Lamenti – Trittico teatrale liberamente tratto da opere di Claudio Monteverdi

Orpheus (1924/39) – Klage der Ariadne (1925/40) – Tanz der Spröden (1925/40)

»I discovered a music which was as familiar to me as if I had long been acquainted with it and had merely rediscovered it. This was an inner congruence which deeply moved me and triggered off something completely new within me.«[1]

In 1921, Curt Sachs attracted Orff’s attention to Monteverdi. The arrangements of several of Monteverdi’s major compositions, beginning with Orpheus in 1923/24, were regarded as a pioneering effort from the aspects of both performance practice and musicology and had a great significance for the development of Orff’s musical language. [2]

»Lamento, the lament, plaint or lamentation, is a genuine term from the Renaissance period and a particularly popular musical form of expression in this era of the dawning of subjectivism. Under the category of lament, I have united the ›Lamento d'Arianna‹, the lamentation of a woman, ›Orfeo‹, the lamentation of a man, and, as a satyr play, the lamentations of the foolish virgins.«[3]


»My apprenticeship years with Monteverdi culminated in 1958 with the publication of the ›Lamenti‹. I had learned from my mistakes and errors. My study of Monteverdi’s works was decisive for me in as much as I was not primarily concerned with historical transcription and adaptation, but more on the search for the development of my own style on the basis of a master work of a past age.«[3]


[1] CO-Dok II,14 ; [2] Thomas Rösch, OZM; [3] CO-Dok II,119
Abb: 1 Faksimile; OZM; 2 CO-Dok II,29; 3 Madeline Winkler-Betzendahl, Deutsches Theatermuseum München
Audio: Ferdinand Leitner - Acanta 44 2099-2

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