| Instrumentation |
Clarinet, Saxophone, Bassoon, Oboe, Trombone basso, Trombone tenor, Baritone horn, Alto horn, Cornet, Euphonium, Horn, Saxhorn, Trombone, Tuba, Tenorhorn, Bass Clarinet, Alto Saxophone, Tenor Saxophone, Baritone Saxophone, Soprano Saxophone, Bass Tuba |
| Description |
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. |