Orlando Furioso: Difference between revisions

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** 1541, [[Queste non son più lagrime (rough draft) (Anonymous)|Anonymous]]
** 1541, [[Queste non son più lagrime (rough draft) (Anonymous)|Anonymous]]
** 1555, [[Queste non son più lagrime (Orlando di Lasso)|Orlando di Lasso]]
** 1555, [[Queste non son più lagrime (Orlando di Lasso)|Orlando di Lasso]]
** 1561, [[Queste non son più lacrime, che fuore (Jacquet de Berchem)|Jacquet de Berchem]]
** 1571, [[Queste non son più lagrime (Giaches de Wert)|Giaches de Wert]]
** 1571, [[Queste non son più lagrime (Giaches de Wert)|Giaches de Wert]]
* 127: [[Questi ch' indizio]]
* 127: [[Questi ch' indizio]]

Revision as of 02:32, 6 May 2022

Preface

Ludovico Ariosto's primary poetic work, Orlando Furioso, was one of the most significant works of epic poetry in early modern Europe. Initially conceived as a sequel to Boiardo's Orlando Innamorato (pub. c.1482), it far eclipsed the latter in popularity and influence. The first edition of Orlando Furioso was published in 1516 with 40 cantos. Ariosto then spent the next 16 years revising it and adding more work, eventually making 46 cantos in the final edition of 1532.

The work proved especially fertile in providing texts for the Italian madrigalists throughout the 16th and early 17th centuries, with hundreds of settings extant, second only to Petrarca as a poetic source. Most were chosen for pastoral or love themes, with a few madrigal composers choosing dramatic excerpts or cycles. From the 17th through 19th century, a large number of composers across Europe drew inspiration from multiple story lines of the epic for operas.

View the Wikipedia article on Orlando Furioso.

Madrigal settings

Canto I

Canto II

Canto IV

  • 66: S’un medesimo ardor, s’un disir pare

Canto V

  • 1: Tutti gli altri animai che sono in terra

Canto VI

Canto VII

  • 1: Chi va lontan da la sua patria, vede
  • 10: Non tanto il bel palazzo era escellente
  • 11: Di persona era tanto ben formata
  • 12: Sotto due negri e sottilissimi archi
  • 13: Sotto quel sta, quasi fra due vallette
  • 14: Bianca nieve è il bel collo, e ’l petto latte
  • 15: Mostran le braccia sua misura giusta
  • 28: Ben che né gonna né faldiglia avesse

Canto VIII

Canto X

Canto XI

Canto XII

Canto XIII

Canto XIV

Canto XV

Canto XVI

Canto XVII

Canto XVIII

Canto XIX

Canto XX

Canto XXI

Canto XXII

Canto XXIII

Canto XXIV

Canto XXV

Canto XXVI

Canto XXVII

Canto XXVIII

Canto XXIX

Canto XXX

Canto XXXI

Canto XXXII

Canto XXXIII

Canto XXXIV

Canto XXXV

1: Chi salirà per me, Madonna, in cielo

Canto XXXVI

Canto XXXVII

Canto XXXVIII

Canto XXXIX

Canto XL

Canto XLI

Canto XLII

Canto XLIII

Canto XLIV

Canto XLV

Canto XLVI