Hyperion Records

Combattimento di Tancredi e Clorinda, SV153
composer
first performed at the 1624 Venice Carnival; published in Madrigals, Book 8, in 1638
author of text
from Gerusalemme liberata

Recordings
'Monteverdi: Il ballo delle ingrate & other works' (CDH55165)
Monteverdi: Il ballo delle ingrate & other works
Buy by post £5.50 CDH55165  Helios (Hyperion's budget label)  
'Monteverdi: Madrigals of Love and Loss' (CDA68019)
Monteverdi: Madrigals of Love and Loss
Buy by post £10.50 CDA68019  Studio Master FLAC & ALAC downloads available
Details
Track 2 on CDH55165 [19'21] Helios (Hyperion's budget label)

Combattimento di Tancredi e Clorinda, SV153
EnglishFrançaisDeutsch
The Combattimento di Tancredi e Clorinda was first performed in Venice in Carnival 1624 in the apartment of Girolamo Mocenigo, now part of the Danieli Hotel. In the Combattimento Monteverdi claimed to have recreated the ‘agitated’ (concitato) genus ‘described by Plato in the third book of his Rhetoric [Republic] in these words: “Take that harmony that would fittingly imitate the utterances of a brave man who is engaged in warfare”.’ In its purest form, Monteverdi’s genere concitato involves dividing a semibreve into sixteen semiquavers repeated rapidly one after the other, a technique that can be heard most clearly in the passage where the narrator begins ‘L’onta irrita lo sdegno a la vendetta’.

The Combattimento sets an extended passage from Torquato Tasso’s epic poem Gerusalemme liberata. Tasso’s text, set in the time of the first crusade, tells of the combat between the Christian knight Tancredi and the Saracen maiden Clorinda. Paradoxically, the two are lovers, but their faces are hidden by armour when they meet in battle. Tancredi deals Clorinda a mortal blow and, removing her helmet, recognizes her. In Clorinda’s dying moments Tancredi baptizes her, and the work ends with a touching passage in which she sees heaven opening to receive her.

Most of the action of the Combattimento is conveyed by a narrator (Testo—the text). Nevertheless, it is intended to be acted out by the combatants. Monteverdi describes how this should be done:

Clorinda, armed and on foot, followed by Tancredi, armed, on a Marian horse [cavallo mariano] enter unexpectedly (after some madrigals without action have been sung) from the side of the room in which the music is performed, and the narrator will then begin the singing. They will perform steps and gestures in the way expressed by the oration … observing diligently those measures, blows and steps, and the instrumentalists’ sounds, excited or soft.

In order to convey the sounds of battle, Monteverdi includes other musical gestures—the trotting of a horse (motto del cavallo), trumpet fanfares, instrumental passages representing the two warriors circling each other and the sounds of their swords clashing, and the first ever example of written-out pizzicato to illustrate Tancredi and Clorinda hitting each other with the pommels of their swords.

from notes by John Whenham © 2014

Track-specific metadata
Click track numbers opposite to select

Details for CDH55165 track 2
Artists
ISRC
GB-AJY-91-47502
Duration
19'21
Recording date
10 January 1991
Recording venue
All Hallows, Gospel Oak, London, United Kingdom
Recording producer
Martin Compton
Recording engineer
Tony Faulkner
Hyperion usage
  1. Monteverdi: Il ballo delle ingrate & other works (CDA66475)
    Disc 1 Track 2
    Release date: November 1991
    Deletion date: June 2004
    Superseded by CDH55165
  2. Monteverdi: Il ballo delle ingrate & other works (CDH55165)
    Disc 1 Track 2
    Release date: June 2004
    Helios (Hyperion's budget label)
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