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 just serves to express the most intimate feelings. It contains a play on words, colorful compliments. A madrigal is (in music) a small piece set to a poem with a pastoral love content. Most often it is dedicated to a woman, sings of her charms. What does the word madrigal mean in literature? This is a small lyrical poem in which rhymes intertwine like a sonnet. May have humorous or sentimental content.
Meaning of the word
Starting from the 14th to the 17th century, this musical and literary direction was given the following definition. Madrigal is a short musical and poetic creation that has a love-lyrical component. Initially, 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 was 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, sadly, melancholy. But sometimes there were messages animated and joyful. Starting from the 16th century, a small poem in the form of a compliment began to be called a madrigal.
It is believed that the origin of the word "madrigal" has Provencal roots. If mandre is "shepherd" and gal is "complaint", then the result is "shepherd's mournful song". Some believe that the name comes from the word materialia, meaning secular singing. And in translation from the Latin matricale, where mater means "mother", the madrigal acquires 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 Villaert, made the first artistic decoration of a madrigal.
Genre evolution
Madrigals were performed at holidays, fun events, accompanied by one or two musical instruments. In the 16th century, this genre is gaining the greatest popularity in Italy, where it takes 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, compositions of this genre began to be performed in five voices. Some madrigals began to absorb the features of church songs. Palestrina and Cipriano de Rore worked in this direction. Later, many musicians began to bring more sensitivity to 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 seen.
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 constantly succumbed to change, for this, frequent and deep dissonances began to be introduced. This feature is typical for such compilers of texts as Torquatto Tasso and Bernardo. Claudio Momteverdi and Gesualdo de Venosa were especially distinguished in creating songs of this genre. The masters of the Italian madrigal have achieved an amazing balance between poetry and music. Their creations have become surprisingly melodic, filled with easy harmonious development.
For the peculiarity of the performance of madrigals, Luca Marenzio began to be called the "sweet-voiced Italian swan." A special celebrity was acquired by his quintets, of which he composed as many as nine books.
Madrigals in England
This genre of songwriting is gaining special imitation in England. Over time, for the British, the 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 well-known translator of Italian madrigals into English was the owner of a London hotel by the name of 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 compositions were in no way inferior to Italian ones. Many families after dinner had a tradition of handing out notes to guests and singing madrigals together. With the help of this genre, English society has reached a high musical development.
Literary madrigals
In the 17th century, the madrigal began to take on a slightly different meaning. Examples of verses indicate that he became more like an epigram, only he did not ridicule, but praised someone. Most often, women became the object of such works. Since then, a small poem has been considered a madrigal, which contains a play on words, compliments and does not have strict rules.
Similar poems were written in cases of slight passion for some special person. They are small, 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 in love, nothing more.
Later, the madrigal began to be considered vulgar, since a huge number of these verses led to falsehood and insincerity. But many aristocratic salons introduced their use in their practice. The madrigal is a genre that helped convey the pomposity 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 conditional ones, for example: Lila, Selila, Amina, Alina. It should be noted that not only a madrigal was compiled for a woman, but also for a close person, private or public person.
Madrigal in Russian poetry
As a kind of "intimate" genre, the madrigal was presented in Russian noble poetry of the 17th-18th centuries. The brightest author was Alexander Pushkin. Many people know him, dedicated to Natalia Goncharova, written in this style. Gradually, all the charms 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 take a poetic direction.
In 1828, Ivan Slenin published the book "Experience of a Russian Anthology" in St. Petersburg. In it, he included madrigals of such famous Russian poets as Delvig, Somov, Tumansky, Pushkin. Secondary poets who also resorted to this genre were: A. Nakhimov, A. Izmailov, M. Milonov, N. Ostolopov. During the Silver Age of Russian literature, Nikolai Gumilyov turned to the madrigal genre.
Lermontov's love madrigals
M. Yu. Lermontov lived only 28 years. He was unmarried, but had a subtle romantic soul who often fell in love. Among his lovers were such beauties as: K. S. Saburova, E. K. Musin-Pushkin, A. O. Smirnov, V. Bukharin and others. It is worth noting his madrigals: "Like a spirit of despair and evil ..." , "Silhouette", "The soul is corporeal!". Many of these poems were read by the poet at one of the masquerades.
The modern incarnation of the genre
The period of the modern madrigal in Russian culture began after the release of the film "The Irony of Fate", where the verses of Tsvetaeva and Akhmadulina were perfectly set to music. The wonderful composer Mikael Tariverdiev took poems by the following poets for musical masterpieces in other films: A. Voznesensky, V. Korostylev, N. Dobronravov, P. Neruda. The modern madrigal is a striving for the ideal, sublime, harmonious!
Explanatory Dictionary of the Living Great Russian Language, Vladimir Dal
madrigal
m. a short poem, laudatory, flattering, loving, tender, subtle and sharp.
Explanatory dictionary of the Russian language. D.N. Ushakov
madrigal
madrigal, m. (fr. madrigal).
A small lyrical poem, usually dedicated to a lady and praising her (historical lit.). Sometimes tender poets... sharpened a thin madrigal or careful couplets. Pushkin.
Courtesy, compliment (obsolete). Bending down, some vulgar madrigal softly whispers to her. Pushkin.
Explanatory dictionary of the Russian language. S.I. Ozhegov, N.Yu. Shvedova.
madrigal
Ah, m. A short poem, usually of a loving content, dedicated to a lady and praising her.
adj. madrigal, th, th.
New explanatory and derivational dictionary of the Russian language, T. F. Efremova.
madrigal
A small lyrical laudatory poem dedicated to a lady, usually consisting of three rhyming couplets.
A special type of an old vocal composition (for three or more voices) for a poem of pastoral love content (in music).
Encyclopedic Dictionary, 1998
madrigal
MADRIGAL (French madrigal)
at 14 and 16 - beg. 17th century a small musical and poetic work of love-lyrical content, originally 2-3 voices with instrumental accompaniment, later 4-5 voices without accompaniment. Born in Italy.
From the 16th century a little compliment.
Madrigal
[French] madrigal, ital. madrigale, from Late Lat. matricale (from lat. mater ≈ mother) ≈ a song in the native (mother's) language (as opposed to lat. chants)], a secular musical and poetic genre of the Renaissance. The origins of M. go back to folk poetry, to an old Italian shepherd's song. In the 14th century, it appeared in Italian professional poetry as a kind of song lyrics with idyllic content (see Idyll) and immediately attracted the attention of composers. From the 14th to the 16th centuries, poetic musical instruments were created, as a rule, for musical embodiment. Early musical and poetic musical compositions are 2-3-voice vocal and instrumental works in couplet form with a refrain on love-lyrical, humorous everyday, mythological, and other themes (G. da Firenzo, F. Landino, and others). After a long break, musical composition was revived in the 16th century in the form of a 4-5-voice composition without instrumental accompaniment, mainly of a lyrical nature (A. Villart, K. Festa, J. Arcadelt, Palestrina, O. Lasso) based 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, chromatisms, and vivid rhythmic and textural contrasts. At the end of the 16th and the beginning of the 17th centuries, musical compositions approached the concert and dramatic genres and formed the basis of the madrigal comedy.
M. of a later time is not associated with music; this is a small compliment poem (usually dedicated to a woman). M. 18 ≈ the beginning of the 19th centuries ≈ the 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 boldly assure everyone;
I agree, breathing love:
your most beautiful body
Nothing but a soul!
G. N. Dubravskaya.
Wikipedia
Madrigal
Madrigal(, lat. madrigale, mandrigale; from - in the native language - a small musical and poetic work, usually of a love-lyrical content. In the history of Western European music, it is customary to single out madrigals of the 14th century (written in solid form) and madrigals of the 16th century (written in strophic form) .
Madrigal (disambiguation)
Madrigal:
- Madrigal - 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 lyric 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.
Samples of madrigals in Russian poetry are represented by the works of A. P. Sumarokov, I. I. Dmitriev, V. L. Pushkin, and later - 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
He has a funeral madrigal. A.S. Pushkin, "Eugene Onegin". Chapter 2. XXXVII.
The names of real recipients, as a rule, were replaced by conditionally poetic ones. Alina, Laisa, Selina, Leela and the like. An example of a madrigal by V.I. Tumansky:
You all have what tender sex is proud of
Pleasure, beauty and freshness of youth
Who knows your mind - marvels,
Who knows the heart - he gives his to you.
Often, the form of the madrigal was reinterpreted in a parody, and epigram was designated as such a genre definition. An example of such a “madrigal” is “Madrigal for a Regimental Lady” by N. S. Gumilyov:
Like a houri in Mohammedan
Eden, in roses and silk
So you are in the Life Guards Lancers
Her Majesty's regiment.
Also called a madrigal is the main sonnet of a wreath of sonnets - the architectonic form of a poem consisting of 15 sonnets.
Madrigal (early music ensemble)
Ensemble of soloists "Madrigal"- one of the oldest and most authoritative Russian ensembles of early music. 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-Bach period for a wide Russian listener. Madrigal devoted monographic concerts and sound recordings to the music of France, England, Italy, Spain, Germany, and the Netherlands. In the future, both the chronological and cultural framework of the ensemble's activities were expanded: "Madrigal" began to perform Byzantine, South Slavic and Russian music (up to the spiritual concerts of the 18th century), and in Western European music reached the works of the 9th-12th centuries, although the compositions remain the basis of the repertoire XIV-XVIII centuries.
The early period of Madrigal's history is marked by the work of a number of outstanding musicians as part of a team, who later chose a solo or other career: Mark Pekarsky, Alexei Lyubimov, the Lisitsian sisters. From 1972 to 1992, the first Russian countertenor E.V. sang in Madrigal. Argyshev.
In 2008, the Moscow State Philharmonic Society reorganized the ensemble, keeping its former name; the new team was headed by lutenist Alexander Suetin. Other musicians of the former composition, headed by the former leader of the ensemble, Lidia Davydova, also continued to perform under the name "Madrigal" and in 2010 registered the autonomous non-profit organization "Madrigal". Lidia Davydova passed away in 2011.
In a relatively short period of time, Madrigal, under the direction 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, the Classical Guitar Festival in the 21st century » , 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 Theatre, which became the owner of two National Theater Awards "Golden Mask".
Examples of the use of the word madrigal in the literature.
Elegies, elegies without end madrigals some kind of rondos, so that the devil takes them, toys, trinkets - and all this when despotism grows stronger, the peasants are slaves, and Arakcheev and Metternich are whipping Europe with gauntlets.
THREE MADRIGALA for soprano, violin, viola, double bass, vibraphone, harpsichord.
Already early madrigals Gesualdos are distinguished by their expressiveness, emotionality and sharpness of the 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, in order to become a little Gesualdo themselves, the murderous prince, the master of music.
Sandro approaches Mario and Roberto, who is indifferently silent, what is happening, you must know, and Mario: I tell you, I don’t know, he is pale, looks into space, the manager says something to Sandro and Lucho, running backstage, she is not, señor, no one saw her come, Paola clutches her head in her hands, she is contorted as if she is about to vomit, Karen supports her, and Lucio: please, Paola, pull yourself together - two minutes, Roberto looks at Mario, silent and pale, perhaps just as silent and pale was Carlo Gesualdo when he left the bedroom, in program five of his madrigals, impatient applause, but the curtain doesn't rise, she's gone, señor, we looked everywhere, she didn't come to the theatre, Roberto comes close to Sandro and Mario: did you do that, where is Franca?
One day he found on his table madrigals Voltaire and Piron's poems, at first he was surprised, read out, and then took madrigals himself and forgot to suggest to Alexander.
Today there was an alarm: one of the pupils, Pushkin, Pilecki found madrigals Voltaire, the poet Piron and other, as he put it, dirty books.
Rosa handed the gifts to the beautiful fish girl, reciting without hesitation madrigal tavern keeper: - Mr. Lebigre asks you to drink this to his health, which is very shaken for a reason known to you.
Dambis uses here the technique of stylization of ancient genres - sarabandes, pavanes, frottolas, madrigal, - which connect with modern sounds.
Solonovich Selected Canzones, Sextines, Ballads and madrigals Translation by E.
However, she did not admit it, and for a quarter of a century she played the engagement comedy with great pleasure, because she liked the red tape, accompanied by the composition madrigals and giving gifts.
To whom is this love addressed? madrigal with Petrarch's reminiscences - unknown.
This madrigal even more consistently than sonnet 60, he draws a parallel between the work of a sculptor on a stone and a donna on a loving person.
MADRIGAL (from the Italian mandra - herd, or Provence mandre - shepherd) - originally a shepherd's song; a poem from a conventional "country life", usually with erotic content; cultivated since the 14th century. Italian poets; M. were written by Petrarch, Boccaccio, Sacchetti, representing in them a kind of idyll (see). Later, the content of M. changed somewhat, and M. approached the epigram, differing from it in that the epigram (in the later formation) “is caustic and caustic, or, better, used to ridicule any oddity, and M. refers most to praise" (Ostolopov). This distinction is made by Dmitriev: “The poet Orgon, praising his wife beyond measure, / In his verses he compared her with Venus - / Without intention to his wife, he made a madrigal / And an epigram on Venus.” So. arr. M. can be considered a small poem that does not have any strict formal rules and contains a play on words, a compliment, etc., for example: properties, captivating face / But, wise, she warned me ”(Milonov). Madrigal is one of the types of "intimate" genre, which is typical for Russian noble poetry of the 18th and early 19th centuries. (message, epigram, epitaph, etc.) and was very developed at that time (see, for example, Pushkin's poems to Goncharova). In the West, M. was, in addition to Italy, distributed in France and Germany. See Strumpel, "Das franz. Madrigal" (1873). Bibliography:
Grossman L., Struggle for style, Moscow, 1927 (Art. "Pushkin's Madrigals", "Onegin stanza"); Oliphant Th., La musa madrigalesca, 1837; Vossler K., Das deutsche Madrigal, Geschichte seiner Entwicklung bis in die Mitte des 18 Jahrhunderts, 1898.Literary encyclopedia. - In 11 tons; M .: publishing house of the Communist Academy, Soviet Encyclopedia, Fiction.Edited by V. M. Friche, A. V. Lunacharsky. 1929-1939 .
Madrigal
originally - the genre of idyllic lyrics in Italian poetry of the 14th-15th centuries, then - a small intimate-joking poem containing a complimentary description of a woman. For example, "Madrigal M ... oh" (between 1817 and 1820) A.S. Pushkin:
O you who did not burn with love,
Look at her - you will know love.
O you who have grown cold in heart,
Take a look at her: you will love again.
In Russian poetry of the 18th–20th centuries. madrigal is rare.Literature and language. Modern illustrated encyclopedia. - M.: Rosman.Under the editorship of prof. Gorkina A.P. 2006 .
Madrigal
MADRIGAL- an old form. Neither the number of verses, nor the character of the meter, nor the number of feet in it - did not differ from the requirements for the epigram. By the nature of the theme, it had elements of tenderness and nobility.
Literary encyclopedia: Dictionary of literary terms: In 2 volumes / Edited by N. Brodsky, A. Lavretsky, E. Lunin, V. Lvov-Rogachevsky, M. Rozanov, V. Cheshikhin-Vetrinsky. - M.; L.: Publishing house L. D. Frenkel,1925
- (French madrigal, from the Greek mandra herd, because before the madrigal was a shepherd's song). A small lovingly comic poem, usually consisting of three rhyming couplets. Dictionary of foreign words included in the Russian language. ... ... Dictionary of foreign words of the Russian language
- (from the Italian mandra herd, or Provence. mandre shepherd) originally a shepherd's song; a poem from a conventional "country life", usually with erotic content; cultivated since the 14th century. Italian poets; M. were written by Petrarch, Boccaccio ... Literary Encyclopedia
madrigal- a, m. madrigal m. 1. A small lyrical laudatory poem for a lady, usually consisting of three rhymed couplets. ALS 1. For the first time in the translation of the play by J. B. Moliere Funny coynesses (Les précieuses ridicules? Dragya smeyanyya, 1703 ES. ... ... Historical Dictionary of Gallicisms of the Russian Language
See praise to compose a madrigal... Dictionary of Russian synonyms and expressions similar in meaning. under. ed. N. Abramova, M .: Russian dictionaries, 1999. madrigal praise Dictionary of Russian synonyms ... Synonym dictionary
MADRIGAL, madrigal, husband. (French madrigal). 1. A short lyrical poem, usually dedicated to a lady and praising her (original lit.). "There were gentle poets... sharpening a thin madrigal or careful couplets." Pushkin. 2. Courtesy, compliment ... ... Explanatory Dictionary of Ushakov
- (madrigal or mandrial) music based on pastoral love poems. The name M., according to some, came from the Provencal words mandre shepherd and gal complaint, according to others from materialia, denoting secular singing and given by M.v ... Encyclopedia of Brockhaus and Efron
- “MADRIGAL”, an early quatrain L. (1829) of an album character, sustained in the traditions of “light poetry”. Undoubtedly addressed to a specific, but unidentified addressee. Poem. is built on a typical pun shift: philos. question about… … Lermontov Encyclopedia
- (French madrigal), 1) in the 14th century. and 16th and early 17th centuries. a small musical poetic work of lovingly lyrical content, originally 2 3 voices with instrumental accompaniment, later 4 5 voices without accompaniment. Born in…… Modern Encyclopedia
- (French madrigal) 1) at 14 and 16 beginning. 17th century a small musical poetic work of lovingly lyrical content, originally 2 3 voices with instrumental accompaniment, later 4 5 voices without accompaniment. Born in Italy.2) From ... ... Big Encyclopedic Dictionary
Madrigal ... now this word sounds unusual, associating with a bygone era - something like a musical "museum exhibit". But there was a time when the madrigal genre was “on the crest of a wave”, and there were many composers in whose work it was the leading genre.
The Italian word "madrigal" comes from the Latin mater - "mother". This refers to a work written in the “mother”, that is, the native language (as opposed to spiritual chants, which were written in Latin texts). The madrigal arose not even in music, but in poetry, and this happened in Italy during the Renaissance, more precisely, in the 14th century. We meet madrigals among the works of many Italian poets of the Renaissance - Francesco Petrarch, Franco Sacchetti. Unlike many other poetic genres of that time (for example, the sonnet), the structure of the madrigal was not regulated by strict rules - a certain number of lines, the arrangement of rhymes were not prescribed, in other words, the madrigal provided the poet with a considerable degree of freedom. Nevertheless, a certain tradition has developed in this genre: the madrigal consisted of three-line stanzas, the number of which could vary (but not less than two), and completed its two-line conclusion.
But even then, in the XIV century, the first musical madrigals appeared. Like poetic madrigals, they were distinguished by a certain freedom - primarily in the field of poetic content. It could be anything: love lyrics, mythological plots, humor and many other topics. Madrigals of that time had the form of two- or three-voice vocal works, and the upper voice abounded in musical "decorations". Sometimes musical instruments were used in their performance, but not necessarily. The musical structure came from the construction of poetic madrigals: the two-line conclusion turned into a refrain appearing between couplets.
Originating in the 14th century, the madrigal almost disappears from the scene in the next century, unable to withstand competition with another variety of polyphonic secular song - frottola. But in the 1530s. the “second birth” of the madrigal took place: the artistic principles of the High Renaissance required that the music sensitively respond to all the nuances of the poetic text, and the frottola with its strict structure was not capable of this, the madrigal with its free construction is another matter. It is the principle of free expression of feelings that becomes the main distinguishing feature of the madrigals of the 16th century, therefore, in relation to this era, it is very difficult to say something definite about the traditional form of the madrigal - it has turned into a kind of "experimental testing ground". However, in the madrigals of that era, one can see a connection with two other genres - motet and frottola. Madrigals of the first type - five-voiced, with a polyphonic structure - relied on a system of church modes and had a through form. Madrigals, “rooted” in frottola, were built according to the couplet or reprise principle, their four-voice texture was homophonic-harmonic, and the modal basis was close to major and minor.
A new stage in the development of the madrigal genre is associated with the name of Orlando Lasso and other composers of the second half of the 16th century. A lot of new things appear in the musical fabric of madrigals - dissonances, chromatisms. But the truly "golden age" of the madrigal begins at the turn of the 16th-17th centuries. At this time, composers such as Claudio Monteverdi, Carlo Gesualdo di Venosa lived and worked. A kind of symbolism appears in the musical language of the madrigal: chromatism or dissonance - grief, a pause - a sigh, a quick rhythmic movement - the wind, a smooth melody - tears, etc. death. Madrigals appear in the form of dramatic scenes, they increasingly use musical instruments and even instrumental episodes called "symphonies" appear. A kind of quintessence of the "golden age" of the madrigal is Claudio Monteverdi's collection "Militant and Love Madrigals", which presents many varieties of this genre.
But the “golden age” turned into a “golden autumn”: having formed and developed everything that will be in demand in subsequent centuries - a homophonic-harmonic warehouse, functional harmony, chromatisms - the madrigal is gradually becoming a thing of the past. At the turn of the 17th-18th centuries, madrigals were still being created, but soon this genre was leaving composer practice.
Studying the music of the Renaissance and the 17th century is, of course, interesting, but imagine - madrigals were created in the 20th century! In 1958, Paul Hindemith wrote the Twelve Madrigals, and Bohuslav Martinu called some of his chamber-instrumental works madrigals. And yet, first of all, this word is associated with the music of the pre-Bach era. One of the oldest ensembles of early music in Russia, created in 1965, is called Madrigal.
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