Vintage

While music of the Renaissance aimed to open the soul to God, the music of the Baroque aimed to bring heaven down to earth. Precisely where this juncture of the Renaissance and Baroque occurred in Western music, we find only one composer: the phenomenal Claudio Monteverdi. Like all great composers, he embodied the ideals of his day - in his case, reflective of the stile antico (old style) of music-making which reached an apex in Italy with Palestrina; but, in addition, like a very small handful of other composers (Beethoven and Schoenberg, and perhaps a few others), he single-handedly ushered Western music from one period to the next, pushing the envelope (as we would say) in ways that the world had never before dreamed. Monteverdi's God-given task was coupled by one of the major revolutions in history: the evolution of ideas from its strong ties to the Medieval world and all the ensuing implications for religion, notions of God, and the Church, to humanism which repositioned Man at the center of nature and the universe. Humanism used, as its models, Classical antiquity harmonised with the Christian faith. During this time in history, music began to focus on the idea of drama and emotion (affect) ranging from a vital exuberance to metaphysical anguish. Monteverdi was given the role of ushering in this change. 

In 1602, at the age of 35, Monteverdi was named Maestro di Cappella in Mantua, where he served at the pleasure of the Duke. Sadly, there was very little "pleasure" about it. Monteverdi was poorly paid (usually late), subject to tirades from his employer, and generally unhappy. He was the classic vulnerable artist (already a highly esteemed composer of madrigals at this time) exposed to the harrassment of an unpredictable and miserly employer. Married to the daughter of a court musician, he could barely support his sickly wife and their children. 

But this dark cloud had a silver lining. The Duke of Mantua wanted to boost his reputation by outshining the Medicis of Venice, and demanded from his maestro di cappella a musical drama on the subject of Peri's Euridice. He got much more than he asked for (or paid for), because Monteverdi set out to write the first opera in the history of Western music: L'Orfeo. In 1607 the work received its premiere, full of life and imagination, infused with genius and new music. Its beauty is still timeless. It was a tremendous success among his contemporaries which seemed to herald something of a 'Monteverdi effect' for the rest of his life  (functioning much like the 
famed "butterfly effect" which creates hurricanes half-way around the world). 

Seven months later, Monteverdi's wife died; and he fell into the despair of mourning. Wishing to secure his future by aiming for new goals, Monteverdi set to work on a Mass setting for six voices, and the justly famous Vespers of the Holy Virgin. He presented both of these to Pope Paul V in 1610, hoping for a seminarian's bursary in Rome for his eldest son, Francesco, and for himself, a musical post at the Vatican. The pope, however, was put off by the seconda prattica (modern style) and wouldn't grant either request. Despondent, Monteverdi returned to Mantua only to learn that the old Duke of Mantua was dying. In 1612, the old Duke's son became the new Duke and immediately dismissed his maestro di cappella. Fortunately for Monteverdi (and the world), the maestro di cappella of St. Mark's Basilica, Venice had also just died; and the post was offered to Monteverdi. Finally given the recognition he deserved, one of the best salaries (for a musician) in all of Europe, and undoubtedly the most prestigious musical post in the Western world at the time, Monteverdi spent the last 30 years of his life there, happy and productive. 

Today, as we approach the 400th anniversary of the creation of the Vespro ("Vespers"), one cannot help but be awestruck at the splendor of this music. Few would argue that it holds the prize as the most significant and beautiful piece of Sacred music - scored for soloists, orchestra, and choir - in Western history. While there are many pieces more famous (Handel's Messiah, Bach's passions, etc.), none of them broke ground to the same 
extent as Monteverdi did in the creation of the Vespro. Here we find operatic virtuosity within the context of religious music for the first time. The Vespers are composed of psalms, vocal and instrumental concerti, decidedly secular songs with sacred texts, all bound together around traditional plainchant. Yet the marvel of the work is not the writing about it, nor the study of its brilliance; the marvel is the hearing and experiencing of it. 

Tonight we take you on a journey to early 17th century Venice, still at the height of its power and magnificence. We invite you to open yourself to the magic of this music, this transformation, this vision of Eternity. 

Jonathan Dimmock, Director

Music of Monteverdi
Deus in Adiutorium / Domine ad adiuvandum
Assumpta est Maria in caelum
Psalm 109: Dixit Dominus
Motet : Nigra Sum
Maria Virgo Assumpta est
Psalm 112 : Laudate Pueri
Motet : Pulchra es
In Odorem
Psalm 121 : Laetatus sum
Concerto Motet : Duo Seraphim
Benedicta filia tua Domino
Psalm 126: Nisi Dominus
Motet: Audi Coelum
Pulchra es et decora
Psalm 147 : Lauda Ierusalem
Sonata sopra « Santa Maria”
Hymnus: Ave Maris Stella
Canzon (organ)
Magnificat (septem vocibus & sex instrumentis)

Performed with The Whole Noyse instrumental ensemble