CLAUDIO See also:

• CLAUDIO MONTEVERDE (1567-1643)

MONTEVERDE (1567-1643)  , See also:

• ITALIAN

Italian See also:

• PRIEST (Ger. Priester, Fr. pretre)

priest and musician, was See also:

• BORN, IGNAZ, EDLER VON (1742–1791)

born• at See also:

• CREMONA
• CREMONA, LUIGI (1830-1903)

Cremona in May 1567; he was engaged at an See also:

• EARLY
• EARLY, JUBAL ANDERSON (1816-1894)

early See also:

• AGE (Fr. age, through late Lat. aetaticum, from aetas)

age as violist to the See also:

• DUKE (corresponding to Fr. duc, Ital. duca, Ger. Herzog)

duke of See also:

• MANTUA (Ital. Mantova)

Mantua, and studied See also:

• COMPOSITION
• COMPOSITION (Lat. compositio, from componere, to put together)

composition under Ingcgneri, the duke's See also:

• MAESTRO

maestro di See also:

• CAPELLA, MARTIANUS MINNEUS FELIX

capella . His bold experiments, while bringing upon him the attacks of See also:

• ARTUSI, GIOVANNI MARIA

Artusi and See also:

• BANCHIERI, ADRIANO (c. 1557—1634)

Banchieri (q.v.), led to discoveries which exercised a lasting See also:

• INFLUENCE (Late Lat. influentia, from influere, to flow in)

influence upon the progress of musical See also:

• ART

art . He was the first to make deliberate use of unprepared dissonances, or what are now known as fundamental discords . These discords constituted a revolution against the See also:

• LAWS

laws of 16th See also:

• CENTURY (from Lat. centuria, a division of a hundred men)

century See also:

• MUSIC

music . He employed them first in his madrigals, where they are a sign of decadence, but afterwards introduced them into music of another See also:

• KIND (O. E. ge-cynde, from the same root as is seen in " kin," supra)

kind with such excellent effect that theirvalue was universally recognized . Before 1595 See also:

• MONTEVERDE, CLAUDIO (1567-1643)

Monteverde was married to the See also:

• SINGER, SIMEON (1846-1906)

singer Claudia Cattaneo, who died in 1607 . In 1602 he succeeded Ingegneri as maestro di capella; and in 1607 he produced, for the See also:

• MARRIAGE

marriage of See also:

• FRANCESCO
• FRANCESCO, 210

Francesco See also:

• GONZAGA
• GONZAGA, THOMAZ ANTONIO (1744-1809)

Gonzaga, his first See also:

• OPERA (Italian for " work ")

opera, Ariana, in which he employed the newly-discovered discords with irresistible effect . Though he did not invent the lyric See also:

• DRAMA (literally "action," from Gr. Snail, act or do)

drama—See also:

• PERI, JACOPO (1561–16 ?)

Peri's Euridice having been produced at See also:

• FLORENCE
• FLORENCE (Ital. Firenze, Lat. Florentia)

Florence in 1600—he raised it to a level which distanced all contemporary competition . His second opera, Orfeo, composed in 16o8, was even more successful than Ariana . In 1613 Monteverde was invited to See also:

• VENICE
• VENICE (continued)
• VENICE (Venezia)

Venice, as maestro di capella at St See also:

• MARK
• MARK, CARL (1858– )
• MARK, GOSPEL OF ST
• MARK, ST

Mark's, with a See also:

• STIPEND

stipend of 300 ducats, which in 1616 was raised to 400 . Here he composed much sacred music, the greater See also:

• PART

part of which is lost . In 1630 he wrote another See also:

• GRAND

grand opera, Proserpina rapita .

He did not become a priest until 1632 . In 1639 he produced L'Adone, and in 1641 Le Nozze di Enea and Il Ritorno d'Ulisse . He died in Venice on the 29th of See also:

• NOVEMBER (Lat. novem, nine)

November 1643 . Monteverde's See also:

• HARMONIC

harmonic innovations and See also:

• POWER [WILLIAM GRATTAN] TYRONE (1797-1841)

power of musical See also:

• RHETORIC (Gr. psroperctj TEXvq, the art of the orator)

rhetoric seemed to put an end to the school of See also:

• PALESTRINA, GIOVANNI PIERLUIGI DA (1526-1594)

Palestrina, and led the way to See also:

• MODERN

modern music .