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</script> <script type="text/javascript"> window.doNotSellCallback = function() { var linkElements = [ 'a[href="https://wordpress.com/?ref=footer_blog"]', 'a[href="https://wordpress.com/?ref=footer_website"]', 'a[href="https://wordpress.com/?ref=vertical_footer"]', 'a[href^="https://wordpress.com/?ref=footer_segment_"]', ].join(','); var dnsLink = document.createElement( 'a' ); dnsLink.href = 'https://wordpress.com/advertising-program-optout/'; dnsLink.classList.add( 'do-not-sell-link' ); dnsLink.rel = 'nofollow'; dnsLink.style.marginLeft = '0.5em'; dnsLink.textContent = 'Do Not Sell or Share My Personal Information'; var creditLinks = document.querySelectorAll( linkElements ); if ( 0 === creditLinks.length ) { return false; } Array.prototype.forEach.call( creditLinks, function( el ) { el.insertAdjacentElement( 'afterend', dnsLink ); }); return true; }; </script> <script type="text/javascript"> window.google_analytics_uacct = "UA-52447-2"; </script> <script type="text/javascript"> var _gaq = _gaq || []; _gaq.push(['_setAccount', 'UA-52447-2']); _gaq.push(['_gat._anonymizeIp']); _gaq.push(['_setDomainName', 'none']); _gaq.push(['_setAllowLinker', true]); _gaq.push(['_initData']); _gaq.push(['_trackPageview']); (function() { var ga = document.createElement('script'); ga.type = 'text/javascript'; ga.async = true; ga.src = ('https:' == document.location.protocol ? 'https://ssl' : 'http://www') + '.google-analytics.com/ga.js'; (document.getElementsByTagName('head')[0] || document.getElementsByTagName('body')[0]).appendChild(ga); })(); </script> </head> <body class="post-template-default single single-post postid-1852 single-format-standard custom-background customizer-styles-applied primary secondary tertiary single-author fixed jetpack-reblog-enabled"> <div id="page" class="hfeed"> <header id="masthead" role="banner"> <div class="site-branding"> <h1 id="site-title"><a href="https://andrewlawrenceking.com/" title="Andrew Lawrence-King" rel="home">Andrew Lawrence-King</a></h1> <h2 id="site-description">Text, Rhythm, Action! (Historically Informed Performance) & The Flow.Zone </h2> </div> <a href="https://andrewlawrenceking.com/" rel="home"> <img id="header-image" src="https://andrewlawrenceking.com/wp-content/uploads/2013/08/copy-alk-huete-small2.png" width="269" height="252" alt="" /> </a> </header> <div id="main"> <div id="primary"> <div id="content" role="main"> <nav id="nav-above"> <h1 class="assistive-text section-heading">Post navigation</h1> <div class="nav-previous"><a href="https://andrewlawrenceking.com/2017/07/05/how-to-remake-monteverdis-arianna/" rel="prev"><span class="meta-nav">←</span> How – in what format- to remake Monteverdi’s Arianna?</a></div> <div class="nav-next"><a href="https://andrewlawrenceking.com/2017/08/29/how-to-study-monteverdis-operatic-roles/" rel="next">How to study Monteverdi’s operatic roles <span class="meta-nav">→</span></a></div> </nav> <article id="post-1852" class="post-1852 post type-post status-publish format-standard hentry category-arianna category-continuo category-historical-action category-history-of-emotions category-italian-baroque-harp category-moving-the-passions category-music-and-philosophy category-music-dance-swordsmanship category-rhythm category-text tag-agazzari tag-baroque tag-baroque-gesture tag-baroque-music tag-baroque-opera tag-continuo tag-early-music tag-early-opera tag-emotions tag-expression tag-hip tag-historical-action tag-history-of-emotions tag-muovere-gli-affetti tag-musica-recitativo tag-ornamentation tag-phrasing tag-rhythm tag-seicento tag-tactus tag-text"> <header class="entry-header"> <h1 class="entry-title">How – by what techniques – to remake Monteverdi’s Arianna</h1> <div class="entry-meta"> <span class="byline">Posted by <span class="author vcard"><a class="url fn n" href="https://andrewlawrenceking.com/author/andrewlawrenceking/" title="View all posts by Andrew Lawrence-King" rel="author">Andrew Lawrence-King</a></span></span> </div> <p class="comments-link"><a href="https://andrewlawrenceking.com/2017/08/21/how-by-what-techniques-to-remake-monteverdis-arianna/#comments">4</a></p> </header> <div class="entry-content"> <p>At the end of September 2017, OPERA OMNIA will present the premiere of Andrew Lawrence-King’s remake of Monteverdi’s lost masterpiece, <em>Arianna </em>(1608), performed by the young professionals and advanced students of the International Baroque Opera Project at Moscow State Theatre ‘Natalya Sats’. Read more about the project <a href="http://www.opera-omnia.net/arianna">here</a>. Singers, continuo, instrumentalists and technical theatre specialists may apply to take part, <a href="http://www.opera-omnia.net/arianna2017">here</a>.</p> <p> </p> <p><a href="https://andrewlawrenceking.com/wp-content/uploads/2017/08/arianna-the-masters-voice.png"><img data-attachment-id="1853" data-permalink="https://andrewlawrenceking.com/2017/08/21/how-by-what-techniques-to-remake-monteverdis-arianna/arianna-the-masters-voice/" data-orig-file="https://andrewlawrenceking.com/wp-content/uploads/2017/08/arianna-the-masters-voice.png" data-orig-size="1025,428" data-comments-opened="1" data-image-meta="{"aperture":"0","credit":"","camera":"","caption":"","created_timestamp":"0","copyright":"","focal_length":"0","iso":"0","shutter_speed":"0","title":"","orientation":"0"}" data-image-title="Arianna The Master’s Voice" data-image-description="" data-image-caption="" data-medium-file="https://andrewlawrenceking.com/wp-content/uploads/2017/08/arianna-the-masters-voice.png?w=300" data-large-file="https://andrewlawrenceking.com/wp-content/uploads/2017/08/arianna-the-masters-voice.png?w=440" class="alignnone size-full wp-image-1853" src="https://andrewlawrenceking.com/wp-content/uploads/2017/08/arianna-the-masters-voice.png?w=440&h=184" alt="" width="440" height="184" srcset="https://andrewlawrenceking.com/wp-content/uploads/2017/08/arianna-the-masters-voice.png?w=440&h=184 440w, https://andrewlawrenceking.com/wp-content/uploads/2017/08/arianna-the-masters-voice.png?w=880&h=368 880w, https://andrewlawrenceking.com/wp-content/uploads/2017/08/arianna-the-masters-voice.png?w=150&h=63 150w, https://andrewlawrenceking.com/wp-content/uploads/2017/08/arianna-the-masters-voice.png?w=300&h=125 300w, https://andrewlawrenceking.com/wp-content/uploads/2017/08/arianna-the-masters-voice.png?w=768&h=321 768w" sizes="(max-width: 440px) 100vw, 440px" /></a></p> <p> </p> <p>The first article in this series explores “WHY remake <em>Arianna</em>” <a href="https://andrewlawrenceking.com/2017/06/15/why-remake-monteverdis-arianna/">here</a>. There are two parts to the question of ‘HOW’ to remake a lost baroque opera, focussing respectively on result and process: how should the result come out, what kind of work should it be? And how should that result be achieved, by what methodology? You can about the first part of this question, HOW – in what format – to remake <em>Arianna? </em><a href="https://andrewlawrenceking.com/2017/07/05/how-to-remake-monteverdis-arianna/">here</a>.</p> <p> </p> <p>In this present article I examine the second part of the HOW question: by what process. Having decided to make a new composition modelled on Monteverdi’s surviving c1608 works, I completed the score and uploaded it for participants last week. This post reveals my methodology: how I went about the job. In short, my motto throughout was</p> <blockquote><p>What might Claudio have done?</p></blockquote> <p>Prof Tim Carter’s inspiring book, <em>Monteverdi’s Musical Theatre </em>(2002), demonstrates solid academic techniques for investigating lost works, with considerable space given to his discussion of <em>Arianna </em>(1608), from which only the famous <em>Lamento</em> survives, published for solo voice and basso continuo, and in the composer’s arrangement for madrigal consort. It’s worth noting that neither of these versions matches descriptions of the 1608 production, in which the actress La Florinda performed the Lament accompanied by ‘violins & viols’, interspersed with commenting choruses from an ensemble of Fishermen. Thus, even the surviving music requires considerable compositorial intervention.</p> <p> </p> <p>As analysed by Tim Carter, Monteverdi’s letters reveal his various ways of working: sometimes he would begin with set-piece arias (especially if he already knew who the singer would be), sometimes he worked through the libretto from the beginning, often he left dances to the end (waiting for more information about how the dances should be structured). Sometimes he negotiated with his librettist to make the text more suitable for music-drama, sometimes he made bold changes to the poet’s work.</p> <p>More by chance than by plan, I ended up following all of these options. I began with a set-piece chorus and <em>aria passeggiata </em>at the beginning of Act V. By 1608, such a florid air is rather old-fashioned, but it remained the way for music-drama to demonstrate supernatural powers, at the entrance of a god -in this case, Amore (Cupid) – or where magic is at work – Arion’s aria in the 1589 Florentine <em>Intermedi</em>, or Orfeo’s display of the power of music, <em>Possente spirto</em>, in <em>Orfeo</em> (1607). We tried out this first sketch at an Opera Omnia workshop in Moscow, with an informal performance at Theatre ‘Natalya Sats’.</p> <p>After that first try out, I reviewed this excerpt and made a few changes. Amore’s <em>strali,</em> the burning rays of his arrows of love, might fly in whatever direction, but seicento settings tend to use downward <em>passaggi </em>to depict them. I adjusted the ornamentation accordingly. The polished version was dedicated to Jordi Savall and Maria Bartels and performed at the celebration of their marriage in Cardona, on 3rd June 2017.</p> <p>I then continued my composing with another set-piece aria, the Prologue for Apollo, modelled (as is the text, with all its references to the <em>cetera d’amore</em>) on La Musica’s prologue to <em>Orfeo</em>. Then I completed the choirs and dances for the remainder of the Act V finale. Later on I removed an introductory chorus I had added to this Act, replacing it with a Sinfonia and dances for the Entrance of Bacco, eloquently described in Follino’s eye-witness report:</p> <blockquote><p><em>Bacco</em>, with the beautiful <em>Arianna </em>and <em>Amore </em>in front, were seen to enter onto the stage on the left side of the stage, surrounded in front and behind by many couples of <em>Soldiers </em>dressed with beautiful arms, with superb crests on their heads. Once they were on stage, the instruments that were within began a beautiful aria di ballo, one part of the <em>Soldiers</em>danced a very delightful ballo, weaving in and out amongst themselves in a thousand ways; and whilst these danced, another part of the Soldiers took up the accompaniment of the sound and ballo with the following words: <em>Spiega omai, giocondo Nume / L’auree piume</em>;</p></blockquote> <p> </p> <p>This danced chorus has the same metric structure as the final chorus of Peri’s <em>Euridice </em>(1600), another Rinuccini libretto, similar also to Monteverdi’s setting of Striggio’s verses for <em>Orfeo</em></p> <p> </p> <blockquote><p><em>Ecco pur ch’a voi ritorno</em></p></blockquote> <p>Monteverdi and Peri set the triple-metre poetry under a ‘time-signature’ of C, which produces a slow measured dance, ideal for the solemn movements of this ‘ancient Greek’ style Chorus. More about Monteverdi’s proportional notation in <em>Tempus putationis – getting back to Monteverdi’s Time</em> <a href="https://andrewlawrenceking.com/2015/02/16/tempus-putationis-getting-back-to-monteverdis-time/">here</a>.</p> <p> </p> <p><a href="https://andrewlawrenceking.com/wp-content/uploads/2017/08/spiega-omai.png"><img data-attachment-id="1858" data-permalink="https://andrewlawrenceking.com/2017/08/21/how-by-what-techniques-to-remake-monteverdis-arianna/spiega-omai/" data-orig-file="https://andrewlawrenceking.com/wp-content/uploads/2017/08/spiega-omai.png" data-orig-size="656,538" data-comments-opened="1" data-image-meta="{"aperture":"0","credit":"","camera":"","caption":"","created_timestamp":"0","copyright":"","focal_length":"0","iso":"0","shutter_speed":"0","title":"","orientation":"0"}" data-image-title="Spiega omai" data-image-description="" data-image-caption="" data-medium-file="https://andrewlawrenceking.com/wp-content/uploads/2017/08/spiega-omai.png?w=300" data-large-file="https://andrewlawrenceking.com/wp-content/uploads/2017/08/spiega-omai.png?w=440" class="alignnone size-full wp-image-1858" src="https://andrewlawrenceking.com/wp-content/uploads/2017/08/spiega-omai.png?w=440&h=361" alt="" width="440" height="361" srcset="https://andrewlawrenceking.com/wp-content/uploads/2017/08/spiega-omai.png?w=440&h=361 440w, https://andrewlawrenceking.com/wp-content/uploads/2017/08/spiega-omai.png?w=150&h=123 150w, https://andrewlawrenceking.com/wp-content/uploads/2017/08/spiega-omai.png?w=300&h=246 300w, https://andrewlawrenceking.com/wp-content/uploads/2017/08/spiega-omai.png 656w" sizes="(max-width: 440px) 100vw, 440px" /></a></p> <p> </p> <p>With the beginning and end of the show safely committed to paper (or rather, saved in Sibelius music-writing software), I then worked through the whole libretto in order. I also went back over my tracks several times, catching errors and revising. In pre-planning, I looked for Rinuccini’s indications of aria or dance-metres. There are diegetic songs, entrances of Gods and sententious statements (all cues for aria) as well as hints from poetic metre for dance-rhythms or triple-metre aria. [The period meaning of the word <em>aria</em> begins with any repeating structure, especially rhythmic patterning]. Expressions of movement (in this opera, walking, running and sailing!) or strong emotions similarly give an excuse for more regular rhythm, even for the extra impetus of triple metre.</p> <p>Monteverdi’s practice in <em>Orfeo</em> was to reduce Striggio’s Act-end strophic choruses to a single strophe (sometimes this makes the text hard to understand). I considered this, since Rinuccini’s <em>Arianna </em>is much longer than <em>Orfeo</em>. But I was persuaded by Prof Carter (who has given generously of his time and energy to support this project), that with so much recitative implied by Rinuccini’s choice of styles, my remake would need every possible moment of musical interest, whether aria or chorus. After all, the first try-out in 1608 had been deemed “rather dry”, before the arrival of commedia dell’arte actress La Florinda in the title role, and various changes made by Rinuccini and Monteverdi.</p> <p>I may have gone slightly too far, in creating brief moments of what we might today call arioso in the midst of the long recitative scenes. But Monteverdi himself reported that in this work he came closer than ever to ‘the natural way’ to handle dramatic scenes: closer even than in <em>Ulisse </em>and <em>Poppea</em>, where he separated aria from recitative more self-consciously. And Rinuccini gives occasional hints: Consigliero hears the <em>note </em>(notes, i.e. musical aria) of Teseo’s heart in a speech that one might otherwise have assumed to be recitative.</p> <p>There was also something of a jigsaw-puzzle in distributing the various speeches of the <em>Pescatori </em>(Fishermen): which should be choral, which individual? This chorus has a similar function to the <em>Pastori </em>(Shepherds) in <em>Orfeo</em>, indeed Teseo’s first mention of them refers to a <em>pastore. </em>Prof Carter alerted me to subtle hints of contrasting character-types and awareness or lack of knowledge of previous action amongst individual members of this chorus. So I sketched out various distributions: my working notes refer to “Mr Happy = Tenor 1” and “Ms Miserable = Soprano” etc! I scored their speeches for 1-6 voices – the larger ensembles might well be doubled, according to contemporary information on the size of choruses.</p> <p>After completing the score, I calculated the required company of singers: my version can be performed with 10 singers (with a lot of doubling), but would be better with 14 (with some doubling, as suggested by period reports). This would correspond to the nine singers of the all-male Mantuan <em>capella </em>(SSS AA TT BB) plus a mixed-gender group of five guest soloists (including La Florinda as Arianna and Francesco Rasi doubling Apollo in the Prologue and Bacco in the Finale).</p> <p> </p> <h2>MODELLING TECHNIQUES</h2> <p> </p> <p>I took as my models Monteverdi’s compositions circa 1608, which include madrigals, the opera <em>Orfeo</em>, the <em>Ballo delle Ingrate</em>, the surviving <em>Lamento </em>and other pieces inspired by it, and even the 1610 <em>Vespers</em>. Specific references in Rinuccini’s text sent me again to <em>Orfeo, </em><em>Ballo delle Ingrate </em>and the madrigal <em>Sfogava con le stelle </em>as well as to Peri’s <em>Euridice </em>(1600) and the 1589 <em>Intermedi</em>. Peri’s description of his recitative, imitating the pitch contours of a declaiming actor over a bass defined by the changing emotions of the text, is reinforced by the latest work of musicologist Emily Wilbourne, which connects <em>Seventeenth-Century Opera and the Sound of the Commedia dell’Arte</em>. I also took note of Tim Carter’s observation that whilst Peri’s recitative tends to circle around, Monteverdi’s tends to go either up or down, and (noted by Carter and Wilbourne alike) often first up and then decisively down, in the most passionate moments.</p> <p> </p> <p>I deliberately pre-loaded my subconscious mind with lots of good examples, reviewing entire books of Monteverdi madrigals, directing a staged production of <em>Ballo delle Ingrate</em>, performing <em>Orfeo</em>, running a workshop on the <em>Lamento</em> and listening to live performances of <em>Sfogava </em>and other madrigals, in the three month period of thinking and composing. This time-period is comparable to Monteverdi’s speed of writing (although his work was often delayed by waiting for political and artistic decisions from his patrons). For the actual writing, I consciously employed techniques of cut-and-paste, pattern recognition, transformation, declamation and re-composition.</p> <p> </p> <h3>Cut and Paste</h3> <p>Monteverdi frequently uses precisely the same notes for particular words: the exclamation <em>ohime! </em>often falls from d to F# over an F# in the continuo bass. Where I recognised such words in Rinuccini’s libretto, I used the well-known formula. This procedure was applied only on the short term, usually a single word, perhaps a short phrase.</p> <p> </p> <div data-shortcode="caption" id="attachment_1861" style="width: 450px" class="wp-caption alignnone"><a href="https://andrewlawrenceking.com/wp-content/uploads/2017/08/signor.png"><img aria-describedby="caption-attachment-1861" data-attachment-id="1861" data-permalink="https://andrewlawrenceking.com/2017/08/21/how-by-what-techniques-to-remake-monteverdis-arianna/signor-2/" data-orig-file="https://andrewlawrenceking.com/wp-content/uploads/2017/08/signor.png" data-orig-size="648,538" data-comments-opened="1" data-image-meta="{"aperture":"0","credit":"","camera":"","caption":"","created_timestamp":"0","copyright":"","focal_length":"0","iso":"0","shutter_speed":"0","title":"","orientation":"0"}" data-image-title="Signor" data-image-description="" data-image-caption="" data-medium-file="https://andrewlawrenceking.com/wp-content/uploads/2017/08/signor.png?w=300" data-large-file="https://andrewlawrenceking.com/wp-content/uploads/2017/08/signor.png?w=440" class="wp-image-1861 size-full" src="https://andrewlawrenceking.com/wp-content/uploads/2017/08/signor.png?w=440&h=365" alt="" width="440" height="365" srcset="https://andrewlawrenceking.com/wp-content/uploads/2017/08/signor.png?w=440&h=365 440w, https://andrewlawrenceking.com/wp-content/uploads/2017/08/signor.png?w=150&h=125 150w, https://andrewlawrenceking.com/wp-content/uploads/2017/08/signor.png?w=300&h=249 300w, https://andrewlawrenceking.com/wp-content/uploads/2017/08/signor.png 648w" sizes="(max-width: 440px) 100vw, 440px" /></a><p id="caption-attachment-1861" class="wp-caption-text">Monteverdi ‘Orfeo’ & ALK ‘Arianna a la recherche’</p></div> <p>My setting of Arianna’s first speech borrows from Monteverdi’s setting of the same word as the opening speech for Proserpina in Act IV of <em>Orfeo</em>.</p> <p> </p> <h3>Pattern recognition</h3> <p> </p> <p>In the madrigal books, Monteverdi responds to texts that suggest (without necessarily citing precisely) verses he previously set, with music that recalls (without necessarily citing precisely) his earlier work. For example, the <em>Lettera Amorosa </em>with its paean to a woman’s red hair (La Florinda had red hair) frequently recalls moments from Arianna’s <em>Lamento. </em>Rinuccini’s libretto for the opera often suggests well-known texts, from his own work – <em>Ballo delle Ingrate (</em>also 1608), <em>Euridice </em>(1600) and the madrigal <em>Sfogava con le stelle </em>(1603) as well as from Striggio’s <em>Orfeo</em> (1607) and the Florentine <em>Intermedi </em>(1589). There are also very frequent cross-references within the libretto, with many parallel passages between Arianna’s Lament and the Nunzio’s description of her lamenting, Teseo’s meeting with Consigliero and the Pescatori’s report of that meeting, and images of sunrise and sunset.</p> <p>Of course, there may well be other references that escaped me, and we cannot know how many references Monteverdi would have noticed, or chosen to act on. I deliberately took every opportunity I found to make use of this pattern recognition. My score may therefore have more (not necessarily precise) citations than Monteverdi’s practice, but Rinuccini’s libretto has more (sometimes subtle) citations than other early operas.</p> <p>The words of Arianna’s Lament are referenced (in the previous scene ) by Nunzio Primo, and my setting follows Rinuccini’s lead.</p> <div data-shortcode="caption" id="attachment_1862" style="width: 190px" class="wp-caption alignnone"><a href="https://andrewlawrenceking.com/wp-content/uploads/2017/08/lamento-and-nunzio.png"><img aria-describedby="caption-attachment-1862" data-attachment-id="1862" data-permalink="https://andrewlawrenceking.com/2017/08/21/how-by-what-techniques-to-remake-monteverdis-arianna/lamento-and-nunzio/" data-orig-file="https://andrewlawrenceking.com/wp-content/uploads/2017/08/lamento-and-nunzio.png" data-orig-size="180,239" data-comments-opened="1" data-image-meta="{"aperture":"0","credit":"","camera":"","caption":"","created_timestamp":"0","copyright":"","focal_length":"0","iso":"0","shutter_speed":"0","title":"","orientation":"0"}" data-image-title="Lamento and Nunzio" data-image-description="" data-image-caption="" data-medium-file="https://andrewlawrenceking.com/wp-content/uploads/2017/08/lamento-and-nunzio.png?w=180" data-large-file="https://andrewlawrenceking.com/wp-content/uploads/2017/08/lamento-and-nunzio.png?w=180" loading="lazy" class="wp-image-1862 size-full" src="https://andrewlawrenceking.com/wp-content/uploads/2017/08/lamento-and-nunzio.png?w=440" alt="" srcset="https://andrewlawrenceking.com/wp-content/uploads/2017/08/lamento-and-nunzio.png 180w, https://andrewlawrenceking.com/wp-content/uploads/2017/08/lamento-and-nunzio.png?w=113&h=150 113w" sizes="(max-width: 180px) 100vw, 180px" /></a><p id="caption-attachment-1862" class="wp-caption-text">Monteverdi ‘Lamento’ & ALK ‘Arianna a la recherche’</p></div> <p>This technique of pattern recognition I used on various time-scales, single words, complete phrases or extended sections, according to the length of Rinuccini’s citation. His reference to the opening solo of the Florentine <em>Intermedi </em>is unmistakeable, and I similarly cite the corresponding music in my setting of Nunzio Secondo’s final speech.</p> <p> </p> <div data-shortcode="caption" id="attachment_1863" style="width: 450px" class="wp-caption alignnone"><a href="https://andrewlawrenceking.com/wp-content/uploads/2017/08/intermedi-and-nunzio-2.png"><img aria-describedby="caption-attachment-1863" data-attachment-id="1863" data-permalink="https://andrewlawrenceking.com/2017/08/21/how-by-what-techniques-to-remake-monteverdis-arianna/intermedi-and-nunzio-2/" data-orig-file="https://andrewlawrenceking.com/wp-content/uploads/2017/08/intermedi-and-nunzio-2.png" data-orig-size="960,615" data-comments-opened="1" data-image-meta="{"aperture":"0","credit":"","camera":"","caption":"","created_timestamp":"0","copyright":"","focal_length":"0","iso":"0","shutter_speed":"0","title":"","orientation":"0"}" data-image-title="Intermedi and Nunzio 2" data-image-description="" data-image-caption="" data-medium-file="https://andrewlawrenceking.com/wp-content/uploads/2017/08/intermedi-and-nunzio-2.png?w=300" data-large-file="https://andrewlawrenceking.com/wp-content/uploads/2017/08/intermedi-and-nunzio-2.png?w=440" loading="lazy" class="wp-image-1863 size-full" src="https://andrewlawrenceking.com/wp-content/uploads/2017/08/intermedi-and-nunzio-2.png?w=440&h=282" alt="" width="440" height="282" srcset="https://andrewlawrenceking.com/wp-content/uploads/2017/08/intermedi-and-nunzio-2.png?w=440&h=282 440w, https://andrewlawrenceking.com/wp-content/uploads/2017/08/intermedi-and-nunzio-2.png?w=880&h=564 880w, https://andrewlawrenceking.com/wp-content/uploads/2017/08/intermedi-and-nunzio-2.png?w=150&h=96 150w, https://andrewlawrenceking.com/wp-content/uploads/2017/08/intermedi-and-nunzio-2.png?w=300&h=192 300w, https://andrewlawrenceking.com/wp-content/uploads/2017/08/intermedi-and-nunzio-2.png?w=768&h=492 768w" sizes="(max-width: 440px) 100vw, 440px" /></a><p id="caption-attachment-1863" class="wp-caption-text">Cavalieri ‘Florentine Intermedi 1589’ & ALK ‘Arianna a la recherche’</p></div> <p> </p> <h3>Transformation</h3> <p> </p> <p>There is, to my mind, an important distinction between modelling (my intention) and contrafactum (a valid approach, but not my choice). For both techniques, it’s important that if the listener recognises the original, any associations evoked will be thoroughly supportive of the new context. With this aim in mind, I modelled the opening Sinfonia of my Prologue on Monteverdi’s <em>Tempro la cetra</em>: both are songs for solo tenor, in which the singer’s lyre accompanies songs of love, not of war. I avoided direct copying by switching modes from Monteverdi’s “G major” to “G minor”, more suited to the opening of Rinuccini’s <em>tragedia.</em></p> <div data-shortcode="caption" id="attachment_1864" style="width: 450px" class="wp-caption alignnone"><a href="https://andrewlawrenceking.com/wp-content/uploads/2017/08/tempro-la-cetra-and-prologue.png"><img aria-describedby="caption-attachment-1864" data-attachment-id="1864" data-permalink="https://andrewlawrenceking.com/2017/08/21/how-by-what-techniques-to-remake-monteverdis-arianna/tempro-la-cetra-and-prologue/" data-orig-file="https://andrewlawrenceking.com/wp-content/uploads/2017/08/tempro-la-cetra-and-prologue.png" data-orig-size="593,669" data-comments-opened="1" data-image-meta="{"aperture":"0","credit":"","camera":"","caption":"","created_timestamp":"0","copyright":"","focal_length":"0","iso":"0","shutter_speed":"0","title":"","orientation":"0"}" data-image-title="Tempro la Cetra and Prologue" data-image-description="" data-image-caption="" data-medium-file="https://andrewlawrenceking.com/wp-content/uploads/2017/08/tempro-la-cetra-and-prologue.png?w=266" data-large-file="https://andrewlawrenceking.com/wp-content/uploads/2017/08/tempro-la-cetra-and-prologue.png?w=440" loading="lazy" class="wp-image-1864 size-full" src="https://andrewlawrenceking.com/wp-content/uploads/2017/08/tempro-la-cetra-and-prologue.png?w=440&h=496" alt="" width="440" height="496" srcset="https://andrewlawrenceking.com/wp-content/uploads/2017/08/tempro-la-cetra-and-prologue.png?w=440&h=496 440w, https://andrewlawrenceking.com/wp-content/uploads/2017/08/tempro-la-cetra-and-prologue.png?w=133&h=150 133w, https://andrewlawrenceking.com/wp-content/uploads/2017/08/tempro-la-cetra-and-prologue.png?w=266&h=300 266w, https://andrewlawrenceking.com/wp-content/uploads/2017/08/tempro-la-cetra-and-prologue.png 593w" sizes="(max-width: 440px) 100vw, 440px" /></a><p id="caption-attachment-1864" class="wp-caption-text">Monteverdi ‘Tempro la cetra’ & ALK ‘Arianna a la recherche’</p></div> <p>Similarly, I took the walking bass from Monteverdi’s <em>Laetatus sum </em>in the 1610 <em>Vespers</em> as a model for Bacco’s triumphant appearance, transforming it from sacred G minor to an exuberant G major, which ends up recalling Orfeo’s triumphant return from hell, <em>Qual honor.</em></p> <p> </p> <div data-shortcode="caption" id="attachment_1865" style="width: 450px" class="wp-caption alignnone"><a href="https://andrewlawrenceking.com/wp-content/uploads/2017/08/vespers-and-bacco.png"><img aria-describedby="caption-attachment-1865" data-attachment-id="1865" data-permalink="https://andrewlawrenceking.com/2017/08/21/how-by-what-techniques-to-remake-monteverdis-arianna/vespers-and-bacco/" data-orig-file="https://andrewlawrenceking.com/wp-content/uploads/2017/08/vespers-and-bacco.png" data-orig-size="688,426" data-comments-opened="1" data-image-meta="{"aperture":"0","credit":"","camera":"","caption":"","created_timestamp":"0","copyright":"","focal_length":"0","iso":"0","shutter_speed":"0","title":"","orientation":"0"}" data-image-title="Vespers and Bacco" data-image-description="" data-image-caption="" data-medium-file="https://andrewlawrenceking.com/wp-content/uploads/2017/08/vespers-and-bacco.png?w=300" data-large-file="https://andrewlawrenceking.com/wp-content/uploads/2017/08/vespers-and-bacco.png?w=440" loading="lazy" class="wp-image-1865 size-full" src="https://andrewlawrenceking.com/wp-content/uploads/2017/08/vespers-and-bacco.png?w=440&h=272" alt="" width="440" height="272" srcset="https://andrewlawrenceking.com/wp-content/uploads/2017/08/vespers-and-bacco.png?w=440&h=272 440w, https://andrewlawrenceking.com/wp-content/uploads/2017/08/vespers-and-bacco.png?w=150&h=93 150w, https://andrewlawrenceking.com/wp-content/uploads/2017/08/vespers-and-bacco.png?w=300&h=186 300w, https://andrewlawrenceking.com/wp-content/uploads/2017/08/vespers-and-bacco.png 688w" sizes="(max-width: 440px) 100vw, 440px" /></a><p id="caption-attachment-1865" class="wp-caption-text">Monteverdi ‘Vespers’ (1610) & ALK ‘Arianna a la recherche’</p></div> <p> </p> <p>Cued by Rinuccini’s words <em>Faran del tuo bel crin ghirlanda d’oro </em>(They will make a golden garland of your hair), my violin-writing cites Monteverdi’s madrigal <em>Chiome d’oro </em>(Golden hair), which he himself borrowed from to set the Psalm <em>Beatus Vir.</em></p> <h3><strong>Declamation</strong></h3> <p> </p> <p>I declaimed aloud every single line of the libretto, searching for the best rhythms and pitch contours, accompanying my spoken recitation with historical gestures. I had not previously realised how significant the ‘language of gesture’ was for composers in this repertoire, as well as for performers. But Monteverdi’s letters, cited by Tim Carter, emphasise the need for strong gestures if there is to be good music, and Rinuccini’s libretto has Nunzio Secondo describe the silent eloquence of Bacco’s confrontation with Arianna. I had to correct my initial errors, and wrestle with challenging gesture-puzzles: lightning must strike downwards of course, but an emergence out of the deep sea must move upwards, yet somehow allow a low hand-position for the final word <em>profondo</em>. Once the gestures are decided, the music has to correspond.</p> <div data-shortcode="caption" id="attachment_1866" style="width: 303px" class="wp-caption alignnone"><a href="https://andrewlawrenceking.com/wp-content/uploads/2017/08/lampeggio.png"><img aria-describedby="caption-attachment-1866" data-attachment-id="1866" data-permalink="https://andrewlawrenceking.com/2017/08/21/how-by-what-techniques-to-remake-monteverdis-arianna/lampeggio/" data-orig-file="https://andrewlawrenceking.com/wp-content/uploads/2017/08/lampeggio.png" data-orig-size="293,130" data-comments-opened="1" data-image-meta="{"aperture":"0","credit":"","camera":"","caption":"","created_timestamp":"0","copyright":"","focal_length":"0","iso":"0","shutter_speed":"0","title":"","orientation":"0"}" data-image-title="Lampeggio" data-image-description="" data-image-caption="" data-medium-file="https://andrewlawrenceking.com/wp-content/uploads/2017/08/lampeggio.png?w=293" data-large-file="https://andrewlawrenceking.com/wp-content/uploads/2017/08/lampeggio.png?w=293" loading="lazy" class="wp-image-1866 size-full" src="https://andrewlawrenceking.com/wp-content/uploads/2017/08/lampeggio.png?w=440" alt="" srcset="https://andrewlawrenceking.com/wp-content/uploads/2017/08/lampeggio.png 293w, https://andrewlawrenceking.com/wp-content/uploads/2017/08/lampeggio.png?w=150&h=67 150w" sizes="(max-width: 293px) 100vw, 293px" /></a><p id="caption-attachment-1866" class="wp-caption-text">ALK ‘Arianna a la recherche’ </p> <p></p></div> <p><em>Lampeggio l’aere, e fuor del mar profondo… </em>(Lightning strikes through the air, and out from the deep sea…)</p> <p>Out from the deep sea come Nymphs and Divas, whose music in my setting recalls the Nymphs coming out to dance in the Ballo <em>Lasciate i monti </em>(Leave the mountains) from Monteverdi’s <em>Orfeo.</em></p> <p> </p> <h3>Re-composition</h3> <p>Although it is not specifically indicated in Rinuccini’s libretto, instrumental music is clearly required to delineate Act boundaries, to allow characters to enter or exit or as ritornelli between strophes of arias or choruses. Here, bolder compositorial action was necessary, since there was no text to inspire the modelling techniques described above. But the <em>affetto</em> (emotion) of the situation, and the identity of the characters onstage gives clear guidance: <em>battaglia </em>(battle) figures for Teseo and his Soldiers, pastoral recorders for the <em>Pescatori </em>(Fishermen), sad modes for Arianna. I wrote strophic variations on the <em>romanesca </em>ground for one chorus and imitated the extraordinary dissonances of Monteverdi’s madrigals for the Fishermen’s outburst of anger against Teseo <em>Ma tu, superbo altero </em>(But you, haughty and proud).</p> <p>My setting of Arianna’s aria of hope <em>Dolcissima speranza </em>is modelled on Monteverdi’s well-known song <em>Si dolce e’l tormento</em>, and I rework that material again as exit music for the lamenting princess. In another sinfonia for the protagonist, I take the thematic material of Josquin’s 4-voice <em>Mille Regretz</em> (one of those earlier chansons which were remembered in the 17th century and performed in new, ornamented settings) and rework it as a polyphonic fantasia for string quintet in the style of Monteverdi’s <em>prima</em> prattica.</p> <p><a href="https://andrewlawrenceking.com/wp-content/uploads/2017/08/mille-rimpianti.png"><img data-attachment-id="1868" data-permalink="https://andrewlawrenceking.com/2017/08/21/how-by-what-techniques-to-remake-monteverdis-arianna/mille-rimpianti/" data-orig-file="https://andrewlawrenceking.com/wp-content/uploads/2017/08/mille-rimpianti.png" data-orig-size="843,682" data-comments-opened="1" data-image-meta="{"aperture":"0","credit":"","camera":"","caption":"","created_timestamp":"0","copyright":"","focal_length":"0","iso":"0","shutter_speed":"0","title":"","orientation":"0"}" data-image-title="Mille Rimpianti" data-image-description="" data-image-caption="" data-medium-file="https://andrewlawrenceking.com/wp-content/uploads/2017/08/mille-rimpianti.png?w=300" data-large-file="https://andrewlawrenceking.com/wp-content/uploads/2017/08/mille-rimpianti.png?w=440" loading="lazy" class="alignnone size-full wp-image-1868" src="https://andrewlawrenceking.com/wp-content/uploads/2017/08/mille-rimpianti.png?w=440&h=356" alt="" width="440" height="356" srcset="https://andrewlawrenceking.com/wp-content/uploads/2017/08/mille-rimpianti.png?w=440&h=356 440w, https://andrewlawrenceking.com/wp-content/uploads/2017/08/mille-rimpianti.png?w=150&h=121 150w, https://andrewlawrenceking.com/wp-content/uploads/2017/08/mille-rimpianti.png?w=300&h=243 300w, https://andrewlawrenceking.com/wp-content/uploads/2017/08/mille-rimpianti.png?w=768&h=621 768w, https://andrewlawrenceking.com/wp-content/uploads/2017/08/mille-rimpianti.png 843w" sizes="(max-width: 440px) 100vw, 440px" /></a></p> <p> </p> <p>Perhaps the most delicate work was in Act IV Scene ii, where I had to compose new music for the commenting <em>Pescatori </em>as well as string accompaniments for Arianna herself, around the published music of Monteverdi’s <em>Lamento</em>. As a performer, I have always opposed the addition of editorial string accompaniments to basso continuo, so it was a strange experience to be tasked with writing such additional accompaniments myself. Modelling my work on Monteverdi’s string accompaniments to Clorinda’s speeches in <em>Combattimento </em>and on the last strophe of <em>Possente Spirto </em>in <em>Orfeo</em>, I gave Arianna the full complement of five strings (contemporary reports mention ‘violins and viols’ which probably means just small and large string instruments, but does suggest a full consort), but left sections with fast-changing harmonies to be accompanied by continuo alone. The resulting contrasts bring out both Arianna’s grandeur and her vulnerability, the essential elements of baroque tragedy.</p> <p> </p> <p>Of course, the proof of the pudding is in the eating, and I eagerly await the reactions of performers and audiences as they experience for the first time in four centuries Monteverdi’s famous <em>Lamento </em>in its original scoring with strings, and in a historically informed operatic context.</p> <p> </p> <div id="atatags-370373-6742cfd92b81b"> <script type="text/javascript"> __ATA.cmd.push(function() { __ATA.initVideoSlot('atatags-370373-6742cfd92b81b', { sectionId: '370373', format: 'inread' }); }); </script> </div><span id="wordads-inline-marker" style="display: none;"></span> <div id="atatags-26942-6742cfd92bbd2"></div> <script> __ATA.cmd.push(function() { __ATA.initDynamicSlot({ id: 'atatags-26942-6742cfd92bbd2', location: 120, formFactor: '001', label: { text: 'Advertisements', }, creative: { reportAd: { text: 'Report this ad', }, privacySettings: { text: 'Privacy', } } }); }); </script><div id="jp-post-flair" class="sharedaddy sd-like-enabled sd-sharing-enabled"><div class="sharedaddy sd-sharing-enabled"><div class="robots-nocontent sd-block sd-social sd-social-icon-text sd-sharing"><h3 class="sd-title">Share this:</h3><div class="sd-content"><ul><li class="share-facebook"><a rel="nofollow noopener noreferrer" data-shared="sharing-facebook-1852" class="share-facebook sd-button share-icon" href="https://andrewlawrenceking.com/2017/08/21/how-by-what-techniques-to-remake-monteverdis-arianna/?share=facebook" target="_blank" title="Click to share on Facebook" ><span>Facebook</span></a></li><li class="share-linkedin"><a rel="nofollow noopener noreferrer" data-shared="sharing-linkedin-1852" class="share-linkedin sd-button share-icon" href="https://andrewlawrenceking.com/2017/08/21/how-by-what-techniques-to-remake-monteverdis-arianna/?share=linkedin" target="_blank" title="Click to share on LinkedIn" ><span>LinkedIn</span></a></li><li class="share-email"><a rel="nofollow noopener noreferrer" data-shared="" class="share-email sd-button share-icon" href="mailto:?subject=%5BShared%20Post%5D%20How%20-%20by%20what%20techniques%20-%20to%20remake%20Monteverdi%27s%20Arianna&body=https%3A%2F%2Fandrewlawrenceking.com%2F2017%2F08%2F21%2Fhow-by-what-techniques-to-remake-monteverdis-arianna%2F&share=email" target="_blank" title="Click to email a link to a friend" data-email-share-error-title="Do you have email set up?" data-email-share-error-text="If you're having problems sharing via email, you might not have email set up for your browser. 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class="jp-relatedposts-headline"><em>Related</em></h3> </div></div> </div> <footer class="entry-meta"> <p class="cat-links taxonomy-links"> Posted in <a href="https://andrewlawrenceking.com/category/history-of-emotions/arianna/" rel="category tag">Arianna</a>, <a href="https://andrewlawrenceking.com/category/continuo/" rel="category tag">Continuo</a>, <a href="https://andrewlawrenceking.com/category/history-of-emotions/historical-action/" rel="category tag">Historical Action</a>, <a href="https://andrewlawrenceking.com/category/history-of-emotions/" rel="category tag">History of Emotions</a>, <a href="https://andrewlawrenceking.com/category/early-harps/italian-baroque-harp/" rel="category tag">Italian baroque harp</a>, <a href="https://andrewlawrenceking.com/category/history-of-emotions/moving-the-passions/" rel="category tag">Moving the Passions</a>, <a href="https://andrewlawrenceking.com/category/history-of-emotions/music-and-philosophy/" rel="category tag">Music and Philosophy</a>, 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Music</a>, <a href="https://andrewlawrenceking.com/tag/early-opera/" rel="tag">Early Opera</a>, <a href="https://andrewlawrenceking.com/tag/emotions/" rel="tag">Emotions</a>, <a href="https://andrewlawrenceking.com/tag/expression/" rel="tag">Expression</a>, <a href="https://andrewlawrenceking.com/tag/hip/" rel="tag">HIP</a>, <a href="https://andrewlawrenceking.com/tag/historical-action/" rel="tag">Historical Action</a>, <a href="https://andrewlawrenceking.com/tag/history-of-emotions/" rel="tag">History of Emotions</a>, <a href="https://andrewlawrenceking.com/tag/muovere-gli-affetti/" rel="tag">muovere gli affetti</a>, <a href="https://andrewlawrenceking.com/tag/musica-recitativo/" rel="tag">musica recitativo</a>, <a href="https://andrewlawrenceking.com/tag/ornamentation/" rel="tag">ornamentation</a>, <a href="https://andrewlawrenceking.com/tag/phrasing/" rel="tag">Phrasing</a>, <a href="https://andrewlawrenceking.com/tag/rhythm/" rel="tag">Rhythm</a>, <a href="https://andrewlawrenceking.com/tag/seicento/" rel="tag">seicento</a>, <a href="https://andrewlawrenceking.com/tag/tactus/" rel="tag">Tactus</a>, <a href="https://andrewlawrenceking.com/tag/text/" rel="tag">Text</a> </p> <p class="date-link"><a href="https://andrewlawrenceking.com/2017/08/21/how-by-what-techniques-to-remake-monteverdis-arianna/" title="Permalink to How – by what techniques – to remake Monteverdi’s Arianna" rel="bookmark" class="permalink"><span class="month upper">Aug</span><span class="sep">·</span><span class="day lower">21</span></a></p> </footer> </article> <div id="comments"> <h2 id="comments-title"> 4 thoughts on “<span>How – by what techniques – to remake Monteverdi’s Arianna</span>” </h2> <ol class="commentlist"> <li class="post pingback"> <p>Pingback: <a href="https://andrewlawrenceking.com/2018/03/20/opera-omnia/" class="url" rel="ugc">OPERA OMNIA – Music of the Past for Audiences of the Future | Andrew Lawrence-King</a></p> </li> <li class="comment even thread-even depth-1" id="li-comment-5857"> <article id="comment-5857" class="comment"> <footer> <div class="comment-author vcard"> <img alt='' src='https://graph.facebook.com/v2.9/100003817435505/picture?type=large&_md5=12612d2b47b852e28365b9e3cba734f2' srcset='https://graph.facebook.com/v2.9/100003817435505/picture?type=large&_md5=12612d2b47b852e28365b9e3cba734f2 1x, https://graph.facebook.com/v2.9/100003817435505/picture?type=large&_md5=12612d2b47b852e28365b9e3cba734f2 1.5x, https://graph.facebook.com/v2.9/100003817435505/picture?type=large&_md5=12612d2b47b852e28365b9e3cba734f2 2x, https://graph.facebook.com/v2.9/100003817435505/picture?type=large&_md5=12612d2b47b852e28365b9e3cba734f2 3x, https://graph.facebook.com/v2.9/100003817435505/picture?type=large&_md5=12612d2b47b852e28365b9e3cba734f2 4x' class='avatar avatar-47' height='47' width='47' loading='lazy' decoding='async' /> <cite class="fn"><a href="https://www.facebook.com/app_scoped_user_id/100003817435505/" class="url" rel="ugc external nofollow">Klaus Miehling</a></cite> </div> <div class="comment-meta commentmetadata"> <a class="comment-time" href="https://andrewlawrenceking.com/2017/08/21/how-by-what-techniques-to-remake-monteverdis-arianna/#comment-5857"><time pubdate datetime="2017-08-21T16:20:22+03:00"> August 21, 2017 at 4:20 pm </time></a> </div> </footer> <div class="comment-content"><p>A fascinating project! But you should check bar 1 of the Sinfonia “Mille Rimpianti”. There is one thing that Monteverdi certainly wouldn’t have written. 😉</p> </div> <div class="reply"> <a rel="nofollow" class="comment-reply-link" href="https://andrewlawrenceking.com/2017/08/21/how-by-what-techniques-to-remake-monteverdis-arianna/?replytocom=5857#respond" data-commentid="5857" data-postid="1852" data-belowelement="comment-5857" data-respondelement="respond" data-replyto="Reply to Klaus Miehling" aria-label="Reply to Klaus Miehling">Reply</a> </div> </article> <ul class="children"> <li class="comment byuser comment-author-andrewlawrenceking bypostauthor odd alt depth-2" id="li-comment-6599"> <article id="comment-6599" class="comment"> <footer> <div class="comment-author vcard"> <img alt='' src='https://0.gravatar.com/avatar/023a6c64f30a3cebd85261373b05faac91ff88f10564f69538977ea4edba5be8?s=23&d=identicon&r=G' srcset='https://0.gravatar.com/avatar/023a6c64f30a3cebd85261373b05faac91ff88f10564f69538977ea4edba5be8?s=23&d=identicon&r=G 1x, https://0.gravatar.com/avatar/023a6c64f30a3cebd85261373b05faac91ff88f10564f69538977ea4edba5be8?s=35&d=identicon&r=G 1.5x, https://0.gravatar.com/avatar/023a6c64f30a3cebd85261373b05faac91ff88f10564f69538977ea4edba5be8?s=46&d=identicon&r=G 2x, https://0.gravatar.com/avatar/023a6c64f30a3cebd85261373b05faac91ff88f10564f69538977ea4edba5be8?s=69&d=identicon&r=G 3x, https://0.gravatar.com/avatar/023a6c64f30a3cebd85261373b05faac91ff88f10564f69538977ea4edba5be8?s=92&d=identicon&r=G 4x' class='avatar avatar-23' height='23' width='23' loading='lazy' decoding='async' /> <cite class="fn"><a href="http://andrewlawrenceking.com" class="url" rel="ugc">Andrew Lawrence-King</a></cite> </div> <div class="comment-meta commentmetadata"> <a class="comment-time" href="https://andrewlawrenceking.com/2017/08/21/how-by-what-techniques-to-remake-monteverdis-arianna/#comment-6599"><time pubdate datetime="2018-04-01T09:47:43+03:00"> April 1, 2018 at 9:47 am </time></a> </div> </footer> <div class="comment-content"><p>Dear Klaus, Thank you for your comment.</p> <p>The Sinfonia “Mille Rimpianti” is a special case – as you will have recognised, it is based on Josquin’s well-known chanson “Mille Regretz”, the original being in a mode and 16th-century style little used by Monteverdi in his dramatic works. My take was to imagine Claudio making a 5-voice, seicento composition, citing Josquin’s work, employing Josquin’s points of imitation exclusively, but realising the polyphony in Monteverdian (rather than Josquin’s) prima prattica, bearing in mind that even the conservative polyphony of 1608 differs from its 16th-century models.</p> <p>So this Sinfonia, at a moment of emotional intensity in Rinuccini’s drama, does indeed sound strange, and remote from Monteverdi’s normal idiom, whilst the original chanson would have been well-known to any musicians amongst the 1608 spectators. And where I have briefly cited Josquin, before applying Monteverdian transformations, it may well be that there is a bar that Monteverdi would not have written. My answer is to say “he didn’t write it, he cited Josquin.” </p> <p>But I may also have made a misjudgement, or a mistake. So I’ll look again at this bar, before we record it. </p> <p>And thank you for the comment. This kind of detailed, expert criticism is just what I hoped for, as a response to the project, and as a spur to improvements as the project continues to develop. </p> <p>All best wishes, Andrew</p> </div> <div class="reply"> <a rel="nofollow" class="comment-reply-link" href="https://andrewlawrenceking.com/2017/08/21/how-by-what-techniques-to-remake-monteverdis-arianna/?replytocom=6599#respond" data-commentid="6599" data-postid="1852" data-belowelement="comment-6599" data-respondelement="respond" data-replyto="Reply to Andrew Lawrence-King" aria-label="Reply to Andrew Lawrence-King">Reply</a> </div> </article> </li> <li class="comment byuser comment-author-andrewlawrenceking bypostauthor even depth-2" id="li-comment-6600"> <article id="comment-6600" class="comment"> <footer> <div class="comment-author vcard"> <img alt='' src='https://0.gravatar.com/avatar/023a6c64f30a3cebd85261373b05faac91ff88f10564f69538977ea4edba5be8?s=23&d=identicon&r=G' srcset='https://0.gravatar.com/avatar/023a6c64f30a3cebd85261373b05faac91ff88f10564f69538977ea4edba5be8?s=23&d=identicon&r=G 1x, https://0.gravatar.com/avatar/023a6c64f30a3cebd85261373b05faac91ff88f10564f69538977ea4edba5be8?s=35&d=identicon&r=G 1.5x, https://0.gravatar.com/avatar/023a6c64f30a3cebd85261373b05faac91ff88f10564f69538977ea4edba5be8?s=46&d=identicon&r=G 2x, https://0.gravatar.com/avatar/023a6c64f30a3cebd85261373b05faac91ff88f10564f69538977ea4edba5be8?s=69&d=identicon&r=G 3x, https://0.gravatar.com/avatar/023a6c64f30a3cebd85261373b05faac91ff88f10564f69538977ea4edba5be8?s=92&d=identicon&r=G 4x' class='avatar avatar-23' height='23' width='23' loading='lazy' decoding='async' /> <cite class="fn"><a href="http://andrewlawrenceking.com" class="url" rel="ugc">Andrew Lawrence-King</a></cite> </div> <div class="comment-meta commentmetadata"> <a class="comment-time" href="https://andrewlawrenceking.com/2017/08/21/how-by-what-techniques-to-remake-monteverdis-arianna/#comment-6600"><time pubdate datetime="2018-04-01T09:54:03+03:00"> April 1, 2018 at 9:54 am </time></a> </div> </footer> <div class="comment-content"><p>Dear Klaus, And now I’ve looked, and you are quite right. There are parallel fifths between second violin and bass, which Monteverdi would not have wanted. And neither do I, so I’ll fix them. Josquin avoided the problem by having only 3 voices in the opening bars, and starting with a unison. </p> <p>Artusi 1, Lawrence-King 0</p> <p>🙂</p> </div> <div class="reply"> <a rel="nofollow" class="comment-reply-link" href="https://andrewlawrenceking.com/2017/08/21/how-by-what-techniques-to-remake-monteverdis-arianna/?replytocom=6600#respond" data-commentid="6600" data-postid="1852" data-belowelement="comment-6600" data-respondelement="respond" data-replyto="Reply to Andrew Lawrence-King" aria-label="Reply to Andrew Lawrence-King">Reply</a> </div> </article> </li> </ul> </li> </ol> <div id="respond" class="comment-respond"> <h3 id="reply-title" class="comment-reply-title">I'd like to hear your comments. Please comment here <small><a rel="nofollow" id="cancel-comment-reply-link" href="/2017/08/21/how-by-what-techniques-to-remake-monteverdis-arianna/#respond" style="display:none;">Cancel reply</a></small></h3><form action="https://andrewlawrenceking.com/wp-comments-post.php" method="post" id="commentform" class="comment-form"> <div id="comment-form__verbum" class="transparent"></div><div class="verbum-form-meta"><input type='hidden' name='comment_post_ID' value='1852' id='comment_post_ID' /> <input type='hidden' name='comment_parent' id='comment_parent' value='0' /> <input type="hidden" name="highlander_comment_nonce" id="highlander_comment_nonce" value="96f141f45a" /> <input type="hidden" name="verbum_show_subscription_modal" value="" /></div><p style="display: none;"><input type="hidden" id="akismet_comment_nonce" name="akismet_comment_nonce" value="a41c1edb25" /></p><p style="display: none !important;" class="akismet-fields-container" data-prefix="ak_"><label>Δ<textarea name="ak_hp_textarea" cols="45" rows="8" maxlength="100"></textarea></label><input type="hidden" id="ak_js_1" name="ak_js" value="219"/><script>document.getElementById( "ak_js_1" ).setAttribute( "value", ( new Date() ).getTime() );</script></p></form> </div> </div> <nav id="nav-below"> <h1 class="assistive-text section-heading">Post navigation</h1> <div class="nav-previous"><a href="https://andrewlawrenceking.com/2017/07/05/how-to-remake-monteverdis-arianna/" rel="prev"><span class="meta-nav">←</span> How – in what format- to remake Monteverdi’s Arianna?</a></div> <div class="nav-next"><a href="https://andrewlawrenceking.com/2017/08/29/how-to-study-monteverdis-operatic-roles/" rel="next">How to study Monteverdi’s operatic roles <span class="meta-nav">→</span></a></div> </nav> </div> </div> <div id="secondary" class="widget-area" role="complementary"> <aside id="text-4" class="widget widget_text"><h1 class="widget-title">ANDREW LAWRENCE-KING</h1> <div class="textwidget"><p>Baroque opera, orchestral & ensemble director, imaginative continuo-player, Early Harp virtuoso, specialist in baroque gesture & Historical Action, investigator of Flow, Andrew Lawrence-King is the doyen of historical harping, one of the world’s leading performers of Early Music, and an internationally renowned scholar. </p> <p>His pioneering recordings of Trabaci, Ribayaz, Handel and Carolan re-established the lost worlds of Italian, Spanish, Anglo-Welsh & Irish baroque harps; as co-director of Tragicomedia and director of The Harp Consort, he led a revolution in improvisation & continuo-playing; his research into Tactus has redefined our understanding of baroque rhythm; as guest director, he inspires musicians around the world to reach new levels of technical precision and stylish historicity with fun, energy and passion. </p> <p>Andrew has directed at La Scala, Milan & Sydney Opera House and won Russia's highest theatrical award, the Golden Mask (2012) for Cavalieri’s 'Anima & Corpo'. His direction of Handel’s 'Orlando' (2019) won the Russian Eugene Onegin Award and has been nominated for another Golden Mask. During his long collaboration with Jordi Savall, he has won a Grammy (best ensemble 2011), the Spanish Premio de la Música in duet (2010) & trio (2011), and Australia’s Helpmann Award in duet (2013) & ensemble (2018). His recording of 'Earthly Angels' with soprano Kajsa Dahlbäck was YLE, the Finnish broadcasting company’s CD of the year (2018).</p> <p>2017 saw the premieres of Andrew Lawrence-King’s first two operatic compositions: 'Kalevala: the Opera', setting the Finnish national epic to ancient traditional melodies; and 'Arianna a la recherche', a remake of Monteverdi’s lost 1608 masterpiece from Rinucini’s libretto and the surviving musical fragment, the famous Lamento. Andrew’s latest recording traces the roots of favourite Christmas carols from the Finnish 'Piae Cantiones' (1582) with the Helsinki Utopia Choir, released on Jordi Savall’s AliaVox Diversa label (2019).</p> <p>From 2010-2015, Dr Lawrence-King was Senior Visiting Research Fellow for the Australian Centre for the History of Emotions. He is Professor of Early Harp and Continuo at the Guildhall School of Music & Drama, London and Director of Opera Omnia, Academy for Early Opera & Dance, Institute at Moscow State Theatre 'Natalya Sats'. He is currently working on an English translation of 'Il Corago', the anonymous c1630 guide for baroque opera directors. Inspired by 'Peter & the Wolf' and the 'Young Person’s Guide to the Orchestra', his latest operatic composition, 'The Play of Music & Time: an Explorer’s Guide to Early Opera' will be premiered in 2020.</p> <p>Andrew Lawrence-King directs The Harp Consort, combining state-of-the art early music performance with stylish improvisation & entertaining stage presentation; Il Corago, the production team for historical staging of early opera; the International Baroque Opera Studio and Opera Omnia Moscow. </p> <p>Andrew's hobbies include marathon running, sailing, kayaking, fencing (modern epée & historical rapier) and Tai Chi. He is a qualified hypnotist.</p> </div> </aside><aside id="search-3" class="widget widget_search"><h1 class="widget-title">Search this Blog for content</h1><form method="get" id="searchform" action="https://andrewlawrenceking.com/"> <label for="s" class="assistive-text">Search</label> <input type="text" class="field" name="s" id="s" placeholder="Search" /> <input type="submit" class="submit" name="submit" id="searchsubmit" value="Search" /> </form> </aside><aside id="media_gallery-3" class="widget widget_media_gallery"><h1 class="widget-title">Andrew Lawrence-King</h1><p class="jetpack-slideshow-noscript robots-nocontent">This slideshow requires JavaScript.</p><div id="gallery-1852-1-slideshow" class="jetpack-slideshow-window jetpack-slideshow jetpack-slideshow-black" data-trans="fade" data-autostart="1" data-gallery="[{"src":"https:\/\/andrewlawrenceking.com\/wp-content\/uploads\/2014\/06\/alk-in-rehearsal.jpg?w=431","id":"688","title":"ALK in rehearsal","alt":"","caption":"","itemprop":"image"},{"src":"https:\/\/andrewlawrenceking.com\/wp-content\/uploads\/2013\/09\/alk-irish-baroque.jpg?w=440","id":"93","title":"ALK Irish baroque","alt":"","caption":"","itemprop":"image"},{"src":"https:\/\/andrewlawrenceking.com\/wp-content\/uploads\/2013\/08\/alk-with-huete.jpg?w=440","id":"10","title":"alk-with-huete","alt":"","caption":"","itemprop":"image"},{"src":"https:\/\/andrewlawrenceking.com\/wp-content\/uploads\/2013\/08\/thc-logo-2011-with-background.jpg?w=440","id":"13","title":"THC logo 2011 with\u0026nbsp;background","alt":"","caption":"","itemprop":"image"},{"src":"https:\/\/andrewlawrenceking.com\/wp-content\/uploads\/2016\/06\/alk-masterclass.jpg?w=440","id":"1682","title":"ALK Masterclass","alt":"","caption":"","itemprop":"image"},{"src":"https:\/\/andrewlawrenceking.com\/wp-content\/uploads\/2016\/05\/the-perfect-musical-director-mattheson-by-alk.png?w=440","id":"1657","title":"The Perfect Musical Director Mattheson by\u0026nbsp;ALK","alt":"","caption":"","itemprop":"image"},{"src":"https:\/\/andrewlawrenceking.com\/wp-content\/uploads\/2015\/10\/golden-mask.png?w=235","id":"1374","title":"Golden Mask","alt":"","caption":"","itemprop":"image"},{"src":"https:\/\/andrewlawrenceking.com\/wp-content\/uploads\/2016\/06\/alk-directs-harpsichord-harp.jpg?w=440","id":"1675","title":"ALK directs harpsichord \u0026amp;\u0026nbsp;harp","alt":"","caption":"","itemprop":"image"},{"src":"https:\/\/andrewlawrenceking.com\/wp-content\/uploads\/2016\/06\/alk-irish-harp-bordeaux-boat.jpg?w=440","id":"1686","title":"ALK, Irish Harp, Bordeaux\u0026nbsp;boat","alt":"","caption":"","itemprop":"image"},{"src":"https:\/\/andrewlawrenceking.com\/wp-content\/uploads\/2014\/02\/inquartata.jpg?w=340","id":"380","title":"inquartata","alt":"","caption":"","itemprop":"image"},{"src":"https:\/\/andrewlawrenceking.com\/wp-content\/uploads\/2016\/06\/alk-directs-from-small-harp.jpg?w=440","id":"1673","title":"Alk directs from small\u0026nbsp;harp","alt":"","caption":"","itemprop":"image"},{"src":"https:\/\/andrewlawrenceking.com\/wp-content\/uploads\/2013\/08\/copy-alk-huete-small2.png?w=269","id":"25","title":"copy-alk-huete-small2.png","alt":"","caption":"","itemprop":"image"},{"src":"https:\/\/andrewlawrenceking.com\/wp-content\/uploads\/2016\/06\/alk-directs-sinfonietta-riga.jpg?w=440","id":"1678","title":"ALK directs Sinfonietta\u0026nbsp;Riga","alt":"","caption":"","itemprop":"image"},{"src":"https:\/\/andrewlawrenceking.com\/wp-content\/uploads\/2015\/12\/alk-peri.jpg?w=440","id":"1579","title":"ALK \u0026amp; Peri","alt":"","caption":"","itemprop":"image"},{"src":"https:\/\/andrewlawrenceking.com\/wp-content\/uploads\/2016\/06\/alk-with-chromatic-irish-harp.jpg?w=440","id":"1685","title":"ALK with chromatic Irish\u0026nbsp;harp","alt":"","caption":"","itemprop":"image"},{"src":"https:\/\/andrewlawrenceking.com\/wp-content\/uploads\/2014\/08\/the-theatre-of-dreams.png?w=440","id":"846","title":"The Theatre of\u0026nbsp;Dreams","alt":"","caption":"","itemprop":"image"},{"src":"https:\/\/andrewlawrenceking.com\/wp-content\/uploads\/2014\/09\/alkzampieri.jpg?w=440","id":"938","title":"ALK\u0026amp;Zampieri","alt":"","caption":"ALK with Rainer Thurau\u0026#8217;s \u0026#8220;Zampieri\u0026#8221; Italian baroque harp","itemprop":"image"},{"src":"https:\/\/andrewlawrenceking.com\/wp-content\/uploads\/2013\/09\/introduction-to-single-action-harp.png?w=440","id":"118","title":"Introduction to Single Action\u0026nbsp;Harp","alt":"","caption":"","itemprop":"image"},{"src":"https:\/\/andrewlawrenceking.com\/wp-content\/uploads\/2016\/06\/alk-sheffield.jpg?w=440","id":"1684","title":"ALK sheffield","alt":"","caption":"","itemprop":"image"},{"src":"https:\/\/andrewlawrenceking.com\/wp-content\/uploads\/2016\/06\/alk-directs-st-p-baroque-opera-studio.jpg?w=440","id":"1679","title":"ALK directs St P baroque opera\u0026nbsp;studio","alt":"","caption":"","itemprop":"image"},{"src":"https:\/\/andrewlawrenceking.com\/wp-content\/uploads\/2015\/12\/lord-of-the-strings.jpg?w=440","id":"1562","title":"Lord of the\u0026nbsp;Strings","alt":"","caption":"","itemprop":"image"},{"src":"https:\/\/andrewlawrenceking.com\/wp-content\/uploads\/2013\/08\/alk-director-bow.jpg?w=440","id":"11","title":"ALK-director-bow","alt":"","caption":"","itemprop":"image"},{"src":"https:\/\/andrewlawrenceking.com\/wp-content\/uploads\/2016\/06\/alk-directs-rovaniemi-orchestra.jpg?w=440","id":"1677","title":"ALK directs Rovaniemi\u0026nbsp;Orchestra","alt":"","caption":"","itemprop":"image"},{"src":"https:\/\/andrewlawrenceking.com\/wp-content\/uploads\/2016\/06\/alk-directs-lha.jpg?w=440","id":"1676","title":"ALK directs LHA","alt":"","caption":"","itemprop":"image"},{"src":"https:\/\/andrewlawrenceking.com\/wp-content\/uploads\/2014\/08\/enargeia.png?w=278","id":"847","title":"Enargeia","alt":"","caption":"","itemprop":"image"},{"src":"https:\/\/andrewlawrenceking.com\/wp-content\/uploads\/2016\/06\/alk-arpanetta.jpg?w=363","id":"1670","title":"ALK \u0026amp; Arpanetta","alt":"","caption":"","itemprop":"image"},{"src":"https:\/\/andrewlawrenceking.com\/wp-content\/uploads\/2014\/09\/thc-20-years-ago-web.jpg?w=440","id":"947","title":"THC-20-years-ago-web","alt":"","caption":"Pat O\u0026#8217;Brien, ALK \u0026amp; other founder-members of The Harp Consort, at the recording sessions of Luz y Norte in 1994.","itemprop":"image"},{"src":"https:\/\/andrewlawrenceking.com\/wp-content\/uploads\/2014\/06\/no-conducting.png?w=240","id":"684","title":"No conducting","alt":"","caption":"","itemprop":"image"},{"src":"https:\/\/andrewlawrenceking.com\/wp-content\/uploads\/2016\/06\/alk-directs-harpsichord-harp-2.jpg?w=440","id":"1674","title":"ALK directs harpsichord \u0026amp; harp\u0026nbsp;2","alt":"","caption":"","itemprop":"image"},{"src":"https:\/\/andrewlawrenceking.com\/wp-content\/uploads\/2013\/08\/il-corago.jpg?w=440","id":"12","title":"Il corago","alt":"","caption":"","itemprop":"image"},{"src":"https:\/\/andrewlawrenceking.com\/wp-content\/uploads\/2016\/06\/alk-psaltery.jpg?w=247","id":"1683","title":"ALK psaltery","alt":"","caption":"","itemprop":"image"},{"src":"https:\/\/andrewlawrenceking.com\/wp-content\/uploads\/2015\/12\/the-flow-zone-mashup-2015.jpg?w=440","id":"1550","title":"The Flow Zone mashup\u0026nbsp;2015","alt":"","caption":"","itemprop":"image"},{"src":"https:\/\/andrewlawrenceking.com\/wp-content\/uploads\/2016\/06\/alk-at-eihf.jpg?w=440","id":"1672","title":"ALK at EIHF","alt":"","caption":"","itemprop":"image"},{"src":"https:\/\/andrewlawrenceking.com\/wp-content\/uploads\/2014\/09\/fingernails.jpg?w=440","id":"908","title":"fingernails","alt":"","caption":"","itemprop":"image"},{"src":"https:\/\/andrewlawrenceking.com\/wp-content\/uploads\/2014\/06\/alk-tra.jpg?w=440","id":"764","title":"ALK TRA","alt":"","caption":"","itemprop":"image"},{"src":"https:\/\/andrewlawrenceking.com\/wp-content\/uploads\/2016\/06\/alk-directs.jpg?w=440","id":"1680","title":"ALK directs","alt":"","caption":"","itemprop":"image"},{"src":"https:\/\/andrewlawrenceking.com\/wp-content\/uploads\/2016\/06\/alk-single-action.jpg?w=440","id":"1671","title":"ALK \u0026amp; Single\u0026nbsp;Action","alt":"","caption":"","itemprop":"image"},{"src":"https:\/\/andrewlawrenceking.com\/wp-content\/uploads\/2016\/06\/alk-irish-2014.jpg?w=440","id":"1681","title":"ALK Irish 2014","alt":"","caption":"","itemprop":"image"}]" itemscope itemtype="https://schema.org/ImageGallery"></div></aside> <div id="atatags-286348-6742cfd937489"></div> <script> __ATA.cmd.push(function() { __ATA.initDynamicSlot({ id: 'atatags-286348-6742cfd937489', location: 140, formFactor: '003', label: { text: 'Advertisements', }, creative: { reportAd: { text: 'Report this ad', }, privacySettings: { text: 'Privacy', } } }); }); </script></div> <div id="tertiary" class="widget-area" role="complementary"> <aside id="text-2" class="widget widget_text"><h1 class="widget-title">Visit the websites</h1> <div class="textwidget"><p><a href="http://www.TheHarpConsort.com">The Harp Consort</a></p> <p><a href="http://www.TheFlow.Zone">The Flow Zone</a></p> <p><a href="http://www.iLCorago.com">iL Corago</a></p> <p><a href="http://www.opera-omnia.org">OPERA OMNIA</a></p> <p><a href="https://www.facebook.com/StradHarp/">Stradivarius Harp 1681</a></p> <p><a href="https://www.facebook.com/PlayMusicTime/">The Play of Music & Time</a></p> <p><a href="https://www.facebook.com/PerfectMusicalDirector/">The Perfect Musical Director (1739)</a></p> <p><a href="https://www.facebook.com/BaroqueGesture/">The Art of Gesture</a></p> </div> </aside><aside id="facebook-likebox-2" class="widget widget_facebook_likebox"><h1 class="widget-title"><a href="https://www.facebook.com/andrew.lawrenceking.9">Like ALK’s blog on Facebook</a></h1> <div id="fb-root"></div> <div class="fb-page" data-href="https://www.facebook.com/andrew.lawrenceking.9" data-width="200" data-height="432" data-hide-cover="false" data-show-facepile="true" data-tabs="false" data-hide-cta="false" data-small-header="false"> <div class="fb-xfbml-parse-ignore"><blockquote cite="https://www.facebook.com/andrew.lawrenceking.9"><a href="https://www.facebook.com/andrew.lawrenceking.9">Like ALK’s blog on Facebook</a></blockquote></div> </div> </aside></div> </div> <footer id="colophon" role="contentinfo"> <div id="supplementary" class="three"> <div id="first" class="widget-area" role="complementary"> <aside id="blog_subscription-2" class="widget widget_blog_subscription jetpack_subscription_widget"><h1 class="widget-title"><label for="subscribe-field">Follow Blog via Email</label></h1> <div class="wp-block-jetpack-subscriptions__container"> <form action="https://subscribe.wordpress.com" method="post" accept-charset="utf-8" data-blog="56032818" data-post_access_level="everybody" id="subscribe-blog" > <p>Enter your email address to follow this blog and receive notifications of new posts by email.</p> <p id="subscribe-email"> <label id="subscribe-field-label" for="subscribe-field" class="screen-reader-text" > Email Address: </label> <input type="email" name="email" style="width: 95%; 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