Bologna, Cifico Museo Bibliografico Musicale Italy, Brescia, Biblioteca Civica Queriniana Italy, Florence, Biblioteca Nazionale Centrale, Dipartimento Musica Italy, Modena, Biblioteca Estense e Universitaria Italy, Naples, Biblioteca Oratoriana dei Gerolaminni (Filippini) Italy, Vatican City, Biblioteca Apostolica Vaticana Italy, Venice, Conservatorio di Musica Benedetto Marcello, Biblioteca Poland, Wroclaw, Uniwersytet Wroclawski, Biblioteka Uniwersytecka Sweden, Uppsala, Universitetsbiblioteket

Works Published During Monteverdi’s Lifetime: Single-Composer Volumes SV

Publication and Contents

207–29 207 208 209 210 211 212 213 214 215 216 217 218 219 220 221 222 223 224 225 226 227 228 229

Sacrae cantiunculae . . . liber primus, 3vv. Venice, 1582 Lapidabant Stephanum Veni sponsa Christi Ego sum pastor bonus Surge propera amica mea Ubi duo vel tres congregati fuerint Quam pulchra es et quam decora amica mea Ave Maria gratia plena Domine pater et Deus Tue es pastor ovium O magnum pietatis opus O crux benedicta Hodie Christus natus est O Domine Jesu Christe adoro te Pater venit hora clarifica filium tuum In tua patientia possedisti animam tuam Angelus ad pastores ait Salve crux pretiosa Quia vidisti me Thoma credidisti Lauda Syon salvatorem O bone Jesu illumina oculos meos Surgens Jesus Dominus noster Qui vult venire post met abneget Iustri tulerunt spolia impiorum

179–189 179 180 181 182 183 184

Madrigali spirituali, 4vv. Brescia, 1583 Sacrosancta di Dio verace imago L’aura del ciel sempre feconda spiri Aventurosa notte, in cui risplende D’empi martiri e unmar d’orrori varca Mentre la stell’appar nell’oriente Le rose lascia, gli amaranti e gigli

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SV

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185 186 187 188 189

L’empio vestia di porpora e di bisso L’uman discorso, quanto poc’importe Dal sacro petto esce veloce dardo Afflitto e scalz’ove la sacra sponda De’ miei giovenil anni era l’amore

1–21 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21

Canzonette, libro primo, 3vv. Venice, 1584 Qual si può dir maggiore Canzonette d’amore La fiera vista e ’l velenoso sguardo Raggi, dov’è il mio bene? Vita de l’alma mia, cara mia vita Il mio martir tengo celat’al cuore Son questi i crespi crini e quest oil viso Io mi vivea com’aquila mirando Su, su, che ’l giorno è fore Quando sperai del mio server mercede Come farò, cuor mio, quando mi parto Corse a la morte il povero Narciso Tu ridi sempre mai Chi vuol veder d’inverno un dolce aprile Già mi credev’un sol esser in cielo Godi pur del bel sen, felice pulce Giù lí a quel petto giace un bel giardino Sì come crescon alla terra i fiori Io son fenice e voi sete la fiamma Chi vuol veder un bosco folto e spesso Or, care canzonette

23–39 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39

Madrigali, libro primo, 5vv. Venice, 1587; reissued 1607, 1621 Ch’io ami la vita mia nel tuo bel nome Se per havervi oimè donato il core A che tormi il ben mio Amor, per tua mercé vaten’a quella (G.M. Bonardo) Baci soavi e cari (Battista Guarini) Se pur non mi consenti (Luigi Groto) Filli cara et amata (Alberto Parma) Poi che del mio dolore Fumia la pastorella (Antonio Allegretti) Se nel partir da voi, vita mia, sento (Giovanni Maria Bonardo) Tra mille fiamme e tra mille catene Usciam, ninfe, omai fuor di questi boschi Questa ordí il laccio, questa (Giovanni Battista Strozzi il vecchio) La vaga pastorella Amor, s’il tuo ferire Donna, s’io miro voi giaccio divengo Ardo sì, ma non t’amo (Battista Guarini)

40–59 40 41 42 43

Il secondo libro de madrigali, 5vv. Venice, 1590; reissued 1607, 1621 Non si levav’ancor l’alba novella (Torquato Tasso) Bevea Fillide mia (Girolamo Casoni) Dolcissimi legami (Torquato Tasso) Non giacinti o narcisi (Girolamo Casoni) (Continued)

208

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SV

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44 45 46 47 48 49 50 51 52 53 54 55 56 57 58 59

Intorno a due vermiglie e vaghe labbra Non sono in queste rive (Torquato Tasso) Tutte le bocche belle (Filippo Alberti) Donna, nel mio ritorno (Torquato Tasso) Quell’ombr’esser vorrei (Casoni) S’andasse Amor a caccia (Torquato Tasso) Mentr’io miravo fiso (Torquato Tasso) Ecco mormorar l’onde (Torquato Tasso) Dolcemente dormiva la mia Clori (Torquato Tasso) Se tu mi lasci, perfida, tuo danno (Torquato Tasso) La bocca onde l’asprissime parole (Ercole Bentivoglio) Crudel, perché mi fuggi (Battista Guarini) Questo specchio ti dono (Girolamo Casoni) Non m’è grave il morire (Bartolomeo Gottfredi) Ti spontò l’ali, Amor, la donna mia (Filippo Alberti) Cantai un tempo, e se fu dolce il canto (Pietro Bembo)

60–74

Il terzo libro de madrigali, 5vv. Venice, 1592; reissued 1594, 1600, 1604, 1607, 1611, 1615, 1621 La giovinetta pianta O come è gran martire (Battista Guarini) Sovra tenere erbette e bianchi fiori O dolce anima mia, dunque è pur vero (Battista Guarini) Stracciami pur il core (Battista Guarini) O rossignuol che in queste verdi fronde (Pietro Bembo) Se per estremo ardore (Battista Guarini) Vattene pur, crudel, con quella pace (Torquato Tasso) O primavera, gioventú dell’anno (Battista Guarini) Perfidissimo volto (Battista Guarini) Ch’io non t’ami, cor mio (Battista Guarini) Occhi un tempo mia vita (Battista Guarini) Vivrò fra i miei tormenti e le mie cure (Torquato Tasso) Lumi, miei cari lumi (Battista Guarini) ‘Rimanti in pace’ a la dolente e bella (Livio Celiano = Angelo Grillo)

60 61 62 63 64 65 66 67 68 69 70 71 72 73 74 75–93 75 76 77 78 79 80 81 82 83 84 85 86 87 88 89

Il quarto libro de madrigali, 5vv. Venice, 1603; reissued 1605, 1607, 1611, 1615 (twice), 1622, 1644 Ah dolente partita (Battista Guarini) Cor mio, mentre vi miro (Battista Guarini) Cor mio, non mori? E mori Sfogava con le stelle (?Ottavio Rinuccini) Volgea l’anima mia soavemente (Battista Guarini) Anima mia, perdona (Battista Guarini) Luci serene e chiare (Ridolfo Arlotti) La piaga c’ho nel core (Alessandro Gatti) Voi pur da me partite, anima dura (Battista Guarini) A un giro sol de bell’occhi lucent (Battista Guarini) Ohimé, se tanto amate (Battista Guarini) Io mi son giovinetta (Battista Guarini) Quell’augellin che canta (Battista Guarini) Non più guerra, pietate (Battista Guarini) Sì ch’io vorrei morire (Maurizio Moro)

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SV

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90 91 92 93

Anima dolorosa che vivendo (Battista Guarini) Anima del cor mio Longe da te, cor mio Piagne e sospira, e quando i caldi raggi (Torquato Tasso)

94–106

Il quinto libro de madrigali, 5vv. Venice, 1603; reissued 1606, 1608, 1610, 1611, 1613, 1615 (twice), 1620, 1643 Cruda Amarilli, che col nome ancora (Battista Guarini) O Mirtillo, Mirtillo anima mia (Battista Guarini) Era l’anima mia (Battista Guarini) Ecco, Silvio, colei che in odio hai tanto (Battista Guarini) Ch’io t’ami, e t’ami più della mia vita (Battista Guarini) Che dar più vi poss’io? M’è più dolce il penar per Amarilli (Battista Guarini) Ahi, come a un vago sol cortese giro (Battista Guarini) Troppo ben può questo tiranno Amore (Battista Guarini) Amor, se giusto ‘T’amo, mia vita’ la mia cara vita (Battista Guarini) E così a poco a poco (Battista Guarini) Questi vaghi concenti

94 95 96 97 98 99 100 101 102 103 104 105 106 230–45 230 231 232 233 234 235 236 237 238 239 240 241 242 243 244 245

Scherzi musicali . . . raccolta da Giulio Cesare Monteverde suo fratello, 3vv, Venice, 1607 I bei legami (Gabriello Chiabrera) Amarilli onde m’assale (Giabriello Chiabrera) Fugge il verno dei dolori (?Gabriello Chiabrera) Quando l’alba in oriente (Gabriello Chiabrera) Non così tost’io miro (Gabriello Chiabrera) Damigella tutta bella (Gabriello Ciabrera) La pastorella mia spietata e rigida (Jacopo Sannazaro) O rosetta che rossetta (Gabriello Chiabrera) Amorosa pupilletta (Ansaldo Cebà) Vaghi rai di cigli ardenti (Gabriello Chiabrera) La vïoletta (Gabriello Chiabrera) Giovinetta, ritrosetta (Ansaldo Cebà) Dolci miei sospiri (Gabriello Chiabrera) Clori amorosa (?Gabriello Chiabrera) Lidia spina del mio core (Ansaldo Cebà) De la bellezza le dovute core (balletto) (?Ferdinando Gonzaga/?Alessandro Striggio)

318

Orfeo, favola in musica. Venice, 1609; reissued 1615 Librettist: Alessandro Striggio Performed Mantua, ducal palace, 24 February 1607

205–06

Sanctissimae Virgini missa, 1–3, 6–8, 10vv, instruments, bc. Venice 1610 (includes Missa in illo tempore and Vespro della Beata Vergine)

107–16

Il sesto libro de madrigali, 5vv. Venice, 1614; reissued 1615, 1620, 1639 Lasciatemi morire (“Lamento d’Ariana”) (Ottavio Rinuccini) Zefiro torna e ’l bel tempo rimena (Petrarch) Una donna fra l’altre onesta e bella A Dio, Florida bella, il cor piagato (Giambattista Marino)

107 108 109 110

(Continued)

210

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SV

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111 112 113 114 115 116

Incenerite spoglie, avara tomba (Scipione Agnelli) Ohimé il bel viso, ohimé il soave sguardo (Petrarch) Que rise, o Tirsi, e qui ver me rivolse (Giambattista Marino) Misero Alceo, dal caro albergo fore (Giambattista Marino) Batto, qui pianse Ergasto; ecco la riva (Giambattista Marino) Presso a un fiume tranquillo (Giambattista Marino)

117–45

Concerto: settimo libro de madrigali, 1–4, 6vv. Venice, 1619; reissued 1622, 1623, 1628, 1641 Tempro la cetra, e per cantar gli onori (Giambattista Marino) Non è di gentil core A quest’olmo, a quest’ombre et a quest’onde (Giambattista Marino) O come sei gentille (Battista Guarini) Io son pur vezzosetta pastorella (Incolto Accademico Immaturo) O viva fiamma, o miei sospiri ardenti (Giovanni Andrea Gesualdo) Vorrei baciarti, o Filli (Giambattista Marino) Dice la mia bellissima Licori (Battista Guarini) Ah che non si conviene Non vedrò mai le stelle Ecco vicine, o bella tigre, l’ore (Claudio Achillini) Perché fuggi tra’ salci, ritosetta (Giambattista Marino) Tornate, o cari baci (Giambattista Marino) Soave libertate (Gabriello Chiabrera) Se ’l vostro cor, madonna (Battista Guarini) Interrotte speranze, eterna fede (Battista Guarini) Augellin che la vode al canto spieghi Vaga su spina ascosa (Gabriello Chiabrera) Eccomi pronta ai baci (Giambattista Marino) Parlo, miser, o taccio? (Battista Guarini) Tu dormi, ah crudo core Al lume delle stelle (Torquato Tasso) Con che soavità, labbra odorate (Battista Guarini) Ohimé, dov’è il mio ben, dov’è il mio core? (Bernardo Tasso) Se i languidi miei sguardi (Claudio Achillini) Se pur destina e vole Chiome d’oro Amor, che deggio far? Tirsi e Clori (ballo)

117 118 119 120 121 122 123 124 125 126 127 128 129 130 131 132 133 134 135 136 137 138 139 140 141 142 143 144 145

22

Lamento d’Arianna . . . con due lettere amorose in genere rapresentativo. Venice, 1623 [The opera Arianna was performed in Mantua, ducal palace, May 28, 1608; librettist Ottavio Rinuccini]

246–251 246 247 248 249 250 251

Scherzi musicali cioè arie et madrigali, 2 vv., bc. Venice, 1632 Maledetto Quel sguardo sdegnosetto Eri già tutta mia Ecco di dolci raggi il sol armato Et è pur dunque vero Zefiro torna e di soavi accenti, ‘ciaccona’ (Ottavio Rinuccini)

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SV

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146–167 146 147 148 149 150 151 152 153 154

Madrigali guerrieri, et amorosi. Libro ottavo, 1–8vv, Venice, 1638 Altri canti d’Amor, tenero arciero Or che ’l cielo e la terra e ’l vento tace (Petrarch) Gira il nemoico insidioso Amore (Giulio Strozzi) Se vittorie sì belle (Fulvio Testi) Armato il cor d’adamantina fede Ogni amante è guerrier: nel suo gran regno (Ottavio Rinuccini) Ardo, avvampo, mi struggo, ardo: accorete Combattimento di Tancredi e Clorinda (Torquato Tasso) ‘Volgendo il ciel per l’immortal sentiero’—‘Movete al mio bel suon le piante snelle’ (Ottavio Rinuccini) Altri canti di Marte e di sua schiera (Giambattista Marino) Vago augelletto che cantando vai (Petrarch) Mentre vaga angioletta (Battista Guarini) Ardo e scoprir, ahi lasso, io non ardisco O sia tranquillo il mare, o pien d’orgoglio Ninfa che scalza il piede e sciolto il crine Dolcissimo uscignolo (Battista Guarini) Chi, vol aver felice e lieto il core (Battista Guarini) Non avea Febo ancora (Ottavio Rinuccini) Perché te ‘n fuggi, o Fillide? (Ottavio Rinuccini) Non partir, ritosetta Su, su, su pastorelli vezzosi Ballo della ingrate

155 156 157 158 159 160 161 162 163 164 165 166 167 252–288 252 253 254 255 256 257 258 259 260 261 262 263 264 265 266 267 268 269 270 271 272 273 274 275 276

Selva morale e spirituale. Venice, 1640–1 O ciechi, il tanto affaticar che giova? (Petrarch) Voi ch’ascoltate in rime sparse il suono (Petrarch) È questa vita un lampo (Angelo Grillo) Spuntava il dí Chi vol che m’innamori Messa . . . da cappella 4vv., bc; for alternative settings of Crucifixus, Et resurrexit, Et iterum venturus est Gloria in excelsis Deo Crucifixus Et resurrexit Et iterum venturus est Ab aeterno ordinate sum Dixit Domius I Dixit Domius II Confitebor tibi Domine I Confitebor tibi Domine II Confitebor tibi Domine III Beatus vir I Beatus vir II Laudate pueri Dominum I Laudate pueri Dominum II Laudate Dominum omnes gentes I Laudate Dominum omnes gentes II Laudate Dominum omnes gentes III Credidi propter quod locutus sum [Memento Domine David] et omnis mansuetudinis (Continued)

212

Appendices

SV

Publication and Contents

277 278 278a 278b 279 279a 280 281 282 283 284 285 286 287 288

Sanctorum meritis I Sanctorum meritis II Deus tuorum militum [I] Iste confessor [I] Iste confessor [II] Ut queant laxis Deus tuorum militum [II] Magnificat I Magnificat II Salve Regina I Salve Regina II Salve [o] Regina Jubilet tota civitas Laudate Dominum in sanctis eius Iam moriar mi filli (Pianto della Madonna)

190–204 190 191 192 193 194 195 196 197 198 199 200 201 202 203 204

Messa, 4vv, et salmi, 1–8vv, concertati, e parte da ccappella, & con le Letanie della B.V. Venice, 1650 Messa . . . da capella Dixit Dominus I Dixit Dominus II Confitebor tibi Domine I Confitebor tibi Domine II Beatus vir Laudate pueri Dominum Laudate Dominum omnes gentes Laetatus sum I Laetatus sum II Nisi Dominus I Nisi Dominus II Lauda Jerusalem I Lauda Jerusalem II 5 vv., bc. Laetaniae della Beat Vergine

168–178 168 251 149 150 158 159 169 170 171 172 173 174 175 176 177 178

Madrigali e canzonette. Libro nono, 2, 3vv. Venice, 1651 Bel pastor dal cui bel sguardo (Ottavio Rinuccini) Zefiro torna e di soavi accenti, ‘ciaccona’ (Ottavio Rinuccini) Se vittorie sì belle (Fulvio Testi) Armato il cor d’adamantina fede Ardo e scoprir, ahi lasso, io non ardisco O sia tranquillo il mare, o pien d’orgoglio Alcun non mi consigli Di far sempre gioire Quando dentro al tuo seno Non voglio amare Come dolce oggi l’auretta (Giulio Strozzi) Alle danze, alle gioie Perché, se m’odiavi Sì, sì, ch’io v’amo Su, su, su, pastorelli vezzosi O mio bene, o mia vita

Appendices

213

Works Published During Monteverdi’s Lifetime: Secular Music in Anthologies in Chronological Order Morsolino, Antonio. Il primo libro delle canzonette a 3 voci [variously cleffed] . . . con alcune alter de diversi eccellenti musici. Venice, 159415, includes SV309, “Io ardo sì, ma ’l fuoco è di tal sorte,” SV314, “Occhi miei, se mirar più non debb’io,” SV324, “Quante son stele in ciel e in mar arene” (Scipione Cerreto),” and SV331, “Se non mi date aita”. Fiori del giardino di diversi eccellentissimi autori 4–9vv. Nuremberg, 1597¹³, six madrigals, including the first printing of SV75, “Ah dolente partita” (Battista Guarini), also published in Madrigali, Libro IV a5 (1603). Franzoni, Amante. Il nuovi fioretti a 3 voci . . . co’l suo basso generale. Venice, 1605¹², includes SV322, “Prima vedrò ch’in questiprati nascano”. de Wert, Giaches. Il duodecimo libro de madrigali, 4–7vv. Venice, 1608; only B. partbook survives, includes SV319, “Pensier aspro e crudele” and SV329, “Sdegno la fiamma estinse” (Orsina Cavaletta). Camarella, Giovanni Battista. Madrigali et arie. Venice, ?1623; formerly in D-Bds, now lost, includes SV 249, “Ecco di dolci raggi il sol armato,” also published in Scherzi musicali, 1632. Madrigali del signor cavaliero Anselmi nobile di Treviso posti in musica da diversi eccellentissimi spirit, 2–5vv., bc. Venice, 1624¹¹, includes SV315, “O come vaghi, o come” (Giovanni Battista Anselmi) and SV334, “Taci, Armelin, deh taci” (Giovanni Battista Anselmi). Milanuzzi, Carlo. Quarto scherzo delle ariose vaghezze . . . con una cantata, & altre arie del Signor Monteverde, e del Sig. Francesco suo figliolo, 1v, bc. Venice, 1624, includes SV316, “Ohimé ch’io cade, ohimé,” SV310, “La mia turca che d’amor,” and SV332, “Sì dolce è tormento”. Vincenti, Alessandro, ed. Arie di diversi. Venice, 16347, includes two madrigals by Monteverdi. Works Published During Monteverdi’s Lifetime: Sacred Music in Anthologies in Chronological Order Ruber, Georg, ed. Reliquiae sacrorum concentuum Giovan Gabrielis, Iohan-Leonis Hasleri, utriusque praestantissimi musici. Nuremberg, 1615². Bonometti, Giovanni Battista, ed. Parnassus musicus Ferdinandeus in quo musici nobilissimi qua suavitate, qua arte prosus admirabili, & divina ludunt, 1–5vv., [?org.]. Venice, 1615¹³, includes SV 292, “Cantate Domino canticum novum”. Ala, Giovanni Battista. Primo libro delli concerti ecclesiastici. Milan, 1618, includes SV328, “Sancta Maria succurre miseris.” Bianchi, Giulio Cesare. Libro primo de motetti in lode d’Iddio nostro Signore, 1–5, 8 vv . . . con un altro a 5, e 3 a 6 del sig. Claudio Monteverdi. Venice, 1620³, includes SV293, “Cantate Domino canticum novum,” SV294, “Christe adoramus,” SV298, “Domine ne in furore tuo,” and SV289, “Adoramus te Christe”.

214

Appendices

Bianchi, Giulio Cesare. Libro secondo de motetti. In lode della gloriosissima Vergine Maria Nostra Signora, 1–5 vv, & una messa, à 4, con il basso general . . . con le letanie à 6 voci del Sig. Claudio Monteverde. Venice, 16204, includes SV204, “Laetaniae della Beata Vergine,” also published in 16263 and 1650. Calvi, Lorenzo, ed. Symbolae diversorum musicorum 2–5 vocibus cantandae. Unacum basso ad organum. Venice, 16214, includes SV305, “Fuge anima mea mundum” and SV312, “O beatae viae.” Donfried, Johann, ed. Promptuarii musici concentus ecclesiasticos 2–4 vv cum basso continuo & generali, organo applicato, e diversis, iisque ilustrissimis et musica laude praestentissimis hujus aetatis authoribus, collectos exhibentis. Pars prima. Strasburg, 1622², includes SV313, “O bone Jesu, o piissime Jesu.” Calvi, Lorenzo, ed. Seconda raccolta de’ sacri canti a 1–4 vv de diversi eccellentissimi autori, org. Venice, 16242, includes SV301, “Ego flos campi,” SV335, “Venite sitientes ad aquas,” and SV326, “Salve o regina.” Sammaruco, Francesco, ed. Sacri affetti contesti da diversi eccellentissimi autoir . . . a 2–4 v e aggiunti nel fine le letanie della B.V. Rome, 1625¹, includes SV300, “Ego dormio et cor meum vigilat.” Simonetti, Leonardo, ed. Ghirlanda sacra scielta da diversi eccellentissimi compositori de varii motteti à voce sola. Libro primo. Venice, 1625², includes SV317, “O quam pulchra es anima mea,” SV297, “Currite populi, psallite timpanis,” SV299, “Ecce sacrum paratum convivium,” and SV327, “Salve Regina.” Calvi, Lorenzo, ed. Rosarium litanarium beatae V. Mariae 3–8 vocibus concinendarum una cum basso ad organum. Venice, 1626³, includes SV204, “Laetaniae della Beata Vergine,” first published in 16204; also published in Messa a quattro voci et salmi, 1650. Sabino da Turi, Giovanni Maria. Psalmi de vespere a 4vv. Naples, 16274, includes SV295, “Confitebor tibi Domine.” Calvi, Lorenzo, ed. Quarta raccolta de sacri canti 1–4 vv de diversi eccellentissimi autori. Venice, 16295, includes SV303, “Exulta filia Sion,” SV304, “Exultent coeli et gaudeant angeli,” and SV285, “Salve [o] Regina.” Motetti a voce sola de diversi eccellentissimi autori . . . Libro primo. Venice, 1645³, includes SV336, “Venite videte martirem.” Raccolta di motetti a 1–3 vv di Gasparo Casati et de diversi altri eccellentissimi autori. Venice, 1651², includes SV197, “Laudate Dominum omnes gentes.” Manuscript Sources: Secular and Sacred Vocal Music MS Source

SV

Title and Remarks

D—Kl MS 2 MS Mus. 51v

311 295

Laudate pueri Dominum 6vv, bc Confitebor tibi Domine 4vv, bc; published in RISM B/I 16274

D—Kl 2o MS Mus. 57f

114a 116a

Misero Alceo, dal caro albergo fore (Giambattista Marino) Presso a un fiume tranquillo, dialogue (Giambattista Marino)

o

Appendices

215

MS Source

SV

Title and Remarks

GB—Lbl Add. 30491

22a

Lasciatemi morire (Lamento d’Arianna); version in nine sections copied by or for Luigi Rossi Voglio, voglio morir, voglio morire (Lamento d’Olimpia) S., bc [doubtful attribution]; also in GB-Lbm Add. 31440

A2 Gb—Lbl Add. 31440 98 94 97 GB—Och 878, 880 101 94 104 I—BRq L.IV.99 306 244 235 237 330

Arrangements of Monteverdi’s madrigals, probably by Angelo Notari, as well as Lamento d’Olimpia [doubtful attribution]: Ch’io t’ami, e t’ami più della mia vita (Battista Guarini); arr. S. S. bc Cruda Amarilli, che col nome ancora (Battista Guarini); arr. [S] S. B./bc; see also GB-Och, 878, 880 Ecco, Silvio, colei che in odio hai tanto (Battista Guarini) arr. S. S. bc Arrangements of Monteverdi’s madrigals, probably by Angelo Notari, as well as Lamento d’Olimpia [doubtful attribution]: Ahi come a un vago sol cortese giro (Battista Guarini) arr. S. S. bc Cruda Amarilli, che col nome ancora (Battista Guarini); arr. [S]., S. B./bc ‘T’amo, mia vita’ la ia cara vita (Battista Guarini) arr. [S.], S. bc Canto part-book dated 1610 Fuggi, fuggi, cor, fuggi a tutte l’or Dolce spina del mio core Su fanciullo O resetta che rossetta Se d’un angel il bel viso

I—Fn B.R. 238 (Magl. XIX.114)

22a

Lasciatemi morire (Lamento d’Arianna); version in nine sections

I—MOe α.K.6.31

290

Ahi che si parte il mio bel sol adorno, S. S. T.

I—Moe Mus.G.239

22 241

Lasciatemi morire (Lamento d’Arianna); version in five sections Giovinetta, ritrosetta (Ansaldo Cebà) arr. S. bc

I—Nf 473.1 (olim IV-2–23a)

307

Gloria in excelsis Deo 8vv (2 choirs) bc

I—Nf 473.2 (olim IV-2–23b)

337

Voglio di vita uscir, voglio che cadano S. bc

MS I—Rvat Cappella Sistina 107

205

Missa da capella, 6vv, bc, 1610 (on Gombert’s motet In illo tempore)

I—Vc Torrefranca 28600

22

Lasciatemi morire (Lamento d’Arianna); version in five sections

S—Uu Vok.mus.i hs. 29:22 and 79:10

296

Confitebor tibi Domine S. 5 instruments, org., bc, doubtful: probably by J. Rosenmüller

216

Appendices

Manuscript Sources: Dramatic Works SV

Title, Librettist, Performance History

Sources and Remarks

22

Lamento d’Arianna (Arianna’s lament); monodic version of lament in five sections copied by Francesco Maria Fucci

I–Moe Mus. G. 239; I–Vc Torrefranca 28600

22a

Lamento d’Arianna (Arianna’s lament); monodic version of lament in nine sections copied by or for Luigi Rossi, perhaps in 1617

I–Fn B.R.238 (Magl. XIX.114); GB–Lbl Add. 30491

308

L’incoronazione [La coronatione] di Poppea/Il Nerone], opera reggia/dramma musicale Librettist: Giovanni Francesco Busenello, after Tacitus: Annals, Suetonius: The Twelve Caesars, Dio Cassius: Roman History, and pseudo-Seneca: Octavia First performance Venice, SS Giovanni e Paolo, carnival 1642–3; revived Paris 1647; Naples 1651

I–Nc Rari 6.4.1; I–Vnm MS 9963 | (It. IV.439)

325

Il ritorno d’Ulisse in patria, drama per musica Librettist: Giacomo Badoaro, after Homer: Odyssey First performed Venice, ? S Cassiano or SS Giovanni e Paolo, carnival 1639–40; revived Bologna 1640 and Venice (?) SS Giovanni e Paolo, carnival 1640–1

A–Wn 18763

Contrafacta Publications Editor

Title

Date

Aquilino Coppini

Musica tolta da i madrigali di [11] Claudio Monteverdi, e d’altri autori, e fatta spirituale, 5, 6vv

Milan, 160720

Aquilino Coppini

Il secondo libro della musica di Claudio Monteverdi e d’altri autori fatta spirituale, 5vv

Milan, 1608

Aquilino Coppini

Il terzo libro della musica di Claudio Monteverdi, fatta spirituale, 5vv

Milan, 1609

Pietro Lappi

Concerti sacri, libro secondo, 1–7vv, bc

Venice, 1623

Johann Staden

Geistliche Music-Klang

Nuremberg, 1633

Claudio Monteverdi Selva morale e spirituale

Venice, 1640–41

Ambrosius Profe

Erster Theil geistlicher Concerten und Harmonien, 1–7vv, instruments, organ

Breslau 16412

Ambrosius Profe

Ander Theil geistlicher Concerten und Harmonien, 1–7vv, 2 vn, organ

Leipzig, 1641³

Ambrosius Profe

Dritter Theil geistlicher Concerten und Harmonien, 1–5vv, Leipzig, 16424 2 vn, organ

Ambrosius Profe

Corollarum geistlicher collectaneorum

Leipzig, 16496

Cantiones natalitiae

Antwerp, 1654

Appendices

217

Contrafacta: Manuscript Sources D—Dl MS Mus.Pi.8 [CF] D—Kl 2o MS.58j [CF] D—GD, MS Cath. Q.28 [CF] D—Lr MS Mus. Ant. Pract. K.N.206 [CF] I—Bc Q27 [CF] lacking Canto 2. I—Bc Q43 [CF] PL—WRu [CF] MS, un-named, lost (see SV, H78) Malta, Mdina, Cathedral Museum, MS 47 [CF] Contrafacta in Latin: Alphabetical Listing of Incipits Cross-referenced with original incipit; dates refer to publication dates of CF collections listed above): Amem te Domine spes mea (= Amor, se giusto sei), 1609 Anima miseranda quae offendis Deum tuum (= Anima dolorosa che vivendo), 1609 Anima quam dilexi (= Anima del cor mio), 1609 Animas eruit e domo (= M’è piú dolce il penar per Amarilli), 1608 Ardebat igne puro (= Volgea l’anima mia soavemente), 1609 Ave Regina mundi (= Vaga su spina ascosa), 1623 Cantemus laeti quae Deus effecit (= A un giro sol de bell’occhi lucenti), 1609 Domine Deus meus (= Anima mia, perdona) (2p. O gloriose martyr), 1609 Ecce panis angelorum (= Chiome d’oro), S. S. T. [?T], 2 vn, bc, Malta, Mdina, Cathedral Museum, MS 47 Ergo gaude laetare (= Due belli occhi fur l’armi onde trafitto) (2p. of Pascha concelebranda, also texted Lauda anima mea) Felle amaro me potavit populus (= Cruda Amarilli, che col nome ancora), 160720 Florea serta laeti (= La giovinetta pianta), 1608 Gloria tua manet in aeternum (= ‘T’amo, mia vita’ la mia cara vita), 160720 Haec dicit Dominus (= Voi ch’ascoltate in rime sparse il suono), 16424 Heus bone vir (= Armato il cor d’adamantina fede), 16424 Iam moriar mi fili (see Pianto della Madona) Jesu dum te contemplor (= Cor mio, mentre vi miro), 1609 Jesum viri senesque (= Vaga su spina ascosa), 1641² Jesu tu obis (= Cor mio, non mori? E mori), 1609 Lauda anima mea (= Due belli occhi fur l’armi onde trafitto) (2p. of Pascha concelebranda, also texted Ergo gaude laetare) Longe a te mi Jesu (= Longe da te, cor mio), 1609 Longe mi Jesu (= Parlo, miser, o taccio?), 16496 Luce serena lucent (= Luci serene e chiare), 1609 Maria quid ploras ad monumentum (= Dorinda, ah dirò mia se mia non sei), 160720

218

Appendices

O dies infelices (= O come è gran martire), 1608 O gloriose martyr (= Che se tu se’ il cor mio) (2p. of Domine Deus meus peccavi) O infelix recessus (= Ah dolente partita), 1608 O Jesu mea vita (= Sí ch’io vorrei morire), 1609 O Jesu, o dulcis Jesu (= Parlo, miser, o taccio?), lost (formerly PL—WRu) O mi fili mea vita (= O Mirtillo, Mirtillo anima mia), 1608 O rex supreme Deus (= Al lume delle stelle), 16496 O stellae coruscantes (= Sfogava con le stelle), 1609 Pascha concelebranda (= Altri canti di Marte e di sua schiera) (2p. Ergo gaude laetare, also texted Lauda anima mea), 1641³ Pianto della Madona: Iam moriar mi fili, SV 288 (= Lamento d’Arianna, sections 1–4); S. bc; 1641, 16424, M xv, 757; F xv, 967 Plagas tuas adoro (= La piaga c’ho nel core), 1609 Plorat amare (= Piagne e sospira, e quando i caldi raggi), 1609 Praecipitantur e torrente nives (= O primavera, gioventú dell’anno), 1608 Pulchrae sunt genae tuae (= Ferir quel petto, Silvio?), 160720 Quam bonus est Deus (model unknown), D—GD MS Cath. q.28 Qui laudes tuas cantat (= Quell’augellin che canta), 1609 Qui pependit in cruce Deus meus (= Ecco, Silvio, colei che in odio hai tanto), 160720 Qui pietate tua (= Ma se con la pietà non è in te spenta), 1609 Qui regnas super alta poli (= Che dar piú vi poss’io?), 1608 Resurrexit de sepulchro (= Vago augelletto che cantando vai) (also texted Veni soror mea), 16496 Rutilante in nocte exultant (= Io mi son giovinetta), 1609 Salve Jesu o pater misericordiae (= Salve [o] Regina), D—Lr Mus. Ant. Pract. K.N.206 Salve mi Jesu (= Salve Regina, ii), D—Lr Mus. Ant. Pract. K.N.206 Sancta Maria quae Christum peperisti (= Deh bella e cara e sí soave un tempo), 160720 Spera in Domino et fac bonitatem (= Io ch’armato sin hor d’un duro gelo), 16424 Spernit Deus cor durum (= Ma tu, piú che mai dura), 160720 Stabat Virgo Maria (= Era l’anima mia), 160720 Te Jesu Christe liberator meus (= Ecco piegando le ginocchia a terra), 160720 Te sequar Jesu mea vita (= Ch’io t’ami, e t’ami piú della mia vita), 1608 Tu vis a me abire (= Voi pur da me partite, anima dura), 1609 Una es o Maria (= Una donna fra l’altre onesta e bella), 1609 Ure me Domine amore tuo (= Troppo ben può questo tiranno Amore), 160720 Veni soror mea (= Vago augelletto che cantando vai) (also texted Resurrexit de sepulchro), 16496 Vives in corde meo Deus meus (= Ahi come a un vago sol cortese giro), 160720 Contrafacta in Italian: Alphabetical Listing of Incipits Bella fiamma d’amor, dolce Signore (= Io ardo sí, ma’l foco è di tal sorte), I—Bc MS Q27

Appendices

219

Dolce spina del mio core (= Lidia spina del mio core), I—BRq L.IV.99 Lamento della Mad[d]alena (= Lamento d’Arianna, i), I—Bc Q43 Occhi miei, se mirar piú non debb’io (= Occhi miei, se mirar piú non debb’io), I—Bc MS Q27 O rosetta che rossetta (= O rosetta che rossetta), I—BRq L.IV.99 Pianto della Madona (see Contrafacta, Latin) Prima vedrò ch’in questi prati nascano (= Prima vedrò ch’in questi prati nascano), I—Bc MS Q27 Quante son stell’intorn’a l’aureo crine (= Quante son stelle in ciel e in mar arene), I—Bc MS Q27 Se non mi date aita, I—Bc MS Q27 Su fanciullo (= Damigella), I—BRq L.IV.99 Contrafacta in German: Alphabetical Listing of Incipits Alleluja, kommet, jauchzet (= Ardo, avvampo, mi struggo, ardo: accorrete) (also texted Freude, kommet, lasset uns gehen), 16496 Dein allein ist ja grosser Gott die Sache (= Cosí sol d’una chiara fonte viva) (2p. of O du mächtiger Herr Lock ins Himmels Throne) Freude, kommet, lasset uns gehen (= Ardo, avvampo, mi struggo, ardo: accorrete) (also texted Alleluja, kommet, jauchzet), 16496 Güldne Haare, gleich Aurore (= Chiome d’oro), D—Kl 2° MS Mus.58j O du mächtiger Herr hoch ins Himmels Throne (= Or che’l cielo e la terra e’l vento tace) (2p. Dein allein ist ja grosser Gott die Sache), 16496 O Jesu lindere meinen Schmertzen (= Tu dormi, ah crudo core!), 16496 Wie ein Rubin in feinem Golde leuchtet (= Una donna fra l’altre honesta e bella), D—Dl MS Mus.Pi 8 Wie wann von Gold ein Ring (= Ohimé ch’io cado, ohimé), 1633 Contrafacta in Dutch Kind’tjen soet uytvercoren (= Eri già tutta mia), in Cantiones natalitiae (Antwerp, 1654) Music Lost: Dramatic Works in Chronological Order Gli amori di Diana ed Endimione, ballo. Mantua (?) Carnival 1604–5 Arianna, tragedia in musica, one act. Libretto Ottavio Rinuccini (Florence, Mantua, Venice, all 1608); first performance Mantua, ducal palace, May 28, 1608 Prologue [Intermedio I] “Ha cento lustri con etereo giro,” text by Gabriello Chiabrera to a performance of Battista Guarini: L’idropica, Mantua, ducal palace, June 2, 1608 Le nozze di Tetide, favola marittima. Libretto Scipione Agnelli. Begun December 1616 for performance at Mantua, commission cancelled January 1617

220

Appendices

Andromeda, favola in musica. Libretto Ercole Marigliani (Mantua, 1620) Apollo, ballo. Libretto Alessandro Striggio. First performed Mantua, probably ducal palace, February 1620 La contesa di Amore e Cupido; prologue, four intermedi and licenza, with texts by Ercole Marigliani (Mantua, 1622) Armida abbandonata. Libretto Torquato Tasso. Composed 1626–7 La finta pazza Licori, opera in five acts. Libretto Guilio Strozzi Gli Argonauti, mascherata. Libretto Claudio Achillini. Performed Parma, March 1628. Prologue [Teti e Flora], 5 intermedi, for a performance of Torquato Tasso: Aminta. Libretto: prologue, Claudio Achillini; intermedi, Ascanio Pio di Savoia. First Performed Parma, courtyard of S Pietro Martire, December 13, 1628 Mercurio e Marte, torneo regale. Libretto Claudio Achillini. Performed Parma, Teatro Farnese, December 21, 1628 Proserpina rapita, anatopismo. Libretto Giulio Strozzi (Venice 1630). First performance Venice, April 1630. Only a trio survives (SV 323, SSS bc) Vittoria d’Amore, baletto. Libretto Bernardo Morando. First performed Piacenza, February 7, 1641 Le nozze d’Enea in Lavinia, tragedia di lieto fine, prologue and five acts. Libretto Michelangelo Torcigliani. First performed Venice, probably SS Giovanni e Paolo, Carnival, 1640–41 Music Lost: Secular Vocal Works I cinque fratelli: La Garda impoverir di pesci egregi, sonnet cycle, (Giulio Strozzi), 2 vv., ?bc, performed 1628 GUIDE TO EDITIONS OF MONTEVERDI’S COMPLETE WORKS The tables list contents of individual volumes from the two editions of Monteverdi’s complete works. For a discussion of the merits of these series, see Jeffrey Kurtzman’s “Collected Works of Claudio Monteverdi: The Malipiero and Cremona Editions” (no. 102). Readers can consult Tim Carter’s works list for Claudio Monteverdi in GMo (no. 19) and NGM2 (no. 20) for a list of individual pieces with an indication of placement in the respective Malipiero and Fondazione series. Complete Works Malipiero, Gian Francesco. Tutte le opera di Claudio Monteverdi. Asolo, 1926–42. 16 vols. Reprinted Vienna: Universal Editions, 1952. Reprinted by the Fondazione G. Cini. Venice, 1966 with a revised version of vols. 15–16 edited by Denis Arnold in 1967–8.

Appendices

221

Volume Title

Publication Information

Vol. 1

Il primo libro de madrigali

Asolo, 1926

Vol. 2

Il secondo libro de madrigali

Asolo, 1927

Vol. 3

Il terzo libro de madrigali

Nel Vittoriale degli Italiani, 1927

Vol. 4

Il quarto libro de madrigali

Nel Vittoriale degli Italiani, 1927; reprinted together with Libro V with new literal translations of the texts by Stanley Appelbaum (New York: Dover, 1986)

Vol. 5

Il Quinto libro de madrigali

Nel Vittoriale degli Italiani, 1927; reprinted together with Libro IV with new literal translations of the texts by Stanley Appelbaum (New York: Dover, 1986)

Vol. 6

Il sesto liro de madrigali

Nel Vittoriale degli Italiani, 1927

Vol. 7

Concerto. Settimo libro de madrigali

Nel Vittoriale degli Italiani, 1928

Vol. 8

Madrigali guerrieri et amorosi. Ottavo Libro

Nel Vittoriale degli Italiani, 1929; reprinted with new literal translations of the texts by Stanley Appelbaum (New York: Dover, 1991)

Vol. 9

Madrigali e Canzonette a due e tre voci. Nono Libro

Nel Vittoriale degli Italiani, 1929

Vol. 10

Canzonette a tre voci, Scherzi Musicali Nel Vittoriale degli Italiani, 1929 a tre voci, Scherzi Musicali cioè Arie & Madrigali a 1 & 2 voci

Vol. 11

Orfeo, Lamento d’Arianna, Musiche de Alcuni

Nel Vittoriale degli Italiani, 1930

Vol. 12

Il Ritorno d’Ulisse in Patria

Nel Vittoriale degli Italiani, 1930

Vol. 13

L’Incoronazione di Poppea

Nel Vittoriale degli Italiani, 1931

Vol. 14

Sacrae Cantiunculae tribus vocibus, Sanctissimae Virgini Missa senis vocibus, Vespro della beata Vergine

Nel Vittoriale degli Italiani, 1932

Vol. 15

Selva Morale e Spirituale

Nel Vittoriale degli Italiani, 1941; rev. ed. by Denis Arnold, Vienna: Universal Edition, 1968

Vol. 16

Messa a quattro voci et Salmi a 1.2.3.4.5.6.7. & 8. voci concertati, e Parte da Cappella & con le Letanie della B.V., Frammenti pubblicati in varie raccolte

Nel Vittoriale degli Italiani, 1942; rev. ed. by Denis Arnold, Vienna: Universal Edition, 1968

Vol. 17

Supplemento: Secular and sacred pieces from various anthologies, Villanella a 3 voci, Basso of Madrigali spirituali a 4 voci facsimile

Venice: Fondazione Giorgio Cini, 1966 [private edition]; Vienna: Universal Edition, 1968

Fondazione Claudio Monteverdi (various editors). Claudio Monteverdi. Opera Omnia. Cremona: Athenaeum Cremonense, 1970—. (Instituta et monumenta, ser. 1/5). For further information, see www.fondazionemonteverdi.it/.

222

Appendices

Volume

Title

Editor

Date

Vol. 1

Il Primo Libro dei Madrigali

Raffaello Monterosso; poetic texts edited by A.S. Avalle; issued with recording of contents on CD by Consort Ars Musica

1970

Vol. 2

Il Secondo Libro dei Madrigali Anna Maria Monterosso Vacchelli; poetic texts edited by A.M. Mura; issued with recording of contents on CD by Consort Ars Musica

1979

Vol. 3

Il Terzo Libro dei Madrigali

Maria Teresa Rosa Barezzani; poetic texts edited by C. Vela

1988

Vol. 4

Il Quarto Libro dei Madrigali

Elena Ferrari Barassi; poetic texts edited by 1974 G.P. Caprettini

Vol. 5

Il Quinto Libro dei Madrigali

Maria Caraci; poetic texts edited by C. Bozzetti 1984

Vol. 6

Il Sesto Libro dei Madrigali

Antonio Delfino; poetic texts edited by C. Vela; issued with recording of contents on CD by Consort Ars Musica

1991

Vol. 7

Madrigali guerrieri e amorosi, Anna Maria Monterosso Vacchelli; poetic Libro Ottavo texts edited by John Lindon; discography edited by Anthony Pryer

2004

Vol. 8

Madrigali e Canzonette Libro Nono

Anna Maria Monterosso Vacchelli; poetic texts edited by C. Vela

1983

Vol. 9

Messa a 4 voci e Salmi

Mariella Sala; issued with recording of contents on CD by Consort Ars Musica

1995

Vol. 10

Selva morale e spirituale

Denis Stevens

1998

Vol. 11

Scherzi musicali a tre voci

Frank Dobbins; poetic texts edited by John 2002 Lindon

Vol. 12

Scherzi musicali a una e due voci (1632)

Frank Dobbins and Anna Maria Vacchelli; 2002 poetic texts edited by John Lindon

Vol. 13

Missa da Capella a sei—Vespro Antonio Delfino della Beata Vergine

Vol. 14

Concerto, Settimo Libro dei Madrigali

Vol. 15

Composizioni Sacrae. Antologia Antonio Delfino

Vol. 16

Sacrae Cantiunculae (1582), Madrigali spirituali a quattro (1583), Canzonette a tre voci (1584)

Vol. 17

Anna Maria Vacchelli; poetic texts edited L’Orfeo (1607). L’Arianna (1608). Il Lamento di Olimpia by Elisabetta Tonello

2014

Vol. 18

L’Orfeo

2016

2005

Anna Maria De Chiara; poetic texts edited 2008 by John Lindon Anthony Pryer; poetic texts edited by Eugenio Ragni. With discography.

Reduction for voice and piano edited by Anna Maria Vacchelli

In Production Antologia di composizioni profane

Anna Maria De Chiara

In Production L’incoronazione di Poppea

Anna Maria Vacchelli

In Production Il ritorno di Ulisse in patria

Anthony Pryer

2010 2012

Appendices

223

SELECTED DISCOGRAPHY Canzonetta and Madrigal Books Madrigali, Libro I Delitiae Musicae. Directed by Marco Longhini. Naxos 8.555307. Released 2003. 1 CD. La Venexiana. Directed by Claudio Cavina. Glossa GCD 920921. Released 2006. 1 CD. Madrigali, Libro II Concerto Italiano. Directed by Rinaldo Alessandrini. Naïve OP30487. Released 2009. 1 CD. Delitiae Musicae. Directed by Marco Longhini. Naxos 8.555308. Released 2003. 1 CD. La Venexiana. Directed by Claudio Cavina. Glossa GCD 920922. Released 2004. 1 CD. Madrigali, Libro III Delitiae Musicae. Directed by Marco Longhini. Naxos 8.555309. Released 2004. 1 CD. La Venexiana. Directed by Claudio Cavina. Glossa GCD 920923. Released 2008. 1 CD. Madrigali, Libro IV Delitiae Musicae. Directed by Marco Longhini. Naxos 8.555310. Released 2005. 1 CD. La Venexiana. Directed by Claudio Cavina. Glossa GCD 920924. Released 2004. 1 CD. La Dolce Maniera. Directed by Lugi Gaggero. Stradivarius 33963. Released 2014. 1 CD. Concerto Italiano. Directed by Rinaldo Alessandrini. Naïve OP30502. Released 2010. 1 CD. Madrigali, Libro V Concerto Italiano. Directed by Rinaldo Alessandrini. Opus 111 OPS 30–166. Released 2000. 1 CD. Delitiae Musicae. Directed by Marco Longhini. Naxos 8.555311. Released 2006. 1 CD. La Venexiana. Directed by Claudio Cavina. Glossa GCD 920925. Released 2007. 1 CD. Madrigali, Libro VI Concerto Italiano. Directed by Rinaldo Alessandrini. Naïve OP30522. Released 2011. 1 CD. Delitiae Musicae. Directed by Marco Longhini. Naxos 8.555312–13. Released 2007. 2 CDs. La Venexiana. Directed by Claudio Cavina. Glossa GCD 920926. Released 2005. 1 CD. Madrigali, Libro VII Le Nuove Musiche. Directed by Krijn Koetsveld. Brilliant Classics 94980. Released 2016. 1 CD. Delitiae Musicae. Directed by Marco Longhini. Naxos 8.555314–16. Released 2008. 3 CDs. La Venexiana. Directed by Claudio Cavina. Glossa GCD 920927. Released 2004. 2 CDs.

224

Appendices

Madrigali guerrieri et amorosi, Libro VIII La Venexiana. Directed by Claudio Cavina. Glossa GCD 920928. Released 2005. 3 CDs. Le Nuove Musiche. Directed by Krijn Koetsveld. Brilliant Classics 95152. Released 2017. 3 CDs. Delitiae Musicae. Directed by Marco Longhini. Naxos 8.573755–58. Released 2017. 4 CDs. The Complete Madrigal Books La Venexiana. Directed by Claudio Cavina. Glossa GCD 920929. Released 2014. 12 CDs. Scherzi musicali (1607) Concerto Soave. Directed by Jean-Marc Aymes. (Selections). Harmonia Mundi HMC 901855. Released 2005. 1 CD. New release 2015. HMA 1951855. 1 CD. Concerto della Dame di Ferrara. Directed by Sergio Vartolo. Naxos 8.553317. Released 1998. 1 CD. Scherzi musicali (1632) Concerto Soave. Directed by Jean-Marc Aymes. (Selections). Harmonia Mundi HMC 901855. Released 2005. 1 CD. New release 2015. HMA 1951855. 1 CD. La Venexiana. Directed by Claudio Cavina. Glossa GCD 920915. Released 2009. Dramatic Works Lamento d’Arianna Emanuela Galli, soprano. Scherzi musicali. Glossa GCD 920915. Released 2009. 1 CD. Montserrat Figueras, soprano. Claudio Monteverdi: Arie e lamenti. Alia Vox ADE063. Released 2009.1 CD. Véronique Gens, soprano. Lamenti. EMI 5190442. Released 2008. 1 CD. Operas L’Orfeo Sound Recordings La Capella Real de Catalunya; Le Concert des Nations. Directed by Jordi Savall. Alia Vox AVSA9911. Released 2015. 2 CDs. Concerto Italiano. Directed by Rinaldo Alessandrini. Naïve OP30439. Released 2007. 2CDs. La Venexiana. Directed by Claudio Cavina. Glossa GCD 920941. New release 2017. 2 CDs. [First released 2006; Glossa GES 920913].

Appendices

225

Video Recordings Concerto Italiano, with the Orchestra of Teatro alla Scala. Directed by Rinaldo Alessandrini. Stage direction by Robert Wilson. Opus Arte OABD7080D. Released 2011. Blu-Ray. Tragicomedia, Concerto Palatino, with the Nederlandse Opera. Directed by Stephen Stubbs. Stage direction Pierre Audi. Opus Arte OA0928D. Released 2005. 2 DVDs. Capella Reial, Concert des Nations. Directed by Jordi Savall. Stage direction by Gilbert Deflo. Opus Arte OA0843D. Released 2002. 1 DVD. Ballo dell’Ingrate Sound Recordings Les Arts Florissants. Directed by William Christie. Selections—includes Lagrime amante from Book 6. Harmonia Mundi HMC 901108. Released 1992. 1 CD. L’incoronazione di Poppea Sound Recordings Concerto Vocale. Directed by René Jacobs. Harmonia Mundi France HMC 901330.32. Released 2010. 3 CDs. La Venexiana. Directed by Claudio Cavina. Glossa GCD 920916. Released 2010. 3 CDs. English Baroque Solists. Directed by John Eliot Garner. Deutsche Grammophon Archiv 447 088–2. Released 1996. 3 CDs. Video Recordings Les Talens Lyriques. Directed by Christophe Rousset. Stage direction by Pierre Audi. Opus Arte OA 0924D. Released 2005. 2 DVDs. Baroque Orchestra of the Gran Teatre del Liceu (Barcelona). Directed by Harry Bicket. Stage direction by David Alden. Opus Arte OABD7105D. Released 2012. Blu-Ray. Les Arts Florissants. Directed by William Christie. Stage direction by Pierre Luigi Pizzi. Virgin Classics 07095191. Released 2012. 2 DVDs. Il ritorno d’Ulisse in patria Sound Recordings La Venexiana. Directed by Claudio Cavina. Glossa GES 920916—F. Released 2012. 3 CDs. Boston Baroque. Directed by Martin Pearlman. Linn Records CKD 451. Released 2015. 3 CDs. Video Recording Baroque Ensemble. Directed by Glen Wilson. Stage direction by Pierre Audi. Released 2005. 2 DVDs. Arts Florissants. Musical direction by William Christie. Stage direction by Adrian Noble. Virgin Classics 7243 4 90613 9 2. Released 2004. 1 DVD.

226

Appendices

Sacred Music 1610 Vespers Apollo’s Fire. The Cleveland Baroque Orchestra. Directed by Jeannette Sorrell. Avie AV2206. Released 2010. 2 CDs. The Sixteen. Directed by Harry Christophers. Coro COR16126. Released 2014. 2 CDs. Missa in il tempori (1610) The Sixteen. Directed by Harry Christophers. Hyperion CDH55145. Released 2003. 1 CD. [First released 1996; Hyperion]. Selva morale e spirituale (1640–1) La Venexiana. Directed by Claudio Cavina. Glossa GCD 920914. Released 2008. 3 CDs. Arts Florissants. Directed by William Christie. Selections. Harmonia Mundi France HMA 1951250. Released 1987. 1 CD. [Previously issued Harmonia Mundi HMC 1250]. Cantus Köln, Concerto Palatino. Directed by Konrad Junghänel. Harmonia Mundi HMC 901718.20. Released 2001. 3 CDs. Messa a quattro voci e salmi (1650) Consort “Ars Musica.” Directed by Raffaelo Monterosso. Selections. Regent Records REGFCM 101/2. Released 1995. 2 CDs.

Index of Monteverdi’s Works Indexes works by Monteverdi that are mentioned in annotations from the guide. The index is divided into dramatic works, sacred music, and secular vocal music. Numbers refer to entry numbers, not page numbers. Dramatic Works Andromeda 581–3; Choro di pescatori 583 Arianna 89, 93, 120, 214, 349, 371, 379–80, 386, 391, 402, 409, 411–12, 417, 419, 462, 513, 516, 714, 765; Lamento d’Arianna 7–8 369, 380, 506–9, 511–12, 516, 569, 599, 611, 793 Il ballo delle ingrate 214, 324, 354, 371, 380, 412, 606–7, 611, 613, 614–16, 752; Udite Donne, udite i saggi detti 354 De la bellezza le dovute lodi 607, 612, 617 Il combattimento di Tancredi e Clorinda 47, 69–70, 93, 126, 200, 214, 276, 320, 323–4, 331–2, 339, 371, 400, 412, 584–98, 727, 752, 797 La finta pazza Licori 66, 110, 346, 352, 393 Gli amori di Diana ed Endimione 612 L’incoronazione di Poppea 56–7, 128, 214, 275–6, 348, 351, 365, 369, 377, 382–4, 386–90, 392, 395, 397–8, 400, 403–7, 409, 412–15, 419, 526, 531–79, 604, 695, 705, 721, 743, 750, 752, 765, 797–9, 803, 806, 824, 826; A Dio Roma, a Dio patria 554; Disprezzata regina 388, 765; Hor che Seneca è morto 547; Prologue, 537–8, 546; Pur ti miro 553, 555, 558, 566, 570, 579, 604; Ringrazia la fortuna 547 Le nozze d’Enea in Lavinia 371, 414, 527, 529–30 Le nozze di Tetide 462, 580 L’Orfeo 36, 38, 42, 44, 50, 53, 58–9, 62, 66, 69, 70, 78, 89, 93, 169, 191, 275, 306, 348, 350–1, 354–7, 364, 367–72, 376–7, 379, 382, 392, 397–400, 402–7, 409–12, 421–505, 536, 581, 633, 712–14, 716, 721, 732, 734, 736–7, 739–40, 742–3, 752, 759, 767, 797, 800, 803–5, 812–13, 821–3, 826, 830–1; Alcun non sia che disperato in preda 432; Choro

di Baccanti 484; In questo prato 432; Io non dirò 406; Lasciate in monti 466; Ma s’il nostro gioir 432; Mira, deh mira Orfeo 432; Possente spirto 372, 399, 477, 490–1, 502, 767, 823; Prologue, 356, 423, 440, 451, 477, 489–91, 494, 502, 813; Qual honor di te fia degno 467; Rosa del ciel 406, 463; Sinfonia 432, 469; Vanne Orfeo felice a pieno 484; Vi ricorda 432 Parma, Musical Festivities 599–603 Proserpina rapita 124, 604–5; Come dolce hoggi l’Auretta 604 Il ritorno d’Ulisse in patria 275–6, 348, 351, 361, 374, 377, 386, 392–3, 397–8, 400, 403–4, 410, 412, 414–5, 517–28, 721, 743, 752, 826, 830; Ericlea, che voi far 527; Ho si ti riconosco 520; Illustratevi o cieli 520; Oh gran figlio d’Ulisse 520; O dolor, o marti che l’alma 526; O fortunato Ulysse 527; Prologue, 522 Sacred Music contrafacta: Ecce panis angelorum 340; Felle amaro 342; Pianto della Madonna 682; Lamento della Maddelena 343; O du mächtiger Herr hoch ins Himmelsthrone 343; Resurrexit de sepulchro 343; Veni soror mea 343 Ego flos campi (1624) 633 Litany of Loreto (1620) 630 Madrigali spirituali 337, 341 Messa a quattro voci et salmi 625, 658, 663; Dixit dominus 658; Messa da capella 638; Nisi dominus 681 O quam pulchra es anima mea (1625) 633 Sacrae cantiunculae 29, 72, 699; Quam pulchra es 72 Salve Regina (1625) 630, 632, 692 227

228 Sanctissimae Virgini missa senis vocibus ad ecclesiarum choros ac vesperae [1610 Vespers], 93, 618–19, 636, 639–45, 647–57, 659–64, 666–70, 673–7, 691, 695, 699, 738, 766, 800, 828; Audi coelum vereba mea 667; Ave maris stella 618, 643, 766; Duo seraphim 667; Laetatus sum 664; Lauda Jerusalem 645, 659, 669; Magnificat 648, 651, 659, 666, 669, 671–2, 766; Missa in illo tempore 638, 646–7, 665, 668; Nigra sum 661; Sonata sopra ‘Sancta Maria, ora pro nobis’ 640, 644–5, 730 Selva morale e spirituale, 16, 29, 38, 128, 179, 316, 618, 622, 625, 634—6, 658, 663, 678–80, 682, 684–6, 690–1, 693, 715, 789; Beatus vir I 688, 691; Chi vol che m’innamori 316; Dixit dominus 658, 684; Gloria a7 179, 685–6; Magnificat I 692–3; Magnificat II 692; Messa da capella 638; Missa a quattro 686; Salve Regina 632, 635, 692 Secular Vocal Music Canzonette, Liber I a3 16, 72, 228, 250, 269 Madrigali, Libro I 207, 213, 236, 250, 259, 269, 289 Madrigali, Libro II 72, 78, 166, 207, 213, 233, 250, 259, 269, 281, 283, 285, 289–90, 593 Madrigali, Libro III 207, 213, 233, 250, 259–60, 269, 289, 297, 345 Madrigali, Libro IV 84, 148, 163, 170, 179, 197, 207, 213–14, 233, 241, 244, 269, 289, 291, 297, 302, 303, 305–6, 345, 720 Madrigali, Libro V 27, 70, 157, 158, 163, 169, 179, 197, 207, 213, 233, 236, 244, 269, 289, 295–7, 300–1, 306, 345, 717 Madrigali, Libro VI 207, 213, 216, 257, 297, 309–11, 814 Madrigali, Libro VII 179, 209, 213, 216, 257, 269, 276, 312–5, 333, 340, 631, 688, 691 Madrigali guerrieri e amorosi, Libro VIII 121, 148, 175–6, 210, 211, 213, 216, 229, 257, 269, 318–20, 322–31, 333, 536, 554, 587, 590, 593–4, 616, 719, 777, 789 Madrigali, Libro IX 334 Scherzi musicali (1607) 28, 122, 157–8, 184, 205, 269, 297, 306–7, 333, 362, 612, 617, 717, 742 Scherzi musicali (1632) 205, 316–17 A che tormi il ben mio 286 Ah dolente partita 222, 247 Ahi come a un vago sol cortese giro 297 Ardi o gela a tua voglia 286

Index of Monteverdi’s Works Ardo sì, ma non t’amo 286 Baci soavi e cari 286 Bel pastor dal cui bel guardo 334 Canzonette d’amor 72 Ch’ami la vita mia nel tuo bel nome 286 Ch’io t’ami, e t’ami piú della mia vita 70 Chiome d’oro 340, 688, 691 Chi vuol veder d’inverno un dolce aprile 228 Con che soavità 179, 314 Cor mio, mentre vi miro 214 Cruda Amarilli 163, 171, 201, 244, 293, 295, 298, 304–5, 308, 342 Dolcissimi legami 166 Ecco di dolci raggi il sol armato 317 Ecco mormorar l’onde 72, 282–4, 290 Eccomi pronta ai baci 315 Era l’anima mia 243 Già mi credev’un sol esser in cielo 228 Giú li a quell petto giace un bel giardino 228 Hor che’l’ ciel e la terra e’l vento tace 318, 327, 343 La giovinetta pianta 94 La vaga pastorella 678 Lagrime d’amante al sepolcro dell’amata 310 Lamento d’Arianna 208, 275, 308, 324, 354, 682, 727, 765, 814–15, 821 Lamento della ninfa 128, 148, 208, 211, 306, 308, 321, 347, 399, 515, 719, 734–5 Lettera amorosa [Se i languidi miei sguardi], 47 Mentre vaga angioletta 214, 240, 382, 554 Misero Alceo, dal caro albergo fore 311 Non partir, ritrosetta 536 Non si levav’ancor l’alba novella 381 O come sei gentile 214 O Mirtillo, Mirtillo anima mia 163, 171–2, 212, 292, 295, 300 O sia tranquillo il mare, o pien d’orgoglio 208 O primavera, gioventú dell’anno 94, 234 Ogni amanti è guerrier 319, 777 Ohimé ch’io cado, ohimé 223, 238 Ohimé dov’è il mio ben, dov’è il mio core? 211, 312 Ohimé, se tanto amate 163, 303 Ond’ei di morte la sua faccia impressa 94 O rossignuol che il queste verdi fronde 94 Perfidissimo volto 94 Piagne e sospira, e quando i caldi raggi 170, 302

Index of Monteverdi’s Works Presso a un fiume tranquillo 311 Quell’ombr’esser vorrei 285 ‘Rimanti in pace’ a la dolente e bella 94 Raggi, dov’è il mio bene? 72 Sí ch’io vorrei morire 214, 275 Se i languidi miei sguardi 324 [Lettera amorosa] Sfogava con le stelle 148, 241, 291, 294, 399 Stracciami pur il core 94 Su, su, su pastorelli vezzosi 168 ‘T’amo mia vita’ la mia cara vita 232, 236

229 Tempro la cetra, e per cantar gli onori 313 Tra mille fiamme e tra mille catene 286 Tutte le bocce belle 231, 287 Vattene pur, crudel, con quella pace 260 Vita dell’alma mia, cara mia vita 228 Voi pur da me partite, anima dura 163 Volgea l’anima mia soavemente 291 Voglio di vita uscir 316 Voglio, voglio, morir, voglio morire 509 Zefiro torna, e di soavi accenti 168, 208, 211, 316

Index of Authors Indexes authors, editors, and translators whose names appear in citations as the principle authors. Excludes editors of books from which chapters are drawn and annotated. Mentions are given for principle authors, editors, and translators who are named in annotations. Numbers refer to entry numbers, not page numbers. Abegg, Werner 584 Ackermann, Peter 421 Adams, K. Gary 17 Adkins, Cecil D. 732 Alessandrini, Rinaldo 422, 720, 744, mention 573 Allison, John 517 Anfuso, Nella 32, 156 Angles, David Lloyd 318 Annibaldi, Claudio 126 Arcangeli, Pier Giuseppe 157 Arias, Enrique Alberto 346 Arlt, Wulf 423 Arnold, Ben 585 Arnold, Denis 33–4, 65–6, 218–20, 396, 518, 618–20, 641–2, 711, 745, mention 54, 339 Arpini, Flavio 621 Artusi, Giovanni Maria 158, mention 28, 78, 90, 129, 159–60, 163, 167, 169, 170–2, 174, 178–9, 181, 185, 212, 289, 295, 302, 304–5, 668, 697, 794 Atti del convegno di studi dedicato a Claudio Monteverdi 35 Awouters, Mia 36, 712 Azouvi, François 424–5, mention 58 Bacchelli, Riccardo 37 Bachmann, Claus-Henning 531 Balsano, Maria Antonella 221, 252 Barbieri, Patrizio 694 Barblan, Guglielmo 38 Barezzani, Maria Teresa Rosa 202 Baroffio, Giacomo Bonifacio 622 Baroncini, Rodolfo 39, 426 Baroque Opera at Smith College 797 Barraqué, Jean 427 Bartlett, Clifford 695 Basso, Alberto 1

Bates, James 90 Beaussant, Philippe 67, 428 Berger, Karol 429, 746, mention 148, 696 Bergquist, Stephen A 115 Bernhard, Christoph 781, mention 172, 182, 623 Bernardi, Guillaume 430 Besutti, Paola 39, 60, 643, 678, 713–14, mention 45 Biaggi, Marisa 319 Bianchi, Fulvio 253 Bianconi, Lorenzo 2, 222, 347, 381, mention 54, 270, 277, 558 Bielitz, Mathias 203 Bisaro, Xavier 159, 431 Blazey, David 644, mention 645 Boesmans, Philippe 532, mention 562 Bokina, John 348, 397 Bolzoni, Marco 32 Bonomo, Gabriele 122–3, 160 Bonta, Stephen 645, mention 644 Boogaart, Jacques 533 Borin, Alessandro 646 Bottrigari, Ercole 161–2, mention 6, 134, 177–8, 302 Bouquet-Boyer, Marie Thérèse 606 Bowers, Roger 68, 432, 647–51, 715, mention 49, 671, 722 Braun, Werner 204–5, 223, mention 229 Brauner, Charles S 163, mention 171 Brèque, Jean-Michel 519, 534 Bridgman, Nanie 91, 116 Brisson, Elisabeth 433 Brown, Howard Mayer 3, 696, 747 Brown, Julia 434 Brown, Kate 716 Brunel, Pierre 61, 435, 586 Brncic Isaza, Gabriel 164 Bryant, David 697 231

232 Buci-Glucksmann, Christine 798–9 Budzińska-Bennett, Agnieszka 335 Buja, Maureen E 254 Burnett, Henry 206 Burton, Deborah 436 Butt, John 42 Caccini, Giulio 748–9, mention 156, 191, 196, 226, 291, 349, 360, 370, 423, 477, 495, 498, 723, 733, 751, 759, 763, 773–4 Calcagno, Mauro P 69, 382, 398, 437, 535, mention 547 Cambreling, Sylvain 532 Camp, Gregory 800–1 Campagnolo, Stefano 92, mention 816 Canning, Hugh 750 Caraci Vela, Maria 40, 207, 224 Carapezza, Paolo Emilio 165–6, 225, 281 Carter, Stewart 751 Carter, Tim 19–20, 41–2, 93, 167–170, 208–10, 291, 320–1, 349, 399–400, 438–9, 506, 520, 536, 580–1, 587–8, 599, 607 Celletti, Rodolfo 752 Ceulemans, Anne-Emmanuelle 36 Chafe, Eric 70–1, mention 212 Charteris, Richard 94 Chater, James 227 Chegai, Andrea 256 Chew, Geoffrey 19–20, 72, 282, 292, 322, mention 63 Chiarelly, Francesca 95 Chiarle, Angelo 608 Chiello, Giuliano 159 Chrissochoidis, Ilias 340, mention 49, 489 Ciacchi, Laura Mary 211 Clivio, Gianrenzo P 753 Cohn, Richard 804 Collaer, Paul 441, 589, mention 54 Coluzzi, Seth J 212 Conforti, Giovanni Luca 754, mention 747, 757, 760–1 Conlon , Joan Catoni 717 Corboz-Goretta, Michel 442, mention 473 Cornaz, Marie 73, mention 36 Coutance, Guy 442–3 Covell, Roger 604 Cowen, Graeme 283 Csampai, Attila 444 Cumino, Renata 228

Index of Authors Curtis, Alan 537–8, mention 544, 553, 566, 570, 705 Cusick, Suzanne G 171, 507–8, 590, 802, mention 611 Cypess, Rebecca 43 Dahlhaus, Carl 172, 284, mention 70, 212 Dahms, Sybille 609, mention 45 Dalmonte, Rossana 805 Danckwardt, Marianne 509 Dangel-Hofmann, Frohmut 97 Data, Isabella 124 Davey, Laura 257 Davidson, Jane W. 350 Day, Christine J 539 Deacon, Theodore Ralph 540 Decker, Gregory J. 293 Degrada, Francesco 806, mention 54 Delfino, Antonio 285 Dell’Antonio, Andrew 807, mention 801, 809 Della Valle, Pietro 173, mention 137, 156, 191 Desquilbe, Fabienne 445 Dickinson, Alice 732 Dillon, César Arturo 578 Discogs 718 Dixon, Graham 652, 733 Dobrzanska-Fabianska, Zofia 74 Donington, Robert 351, mention 33, 355, 465 Downey, Peter 679 Drebes, Gerald 229, 323 Drouot, Valérie 446 Drummond, John D. 447 Dubowy, Norbert 521, mention 45 Dürr, Walter 187 Eberlein, Roland 653 Ellis, Mark 128 Ehrmann-Herfort, Sabine 96, 127, 336, 719 Einstein, Alfred 16, 808, mention 15, 277 El mundo clásico en la ópera de Monteverdi 44 Engelhardt, Markus 45 English National Opera 523 Fabbri, Paolo 75, 99, 258–9, 261, 286, 324, 352, 401, 541–2, 698, 779, mention 110, 215, 346, 608, 668 Fabris, Dinko 24, 230, 600 Fallows, David 654, 703 Fauser, Annegret 803

Index of Authors Federhofer, Hellmut 623 Fend, Michael 129 Fenlon, Iain 76, 155, 353, 402, 448–9, 543, 582, 610, 801, 809, mention 34, 457, 535–6, 652, 655 Ferand, Ernest T 755–6 Ferrand, Françoise 442, 450 Ferrari Barassi, E 337, mention 35, 54 Fessaguet, Isabelle 451 Fico, Lorenzo 130 Finscher, Ludwig 4, 46 Fischer, Kurt von 403, mention 54 Fleuret, Maurice 452 Flinois Pierre 544 Foreman, Edward 757 Forget, Marie-Christine 656 Fortune, Nigel 33–4, 188, 453, 758, mention 353, 485 Frangne, Pierre-Henry 159, 591 Freeman, David 454, mention 716 Fuller, Frederick 752 Gagné, David 312 Galilei, Vincenzo 131–3, mention 140, 142–3, 153, 179–80, 474, 669, 726 Gallico, Claudio 47, 77, 592, mention 35, 38, 54 Galliver, David 759 Gargiulo, Piero 60, 231–2, 287 Georis, Christophe 213 Gerbino, Giuseppe 189 Ghisalberti, Alberto M. 5 Gialdroni, Teresa M. 39, 678 Giannuario, Annibale 545, mention 369 Gianturco, Carolyn 78 Gianuario, Annibale 25, 369 Gidrol, D. 273 Giger, Andreas 6, 134 Ginot, Isabelle 455 Gioviale, Fernando 260 Giuliani, Roberto 720 Giuntini, Francesco 522, 546 Giustiniani, Vincenzo 780 Glixon, Beth 43, 383–6 Glixon, Jonathan 100, 386 Glover, Jane 456, mention 34, 454 Gordon, Bonnie 214, 611 Greenlee, Robert K. 760–1 Gregori, Gianpaolo 101 Guaccero, Dominico 79

233 Haar, James 135, mention 4, 696 Haenen, Grete 762 Hall, Frederick Albert 190 Hamard, Marie-Françoise 61 Hammerstein, Irmgard 233, mention 640 Hammerstein, Reinhold 215 Hanning, Barbara Russano 325, 354–5, 457, mention 400, 494 Haramaki, Gordon 216, 313, mention 49 Harnoncourt, Nikolaus 531, 721, mention 444, 473, 544, 552, 559, 562, 823, 830–1 Harrán, Don 136, mention 239 Hawthorne, Walter 699 Heller, Adalbert 234 Heller, Wendy 387–9, 547–50, mention 535, 798 Herreid, Grant 356 Heuillon, Joël 458 Hilmar, Elmar 7 Hilse, Walter 781 Hinton, Stephen 810 Hitchcock, H. Wiley 748, 763 Hoekstra, Gerald R 235 Holdford-Stevens, Leofranc 510 Holland, Dietmar 444 Holzer, Robert R. 137, mention 388 Horsley, Imogene 294 Howard, John Brooks 138 Hucke, Helmut 657, mention 54, 660, 665 Hughes, Eric 829 Hunkemöller, Jürgen 811 Hust, Gerhard 782 Invernizzi, Roberta 422 Jacobsen, Jens Peter 236 Jackson, Roland John 700–1, 734–5 Jenkins, Chadwick 174 Jessie, Mark Newman 217 John, Nicholas 404 Johnstone, Andrew 722 Joly, Jacques 551 Jung, Hermann 624 Kaleva, Daniela 511 Kang, You Young 625 Kelly, Thomas Forrest 357, 459 Kendrick, Robert L 680 Kennedy, Michael 552 Kennedy, Ruth Wedgwood 812

234 Kerman, Joseph 460–1 Kesting, Marianne 593 Kiel, Dyke 17 Kirkendale, Warren 358, 462 Kite-Powell, Jeffery T. 145, 702 Knighton, Tess 48, 703 Knights, Francis 49 Koldau, Linda Maria 21, 658, 681–3, 704, mention 118 Konold, Wulf 117 Krummacher, Friedhelm 553 Küster, Konrad 237, 326 Kurtzman, Jeffrey 50, 102, 118, 175–6, 327, 338, 463–5, 626–8, 659–64, 666, 684–6, 704, mention 406, 657, 679, 693 Le Coat, Gérard 596 La May, Thomasin 250, 288 Lamothe, Virginia Christy 466 La Via, Stefano 295, 467, 594–5 Lavin, Irving 601 Lawrence-King, Andrew 736, mention 350 Lax, Éva 26 Leclercq, Fernand 532 Lee, M. Owen 359 Legrand, Raphaëlle 360 Leibowitz, René 705 Leoni, Stefano A. E. 468 Leopold, Silke 22, 51, 80, 125, 139, 191, 238, 261–3, 334, 339, 469, 554, 737, 813, mention 444 Leppard, Raymond 571, mention 544, 559, 562, 705, 720 Lesure, François 12, 16 Levine, Alice 820 Lewis, Rachel A 555 Lewis, Susan Gail 192 Lincoln, Harry B 8 Link, Nathan 43 Lionnet, Jean 783 Lockwood, Lewis 665 Logu, Giuseppe de 119 Lüdtke, Karsten 706 Luzzi, Cecilia 256 Mabbett, Margaret Anne 193, 328 McClary, Susan 195, 406, mention 463, 491, 802 MacClintock, Carol 161, 707, 780, mention 132 MacDonald, Marianne 361 Mace, Dean T. 264

Index of Authors McGee, Timothy J. 472, 708 Maclean, Clare 814 MacNeil, Anne 120, 362, 512 Macy, Laura 194 Maffei, Giovanni Camillo 764, mention 747, 757, 772, 774 Magini, Alessandro 556 Mahling, Christoph-Hellmut 405 Malfitano, Catherine 557 Malkiewicz, Michael 612 Mamczarz, Irene 602 Mangani, Marco 9, 265 Maniates, Maria Rika 150, 177–8, mention 148 Marazzini, Claudio 266 Marchenkov, Vladimir Leonidovich 470 Mari, Licia 666 Markovic, Tatjana 471 Martinez, José Luiz 597 Martini, Alessandro 267 Maryland Opera Studio 523 Mazzotta, Giuseppe 363 Mehltretter, Florian 390 Mei, Girolamo 140–1, mention 143, 160, 179 Meier, Bernhard 667, mention 74, 300 Mellers, Wilfred 407 Metzger, Heinz-Klaus 52–3 Michot, Pierre 473 Mihelcic, Sonja 765 Miller, Peter N. 543, mention 535–6 Möller, Eberhard 784 Monterosso, Raffaello 54–5, 340, 474, 723 Monteverdi, Claudio 27, 422 Monteverdi, Giulio Cesare 28, mention 156, 160 Monteverdi, Le couronnement de Poppée 56–7 Monteverdi, L’Orfeo 58–9 Moore, James H. 629–30, mention 685 Morche, Günther 631–2 Morelli, Arnaldo 738, 766 Morey, Carl 364 Morgan, Jonathan 613 Morrier, Denis 475–6, 558–64 Mosch, Ulrich 815 Müller, Reinhard 477 Muir, Edward 365 Murata, Margaret 366, 633 Navarre, Jean-Philippe 30 Newcomb, Anthony 239, 668, mention 90, 696, 725

Index of Authors Nigl, Georg 422 Noccili, Cecilia 478 Nordon, Vincent 408 Noske, Frits 634 Nuchelmans, Jan 785 Ossi, Massimo 179, 240, 296–8, 306, 314–16, mention 168 Osthoff, Wolfgang 479–80 Owens, Jessie Ann 289 Paget, Laurie 241 Palisca, Claude V. 142–3, 150, 152, 154, 160, 179, 180–2, 372–3, mention 34, 130, 133, 140, 167 Paoli, Domenico de 29, 103, mention 31 Parisi, Susan Helen 104–8, 196 Parrott, Andrew 669–72, 709, mention 648, 651, 659, 722 Pascucci, Daphne 724 Pass, Walter 524 Passadore, Francesco 687 Patuzzi, Steffano 614 Pestelli, Giorgio 268, mention 54 Petrobelli, Pierluigi 299, 367, mention 54 Phelan, Peggy 481 Picard, Timothée 368 Piccioni, Emilia Bricchi 816 Pickett, Philip 482–3 Pinchard, Bruno 369 Piperno, Franco 197, 786 Pirrotta, Nino 60, 269, 370–1, 391, 409–10, 565, mention 54, 168, 275, 366, 395, 400 Pistone, Danièle 61 Poloni, Claudio 525 Pompilio, Angelo 270, 279, 698, mention 277 Poos, Heinrich 308 Porter, Andrew 513 Porter, William V. 514 Poterack, Kurt R. 817 Povoledo, Elena 371, 411 Powers, Harald Stone 300, mention 722 Powers, Katherine Susan 341 Praetorius, Michael 144–5, mention 669, 794 Preti, Paolo 109 Pride, Margaret J. 301 Privitera, Massimo 302 Prunières, Henry 81 Pryer, Andrew 309, 566, 818

235 Rainer, Reihn 52–3 Redlich, Hans Ferdinand 82, mention 35, 444, 822 Reijen, Willem van 567 Reiner, Stuart 603, mention 33 Ringer, Mark 412 Rintoul, Pamela Beth 688 RISM 8, 10–12 Roche, Jerome 198, 635–7, 639, mention 34 Rogers, Nigel 484, mention 831 Rolland, Romain 485 Rooley, Anthony 725, mention 702 Root, Deane 13 Rorke, Margaret Ann 342 Rosand, Ellen 374, 392, 413–5, 515, 526–8, 568–70, mention 43, 346, 352, 393, 536 543, 735, 802 Rose, Stephen 787 Rosenthal, Albi 583, 819, mention 581 Rosenthal, Harold 571 Roste, Vaughn 638 Roughol, Sophie 486 Russo, Annonciade 30 Russo, Paolo 253 Russomanno, Stefano 487 Sabaino, Daniele 690 Sadie, Stanley 14, 696 Saint-André, Pascale 572 Salzer, Franz 303 Sánchez-Archidona, María 573 Sanford, Sally 767 Sansone, Matteo 375 Santagata, Marco 272 Sarcina, Paola 768 Sartori, Claudio 16, 820 Saunders, Steven 329, mention 328 Savage, Roger 375 Saxer, Marion 488 Scacchi, Marco 182, mention 186, 247, 623, 781, 792, 794 Schaal, Susanne 146 Schalz, Nicolas 673 Schedensack, Elisabeth 183 Scherliess, Volker 821 Schick, Hartmut 199 Schick, Paul Christopher 242 Schiltz, Katelijne 726 Schindler, Oskar 771, mention 54

236 Schlazer, Karheinz 10 Schmalzriedt, Siegfried 304, 416 Schmid, Bernhold 615 Schmidt, Lothar 147, 310 Schneider, Herbert 822 Schneider, Magnus Tessing 574 Schneider, Michael 823 Schrade, Leo 83, mention 811 Schröder, Dorothea 575 Schulze, Hendrik 393 Schwab, Heinrich 788 Schwindt, Joel 489–90 Schwob, Rainer J. 824 Scott, Derek 577 Segell, Glen 491 Segerman, Ephraim 739–40 Seidel, Wilhelm 492 Seifert, Herbert 789, mention 45 Selfridge-Field, Eleanor 200, 741 Sempé, Skip 727 Sevieri, Maria Paola 530 Sherr, Richard 769 Siegele, Ulrich 305 Simon, Roger 273 Sirch, Licia 243, 742 Soldini, Elisabetta 493, 542, 578, 779, mention 59, 475–6, 560 Solomon, Jon 494 Sommerfield, David 825 Sopart, Andreas 307 Spiessens, Godelieve 84, mention 36 Sponheim, Kristin 343–4 Starobinski, Jean 576 Stattkus, Manfred H. 23, mention 17 Steele, John 691 Steinbeck, Wolfram 244, 579, 639 Steinheuer, Joachim 51, 121, 245, 495 Stenzl, Jürg 826 Sternfeld, Frederik W. 376–7, 496–7, mention 355 Steude, Wolfraum 790 Stevens, Denis 31, 85–7, 274, 330, 616–7, 728–30, mention 33–4, 54 Stockigt, Janice B. 791 Strainchamps, Edmond 516, mention 107 Stras, Laurie 246 Strunk, Oliver 27–8, 158, 173, 748, 808 Stubbs, Stephen 498

Index of Authors Sýkora, Pavel 331 Szweykowska, Anna 792 Szweykowski, Sygmunt M. 247, 793 Tagliaferri, Pietro 184 Tagmann, Pierre M. 674, mention 652 Tamburini, Elena 417 Tanay, Dorit 185 Tellart, Roger 88 Teo, Kian-Seng 248–9 Termini, Olga 394, 770 Theis, Claudia 640 Theweleit, Klaus 499 Tibaldi, Rodobaldo 40 Titone, Antonino 418 Tomlinson, Gary 89, 110, 148, 275–6, 378, 419, mention 113, 175, 185, 327, 684, 802 Torrisi, Adriane Mary 675 Treitler, Leo 27–8, 158, 173, 748 Tsugami, M. 827 Tyrrell, John 14 Uberti, Mauro 771–2, mention 54 Vacchelli, Anna Maria 111, mention 54, 92 Van, Gilles de 500–1, 771 Vassalli, Antonio 277–9, mention 270 Venturi, Gianni 280 Vetter, Edie 502 Vicentino, Nicola 149–50, mention 136, 162, 177, 302, 723, 726, 772 Vio, Gastone 112 Vogel, Emil 15–16, mention 2, 7, 819 Waczkat, Andreas 794 Wainwright, Jonathan P. 676, 795 Walker, Thomas 252, 347, 381 Watkins, Glenn E. 250 Watty, Adolf 113–14, 311, 317 Weiss, Peter, Eliot 379 Welker, Lorenz 290, 710 Werbeck, Walter 186 Westerlund, Gunnar 829 Whenham, John 62–3, 251, 332–3, 395, 420, 503–5, 677, 692–3, mention 34, 355, 460 Wiering, Frans 151

Index of Authors Wilbourne, Emily 380 Wilby, Philiph 828 Willetts, Pamela 201 Wilms, Bernd 830 Wistreich, Richard 63–4, 731, 773–7 Wollny, Peter 796 Woitas, Monika 598 Wolf, Uwe 345, mention 653 Wolff, Christoff 743

237 Youngren, William H. 831 Zacconi, Lodovico 778, mention 135, 723, 739–40, 757, 760–1, 768, 772 Zarlino, Gioseffo 152–5, mention 6, 27, 129, 130–1, 134, 136, 138, 151, 158, 166, 174, 180, 356, 669, 697, 726, 772–3, 778 Zeller, Hans Rudolf 832 Zoppelli, Luca 605

Index of Names and Places Indexes names and places that are given substantive treatment in the guide. The index excludes authors (except when addressed in annotations by others), editors, translators, publication information from citations, and names of characters from dramatic works. Where a name already appears in the Author Index, the reader is referred to that index. Numbers refer to entry numbers, not page numbers. Aaron, Pietro 6, 134 Accademia degli Incogniti 365, 382, 415, 535, 547–8, 568 Achillini, Claudio 602 Agazzari, Agostino, 498, 733 Agnelli, Scipione 580, 717, 310 Andreini, Giovanni Battista 120 Andreini, Isabella 362 Andreini, Virginia 380, 506, 120, Antwerp 84, 96, 192, 197, 235, 637, 785–6 Arcadelt, Jacques 69, 194–5, Ariosto, Ludovico 245, 254 Artusi, Giovanni Maria—see Author Index Badoaro, Giacomo 361, 374, 415, 519–21, 526–7, 543, Banchieri, Adriano 91, 645, 663, 671, 715 Bardi, Giovanni de’ 140 Bassano, Giovanni 747, 755–6 Bentivoglio, Cardinal Guido 24, 603 Bentivoglio, Enzo 599–60 Bernhard, Christoph 172, 182, 623, 781, 794 Bologna 196, 410, 693 Bondy, Luc 557, 798–9 Borromeo, Cardinal Carlo 335 Borromeo, Cardinal Federico 335, 342 Bottrigari, Ercole 6, 134, 161–2, 177–8, 302 Boulanger, Nadia 811, 832 Bovicelli, Giovanni Battista 747, 757, 760–1 Brancaccio, Giulio Cesare 775–6 Brescia 337–8, 341 Brown, Trisha 430, 455, 481 Brussels 96, 108, 455, 481, 521, 532, 557, 693 Busenello, Giovanni Francesco 56–7, 388, 390, 415, 526, 533–4, 540, 542–3, 547–9, 551, 556, 560, 567–8, 572, 574

Caberlotti, Matteo 91 Caccini, Francesca 294, 498, 508 Caccini, Giulio 156, 191, 196, 226, 291, 349, 360, 370, 423, 477, 495, 498, 723, 733, 748–9, 751, 759, 763, 773–4 Carissimi, Giacomo 625, 734 Caroso, Marco Fabritio 466, 598, 609 Cavalieri, Emilio de’ 127, 349, 358, 370, 495, 498, 607, 610 Cavalli, Francesco 219, 347, 366, 370, 382, 388, 515, 537, 556, 570, 618, 629, 695 Cerone, Pietro 144, 669, 726, Cesari, Gaetano 92, 816 Chiabrera, Gabriello 191, 215, 253, 258, 261–2, 269, 271, 278, 297, 306–7, 484, 581 Copenhagen 192, 197, 786 Coppini, Aquilino 335–6, 342, 345, 820 Corboz, Michel 442, 473, 831 Cortellini, Camillo 231, 287 Cremona 20, 38, 50, 65, 73, 75, 96, 101–3, 112, 117, 662, 678, 712–3, 816 Croce, Giovanni 94, 194, 671 Croy, Charles-Philippe de 96 Dallapiccola, Luigi 367, 822, 830, 832 Dante, Alighieri 367 Dentice, Scipione 222, 225 d’Este family 99 D’India, Sigismondo 166, 221, 224, 293, 304–5, 509, 599, 603 D’Indy, Vincent 427, 453, 485, 562, 803, 822 Doni, Giovanni Battista 25, 115, 139, 143, 146, 179, 191, 478, 773 Faccone, Paolo 106 Ferrabosco, Domenico 246 239

240 Ferrara 24, 90, 170, 305, 411, 521, 600, 601, 603, 725, 780 Ferrari, Benedetto 226, 537, 553, 556, 570 Ferrari, Cherubino 99, 169, 357, 820 Festa, Constanzo 72 Ficino, Marsilio 127, 419, 470, 494 Fiorino, Gasparo 228, 230 Florence 106–7, 189, 362, 411, 439, 462, 542, 606–7, 610, 752, 780 Florentine Camerata 143, 358, 409 Fondazione Claudio Monteverdi 22, 55, 102 Fontei, Nicolò 121 Foucault, Michel 148, 175, 185, 195, Frescobaldi, Girolamo 24, 126, 173, 735 Gabrieli, Giovanni 194, 621, 631 Gagliano, Marco da 91, 107, 334, 356, 423, 607 Galilei, Galileo 113 Galilei, Vincenzo—see Author Index Gastoldi, Giovanni Giacomo 219 Gesualdo, Carlo 195, 232, 250, 338, 474, 735, 780, 804 Giordano II, Paolo (duke of Bracciano) 85 Giuliano, Marco da 484 Glarean, Heinrich 147, 154 Gluck, Christoph W. 359–60, 368, 435, 444, 460, 500–1, Gombert, Nicolas 665, 668, 699 Gonzaga, Carlo Emanuele 449 Gonzaga family 68, 104, 106, 582 Gonzaga, Ferdinand 59, 104–5, 107, 357, 448–9, 476, 582 Gonzaga, Francesco 59, 104–5, 124, 357, 448–9, 476, 512, 611, 615, 655 Gonzaga, Guglielmo 769 Gonzaga, Vincenzo I 84, 91, 96, 104–5, 108, 516, 666 Gonzaga, Vincenzo II 104 Grandi, Alessandro 219, 333, 618–20, 629–30, 635, 783 Guarini, Battista 89, 96, 194, 222, 225–7, 232, 239, 243, 247, 268–9, 279, 295—9, 302–3, 314, 355, 382, 467, 717 Guidiccioni, Lelio 173 Habsburg 45, 96, 251, 328–9, 686, 789 Handel, Georg Frederic 357, 374, 575, 695, 699, 782, 797–8, 812

Index of Names and Places Harnoncourt 444, 473, 544, 552, 559, 562, 823, 830–1 Heinichen, Johann David 70 Hindemith, Paul 421, 822–3, 832 Ingegneri, Marc’Antonio 218, 239, 241, 246, 285–6, 619 Jacobs, René 473, 544 Kapsperger, Giovanni Girolamo 210, 735, 793 Karajan, Herbert von 554 Kassel 311 Kircher, Athanasius 70, 793 Kraack, Erich 554 Krenek, Ernst 559, 822, 824 Landi, Stefano 360, 366, 435 Lassus, Orlande de 233, 235 Lawrence-King, Andrew—see Author Index Leonarda, Isabella 183 Leppard, Raymond 554, 559, 562, 571, 705, 720 Liège 96 Lippius, Johann 138 London 197, 201, 518 Lully, Louis 360 Lupo, Thomas 94 Luzzaschi, Luzzasco 232, 239, 761 Malipiero, Gian Francesco 17–8, 22, 50, 86, 92, 102, 427, 441, 559, 805, 809, 815, 821, 827, 830 Mantua 20, 24, 38, 45, 63, 65, 68, 73, 75, 90, 96, 103–8, 110, 115, 117, 124, 210, 349, 417, 422, 428, 431, 443, 462, 476, 521, 542, 582, 606–7, 613–14, 619, 635, 649, 651, 655, 666, 668, 674, 711, 713–14 Marazzoli, Marco 347, 716 Marenzio, Luca 69, 72, 94, 161, 189, 194–5, 222, 224–5, 227, 234, 239, 248–9, 268, 286, 293, 298–9, 305, 640, 780 Marino, Giambattista Marigliani (or Marliani), Ercole 124, 581, 583 Martinelli, Caterina 516 Mazzocchi, Domenico 190, 245, 347, 366 Mei, Girolamo—see Author Index Meier, Bernhard—see Author Index Melone, Annibale 178

Index of Names and Places Merula, Tarquinio 302, 339, 618, 689 Michi, Orazio 173 Modena 99, 340, 439, 487, 698 Monferrato, Natale 618, 632 Monteverdi, Giulio Cesare—see Author Index Mosto, Giovanni Battista 94 Naples 106, 381, 537 Negri, Cesare 466, 478, 598, 609 Nenna, Pomponio 225, 338 Nielsen, Hans 236 Niese, Danielle de 750 Nuremberg 192, 197, 786 Offenbach, Jacques 500–1 Ovid 434, 496, 502 Padua 365 Palestrina, Giovanni Pierluigi da 281, 474, 646, 761, 778, 782 Pallavicino, Benedetto 94, 219, 224, 243, 298, 305, 820 Parma 24, 411, 599–603 Pedersøn, Mogens 236 Penna, Lorenzo 70, 356, 734 Peri, Jacopo 89, 349, 355–6, 358–60, 370, 409, 423, 435, 451, 459, 472, 474, 477, 495, 500–1, 514, 759 Petrarch 69, 89, 133, 254, 256, 327, 341, 611, 690, 717 Petratti, Francesco 85 Phalèse, Pierre 84, 235, 785 Poliziano, Angelo 355, 359, 371, 407, 435, 472, 479, 488, 497, 500–1 Pontio, Pietro 144, 241 Praetorius, Michael—see Author Index Profe, Ambrosius 343–4 Quinziani, Lucrezio 94 Radesca, Enrico 196, 332 Rasi, Francesco 96, 108, 226, 462, 770 Renzi, Anna 384, 574, 770 Respighi, Ottorino 427, 805, 821–2 Rinuccini, Ottavio 89, 95, 276, 321, 349, 354–5, 375, 380, 409, 457–8, 472, 488, 496, 500, 506, 581, 606, 611, 615, 717 Rognoni, Francesco Taegio 751

241 Rome 24, 106, 411, 547, 592, 625, 668, 674, 789 Rore, Cipriano de 69, 121, 151, 195, 199, 206, 246, 300, 756, 761, 778 Rosenmüller, Johann 114, 796 Rossi, Luigi 173, 360, 366, 431, 435, 733 Rossi, Salomone 221–2, 224, 291, 294, 338 Rovetta, Giovanni 97, 514, 618, 620, 629, 632, 663 Sacrati, Francesco 346, 352, 374, 537, 553, 570 Sandberger, Adolf 421, 823 Sannazaro, Jacopo 189, 261 Scacchi, Marco 182, 186, 247, 623, 781, 792, 794 Schein, Johann Hermann 233, 639–40, 790 Schenker, Heinrich 292, 303, 312 Schönborn-Wiesentheid, Duke of 97 Schütz, Heinrich 186, 204, 220–1, 225, 229, 234, 237, 244, 311, 316–7, 323, 326, 624, 639–40, 790 Siefert, Paul 186, 794 Signorini, Raffaello 97 Spa 96 Stocker, Gaspar 136 Stravinsky, Igor 357, 461, 811 Striggio, Alessandro 25, 58–9, 95, 169, 354–5, 367, 409, 424–5, 431, 434, 437, 440, 444, 457–8, 460, 464, 467–8, 472, 475, 479, 481, 484, 488–91, 494, 496–7, 500, 502–5, 580–1, 614, 780 Strozzi, Barbara 119, 121 Strozzi, Giulio 121, 352, 374, 381, 604–5 Tasso, Torquato 89, 165, 170, 239, 245, 252, 254, 259–60, 264, 266, 269, 272, 277, 280–1, 290, 297, 302, 467, 586, 588, 592–5, 599, 602, 717 Teatro SS Giovanni e Paolo 384–5, 410, 539, 574, 743 Telemann, Georg Philipp 360, 368 Valle, Pietro della—see Author Index Vecchi, Orazio 72, 94, 196, 234, 286, 338 Venice 20, 38, 64, 65, 75–6, 87, 100–1, 103, 106, 117, 121, 210, 281, 311, 333, 347, 351, 365, 382, 384, 386–9, 391–3, 395, 410–11, 480, 521, 530, 537, 539, 542, 548,

242 584, 592, 604, 619–20, 625, 634–5, 641, 658, 680–1, 686–7, 711, 713, 715, 741, 745, 755, 773, 789 Venturi, Stephano 94 Verdelot, Philippe 69, 195 Verdi, Giuseppe 54, 705, 765 Viadana, Lodovico 498 Vicentino, Nicola—see Author Index Vienna 45, 210, 328, 411, 421, 521, 554, 686, 693, 824

Index of Names and Places Weelkes, Thomas 94, 249 Wert, Giaches de 69, 72, 94, 170, 194–5, 218–9, 224, 227, 239, 242, 246, 282, 284, 290, 298–9, 305 Wilbye, John 248 Willaert, Adrian 69, 133, 135, 151–2, 154, 166, 195, 242, 778 Zacconi, Lodovico—see Author Index Zarlino, Gioseffo—see Author Index