In contemporary music, composers will use bridges to change the tone of a song; they will include a small section that stands out from the rest of the piece so it can bring a smooth transition to the rest of the song. Similarly, Claudio Monteverdi became that bridge between the Renaissance (1300-1600) and the coming Baroque Period (1600-1750). The world was so focused on humanism and darkness throughout the Renaissance, but Monteverdi was born on the edge of darkness, baptized in 1567, and used the influences of both periods to pave the path into light. Claudio Monteverdi exemplified the shift in worldview from the Renaissance to the Baroque Period through his music.
Monteverdi grew up with many worldly influences that molded his compositions. …show more content…
He wrote several operas about mythological creatures and historical figures, for operas were the ones to be published. However, his smaller works, especially his sonatas, are mainly focused on God and Christianity (“Claudio”). Humanism was declining, but history and tales of old were still popular. Monteverdi knew they would be the most popular, so he created his big pieces to be performed in front of many people, yet another example of the world shaping his music. However, years earlier, Carlo Gesualdo simply wrote out his emotions. His music reflects a strong sense of despair, especially in “Morro Lasso,” fittingly named “Alas, I am Dying,” laments about how the composer is dying and there is no more hope for him (Cox). This draws out the sense of mortality the human race was feeling during the Renaissance. Again, because of Monteverdi’s pieces “Lasciatemi Morire!” and “Lamento del la Ninfa” mirror this desperation, speaking of himself begging for death and a nymph who is mourning the loss of her love, respectively (Batista; Montanari). However, it is not simply human mortality that is shown through Monteverdi’s music. “Lasciatemi Morire!” cries out for “my Theseus”, a legendary Greek war hero, while also calling for God’s pity (Batista). This blends secular with religious themes, as well as desperation with a feeling of hope. This is followed up in the later years with Scarlatti as well. His piece “Sento nel core” focuses on loss, but also the hope that comes with it: “I feel in my heart a certain sorrow/ which goes on disturbing my peace;/ There shines a torch which in flames my soul:/ if it is not love, it will be love [soon]” (Ezust). After the desperate people of the Renaissance gave up on their gods, they turned to hope, and Monteverdi captured that all on staff paper. There was less of a focus on the weight and problems of
Monteverdi grew up with many worldly influences that molded his compositions. …show more content…
He wrote several operas about mythological creatures and historical figures, for operas were the ones to be published. However, his smaller works, especially his sonatas, are mainly focused on God and Christianity (“Claudio”). Humanism was declining, but history and tales of old were still popular. Monteverdi knew they would be the most popular, so he created his big pieces to be performed in front of many people, yet another example of the world shaping his music. However, years earlier, Carlo Gesualdo simply wrote out his emotions. His music reflects a strong sense of despair, especially in “Morro Lasso,” fittingly named “Alas, I am Dying,” laments about how the composer is dying and there is no more hope for him (Cox). This draws out the sense of mortality the human race was feeling during the Renaissance. Again, because of Monteverdi’s pieces “Lasciatemi Morire!” and “Lamento del la Ninfa” mirror this desperation, speaking of himself begging for death and a nymph who is mourning the loss of her love, respectively (Batista; Montanari). However, it is not simply human mortality that is shown through Monteverdi’s music. “Lasciatemi Morire!” cries out for “my Theseus”, a legendary Greek war hero, while also calling for God’s pity (Batista). This blends secular with religious themes, as well as desperation with a feeling of hope. This is followed up in the later years with Scarlatti as well. His piece “Sento nel core” focuses on loss, but also the hope that comes with it: “I feel in my heart a certain sorrow/ which goes on disturbing my peace;/ There shines a torch which in flames my soul:/ if it is not love, it will be love [soon]” (Ezust). After the desperate people of the Renaissance gave up on their gods, they turned to hope, and Monteverdi captured that all on staff paper. There was less of a focus on the weight and problems of