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On the footsteps of the «Maestro»

Monteverdi's Heritage

[ 6 musicians: 3 voices + continuo ]


Bernardo Strozzi (1581-1644): Portrait of Claudio Monteverdi (ca. 1630)
© Tiroler Landesmuseum Ferdinandeum, Innsbruck


«Divin Claudio» and his Epigones


Claudio Monteverdi has been a pivotal figure in the transitions from the «stile osservato», product of the Renaissance, to the new and daring style of «Seconda Prattica». But he was certainly not the only one to use the new expressive tools: a whole generation of young musicians came in contact with his music and has been formed under his guide at the Cappella Marciana. Monteverdi got there in 1613, aged 46 and already an expert musician: the Vespers has been published three years before, the Sixth Book of Madrigals would have been printed during the following year. His predecessor Giulio Cesare Martinengo left the musical chapel in bad shape, but Monteverdi lifted if out of his condition: he reorganized the structure, bought new scores and hired new musicians, thus bringing it back to the level worthy of one of the most important musical centers in Europe. From 1613 to 1643, year of his death, some of the best musicians gravitated around Monteverdi, over all Alessandro Grandi (vice-maestro from 1620 to 1627), Giovanni Rovetta (vice-maestro since 1627 and Maestro di Cappella after Monteverdi's death) and Giovanni Antonio Rigatti (since 1621 in St. Mark as a choirboy, from 1639 on has been employed in different Venetian «Ospedali»). Maybe not everybody knows that also Claudio's younger brother, Giulio Cesare Monteverdi, has been a talented composer and organist... We therefore propose an anthology for one to three voices, narrowly selected to underline common traits and peculiarities of the aforementioned composers.


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