4711:
58:
775:
1494:
449:
2239:
5351:
4885:
698:
4696:
4670:
4648:
4635:
771:. The cover describes both works: "Sanctissimae Virgini Missa senis vocibus ad ecclesiarum choros, ac Vespere pluribus decantandae cum nonnullis sacris concentibus ad Sacella sive Principum Cubicula accommodata" (Mass for the Most Holy Virgin for six voices for church choirs, and vespers for several voices with some sacred songs, suitable for chapels and ducal chambers).
1890:
845:, who had recently visited Mantua, and dated the dedication 1 September 1610. The schedule seems to have resulted in some of the movements being printed in haste and some corrections had to be made. Monteverdi visited Rome, as anticipated, in October 1610 and it is likely that he delivered a copy to the Pope, given that the
2683:
Although some musicologists argue that
Monteverdi was offering a compendium of music for vespers services from which a selection could be made, most recordings present the composition as a unified work, deciding which of the two versions of scoring to perform. Recordings differ in presenting strictly
2227:
The last movement of a vespers service is the
Magnificat. Monteverdi devotes a movement to every verse of the canticle, and two to the doxology. Depending on the mood of the text, the Magnificat is scored for a choir of up to seven voices, in solo, duo, or trio singing. Monteverdi uses the Magnificat
2630:
In
Monteverdi's time, it was common to improvise and make adjustments during performances, depending on the acoustics and the availability and capability of performers. The print of his Vespers shows unusual detail in reducing this freedom, for example, by precise notation of embellishments and even
2626:
observed that the five free concertos (or motets) follow a scheme to first increase then decrease the number of singers, from one to three and back to one, but they increase the number of performers from the first to the last, adding more voices at the end of the fourth and having eight instruments
1002:
2". The column for instruments often contains only their number, because
Monteverdi did not always specify the instruments. The continuo plays throughout but is listed below (as "continuo") only when it has a role independent of the other instruments or voices. The last column lists the page number
2606:
vocal polyphony and expressive solo monody and duets, together with some of the most ambitious instrumental music to date. Yet the whole work is suffused with references to the church at its most traditional, with
Monteverdi's incessant use of the Gregorian psalm tones for the five extensive psalm
930:
The edition by Hans
Redlich was the basis for performances in Zurich in February 1935 and of parts in New York in 1937, followed by Switzerland (mid-1940s), Brussels (1946) and London (on 14 May 1946 at Westminster Central Hall). It was printed in 1949 and used for the first recording in 1953. The
926:
The
Vespers is monumental in scale and requires a choir of ten or more vocal parts split into separate choirs, and seven soloists. Solo instrumental parts are written for violin and cornetto. Antiphons preceding each psalm and the Magnificat, sung in plainchant, would vary with the occasion. Some
2717:
It allowed him to show that such settings, though conservative at base, could incorporate thoroughly up-to-date elements of musical style. And, perhaps not least, it helped him solve a problem inherent in setting the psalms and
Magnificat – that of achieving musical coherence when
2704:
it seems as if
Monteverdi were intent in displaying his skills in virtually all contemporary styles of composition, using every modern structural technique". Monteverdi achieved overall unity by using the Gregorian plainchant as a cantus firmus, for the beginning, the psalms, the litany and the
436:. He completed the large-scale work in 1610. He possibly composed the Vespers aspiring to a better position, and the work demonstrates his abilities as a composer in a great variety of styles. The setting was Monteverdi's first published sacred composition after his
2799:
It is assumed that the
Magnificat with continuo accompaniment was an alternative for those musical groups lacking the resources to perform the lavishly scored version. Among the recordings of the Vespers, Peter Seymour's is unusual for choosing the Magnificat with
688:
are applicable to any female saint but that a dedication to fit a Marian feast made the work more "marketable". There are just two Marian songs in the whole work ("Audi coelum" and "Ave maris stella"); and the sonata could easily be rearranged to any saint's name.
922:
in Venice in 1613 and a performance there seems likely. Church music in Venice is well documented and performers can draw information for historically informed performances from that knowledge, for example that Monteverdi expected a choir of all male voices.
2753:
in 2007: "His three major collections of liturgical and devotional music transcend the merely functional, exploiting a rich panoply of text-expressive and contrapuntal-structural techniques." Kurtzmann concluded from his detailed research of Monteverdi's
341:
and performers in the 20th century. They have discussed whether it is a planned composition in a modern sense or a collection of music suitable for Vespers, and have debated the role of the added movements, instrumentation, keys and other issues of
747:, then an important centre for music printing. The printing of collections of sacred music in Italy at the period has been described as "a fast-growing and very large and lucrative market", with around 50 collections in 1610 alone, 36 of them for
810:. There is no score, but a partbook for each voice and instrument. The corresponding continuo notes the beginnings of text lines, for example Magnificat, "Et exultauit", "Quia respexit" and "Quia fecit", and the names of instruments, for example
4508:
740:). He described the psalms as "varying and diverse inventions and harmonies over a canto fermo" (cantus firmus), and noted that Monteverdi would travel to Rome to personally dedicate the publication to the Pope in the autumn.
838:". Sections where the voice or instrument is silent are marked "Tacet.". The notation poses challenges to editors adopting the current system of notation, which was established about a half-century after Vespers was written.
346:. The first recording of excerpts from the Vespers was released in 1953; many recordings that followed presented all the music printed in 1610. In some recordings and performances, antiphons for a given occasion of the
798:
for the more complicated movements: it gives the title of the Vespers as: "Vespro della Beata Vergine da concerto composta sopra canti firmi" (Vesper for the Blessed Virgin for concertos, composed on cantus firmi).
1601:
1513:(Make haste to help me, O LORD), sung by a six-part choir. The movement is accompanied by a six-part orchestra with two cornettos, three trombones (which double the lower strings), strings, and continuo.
396:
in late 1601. He was responsible for the duke's sacred and secular music, in regular church services and soirées on Fridays, and for extraordinary events. While Monteverdi was court musician in Mantua,
1691:
333:
No performance during the composer's lifetime can be positively identified from surviving documents, though parts of the work might have been performed at the ducal chapels in Mantua and at
2572:
Monteverdi achieved a collection of great variety both in style and structure, which was unique at the time. Styles range from chordal falsobordone to virtuoso singing, from recitative to
1600:
350:
are added to create a liturgical vespers service, while others strictly present only the printed music. Monteverdi's Vespers are regarded as a unique milestone of music history, at the
2766:
and to provide as many forms of musical splendour as he could muster. In this respect his collection of vesper music goes far beyond any other publication of sacred music of his day.
215:("Mass for the Most Holy Virgin for six voices, and Vespers for several voices with some sacred songs, suitable for chapels and ducal chambers"), it is sometimes called Monteverdi's
1689:
1624:(a style of recitation) on the same chord. The music has been described as "a call to attention" and "a piece whose brilliance is only matched by the audacity of its conception".
2213:
The hymn setting has been regarded as conservative, the chant melody in the upper voice throughout, but variety is achieved by different numbers of voices and interspersion of a
4146:
970:, then the function of the section within the Vespers, its text source, and the beginning of the text both in Latin and in English. The column for the voices has abbreviations
205:, and orchestra. It is an ambitious work in scope and in its variety of style and scoring, and has a duration of around 90 minutes. Published in Venice (with a dedication to
2657:
format, probably in 1953, but appears not to have been commercially distributed. The work has since been recorded many times in several versions, involving both modern and
914:
The historical record does not indicate whether Monteverdi actually performed the Vespers in Mantua or in Rome, where he was not offered a post. He assumed the position of
2627:
play for the last. In prints by other composers, such concertos appear as a group, usually sorted by number of voices, while Monteverdi interspersed them with the psalms.
351:
886:
published the Sonata as the first complete movement from the Vespers at the turn of the 20th century. The first modern edition of the Vespers appeared in 1932 as part of
437:
4652:
1602:
4132:
3733:
4526:
1690:
1747:, which the first tenor enters with the cantus firmus. The movement is based on four patterns in the bass line and includes complex polyphonic settings and duets.
4024:
894:
published an edition which dropped two psalms, arranged the other movements in different order, and implemented the figured bass in a complicated way. In 1966,
650:
music was preferred. In his Vespers, Monteverdi may have offered such music without necessarily expecting that all of it would be performed in a given service.
1646:. The first tenor begins alone with the cantus firmus. The beginnings of verses are often in falsobordone recitation, leading to six-part polyphonic settings.
866:(Mass and Psalms) which was published after his death in 1650. There is no indication that any of his publications of sacred music received a second edition.
665:) between the psalms. Scholars debate if they were meant to replace antiphons or rather as embellishments of the preceding psalm. Monteverdi also included a
4198:
2611:... the chant for the Litany, which is integrated within an exuberant instrumental sonata, and the multi-verse setting of the Latin hymn "Ave maris stella".
212:
Sanctissimae Virgini Missa senis vocibus ac Vesperae pluribus decantandae, cum nonnullis sacris concentibus, ad Sacella sive Principum Cubicula accommodata
3448:
822:
of a title are embellished, such as the M of Magnificat, and in the voice part, the initials of a cantus firmus line begin with a larger letter, e.g. "E
432:
Monteverdi wrote the movements of the Vespers piece by piece, while responsible for the ducal services which were held at the Santa Croce chapel at the
1711:: 'Praise ye the Lord, O ye servants of the Lord'), and contains eight vocal parts and continuo. The second tenor begins alone with the cantus firmus.
5266:
4517:
1771:, 5:7. Monteverdi set it for three tenors. The first part, talking about the two angels, is a duet. When the text turns to the epistle mentioning the
429:
which premiered in 1607. The duke was quick to recognise the potential of this new musical form for bringing prestige to those willing to sponsor it.
2749:
17:
4547:
4329:
2718:
working with texts that were sometimes long and unwieldy and certainly not designed for setting by an early seventeenth-century madrigalist.
4669:
4586:
1867: – Holy Mary, pray for us), with rhythmic variants. The movement opens with an instrumental section comparable to a pair of
1799:(Except the Lord ), and is for two tenors singing the cantus firmus and two four-part choirs, one echoing the other in overlapped singing.
401:, first as entertainment for nobility, to become public musical theatre later. The first work now considered as an opera is Jacopo Peri's
5387:
1879:. The vocal line appears eleven times, while the instruments play uninterrupted virtuoso music reminiscent of vocal parts in the motets.
1640:(The LORD said unto my Lord). Monteverdi set it for a six-part choir with divided sopranos and tenors, and six instruments, prescribing
4611:
4521:
4512:
4158:
1501:
The work opens with the traditional versicle and response for vespers services, the beginning of Psalm 70 (Psalm 69 in the Vulgate),
5093:
4634:
882:. He chose the beginning of the Dixit Dominus and of the Deposuit from the Magnificat, discussing the variety of styles in detail.
387:
4745:
4536:
4921:
2640:
3898:
3870:
3846:
3818:
5250:
4992:
4606:
2673:
4106:
2684:
what Monteverdi composed, or in liturgical context, with added antiphons for a specific feast day. In his 2005 version,
2217:. The instruments are not specified, to provide further variety. The last stanza repeats the first for formal symmetry.
853:. The alto partbook which the Pope received, with hand-written corrections, survived in the Biblioteca Doria Pamphilij.
2710:
713:
453:
5108:
5073:
3938:
Bowers, Roger (August 1992). "Some Reflection upon Notation and Proportion in Monteverdi's Mass and Vespers of 1610".
4680:
4220:
4175:
2737:
343:
5186:
4695:
4663:
4579:
3699:
2619:
style of Gabrieli, suggesting that the first three may have been composed especially with the publication in mind.
1727:(You are beautiful) from the Song of Songs. Monteverdi set it for two sopranos, who often sing in third parallels.
927:
scholars have argued that the Vespers was not intended as a single work but rather as a collection to choose from.
709:
The first mention of the work's publication is in a July 1610 letter by Monteverdi's assistant, Bassano Casola, to
3991:
1550:
1051:
898:
edited the first critical edition. Critical editions were published by, among others, Clifford Bartlett in 1986,
5068:
3423:
3268:
5296:
5206:
5027:
3683:
3508:
3386:
3116:
3028:
716:, the duke's younger son. Casola described that two compositions were in the process to be printed, a six-part
2645:
The first recording of the Vespers was arguably an American performance in 1952, featuring musicians from the
469:
5382:
5098:
3738:
3667:
3567:
3551:
3453:
3332:
3316:
3300:
3284:
3240:
315:
3769:
3044:
3012:
2996:
2280:
5392:
5063:
5037:
4628:
4530:
3595:
3524:
3402:
3197:
3072:
4238:
2980:
2940:
1909:". Its seven stanzas are set in different scoring. The melody is in the soprano in all verses except verse
5196:
5088:
4987:
4888:
4572:
1591:
290:
for the specific feast day. The composition demonstrates Monteverdi's ability to assimilate both the new
5223:
5058:
4914:
4204:
3890:
2235:
The publication contains a second setting of the Magnificat for six voices and continuo accompaniment.
1507:(Make haste, O God, to deliver me). It is sung by a solo tenor, with the response from the same verse,
710:
485:(Mary's song of praise). The five psalms for Marian feasts (as well as other female saints) begin with
5238:
1847:(Praise, Jerusalem), and is set for two three-part choirs (SAB) and tenors singing the cantus firmus.
1815:(Hear my words, Heaven), based on an anonymous liturgical poem. It is set for two tenors, who sing in
1662:(I am black, but beautiful), from the Song of Songs. It is written for tenor solo in the new style of
906:
in 2013, while Antonio Delfino has edited the Vespers for a complete edition of the composer's works.
5407:
5053:
4764:
4128:
3800:
2744:
2706:
1816:
874:
After the original print, the next time parts from the Vespers were published was in an 1834 book by
858:
4176:"Review recording of the month / Claudio Monteverdi (1567–1643) / Vespro della Beata Vergine (1610)"
5154:
4845:
887:
669:, "Sancta Maria, ora pro nobis" (Holy Mary, pray for us). All liturgical texts are set using their
440:
nearly thirty years before and stands out for its assimilation of both the old and the new styles.
5078:
935:. More recent performances have usually aimed to provide the complete music Monteverdi published.
615:, inserted before each psalm and the Magnificat, which reflect the specific feast and connect the
5402:
5134:
4814:
4540:
2697:
2615:
Butt described the first three psalms as radical in style, while the other two rather follow the
903:
883:
408:
407:
of 1597. In the new genre, a complete story was told through characters; as well as choruses and
337:, where the composer became director of music in 1613. The work received renewed attention from
4946:
4726:
4647:
4509:
Sanctissimae Virgini Missa senis vocibus ac Vesperae pluribus decantandae (Monteverdi, Claudio)
4154:
2646:
1772:
1680:
5326:
3709:
3693:
3396:
5397:
5354:
5339:
5233:
5022:
4907:
4465:
4397:
4363:
4298:
4045:
4011:
3996:
3917:
3810:
3779:
3748:
3518:
3463:
3436:
3342:
3326:
3310:
3294:
3278:
3250:
3126:
3054:
3038:
3022:
1768:
1452:
1258:
919:
334:
4395:(November 1984). "Transposition in Monteverdi's Vespers of 1610: An 'Aberration' Defended".
3915:
Blazey, David (May 1989). "A Liturgical Role for Monteverdi's 'Sonata sopra Sancta Maria'".
3832:
3677:
3608:
3577:
3561:
3545:
3417:
3207:
3095:
3006:
2990:
2950:
5286:
5281:
5149:
5144:
5032:
5012:
4865:
4102:
4074:
Noske, Frits (1985). "An Unknown Work by Monteverdi: The Vespers of St. John the Baptist".
4006:
2583:
748:
433:
186:
85:
5316:
1493:
791:
8:
5377:
5124:
4951:
4819:
4791:
4257:
3967:
Bowers, Roger (Autumn 2010). "Of 1610: Claudio Monteverdi's 'Mass, motets and vespers'".
2783:
2669:
932:
875:
392:
5176:
2688:
also included music from other publications and changed the order of several movements.
1857:
The sonata is an instrumental movement with soprano singing of a cantus firmus from the
5311:
5301:
5201:
5191:
5159:
5083:
4997:
4982:
4977:
4835:
4710:
4595:
4490:
4482:
4448:
4414:
4380:
4346:
4315:
4270:
4062:
3978:
3955:
3926:
2662:
2658:
624:
367:
322:. Monteverdi travelled to Rome to deliver the composition to the Pope in person, and a
249:
190:
49:
5129:
2762:
Monteverdi's objective was clearly to carry to new heights the Renaissance concept of
57:
5139:
5103:
4840:
4559:
4494:
4431:
4216:
3969:
3894:
3866:
3842:
3814:
2650:
2243:
987:
895:
879:
803:
752:
4327:
Bonta, Stephen (Spring 1967). "Liturgical Problems in Monteverdi's Marian Vespers".
1488:
5166:
5017:
4850:
4809:
4548:"Monteverdi: Vespers of 1610 / CD review – authentic but incoherent"
4474:
4440:
4406:
4372:
4358:
4338:
4307:
4208:
4083:
4054:
4020:
3947:
3828:
2705:
Magnificat. This "rigorous adhesion to the psalm tones" is similar to the style of
2677:
2623:
2344:
1858:
1426:
960:
608:
489:
in Hebrew counting, but known to Monteverdi as Psalmus 109 in the numbering of the
477:, as were all Catholic services then. A vespers service at the time contained five
398:
375:
297:
275:
267:
244:
225:
4025:"Monteverdi's Mass and Vespers of 1610: The Economic, Social, and Courtly Context"
2576:
setting of many voices, and from continuo accompaniment to extensive instrumental
5002:
4870:
4860:
4656:
4265:
4212:
4113:
4058:
3884:
3860:
3838:
3804:
2587:
1776:
846:
815:
729:
639:
465:
327:
292:
287:
229:
774:
632:
448:
310:. The composition is scored for up to ten vocal parts and instruments including
5321:
5181:
4460:
4426:
4392:
966:
The following table shows the section numbers according to the 2013 edition by
850:
478:
319:
4410:
4239:"Claudio Monteverdi: Vespro della Beata Vergine / Marienvesper / Vespers 1610"
619:
psalms to Christian theology. Vespers are traditionally framed by the opening
5371:
5306:
5213:
5007:
4855:
4376:
4311:
4293:
4040:
2787:
2685:
1393:
1183:
1114:
856:
Monteverdi later wrote further music for vespers services, in the collection
725:
685:
681:
674:
670:
666:
616:
307:
302:
198:
2661:. Some recordings allocate the voice parts to choirs, while others use the "
5228:
5171:
4961:
4956:
4930:
4689:
4551:
4249:
4194:
3880:
1876:
1744:
1621:
967:
899:
891:
717:
643:
604:
338:
4478:
4087:
3951:
2713:
at the ducal palace in Mantua. Whenham summarised about the use of chant:
931:
first recording of the work with added antiphons was conducted in 1966 by
5276:
5271:
3856:
2580:. Structurally, he demonstrated different organisation in all movements.
842:
795:
783:
760:
647:
347:
206:
121:
5291:
3982:
5344:
4641:
4486:
4452:
4418:
4384:
4066:
3930:
2616:
2599:
2214:
1743:(literally: 'I was glad'), a pilgrimage psalm. The music begins with a
1462:
956:
849:
holds an alto partbook. It is not clear whether he was honoured with a
482:
425:
412:
279:
255:
101:
4350:
4319:
3959:
2228:
tone in every movement, a tone similar to the psalm tones but with an
1889:
697:
5218:
4564:
4245:
2732:
2577:
2573:
2232:(beginning) which provides the possibility of more harmonic variety.
1965:
5 are all followed by the same ritornello for five instruments. Verse
1360:
1293:
1218:
1148:
1080:
582:
565:
548:
531:
510:
486:
283:
4444:
306:, building psalms and Magnificat on the traditional plainchant as a
4938:
4342:
2654:
2603:
2238:
1903:
The penultimate section is devoted to the 8th century Marian hymn "
1872:
1542:
1457:
1043:
807:
764:
628:
612:
601:
323:
63:
680:
Graham Dixon suggests the setting is more suited for the feast of
224:
Monteverdi composed the music while musician and composer for the
1763:(Two angels were calling one to the other), a text combined from
1613:
1489:
1 Deus in adjutorium meum intende/Domine ad adjuvandum me festina
975:
819:
811:
806:, for example regarding the duration of notes and the absence of
702:
611:". Variable elements, changing with the liturgical occasion, are
490:
461:
371:
311:
240:
194:
45:
4899:
4560:
Monteverdi Vespers of 1610: John Kilpatrick's Edition, for 2010
1868:
1780:
1764:
1663:
1252:
991:
952:
744:
653:
Monteverdi deviated from the typical vespers liturgy by adding
620:
420:
379:
271:
263:
140:
3862:
Opera's First Master: The Musical Dramas of Claudio Monteverdi
951:
is made up of 13 sections. The "Ave maris stella" is in seven
600:
The individual psalms and the Magnificat are concluded by the
4200:
Monteverdi: Vespers (1610) / 5 – 'And all on a cantus firmus'
983:
654:
474:
403:
259:
236:
233:
202:
111:
97:
2680:. Gardiner recorded the Vespers twice, in 1974 and in 1989.
890:'s edition of Monteverdi's complete works. Two years later,
3834:
The Monteverdi Vespers of 1610: Music, Context, Performance
979:
971:
779:
416:
383:
3256:
3187:
3185:
3183:
3181:
2722:
Musicologists have debated topics such as the role of the
638:
On ordinary Sundays, the vespers service might be sung in
1708:
3376:
3374:
3372:
3370:
3357:
3355:
3353:
3351:
3614:
3600:
3598:
3537:
3535:
3533:
3531:
3529:
3527:
3474:
3472:
3428:
3426:
3409:
3407:
3405:
3178:
3168:
3166:
3164:
3162:
3160:
3106:
3104:
3087:
3085:
3083:
3081:
3079:
3077:
3075:
2813:
4043:(May 1995). "Monteverdi Vespers: Three New Editions".
3759:
3757:
3657:
3655:
3653:
3147:
3145:
3143:
3141:
3139:
3137:
3135:
2881:
2857:
2847:
2845:
2843:
2672:
assembled a group of musicians to perform the work in
2590:
using one voice per part, summarised the many styles:
1003:
of the beginning of the section in the Carus edition.
473:(Divine Office). At Monteverdi's time, it was sung in
4296:(July 1961). "Where Are the Vespers of Yesteryear?".
3367:
3348:
3213:
642:, while on high holidays, such as the feast day of a
3469:
3230:
3228:
3157:
3101:
2869:
2830:
2828:
62:
Title page of the "Bassus Generalis" for one of the
3754:
3650:
3638:
3626:
3132:
2968:
2956:
2930:
2928:
2926:
2924:
2922:
2920:
2905:
2893:
2840:
2696:Kurtzman, who edited a publication of the work for
767:. It was published together with Monteverdi's mass
736:, and psalms for a vespers setting for the Virgin (
3583:
3496:
3060:
1793:The fourth psalm, Psalm 127, opens with the words
3992:"Monteverdi's Vespers – which recording is best?"
3715:
3484:
3225:
2825:
1875:, the same material first in even metre, then in
1707:(literally: 'Praise, children, the Lord'; in the
684:, claiming, for example, that the texts from the
5369:
4258:"Claudio Monteverdi: Vespro della Beata Vergine"
2917:
862:, published in 1641, and in another collection,
5267:A la Verge SantĂssima: Dues Lletretes a Una Veu
1852:
802:Monteverdi's notation is still in the style of
1884:
786:), the voice part left and continuo part right
464:is an evening prayer service according to the
4915:
4580:
4330:Journal of the American Musicological Society
4107:"Monteverdi / Vespers 1610 / Dunedin Consort"
2747:summarised in his entry for the composer for
2586:, who conducted a recording in 2017 with the
1925:3 are the same vocal four-part setting, verse
1820:
1775:, the third tenor joins. They sing the text "
4361:(February 1985). "An Aberration Amplified".
990:. A repeated letter means the voice part is
955:set to different scoring, with interspersed
759:in 1609. While the opera was published as a
4537:Literature about Vespro della Beata Vergine
2547:
2526:
2502:
2479:
2455:
2431:
2407:
2384:
2360:
2333:
2310:
2286:
1904:
1894:
1862:
1842:
1826:
1810:
1794:
1758:
1738:
1722:
1702:
1657:
1641:
1635:
1571:
1548:
1508:
1502:
1365:
1331:
1298:
1264:
1223:
1189:
1153:
1119:
1085:
1049:
587:
570:
553:
536:
515:
282:. A church performance would have included
210:
96:Biblical and liturgical, including several
66:in which the Vespers were published in 1610
4922:
4908:
4679:
4587:
4573:
2676:. The event became the birth of the later
1666:(a melodic solo line with accompaniment).
963:, which Monteverdi wrote in two versions.
56:
4522:International Music Score Library Project
4513:International Music Score Library Project
4144:
3361:
1825:), and expands to six voices at the word
1783:. The vocal lines are highly ornamented.
763:, the Vespers music appeared as a set of
27:Musical composition by Claudio Monteverdi
5094:Maria, dich lieben ist allzeit mein Sinn
4197:(2010). "'And all on a cantus firmus'".
4039:
4019:
4004:
3827:
3744:
3705:
3689:
3673:
3604:
3573:
3557:
3541:
3459:
3432:
3413:
3392:
3338:
3322:
3306:
3290:
3274:
3246:
3203:
3191:
3172:
3110:
3091:
2237:
1888:
1737:The third psalm is Psalm 122, beginning
1634:The first psalm, Psalm 110, begins with
1492:
773:
696:
447:
232:. The libretto is compiled from several
4746:Il combattimento di Tancredi e Clorinda
4256:
4193:
3946:(3). Oxford University Press: 347–398.
3879:
3775:
3763:
3514:
3122:
3050:
3034:
3018:
3002:
2986:
2974:
2946:
755:, who had published Monteverdi's opera
701:Title page of the partbook for Cantus (
362:
14:
5370:
4594:
4127:
3966:
3937:
3914:
3855:
3799:
3589:
3219:
2911:
2899:
2887:
2875:
2863:
2851:
2834:
2786:heard a Vespers by Monteverdi, but on
2641:Vespro della Beata Vergine discography
1809:The fourth motet opens with the words
374:in 1567, was a court musician for the
357:
352:transition from Renaissance to Baroque
4903:
4568:
4463:(May 2004). "Onwards and Downwards".
4173:
4073:
3865:. Newark, New Jersey: Amadeus Press.
3721:
2819:
2465:cornettos, violins, viola da bracchio
1969:7 is the same choral setting as verse
1836:
778:From the Magnificat, a page from the
270:" litany, several differently scored
4993:Hail Queen of Heaven, the Ocean Star
4429:(October 1995). "Getting It Right".
4236:
4101:
4029:Journal of Seventeenth-Century Music
3989:
3661:
3644:
3632:
3620:
3502:
3490:
3478:
3380:
3262:
3234:
3151:
3066:
2962:
2934:
2607:settings, the seven-part Magnificat,
2598:polychoral textures, virtuoso vocal
2246:in Santa Maria dei Miracoli, c. 1535
1949:5 are set for soprano, first soprano
869:
692:
2691:
1841:The fifth psalm, Psalm 147, begins
751:such as Vespers. The publisher was
456:, the ducal palace church at Mantua
24:
5388:Compositions by Claudio Monteverdi
4286:
4145:Estermann, Josef (22 April 2015).
2711:Basilica palatina di Santa Barbara
1671:
1643:sex vocibus & sex instrumentis
1629:
1612:The music is based on the opening
790:One of the partbooks contains the
607:. The hymn for Marian feasts was "
25:
5419:
4502:
3990:Kemp, Lindsay (9 February 2015).
2738:historically informed performance
1917:1 is a seven-part setting. Verses
1913:6, which is for tenor solo. Verse
1788:
1752:
1732:
841:Monteverdi dedicated the work to
382:from 1590 to 1612. He began as a
344:historically informed performance
5350:
5349:
4929:
4884:
4883:
4709:
4694:
4668:
4646:
4633:
4005:Knighton, Tess (February 1990).
3788:
2674:King's College Chapel, Cambridge
2653:. The recording was released in
2242:Viola da braccio on a fresco by
2222:
1977:Movements of "Ave maris stella"
1804:
1687:
1598:
1557:Make haste, O God, to deliver me
543:Praise ye servants of the Lord
5109:Nun, BrĂĽder, sind wir frohgemut
4237:Wolf, Uwe, ed. (October 2013).
3727:
3442:
2793:
2758:and contemporary sacred music:
2074:Loosen the chains of the guilty
1716:
1573:Domine ad adjuvandum me festina
1551:Deus in adjutorium meum intende
1510:Domine ad adjuvandum me festina
1504:Deus in adjutorium meum intende
1160:Praise, ye servants of the Lord
1052:Deus in adjutorium meum intende
673:in Gregorian chant, often as a
423:. Monteverdi's first opera was
18:Vespro della Beata Vergine 1610
5297:Noi vogliam Dio, Vergine Maria
2777:
1651:
959:. The Magnificat is in twelve
909:
743:The printing was completed in
738:Salmi del Vespro della Madonna
183:Vespers for the Blessed Virgin
76:Vespers for the Blessed Virgin
13:
1:
5099:Maria durch ein Dornwald ging
4664:Il ritorno d'Ulisse in patria
4203:. Cambridge Music Handbooks.
2807:
2709:, who was choirmaster at the
2634:
1620:, to which the choir sings a
1616:from Monteverdi's 1607 opera
1578:Make haste to help me, O LORD
994:, for example TT means "tenor
189:206, is a musical setting by
5069:Freu dich, du Himmelskönigin
5064:Es kommt ein Schiff, geladen
5038:Ye Watchers and Ye Holy Ones
4531:Choral Public Domain Library
4213:10.1017/CBO9780511620119.005
3806:Monteverdi's Musical Theatre
2251:Movements of the Magnificat
1853:11 Sonata sopra Sancta Maria
943:
7:
5089:Maria, breit den Mantel aus
4988:Bring Flowers of the Rarest
2567:
2197:Praise be to God the Father
2109:Show thyself to be a Mother
1885:12 Hymnus: Ave maris stella
1864:Sancta Maria, ora pro nobis
1481:
411:, the vocal parts included
300:, and the old style of the
209:dated 1 September 1610) as
10:
5424:
5246:Vespro della Beata Vergine
5224:Quem terra, pontus, sidera
5074:Gegrüßet seist du, Königin
5059:Es ist ein Ros entsprungen
4773:Vespro della Beata Vergine
4527:Vespro della Beata Vergine
4518:Vespro della Beata Vergine
4205:Cambridge University Press
4180:musicweb-international.com
4059:10.1093/earlyj/XXIII.2.325
3891:Cambridge University Press
3809:. New Haven, Connecticut:
2756:Vespro della Beata Vergine
2638:
2417:violins, viola da bracchio
1637:Dixit Dominus Dominum meum
1092:The LORD said unto my Lord
949:Vespro della Beata Vergine
443:
178:Vespro della Beata Vergine
5335:
5259:
5117:
5054:Den Herren will ich loben
5046:
4970:
4937:
4879:
4828:
4802:
4783:
4765:Selva morale e spirituale
4756:
4737:
4718:
4707:
4629:L'incoronazione di Poppea
4620:
4602:
2730:, instrumentation, keys (
2707:Giovanni Giacomo Gastoldi
2548:
2527:
2522:
2503:
2480:
2457:Esurientes implevit bonis
2456:
2432:
2408:
2385:
2361:
2334:
2311:
2287:
2270:
2267:
2264:
2261:
2258:
2255:
2159:
2127:
2116:
2092:
2081:
2054:
1999:
1996:
1993:
1990:
1987:
1984:
1981:
1905:
1895:
1572:
1562:
1549:
1541:
1533:
1530:
1527:
1524:
1521:
1518:
1366:
1332:
1299:
1265:
1224:
1190:
1154:
1120:
1086:
1050:
1029:
1026:
1023:
1020:
1017:
1014:
1011:
1008:
859:Selva morale e spirituale
588:
571:
554:
537:
516:
504:
501:
498:
247:include the introductory
154:
146:
127:
117:
107:
92:
81:
71:
55:
44:
34:
4846:Giulio Cesare Monteverdi
4174:Quinn, John (May 2016).
3886:Monteverdi: Vespers 1610
2770:
1721:The second motet begins
938:
888:Gian Francesco Malipiero
878:devoted to the music of
100:, a litany, a hymn, and
4815:Monteverdi-Chor Hamburg
4541:German National Library
4411:10.1093/earlyj/12.4.490
4140:(subscription required)
2698:Oxford University Press
2549:Sicut erat in principio
1757:The third motet begins
1656:The first motet begins
1444:
1415:
1385:
1352:
1040:Versicle & Response
794:and provides a kind of
454:basilica of St. Barbara
399:the opera genre emerged
390:and advanced to become
278:", and a choice of two
201:, scored for soloists,
5187:Missa de Beata Virgine
5028:The Seven Joys of Mary
4947:Alma Redemptoris Mater
4727:Il ballo delle ingrate
4377:10.1093/earlyj/13.1.73
4312:10.1093/mq/XLVII.3.315
4155:Schweizer Musikzeitung
3265:, pp. xii, xxvii.
2768:
2720:
2647:University of Illinois
2613:
2247:
2106:Monstra te esse matrem
1900:
1863:
1843:
1827:
1822:prima ad una voce sola
1821:
1811:
1795:
1759:
1739:
1723:
1703:
1659:Nigra sum, sed formosa
1658:
1642:
1636:
1509:
1503:
1498:
1320:
1285:
1243:
1210:
1174:
1140:
1106:
1072:
1035:
787:
706:
457:
211:
5340:Catholic Marian music
5234:Stabat Mater speciosa
5079:Glauben können wie du
5023:The Holly and the Ivy
4529:: Free scores at the
4299:The Musical Quarterly
4147:"Monteverdi variabel"
4137:. Grove Music Online.
3811:Yale University Press
2760:
2715:
2592:
2241:
1973:1, followed by Amen.
1892:
1812:Audi coelum verba mea
1769:First Epistle of John
1704:Laudate pueri Dominum
1496:
1338:Hear my words, Heaven
1058:O God, come to my aid
920:Basilica di San Marco
777:
769:Missa in illo tempore
700:
451:
388:Duke Vincenzo Gonzaga
5383:Baroque compositions
5282:Deus ti salvet Maria
4866:Stattkus-Verzeichnis
4612:list of compositions
4273:. 2016. pp. 2–3
4007:"Monteverdi Vespers"
2631:organ registration.
2343:cornettos, violins,
2014:Hail Star of the Sea
1941:3. Similarly, verses
1893:Gregorian chant of "
1431:Hail Star of the Sea
438:initial publications
393:maestro della musica
363:Monteverdi in Mantua
253:, five Psalms, four
243:texts. The thirteen
5393:Magnificat settings
5327:VaggsĂĄng till Jesus
5251:Virgo Prudentissima
5125:Angelus ad virginem
5033:What Child Is This?
5013:Mary, Did You Know?
4952:Ave Regina caelorum
4820:Monteverdi (crater)
4792:The Full Monteverdi
4479:10.1093/em/32.2.303
4161:on 30 November 2022
4134:Monteverdi, Claudio
4088:10.1093/ml/66.2.118
3952:10.1093/ml/73.3.347
3940:Music & Letters
3623:, pp. 106–113.
2822:, pp. 118–122.
2784:Constantijn Huygens
2670:John Eliot Gardiner
2252:
2173:Vita praeasta puram
1978:
1777:these three are one
916:maestro di cappella
876:Carl von Winterfeld
358:History and context
335:San Marco in Venice
38:della Beata Vergine
5312:Queen of the Waves
5302:O Maria, Deu maire
5260:in other languages
5202:O magnum mysterium
5192:Missa Pange lingua
5084:Lasst uns erfreuen
4998:I syng of a mayden
4978:A Virgin Unspotted
4836:Concerted madrigal
4596:Claudio Monteverdi
4271:Brilliant Classics
4252:. pp. XII–XX.
4207:. pp. 60–81.
3449:Whenham 1997, p.82
2663:one voice per part
2659:period instruments
2512:cornettos, violins
2250:
2248:
2192:Sit laus Deo Patri
2176:Bestow a pure life
2036:Receiving that Ave
1976:
1901:
1837:10 Lauda Jerusalem
1593:Deus in adiutorium
1499:
788:
714:Ferdinando Gonzaga
707:
631:, and the closing
594:Praise, Jerusalem
526:said unto my Lord
458:
370:, who was born in
250:Deus in adiutorium
191:Claudio Monteverdi
50:Claudio Monteverdi
5365:
5364:
5287:Gabriel's Message
5197:Missa sine nomine
5104:Mariae Wiegenlied
4897:
4896:
4841:Garklein recorder
4776:(SV 206 and 206a)
4705:
4704:
4558:John Kilpatrick:
4555:, 19 January 2017
4546:Andrew Clements:
4439:(1832): 531–535.
4432:The Musical Times
4359:Kurtzman, Jeffrey
4076:Music and Letters
4021:Kurtzman, Jeffrey
3970:The Musical Times
3900:978-0-521-45377-6
3872:978-1-57467-110-0
3848:978-0-19-816409-8
3829:Kurtzman, Jeffrey
3820:978-0-300-09676-7
3383:, pp. 1–141.
2890:, pp. 23–24.
2866:, pp. 41–42.
2743:The musicologist
2736:), and issues of
2651:Leopold Stokowski
2622:The musicologist
2565:
2564:
2504:Sicut locutus est
2433:Deposuit potentes
2281:Luke 1:46
2244:Gaudenzio Ferrari
2211:
2210:
2071:Solve vincla reis
1817:call and response
1701:Psalm 113 begins
1692:
1603:
1585:
1584:
1479:
1478:
1372:Praise, Jerusalem
1196:You are beautiful
896:Gottfried Wolters
880:Giovanni Gabrieli
870:Later publication
837:
829:
804:Renaissance music
753:Ricciardo Amadino
693:First publication
598:
597:
577:Except the Lord
525:
481:, a hymn and the
296:, such as in the
174:
173:
16:(Redirected from
5415:
5408:Vespers settings
5353:
5352:
5167:Ave maris stella
5018:O Mary of Graces
4924:
4917:
4910:
4901:
4900:
4887:
4886:
4851:Origins of opera
4810:Monteverdi Choir
4713:
4698:
4677:
4676:
4672:
4650:
4637:
4589:
4582:
4575:
4566:
4565:
4520:: Scores at the
4511:: Scores at the
4498:
4456:
4422:
4388:
4371:(1): 73, 75–76.
4354:
4323:
4282:
4280:
4278:
4262:
4253:
4243:
4233:
4231:
4229:
4190:
4188:
4186:
4170:
4168:
4166:
4157:. Archived from
4141:
4138:
4124:
4122:
4120:
4111:
4091:
4070:
4036:
4016:
4001:
3986:
3963:
3934:
3904:
3876:
3852:
3824:
3783:
3773:
3767:
3761:
3752:
3742:
3736:
3731:
3725:
3719:
3713:
3703:
3697:
3687:
3681:
3671:
3665:
3659:
3648:
3642:
3636:
3630:
3624:
3618:
3612:
3602:
3593:
3587:
3581:
3571:
3565:
3555:
3549:
3539:
3522:
3512:
3506:
3500:
3494:
3488:
3482:
3476:
3467:
3457:
3451:
3446:
3440:
3430:
3421:
3411:
3400:
3390:
3384:
3378:
3365:
3359:
3346:
3336:
3330:
3320:
3314:
3304:
3298:
3288:
3282:
3272:
3266:
3260:
3254:
3244:
3238:
3232:
3223:
3217:
3211:
3201:
3195:
3189:
3176:
3170:
3155:
3149:
3130:
3120:
3114:
3108:
3099:
3089:
3070:
3064:
3058:
3048:
3042:
3032:
3026:
3016:
3010:
3000:
2994:
2984:
2978:
2972:
2966:
2960:
2954:
2944:
2938:
2932:
2915:
2909:
2903:
2897:
2891:
2885:
2879:
2873:
2867:
2861:
2855:
2849:
2838:
2832:
2823:
2817:
2801:
2797:
2791:
2781:
2703:
2692:Modern reception
2678:Monteverdi Choir
2624:Jeffrey Kurtzman
2610:
2597:
2552:
2551:
2550:
2530:
2529:
2506:
2505:
2483:
2482:
2459:
2458:
2435:
2434:
2411:
2410:
2388:
2387:
2364:
2363:
2345:viola da braccio
2337:
2336:
2314:
2313:
2290:
2289:
2283:
2253:
2249:
2141:Virgo singularis
2033:Sumens illud Ave
2011:Ave maris stella
1979:
1975:
1972:
1968:
1964:
1960:
1956:
1952:
1948:
1944:
1940:
1936:
1932:
1928:
1924:
1920:
1916:
1912:
1908:
1907:
1906:Ave maris stella
1898:
1897:
1896:Ave maris stella
1866:
1859:Litany of Loreto
1846:
1830:
1824:
1814:
1798:
1762:
1742:
1726:
1706:
1694:
1693:
1661:
1645:
1639:
1605:
1604:
1575:
1574:
1554:
1553:
1516:
1515:
1512:
1506:
1427:Ave maris stella
1369:
1368:
1335:
1334:
1310:
1302:
1301:
1268:
1267:
1256:
1227:
1226:
1193:
1192:
1186:
1157:
1156:
1123:
1122:
1089:
1088:
1055:
1054:
1006:
1005:
1001:
997:
835:
831:
827:
823:
722:Messa da Capella
609:Ave maris stella
591:
590:
574:
573:
557:
556:
540:
539:
523:
519:
518:
496:
495:
470:Officium Divinum
316:viole da braccio
276:Ave maris stella
214:
138:
136:
60:
39:
32:
31:
21:
5423:
5422:
5418:
5417:
5416:
5414:
5413:
5412:
5368:
5367:
5366:
5361:
5331:
5255:
5113:
5042:
5003:Immaculate Mary
4966:
4933:
4928:
4898:
4893:
4875:
4871:Stile concitato
4861:Seconda pratica
4824:
4798:
4779:
4752:
4733:
4714:
4701:
4675:
4657:Possente spirto
4616:
4598:
4593:
4505:
4461:Parrott, Andrew
4459:
4445:10.2307/1003609
4427:Parrott, Andrew
4425:
4393:Parrott, Andrew
4391:
4357:
4326:
4292:
4289:
4287:Further reading
4276:
4274:
4260:
4241:
4227:
4225:
4223:
4184:
4182:
4164:
4162:
4151:musikzeitung.ch
4139:
4118:
4116:
4114:Dunedin Consort
4109:
3977:(1912): 41–46.
3901:
3873:
3849:
3839:Clarendon Press
3821:
3791:
3786:
3774:
3770:
3762:
3755:
3743:
3739:
3732:
3728:
3720:
3716:
3704:
3700:
3688:
3684:
3672:
3668:
3664:, pp. 8–9.
3660:
3651:
3647:, pp. 6–7.
3643:
3639:
3631:
3627:
3619:
3615:
3603:
3596:
3588:
3584:
3572:
3568:
3556:
3552:
3540:
3525:
3513:
3509:
3501:
3497:
3489:
3485:
3481:, p. xxii.
3477:
3470:
3458:
3454:
3447:
3443:
3431:
3424:
3412:
3403:
3391:
3387:
3379:
3368:
3360:
3349:
3337:
3333:
3321:
3317:
3305:
3301:
3289:
3285:
3273:
3269:
3261:
3257:
3245:
3241:
3233:
3226:
3218:
3214:
3202:
3198:
3190:
3179:
3171:
3158:
3150:
3133:
3121:
3117:
3109:
3102:
3090:
3073:
3065:
3061:
3049:
3045:
3033:
3029:
3017:
3013:
3001:
2997:
2985:
2981:
2973:
2969:
2961:
2957:
2945:
2941:
2933:
2918:
2910:
2906:
2898:
2894:
2886:
2882:
2878:, pp. 1–3.
2874:
2870:
2862:
2858:
2850:
2841:
2833:
2826:
2818:
2814:
2810:
2805:
2804:
2798:
2794:
2782:
2778:
2773:
2724:sacri concentus
2701:
2694:
2643:
2637:
2608:
2595:
2588:Dunedin Consort
2570:
2558:all instruments
2546:
2481:Suscepit Israel
2409:Fecit potentiam
2386:Et misericordia
2279:
2225:
2198:
2193:
1970:
1966:
1962:
1958:
1954:
1953:1, then soprano
1950:
1946:
1942:
1938:
1934:
1930:
1926:
1922:
1918:
1914:
1910:
1887:
1855:
1844:Lauda Jerusalem
1839:
1807:
1791:
1755:
1735:
1719:
1699:
1698:
1697:
1696:
1695:
1688:
1685:
1674:
1672:4 Laudate pueri
1654:
1632:
1630:2 Dixit Dominus
1610:
1609:
1608:
1607:
1606:
1599:
1596:
1497:Cornetto player
1491:
1484:
1456:
1367:Lauda Jerusalem
1308:
1305:Except the Lord
1257:
1251:
1182:
999:
995:
946:
941:
912:
892:Hans F. Redlich
872:
833:
825:
814:, trombone and
734:In illo tempore
730:Nicolas Gombert
695:
663:sacri concentus
640:Gregorian chant
589:Lauda Jerusalem
460:The liturgical
446:
365:
360:
328:Vatican Library
326:is held by the
293:seconda pratica
288:Gregorian chant
230:dukes of Mantua
218:Vespers of 1610
193:of the evening
170:
134:
132:
67:
37:
28:
23:
22:
15:
12:
11:
5:
5421:
5411:
5410:
5405:
5403:Psalm settings
5400:
5395:
5390:
5385:
5380:
5363:
5362:
5360:
5359:
5347:
5342:
5336:
5333:
5332:
5330:
5329:
5324:
5322:Salve Marinera
5319:
5314:
5309:
5304:
5299:
5294:
5289:
5284:
5279:
5274:
5269:
5263:
5261:
5257:
5256:
5254:
5253:
5248:
5243:
5242:
5241:
5231:
5226:
5221:
5216:
5211:
5210:
5209:
5199:
5194:
5189:
5184:
5182:Missa ad fugam
5179:
5174:
5169:
5164:
5163:
5162:
5157:
5152:
5147:
5142:
5137:
5127:
5121:
5119:
5115:
5114:
5112:
5111:
5106:
5101:
5096:
5091:
5086:
5081:
5076:
5071:
5066:
5061:
5056:
5050:
5048:
5044:
5043:
5041:
5040:
5035:
5030:
5025:
5020:
5015:
5010:
5005:
5000:
4995:
4990:
4985:
4980:
4974:
4972:
4968:
4967:
4965:
4964:
4959:
4954:
4949:
4943:
4941:
4935:
4934:
4927:
4926:
4919:
4912:
4904:
4895:
4894:
4892:
4891:
4880:
4877:
4876:
4874:
4873:
4868:
4863:
4858:
4853:
4848:
4843:
4838:
4832:
4830:
4826:
4825:
4823:
4822:
4817:
4812:
4806:
4804:
4800:
4799:
4797:
4796:
4787:
4785:
4781:
4780:
4778:
4777:
4769:
4760:
4758:
4754:
4753:
4751:
4750:
4741:
4739:
4735:
4734:
4732:
4731:
4722:
4720:
4716:
4715:
4708:
4706:
4703:
4702:
4700:
4699:
4685:
4683:
4674:
4673:
4660:
4638:
4624:
4622:
4618:
4617:
4615:
4614:
4609:
4607:list of operas
4603:
4600:
4599:
4592:
4591:
4584:
4577:
4569:
4563:
4562:
4556:
4544:
4534:
4524:
4515:
4504:
4503:External links
4501:
4500:
4499:
4473:(2): 303–317.
4457:
4423:
4405:(4): 490–516.
4389:
4355:
4343:10.2307/830454
4324:
4306:(3): 315–330.
4294:Stevens, Denis
4288:
4285:
4284:
4283:
4254:
4234:
4221:
4191:
4171:
4142:
4125:
4096:Online sources
4093:
4092:
4082:(2): 118–122.
4071:
4053:(2): 325–327.
4041:McCreesh, Paul
4037:
4017:
4002:
3987:
3964:
3935:
3906:
3905:
3899:
3877:
3871:
3853:
3847:
3825:
3819:
3790:
3787:
3785:
3784:
3768:
3753:
3737:
3726:
3714:
3698:
3682:
3666:
3649:
3637:
3635:, p. 114.
3625:
3613:
3594:
3582:
3566:
3550:
3523:
3507:
3495:
3483:
3468:
3452:
3441:
3422:
3401:
3385:
3366:
3362:Estermann 2015
3347:
3331:
3315:
3299:
3283:
3267:
3255:
3239:
3224:
3222:, p. 347.
3212:
3196:
3194:, p. 325.
3177:
3156:
3154:, p. xii.
3131:
3115:
3100:
3071:
3059:
3043:
3027:
3011:
2995:
2979:
2967:
2965:, p. xvi.
2955:
2939:
2916:
2904:
2892:
2880:
2868:
2856:
2839:
2824:
2811:
2809:
2806:
2803:
2802:
2792:
2788:St. John's Day
2775:
2774:
2772:
2769:
2693:
2690:
2639:Main article:
2636:
2633:
2569:
2566:
2563:
2562:
2559:
2556:
2553:
2544:
2540:
2539:
2536:
2534:
2531:
2524:
2521:
2517:
2516:
2513:
2510:
2507:
2500:
2497:
2493:
2492:
2489:
2487:
2484:
2477:
2474:
2470:
2469:
2466:
2463:
2460:
2453:
2450:
2446:
2445:
2442:
2439:
2436:
2429:
2426:
2422:
2421:
2418:
2415:
2412:
2405:
2402:
2398:
2397:
2394:
2392:
2389:
2382:
2379:
2375:
2374:
2371:
2368:
2365:
2358:
2355:
2351:
2350:
2347:
2341:
2338:
2331:
2328:
2324:
2323:
2320:
2318:
2315:
2308:
2305:
2301:
2300:
2297:
2294:
2291:
2284:
2277:
2273:
2272:
2269:
2266:
2263:
2260:
2257:
2224:
2221:
2209:
2208:
2205:
2203:
2200:
2195:
2190:
2187:
2183:
2182:
2180:
2177:
2174:
2171:
2168:
2164:
2163:
2160:
2158:
2155:
2151:
2150:
2148:
2145:
2142:
2139:
2136:
2132:
2131:
2128:
2126:
2123:
2119:
2118:
2115:
2113:
2110:
2107:
2104:
2101:
2097:
2096:
2093:
2091:
2088:
2084:
2083:
2080:
2078:
2075:
2072:
2069:
2066:
2062:
2061:
2058:
2055:
2053:
2050:
2046:
2045:
2042:
2040:
2037:
2034:
2031:
2028:
2024:
2023:
2020:
2018:
2015:
2012:
2009:
2006:
2002:
2001:
1998:
1995:
1992:
1989:
1986:
1983:
1886:
1883:
1854:
1851:
1838:
1835:
1806:
1803:
1790:
1789:8 Nisi Dominus
1787:
1767:6:2–3 and the
1754:
1753:7 Duo Seraphim
1751:
1734:
1733:6 Laetatus sum
1731:
1718:
1715:
1686:
1679:
1678:
1677:
1676:
1675:
1673:
1670:
1653:
1650:
1631:
1628:
1597:
1590:
1589:
1588:
1587:
1586:
1583:
1582:
1579:
1576:
1569:
1565:
1564:
1561:
1558:
1555:
1546:
1540:
1536:
1535:
1532:
1529:
1526:
1523:
1520:
1490:
1487:
1483:
1480:
1477:
1476:
1473:
1471:
1468:
1465:
1460:
1450:
1447:
1441:
1440:
1437:
1435:
1432:
1429:
1424:
1421:
1418:
1412:
1411:
1408:
1405:
1402:
1399:
1396:
1391:
1388:
1382:
1381:
1378:
1376:
1373:
1370:
1363:
1358:
1355:
1349:
1348:
1345:
1342:
1339:
1336:
1329:
1328:Anonymous poem
1326:
1323:
1317:
1316:
1313:
1311:
1306:
1303:
1296:
1291:
1288:
1282:
1281:
1278:
1275:
1272:
1269:
1262:
1249:
1246:
1240:
1239:
1236:
1234:
1231:
1228:
1221:
1216:
1213:
1207:
1206:
1203:
1200:
1197:
1194:
1187:
1180:
1177:
1171:
1170:
1167:
1164:
1161:
1158:
1151:
1146:
1143:
1137:
1136:
1133:
1130:
1127:
1124:
1117:
1112:
1109:
1103:
1102:
1099:
1096:
1093:
1090:
1083:
1078:
1075:
1069:
1068:
1065:
1062:
1059:
1056:
1047:
1041:
1038:
1032:
1031:
1028:
1025:
1022:
1019:
1016:
1013:
1010:
945:
942:
940:
937:
933:JĂĽrgen JĂĽrgens
911:
908:
871:
868:
851:papal audience
792:basso continuo
694:
691:
596:
595:
592:
585:
579:
578:
575:
568:
562:
561:
558:
551:
545:
544:
541:
534:
528:
527:
520:
513:
507:
506:
503:
500:
445:
442:
364:
361:
359:
356:
320:basso continuo
298:emerging opera
172:
171:
169:
168:
165:
162:
158:
156:
152:
151:
148:
144:
143:
129:
125:
124:
119:
115:
114:
109:
105:
104:
94:
90:
89:
83:
79:
78:
73:
69:
68:
61:
53:
52:
42:
41:
26:
9:
6:
4:
3:
2:
5420:
5409:
5406:
5404:
5401:
5399:
5396:
5394:
5391:
5389:
5386:
5384:
5381:
5379:
5376:
5375:
5373:
5358:
5357:
5348:
5346:
5343:
5341:
5338:
5337:
5334:
5328:
5325:
5323:
5320:
5318:
5315:
5313:
5310:
5308:
5307:O Virgin Pure
5305:
5303:
5300:
5298:
5295:
5293:
5290:
5288:
5285:
5283:
5280:
5278:
5275:
5273:
5270:
5268:
5265:
5264:
5262:
5258:
5252:
5249:
5247:
5244:
5240:
5237:
5236:
5235:
5232:
5230:
5227:
5225:
5222:
5220:
5217:
5215:
5214:O sanctissima
5212:
5208:
5205:
5204:
5203:
5200:
5198:
5195:
5193:
5190:
5188:
5185:
5183:
5180:
5178:
5175:
5173:
5170:
5168:
5165:
5161:
5158:
5156:
5153:
5151:
5148:
5146:
5143:
5141:
5138:
5136:
5133:
5132:
5131:
5128:
5126:
5123:
5122:
5120:
5116:
5110:
5107:
5105:
5102:
5100:
5097:
5095:
5092:
5090:
5087:
5085:
5082:
5080:
5077:
5075:
5072:
5070:
5067:
5065:
5062:
5060:
5057:
5055:
5052:
5051:
5049:
5045:
5039:
5036:
5034:
5031:
5029:
5026:
5024:
5021:
5019:
5016:
5014:
5011:
5009:
5008:Lady of Knock
5006:
5004:
5001:
4999:
4996:
4994:
4991:
4989:
4986:
4984:
4983:Avé de Fátima
4981:
4979:
4976:
4975:
4973:
4969:
4963:
4960:
4958:
4955:
4953:
4950:
4948:
4945:
4944:
4942:
4940:
4936:
4932:
4925:
4920:
4918:
4913:
4911:
4906:
4905:
4902:
4890:
4882:
4881:
4878:
4872:
4869:
4867:
4864:
4862:
4859:
4857:
4856:Prima pratica
4854:
4852:
4849:
4847:
4844:
4842:
4839:
4837:
4834:
4833:
4831:
4827:
4821:
4818:
4816:
4813:
4811:
4808:
4807:
4805:
4801:
4794:
4793:
4789:
4788:
4786:
4782:
4775:
4774:
4770:
4767:
4766:
4762:
4761:
4759:
4755:
4748:
4747:
4743:
4742:
4740:
4736:
4729:
4728:
4724:
4723:
4721:
4717:
4712:
4697:
4692:
4691:
4687:
4686:
4684:
4682:
4678:
4671:
4666:
4665:
4661:
4658:
4654:
4653:Musical items
4649:
4644:
4643:
4639:
4636:
4631:
4630:
4626:
4625:
4623:
4619:
4613:
4610:
4608:
4605:
4604:
4601:
4597:
4590:
4585:
4583:
4578:
4576:
4571:
4570:
4567:
4561:
4557:
4554:
4553:
4549:
4545:
4542:
4538:
4535:
4532:
4528:
4525:
4523:
4519:
4516:
4514:
4510:
4507:
4506:
4496:
4492:
4488:
4484:
4480:
4476:
4472:
4468:
4467:
4462:
4458:
4454:
4450:
4446:
4442:
4438:
4434:
4433:
4428:
4424:
4420:
4416:
4412:
4408:
4404:
4400:
4399:
4394:
4390:
4386:
4382:
4378:
4374:
4370:
4366:
4365:
4360:
4356:
4352:
4348:
4344:
4340:
4337:(1): 87–106.
4336:
4332:
4331:
4325:
4321:
4317:
4313:
4309:
4305:
4301:
4300:
4295:
4291:
4290:
4272:
4268:
4267:
4259:
4255:
4251:
4247:
4240:
4235:
4224:
4222:9780521459792
4218:
4214:
4210:
4206:
4202:
4201:
4196:
4195:Whenham, John
4192:
4181:
4177:
4172:
4160:
4156:
4153:(in German).
4152:
4148:
4143:
4136:
4135:
4130:
4126:
4115:
4108:
4104:
4100:
4099:
4098:
4097:
4089:
4085:
4081:
4077:
4072:
4068:
4064:
4060:
4056:
4052:
4048:
4047:
4042:
4038:
4034:
4030:
4026:
4022:
4018:
4014:
4013:
4008:
4003:
3999:
3998:
3993:
3988:
3984:
3980:
3976:
3972:
3971:
3965:
3961:
3957:
3953:
3949:
3945:
3941:
3936:
3932:
3928:
3924:
3920:
3919:
3913:
3912:
3911:
3910:
3902:
3896:
3892:
3888:
3887:
3882:
3881:Whenham, John
3878:
3874:
3868:
3864:
3863:
3858:
3854:
3850:
3844:
3840:
3836:
3835:
3830:
3826:
3822:
3816:
3812:
3808:
3807:
3802:
3798:
3797:
3796:
3795:
3789:Cited sources
3781:
3777:
3772:
3765:
3760:
3758:
3750:
3746:
3745:Kurtzman 2000
3741:
3735:
3730:
3723:
3718:
3711:
3707:
3706:Kurtzman 2000
3702:
3695:
3691:
3690:Kurtzman 2000
3686:
3679:
3675:
3674:Kurtzman 2000
3670:
3663:
3658:
3656:
3654:
3646:
3641:
3634:
3629:
3622:
3617:
3610:
3606:
3605:Kurtzman 2000
3601:
3599:
3591:
3586:
3579:
3575:
3574:Kurtzman 2000
3570:
3563:
3559:
3558:Kurtzman 2000
3554:
3547:
3543:
3542:Kurtzman 2000
3538:
3536:
3534:
3532:
3530:
3528:
3520:
3516:
3511:
3505:, p. 10.
3504:
3499:
3492:
3487:
3480:
3475:
3473:
3465:
3461:
3460:Kurtzman 2000
3456:
3450:
3445:
3438:
3434:
3433:Kurtzman 2000
3429:
3427:
3419:
3415:
3414:Kurtzman 2000
3410:
3408:
3406:
3398:
3394:
3393:Kurtzman 2000
3389:
3382:
3377:
3375:
3373:
3371:
3363:
3358:
3356:
3354:
3352:
3344:
3340:
3339:Kurtzman 2000
3335:
3328:
3324:
3323:Kurtzman 2000
3319:
3312:
3308:
3307:Kurtzman 2000
3303:
3296:
3292:
3291:Kurtzman 2000
3287:
3280:
3276:
3275:Kurtzman 2000
3271:
3264:
3259:
3252:
3248:
3247:Kurtzman 2000
3243:
3236:
3231:
3229:
3221:
3216:
3209:
3205:
3204:Kurtzman 2000
3200:
3193:
3192:McCreesh 1995
3188:
3186:
3184:
3182:
3174:
3173:Kurtzman 2012
3169:
3167:
3165:
3163:
3161:
3153:
3148:
3146:
3144:
3142:
3140:
3138:
3136:
3128:
3124:
3119:
3112:
3111:Knighton 1990
3107:
3105:
3097:
3093:
3092:Kurtzman 2000
3088:
3086:
3084:
3082:
3080:
3078:
3076:
3069:, p. ii.
3068:
3063:
3056:
3052:
3047:
3040:
3036:
3031:
3024:
3020:
3015:
3008:
3004:
2999:
2992:
2988:
2983:
2976:
2971:
2964:
2959:
2952:
2948:
2943:
2936:
2931:
2929:
2927:
2925:
2923:
2921:
2914:, p. 42.
2913:
2908:
2902:, p. 16.
2901:
2896:
2889:
2884:
2877:
2872:
2865:
2860:
2854:, p. 41.
2853:
2848:
2846:
2844:
2836:
2831:
2829:
2821:
2816:
2812:
2796:
2789:
2785:
2780:
2776:
2767:
2765:
2759:
2757:
2752:
2751:
2746:
2741:
2739:
2735:
2734:
2729:
2725:
2719:
2714:
2712:
2708:
2700:, notes: "...
2699:
2689:
2687:
2686:Paul McCreesh
2681:
2679:
2675:
2671:
2666:
2664:
2660:
2656:
2652:
2649:conducted by
2648:
2642:
2632:
2628:
2625:
2620:
2618:
2612:
2605:
2601:
2591:
2589:
2585:
2581:
2579:
2575:
2560:
2557:
2554:
2545:
2542:
2541:
2537:
2535:
2532:
2525:
2519:
2518:
2514:
2511:
2508:
2501:
2498:
2495:
2494:
2490:
2488:
2485:
2478:
2475:
2472:
2471:
2467:
2464:
2461:
2454:
2451:
2448:
2447:
2443:
2440:
2437:
2430:
2427:
2424:
2423:
2419:
2416:
2413:
2406:
2403:
2400:
2399:
2395:
2393:
2390:
2383:
2380:
2377:
2376:
2372:
2369:
2366:
2359:
2356:
2353:
2352:
2348:
2346:
2342:
2339:
2335:Quia respexit
2332:
2329:
2326:
2325:
2321:
2319:
2316:
2309:
2306:
2303:
2302:
2298:
2295:
2292:
2285:
2282:
2278:
2275:
2274:
2254:
2245:
2240:
2236:
2233:
2231:
2223:13 Magnificat
2220:
2218:
2216:
2206:
2204:
2201:
2196:
2191:
2188:
2185:
2184:
2181:
2178:
2175:
2172:
2169:
2166:
2165:
2161:
2156:
2153:
2152:
2149:
2146:
2144:Unique Virgin
2143:
2140:
2137:
2134:
2133:
2129:
2124:
2121:
2120:
2114:
2111:
2108:
2105:
2102:
2099:
2098:
2094:
2089:
2086:
2085:
2079:
2076:
2073:
2070:
2067:
2064:
2063:
2059:
2056:
2051:
2048:
2047:
2043:
2041:
2038:
2035:
2032:
2029:
2026:
2025:
2021:
2019:
2016:
2013:
2010:
2007:
2004:
2003:
1980:
1974:
1891:
1882:
1880:
1878:
1874:
1870:
1865:
1860:
1850:
1848:
1845:
1834:
1832:
1829:
1823:
1818:
1813:
1805:9 Audi coelum
1802:
1800:
1797:
1786:
1784:
1782:
1778:
1774:
1770:
1766:
1761:
1750:
1748:
1746:
1741:
1730:
1728:
1725:
1714:
1712:
1710:
1705:
1684:
1683:
1682:Laudate pueri
1669:
1667:
1665:
1660:
1649:
1647:
1644:
1638:
1627:
1625:
1623:
1619:
1615:
1595:
1594:
1580:
1577:
1570:
1567:
1566:
1559:
1556:
1552:
1547:
1544:
1538:
1537:
1517:
1514:
1511:
1505:
1495:
1486:
1474:
1472:
1469:
1466:
1464:
1461:
1459:
1454:
1451:
1448:
1446:
1443:
1442:
1438:
1436:
1433:
1430:
1428:
1425:
1422:
1419:
1417:
1414:
1413:
1409:
1406:
1403:
1400:
1397:
1395:
1394:Marian litany
1392:
1389:
1387:
1384:
1383:
1379:
1377:
1374:
1371:
1364:
1362:
1359:
1356:
1354:
1351:
1350:
1346:
1343:
1340:
1337:
1330:
1327:
1324:
1322:
1319:
1318:
1314:
1312:
1307:
1304:
1297:
1295:
1292:
1289:
1287:
1284:
1283:
1279:
1276:
1273:
1270:
1263:
1260:
1254:
1250:
1247:
1245:
1242:
1241:
1237:
1235:
1232:
1229:
1222:
1220:
1217:
1214:
1212:
1209:
1208:
1204:
1201:
1198:
1195:
1188:
1185:
1184:Song of Songs
1181:
1178:
1176:
1173:
1172:
1168:
1165:
1162:
1159:
1155:Laudate pueri
1152:
1150:
1147:
1144:
1142:
1139:
1138:
1134:
1131:
1128:
1125:
1118:
1116:
1115:Song of Songs
1113:
1110:
1108:
1105:
1104:
1100:
1097:
1094:
1091:
1087:Dixit Dominus
1084:
1082:
1079:
1076:
1074:
1071:
1070:
1066:
1063:
1060:
1057:
1053:
1048:
1045:
1042:
1039:
1037:
1034:
1033:
1007:
1004:
993:
989:
985:
981:
977:
973:
969:
964:
962:
958:
954:
950:
936:
934:
928:
924:
921:
917:
907:
905:
902:in 1994, and
901:
897:
893:
889:
885:
881:
877:
867:
865:
864:Messa e Salmi
861:
860:
854:
852:
848:
847:Papal Library
844:
839:
821:
817:
813:
809:
805:
800:
797:
793:
785:
781:
776:
772:
770:
766:
762:
758:
754:
750:
746:
741:
739:
735:
731:
727:
723:
719:
715:
712:
704:
699:
690:
687:
686:Song of Songs
683:
682:Saint Barbara
678:
676:
675:cantus firmus
672:
668:
667:Marian litany
664:
660:
656:
651:
649:
645:
641:
636:
634:
630:
626:
622:
618:
617:Old Testament
614:
610:
606:
603:
593:
586:
584:
581:
580:
576:
569:
567:
564:
563:
559:
552:
550:
547:
546:
542:
538:Laudate pueri
535:
533:
530:
529:
521:
517:Dixit Dominus
514:
512:
509:
508:
497:
494:
492:
488:
484:
480:
476:
472:
471:
467:
463:
455:
450:
441:
439:
435:
430:
428:
427:
422:
418:
414:
410:
406:
405:
400:
395:
394:
389:
386:player under
385:
381:
377:
376:Gonzaga dukes
373:
369:
355:
353:
349:
345:
340:
339:musicologists
336:
331:
329:
325:
321:
317:
313:
309:
308:cantus firmus
305:
304:
303:prima pratica
299:
295:
294:
289:
285:
281:
277:
274:of the hymn "
273:
269:
265:
261:
258:
257:
252:
251:
246:
242:
238:
235:
231:
227:
222:
220:
219:
213:
208:
204:
200:
199:Marian feasts
196:
192:
188:
184:
180:
179:
166:
163:
160:
159:
157:
153:
149:
145:
142:
130:
126:
123:
120:
116:
113:
110:
106:
103:
99:
95:
91:
87:
84:
80:
77:
74:
70:
65:
59:
54:
51:
47:
43:
40:
33:
30:
19:
5398:Marian hymns
5355:
5317:RĂu RĂu ChĂu
5245:
5229:Stabat Mater
5172:Evviva Maria
4962:Salve Regina
4957:Regina caeli
4931:Marian hymns
4803:Recognitions
4790:
4772:
4771:
4768:(SV 252–288)
4763:
4757:Sacred music
4744:
4725:
4688:
4662:
4640:
4627:
4552:The Guardian
4550:
4533:(ChoralWiki)
4470:
4464:
4436:
4430:
4402:
4396:
4368:
4362:
4334:
4328:
4303:
4297:
4275:. Retrieved
4264:
4250:Carus-Verlag
4226:. Retrieved
4199:
4183:. Retrieved
4179:
4163:. Retrieved
4159:the original
4150:
4133:
4117:. Retrieved
4095:
4094:
4079:
4075:
4050:
4044:
4032:
4028:
4010:
3995:
3974:
3968:
3943:
3939:
3922:
3916:
3908:
3907:
3885:
3861:
3857:Ringer, Mark
3833:
3805:
3793:
3792:
3776:Whenham 1997
3771:
3764:Whenham 2010
3740:
3729:
3717:
3701:
3685:
3669:
3640:
3628:
3616:
3585:
3569:
3553:
3515:Whenham 1997
3510:
3498:
3493:, p. 1.
3486:
3455:
3444:
3388:
3334:
3318:
3302:
3286:
3270:
3258:
3242:
3237:, p. 8.
3215:
3199:
3123:Whenham 1997
3118:
3062:
3051:Whenham 1997
3046:
3035:Whenham 1997
3030:
3019:Whenham 1997
3014:
3003:Whenham 1997
2998:
2987:Whenham 1997
2982:
2975:Chandos 2016
2970:
2958:
2947:Whenham 1997
2942:
2907:
2895:
2883:
2871:
2859:
2815:
2795:
2779:
2763:
2761:
2755:
2748:
2742:
2731:
2727:
2723:
2721:
2716:
2695:
2682:
2667:
2644:
2629:
2621:
2614:
2593:
2582:
2571:
2528:Gloria Patri
2312:Et exultavit
2268:Instruments
2259:Text source
2234:
2229:
2226:
2219:
2212:
1997:Instruments
1902:
1881:
1877:triple metre
1856:
1849:
1840:
1833:
1808:
1801:
1796:Nisi Dominus
1792:
1785:
1760:Duo Seraphim
1756:
1749:
1745:walking bass
1740:Laetatus sum
1736:
1729:
1720:
1717:5 Pulchra es
1713:
1700:
1681:
1668:
1655:
1648:
1633:
1626:
1622:falsobordone
1617:
1611:
1592:
1534:Instruments
1522:Text source
1500:
1485:
1398:Sancta Maria
1309:SATB 2T SATB
1300:Nisi Dominus
1271:Two seraphim
1266:Duo Seraphim
1225:Laetatus sum
1027:Instruments
1015:Text source
965:
948:
947:
929:
925:
915:
913:
900:Jerome Roche
884:Luigi Torchi
873:
863:
857:
855:
840:
832:uia respexit
801:
789:
768:
756:
742:
737:
733:
721:
708:
679:
662:
658:
652:
646:, elaborate
644:patron saint
637:
605:Gloria Patri
599:
572:Nisi Dominus
555:Laetatus sum
468:
459:
431:
424:
402:
391:
366:
332:
301:
291:
268:Sancta Maria
262:and a vocal
254:
248:
223:
217:
216:
182:
177:
176:
175:
88:206 and 206a
75:
35:
29:
5277:Bogurodzica
5272:Axion Estin
5135:Bach/Gounod
4795:(2007 film)
4681:Lost operas
4466:Early Music
4398:Early Music
4364:Early Music
4165:9 September
4129:Carter, Tim
4046:Early Music
3918:Early Music
3801:Carter, Tim
3708:, pp.
3676:, pp.
3590:Blazey 1989
3576:, pp.
3560:, pp.
3517:, pp.
3435:, pp.
3277:, pp.
3220:Bowers 1992
3125:, pp.
3037:, pp.
3005:, pp.
2912:Bowers 2010
2900:Ringer 2006
2888:Ringer 2006
2876:Carter 2002
2864:Bowers 2010
2852:Bowers 2010
2835:Carter 2007
2665:" concept.
2604:madrigalian
1937:3 for choir
1929:2 for choir
1652:3 Nigra sum
1333:Audi coelum
998:1 and tenor
910:Performance
843:Pope Paul V
824:t exultauit
796:short score
784:short score
671:psalm tones
648:concertante
560:I was glad
348:church year
314:, violins,
280:Magnificats
207:Pope Paul V
122:Pope Paul V
5378:1610 works
5372:Categories
5345:Theotokion
5177:Magnificat
4971:in English
4784:Depictions
4645:(SV 318) (
4185:27 January
4103:Butt, John
4012:Gramophone
3997:Gramophone
3925:(2): 177.
3837:. Oxford:
3778:, p.
3747:, p.
3734:track list
3722:Quinn 2016
3692:, p.
3607:, p.
3544:, p.
3462:, p.
3416:, p.
3395:, p.
3341:, p.
3325:, p.
3309:, p.
3293:, p.
3249:, p.
3206:, p.
3094:, p.
3053:, p.
3021:, p.
2989:, p.
2949:, p.
2820:Noske 1985
2808:References
2745:Tim Carter
2635:Recordings
2617:polychoral
2600:coloratura
2574:polyphonic
2362:Quia fecit
2288:Magnificat
2215:ritornello
2157:Ritornello
2125:Ritornello
2090:Ritornello
2052:Ritornello
1724:Pulchra es
1467:magnifies
1463:Magnificat
1449:Magnificat
1230:I was glad
1191:Pulchra es
1126:I am black
957:ritornelli
782:partbook (
483:Magnificat
413:recitative
368:Monteverdi
256:concertato
241:liturgical
150:90 minutes
118:Dedication
102:Magnificat
5219:O sodales
5207:Lauridsen
5130:Ave Maria
5047:in German
4939:Antiphons
4693:(SV 291)
4690:L'Arianna
4667:(SV 325)
4632:(SV 308)
4543:catalogue
4495:194042307
4246:Stuttgart
4119:31 August
4015:. London.
4000:. London.
3662:Butt 2017
3645:Butt 2017
3633:Wolf 2013
3621:Wolf 2013
3503:Butt 2017
3491:Wolf 2013
3479:Wolf 2013
3381:Wolf 2013
3263:Wolf 2013
3235:Butt 2017
3152:Wolf 2013
3067:Wolf 2013
2963:Wolf 2013
2935:Kemp 2015
2800:continuo.
2733:chiavette
2668:In 1964,
2584:John Butt
2578:obbligato
2499:Luke 1:55
2476:Luke 1:54
2452:Luke 1:53
2441:cornettos
2428:Luke 1:52
2404:Luke 1:51
2381:Luke 1:50
2357:Luke 1:49
2330:Luke 1:48
2307:Luke 1:47
1957:2. Verses
1401:Holy Mary
1375:SAB T SAB
1361:Psalm 147
1294:Psalm 127
1219:Psalm 122
1149:Psalm 113
1121:Nigra sum
1081:Psalm 110
961:movements
944:Structure
830:" and "Q
808:bar lines
765:partbooks
613:antiphons
583:Psalm 147
566:Psalm 127
549:Psalm 122
532:Psalm 113
511:Psalm 110
487:Psalm 110
409:ensembles
312:cornettos
284:antiphons
245:movements
167:orchestra
128:Published
82:Catalogue
64:partbooks
5356:Category
5292:MĹŤ Maria
5150:Schubert
5145:Bruckner
5118:in Latin
4889:Category
4749:(SV 153)
4730:(SV 167)
4131:(2007).
4105:(2017).
4023:(2012).
3983:25759499
3909:Journals
3883:(1997).
3859:(2006).
3831:(2000).
3803:(2002).
2764:varietas
2568:Analysis
2523:Doxology
2262:Incipit
2202:SSAATTBB
2189:Versus 7
2170:Versus 6
2138:Versus 5
2103:Versus 4
2068:Versus 3
2030:Versus 2
2017:SSAATTBB
2008:Versus 1
1991:English
1988:Incipit
1933:1, verse
1873:galliard
1568:Response
1543:Psalm 70
1539:Versicle
1528:English
1525:Incipit
1482:Sections
1458:Doxology
1434:SSAATTBB
1344:continuo
1277:continuo
1202:continuo
1163:SSAATTBB
1132:continuo
1061:T SSATTB
1044:Psalm 70
1021:English
1018:Incipit
904:Uwe Wolf
820:initials
812:cornetto
711:Cardinal
659:concerti
633:blessing
629:Psalm 70
625:response
621:versicle
602:doxology
505:English
466:Catholic
324:partbook
266:on the "
237:Biblical
226:Gonzagas
161:Soloists
147:Duration
108:Language
4829:Related
4642:L'Orfeo
4539:in the
4487:3519369
4453:1003609
4419:3137979
4385:3127408
4277:15 June
4266:Chandos
4067:3137712
3931:3127447
3710:516–525
2555:SSATTBB
2370:violins
2293:SSATTBB
2265:Voices
2230:initium
1994:Voices
1831:(all).
1773:Trinity
1618:L'Orfeo
1614:toccata
1581:SSATTB
1531:Voices
1470:SSATTBB
1455:2:46–55
1024:Voices
992:divided
976:soprano
953:stanzas
918:at the
757:L'Orfeo
749:offices
703:soprano
491:Vulgate
462:vespers
444:Vespers
426:L'Orfeo
372:Cremona
272:stanzas
195:vespers
155:Scoring
133: (
72:English
46:Vespers
36:Vespro
5160:Vierne
4719:Ballet
4493:
4485:
4451:
4417:
4383:
4351:830454
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