In 1613, a year after the death of the Duke, Vincenzo di Gonzaga, Monteverde was made Chapel master of St. Mark’s in Venice, which had long been famous for its fine music, where Adrian Willaert, Cyprian de Rore and Zarlino had been Chapel masters in the time of the “Golden Age of Polyphony.” Monteverde had much to live up to! But, after his hard work at the court of Mantua, he found his position very agreeable, and he gave his time now to composing music for the Church, madrigals, intermezzos, and a new form of music called “cantata.” His church music can be divided into works written in the old polyphonic style of Palestrina, and those written in the modern style of his day. So, when he did not write in the older church style, it was not because he did not know counterpoint, but because he wanted to make music express feelings through harmony and not through polyphony. He was able to do this as no one else had! His church music is not published for the parts have been so scattered, that a bass will be found in one collection and an instrumental part in another, and perhaps a soprano in still a third. So it would be very much like a jig-saw puzzle to find them all and put them together. The Gonzaga family tried to persuade him to return to their court, but he refused, although he often wrote special operas for them or short dramatic spectacles which were called intermezzos. Of these, sad to say, almost nothing remains. The recitative style invented by the “Camerata” had by this time taken such a firm hold upon the people, that it spread even to the music of the Church and to the madrigals. All the Italian composers began to write _recitative_ for solo voices and accompaniment which they called _canzoni_ (songs), _canzonetti_ (little songs), and _arie_ (melodies). Monteverde was one of the first to turn the madrigal into a _cantata da camera_ which means the recitation to music of a short drama or story in verse, by one person, accompanied by one instrument. But, as things improve or die out, very soon another voice and several instruments were added. This composition is a musical milestone of the 17th century as the madrigal had been of the 15th and 16th. The cantata for more than one voice forms a little chamber music opera without any acting. Some of the best known cantata writers were Ferrari, Carissimi, Rossi, Gasparini, Marcello, and Alessandro Scarlatti. At the age of seventy, Monteverde took up this new style of composition with all the enthusiasm and freshness of a young composer! He was not the inventor of the _cantata da camera_, as is so often claimed for him, as no one man was its inventor. It was the result of the constant search of the composers of that day, who followed along the same path, and worked together to perfect a new form. NEW FEELINGS EXPRESSED