One can have no difficulty in imagining how this story, furnished as it must have been, with some very free action, was set to music in the madrigal style. The contrast of moods provides an excellent background for variety of musical movement and for a generous exercise of the expressional skill which the composers of that period had acquired. Lovers of the ballet of action will perceive that the scenario of Striggio's musical comedy could also serve perfectly for that of a suite of pantomimic dances.
Nor can the reader fail to discern in this story some of the germs of the opera buffa. What is lacking here, to wit, the advancing of some individual characters from the choral mass to the center of the stage, was better accomplished in the earlier or more serious works. The Orpheus of Poliziano was doubtless a striking figure in the minds of the Mantuan audience of 1484. While perhaps there was a distinct decline in directness of expression in the attempts of later lyric dramatists, the departure was possibly not as large in the case of the serious writers as in that of the humorists. We shall in all likelihood better understand this after a survey of the labors of the dominant figure of the artistic period of the humorous madrigal drama.
[CHAPTER XIII]
VECCHI AND THE MATURED MADRIGAL DRAMA
The fully developed madrigal drama of the latter years of the sixteenth century was an art form entirely dissimilar to anything known to the modern stage, and, as we shall presently see, it was in itself a frank confession of utter confusion in the search for a musical means of individual expression. If no other evidence were at hand, the works of Vecchi would be sufficient to prove that the logical progress of the medieval lyric drama in one direction had led it into the very mazes of the polyphonic wilderness. This new form lacked the spectacular glories of the really operatic shows described in Chapter XI and it abandoned even their ways of voicing the utterances of individual characters. Much misinformation concerning this madrigal drama has been disseminated by the comfortable process of repeating without scrutiny errors early fastened upon histories of music.
The master spirit of the madrigal drama was Orazio Vecchi, born about 1551 at Modena. He became a priest and was canon of Corregio in 1586 and in 1591 deacon. He became chapel master at the cathedral of Modena in 1596 and after numerous vicissitudes died in 1605. His most important work was "L'Amfiparnaso, commedia harmonica," performed at Modena in 1594. This has been preserved in its entirety, together with the author's preface, from which valuable information may be gathered. The work is an attempt to turn into a lyric form the "Commedia dell' Arte," enacted in early times at village fairs in northern Italy. The characters are Arlecchino, Pantalone, Doctor Graziano, Brighella, Isabella, Lelio and others. The story of the play, however, does not concern us so much as the author's artistic purposes and the methods by which he sought to achieve them. In the addresses to the reader prefixed to his scores Vecchi states some of his artistic beliefs. He says:
"The gross jests, which are found in the comedies of our time, and which are their meat rather than the spice, are the reasons why he who says 'Comedy' seems to speak of a buffoon's pastime. They wrong themselves who give to such gracious poesy a sense so unworthy. True comedy, properly regarded, has for its object the representation in divers personages of almost all the actions of familiar life. To hold the mirror up to human life it bestows attention no less upon the useful than upon the pleasing, and it does not suffice it to raise a laugh." ("Amfiparnaso.")
"It will be said that it is contrary to convention to mingle serious music with that which is merely pleasing and that one thus brings discredit on the profession. But the pleasing and the serious according to report have been mingled from father to son. Aristotle says so; Homer and Virgil give examples." ("Veglie di Siena," 1604.)