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'In grembo a Citherea': the representation of ingenium and ars in Claudio Monteverdi's "Tempro la cetra"

Haramaki, Gordon

Early music, 2011-11, Vol.39 (4), p.503-518 [Periódico revisado por pares]

Oxford: Oxford University Press

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  • Título:
    'In grembo a Citherea': the representation of ingenium and ars in Claudio Monteverdi's "Tempro la cetra"
  • Autor: Haramaki, Gordon
  • Assuntos: Analysis ; Classical poetry ; Composers ; Composition (Music) ; Inspiration ; Love poetry ; Lyric poetry ; Marino, Giambattista ; Metaphor ; MONTEVERDI ; Monteverdi, Claudio (1567-1643) ; Music composition ; Musical criticism ; Musical register ; Musicology ; Opera ; Poetry ; Renaissance music ; Renaissance period ; Sonnets ; Vocal music ; Works
  • É parte de: Early music, 2011-11, Vol.39 (4), p.503-518
  • Notas: ObjectType-Article-2
    SourceType-Scholarly Journals-1
    ObjectType-Feature-1
    content type line 23
  • Descrição: Claudio Monteverdi's Tempro la cetra has often been described as an 'operatic prologue', both from the madrigal's opening position in the composer's Seventh Book of Madrigals (1619) and its format of strophes punctuated with instrumental ritornellos, similar to the prologues of early opera. This article suggests that the unusual form of this madrigal is based in the subject of Giambattista Marino's sonnet, which, while ostensibly about love, is actually about poetic inspiration. The classical concept of ingenium, the ' inspiration' sent by a muse, was a familiar concept during the late Renaissance, as were its constituent states of vacatio, the passive state of inspirational reception, and furoror, the active expression of that inspiration. In Tempro la cetra Monteverdi creates musical metaphors for vacatio and furor, with the pavan-like sinfonie and ritornellos symbolizing the communication with the divine in vacatio from the use of a pavan to depict theophany in contemporaneous opera and intermedii, and by the composer's reshaping of Marino's sonnet into a pseudo-improvisatory set of strophes to enact the idea of a rhapsode caught in the midst of poetic furor. Monteverdi, however, narratively enlarges the madrigal beyond Marino's theme of ingenium to address ars, the physical diligence and skill needed to bring inspiration to fruition, with the substantial instrumental sciolta that the composer inserts near the end of the piece. By contrasting the fast triple-metre sciolta with the moderate duple-metre pavan in the final sinfonía Monteverdi references the multi-dance form of the balletto suite to create a kinetic metaphor symbolizing both the differences and interconnection between idea and act. Using the classical conception of inspiration Monteverdi musically illustrates the idea that anyone may become a poet, and by shaping Marino's sonnet as a prologue the composer represents poetic creation as the prelude to change.
  • Editor: Oxford: Oxford University Press
  • Idioma: Inglês
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