Musical Borrowing
An Annotated Bibliography

Individual record

[+] Galleni Luisi, Leila. "Il Lamento d?Arianna di Severo Bonino (1613)." In Congresso internazionale sul tema Claudio Monteverdi e il suo tempo: Venezia, Mantova, Cremona, 3-7 maggio 1968, Relazioni e comunicazioni, ed. Raffaello Monterosso, 573-82. Verona: Valdonega, 1969.

While the early works of Severo Bonini demonstrate a fidelity to the style of early monodists like Giulio Caccini, an exposure to the music of Monteverdi, especially his early operas Orfeo and Arianna, caused the Vallambrosian monk to break from these models in search of a Monteverdian style of musical expression. In his Lamento d'Arianna, Bonini sets Rinuccini's text in a manner modeled after Monteverdi's version. Just as in Monteverdi's lament, for example, the text is set syllabically with the same pauses and phrasing that create a rising sense of affective intensity. Bonini, like Monteverdi, allows the music to be governed by the poetic meter and text emphasis. Bonini and Monteverdi also both emphasize the same words, though through differing musical techniques; Monteverdi uses repeated notes over the same word or syllable while Bonini composes ornamental turning figures for the important points in the text. The monk's allegiance to Monteverdi is further proven in his Discorsi, which praises the opera composer's style and beautiful musical concepts. Thus, his admiration manifests itself most clearly in an instance of modeling on the same text by Rinuccini with a strikingly similar style of text expression and musical affect.

Works: Severo Bonini: Lamento d'Arianna (573-82).

Sources: Monteverdi: Lamento d'Arianna (575-81).

Index Classifications: 1600s

Contributed by: Elizabeth Elmi

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