The influence of Monteverdi’s lament

Ariadne awakens to find that Theseus has abandoned her on the island of Naxos, and in her despair, she cries out, “Lasciatemi morire, lasciatemi morire!” (Let me die, let me die!). The opening of Il Lamento d’Arianna is constructed from melodic tensions that draw the audience downward — like sinking in a tear — and upward — like ascending to the heavens, full of sorrow—reflecting an inner and solitary turmoil. This dramatic intensity, challenging to perform yet deeply palpable, captivated audiences from its premiere in Mantua in 1608, and its popularity swiftly spread throughout Europe.

This collection of four madrigals is the only surviving fragment of the opera Arianna, composed by Claudio Monteverdi with libretto by Ottavio Rinuccini, based on the mythological tale of the Cretan princess. Arianna is Monteverdi’s second opera, a work that not only marked a significant turning point in his career but also profoundly influenced the creative landscape of the late sixteenth century. Ariadne became a symbol of the betrayed heroine and the archetype of the wounded lover: despite rescuing Theseus from the Minotaur’s labyrinth, he left her to her fate. She is ultimately rescued by the god Bacchus and becomes his bride.

Though the musical form known as madrigal first appeared around 1510, Monteverdi refined and evolved it, ultimately publishing nine books (this concert features works from the sixth and seventh). His legacy profoundly impacted Europe, particularly in the north; he placed music at the service of the text, captivating listeners with a poignant, poetic force, and was particularly innovative in expressing human suffering and pain. Monteverdi aimed not to create beautiful melodies or pleasing harmonies, but instead to convey a message, to communicate through emotional expression, and to leave no one unmoved.

In this program, Jordi Savall demonstrates Monteverdi’s influence on composers from England and Germany. We will hear works by Samuel Scheidt, one of the most fascinating Lutheran composers of the early seventeenth century, who embraced the expressive techniques of the Italian madrigal. Additionally, we will explore the music of Anthony Holborne and John Dowland, who often employed melancholy and lament in their efforts to forge a closer union between text and music, emphasizing the words through specific musical means. Thus, this concert presents the tears — the lament, the sorrow — and the fire — the anger, the helplessness — of the muses.