ABSTRACT
This chapter offers an analysis on the use of symmetry in Orfeo as a representation of Neoplatonic beauty, based on the classical model of Vitruvian symmetry as well as the literary “ring” formation that was used to conceal a work’s primary message at or near its center. Following this is an examination of this symmetrical form and its instructive function in key literary works that were known to the Invaghiti, culminating with the ring formation in Striggio’s libretto. Next is an analysis of Monteverdi’s imitation and reinforcement of Striggio’s symmetrical form through the distribution of musical time (“tacti”), as well as tonal structures, harmonic language, and melodic gestures. As with my analysis of musical oratory in Chapter 4, this analysis includes comparisons to similar symmetrical forms in both his earlier and later works, with special attention given to “Il Combattimento di Tancredi e Clorinda” from his Eighth Book of Madrigals.
