Page:A Dictionary of Music and Musicians vol 2.djvu/513

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OPERA.
501

names of which are indicated at the beginning. A complete Score of the Opera was published at Venice in 1609, and reprinted in 1613 [App. p.734 "1615"]. A copy of the second edition, now preserved in the Royal Library at Buckingham Palace, was formerly in the possession of Sir John Hawkins, who quoted from it largely, in vol. iii. of his 'History of Music.' As specimens of the general style of the work, we subjoin a few bars of Recitative from a Scene in the First Act, and the 'Moresca' or 'Moorish Dance' with which the Opera concludes—a movement full of interest, as an indication of the Composer's desire to unite a graceful flow of melody with a symmetrical and well constructed Form. [See Form.]

<< \override Score.Rest #'style = #'classical \new Staff { \time 4/2 \clef tenor \key f \major \relative d' { \autoBeamOff r1 d2. bes8 a | bes2 r4 bes2 a8. g16 g2 | g2 r8 g g g g4. g16 fis g2 | r8 g g g g4. f8 d2 d | r4 bes' r8 bes bes bes16 a bes4. bes8 bes4. c8 | d2 d4 r8 g, g g g a bes4 bes | c2 c4 r8 f | ees4. c8 d4 d16 c bes a bes8. bes16 c8 d ees4. f8 c2 bes2 s4 s_"etc." } }
\addlyrics { Ro -- sa del ciel, vi -- ta del mon -- do E deg -- na pre -- le di lui chi l'u -- ni -- versa af -- fre -- na Sol che'l tut -- to cir -- con -- di e'l tut -- to mi -- ri Da gli stel -- lan -- ti gi -- ri Dim -- mi ve -- dest' u mai di me più lieto e for -- tu -- na -- to a -- man -- te. }
\new Staff { \clef bass \key f \major \relative g, { g1 g g2 g1. | g2 g g1 g g | g g g g | f2 f'4 f g a bes2 g ees4 d f2 bes s } } >>


Moresca.

<< \override Score.TimeSignature #'style = #'single-digit  \new Staff << \time 3/1 \new Voice { \relative a' { \stemUp r2 r <a fis> <b d>1 <a c>2 | <b g>2. <c a>4 <b g>2 <a fis>2. <b g>4 <c a>2 | d1 c2 b2. a4 g2 | fis2. g4 a2 g1. | r2 r <d' b>2 <g e>1 <f d>2 | <e c>2. <f d>4 <e c>2 <d b>2. <e c>4 <f d>2 | g1 f2 e2. d4 c2 | << { b2. c4 d2 c1. } \\ { d2. c4 b2 c1. } >> | r2 r <b g>2 <c e>1 <d b>2 | <c a>2. <d b>4 <c a>2 <b g>2. <c a>4 <d b>2 | e1 d2 c2. b4 a2 | << { \once \set suggestAccidentals = ##t gis2. a4 b2 a1. } \\ { b2. a4 gis2 a1. } >> | r2 r <c e>2 <f a>1 <g e>2 | <f d>2. <g e>4 <f d>2 <e c>2. <f d>4 <g e>2 | << { a,2. b4 <c g'>2 f2. e4 d2 | cis2. d4 e2 d1.\fermata \bar ":|:" d\breve \bar "||" } \\ { a'1 s2 d,1 d2 e2. d4 cis2 d1. | d\breve } >> } }
\new Voice \relative d' { \stemDown s1 d2 b1 c2 | d1 e2 s1. | d2. e4 \once \set suggestAccidentals = ##t fis2 g1 g2 | a2. g4 fis2 g1. | s1 g2 e1 f2 | g1 a2 s1. g2. a4 b2 c1 c2 | g1 g2 g1. | s1 e2 c1 d2 | e1 fis2 s1. | e2. f4 g2 a1 a2 | s\breve. | s1 a2 f1 g2 | a1 b2 e,1 e2 | f1 g2 a1 d,2 | a'1 a2 fis1. | fis\breve } >>
\new Staff << \clef bass \new Voice { \stemUp \relative a { r2 r a g1 e2 | g1 e2 <fis a>1 q2 | <b g>1 c2 d1 g,2 a1 d2 d1. | r2 r b c1 a2 | c1 a2 <b d>1 q2 | e1 f2 g1 c,2 | d1 d2 e1. | r2 r b2 a1 d,2 | a'1 fis2 <b g>1 q2 | c1 d2 e1 a,2 | e'1 e2 cis1. | r2 r e2 d1 b2 | d1 b2 c1 c2 | d1 e2 f1 g2 | e1 a,2 a1. | a\breve } }
\new Voice { \stemDown \relative a { s\breve. s | s1 a2 b1 c2 d1 a2 b1. | s\breve. s | c1 d2 e1 f2 | s\breve. s s | a,1 b2 c1 d2 | b1 e,2 e1. } }
\new Voice { \stemDown \relative d { s1 d2 g,1 a2 | b1 c2 d1 d2 | b1 a2 g2. \once \set suggestAccidentals = ##t fis4 e2 | d1 d2 g1. | s1 g'2 c,1 d2 | e1 f2 g1 g2 | e1 d2 c2. b4 a2 | g1 g2 c1. | r2 r e a,1 b2 | c1 d2 e1 e2 | c1 b2 a2. g4 f2 | e1 e2 a1. | s1 a'2 d,1 e2 f1 g2 a1 a2 | f1 e2 d2. c4 b2 | a1 a2 d1._\fermata d\breve } } >> >>


The expense attendant upon the production of these early Operas must have been enormous. The gorgeous dresses, and other incidental appointments, occasionally mentioned by writers of the period, sufficiently explain why the Dramma in Musica was reserved exclusively for the entertainment of Princes, on occasions of extraordinary public rejoicing. No such occasions appear to have presented themselves for some considerable time after the marriage of Franceso Gonzaga. Accordingly we find, that, after following up 'Orfeo' with a grand Mythological Spectacle called 'Il Ballo delle Ingrate,' Monteverde produced no more dramatic works till the year 1624, when, having settled permanently in Venice, he wrote, at the instance of Girolamo Mocenigo, an Intermezzo, 'Il Combattimento di Tancredi e Clorinda,' in which he introduced, for the first time, two important Orchestral Effects, which have remained in common use to the present day—pizzicato passages for the Stringed Instruments, and the well-known tremolo. [See Monteverde.] In 1630 he again took higher ground, and composed, for the marriage of Giustiniana Mocenigo with Lorenzo Giustiniani, a grand Opera called 'Proserpina Rapita,' which was brought out with extraordinary magnificence, and seems to have been very successful. The Music, however, was soon destined to be forgotten; for this was the year rendered memorable by the terrible plague, which, completely devastating the larger Italian Cities, rendered all intellectual advancement for the time being impossible. As we shall presently see, when it had had time to recover from this