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This study fills a gap in general histories of the oratorio. The
number of oratorio performances given in Venice from 1662-1809 was
huge, yet the contribution of the city to the history of the genre
is often overlooked. Denis and Elsie Arnold examine the fortunes of
the genre in Venice, beginning with the arrival of the Oratorians
in c.1660 and their establishment at the church of S. Maria della
Consolazione (the Fava). The book charts the early success of
oratorios by Legrenzi and Pallavicino in the latter part of the
seventeenth century, the fallow years from c.1700-1740, and the
great revival of interest in oratorio from the 1740s through to
1770 with works by Scalabrini, Jommeli, Galuppi and Bertoni. The
volume features a list of all the oratorios given in Venice from
1662-1809. It also includes a list of singers which helps us to
date a great deal of Venetian church music of the period.
This highly-praised study of Monteverdi and his works combines clear social and historical perspectives with critical insight into his music. In relating Monteverdi to the musical activity of his time, Denis Arnold reveals a forward-looking genius whose music is now receiving long-overdue appreciation. The text and appendices of this edition were fully revised by Tim Carter, who added a new chapter taking account of recent scholarship.
This book is not meant to be a comprehensive account of
Monteverdi's life and works. What it sets out to do is to study
certain aspects of his music and environment which have been
insufficiently stressed in most of the existing books about him and
to offer fresh views about some of his more familiar works. In "The
Man as seen through his Letters," Denis Arnold and Nigel Fortune
provide translations of some forty letters, linked by interpretive
commentary, in which the composer's ideas, methods, and approach to
composition and other musical matters are clearly revealed. Two
chapters on "The Musical Environment" discuss Monteverdi in
relation to his teachers, colleagues, and pupils. Monteverdi as
thinker and musician is discussed in chapters on the
Artusi-Monteverdi controversy, the prima prattica and the seconda
prattica, and the madrigal guerrieri, et amorosi. Two further
chapters treat Monteverdi as operatic composer, dealing with his
first opera and the opera orchestra of his time. The book has a
comprehensive bibliography, including a guide to the available
editions of the music.
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