| |
partes
Título por Autor: Madrigals. Book VI – Parts
Instrumentação |
Cravo, Violoncelo, Contra Alto, Tenor, Baixo, Voz |
Composição para |
Quinteto |
Tipo de composição |
Partes |
Editora |
Ricciardo Amadino |
idioma |
Italiano |
dificuldade |
Advanced |
Complete score, for wind quintet
Título por Autor: Monteverdi - The Sixth Book of Madrigals (1614) (Complete)
Instrumentação |
Clarinete, Saxofone, Fagote, Oboé, Trombone baixo, Trombone tenor, Barítono, Corneta Alto, Corneta, Eufónio, Trompa francesa, Saxo, Trombone, Trombeta, Tuba, Chifre do Tenor, Clarinete baixo, Saxophone alto, Saxofone Tenor, Saxofone Barítono, Saxofone soprano, Bass Tuba |
Composição para |
Quinteto |
Tipo de composição |
Partitura completa, Partes |
movimento(s) |
1 para 13 de 13 |
Arrajador |
Mike Lyons |
Editora |
Mike Lyons |
dificuldade |
Advanced |
duração |
73'46 |
Gênero |
Clássico/Arranjo |
As part of my continuing project to transcribe Monteverdi's madrigals onto winds, here is the 6th book. In this book we see a much greater development towards dramatic representation. In a way, this book is divisible into two Scenes with a number of single items in between. The vocal lines are all much more complex and we can also see the beginnings of monodic writing appear in the semi-recit sections of some of the songs.
Also clearly developing are delineations of the voices into soloists and chorus. Several songs in this book are almost akin to arias, with clear soloistic writing for the higher voices (Cantus/Tenor).
The first four songs form a kind of introductory 'scena', which Monteverdi calls "Lamento d'Arianna". A little later, there is a set of 6 songs which he grouped together under the title "Sestina". A Sestina is a complex poem made up of 6 stanzas each of 6 verses with rules regarding hoe the last line of the first verse is repeated. Obviously, we are not using the lyrics, but we need to be aware of the structure so that when the music reappears we can treat it appropriately.
As with all things madrigalian, the lyrics are rife with double entendres, despite the fact that all of the lyrics deal with loss of one kind or another. Monteverdi uses some very close dissonances to describe death and release. Often with wrenching results for the harmony.
Please note, there are two extra parts for No.13, which is for 7 voices. Part 6 is an Alto voice (Horn/Alto Sax/Clarinet) and part 7 is a tenor voice (Trombone/Baritone/Tenor Sax/Euphonium).
No.01 Lasciatemi morire. Arrangement for quintet instruments
Título por Autor: Monteverdi Madrigals Book 6 - 01. Lasciatemi morire
Instrumentação |
Clarinete, Fagote, Oboé, Trombone baixo, Barítono, Corneta Alto, Corneta, Eufónio, Trompa francesa, Saxo, Trombone, Tuba, Clarinete baixo, Saxofone Tenor, Saxofone Barítono, Saxofone soprano |
Composição para |
Quinteto |
Tipo de composição |
Partitura completa, Partes |
chave |
Si (B) bemol maior |
movimento(s) |
1 para 1 de 13 |
Arrajador |
Mike Lyons |
Editora |
Mike Lyons |
dificuldade |
Medium |
duração |
1'55 |
Gênero |
Clássico/Arranjo |
As part of my continuing project to transcribe Monteverdi's madrigals onto winds, here is the 6th book. In this book we see a much greater development towards dramatic representation. In a way, this book is divisible into two Scenes with a number of single items in between. The vocal lines are all much more complex and we can also see the beginnings of monodic writing appear in the semi-recit sections of some of the songs.
Also clearly developing are delineations of the voices into soloists and chorus. Several songs in this book are almost akin to arias, with clear soloistic writing for the higher voices (Cantus/Tenor).
The first four songs form a kind of introductory scena, which Monteverdi calls "Lamento d'Arianna". The first of these is "Lasciatemi morire" which translates as "Let me die". There is almost a conversation between two groups of voices, with the tenor leading one group and the Cantus leading the other.
As with all things madrigalian, the lyrics are rife with double entendres. Monteverdi uses some very close dissonances to describe death and release.
No.02 O Teseo, Teseo mio. Arrangement for quintet instruments
Título por Autor: Monteverdi Madrigals Book 6 - 02. O Teseo, Teseo mio
Instrumentação |
Clarinete, Saxofone, Fagote, Oboé, Trombone baixo, Trombone tenor, Barítono, Corneta Alto, Corneta, Eufónio, Trompa francesa, Saxo, Trombeta, Tuba, Chifre do Tenor, Clarinete baixo, Saxofone Tenor, Saxofone Barítono, Saxofone soprano, Bass Tuba |
Composição para |
Quinteto |
Tipo de composição |
Partitura completa, Partes |
chave |
Si (B) bemol maior |
movimento(s) |
2 para 2 de 13 |
Arrajador |
Mike Lyons |
Editora |
Mike Lyons |
dificuldade |
Medium |
duração |
5'24 |
Gênero |
Clássico/Arranjo |
As part of my continuing project to transcribe Monteverdi's madrigals onto winds, here is the 6th book. In this book we see a much greater development towards dramatic representation. In a way, this book is divisible into two Scenes with a number of single items in between. The vocal lines are all much more complex and we can also see the beginnings of monodic writing appear in the semi-recit sections of some of the songs.
Also clearly developing are delineations of the voices into soloists and chorus. Several songs in this book are almost akin to arias, with clear soloistic writing for the higher voices (Cantus/Tenor).
The first four songs form a kind of introductory scena, which Monteverdi calls "Lamento d'Arianna". The second of these is "O Teseo, Teseo mio" which translates as "O Theseus, my Theseus. The young man is pleading with his lover to tell him that she wants him. Theseus is a reference to the ancient Greek demigod.
As with all things madrigalian, the lyrics are rife with double entendres.
No.03 Dove, dove è la fede. Arrangement for quintet instruments
Título por Autor: Monteverdi Madrigals Book 6 - 03. Dove, dove è la fede
Instrumentação |
Clarinete, Saxofone, Fagote, Oboé, Trombone baixo, Trombone tenor, Barítono, Corneta Alto, Corneta, Eufónio, Trompa francesa, Saxo, Trombone, Tuba, Chifre do Tenor, Clarinete baixo, Saxophone alto, Saxofone Tenor, Saxofone Barítono, Saxofone soprano, Bass Tuba |
Composição para |
Quinteto |
Tipo de composição |
Partitura completa, Partes |
chave |
Si (B) bemol maior |
movimento(s) |
3 para 3 de 13 |
Arrajador |
Mike Lyons |
Editora |
Mike Lyons |
dificuldade |
Medium |
duração |
2'48 |
Gênero |
Clássico/Arranjo |
As part of my continuing project to transcribe Monteverdi's madrigals onto winds, here is the 6th book. In this book we see a much greater development towards dramatic representation. In a way, this book is divisible into two Scenes with a number of single items in between. The vocal lines are all much more complex and we can also see the beginnings of monodic writing appear in the semi-recit sections of some of the songs.
Also clearly developing are delineations of the voices into soloists and chorus. Several songs in this book are almost akin to arias, with clear soloistic writing for the higher voices (Cantus/Tenor).
The first four songs form a kind of introductory scena, which Monteverdi calls "Lamento d'Arianna". The third song is "Dove, dove è la fede" which translates as "Where, O where is the faith/belief". The young man is questioning the lady's committment to him.
As with all things madrigalian, the lyrics are rife with double entendres. Monteverdi uses some very close dissonances to describe death and release.
No.04 Ahi ch' ei non pur risponde. Arrangement for quintet instruments
Título por Autor: Monteverdi Madrigals Book 6 - 04. Ahi ch' ei non pur risponde
Instrumentação |
Clarinete, Saxofone, Fagote, Oboé, Trombone baixo, Barítono, Corneta Alto, Corneta, Eufónio, Trompa francesa, Saxo, Trombone, Tuba, Chifre do Tenor, Clarinete baixo, Saxophone alto, Saxofone Tenor, Saxofone Barítono, Saxofone soprano, Bass Tuba |
Composição para |
Quinteto |
Tipo de composição |
Partitura completa, Partes |
chave |
Dó (C) maior |
movimento(s) |
4 para 4 de 13 |
Arrajador |
Mike Lyons |
Editora |
Mike Lyons |
dificuldade |
Medium |
duração |
4'31 |
Gênero |
Clássico/Arranjo |
As part of my continuing project to transcribe Monteverdi's madrigals onto winds, here is the 6th book. In this book we see a much greater development towards dramatic representation. In a way, this book is divisible into two Scenes with a number of single items in between. The vocal lines are all much more complex and we can also see the beginnings of monodic writing appear in the semi-recit sections of some of the songs.
Also clearly developing are delineations of the voices into soloists and chorus. Several songs in this book are almost akin to arias, with clear soloistic writing for the higher voices (Cantus/Tenor).
The first four songs form a kind of introductory 'scena', which Monteverdi calls "Lamento d'Arianna". A little later, there is a set of 6 songs which he grouped together under the title "Sestina". The final song from Lamento d'Arianna tanslates as "Ah! Who does not even answer! Ah! Who is deaf to my laments (pleas)" Another song of a young man being turned down by his lover.
As with all things madrigalian, the lyrics are rife with double entendres. Monteverdi uses some very close dissonances to describe death and release.
No.05 Zefiro torna e bel tempo rimena. Arrangement for quintet instruments
Título por Autor: Monteverdi Madrigals Book 6 - 05. Zefiro torna e bel tempo rimena
Instrumentação |
Clarinete, Saxofone, Fagote, Oboé, Trombone baixo, Trombone tenor, Barítono, Corneta Alto, Corneta, Eufónio, Trompa francesa, Saxo, Trombone, Trombeta, Tuba, Chifre do Tenor, Clarinete baixo, Saxophone alto, Saxofone Barítono, Saxofone soprano, Gravador tenor, Bass Tuba |
Composição para |
Quinteto |
Tipo de composição |
Partitura completa, Partes |
chave |
Fá (F) maior |
movimento(s) |
5 para 5 de 13 |
Arrajador |
Mike Lyons |
Editora |
Mike Lyons |
dificuldade |
Medium |
duração |
3'49 |
Gênero |
Clássico/Arranjo |
As part of my continuing project to transcribe Monteverdi's madrigals onto winds, here is the 6th book. In this book we see a much greater development towards dramatic representation. In a way, this book is divisible into two Scenes with a number of single items in between. The vocal lines are all much more complex and we can also see the beginnings of monodic writing appear in the semi-recit sections of some of the songs.
Also clearly developing are delineations of the voices into soloists and chorus. Several songs in this book are almost akin to arias, with clear soloistic writing for the higher voices (Cantus/Tenor).
The first four songs form a kind of introductory 'scena', which Monteverdi calls "Lamento d'Arianna". A little later, there is a set of 6 songs which he grouped together under the title "Sestina".
Song number 5 sits between Lamento d'Arianna and Sestina as a stand-alone song. "Zephyrs turn and bring good weather" A zephyr is a kind of fickle wind that can bring clouds or sunshine.
As with all things madrigalian, the lyrics are rife with double entendres.
No.06 Una donna fra I' altre. Arrangement for quintet instruments
Título por Autor: Monteverdi Madrigals Book 6 - 06. Una donna fra I' altre
Instrumentação |
Clarinete, Saxofone, Fagote, Oboé, Trombone baixo, Trombone tenor, Barítono, Corneta Alto, Corneta, Eufónio, Trompa francesa, Saxo, Trombone, Tuba, Chifre do Tenor, Clarinete baixo, Saxophone alto, Saxofone Tenor, Saxofone Barítono, Saxofone soprano, Bass Tuba |
Composição para |
Quinteto |
Tipo de composição |
Partitura completa, Partes |
chave |
Si (B) bemol maior |
movimento(s) |
6 para 6 de 13 |
Arrajador |
Mike Lyons |
Editora |
Mike Lyons |
dificuldade |
Medium |
duração |
3'23 |
Gênero |
Clássico/Arranjo |
Concertato nel Clavicimbalo
As part of my continuing project to transcribe Monteverdi's madrigals onto winds, here is the 6th book. In this book we see a much greater development towards dramatic representation. In a way, this book is divisible into two Scenes with a number of single items in between. The vocal lines are all much more complex and we can also see the beginnings of monodic writing appear in the semi-recit sections of some of the songs.
Also clearly developing are delineations of the voices into soloists and chorus. Several songs in this book are almost akin to arias, with clear soloistic writing for the higher voices (Cantus/Tenor).
The first four songs form a kind of introductory 'scena', which Monteverdi calls "Lamento d'Arianna". A little later, there is a set of 6 songs which he grouped together under the title "Sestina". Here, the 6th song is describing "One woman amongst the others, honest and beautiful". Now, there's flattery for you! There is a subtitle to this song "Concertato nel clavicembalo" - "Conducted from the harpsichord". Obviously, this is not possible in this transcription. The continuo part has been incorporated into the rests of all of the parts, without swamping the leading voices.
As with all things madrigalian, the lyrics are rife with double entendres.
No.07 A Dio Florida bella. Arrangement for quintet instruments
Título por Autor: Monteverdi Madrigals Book 6 - 07. A Dio Florida bella
Instrumentação |
Clarinete, Saxofone, Fagote, Oboé, Trombone baixo, Trombone tenor, Barítono, Corneta Alto, Corneta, Trompa francesa, Saxo, Trombone, Trombeta, Tuba, Chifre do Tenor, Clarinete baixo, Saxophone alto, Saxofone Tenor, Saxofone Barítono, Saxofone soprano, Bass Tuba |
Composição para |
Quinteto |
Tipo de composição |
Partitura completa, Partes |
chave |
Dó (C) maior |
movimento(s) |
7 para 7 de 13 |
Arrajador |
Mike Lyons |
Editora |
Mike Lyons |
dificuldade |
Medium |
duração |
4'10 |
Gênero |
Clássico/Arranjo |
As part of my continuing project to transcribe Monteverdi's madrigals onto winds, here is the 6th book. In this book we see a much greater development towards dramatic representation. In a way, this book is divisible into two Scenes with a number of single items in between. The vocal lines are all much more complex and we can also see the beginnings of monodic writing appear in the semi-recit sections of some of the songs.
Also clearly developing are delineations of the voices into soloists and chorus. Several songs in this book are almost akin to arias, with clear soloistic writing for the higher voices (Cantus/Tenor).
The first four songs form a kind of introductory 'scena', which Monteverdi calls "Lamento d'Arianna". A little later, there is a set of 6 songs which he grouped together under the title "Sestina".
This song immediately precedes Sestina and is another wooing song to a girl named Florida.
As with all things madrigalian, the lyrics are rife with double entendres.
No.08 Sestina. Arrangement for quintet instruments
Título por Autor: Monteverdi Madrigals Book 6 - 08. Sestina
Instrumentação |
Clarinete, Saxofone, Fagote, Oboé, Trombone baixo, Trombone tenor, Barítono, Corneta Alto, Corneta, Eufónio, Trompa francesa, Saxo, Trombone, Tuba, Chifre do Tenor, Clarinete baixo, Saxophone alto, Saxofone Tenor, Saxofone Barítono, Saxofone soprano, Bass Tuba |
Composição para |
Quinteto |
Tipo de composição |
Partitura completa, Partes |
movimento(s) |
8 para 8 de 13 |
Arrajador |
Mike Lyons |
Editora |
Mike Lyons |
dificuldade |
Advanced |
duração |
18'57 |
Gênero |
Clássico/Arranjo |
As part of my continuing project to transcribe Monteverdi's madrigals onto winds, here is the 6th book. In this book we see a much greater development towards dramatic representation. In a way, this book is divisible into two Scenes with a number of single items in between. The vocal lines are all much more complex and we can also see the beginnings of monodic writing appear in the semi-recit sections of some of the songs.
Also clearly developing are delineations of the voices into soloists and chorus. Several songs in this book are almost akin to arias, with clear soloistic writing for the higher voices (Cantus/Tenor).
The songs starting from no 8 form a set of 6 to which Monteverdi gave a separate title "Sestina" Within this set of songs Monteverdi creates a little dramatic episode which foreshadows many of the developments that we find in his early operas: Monody/recitative, dialogue between chorus and soloist, a tendency to give the high parts strong melodic lines and a clear division of the roles of the singers.
For the time being, until someone asks, I am not going to release the separate songs from Sestina individually as some of them are a little short.
A sestina is a complicated verse form of six stanzas each of six lines with rules about repeating the last line of the first stanza. The poetic form is of little use to us as instrumentalists, but the dramatic mourning, cries of anguish and the feelings of loss embodied in the music will come through regardless of the lack of words.
As with all things madrigalian, the lyrics are rife with double entendres.
No.09 Ohimè il bel viso. Arrangement for quintet instruments
Título por Autor: Monteverdi Madrigals Book 6 - 09. Ohimè il bel viso
Instrumentação |
Clarinete, Saxofone, Fagote, Oboé, Trombone tenor, Barítono, Corneta Alto, Corneta, Eufónio, Trompa francesa, Saxo, Trombone, Trombeta, Tuba, Chifre do Tenor, Clarinete baixo, Saxophone alto, Saxofone Tenor, Saxofone Barítono, Saxofone soprano, Bass Tuba |
Composição para |
Quinteto |
Tipo de composição |
Partitura completa, Partes |
chave |
Dó (C) maior |
movimento(s) |
7 para 7 de 13 |
Arrajador |
Mike Lyons |
Editora |
Mike Lyons |
dificuldade |
Medium |
duração |
4'15 |
Ano de composição |
1161 |
Gênero |
Clássico/Arranjo |
As part of my continuing project to transcribe Monteverdi's madrigals onto winds, here is the 6th book. In this book we see a much greater development towards dramatic representation. In a way, this book is divisible into two Scenes with a number of single items in between. The vocal lines are all much more complex and we can also see the beginnings of monodic writing appear in the semi-recit sections of some of the songs.
Also clearly developing are delineations of the voices into soloists and chorus. Several songs in this book are almost akin to arias, with clear soloistic writing for the higher voices (Cantus/Tenor).
The ninth song (counting the 6 parts of Sestina as one item) is "Ohime il bel viso" - "Alas! The pretty face" sees our young man trying to wheedle an encounter out of his lover. Complaining how much her beauty makes him mad with passion.
As with all things madrigalian, the lyrics are rife with double entendres. Monteverdi uses some very close dissonances to describe death and release.
No.10 Qui rise Tirsi. Arrangement for quintet instruments
Título por Autor: Monteverdi Madrigals Book 6 - 10. Qui rise Tirsi
Instrumentação |
Clarinete, Saxofone, Fagote, Oboé, Trombone baixo, Trombone tenor, Barítono, Corneta Alto, Corneta, Eufónio, Trompa francesa, Saxo, Trombone, Trombeta, Tuba, Chifre do Tenor, Clarinete baixo, Saxophone alto, Saxofone Tenor, Saxofone Barítono, Saxofone soprano, Bass Tuba |
Composição para |
Quinteto |
Tipo de composição |
Partitura completa, Partes |
chave |
Dó (C) maior |
movimento(s) |
10 para 10 de 13 |
Arrajador |
Mike Lyons |
Editora |
Mike Lyons |
dificuldade |
Medium |
duração |
6'23 |
Gênero |
Clássico/Arranjo |
As part of my continuing project to transcribe Monteverdi's madrigals onto winds, here is the 6th book. In this book we see a much greater development towards dramatic representation. In a way, this book is divisible into two Scenes with a number of single items in between. The vocal lines are all much more complex and we can also see the beginnings of monodic writing appear in the semi-recit sections of some of the songs.
Also clearly developing are delineations of the voices into soloists and chorus. Several songs in this book are almost akin to arias, with clear soloistic writing for the higher voices (Cantus/Tenor).
The first four songs form a kind of introductory 'scena', which Monteverdi calls "Lamento d'Arianna". A little later, there is a set of 6 songs which he grouped together under the title "Sestina".
This song, No 10 starts with the line "Here Tirsi laughed and wriggled under the two(twin?) stars of the beautiful Clorinda" I think you get the picture! We can see plenty of musical laughing and wriggling in the music with dotted rhythms and semiquaver runs. The top two voices are Clorinda (doing a fair amount of wriggling herself) while the bottom two take the part of Tirsi. There are places where all four voices give vent to an exclamation and where, presumably, the two lovers had to stop for breath! The original incorporates a very basic continuo part, which I have shared between the resting voices.
As with all things madrigalian, the lyrics are rife with double entendres.
No.11 Misero Alceo. Arrangement for quintet instruments
Título por Autor: Monteverdi Madrigals Book 6 - 11. Misero Alceo
Instrumentação |
Clarinete, Saxofone, Fagote, Oboé, Trombone baixo, Trombone tenor, Barítono, Corneta Alto, Corneta, Eufónio, Trompa francesa, Saxo, Trombone, Trombeta, Tuba, Chifre do Tenor, Clarinete baixo, Saxophone alto, Saxofone Tenor, Saxofone Barítono, Saxofone soprano, Bass Tuba |
Composição para |
Quinteto |
Tipo de composição |
Partitura completa, Partes |
movimento(s) |
11 para 11 de 13 |
Arrajador |
Mike Lyons |
Editora |
Mike Lyons |
dificuldade |
Medium |
duração |
6'32 |
Gênero |
Clássico/Arranjo |
As part of my continuing project to transcribe Monteverdi's madrigals onto winds, here is the 6th book. In this book we see a much greater development towards dramatic representation. In a way, this book is divisible into two Scenes with a number of single items in between. The vocal lines are all much more complex and we can also see the beginnings of monodic writing appear in the semi-recit sections of some of the songs.
Also clearly developing are delineations of the voices into soloists and chorus. Several songs in this book are almost akin to arias, with clear soloistic writing for the higher voices (Cantus/Tenor).
The first four songs form a kind of introductory scena, which Monteverdi calls "Lamento d'Arianna". There is another set of 6 forming a substantial scena which Monteverdi labelled "Sestina".
No 11 is a stand-alone song describing a young man, Alceo, unwilling to leave his lover (Lydia) to go on a long journey. This is much more in the character of a solo song for the tenor, with interjections from the 'chorus'.
As with all things madrigalian, the lyrics are rife with double entendres.
No.12 Batto qui pianse. Arrangement for quintet instruments
Título por Autor: Monteverdi Madrigals Book 6 - 12. Batto qui pianse
Instrumentação |
Clarinete, Saxofone, Fagote, Oboé, Trombone baixo, Trombone tenor, Barítono, Corneta Alto, Corneta, Eufónio, Trompa francesa, Trombone, Trombeta, Tuba, Chifre do Tenor, Clarinete baixo, Saxophone alto, Saxofone Tenor, Saxofone Barítono, Saxofone soprano, Bass Tuba |
Composição para |
Quinteto |
Tipo de composição |
Partitura completa, Partes |
chave |
Dó (C) maior |
movimento(s) |
12 para 12 de 13 |
Arrajador |
Mike Lyons |
Editora |
Mike Lyons |
dificuldade |
Medium |
duração |
4'31 |
Gênero |
Clássico/Arranjo |
As part of my continuing project to transcribe Monteverdi's madrigals onto winds, here is the 6th book. In this book we see a much greater development towards dramatic representation. In a way, this book is divisible into two Scenes with a number of single items in between. The vocal lines are all much more complex and we can also see the beginnings of monodic writing appear in the semi-recit sections of some of the songs.
Also clearly developing are delineations of the voices into soloists and chorus. Several songs in this book are almost akin to arias, with clear soloistic writing for the higher voices (Cantus/Tenor).
The first four songs form a kind of introductory scena, which Monteverdi calls "Lamento d'Arianna" and there is a second named group "Sestina".
This song, No 12, translates as "Betty, who cried, was imprisoned by Chloris the shepherd while he hunted a deer". Needless to say, it was for romantic reasons!
As with all things madrigalian, the lyrics are rife with double entendres. Monteverdi uses some very close dissonances to describe death and release.
No.13 Presso un fiume tranquillo. Arrangement for quintet instruments
Título por Autor: Monteverdi Madrigals Book 6 - 13. Presso un fiume tranquillo
Instrumentação |
Clarinete, Saxofone, Fagote, Oboé, Trombone baixo, Trombone tenor, Barítono, Corneta Alto, Corneta, Eufónio, Trompa francesa, Saxo, Trombone, Trombeta, Tuba, Chifre do Tenor, Clarinete baixo, Saxophone alto, Saxofone Tenor, Saxofone Barítono, Saxofone soprano, Gravador tenor, Bass Tuba |
Composição para |
Quinteto |
Tipo de composição |
Partitura completa, Partes |
chave |
Dó (C) maior |
movimento(s) |
13 para 13 de 13 |
Editora |
Mike Lyons |
dificuldade |
Medium |
duração |
5'0 |
Gênero |
Clássico/Arranjo |
As part of my continuing project to transcribe Monteverdi's madrigals onto winds, here is the 6th book. In this book we see a much greater development towards dramatic representation. In a way, this book is divisible into two Scenes with a number of single items in between. The vocal lines are all much more complex and we can also see the beginnings of monodic writing appear in the semi-recit sections of some of the songs.
Also clearly developing are delineations of the voices into soloists and chorus. Several songs in this book are almost akin to arias, with clear soloistic writing for the higher voices (Cantus/Tenor).
This is the final song in the book and it forms a kind of short scena all by itself. The words are very evocative and descriptive. The title translates as "By a tranquil river".
As with all things madrigalian, the lyrics are rife with double entendres.
Lamento d'Arianna. Arrangement for quintet instruments
Título por Autor: Monteverdi Madrigals Book 6 - Lamento d'Arianna
Instrumentação |
Clarinete, Saxofone, Fagote, Trombone baixo, Trombone tenor, Barítono, Corneta Alto, Corneta, Eufónio, Trompa francesa, Saxo, Trombone, Trombeta, Tuba, Chifre do Tenor, Clarinete baixo, Saxophone alto, Saxofone Tenor, Saxofone Barítono, Saxofone soprano, Bass Tuba |
Composição para |
Quinteto |
Tipo de composição |
Partitura completa, Partes |
chave |
Si (B) bemol maior |
movimento(s) |
1 para 4 de 4 |
Arrajador |
Mike Lyons |
Editora |
Mike Lyons |
dificuldade |
Medium |
duração |
15'0 |
Gênero |
Clássico/Arranjo |
This file consists of the first four songs of book six presented together under the title given by Monteverdi "Arianna's Lament".
The whole book is really about loss and grief and these songs became a tribute to Monteverdi's favourite singing pupil, Caterina Martinelli, who was to have sung the part of Arianna, but who died before the first performance.
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