The circumstances in which Orfeo was published resulted in the survival of different editions of the work, reflecting contemporary practices. The first edition is from 1609, and was printed by Amadino in Venice. This followed the first performance, which took place in a room not yet identified in the Palazzo Ducale in Mantua in 1607. The second edition of 1615 was also printed by Amadino.
The typographical presentation of both these editions is absolutely identical, so that at first there appear to be no differences between them. However, a thorough examination reveals that in the 1615 edition, printing errors in the first edition have been accurately eradicated. The second edition is therefore very helpful, particularly for those places which at first glance, despite their flamboyance, seem to belong to the occasionally extremely complex stylistic writing used in the work. It shouldn’t be too difficult to trace these few places back to a more free-flowing version.
L’Orfeo presents a fascinating model of notation for the vocal parts. Monteverdi’s precision in writing out the ornamentation can be compared with those places where Bach was so frequently criticised. Nowadays we are familiar with a highly-interesting and demanding repertoire of the art of vocal ornamentation from numerous sources, ranging from trills or tremoli of various types to far beyond. In Orfeo, highly-developed forms of declamation, accents and vocal leaps can be found; in addition, extensive use is made of anticipatory notes or syllables.
This was a matter of very refined procedures, which were generally left to the good taste of the singer. We do not know why Monteverdi wrote them out in such a precise manner. Apart from a few cases, this precise notation was not used for the later Venetian operas. I am not just referring to the two versions of the aria ”Possente spirto”, which alone provides enough material to list an enormous repertoire of ornamentation and its possible uses. In fact, the role of Orfeo is characterised throughout by a great richness of ornaments. In particular, the long monologue at the beginning of the fifth act encompasses examples of the highest quality and elegance of ornamentation. These should undoubtedly influence the performance practice of this opera today. For their correct execution it is essential to imagine their rhythmic shaping precisely, which – insofar as it is irregular – should at least be consistent in the subdivision of the beat. Much confusion has arisen in recent years through the stylistic standardisation of the three Monteverdi operas. However, Orfeo cannot be treated or performed in the same way as Poppea and Ulisse. Whilst the two late operas are characterised by contrast between a fully-developed recitative style and an aria form which is already expressive and coherent – with all the consequent possibilities of a distinct flexibility in tempo – Orfeo remains in a unified style. The number of arias is extremely reduced, and Monteverdi chose the style of ”recitar cantando” not only for most parts of the opera, but also for the most important expressive and emotional passages. The great precision of notation and the advanced basso continuo part, which is sometimes very elaborate rhythmically, suggest that for a correct performance, the minims, the pulsating heart of the whole opera, should be conducted very evenly.
As with the edition of Ulisse, it has also been the intention to offer fully-realised continuo chords here, and that is what we have done: the editor’s notes are in brackets. Both editions contain only minimal information about the original figuration. In addition, these few details are really confused and can relate to various different chords. The continuo players should feel free to make individual decisions. For the sensitive period of transition from modal harmony and tonality, it is also very complicated to suggest a single solution, particularly for the figuring of subdominant chords. As accidentals are missing, there is always some doubt about whether a major or minor chord is preferable. Harmonic analysis of contemporary madrigals is not much help, as both options occur in about the same number in that repertoire. If we analyse the vocal line in comparison with the bass line, it emerges very clearly that the missing figuring does not necessarily justify the use of simple chords, rather that it can be appropriate to introduce composite formulae and chords in the cadential passages.
Passages which were in black notation in the original have been transcribed into modern notation. Current musicology has suggested several solutions for these passages. Naturally, only one has been applied here – the one which seems to be the most convincing from the musical perspective. Based on the critical commentaries, it is simple to make suggestions from the original notation, so that the musicians can also choose variant proportions. The original mensural notation signs have been retained, and the notation has been transcribed into the treble and bass clefs.
The pieces which were notated in Chiavette [other clefs] were as a rule already given a fifth lower. In the appendix there is an alternative version, transposed down a fourth, plus the original version.
Monteverdi left a great wealth of details about instrumentation. These have been reproduced in full and in the original form. Supplementary details are given in brackets. It should simply be remembered that the decision for or against using some instruments should correspond with the rhetorical customs. For this reason, we have avoided suggesting the use of cornetti and trombones in the first two acts, as these instruments are associated with the environs of hell in the third and fourth acts.
Rinaldo Alessandrini
from: takte 2/2008
Refined ornamentation. Monteverdi's ornamentation in an Urtext edition
L’ORFEO
FAVOLA IN MUSICA
DA CLAUDIO MONTEVERDI
RAPPRESENTATA IN MANTOVA
l’Anno 1607. & nouamente data in luce
AL SERENISSIMO SIGNOR
D. FRANCESCO GONZAGA
Prencipe di Mantoua, & di Monferrato, &cc.
In Venetia Appresso Ricciardo Amadino
MDCIX
PERSONAGGI
La Musica Prologo (soprano), Orfeo (tenore), Euridice (soprano), Choro di Ninfe, e Pastori, [Messaggera (soprano)], Speranza (soprano), Caronte (basso), Choro di Spiriti infernali, Proserpina (soprano), Plutone (basso), Apollo (tenore)
STROMENTI
Duoi Gravicembani, Duoi contrabbassi de Viola, Dieci Viole da brazzo, Un Arpa doppia, Duoi Violini piccoli alla Francese, Duoi [recte: tre] Chitaroni, Duoi Organi di legno, Tre bassi da gamba, Quattro [recte: cinque] Tromboni, Un regale, Duoi Cornetti, Un Flautino alla Vigesima seconda, Un Clarino con tre trombe sordine
Editor: Rinaldo Alessandrini
Bärenreiter-Verlag. Score and piano reduction for sale, performance material on hire
Picture: Jean Corot: Orpheus führt Eurydike aus der Unterwelt (1861)