Claudio Monteverdi (1567–1643): Madrigal ‘O Ciechi, ciechi’ from Selva Morale e Spirituale (c. 1641)

Claudio Monteverdi
baptised 15 May 1567 in Cremona
died 29 November in Venice

Published:
Venice 1641

Recommended recordings:
2000 Cantus Cöln, conducted by Konrad Junghänel, CD harmonia mundi
2023 Musica getutscht, conducted by Bernhard Reichel Live recording on YouTube

Can music be political? Claudio Monteverdi's madrigal ‘O ciechi ciechi’ provides the answer. One wishes that this short piece of music could be played to all authoritarian politicians.

At the end of his life, Monteverdi compiled a collection of all his compositions that he had not yet published and that had been written in connection with his work as Kapellmeister at St Mark's Basilica in Venice. At the beginning of this collection, which was published in 1641 and which he called ‘Selva morale e spirituale’ (= moral and spiritual forest), he placed, as the first tree, so to speak, the madrigal ‘O ciechi, ciechi’, a setting of a poem by the Italian poet Francesco Petrarca (1304–1374). Morality and truthfulness come before all spirituality. What use is all power and the expansion of power, what use is all the accumulation of wealth and honour in the face of the finiteness of every single life? Petrarch's question is posed to the blind authorities in this madrigal in such a way that the text is easy to understand. Monteverdi contrasted the strict polyphony of Renaissance motets (prima pratica) with a seconda pratica. In this new compositional style, the seconda pratica, the rules of counterpoint are not the decisive criterion for good composition. Rather, it is the true musical expression of the text's content that matters. It is important to ‘make speech the mistress of composition, not its servant,’ as Monteverdi's brother Giulio put it at the time.

‘O ciechi ciechi’ is a madrigal for five voices, two violins and basso continuo.


Listen here! (3 ½ min.)

Listening companion:

The madrigal begins with an expository address in an agitated style (“genere concitato”). “O ciechi ciechi” dominates emotionally over the other statements. Where the transience of one's own name is concerned, the text is emphasised by long notes.

After another expressive ‘O Ciechi ciechi’, the tenor sings his verses alone about the vanity of all endeavours. ‘Vanità palesi’ (= obvious vanities) is particularly emphasised.

The tutti section sings of the futility of conquest and oppression of peoples. A solo cascade by soprano 2 illustrates how all this ultimately leads nowhere and incites others against oneself.

Back in tutti, the futility of wars fought for land and wealth is contrasted with the simple life. The soprano beautifully introduces the phrase “vie più dolce”, and the others follow with their “dolce” of the simple life.

And three more times Monteverdi challenges the super-rich, the autocrats and demagogues with his revealing address: You blind people, you do not see: Everything is fleeting and vain!


And in view of all that is fleeting, at the end all voices sing clearly and in simple chords the insight that needs to be made.

O ciechi, ciechi! Il tanto affaticar, che giova?
Tutti tornate alla gran madre antica,
e ’l nome vostro appena si ritrova.



(O ciechi, ciechi!)
Pur delle mille un’utile fatica
che non sian tutte vanità palesi!
Ch’ intende i vostri studie, sì mel dica?


Che vale a soggiogar tanti paesi,
e tributarie far le genti strane
con gli animi al suo danno sempre accesi?


Che vale dopo l’imprese perigliose e vane,
e col sangue acquistar terra e tesoro.
vie più dolce si trova l’acqua, e ‘l pane,
e ‘l vetro, e ‘l legno, che le gemme, e gli ori.

(O ciechi, ciechi!)
U’ son hor le ricchezze? U son gli honori,
(O ciechi, ciechi!)
e le gemme, e gli scettri, e le corone,
(O ciechi, ciechi!)
e mitre con purpurei colori?

Miser chi speme in cosa mortal pone!



Text by Francesco Petrarca (1304–1374) from: Trionfo della morte, Chapter 1, 90ff

O blind men, blind men! What good is all this toil?
You all return to the great ancient mother,
and your names are barely recognisable.


(O blind men, blind men!)
Yet among a thousand useful labours,
let them not all be obvious vanities!
Who understands your studies, tell me?

What is the point of subjugating so many countries,
and making foreign peoples pay tribute,
whose hearts are always set on harming you?

What is the point, after dangerous and vain undertakings,
and acquiring land and treasure with blood,
when water, bread, are sweeter, 
glass and wood  than gems and gold?

(O blind, blind men!)
Where are the riches now? Where are the honours,
(O blind, blind men!)
and the gems, and the sceptres, and the crowns,
(O blind, blind men!)
and mitres of purple colour?

Wretched is he who places his hope in mortal things!



Francesco Petrarca (1304–1374) from: Trionfo della morte (Triumph of Death), 1, 90ff

 

Note for music lovers:

Website: Unknown Violin Concertos

 

 

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