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Monteverdi Returns to Venice
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15384 |
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Section : |
THE ARTS
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| Issue
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12 / 1989 |
2,091 Words |
| Author
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Tom Pniewski
Tom Pniewski is a musicologist at Hunter College in New York. |
In 1613, Claudio Monteverdi, indisputably one of the major figures in Western music history, took over the most important musical position in Europe: maestro di cappella at the Basilica of St. Mark's in Venice. In the summer of 1989, just a little over 375 years later, a choir that has been acclaimed one of the finest in the world--England's Monteverdi Choir--celebrated its own silver jubilee with a world tour and a special concert recorded live in the same basilica, to be released during the Christmas season, featuring Monteverdi's dramatic Vespers of 1610.
St. Mark's has been attracting talent from all over Europe for hundreds of years, going back to the Flemish composer Adrian Willaert, who took the choral writing of the Netherlands south with him when he was brought to Venice in 1527. There he evolved the stately, polychoral music so ideally suited to the elaborate ceremonies and resonant acoustics of St. Mark's. This Venetian choral style spread all over Europe and was only supplemented in the early 1600s by another Venetian innovation: opera. Though the earliest experiment with operatic writing came from Florence, Monteverdi and Venice created opera as we know it today--a dramatic spectacle celebrating the singer and enthroning the voice. The three Monteverdi operas that survive from the dozen or so he probably wrote--Orfeo (1607), The Return of Ulysses, (1641) and The Coronation of Poppea (1642)--win greater audiences every year. Venice also saw the perfection of the concerto grosso form is in the works of Antonio Vivaldi, the son of a violinist employed by St. Mark's.
Flamboyant City
All these forms have their links with the
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