Claudio Monteverdi
Claudio Giovanni Antonio Monteverdi was baptized in the church of SS Nazaro e Celso on the 15th of May 1567. His father Baldassare Monteverdi worked as an apothecary and his mother Maddalena Zignani had married him just a year before Claudio's birth. The young boy grew up in Cremona, a city close to the border of the Republic of Venice and near lands controlled by the Duchy of Mantua. No clear record exists of whether he joined the Cathedral choir or studied at Cremona University. His first published work appeared in 1582 when he was only fifteen years old. This set of motets for three voices described himself as the pupil of Marc'Antonio Ingegneri. Ingegneri served as maestro di cappella at Cremona Cathedral from 1581 until 1592. Musicologist Tim Carter deduces that Ingegneri gave him a solid grounding in counterpoint and composition. Monteverdi also learned to play instruments of the viol family and sing during these formative years.
Monteverdi entered the service of Duke Vincenzo I Gonzaga of Mantua around 1590 or 1591. He recalled in a dedication to the Duke that playing the vivuola opened the way into court service. The duke sought to establish his court as a musical center and recruited leading musicians like Giaches de Wert. When Wert died in 1596, Benedetto Pallavicino took over but Monteverdi remained highly regarded. He accompanied the Duke on military campaigns to Hungary in 1595 and visited Flanders in 1599. At Spa he encountered canto alla francese which may refer to French-influenced poetry by Gabriello Chiabrera. The turn of the 17th century brought controversy when Bolognese theorist Giovanni Maria Artusi attacked Monteverdi's music without naming him directly. Artusi published L'Artusi overo Delle imperfettioni della moderna musica in 1600 followed by a sequel in 1603. He condemned their use of harmony and innovations compared to orthodox polyphonic practice. Monteverdi refused to respond personally but found a champion in pseudonymous supporter L'Ottuso Academico. Eventually he replied in the preface to the fifth book of madrigals claiming duties prevented detailed reply.
Monteverdi auditioned for the post at San Marco Basilica in Venice following Giulio Cesare Martinengo's death in 1613. He was appointed maestro di cappella in August 1613 and received fifty ducats for expenses before being robbed by highwaymen at Sanguinetto. His principal responsibility involved recruiting, training, and managing about thirty singers and six instrumentalists. Among recruits was Francesco Cavalli who joined in 1616 at age fourteen. Monteverdi expanded repertory beyond traditional a cappella works to include modern style with continuo and other instruments. The Procurators raised his annual salary from three hundred ducats to four hundred in 1616. In 1625 Dutch diplomat Constantijn Huygens attended a Vespers service and wrote that he heard the most perfect music ever heard in his life. The work included four theorbos, two cornettos, two bassoons, one basso de viola of huge size, organs and other instruments. A series of disturbing events troubled his world around 1630 when Mantua was invaded by Habsburg armies. The plague carried to Venice led to over forty-five thousand deaths leaving population below one hundred thousand.
Duke Vincenzo's heir Francesco commissioned L'Orfeo for Carnival season 1607 with libretto by Alessandro Striggio. It received two performances in February and March 1607 featuring Rasi in the title role. The opera opens with a brief trumpet toccata followed by prologue introducing La musica with string ritornello. Act three dominates with Orfeo's aria Possente spirto e formidabil nume attempting to persuade Caronte to allow entry into Hades. Monteverdi made innovative use of polyphony extending rules beyond conventions observed in fidelity to Palestrina. He combined elements of traditional sixteenth-century madrigal with new monodic style where text dominates music. The music for L'Arianna is lost except for Lamento d'Arianna published as five-voice madrigal in sixth book 1614. This lament depicts Arianna's emotional reactions including sorrow anger fear self-pity desolation and sense of futility. Opening repeated words Lasciatemi morire accompanied by dominant seventh chord described as unforgettable chromatic stab of pain. Three surviving operas include Il ritorno d'Ulisse in patria first performed in Bologna 1640 and L'incoronazione di Poppea completed 1643.
Personal tragedies exacerbated strain during Mantuan years when wife died September 1607 and singer Caterina Martinelli died of smallpox March 1608. Monteverdi resented increasingly poor financial treatment by Gonzagas and retired to Cremona November 1608 seeking honorable dismissal unsuccessfully. Duke Vincenzo died the 18th of February 1612 leading to court intrigues and cost-cutting that dismissed Monteverdi and brother Giulio Cesare who returned almost penniless to Cremona. His son Francesco while student of law at Padua spent too much time with music so father moved him to University of Bologna. Change did not have desired result and Francesco joined choir of San Marco 1623. Other son Massimiliano graduated medicine but arrested by Inquisition Mantua 1627 for reading forbidden literature. Monteverdi sold necklace received from Duchess Caterina to pay for defense which proved successful. Money worries led visit to Cremona secure church canonry for himself. Younger brother Giulio Cesare also died probably from plague around 1630. Letters reveal anxiety about children's legal troubles affecting later career stability.
In his lifetime Monteverdi enjoyed considerable status evidenced by scale of funeral rites featuring royal pomp catafalque decorated in mourning surrounded by candles resembling night sky luminous with stars. This glorification was transitory as music rarely survived beyond initial performance circumstances quickly forgotten along with creator. German composer Heinrich Schütz possessed copy of Il combattimento and took up elements of stile concitato after visiting Venice 1628-1629. After 1650s name disappeared from contemporary accounts except Lamento prototype enduring well into eighteenth century. Wider interest began 1881 when Robert Eitner published shortened Orfeo score. Discovery of L'incoronazione manuscript 1888 and Il ritorno 1904 sparked critical attention. Vincent d'Indy staged all three operas first quarter twentieth century: L'Orfeo May 1911, L'incoronazione February 1913, Il ritorno May 1925. Italian poet Gabriele D'Annunzio lauded Monteverdi calling him divino Claudio purely Italian essence. Resuscitation gathered pace second half twentieth century reaching full spate general early-music revival 1970s emphasis turned towards authentic performance using historical instruments. Website Operabase notes five hundred fifty-five performances of operas one hundred forty-nine productions worldwide seasons 2011-2016 ranking Monteverdi thirtieth position all composers eighth for Italian opera composers.
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Common questions
When was Claudio Monteverdi baptized and where?
Claudio Monteverdi was baptized in the church of SS Nazaro e Celso on the 15th of May 1567. He grew up in Cremona, a city close to the border of the Republic of Venice.
Who taught Claudio Monteverdi counterpoint and composition?
Marc'Antonio Ingegneri served as maestro di cappella at Cremona Cathedral from 1581 until 1592 and provided Monteverdi with a solid grounding in counterpoint and composition. Musicologist Tim Carter deduces that Ingegneri gave him this training during his formative years.
What year did Claudio Monteverdi become maestro di cappella at San Marco Basilica?
Monteverdi was appointed maestro di cappella at San Marco Basilica in August 1613 following Giulio Cesare Martinengo's death in 1613. His principal responsibility involved recruiting, training, and managing about thirty singers and six instrumentalists.
Which opera by Claudio Monteverdi premiered in 1607 and who performed the title role?
Duke Vincenzo's heir Francesco commissioned L'Orfeo for Carnival season 1607 featuring Rasi in the title role. The work received two performances in February and March 1607 and opens with a brief trumpet toccata followed by prologue introducing La musica.
When did Claudio Monteverdi die and what happened to his reputation after his lifetime?
Claudio Monteverdi died around 1643 as indicated by the completion of L'incoronazione di Poppea in that year. After 1650s his name disappeared from contemporary accounts until wider interest began in 1881 when Robert Eitner published a shortened Orfeo score.