 | Monteverdi, Claudio - "Zefiro Torna" for Bassoon Trio SV 251 Basson Trio |
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| Compositeur : | Monteverdi, Claudio (1567 - 1643) | ||
| Instrumentation : | Basson Trio | ||
| Genre : | Baroque | ||
| Arrangeur : Editeur : | MAGATAGAN, MICHAEL (1960 - ) | ||
| Date : | 1632 | ||
| Droit d'auteur : | Public Domain | ||
| Ajoutée par magataganm, 06 Avr 2013 Claudio Monteverdi (1567 - 1643) was born in Cremona, where he studied under Marc’Antonio Ingegneri, choirmaster of Cremona cathedral. He served at the Gonzaga court at Mantua from early1590 until 1612, and then as choirmaster of S Marco, Venice, from 1613 until his death in 1643. Monteverdi published two collections under the title Scherzi musicali, one in 1632 consisting mainly of solo songs with continuo, and the collection which dates from 1607. This was a period of both intense activity and great pressure for Monteverdi, the year which saw the production of his epoch-making opera Orfeo, but also one in which Monteverdi, underpaid by the court in Mantua and nursing an ailing wife (Claudia Monteverdi died on September 10, 1607), was experiencing great unhappiness. Two years prior to these events Monteverdi had issued another seminal work, his Fifth Book of Madrigals, a set which clearly established the composer as being in the forefront of radical moves that were guiding music toward the new Baroque style, the seconda prattica. In the preface to that book Monteverdi had mounted a spirited defense of his radicalism in the face of an attack by the conservative theoretician Giovanni Maria Artusi. The subject again taken up in the preface of the Scherzi musicali, which was written not by Monteverdi himself, but his brother Giulio Cesare. In this immensely important document Giulio clearly defines the differences between the old and new musical styles, which he terms the prima prattica and the seconda prattica, naming the representative composers of each. He goes on claim that the Scherzi musicali includes several works in modern French manner, which may be defined as the airy, dance-like pieces which characterize many of the works in the publication. It consists of 18 works scored for three voices and continuo, which according to the composer's preface are intended to be played by three viols and chittarone (a large lute), harpsichord or similar continuo. The character of the collection is immediately established in the opening song, "I bei legami," with its hemiola rhythms, a type of syncopation much employed by Monteverdi in his lighter pieces. Many of the songs of the Scherzi musicali inhabit the same pastoral world as the madrigals of Book Five; they include such popular songs as "Vaghi rai" and "Dolci miei sospiri." "Zefiro torna e di soavi accenti" (SV 251) is published in the collection Scherzi Musicali, and in the composer's Ninth Book of Madrigals (1632), most of the piece is in the form of a ciaccona or passacaglia, which uses a constantly recurring bass line. "Zephyr returns" is an English equivalent of the Italian phrase Zefiro torna. Specifically, Zephyr was the ancient Greek god of the west wind that is so characteristic of pleasant springtime weather. The verb torna means "does return, is returning, returns." The pronunciation is "TSEH-fee-roh TOHR-nah." The madrigal sets a sonnet by Ottavio Rinuccini, the poet who authored the librettos for the first two surviving operas, Peri's La Dafne and Euridice, as well as Monteverdi's lost opera, Arianna. The text concerns the west wind Zephyr that brings Spring and its attendant opportunities for romance, or at least dalliance. Here, as in many of his madrigals, Monteverdi's exceptionally fluid text-setting skillfully subverts the structure of the sonnet so that its poetic effusions seem spontaneously improvised rather than constructed according to strict formal standards. The catchy repeated figure of the ciaccona, the springy rhythms, and the graceful but florid vocal lines give the work an infectious exuberance. Although originally written for voice, I created this arrangement for Bassoon Trio. | |||
