Monteverdi – Summary Sheet
Context / Background and Style






Monteverdi was a very important Italian composer who is often described as providing a
‘bridge’ between the Late Renaissance and Baroque musical styles.
His music is in the Seconda Pratica style of the Late-renaissance – the ‘second’; new;
secular, modern practice! This is where music was starting to be used in a freer and more
expressive way – as opposed to the old polyphonic sacred church-style that had dominated
western music up to this point. Music in the seconda pratica had much more emotional
intensity. It can be seen in this piece through the use of word-painting – where the music
reflects the words; and also through the expressive use of dissonance in places. Notice
though, that there are no performance directions anywhere on the score – all the
performance detail was indeed left up to the performers at this time!
This piece is a madrigal. This is a secular vocal work in a number of parts – usually
unaccompanied. It is in the ‘representational’ style – where the music ties in closely with
the words of the poem. Madrigals died out in the Baroque, so are specific to the Late
Renaissance style.
It was published in 1603 as part of Monteverdi’s 4th book of madrigals.
It would have originally been sung from separate part books rather than a full score. There
would have been no barlines in the original score wither – these have been added editorially.
It is a setting of a poem by Guarini – a well know poet at the time. The poem is translated
at the back of the anthology. It is about a lady being ‘wooed’! The poet basically does not
want to waste time – he says the lady’s refusal is killing him, and that they should make the
most of their time together! Remember that ‘Ohime’ can mean a sigh of frustration or
passion!
Resources / Timbres




For soloists on each of the 5 parts, rather than a choir in parts
For a mixed ensemble – secular music would have been for sops rather than trebles etc.
Canto (sop); Quinto (2nd sop); Alto; Tenor; Bass
The parts are quite technically demanding and so would have been written not for
amateurs, but for trained professionals – to entertain the wealthy and aristocratic in
small concerts!
Melody





There is much conjunct movement e.g. 31 and 32 (the bit we sang!)
There are often repeated notes – especially near the end
There are often small leaps – the interval of a falling third is crucial in the piece and
often used to represent the sigh of ‘ohime’ – falling thirds for the 1000 sighs near the
end.
It is mostly syllabic to give maximum clarity to the words.
There are some unusual and awkward intervals for the singers to sing at times though –
usually not heard of at this time! The canto sings a tritone at bar 12, and the bass sings
a 7th at 16.


There is also some chromatic writing, which again is rare for this time e.g. 16 – 17 the
quinto moves C-C#_D
Most of the parts have melodic material throughout.
Structure





The madrigal is through-composed – each phrase of the poem has new music.
There are 3 main sections – that can be seen through the texture more than anything
else.
Section 1: 1-19 – A gradual texture build from 3-5 part
Section 2: 20 – 38 – A different section, with a varied repeat of it too
Section 3: 39 – 67 – much is 5 part here
Rhythm






Diverse and varied rhythms – a feature of seconda pratica as opposed to prima (first)
pratica.
Rhythms can be influenced by the meaning of the text (word-painting) e.g. minim chords
used for the opening ‘ohime’ and also for ‘s’io moro’ (I die)
Some rapid quaver movement on ‘se tanto amate’ (if you love so much)
Also quavers used on ‘vita’ (life)
Accented syllables often occur on the strong beat e.g. ‘ohime’ – the accent is on the 2nd
syllable, as it would be spoken, not the first.
Quite a lot of homorhythm – where all parts move together e.g. ‘se tanto amate’ at the
start
Texture








Much variety and contrast here
5 parts often together e.g. on final page
3 part groups e.g. first few bars
Much dialogue between the parts – to represent the 2 lovers? E.g. final falling sequences
Some antiphonal e.g. 47+ (in the final section) is canto, quinto, bass, ‘answered’ by alto,
tenor, bass.
Some polypyhonic e.g. 24-28 between alto, cantus, and tenor.
Some homophonic e.g. 20-25 and much of the final section
Some imitation e.g. 39 – mas se cor mio.
Tonality





On the cusp of the establishment of the tonal system that we know. (Before that it was
a modal system).
Main key is G minor (with a partial key signature that was typical of the emerging tonal
scheme)
Modulations to Bb major – relative major.
Modulations to Dm (dominant).
So – modulations to related keys = typical of early baroque key relationships.
Harmony












Some recognisable root position chords, and 1st inversion triads.E.g. at cadence points
Many recognisable cadence points e.g. 10-11 imperfect in Dm, and 18-19 perfect in Dm.
Final cadence is a variant of a perfect cadence!
Lots of chord I and V (functional)
However, much striking dissonance which helps to illustrate the words, and also shows a
real departure from convention! E.g. an A clashes with the G chord in bar 2.
Often the dissonance is quite free and unprepared, which again helps to reflect the text
in places. E.g. 9ths between parts (G against an A) and also B against a C# - in bar 16.
Many false relations – often through following a tierce de Picardie at a cadence, with a
‘normal’ version of the chord I.
Striking chain of false relations 49-51 e.g. Bb near B natural; F followed immediately by
F#
Suspensions used e.g. 18 canto
Use of pedal notes near the end – tonic, and then dominant – both in the bass.
Unusual final cadence – a variation on a perfect cadence – IIIb – I.
Many perfect cadences decorated with the tierce de Picardie e.g. final chord is G major
Some modal chord progressions e.g. 29-33 uses chord natural VII (F chord in Gm) and also
VII-III
Word –Painting



‘vita’ at 40 – ‘light’
Falling third on ‘Ohime’ – throughout! Like a sigh! (Think of the intonation in the voice when
you say ‘oh dear’’ – it falls in exactly the same way!)
the music reflects the lyric ‘Why then so swiftly doom to endless night a wretch that
breathes ‘ah me’? from bars 10 to 20 through: Chromatic notes / tritone intervals / dissonances
/ awkward melodic lines e.g. leap of a 7 th in bass of 16


Bars 40 – 43 are about ‘if you grant me grace my lady bright’. The music reflects this more
upbeat lyric through: Some faster moving rhythms. In Bb major now. Some melismas. Full texture
The lyric for 47+ is ’10,000 times breathe out a soft ohime’. The music reflects this
through: Fast moving falling sequence 49-52 – lots of falling thirds like sighs! Homophonic now.
Different voice types paired together.




Rhythms can be influenced by the meaning of the text (word-painting) e.g. minim chords
used for the opening ‘ohime’ and also for ‘s’io moro’ (I die)
Some rapid quaver movement on ‘se tanto amate’ (if you love so much)
Also quavers used on ‘vita’ (life)
Accented syllables often occur on the strong beat e.g. ‘ohime’ – the accent is on the 2nd
syllable, as it would be spoken, not the first