Originally a musical and poetic genre of the Renaissance. In the XIV-XVI centuries, poetic madrigals were created, as a rule, for musical embodiment. Later, the literary madrigal was not associated with music and was a genre of salon and album poetry.
Examples of madrigals in Russian poetry are represented by the works of A. P. Sumarokov, I. I. Dmitriev, V. L. Pushkin, and later by K. N. Batyushkov, A. S. Pushkin, M. Yu. Lermontov.
...He read Olga for me,He said: Will I wait for the day?..”
And, full of sincere sadness,
Vladimir immediately drew
His funeral madrigal.
A.S. Pushkin, "Eugene Onegin". Chapter 2. XXXVII.
The names of real addressees, as a rule, were replaced by conventionally poetic ones Alina, Laisa, Selina, Leela and the like. An example of a madrigal by V. I. Tumansky:
You have everything that the gentle sex is proud of
The pleasures, beauty and freshness of youth
He who knows your mind will marvel,
He who knows the heart gives his to you.
Like Guria in Mohammedan
Eden, in roses and silk
So you are in the Uhlan Life Guards
Her Majesty's regiment.
The main sonnet of a wreath of sonnets is also called a madrigal - an architectural form of a poem consisting of 15 sonnets.
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He laughed dryly, coldly, unpleasantly, as he always laughed, with only his mouth and not his eyes.“We need to walk, walk, as much as possible, as much as possible,” he said.
The little princess did not hear or did not want to hear his words. She was silent and seemed embarrassed. The prince asked her about her father, and the princess spoke and smiled. He asked her about mutual acquaintances: the princess became even more animated and began to talk, conveying her bows and city gossip to the prince.
“La comtesse Apraksine, la pauvre, a perdu son Mariei, et elle a pleure les larmes de ses yeux, [Princess Apraksina, poor thing, lost her husband and cried all her eyes out,” she said, becoming more and more animated.
As she perked up, the prince looked at her more and more sternly and suddenly, as if having studied her sufficiently and formed a clear concept about her, he turned away from her and turned to Mikhail Ivanovich.
- Well, Mikhaila Ivanovich, our Buonaparte is having a bad time. How Prince Andrei (he always called his son that in the third person) told me what forces were gathering against him! And you and I all considered him an empty person.
Mikhail Ivanovich, who absolutely did not know when you and I said such words about Bonaparte, but understood that he was needed to enter into a favorite conversation, looked at the young prince in surprise, not knowing what would come of it.
– He’s a great tactician! - the prince said to his son, pointing to the architect.
And the conversation turned again to the war, about Bonaparte and the current generals and statesmen. The old prince seemed to be convinced not only that all the current leaders were boys who did not understand the ABCs of military and state affairs, and that Bonaparte was an insignificant Frenchman who was successful only because there were no longer Potemkins and Suvorovs to oppose him; but he was even convinced that there were no political difficulties in Europe, there was no war, but there was some kind of puppet comedy that modern people played, pretending to do business. Prince Andrei cheerfully endured his father’s ridicule of new people and with visible joy called his father to a conversation and listened to him.
Johann Bach wrote: “Music is a knife for opening the soul.” The same can be said about the lyrics. A musical and poetic work called a madrigal serves precisely to express the most intimate feelings. It contains puns and colorful compliments. A madrigal is (in music) a short piece written to a poem with a pastoral love content. Most often it is dedicated to a woman, glorifying her charms. What does the word madrigal mean in literature? This is a short lyric poem in which rhymes are intertwined like a sonnet. May have humorous or sententious content.
Meaning of the word
From the 14th to the 17th centuries, this musical and literary movement was given the following definition. Madrigal is a short musical and poetic creation with a love and lyrical component. At first it was designed to be performed by 2-3 voices with musical accompaniment. Later it began to be performed by 5 or more participants without the use of music.
Italy became the brainchild of this genre. Texts for beautiful madrigals were created by such masters as Torquatto Tasso, Francesco Petrarca, Dante, Sacchetti. Basically, these small works were performed sadly, sorrowfully, and sadly. But sometimes there were lively and joyful messages. Since the 16th century, a short poem in the form of a compliment began to be called a madrigal.
The origin of the word "madrigal" is believed to have Provençal roots. If mandre is “shepherd” and gal is “complaint”, then the result is a “shepherd’s plaintive song”. Some believe that the name comes from the word materialia, meaning secular singing. And translated from the Latin matricale, where mater means “mother,” the madrigal takes on the meaning of a song performed in the mother’s (native) language. The text of the oldest such work was written in 1300 and is kept in the Vatican Library. At the beginning of the 16th century, a representative of the Venetian school, Adrian Willaert, made the first artistic decoration of a madrigal.
Evolution of the genre
Madrigals were performed at holidays and fun events, accompanied by one or two musical instruments. In the 16th century, this genre gained the greatest popularity in Italy, where it took the form of frottola. It became similar to the Spanish songs that were sung by 4 voices at Christmas. The main role in the performance of such works was given to the upper voice and musical accompaniment. The Italian madrigal of the Renaissance differed from previous creations in its expressiveness.
By the end of the 16th century, works of this genre began to be performed by five voices. Some madrigals began to absorb features of church songs. Palestrina and Cipriano de Rore worked in this direction. Later, many musicians began to introduce more sensitivity into the madrigal: love experiences, a melancholic or joyful mood, sometimes a pessimistic mood. In some works of this genre of the 17th century, rationalistic features of the vision of the world began to be visible.
Italian and French direction
Gradually, the madrigal began to acquire the meaning of a great love song with a solemn, majestic character. Later he had an exclusively erotic direction. Many great composers of Italy and France of that time wrote madrigals. Among them are Luca Marenzio, Monteverde, Orazio Vecchi, Orlando Lasso.
Madrigal was constantly susceptible to change; for this purpose, frequent and deep dissonances were introduced. The mentioned feature is characteristic of such compilers of texts as Torquatto Tasso and Bernardo. Claudio Momteverdi and Gesualdo de Venosa particularly distinguished themselves in creating songs of this genre. The masters of Italian madrigal have achieved an amazing balance between poetry and music. Their creations became surprisingly melodic, filled with light harmonious development.
For the peculiarity of his performance of madrigals, Luca Marenzio began to be called the “sweet-voiced Italian swan.” His quintets, of which he composed as many as nine books, became especially famous.
Madrigals in England
This genre of songwriting is gaining particular imitation in England. Over time, for the British, madrigal becomes a national form of music; many representatives of this country begin to be interested in it. By the end of the 16th century, almost all compositions of this genre written by Italian masters were published in England. A famous translator of Italian madrigals into English was a London hotel owner named Long. Later, he not only translated madrigals, but also printed notes for them. After these publications, the following English masters began to turn to the genre we are considering: Bird, Dowland, Morley, Wilby, Wilkes and other composers.
English works were in no way inferior to Italian ones. After dinner, many families had the tradition of handing out sheet music to guests and singing madrigals together. With the help of this genre, English society achieved high musical development.
Literary madrigals
In the 17th century, the madrigal began to take on a slightly different meaning. Examples of poems indicate that he became more like an epigram, only he did not ridicule, but praised someone. Most often, the objects of such works were women. Since then, a madrigal has come to be considered a small poem that contains wordplay, compliments and does not have strict rules.
Such poems were written in cases of slight infatuation with someone special. They are small and should not exceed 14 lines. Madrigal does not include expressions of sincere feelings; the main thing is to gently convey flirtatious praise. The lady will be pleasantly flattered, but she will not take this praise seriously. With the help of such opuses you can play at falling in love, nothing more.
Later, the madrigal began to be considered vulgar, since the huge number of these verses led to falsehood and insincerity. But many aristocratic salons introduced their use in their practice. Madrigal is a genre that helped convey the bombast of these establishments. Such poems were supposed to demonstrate the gallantry, impeccable taste and good manners of the author.
Often the writers of madrigals replaced real names with conventional ones, for example: Lila, Selila, Amina, Alina. It should be noted that not only a madrigal was drawn up for a woman, but also for a loved one, a private or public person.
Madrigal in Russian poetry
As a type of “intimate” genre, the madrigal was presented in Russian noble poetry of the 17th and 18th centuries. The most prominent author was Alexander Pushkin. Many people know it, dedicated to Natalya Goncharova, written in this style. Gradually, all the delights of this genre were demonstrated to the reader by such Russian poets as I. I. Dmitriev, Sumarokov, M. Yu. Lermontov, K. N. Batyushkov. Together with French manners and language, Russian society began to adopt a poetic direction.
In 1828, Ivan Slenin published the book “The Experience of a Russian Anthology” in St. Petersburg. In it he included madrigals of such famous Russian poets as Delvig, Somov, Tumansky, Pushkin. Minor poets who also resorted to this genre were: A. Nakhimov, A. Izmailov, M. Milonov, N. Ostolopov. During the Silver Age of Russian literature, Nikolai Gumilev turned to the madrigal genre.
Lermontov's love madrigals
M. Yu. Lermontov lived only 28 years. He was not married, but had a subtle romantic soul who often fell in love. Among his lovers were such beauties as: K. S. Saburova, E. K. Musina-Pushkina, A. O. Smirnova, V. Bukharin and others. It is worth noting his madrigals: “Like the spirit of despair and evil...” , "Silhouette", "The soul is corporeal!". Many of these poems were read by the poet at one of the masquerades.
Modern embodiment of the genre
The period of modern madrigal in Russian culture began after the release of the film “The Irony of Fate,” where the poems of Tsvetaeva and Akhmadulina were beautifully set to music. The wonderful composer Mikael Tariverdiev took poems from the following poets for musical masterpieces in other films: A. Voznesensky, V. Korostylev, N. Dobronravov, P. Neruda. Modern madrigal is a striving for the ideal, sublime, harmonious!
Explanatory Dictionary of the Living Great Russian Language, Dal Vladimir
madrigal
m. a short poem, laudatory, flattering, loving, tender, subtle and poignant.
Explanatory dictionary of the Russian language. D.N. Ushakov
madrigal
madrigal, m. (French madrigal).
A short lyric poem, usually dedicated to a lady and praising her (historical lit.). There were gentle poets... sharpening subtle madrigals or careful couplets. Pushkin.
Courtesy, compliment (obsolete). Leaning over, some vulgar madrigal gently whispers to her. Pushkin.
Explanatory dictionary of the Russian language. S.I.Ozhegov, N.Yu.Shvedova.
madrigal
A, m. A short poem, usually of love content, dedicated to a lady and praising her.
adj. madrigal, -aya, -oe.
New explanatory dictionary of the Russian language, T. F. Efremova.
madrigal
A short lyrical poem of praise dedicated to a lady, usually consisting of three rhymed couplets.
A special type of ancient vocal composition (for three or more voices) based on a poem of pastoral love content (in music).
Encyclopedic Dictionary, 1998
madrigal
MADRIGAL (French madrigal)
at 14 and 16 - beginning. 17th century a small musical and poetic work of love-lyrical content, initially 2-3 voices with instrumental accompaniment, later 4-5 voices without accompaniment. Originated in Italy.
From the 16th century a short compliment poem.
Madrigal
[French madrigal, italian madrigale, from Late Lat. matricale (from Latin mater ≈ mother) ≈ song in the native (maternal) language (as opposed to Latin chants)], a secular musical and poetic genre of the Renaissance. The origins of M. go back to folk poetry, to the ancient Italian shepherd's song. In the 14th century it appeared in Italian professional poetry as a type of song lyrics with idyllic content (see Idyll) and immediately attracted the attention of composers. From the 14th to the 16th centuries, poetic music was created, as a rule, for musical embodiment. Early musical and poetic M. ≈ 2-3-voice vocal-instrumental works in verse form with a refrain on love-lyrical, comic-everyday, mythological and other themes (G. da Firenzo, F. Landino and others). After a long break, M. was revived in the 16th century in the form of a 4–5-voice composition without instrumental accompaniment, mainly of a lyrical nature (A. Willart, C. Festa, J. Arkadelt, Palestrina, O. Lasso) on texts by Petrarch, Boccaccio, Tasso , Guarini. M. was also popular in England (T. Morley, J. Wilby) and Germany (H. L. Hasler, G. Schutz). Mature artists (L. Marenzio, C. Gesualdo, C. Monteverdi, late 16th century) are characterized by freedom of expression of thoughts and feelings, richness in visual techniques, bold dissonances, chromaticisms, and bright rhythmic and textural contrasts. At the end of the 16th and beginning of the 17th centuries, music became closer to the concert and dramatic genres and formed the basis of madrigal comedy.
M. of a later time is not associated with music; This is a small compliment poem (usually dedicated to a woman). M. 18th - early 19th centuries - genre of salon and album poetry; in Russia it is found in K. N. Batyushkov, A. S. Pushkin. The classic example of M. belongs to M. Yu. Lermontov:
“The soul is corporeal!” you assure everyone boldly;
I agree, breathing love:
Your most beautiful body
Nothing less than soul!
G. N. Dubravskaya.
Wikipedia
Madrigal
Madrigal(, lat. madrigale, mandrigale; from - in the native language - a small musical and poetic work, usually of love and lyrical content. In the history of Western European music, it is customary to distinguish madrigals of the 14th century (written in solid form) and madrigals of the 16th century (written in strophic form) .
Madrigal (disambiguation)
Madrigal:
- Madrigal is a musical genre that became widespread during the Renaissance.
- Madrigal - poetic genre
- "Madrigal" is a Russian ensemble of early music.
Madrigal (literature)
Madrigal- in classical poetry, a small lyrical poem-compliment, a poem of laudatory content.
Originally a musical and poetic genre of the Renaissance. In the XIV - XVI centuries, poetic madrigals were created, as a rule, for musical embodiment. Later, the literary madrigal was not associated with music and was a genre of salon and album poetry.
Examples of madrigals in Russian poetry are represented by the works of A. P. Sumarokov, I. I. Dmitriev, V. L. Pushkin, and later by K. N. Batyushkov, A. S. Pushkin, M. Yu. Lermontov.
He read Olga for me,
He said: Will I wait for the day?..”
And, full of sincere sadness,
Vladimir immediately drew
His funeral madrigal. A.S. Pushkin, "Eugene Onegin". Chapter 2. XXXVII.
The names of real addressees, as a rule, were replaced by conventionally poetic ones Alina, Laisa, Selina, Leela and the like. An example of a madrigal by V. I. Tumansky:
You have everything that the gentle sex is proud of
The pleasures, beauty and freshness of youth
He who knows your mind will marvel,
He who knows the heart gives his to you.
Often the form of the madrigal was parodically reinterpreted and epigram was designated by this genre definition. An example of such a “madrigal” is “Madrigal to the Regimental Lady” by N. S. Gumilyov:
Like Guria in Mohammedan
Eden, in roses and silk
So you are in the Uhlan Life Guards
Her Majesty's regiment.
The main sonnet of a wreath of sonnets is also called a madrigal - an architectural form of a poem consisting of 15 sonnets.
Madrigal (early music ensemble)
Ensemble of soloists "Madrigal"- one of the oldest and most authoritative Russian early music ensembles. Founded in 1965 by Andrei Volkonsky, after Volkonsky's emigration in 1972, the ensemble was headed by Lidia Davydova (with a break in 1983 - 1992, when the ensemble was led by Oleg Yanchenko).
The work of “Madrigal” is associated with the discovery of Western European music of the pre-Bakhov period for a wide Russian listener. “Madrigal” dedicated monographic concerts and sound recordings to the music of France, England, Italy, Spain, Germany, and the Netherlands. Subsequently, both the chronological and cultural scope of the ensemble’s activities were expanded: “Madrigal” began to perform Byzantine, South Slavic and Russian music (up to spiritual concerts of the 18th century), and in Western European music it reached the works of the 9th-12th centuries, although the basis of the repertoire remains compositions XIV-XVIII centuries.
The early period of Madrigal’s history was marked by the work of a number of outstanding musicians in the group, who later chose solo or other careers: Mark Pekarsky, Alexey Lyubimov, the Lisitsian sisters. From 1972 to 1992, the first Russian countertenor E.V. sang in Madrigal. Argyshev.
In 2008, the Moscow State Philharmonic reorganized the ensemble, maintaining the same name; the new team was headed by lutenist Alexander Suetin. Other musicians from the previous composition, led by the former leader of the ensemble, Lidia Davydova, also continued performing under the name “Madrigal” and registered the Autonomous non-profit organization “Madrigal” in 2010. In 2011, Lidiya Davydova died.
In a relatively short period of time, “Madrigal”, under the leadership of Suetin, prepared more than fifteen original programs, became a participant in the “December Engagement” festival in Kaluga, “Diaghilev Days” in Perm, the I Open Festival of Professional Orchestras in Tchaikovsky, and the “Classical Guitar in the 21st Century” festival ", cultural programs of international cooperation in Denmark, Malta and Sweden; and Alexander Suetin and Anna Toncheva took part in the production of C. Monteverdi’s opera “Orpheus” at the Perm Opera and Ballet Theater, which won two National Theater Awards “Golden Mask”.
Examples of the use of the word madrigal in literature.
Elegies, elegies without end, madrigals some, rondos, for the devil to take them, toys, trinkets - and all this at a time when despotism is growing stronger, the peasants are slaves, and the Arakcheevs and Metternichs are lashing Europe with spitzrutens.
THREE MADRIGAL for soprano, violin, viola, double bass, vibraphone, harpsichord.
Already early madrigals Gesualdo is distinguished by expression, emotionality and sharpness of musical language.
Every voice, every sound must find for itself a form of expression that would correspond to the essence madrigal, and would not be one of the mechanical reproductions, a great many of which they listened to on records, comparing, studying, so that they themselves could become a little Gesualdo, the murderous prince, the master of music.
Sandro approaches Mario and Roberto, who is indifferently silent, what is happening, you should know, and Mario: I’m telling you, I don’t know, he is pale, looking into space, the manager says something to Sandro and Lucio, running around behind the scenes, she’s not there, señor, no one saw her coming, Paola clutches her head in her hands, she contorts as if she’s about to vomit, Karen supports her, and Lucio: please, Paola, pull yourself together - two minutes, Roberto looks at Mario, speechless and pale, maybe Carlo Gesualdo was just as silent and pale when he left the bedroom, in the program five of him madrigals, impatient applause, but the curtain does not rise, she is not there, senor, we looked everywhere, she did not come to the theater, Roberto comes close to Sandro and Mario: you did it, where is Franca?
One day he found it on his table madrigals Voltaire and Piron's poems, at first I was surprised, read it, and then took madrigals himself and forgot to make a suggestion to Alexander.
Today there was an alarm: in one of the pupils, Pushkin, Piletsky found madrigals Voltaire, the poet Piron and other, as he put it, dirty books.
Rose presented the gifts to the beautiful fishmonger, reciting without hesitation madrigal Innkeeper: - Mr. Lebigre asks you to drink this for his health, which has become very deteriorating for a reason known to you.
Dambis uses here the technique of stylizing ancient genres - sarabandes, pavanes, frottola, madrigal, - which connect with modern sounds.
Solonovich Selected canzones, sextins, ballads and madrigals Translation by E.
However, she did not admit it and for a quarter of a century she played out the comedy of the engagement with great pleasure, because she liked the red tape that accompanied writing madrigals and giving gifts.
To whom is this love addressed? madrigal with Petrarchan reminiscences - unknown.
This madrigal Even more consistently than sonnet 60, he draws a parallel between the work of a sculptor on a stone and the work of a donna on a loving person.
Madrigal (French madrigal, Italian madrigale, from Late Latin matricale (from Latin mater - mother)) is a small compliment poem written in a free style. The origins of the madrigal are in an ancient Italian shepherd's song. It arose in the 14th century and through the 16th centuries. existed in musical form. Love, humorous, and mythological madrigals are known (G. da Firenzo, F. Landino). This genre is becoming popular in European poetry (F. Petrarch, G. Boccaccio, T. Tasso, T. Morley, J. Wilby, L. Hasler). In a later period, the madrigal is no longer a piece of music, but becomes a genre of album poetry - a poetic compliment addressed to a woman. Madrigal was associated with easy hobby, so it was short: it usually included 3-12 lines. Sincerity of feelings was not necessary; usually this kind of poetic compliment contained a joke, wit, hyperbole, and a slight shade of slightly feigned sadness. In Russian poetry, the madrigal is represented in the works of K.N. Batyushkova, I.I. Dmitrieva, A.S. Pushkina, M.Yu. Lermontov.
