Monteverdi

What Dominique Pagani says

Dominique Pagani sees Monteverdi as the founder of opera, which is born with parlando cantando, between speaking and singing1. He compares him to the Wagnerian recitative and to the union of speech and music2. He ranks him with Wagner and Mozart as a musical dramatist3 and considers that he almost achieves the total work of art, recovering music in the Greek sense4. He often comes back to L'Orfeo, whose premiere in Mantua was a shock: after centuries of anonymous polyphony, one hears the emotion of a solo voice5. He also cites The Return of Ulysses to his Homeland and the Lament of Ariadne, all that remains of a lost opera, close to Greek tragedy and an example of the love elegy6. He uses Monteverdi to show that novelty first causes scandal: the dominant seventh chord and the dissonances of his early works shocked people at the time7. He also places him at the passage from modal to tonal music, at the beginning of Italian dominance and of the music of the Ancien Régime.

1. 1Au bistrot avec Pagani : partie 118 Jun 2016 · 1:00:05
2. 2B comme Bach16 Dec 2014 · 4:42
3. 3Musicosophie 2. De Lévi-Strauss à Nerval à propos de la musique3 Dec 2020 · 1:18:19
4. 4#2 - Les Attelé(e)s de la Confinitude30 Mar 2020 · 1:04:30
5. 5Musicosophie 17. L'interprétation25 Mar 2021 · 34:20
6. 6#2.5 Entre crise et guerre : Philosopher ?1 Aug 2017 · 16:21
7. 7Musicosophie 2. De Lévi-Strauss à Nerval à propos de la musique3 Dec 2020 · 16:24

Summary produced automatically from 25 of the passages below, to be reviewed; the numbers link to the moment in the session.