Madrigal |

French madrigal, ital. madrigale, Old Italian. madriale, mandriale, from Late Lat. matricale (from lat. mater – mother)

Song in the native (mother’s) language) – secular musical and poetic. Renaissance genre. The origins of M. go back to Nar. poetry, to the old Italian. monophonic shepherd’s song. In prof. M.’s poetry appeared in the 14th century, that is, in the era of the Early Renaissance. From strict poetic forms of that time (sonnets, sextines, etc.) was distinguished by freedom of structure (a different number of lines, rhyming, etc.). It usually consisted of two or more 3-line stanzas, followed by a 2-line conclusion (coppia). M. wrote the largest poets of the Early Renaissance F. Petrarch and J. Boccaccio. From the 14th century poetic music usually means works specially created for the muses. incarnation. One of the first poets who composed music as texts for music was F. Sacchetti. Among the leading authors of music. M. 14th century G. da Firenze, G. da Bologna, F. Landino. Their M. are vocal (sometimes with the participation of instruments) 2-3-voice production. on love-lyric, comic-household, mythological. and other themes, in their music a verse and a refrain stand out (on the text of the conclusion); characterized by melismatic wealth. embellishments in the upper voice. M. canonical was also created. warehouses related to kachcha. In the 15th century M. is forced out of the composer’s practice by numerous. varieties of frottola – ital. secular polygon. songs. In the 30s. 16th century, i.e., in the era of the High Renaissance, M. reappears, rapidly spreading in Europe. countries and until the advent of opera remains the most important. genre prof. secular music.

M. turned out to be a musician. a form that can flexibly convey shades of poetry. text; therefore, he was more in tune with new art. requirements than frottola with its structural stiffness. The emergence of music M. after more than a hundred years of interruption was stimulated by the revival of lyric poetry. 14th century forms (“petrarchism”). The most prominent of the “Petrarchists,” P. Bembo, emphasized and valued M. as a free form. This compositional feature – the absence of strict structural canons – becomes the most characteristic feature of the new muses. genre. The name “M.” in the 16th century in essence, it was associated not so much with a certain form, but with the arts. the principle of free expression of thoughts and feelings. Therefore, M. was able to perceive the most radical aspirations of his era, becoming “the point of application of many active forces” (B. V. Asafiev). The most important role in the creation of the Italian. M. 16th century belongs to A. Willart and F. Verdelot, Flemings by origin. Among the authors of M. – Italian. composers C. de Pope, H. Vicentino, V. Galilei, L. Marenzio, C. Gesualdo di Venosa, and others. Palestrina also repeatedly addressed M.. The last outstanding examples of this genre, still directly connected with the traditions of the 16th century, belong to C. Monteverdi. In England, the major madrigalists were W. Bird, T. Morley, T. Wilks, J. Wilby, in Germany – H. L. Hasler, G. Schutz, I. G. Shein.

M. in the 16th century. – 4-, 5-voice wok. essay premier. lyric character; stylistically, it differs markedly from M. 14th century. Texts M. 16th century. served popular lyric. works by F. Petrarch, G. Boccaccio, J. Sannazaro, B. Guarini, later – T. Tasso, G. Marino, as well as stanzas from dramas. poems by T. Tasso and L. Ariosto.

In the 30-50s. 16th century are folded apart. Moscow schools: Venetian (A. Willart), Roman (K. Festa), Florentine (J. Arkadelt). M. of this period reveal a distinct compositional and stylistic. connection with earlier small lyric. genres – frottola and motet. M. of motet origin (Villart) is characterized by a through form, a 5-voice polyphonic. warehouse, reliance on the church system. frets. In M., by origin associated with frottola, there is a 4-voice homophonic-harmonic. warehouse, close modern. major or minor modes, as well as couplet and reprise forms (J. Gero, F. B. Kortechcha, K. Festa). M. of the early period is transferred to Ch. arr. calmly contemplative moods, there are no bright contrasts in their music. The next period in the development of music, represented by the works of O. Lasso, A. Gabrieli, and other composers (50s-80s of the 16th century), is distinguished by an intensive search for new expressions. funds. New types of thematics are being formed, a new rhythm is developing. technique (“a note negre”), the impetus for which was the improvement of musical notation. Aesthetic the justification is received by dissonance, which in a letter of a strict style did not have an independent character. values. The most important “discovery” of this time is chromatism, revived as a result of the study of other Greek. fret theory. Its justification was given in N. Vicentino’s treatise “Ancient Music Adapted to Modern Practice” (“L’antica musica ridotta alla moderna prattica”, 1555), which also provides “a sample composition in chromatic. fret.” The most important composers who made extensive use of chromatisms in their musical compositions were C. de Pope and, later, C. Gesualdo di Venosa. The traditions of madrigal chromaticism were stable as early as the 17th century, and their influence is found in the operas of C. Monteverdi, G. Caccini, and M. da Galliano. The development of chromatism led to the enrichment of the mode and its modulation means and the formation of a new expression. intonation spheres. In parallel with chromatism, other Greek is being studied. theory of anharmonism, resulting in practical. search for equal temperament. One of the most interesting examples of awareness of uniform temperament as early as the 16th century. – madrigal L. Marenzio “Oh, you who sigh …” (“On voi che sospirate”, 1580).

The third period (late 16th–early 17th centuries) is the “golden age” of the genre of mathematics, associated with the names of L. Marenzio, C. Gesualdo di Venosa, and C. Monteverdi. M. of this pore is saturated with bright expresses. contrasts, reflect in detail the development of poetic. thoughts. There is a clear tendency to a kind of music. symbolism: a pause in the middle of a word is interpreted as a “sigh”, chromatism and dissonance are associated with the idea of ​​u1611bu1611bmourning, accelerated rhythmic. movement and smooth melodic. drawing – with streams of tears, wind, etc. A typical example of such symbolism is Gesualdo’s madrigal “Fly, oh, my sighs” (“Itene oh, miei sospiri”, XNUMX). In Gesualdo’s famous madrigal “I’m dying, unfortunate” (“Moro lasso”, XNUMX), diatonic and chromatic symbolize life and death.

In con. 16th century M. is approaching drama. and conc. genres of his time. Madrigal comedies appear, apparently intended for the stage. incarnation. There is a tradition of performing M. in an arrangement for a solo voice and accompanying instruments. Montoverdi, starting from the 5th book of madrigals (1605), uses dec. accompanying instruments, introduces instr. episodes (“symphonies”), reduces the number of voices to 2, 3 and even one voice with basso continuo. A generalization of stylistic Italian trends. M. 16th century were the 7th and 8th books of Monteverdi’s madrigals (“Concert”, 1619, and “Militant and Love Madrigals”, 1638), including a variety of woks. forms – from couplet canzonets to large dramas. scenes with orchestral accompaniment. The most important results of the madrigal period are the approval of a homophonic warehouse, the emergence of the foundations of a functionally harmonic. modal system, aesthetic. the substantiation of monody, the introduction of chromatism, the bold emancipation of dissonance were of great importance for the music of subsequent centuries, in particular, they prepared the emergence of opera. At the turn of the 17-18 centuries. M. in its various modifications develops in the work of A. Lotti, J. K. M. Clari, B. Marcello. In the 20th century M. again enters the composer’s (P. Hindemith, I. F. Stravinsky, B. Martin, etc.) and especially in the concert performance. practice (numerous ensembles of early music in Czechoslovakia, Romania, Austria, Poland, etc., in the USSR – the Madrigal Ensemble; in Great Britain there is a Madrigal Society – Madrigal Society).

References: Livanova T., History of Western European music until 1789, M.-L., 1940, p. 111, 155-60; Gruber R., History of musical culture, vol. 2, part 1, M., 1953, p. 124-145; Konen V., Claudio Monteverdi, M., 1971; Dubravskaya T., Italian madrigal of the 2th century, in: Questions of musical form, no. 1972, M., XNUMX.

TH Dubravska