Claudio Monteverdi His Life And Contributions Essay

7 July 2017

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Claudio Monteverdi: His Life And Contributions Essay, Research Paper

A comparing of two major Baroque composers: Claudio Monteverdi and Domenico Scarlatti

The intent of this paper is to analyse two Psalmss by Claudio Giovanni Antonio Monteverdi ( 1567-1643 ) and Giovanni Domenico Scarlatti ( 1685-1757 ) and comparison and contrast the two pieces to happen out how music changed throughout the Baroque period. While historiographers grouped music of the Baroque period together based on certain features, the music did non stay the same throughout the period, as it would non for any other musical clip period. Composers from different points in the Baroque period were chosen, but the things the two composers had in common were the state of abode and their nationality. Special attention was taken to take composers from the same state so that differences could non be accounted as being because of different chauvinistic manners.

The piece by Monteverdi, Confitebor tibi, Domine ( Psalm 110 ) , was a Psalm that was used as portion of the evensongs on Sundays. This peculiar Psalm is found in varied signifiers in the publication Selva morale et spirituale, published around 1640. This scene is set for four voices and solo soprano voice, and is accompianed by figured bass. The piece begins and ends in C major, with usage of really few accidentals. The accidentals in this piece were used to make a taking tone to the fifth or quinine water. The piece is largely homorhythmic and has a combination of polyphonic music and homophony. Occasionally there is a couple with the soprano and solo soprano lines. The piece is written in Latin, which was common pattern for the clip. There are no indicated kineticss, and there is usage of musica ficta. In the written text used in this paper, saloon lines were added since about none existed in the existent manuscript, and some corrections were made in the figure of remainders in some topographic points in the mark.

The Psalm composed by Scarlatti, called Laetatus amount ( Psalm 121 ) , is set for four voices ( SATB ) , figured bass, and solo soprano and alto lines. This piece is besides a portion of the evening star Psalms used in church. There is usage of imitative polyphonic music within the chorus parts and within the solo lines, but the chorus lines and solo lines did non copy eachother so in kernel, the piece is a couple and a chorus piece put together. There is figured bass nowadays throughout the Psalm scene. The text is really the text to psalm 122. There is octave duplicating in the bass, and the 5th occurs frequently since it was considered to be perfect or someway godly. What makes this psalm different from Scarlatti? s other Psalms is that it is the lone Psalm that exhibits an organized concerto manner. This Psalm is besides written in Latin, and has no indicated kineticss. It begins in D major, and switches to A and E major, and B and a minor throughout the scene, and ends back on D major. The piece does hold some ornamentation, dwelling of argued shakes. The statement comes from uneven markers on the original manuscript. Some people feel that the markers were merely hurriedly drawn shakes, while others feel they may really be mordants. In the written text listed here, they are all listed as shakes. There likely was non a batch of ornamentation put into the music because there was an thought that if the music became excessively frilly it took off from the sacred message it was supposed to direct.

While both pieces are a portion of each composer? s library of sacred mu

sic, they are in some respects non really much alike and in others they are really similar. There are the obvious things they have in common such as the fact that they are written in Latin. That is non excessively suprising sing some churches still used Latin as the primary linguistic communication in their services, even though in the Baroque period many churches began utilizing the slang so the frequenters would understand the services. Aside from that, Monteverdi, being more influenced by the Renaissance due to his clip of birth, demonstrates music patterns that are more declarative of the early Baroque with his usage of homophony throughout his scene of Psalm 110. It is obvious that Monteverdi used a blend of? old? and? new? manners of composing music, which makes him one of the great innovators in specifying the Baroque period. Monteverdi besides had musica ficta nowadays in his music, which was non in pattern by the terminal of the Baroque period and was truly a? remnant? from the Renaissance. Domenico Scarlatti demonstrates the progresss made throughout the Baroque period in his piece. He is able to utilize prima tones and disagreement as a consequence of Monteverdi? s slightly controversial composing manner. It is difficult to make up one’s mind how truly different the pieces truly are because the Psalm was non each composer? s best known work, since both composers are best remembered for their secular pieces, although each exhausted clip as the caput of the music at some kind of church. Monteverdi is best known for his books of madrigals. Scarlatti is best known for his binary-form sets of sonatas he composed while life in Portugal.

There is no earth-shattering decision to be drawn from the comparing of these two pieces. The patterned advance of the Baroque is punctually celebrated, and each composer has his definite manner. The nature of each piece is such that it is hard to make anything besides note the differences, since the pieces are so similar. But possibly that is what is most striking about the pieces. It is concluded that the pieces are similar because of the location of the composers in their formative old ages. It seems that indirectly Scarlatti may hold learned a batch from Monteverdi, since Monteverdi? s thoughts did go popular, so it may hold been a bad thought to seek to compare the two composers. Originally, the idea was that the composers would non be so much alike, since they belong to opposite terminals of the Baroque period. It seems that merely being from the same state influences how they write, even though both Monteverdi and Scarlatti had influences from other states, and they were non even the same states. It may be possible to track the patterned advance of the Baroque by comparing any two pieces by two composers.

Fabbri, Paolo. Monteverdi. Cambridge: Cambridge

University Press, 1994.

Kirkpatrick, Ralph. Domenico Scarlatti. Princeton:

Princeton University Press, 1953.

Leopold, Silke. Monteverdi: Music in Transition.

Oxford: Clarendon Press, 1991.

Monteverdi, Claudio. Rudolf Ewerhart, erectile dysfunction. Confitebor

tibi, Domine. Weisbaden: Breitkopf & A ; Hartel, 1998.

Sadie, Stanley, erectile dysfunction. The New Grove Italian Baroque

Masters. London: W.W. Norton & A ; Co. , 1984.

Scarlatti, Domenico. Laetatus amount. Stuttgart: Carus

-Verlag, 1988.

Sitwell, Sacheverell. A Background for Domenico

Scarlatti. Westport, CT: Greenwood Press, 1970.

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