Più gravi sospiri: Monteverdi, Marenzio December 2004
نویسنده
چکیده
After having listened to Luciano Berio’s recomposition of Mahler1 inside his own Sinfonia (1968), we can never listen again to the original Mahler in the same “pure” way. Our cummulative, historic (and creative) listening makes all cross-references at once each time we go back to either one. I feel that something very similar happened to me after having compared Marenzio’s 4-voice madrigal Zefiro torna with Monteverdi’s 5-voice version of the same Petrarch text. I had known Monteverdi’s Zefiro for quite a while, and only recently I have had contact with Marenzio’s version. So now, in my personal timeline as a listener, the earlier Zefiro (Marenzio, 1585) came to strongly change, or rather “amplify” the way I listen to the other (Monteverdi,1614).2 This paper will present a musical analysis of each of these pieces in terms of use of modes, texture, text setting and formal organization. By discussing their similarities and differences, we hope to demonstrate the following basic ideas: * Marenzio’s piece reflects many of the characteristic traits of the so-called prima prattica and uses a more clearly modal language; at the same time, his musical treatment of the text anticipates features of what Monteverdi would call seconda prattica; * Monteverdi’s piece serves as an example of the development of such seconda prattica principles: the new approach to the text and the subordination of music to it; new compositional devices
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تاریخ انتشار 2009