Monteverdi and the Italian madrigals

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Monteverdi and the Italian madrigals

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MOSTSVSEDI A m THE XTAIXAM M&BSISALS

A ThOSiS

Presented to th© Faculty of the Graduate School University of Southern California

In Fulfillment . of th© acquirements of th© Begre© Master of Music

hy

Marianna Bi Noto June 1950

UMI Number: EP61855

All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion.

0iss®fMi©ftPublishing

UMI EP61855 Published by ProQuest LLC (2014). Copyright in the Dissertation held by the Author. Microform Edition © ProQuest LLC. All rights reserved. This work is protected against unauthorized copying under Title 17, United States Code

ProQuest ProQuest LLC. 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, Ml 4 8 1 0 6 - 1346

,

M u

>sa

0 414

T h is thesis, w ritten by

under the guidance of h -& & . F a c u lty C o m m ittee, and approved by a l l its members, has been presented to and accepted by the C o u n cil on G ra d u ate S tudy and Research in p a r t ia l f u l f i l l ­ ment of the requirements f o r the degree of

Date.

June_195Q_

Faculty Committee

Chairman

TAWL&

OF

QOmmtB

CHAFFEE i*

xx.

FAOB

t m problem A m

* * ** * ** •*

%

Statement of the problem * * * * * * * * * ♦

1

Importance of study * *• * « ** * ♦ * * * * *

1

Sources of Information * * * * * * » * .« * *

2

Method of procedure * * * * ** * * * * * • *

2

Organisation of remainder of thesis * * * * *

3

omamizatwm

t m T H m m i m m s m & & h • . » . . » ,# . . . . . .

4

The Italian madrigal can he traced back: to the fourteenth century « . * * * * * » * .

XXX*

%

Earliest known examples , * * * * . * * * * *

4

The textual contact . * * * • * * * * * * * •

4

The ©tomology of the word * * * * * * * . * * The role of poetry * * * * * * * * * * * * *

3 5

Among the early composers* Francesco Lan&ini*

7

t m 0X3308383X0 mffiXQAL . * * * * * * * * * * ■

10

Sixteenth Century onward the leadership passed to the Italians * * « • * * * * * * * The madrigal composers of this early period

lO

are almost exclusively Metherlan&ers occupying positions at various small Italian courts *

11

The early madrigals were chiefly the work of Willaert and tois pupils * * * * * * * * The early madrigals were chiefly the work

11

of v/iliaert and his pupil© * * * * * * * ♦

12

ill namm

' m m

Glprlano de Bore m m tb© master responsible

IV*

for tli© sudden revolution in the madrigal

IS

MURSRZgO, OESUALBO ASJB MOHTEVEBpi * * * * * *

26

Luca Marenslo carried tb© madrigal to its culmination ♦ * *♦■#.* * v *■ ■*** '♦ * * *

V*

16

Carlo 0©sualdo da Venom' » * *

•* * * * * *

20

Claudio Montev©rdl

** *

» *

23

** *

* ■* W *

30

* *,* * * *

30

translation of °Cli Ami la Mia Vita” * • * « . *

32

Harmonic Analysis of uCh* Ami La Mia Vita” *

39

Humber 2# “a© per toavewi oiot©” > * * * * * »

44

Humber 3# "A ch© torn! 11 ben mio” » * *. « :♦

44

Humber 4, ”Amor per tua mere©”

*.* *

« * *

4S

Humber 5* “Bad soavl a carl” *

w* * ;* :* * *

45

Humber 6* ”s© pur non ti contenti” * * * * ,*

46

Humber V* “Fill! eara © amata” » ;*.» .♦ * * *

46

timber 8* ttFo£ che del oio dolor©” * * * * »

4?

Humber 9* "Fumla la Fastorella" (Prlma parte)

48

*

*

w *

*. ♦

A1M&XSX3 OF m O H K M L S OF VOLUME I

Humber 1, "da* Ami La Mia. Vita” *





Humber 10* ”Almo divine ra&gl©”* (Seconds ■parte)

* .*♦*#*♦•***** • * ♦ * *

49

Humber 21* "All*bora i p&stori t\rbtl% (Tersa part©)

* * * * * * * * •* # .* * 4 4 4 4 4 * **

49

Humber 22* ”S© nel partlr da voi”

**

** 50

Humber 13* ”fra mill© fismme” *. *

...** . * *

52

Humber 24t "Uselam ninfe homai” .*

* ..* *. * *

52

pahs

cmvtm

Number 15, "Quanta ord1 il laeeio"

** * * *

55

Humber 16, "la 7aga pastorella" * *

** * , #*

5%

Humber 17, "Amor ©*il tuo forir©" .*

.* ,# ,*...*

55

Number 18, "Donna $*io ©ire iroi”

mu

* ♦* * * .#.

56

Number 19., nAva® al ma nrnt t*smon . .%,♦.» .* .*

ST

Number 20,. "Hispoata” # « .*

, ,*„*.. .*...*

SB

Number 21, "dontra^riopesba" ,* .* .* ,# .* .* .*

56

Conclusion * * « •*. ■•■ * ■•*• # * ♦ ,#•.*= ,#■.#•.» .*

59

.,,, ,,

6o

Humber 1, "Non so i m m m sneer", {Prtma parte)

60

asaixsxs or m m m k h B or tolims ix

.*

Number 2, °s dieea t*wm mmp%mmLon^ {Bmmm&m part©).

* * *■ « ♦ * #

,•#.#•.*■

.*•

60

Translation of "Non mo l*m&m Anoor" ,* .* ,♦■ -♦

61

Hamonle Analysis of "Hon el I m & m aoeor13* .*

75

Number 3, ^"Betrea rillid© Mia1’

.,* .* ,♦..*,,*■ ,* .*■

77

Number 4, "Dololssiml legeml" * ,# * * *,* * ,*

77

Number 5, "Non giaeintl o mroisi**

& ,*

,*■.*

77

Number 6, "Intomo a due rermtsll^*1 .♦.#■

-■*■»

78

Number 7# ”Non eono in que&ii riw** « . » « * *

78

*Number 8, "Tutte le boecho belie11 * , * * • *

78

Number 9» "Donna nel mlo A t & v m n * , .♦* * *

79

Humber 10, "Quell1 ombra esser” **. , * * * *

80

Number 11, "Cantons© amor a caccia"

* **

80

,* *■ .*■■ m

81

.* » ♦

82

Number 12, "Mentre lo mirairo ftso" Number 13,. ttS© tu me X&sal" #, ,« «..* *

Number 14* "Saco mormorar lfonde"* * * # « •

83 ^

o m ffm

pm s

toiler IS*

boeea oside* * * • * * ■■* •* # * *

84

limber 16,

”Dolcemente dormlva” « ** * * * * *

108

Humber 8* "Fatten© pur oradel" (Frisia parte) *

108

Humber 9# "to tm* Xf sangue” (Seconda parte)

109

Humber 10* "Foe oh* ©lla"# Terse © ultima part©

109

Humber 11* "0 Frimairera" * * * *. *•* * * * «

110

Humber 12* "Perfidlssimo volte" *

** * ♦ * *

111

Humber 13* "Ob1!© non ttaalft * * * * * * * *

112

Humber 14* "Oeehl un tempo mia vita * * * * #

112

Humber 15# "tflvro fra 1 miel” (Prima part©} *

113

V i'

CHmSR

MOB Number 16# "Mb &qw &

o

lasm %

{Seconds part®)

113

Number IT# nXo pur verm"# (Tersa e ultima parte) Humber

7m*

* * * *. » * .*. * « * * * * *

* *. « *

11$

Humber 19, "Rlmanti in pace”, (prima parte) *

115

Humber 20, “On &*er dl morte% (Second© parte)

1X6

Conclusion * * *.. * * * * * * * * .* # «« * *

117

18*

"Lumi miei earl"

*.* * «, 114

*

* ♦ ,* *

ANALYSIS OF HIDRIOALS OF VOLUME 17

Number 1, nAb dolente partita” * # •

** * #

119

Humber 2* “Cor mlo mentro v% mire” *

** * *

121

Number %

** * *

122

*« * ♦

122

"Cor mio non morl? e meii**

Number 4, "Sfogatra m n 1© ©telle” » *

Translation of “Cor mlo non moPi? © mort”.# *

123

Harmonic Analysis of “Cor mlo non mort?e morl" 130 Number 5# “7olgea l'*anlm& ml&** * *

♦ * * * « 132

Number 6^ "Anisia mla pen&ona" * * *

* * .♦ * * 133

lumber 7#: “Che se tu ae* 11 cor mlo”* * * * « 133 Number 80 "Lucl serine e ohiare" Number %

*

“La piaga c#feo nel core”

Humber 1G, "Vol pur da me partite”

** * * *

134

** * # *

134

* * * * • 135

Number 11, “A ixn giro sol def begli occhl"* *

136

Number 12, "OMm© se tanto amat©11 * * * * * *

136

Number 13, ”Xo me ©on siorlnetta” * * * * * *

137

Number 14, “Quel augellln che canta”

** ♦ * 138

Number 1$, "Non pin guerra pietate"

* * ** *

139

Number 16, "Si chfio rorrei morire"

* * ** *

139

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OH*10 AMI LA MIA VITA

39 Volume X (pp. 1-4)

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,|„.gA^,AC^E. 3bD.Fj 1 VII VII II 3 Aug* (37) BbW I aB&a*DFA.Bbag ,w.l|'i. _ I i. VtTa.

C ne ^ la. .

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fhe same can be said for the alto* .measures- twenty—seven to forty-two which are repeated In reasons© forty-three .to fifty-

mim * flc-Cio |er- Tt> n < m St - 3-

CT

‘I q T~7* the so**rano*. aeound^oprano and tenors begin -eimuitaniously* Tbs alto enters -in oaasnre two and the basso enters, in mop,ssre eeron^i The soprano '1ms the following*

t L -r r t, y r M

i * f

p^fq \~~vv oi—

do'^^-'W

The iroiooa do

1

^ p H 'V Co'"'T^^^

not imitate each other*) The selection is

written in a poijrphettis aanaar** The toy Is #*grt miner and the tempo Is

mos0S#t*.t The final aadenee^ the ter**

monte progression let

*t 1,. 11^/ W*, f/ t/ 1/A‘ 'fester 3* Ashe, torsi ii ten mte* f pages 8«&0}*> TMs. piece

is

to ^F slow {lento}

and the soprano begins while all

other woicee rest, for three measures#.' The sonrano motif t

^S jW ' A

* I f ;; I ° I ^ | v | ^ = ihe. Vd

V>1 \ O' — 04N 4—* —g — a \ m & _ 5,1,0

ii

-

Co

i\

-

i 1.v

rv»o - r» -

fhe basso imitates tho' soprano motif 'and .enters te measnr©

■&&V&&*

The- 'fey is- ^d41 minor* fcaber

4mop 'per tns %££S85fr

ll*-!©) * The

genond soprand begins t ■*-=

fce=±

±— h |\- irvior p^^ rua.

1

i

± Q

ip^r roa. wertc. pcrrua,rvveiftLC-

fts© alto begins ^lt!i the asm© leap in mematsr© tno ?

A - e A9 —

i( g

r i

b r < ( J 1=^ = B * *-----' + u-, ^1----1

. f

per rua,Y «er«^

The

selection

=m

p trru a m e r« € r4‘

-begins in tfeo 'key Of- nF** major and ends oi the

major shord of cadence |

H

Tte harmonic progression in the final

0—F.f.W^A^C-/ P*»A~C-$. d—f—a/ A—

2?;* d—f—a/ F—

4^#-E//. Xtasber 5# Bacl eearl j>.carl* (pages 14-17)* . The text is by Ouarini * 7b© upper- four roiees begin aiimiltarsioumlj * the tempo being ^Andante ss©0 ao*V The basso roice enters In w m m m * e nine*

The soprano singst

mim t

r

o

i

e

e

.-sing*

o

'

w

h

Hto

i

n

l

e

e

X

t h . e

o

e

t

t

o

n

i

s

■to

r

e

s

t

h

e

t

s

t

h

e

l

o

w

e

r

toy of wgrf

flml, cadence toelwde&i X*v/ VX#- .Illy/ XV/ Vy* % / rav*./-#,

the alto 'begins

j d J 11 p :■ «l pi;*e_ m m vw\ c

. a n d

t

h

e

f

i

n

a

l

t

r

i

a

d

t o .

m

e

a

s

u

r

tortyHaiw to IMSSMt*. lumber 8* fbi oho del orio doiem* {pages fhto madrigal to a *,p&rody,,:T Pol she del mio dolors tmmto- ti oatri* asnore,*

libera mat.quest* aims non ^edraa* Fto cho per gl* oeshi torero*

X

&

&

8

&

*

n o

n

-

¥

©

r

g

a

1

1

o

o

r

s

J

.

fh© ' rtonlgimlft of this sttma was often set to haslet Fol.,.ohtl slo 1&FS& plant©* toon* ti'place taste Aselutii m i quest* occhi non Tre&rat, Fin ehe non mud! fuore * Chime* per gli oechi 11 tsuope*^ .

® Kinstoto*. or* elt»* p* 720*

e

Monteverdi begtos rather mrlon&ly in a snst&ined style tat la xmable to resist the tampiatioii to tetroduce certain lively canmomhta^Iita details*: tn M e choice of temts# Mantel imrdl fa imrprisfrglv Independent,*:

.a M

modern* Monteverdi has tftofo-*taarta€iy adopted the ©pi*-* ■'* ■grammatically 'pointed madrigal of.(3*mnini and Tasso and. their imitators:* and It la a rare and exceptional thing for- hi© to .set a sennet and scattea agafaJ10 Tfts teopo Is wl®nto,, $& -In too1*' and ends, -on tte major, triad Btaeber % Stela Is

trim- prl©^ Cragea

27~2S)■*' This selection Is [email protected]' a little cantata,* This' text:had, beer oat. tafor© hgr .&t&mgff'a Htoc#-. ftost ■pwhlistad in 15&§'*- It m o .the work of. AntoMo ill#** gretti and m o set''to mtsto as..early as 158@ by Pietro Blame as a cangem for a w&dfng eeleteatlon* *#WIih :%rtev0 rdi the piee# becomes a pastoral Idyl that tma the siring of a can*' soTOtta*^

The tempo is ^ikllegro gioeoB©^,* lb© time signs**

tare Is In common time and to ®eae«re-*six it changes to 3-S far three -measures* It retatas to common ti%@ in measure nine*. The hey- to fl# minors The.-,’ upper three voices begin as follows* the soprano-1 -hoe.., eJJ|* 11 IMd. » P* 721.

49 & -------

f cic vS"

( \ f V - lr \TV Vo

* *" \ 1"



t~ (*■"«--^ V - ---

la* p a - s r o - rel - U, - Tes

Itehor 19* Also di^lno tmmXp-* -Soooads parte* (jmgea 29*31'}* M I fltre voleee begin sismlhaniotisly outlining the felXm?if*g ehordat 0*13/ C**I£~i3/' 5NMC* d*f~&/ d*f*a/ and in measure fto the upper two wieea p j w Sm contrary motion while the lower wises sttatain lessor note ■vain©®*, Hhythmie imitation $©©&& to he present between the ireleas In measures seiren to thirteen#

^d i U

\ \T

\ t - 1

Ds I"la C ' Sa-^\T^ \ - ce. The keys include nf%n minor mn& *&** Elinor#,, The accidentals

included are

«»0 *h mtnraltr* ifellptero sarin'

the tempo as nteaio,r ma non troppe*1*

In measure telrt^teo the

tine algmtnpo la changed from common time to 3*0*- &nd the final cadence includes the following progression? X minor;

*ma jor/ F~A*C, XXX major# ©|or/ A-ci^E* V Major#.

X minor;

#X major tied oirer

to the last measure# Bomber 11# All^hora X fmstorl tnttl* Xorssa parte# (pages 32**35)-*■ 3?h© tenore opens with?

tj-v 'iji.1 fJ 3,1 ya.,-STO*' TvT' I i«te!-'^

&£1 otter rolees .eosi© ia on the fourth test to.

one*,

teit&itog the tertoro wise rhjtteieally* toe selection begins on .the fettoant tone*?. Accidental^ toetoie **'t£n*■ the leading tcrna*, sometimes ttb ffitoral** srarl ”o#%

toe .roieea

become more florid on the word tormt&i# ***

'Beg.ln.nteg

to rncmssite twemtf**Bto the teroret

cT

i-tTj\?»™

T

to measure %wenty**slght the word Is treated as s

^ ^ T T j l v t \ I L ir x^.

I If

— —

V FNVS

toe madrigal ends t#tth the tol'Imfing te&reonie progressions D-F?-A, V; Bb-(J-Bb» tl?

F/ D-F#-A, V/ Q-B-D^ T//„

2ha qulntc velce is used as a .second -sorfano* ■■Huabsy IS*'Be*1-ml -partly .Sa vol« (pas©s 36~3r). Fhe three upper voices panto* gateto and alto begin together and sing the root position of the tonic chord of lf0lt major# toe canto and alto novo to contrary motion while the gtiinto voice- moves to parallel thirds,#, to -measure three the two

voices cross and still fow in thirds for a few store tsea**sures* The rhythmic motif? A l> \ \ rs \HL

la found

in all the voices and all use the .&mm, pitch* se^sape nineteen 1b the alto vote© and measure thirty-two* thlrty-t^ur#

and fifty. In other

voices* The first phrase In cantot ■#-- » V #

t e

T

«

Se, rt«i pa-r

To

^2.

Aa- Vol

$ t i— ¥ r«a Vv'v-a-

M v*>

fho; tenor© enters In measure five .and the tamo In meamsre -twelve*, Malipiero writes thia in ooason tfe© wm& the Wm$m is ^tadant©% flam©:* {pages 39-41)* 'The

Jtumter ' 13#

voices enter poly$>bonleally with the canto voice Beginning ? t T* TT 7T f f o J t i

W

--- ^ VHiV^ »i«.er fu>^ -re* The madrigal ends on the major triad

The selection

Is in r,gl,:minor*:- Oteoma&las include *•#** flat*.

11If1 m**

twaS and %#***. The tempo aooording' to Mallpiero isgrattoi*-, ■ littmter IT# toor a *11 too- tertrs* {pages 5*M3?')* the alto and qulnto imitate their entrances? ^ t> e- a-j J l ~ s • I• )r ! tI" ft-n\c>r

v\\ Tuo {etri-ra-

The alto enters on the second beat and ttequinto on the fourth 'teat:* The canto -and tenors enter in measure tea# a

tenth apart!

toe hassa enters to laeasuro ate?

3>€S - se

k

^ c \ — ro Yw*rxi - r«-

tottattog toe tenons entrance to m&&mxp&. ttv&* toe marital eads on the m j o r triad i « M «

It I# written in **# ^toorv

fte accidentals tootoae *1#* whtmm 1* •If* ana *0* flat* toe tempo to ^taa&:ntof,* Hamher IS* t)omm sy.lc. Mira ' irol* {pagps. 58**603*

Ml*

piero msrlce the tempo a® w.Pintosto lento*1*. toe “basso toi—:t&tes toe canto to. their entrances*.

toe basso enters to measure threat

3>'a. S*i6 yv^i-v'd \/0\ ^ 1a-c ' *Th.e quinto ana alto enter together in measuro one*' fourth

irg ton®

which: usually lead# to the tonic is hoard

ofpotim S«tli0g it' is used as a pas&tos tone-, to aseerdin and descending passagpB# ifumhor 19*' Ar&o. si ma non

(pages 6t~$3) ,

quinto voice opens the mdrigal {second wise} 5 >e

}. Jj j-\ ftr~ 4 0 ym .

CT-U.

* E £ 3 ^yct-Tia. U - j -- a?3. ^



65

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