Claudio Monteverdi: Difference between revisions
(491 intermediate revisions by 25 users not shown) | |||
Line 1: | Line 1: | ||
[[Image:Monteverdi.jpg|right]] | |||
'''Aliases:''' Claudio Monteverde | '''Aliases:''' Claudio Monteverde | ||
==Life== | ==Life== | ||
Line 12: | Line 12: | ||
He was the first composer to realise the potential of opera for expressing powerful emotions, and he brought to his church music the musical innovations of his madrigal and instrumental style that he continued to refine throughout his lifetime. | He was the first composer to realise the potential of opera for expressing powerful emotions, and he brought to his church music the musical innovations of his madrigal and instrumental style that he continued to refine throughout his lifetime. | ||
Claudio (Giovanni Antonio) Monteverdi was born in Cremona in 1567, and baptised – probably at an age of several days – on the 15th of May. Monteverdi’s father Baldassare was a chemist and also practiced medicine; his mother Maddalena (née Zignani) died young, and Baldassare married twice more. Claudio had one elder sister, a younger brother Giulio Cesare who also pursued a musical career, and three more half-siblings from his father’s second marriage. Both Claudio and Giulio Cesare received a good musical education from [[Marco Antonio Ingegneri|Marc’Antonio Ingegneri]], who was ''maestro di cappella'' of Cremona Cathedral, and whom Monteverdi would acknowledge as his teacher on the title page of his first book of madrigals. Claudio was clearly a precociously gifted boy, at the age of 15 sending a collection of three-part motets to be published in Venice by the printing house of Gardane, and following these with two further publications before he reached the age of 18, the latter of which, the volume of three-part canzonets, was published by Ricciardo Amadino, whose printing firm would go on to publish much of Monteverdi’s subsequent work. | Claudio (Giovanni Antonio) Monteverdi was born in Cremona in 1567, and baptised – probably at an age of several days – on the 15th of May. Monteverdi’s father Baldassare was a chemist and also practiced medicine; his mother Maddalena (née Zignani) died young, and Baldassare married twice more. Claudio had one elder sister, a younger brother [[Giulio Cesare Monteverdi|Giulio Cesare]] who also pursued a musical career, and three more half-siblings from his father’s second marriage. Both Claudio and Giulio Cesare received a good musical education from [[Marco Antonio Ingegneri|Marc’Antonio Ingegneri]], who was ''maestro di cappella'' of Cremona Cathedral, and whom Monteverdi would acknowledge as his teacher on the title page of his first book of madrigals. Claudio was clearly a precociously gifted boy, at the age of 15 sending a collection of three-part motets to be published in Venice by the printing house of Gardane, and following these with two further publications before he reached the age of 18, the latter of which, the volume of three-part canzonets, was published by Ricciardo Amadino, whose printing firm would go on to publish much of Monteverdi’s subsequent work. | ||
By the time Monteverdi was ready to publish his second book of five-part madrigals, he had evidently outstripped his teacher and was looking for a musical posting outside Cremona; he visited Milan to obtain patronage, and within three years he was in full-time employment as a violinist or gamba player at the court of the Gonzaga family in Mantua. The third book of madrigals that was published soon after show the influence of the Mantuan ''maestro di cappella'', [[Giaches de Wert]], but Monteverdi's fame quickly spread and he became one of the leading court musicians. After the death of de Wert in 1596 he was succeeded by a more senior musician, Pallavicino, but upon his death in 1601 came Monteverdi's opportunity as musical director of the Mantuan court. In the meantime, Monteverdi had married one of the court singers, Claudia de Cattaneis, on 20 May 1599, who would bear him three children; Francesco (1601–?1677/78), Leonora (1603), and Massimiliano (1604–61). | By the time Monteverdi was ready to publish his second book of five-part madrigals, he had evidently outstripped his teacher and was looking for a musical posting outside Cremona; he visited Milan to obtain patronage, and within three years he was in full-time employment as a violinist or gamba player at the court of the Gonzaga family in Mantua. The third book of madrigals that was published soon after show the influence of the Mantuan ''maestro di cappella'', [[Giaches de Wert]], but Monteverdi's fame quickly spread and he became one of the leading court musicians. After the death of de Wert in 1596 he was succeeded by a more senior musician, Pallavicino, but upon his death in 1601 came Monteverdi's opportunity as musical director of the Mantuan court. In the meantime, Monteverdi had married one of the court singers, Claudia de Cattaneis, on 20 May 1599, who would bear him three children; Francesco (1601–?1677/78), Leonora (1603), and Massimiliano (1604–61). | ||
Line 18: | Line 18: | ||
In 1600 Monteverdi was the subject of an attack by the musical theorist [[wikipedia:Giovanni Artusi|Artusi]], who criticised certain of Monteverdi’s harmonic practices and his modern style of word-painting, concerning works which were yet to appear in print but must have been circulating in manuscript. In 1603 and 1605 Monteverdi published the fourth and fifth books of madrigals, including much of the secular music he had worked on in the previous decade at Mantua that had attracted the ire of Artusi. The fifth book includes a brief reply to the criticism, which was amplified two years later by Monteverdi’s younger brother Giulio Cesare in the introduction to the [[Scherzi musicali (Claudio Monteverdi)|''Scherzi musicali'']] of 1607; this only served to further popularise Monteverdi’s music and enhance his fame. | In 1600 Monteverdi was the subject of an attack by the musical theorist [[wikipedia:Giovanni Artusi|Artusi]], who criticised certain of Monteverdi’s harmonic practices and his modern style of word-painting, concerning works which were yet to appear in print but must have been circulating in manuscript. In 1603 and 1605 Monteverdi published the fourth and fifth books of madrigals, including much of the secular music he had worked on in the previous decade at Mantua that had attracted the ire of Artusi. The fifth book includes a brief reply to the criticism, which was amplified two years later by Monteverdi’s younger brother Giulio Cesare in the introduction to the [[Scherzi musicali (Claudio Monteverdi)|''Scherzi musicali'']] of 1607; this only served to further popularise Monteverdi’s music and enhance his fame. | ||
Monteverdi’s final years at Mantua were dominated by the composition of a series of dramatic works and unhappiness in his personal life, while the star of his fame ascended ever further. His first opera, [[L'Orfeo, | Monteverdi’s final years at Mantua were dominated by the composition of a series of dramatic works and unhappiness in his personal life, while the star of his fame ascended ever further. His first opera, [[L'Orfeo, SV 318 (Claudio Monteverdi)|L'Orfeo]] received its successful premiere at the beginning of 1607 during Carnival, and was followed by commissions for a second opera, ''L'Arianna'', and several other smaller dramatic works including the ''balletto'' [[Ballo delle Ingrate (Claudio Monteverdi)|''Il ballo delle ingrate'']]. In the middle of the year Monteverdi returned to Cremona with his wife, who having been seriously ill for some time, was to be cared for by Monteverdi’s apothecary father. Claudia died on September 10; after little more than a fortnight he was recalled to Mantua. The inherent amount of overwork during the next year precipitated a nervous collapse; Claudio for a time again returned to his father’s house in Cremona to recuperate, before an angry exchange of letters resulted in a pay rise from the Gonzagas, more or less obliging him to return to court duties. However, Monteverdi’s desire to remain any longer in Mantua was effectively at an end. | ||
The subsequent publication of the [[Messa e Vespro della Beata Vergine (Claudio Monteverdi)|Vespro della beata Vergine]] in 1610 has been sometimes interpreted by music historians as being nothing less than an elaborate curriculum vitae, or job application for a church posting elsewhere: it was the first sizeable collection of church music published since the motets of his youth. The volume includes a learned six-part parody mass based on a motet of [[Nicolas Gombert]], written in the Renaissance polyphonic style which he described as the ''prima prattica'', or first practice, which strongly leans to the Roman school of church music dominated in the previous century by [[Palestrina]]; in August he travelled to Rome to obtain permission to dedicate the volume to Pope Paul V. On the other hand, the Vespers music inventively fuses traditional plainsong psalmody with the new technical innovations from Monteverdi’s dramatic music, described as the ''seconda prattica'' (second practice), interspersed with more intimate motets ''“designed for princely chapels or apartments”'', thus lending itself to the elaborate instrumental and choral resources of Venice under the long line of ''maestri di cappella'' culminating in [[Andrea Gabrieli|Andrea]] and [[Giovanni Gabrieli]]; following the latter’s death in 1611, Monteverdi was invited to perform for the procurators of the Basilica of San Marco. Monteverdi succeeded, and in 1613 moved to Venice, where he would remain as ''maestro di cappella'' for the rest of his life. | The subsequent publication of the [[Messa e Vespro della Beata Vergine (Claudio Monteverdi)|Vespro della beata Vergine]] in 1610 has been sometimes interpreted by music historians as being nothing less than an elaborate curriculum vitae, or job application for a church posting elsewhere: it was the first sizeable collection of church music published since the motets of his youth. The volume includes a learned six-part parody mass based on a motet of [[Nicolas Gombert]], written in the Renaissance polyphonic style which he described as the ''prima prattica'', or first practice, which strongly leans to the Roman school of church music dominated in the previous century by [[Palestrina]]; in August he travelled to Rome to obtain permission to dedicate the volume to Pope Paul V. On the other hand, the Vespers music inventively fuses traditional plainsong psalmody with the new technical innovations from Monteverdi’s dramatic music, described as the ''seconda prattica'' (second practice), interspersed with more intimate motets ''“designed for princely chapels or apartments”'', thus lending itself to the elaborate instrumental and choral resources of Venice under the long line of ''maestri di cappella'' culminating in [[Andrea Gabrieli|Andrea]] and [[Giovanni Gabrieli]]; following the latter’s death in 1611, Monteverdi was invited to perform for the procurators of the Basilica of San Marco. Monteverdi succeeded, and in 1613 moved to Venice, where he would remain as ''maestro di cappella'' for the rest of his life. | ||
{{WikipediaLink}} | {{WikipediaLink}} | ||
{{WorksListBox| | {{WorksListBox| | ||
Monteverdi's works are sorted below by genre: there are also lists of Monteverdi's works | Monteverdi's works are sorted below by genre: there are also lists of Monteverdi's works | ||
* sorted in [[:Category:Claudio Monteverdi compositions|alphabetical order]] | * sorted in [[:Category:Claudio Monteverdi compositions|alphabetical order]] | ||
* sorted by [[ | * sorted by [[Claudio Monteverdi - list of works by publication|publication order]].}} | ||
==Dramatic works== | ==Dramatic works== | ||
*{{NoCo|L'Orfeo, SV 318}}, opera (''favola in musica'') (prologue, 5 acts), produced Feb. 1607, pub. 1609, | |||
* {{ | |||
* {{NoComp|Bellezza le|Claudio Monteverdi| Dovute Lodi| ''dovute lodi'', SV 245|Balletto de la |''De la''{{sp}}}}, ballet, 3vv+instr, pub. in {{NoComp|Scherzi musicali|Claudio Monteverdi}}, 1607 | *{{NoComp|Bellezza le|Claudio Monteverdi| Dovute Lodi| ''dovute lodi'', SV 245|Balletto de la |''De la''{{sp}}}}, ballet, 3vv+instr, pub. in {{NoComp|Scherzi musicali|Claudio Monteverdi}}, 1607 | ||
*''L'Arianna'', SV 291, opera, 1608 – ''lost, aside from lament:'' | *''L'Arianna'', SV 291, opera, 1608 – ''lost, aside from lament:'' | ||
:* | :* ''Lamento d'Arianna'', SV 22, 1v, bc, pub. 1623 | ||
:* {{ | :# {{NoCo|Lasciatemi morire}} | ||
:# | :*{{NoCo|Lamento d'Arianna}}, SV 107, 5vv, bc, pub. 1614 | ||
:# {{NoCo|Lasciatemi morire}} | |||
:# Dove, dove è la fede | :# {{NoCo|O Teseo, Teseo mio}} | ||
:# Ahi, | :# {{NoCo|Dove, dove è la fede}} | ||
:# Misera ancor do loco [1623 version only] | :# {{NoCo|Ahi, che non pur risponde}} | ||
:# ''Misera ancor do loco'' [1623 version only] | |||
* {{NoComp|ballo delle Ingrate|Claudio Monteverdi||, SV 167||''Il''{{sp}}}}, ballet, 4vv, 1608, pub. 1638 | *{{NoComp|ballo delle Ingrate|Claudio Monteverdi||, SV 167||''Il''{{sp}}}}, ballet, 4vv, 1608, pub. 1638 | ||
*Prologue to ''L'Idropica'', comedy with music, 1608 – ''lost'' | *Prologue to ''L'Idropica'', comedy with music, 1608 – ''lost'' | ||
* {{NoComp|Tirsi e Clori|Claudio Monteverdi||, SV 145}}, ballet, 1616 | *{{NoComp|Tirsi e Clori|Claudio Monteverdi||, SV 145}}, ballet, 1616 | ||
*''Le nozze di Tetide'', favola marittima, 1616 – ''work begun and abandoned, lost'' | *''Le nozze di Tetide'', favola marittima, 1616 – ''work begun and abandoned, lost'' | ||
*''Andromeda'', opera, 1618–20 – ''lost'' | *''Andromeda'', opera, 1618–20 – ''lost'' | ||
*''Apollo'', dramatic cantata – ''lost'' | *''Apollo'', dramatic cantata – ''lost'' | ||
* {{NoComp|Combattimento di Tancredi e Clorinda|Claudio Monteverdi||, SV 153}}, dramatic scena, 3vv, 2vl, va, vc, cb, bc, 1624, pub. 1638 {{ | *{{NoComp|Combattimento di Tancredi e Clorinda|Claudio Monteverdi||, SV 153}}, dramatic scena, 3vv, 2vl, va, vc, cb, bc, 1624, pub. 1638 {{editions|2}} | ||
*''La finta pazza Licori'', 1627 – ''lost'' | *''La finta pazza Licori'', 1627 – ''lost'' | ||
*''Gli amori di Diana e di Endimione'', 1628 – ''lost'' | *''Gli amori di Diana e di Endimione'', 1628 – ''lost'' | ||
*''Mercurio e Marte'', torneo, 1628 – ''lost'' | *''Mercurio e Marte'', torneo, 1628 – ''lost'' | ||
*''Proserpina rapita'', SV 323, opera, 1630 – ''lost, aside from trio:'' | *''Proserpina rapita'', SV 323, opera, 1630 – ''lost, aside from trio:'' | ||
:* {{NoComp|Come dolce oggi|Claudio Monteverdi|| ''l’auretta spira'', SV 173}}, 3vv, bc, pub. 1651 | :*{{NoComp|Come dolce oggi|Claudio Monteverdi|| ''l’auretta spira'', SV 173}}, 3vv, bc, pub. 1651 | ||
* {{NoComp|Volgendo il ciel per l'immortal sentiero|Claudio Monteverdi||, SV 154}}, ballet, ''ca'' 1636, pub. 1638{{ | *{{NoComp|Volgendo il ciel per l'immortal sentiero|Claudio Monteverdi||, SV 154}}, ballet, ''ca'' 1636, pub. 1638 {{Editions|2}} | ||
*''Il ritorno d’Ulisse in patria'', SV 325, opera, 1640 | *''Il ritorno d’Ulisse in patria'', SV 325, opera, 1640 | ||
*''Le nozze d’Enea con Lavinia'', opera, 1641 – ''lost'' | *''Le nozze d’Enea con Lavinia'', opera, 1641 – ''lost'' | ||
*''La vittoria d’Amore'', ballet, 1641 – ''lost'' | *''La vittoria d’Amore'', ballet, 1641 – ''lost'' | ||
*''L’incoronazione di Poppea'', SV 308, opera, 1642 | *''L’incoronazione di Poppea'', SV 308, opera, 1642 | ||
:* {{NoComp|Amici, è giunta l'ora|Claudio Monteverdi| (from "Poppea")}}, 1v, 3vv, bc | :*{{NoComp|Amici, è giunta l'ora|Claudio Monteverdi| (from "Poppea")}}, 1v, 3vv, bc | ||
:* {{NoComp|Pur ti miro|Claudio Monteverdi| (from "Poppea")}}, 2vv, bc | :*{{NoComp|Pur ti miro|Claudio Monteverdi| (from "Poppea")}}, 2vv, bc | ||
==Secular works== | ==Secular works== | ||
Score listing includes number of voices, instruments, and publication date (if known). | Score listing includes number of voices, instruments, and publication date (if known). | ||
{{top}} | |||
===''Il primo libro de madrigali'' (''First book of madrigals'', Venice, 1587)=== | |||
# {{NoCo|Ch'io ami la mia vita}}, SV23, 5vv | |||
# {{NoCo|Se per havervi oimè}}, SV24, 5vv | |||
# {{NoComp|A che tormi il ben mio|Claudio Monteverdi|| ''s’io dico di morire'', SV 25}}, 5vv | |||
# {{NoCo|Amor per tua mercè}}, SV26, 5vv | |||
# {{NoCo|Baci soavi e cari}}, SV27, 5vv | |||
# {{NoCo|Se pur non mi consenti}}, SV28, 5vv | |||
# {{NoCo|Filli cara e amata}}, SV29, 5vv | |||
# {{NoCo|Poi che del mio dolore}}, SV30, 5vv | |||
# {{NoCo|Fumia la pastorella}}, SV31, 5vv | |||
# {{NoCo|Almo divino raggio}}, SV31, 5vv | |||
# {{NoCo|All'hora i pastor tutti}}, SV31, 5vv | |||
# {{NoCo|Se nel partir da voi, vita mia}}, SV32, 5vv | |||
# {{NoCo|Tra mille fiamme}}, SV33, 5vv | |||
# {{NoCo|Usciam, ninfe, homai fuor di questi boschi}}; SV34, 5vv | |||
# {{NoCo|Questa ordi il laccio}}, SV35, 5vv | |||
# {{NoCo|La vaga pastorella sen va tra fiori}}, SV36, 5vv | |||
# {{NoCo|Amor, s’il tuo ferire}}, SV37, 5vv | |||
# {{NoCo|Donna, s’io miro voi, giaccio divengo}}, SV38, 5vv | |||
# {{NoCo|Ardo, sì, ma non t'amo}}, SV39, 5vv | |||
# {{NoCo|Ardi o gela a tua voglia}}, SV39, 5vv | |||
# {{NoCo|Arsi e alsi a mia voglia}}, SV39, 5vv | |||
{{mdl}} | |||
===''Il secondo libro de madrigali'' (''Second book of madrigals'', Venice, 1590)=== | |||
# {{NoCo|Non si levava ancor - E dicea l'una sospirando}} 5vv | |||
# {{NoCo|Bevea Fillide mia}}, 5vv | |||
# {{NoCo|Dolcissimi legami}}, 5vv | |||
# {{NoCo|Non giacinti o narcisi}}, 5vv | |||
# {{NoCo|Intorno a due vermiglie}}, 5vv | |||
# {{NoCo|Non sono in queste rive}}, 5vv | |||
# {{NoCo|Tutte le bocche belle}}, 5vv | |||
# {{NoCo|Donna nel mio ritorno}}, 5vv | |||
# {{NoCo|Quell'ombra esser vorrei}}, 5vv | |||
# {{NoCo|S'andasse Amor a caccia}}, 5vv | |||
# {{NoCo|Mentre io miravo fiso}}, 5vv | |||
# {{NoCo|Ecco mormorar l'onde}}, 5vv | |||
# {{NoCo|Dolcemente dormiva}}, 5vv | |||
# {{NoCo|Se tu mi lassi}}, 5vv | |||
# {{NoCo|La bocca onde}}, 5vv | |||
# {{NoCo|Crudel, perchè mi fuggi?}}, 5vv | |||
# {{NoCo|Questo specchio ti dono}}, 5vv | |||
# {{NoCo|Non mi è grave il morire}}, 5vv | |||
# {{NoCo|Ti spontò l'ali amor la donna mia}}, 5vv | |||
# {{NoCo|Cantai un tempo}}, 5vv | |||
{{btm}} | |||
{{top}} | |||
===''Il terzo libro de madrigali'' (''Third book of madrigals'', Venice, 1592)=== | |||
# {{NoCo|La giovinetta pianta}}, SV60, 5vv | |||
# {{NoCo|O come è gran martire}}, SV61, 5vv | |||
# {{NoCo|Sovra tenere herbette}}, SV62, 5vv | |||
# {{NoCo|O dolce anima mia}}, SV63, 5vv | |||
# {{NoCo|Stracciami pur il core}}, SV64, 5vv | |||
# {{NoCo|O rossignuol ch'in queste verdi fronde}}, SV65, 5vv | |||
# {{NoCo|Se per estremo ardore}}, SV66, 5vv | |||
# {{NoCo|Vattene pur, crudel, con quella pace}}, SV67, 5vv | |||
# {{NoCo|Là tra’l sangu’e le morti egro giacente}}, SV67, 5vv | |||
# {{NoCo|Poi ch'ella in sè tornò deserto e muto}}, SV67, 5vv | |||
# {{NoCo|O primavera, gioventù de l'anno}}, SV68, 5vv | |||
# {{NoCo|Perfidissimo volto ben l'usata bellezza}}, SV69, 5vv | |||
# {{NoCo|Ch'io non t'ami, cor mio}}, SV70, 5vv | |||
# {{NoCo|Occhi, un tempo mia vita}}, SV71, 5vv | |||
# {{NoCo|Vivrò fra i miei tormenti e le mie cure}}, SV72, 5vv | |||
# {{NoCo|Ma dove, O lasso me, dove restaro ?}}, SV72, 5vv | |||
# {{NoCo|Io pur verrò là dove sete}}, SV72, 5vv | |||
# {{NoCo|Lumi miei, cari lumi}}, SV73, 5vv | |||
# {{NoCo|Rimanti in pace a la dolente e bella Fillida}}, SV74 | |||
# {{NoCo|Ond'ei di morte la sua faccia impressa}}, SV74, 5vv | |||
{{mdl}} | |||
===''Il quarto libro de madrigali'' (''Fourth book of madrigals'', Venice, 1603)=== | |||
# {{NoComp|Ah! dolente partita|Claudio Monteverdi||, ''ah fin de la mia vita'', SV 75}}, 5vv, 1603 | |||
# {{NoCo|Cor mio, mentre vi miro}} | |||
# {{NoCo|Cor mio, non mori? E mori! }} | |||
# {{NoCo|Sfogava con le stelle}}, 5vv, 1603 | |||
# {{NoCo|Volgea l'anima mia}} | |||
# {{NoCo|Anima mia, perdona}} | |||
# {{NoCo|Che se tu se' il cor mio}}, 5vv, 1603 | |||
# {{NoCo|Luci serene e chiare}} | |||
# {{NoCo|La piaga c'ho nel core }} | |||
# {{NoCo|Voi pur da me partite}} | |||
# {{NoCo| A un giro sol}} | |||
# {{NoCo|Ohimè, se tanto amate}}, 5vv, 1603 | |||
# {{NoCo|Io mi son giovinetta}}, 5vv, 1603 | |||
# {{NoCo|Quel augellin che canta}}, 5vv, 1603 | |||
# {{NoCo|Non più guerra, pietate}} | |||
# {{NoCo|Sì ch'io vorrei morire}}, 5vv, 1603 | |||
# {{NoComp|Anima dolorosa|Claudio_Monteverdi|| ''che vivendo'', SV 90}}, 5vv, 1603 | |||
# {{NoComp|Anima del cor mio|Claudio Monteverdi|| ''poi che da me misera me'', SV 91}}, 5vv, 1603 | |||
# {{NoCo|Longe da te, cor mio }} | |||
# {{NoCo|Piagn' e sospira}} | |||
{{btm}} | |||
{{top}} | |||
===''Il quinto libro de madrigali'' ''(Fifth book of madrigals, Venice, 1605)''=== | |||
# {{NoCo|Cruda Amarilli}}, 5vv, 1605 | |||
# {{NoCo|O Mirtillo}}, 5vv, 1605 | |||
# {{NoComp|Era l'anima mia|Claudio Monteverdi|| ''già presso a l'ultim' hore''|Stabat Virgo / }}, 5vv, 1605 | |||
# {{NoComp|Ecco|Claudio Monteverdi| Silvio colei|, ''Silvio, colei ch'in odio hai tanto''|Qui pependit / }}, 5vv, 1605 | |||
# {{NoCo|Ma se con la pietà}}, 5vv, 1605 | |||
# {{NoComp|Dorinda|Claudio Monteverdi||, ''ah dirò mia, se mia non sei''|Maria quid ploras / }}, 5vv, 1605 | |||
# {{NoComp|Ecco|Claudio Monteverdi| piegando|, ''piegando le ginocchie a terra''|Te Jesu Christe / }}, 5vv, 1605 | |||
# {{NoComp|Ferir quel petto|Claudio Monteverdi||, ''Silvio''|Pulchræ sunt / }}, 5vv, 1605 | |||
# {{NoCo|Ch'io t'ami, e t'ami più de la mia vita}} | |||
# {{NoComp|Deh bella e cara|Claudio Monteverdi|||Sancta Maria / }}, 5vv, 1605 | |||
# {{NoComp|Ma tu piu che mai dura|Claudio Monteverdi|||Spernit Deus / }}, 5vv, 1605 | |||
# {{NoCo|Che dar più | ''Che dar più vi poss'io?'' }} | |||
# {{NoCo|M'e più dolce il penar}} | |||
# {{NoComp|Ahi come a un vago sol|Claudio Monteverdi|| ''cortese giro'', SV 101|Viues in corde / }}, 5vv, 1605 | |||
# {{NoComp|Troppo ben può|Claudio Monteverdi|| ''questo tiranno amore''|Ure me / }}, 5vv, 1605 | |||
# {{NoCo|Amor, se giusto sei}} | |||
# {{NoComp|T'amo mia vita|Claudio Monteverdi|||Gloria tua / }}, 5vv, 1605 | |||
# {{NoCo|E cosi à poco à poco}} | |||
# {{NoCo|Questi vaghi concenti}} | |||
# {{NoCo|Ecco piegando}} | |||
{{mdl}} | |||
===''Il sesto libro de madrigali'' (''Sixth book of madrigals, Venice, 1614'')=== | |||
# {{NoCo|Lasciatemi morire}}, 5vv, 1614 '' also see above: Lamento d’Arianna, under Dramatic works'' | |||
# {{NoCo|O Teseo, Teseo mio}}, 5vv, 1614 | |||
# {{NoCo|Dove, dove è la fede}}, 5vv, 1614 | |||
# {{NoComp|Ahi, che non pur risponde|Claudio Monteverdi}}, 5vv, 1614 | |||
# {{NoCo|Zefiro torna e il bel tempo rimena}}, 5vv, 1614 | |||
# {{NoCo|Una Donna fra l'altre honesta e bella vidi}}, 5vv, bc, 1614 | |||
# {{NoCo|A Dio, Florida Bella}}, 5vv | |||
# {{NoCo|Incenerite spoglie, avara tomba}}, 5vv, 1614 | |||
# {{NoComp|Ditelo, o fiumi e voi ch'udiste}}, 5vv, 1614 | |||
# {{NoCo|Darà la notte il sol}}, 5vv, 1614 | |||
# {{NoCo|Ma te raccoglie, o ninfa}}, 5vv, 1614 | |||
# {{NoCo|O chiome d'or, neve gentil del seno}}, 5vv, 1614 | |||
# {{NoCo|Dunque amate reliquie}}, 5vv, 1614 | |||
# {{NoCo|Ohimè il bel viso}}, 5vv, bc, 1614 | |||
# {{NoCo|Qui rise, O Tirsi}}, 5vv, bc, 1614 | |||
# {{NoCo|Misero Alceo}}, 5vv, bc, 1614 | |||
# {{NoCo|Batto, qui pianse Ergasto}}, 5vv, bc, 1614 | |||
# {{NoCo|Presso un fiume tranquillo}}, 7vv, bc, 1614 | |||
{{btm}} | |||
{{top}} | |||
===''Il settimo libro di madrigali'' (''Seventh book of madrigals, Venice, 1619'')=== | |||
# {{NoCo|Tempro la cetra}}, 1v, str, 1619 | |||
# {{NoComp|A quest'olmo|Claudio Monteverdi||, '' a quest’ ombre et a quest’ onde'', SV 119}}, 6vv, 2vl, 2rec, bc, 1619 | |||
# {{NoCo|Non è di gentil core}} 2vv, bc, 1619 | |||
# {{NoCo|O come sei gentile}} 2vv, bc, 1619 | |||
# {{NoCo|Io son pur vezzosetta}} 2vv, bc, 1619 | |||
# {{NoCo|O viva fiamma}} 2vv, bc, 1619 | |||
# {{NoCo|Vorrei baciarti}} 2vv, bc, 1619 | |||
# {{NoCo|Dice la mia bellissima Licori}} 2vv, bc, 1619 | |||
# {{NoComp|Ah che non si conviene|Claudio Monteverdi|| ''romper la fede'', SV 125}}, 2vv, bc, 1619 | |||
# {{NoCo|Non vedrò mai le stelle}}, 2vv, bc, 1619 | |||
# {{NoCo|Ecco vicine o bella Tigre}} | |||
# {{NoCo|Perchè fuggi?}} | |||
# {{NoCo|Tornate}} | |||
# {{NoCo|Soave libertate}} | |||
# {{NoCo|S'el vostro cor madonna}} | |||
# {{NoCo|Interrotte speranze}} | |||
# {{NoComp|Augellin|Claudio Monteverdi|| ''che la voce al canto spieghi'', SV 133}}, 3vv, bc, 1619 | |||
# {{NoCo|Vaga su spina ascosa}} | |||
# {{NoCo|Eccomi pronta ai baci}}, 3vv, 1619 | |||
# {{NoCo|Parlo miser o taccio}} {{editions|2}} | |||
# {{NoComp|Tu|Claudio Monteverdi| Dormi!| ''Dormi? Ah crudo core''}}, 4vv, 1619 | |||
# {{NoComp|Al lume delle stelle|Claudio Monteverdi|| ''Tirsi sotto un alloro'', SV 138}}, 4vv, bc, 1619 | |||
# {{NoCo|Con che soavità}}, 1v, str, lutes, hpd, 1619 | |||
# {{NoCo|Ohimè dove il mio ben}} | |||
# {{NoCo|Se i languidi miei sguardi}} | |||
# {{NoCo|Se pur destina}} {{editions|2}} | |||
# {{NoCo|Chiome d'oro}}, 2vv, 2vl, chit/hpd, 1619 | |||
# {{NoComp|Amor che deggio far|Claudio Monteverdi|| ''se non mi giova amar'', SV 144}}, 4vv, 2vl, bc, 1619 | |||
# {{NoCo|Tirsi e Clori}} – ''see above, Dramatic works'' | |||
{{mdl}} | |||
===''Ottavo libro di madrigali'' (''Eighth book of madrigals, Venice, 1638'')=== | |||
# {{NoComp|Altri canti d'Amor, tenero arciero|Claudio Monteverdi||, SV 146}}, 6vv, 2vl, 4vla, 1638 | |||
# {{NoCo|Hor che'l ciel e la terra}}, 6vv, 2vl, 1638 | |||
# {{NoCo|Gira il nemico insidioso Amore}}, 3vv, 1638 | |||
# {{NoCo|Se vittorie sì belle}}, 2vv, bc, 1638 | |||
# {{NoComp|Armato il cor d'adamantina fede|Claudio Monteverdi||, SV 150}}, 2vv, bc, 1638 | |||
# {{NoCo|Ogni amante è guerrier}}, 2–3vv, bc, 1638 | |||
# {{NoComp|Combattimento di Tancredi e Clorinda|Claudio Monteverdi||, SV 153}} – ''see above, Dramatic works'' | |||
# {{NoComp|Ardo, avvampo, mi struggo, ardo: accorrete|Claudio Monteverdi||, SV 152}}, 8vv, 2vl, 1638 | |||
# {{NoComp|Volgendo il ciel per l'immortal sentiero|Claudio Monteverdi||, SV 154}} – ''see above, Dramatic works'' | |||
# {{NoCo|Movete al mio bel suon}} | |||
# {{NoComp|Altri canti di Marte|Claudio Monteverdi|| ''e di sua schiera'', SV 155}}, 6vv, 2vl, 1638 | |||
# {{NoCo|Vago augelletto che cantando vai}}, 6–7vv, 2vl, cb, bc, 1638 | |||
# {{NoCo|Mentre vaga angioletta}}, 2vv, bc, 1638 | |||
# {{NoComp|Ardo e scoprir, ahi lasso, io non ardisco|Claudio Monteverdi||, SV 158}}, 2vv, bc, 1638 | |||
# {{NoCo|Dolcissimo uscignolo}}, 5vv, 1638 | |||
# {{NoCo|Chi vol haver felice e lieto il core}}, 5vv, 1638 | |||
# {{NoCo|O sia tranquillo il mare o pien d'orgoglio}}, 2vv, bc, 1638 | |||
# {{NoCo|Lamento della Ninfa}}, 1–4vv, bc, 1638 | |||
# {{NoCo|Ninfa che, scalza il piede e sciolto il crine}}, 1–3vv, bc, 1638 | |||
# {{NoCo|Perchè t'en fuggi, o Fillide?}}, 3vv, bc, 1638 | |||
# {{NoCo|Non partir, ritrosetta}}, 3vv, bc, 1638 | |||
# {{NoCo|Su, su, su pastorelli vezzosi}}, 3vv, bc, 1638 | |||
# {{NoComp|Ballo delle Ingrate|Claudio Monteverdi||, SV 167}} – ''see above, Dramatic works'' | |||
{{btm}} | |||
===''Madrigali e canzonette libro nono'' (''Madrigals and song nineth book, Venice, 1651'')=== | |||
# {{NoCo|Bel pastor dal cui bel guardo}} | |||
# {{NoCo|Zefiro torna e di soavi accenti}}, 2vv, bc, 1651 | |||
# {{NoCo|Se vittorie sì belle}}, 2vv, bc, 1638 | |||
# {{NoComp|Armato il cor d'adamantina fede|Claudio Monteverdi||, SV 150}}, 2vv, bc, 1638 | |||
# {{NoComp|Ardo e scoprir, ahi lasso, io non ardisco|Claudio Monteverdi||, SV 158}}, 2vv, bc, 1638 | |||
# {{NoCo|O sia tranquillo il mare o pien d'orgoglio}}, 2vv, bc, 1638 | |||
# {{NoComp|Alcun non mi consigli|Claudio Monteverdi||, SV 169}} | |||
# {{NoCo|Di far sempre gioire amor speranza dà}} | |||
# {{NoCo|Quando dentro al tuo seno}} | |||
# {{NoCo|Non voglio amare per non penare }} | |||
# {{NoCo|Come dolce oggi}} | |||
# {{NoCo|Alle danze, alle gioie}} | |||
# {{NoCo|Perché se m'odiavi}} | |||
# {{NoCo|Si si ch'io v'amo, occhi vaghi, occhi belli }} | |||
# {{NoCo|Su, su, su, pastorelli vezzosi (1651)}} | |||
# {{NoCo|O mio bene, o mia vita}} | |||
* {{ | ===Other madrigals=== | ||
{{top}} | |||
* {{ | *{{NoCo|Amarilli onde m'assale}}, 3instr, 3vv, 1607 | ||
*{{NoCo|Amorosa pupilletta}}, 3instr, 3vv, 1607 | |||
* {{ | *{{NoComp|Balletto de la Bellezza le|Claudio Monteverdi| Dovute Lodi| ''dovute lodi'', SV 245}} – ''see above, Dramatic works'' | ||
* {{ | *{{NoComp|Canzonette d'amore|Claudio Monteverdi|| ''che m’uscite del cuore'', SV 2}}, 3vv, 1584 | ||
* {{ | *{{NoCo|Chi vol che m'innamori}}, 3vv, 1641 | ||
* {{NoComp| | *{{NoCo|Chi vuol veder d'inverno un dolce aprile}}, 3vv, 1584 | ||
*{{ | *{{NoCo|Clori amorosa}} 3instr, 3vv, 1607 | ||
* {{ | *{{NoCo|Come farò cuor mio}}, 3vv, 1584 | ||
* {{ | *{{NoCo|Cosi sol d'una chiara fonte}} | ||
* | *{{NoCo|Damigella tutta bella}}, 3instr, 3vv, 1607 | ||
* {{ | *{{NoCo|Dolci miei sospiri}}, 3instr, 3vv, 1607 | ||
* {{ | *{{NoCo|Ecco di dolci raggi}}, 1v, bc, 1632 | ||
*{{NoCo|E' questa vita un lampo}}, 5vv, 1641 | |||
* {{ | <!-- *{{NoComp|E' questa vita un lampo|Claudio Monteverdi}}]], 5vv, 1641 --> | ||
* {{ | *{{NoCo|Eri già tutta mia}}, 1v, bc, 1632 | ||
* {{ | *{{NoCo|Et e pur dunque vero}}, 1v, bc, 1632 | ||
* {{ | *{{NoCo|Fugge il verno dei dolori}}, 3instr, 3vv, 1607 | ||
* {{ | *{{NoCo|Giovinetta ritrosetta}}, 3instr, 3vv, 1607 | ||
* {{ | *{{NoCo|I bei legami}}, 3instr, 3vv, bc, 1607 | ||
* {{ | *{{NoCo|Il mio martir}}, 3vv, 1584 | ||
* {{ | *{{NoCo|Io ardo}}, 3vv, 1594 | ||
* {{ | *{{NoCo|La fiera vista}}, 3vv, 1584 | ||
* {{ | *{{NoCo|La pastorella}}, 3instr, 3vv, 1607 | ||
*{{NoCo|La violetta}}, 3instr, 3vv, 1607 | |||
{{mdl}} | |||
*{{NoCo|Lidia spina del mio core}}, 3instr, 3vv, 1607 | |||
*{{NoCo|L'Orfeo, SV 318}} – ''see above, Dramatic works'' | |||
*{{NoCo|Maledetto sia l'aspetto}}, 1v, bc, 1632 | |||
*{{NoCo|Non cosi tosto io miro}}, 3instr, 3vv, 1607 | |||
*{{NoCo|Occhi miei se mirar}} 3 vv, 1594 | |||
*{{NoCo|O ciechi, ciechi}}, 5vv, 2vl, bc, 1641 | |||
*{{NoCo|O rosetta, che rosetta}}, 3instr, 3vv, 1607 | |||
*{{NoCo|Possente spirto}} | |||
*{{NoCo|Qual si può dir maggiore}}, 3vv, 1584 | |||
*{{NoCo|Quando l'alba in oriente}}, 3instr, 3vv, 1607 | |||
*{{NoCo|Quando sperai del mio servir mercede}}, 3vv, 1584 | |||
*{{NoCo|Quante son stelle}}, 3vv, 1594 | |||
*{{NoCo|Quel sguardo sdegnosetto}}, 1v, bc, 1632 | |||
*{{NoCo|Raggi, dov'è il mio bene?}}, 3vv, 1584 | |||
*{{NoCo|Se non mi date}}, 3vv, 1594 | |||
*{{NoCo|Sì come crescon}}, 3vv, 1584 | |||
*{{NoCo|Sì dolce è'l tormento}}, 1v, 1624 | |||
*{{NoCo|Son questi i crespi crini}}, 3vv, 1584 | |||
*{{NoCo|Spuntava il dì quando la rosa sovra}}, 3vv, bc, 1641 | |||
*{{NoCo|Su, su, su che 'l giorno è fore}}, 3vv, 1584 | |||
*{{NoCo|Tu ridi sempre mai}}, 3vv, 1584 | |||
*{{NoCo|Vaghi rai di cigli ardenti}}, 3instr, 3vv, 1607 | |||
*{{NoCo|Voi ch’ascoltate in rime sparse il suono}}, 5vv, 2vl, bc, 1641 | |||
{{btm}} | |||
==Sacred works== | ==Sacred works== | ||
Score listing includes number of voices, instruments, and publication date (if known). | Score listing includes number of voices, instruments, and publication date (if known). | ||
{{top}} | |||
* {{ | *{{NoCo|Ab aeterno ordinata sum}}, 1v, 1641 | ||
* {{ | *{{NoCo|Adoramus te, Christe}}, 6vv, 1620 | ||
* {{NoComp|Ave Maria|Claudio Monteverdi||, ''gratia plena''}}, 3vv, 1582 | *{{NoCo|Angelus ad pastores ait}}, 3vv, 1582 {{editions|2}} | ||
* {{ | *{{NoComp|Ave Maria|Claudio Monteverdi||, ''gratia plena''}}, 3vv, 1582 {{editions|6}} | ||
* {{ | *{{NoCo|Beatus vir qui timet Dominum}}, 6vv, 2vl, 3vla/trb, org, 1641 | ||
*{{NoCo|Beatus vir qui timet Dominum II}}, 5vv, bc, 1641 | |||
* {{ | *{{NoCo|Beatus vir (1650)}}, 7vv, 2vl, bc, 1650 | ||
* {{ | *{{NoCo|Cantate Domino a 2|Cantate Domino}}, 2vv, 1615 | ||
*{{NoCo|Cantate Domino}}, 6vv, 1620 | |||
* {{ | *{{NoCo|Christe, adoramus te}}, 5vv, 1620 | ||
* {{ | *{{NoCo|Confitebor I}}, 8vv, bc, 1641 | ||
* {{ | *{{NoCo|Confitebor II}}, 3vv, 2vl, bc, 1641 | ||
* {{ | *{{NoCo|Confitebor III}}, 5vv, bc, 1641 | ||
*{{NoCo|Confitebor I (1650)}}, 1v, 2vl, bc, 1650 | |||
* {{ | *{{NoCo|Confitebor II (1650)}} 2vv, 2vl, bc, 1650 | ||
* {{ | *{{NoCo|Credidi}} | ||
* {{ | *{{NoCo|Crucifixus}}, 4vv, 1641 | ||
* {{ | *{{NoCo|Currite, currite, populi, currite}}, 1v, bc, 1625 | ||
* {{ | *{{NoCo|Deus tuorum militum I}}, 1v, 2vl, bc, 1641 | ||
* {{ | *{{NoCo|Deus tuorum militum II}}, 3vv, 2vl, bc, 1641 | ||
* {{ | *{{NoCo|Dixit Dominus I}}, 8vv, 2vl, bc, 1641 | ||
*{{NoCo|Dixit Dominus II}} 8vv, 2vl, bc & 4 colla parte instruments ad lib. | |||
* {{NoComp|Gloria tua|Claudio Monteverdi| / T'amo mia vita| ({{eq}} ''T'amo mia vita'')}}, 5vv, 1607 | *{{NoCo|Dixit Dominus I (1650)}} 8vv, bc, 1650 | ||
* | *{{NoCo|Dixit Dominus II (1650)}} 8vv, bc, 1650 | ||
* {{ | *{{NoCo|Domine ne in furore tuo}}, 6vv, 1620 | ||
*{{NoCo|Domine Pater et Deus}}, 3vv, 1582 | |||
* {{ | *{{NoCo|Ecce sacrum paratum convivium}} 1v, bc, 1625 | ||
* {{NoComp|Laetatus sum|Claudio Monteverdi| a 6}}, 6vv, 2vl, 2trb, bsn, bc, 1650 {{ | *{{NoCo|Ego dormio}}, 2vv, bc, 1625 | ||
* {{ | *{{NoCo|Ego flos campi}}, 1v, bc, 1624 | ||
*{{NoCo|Ego sum pastor bonus}}, 3vv, 1582 | |||
* {{ | *{{NoCo|Eli clamans}}, 3vv, 1582 | ||
*{{NoCo|Et iterum}}, 3vv, bc, 1641 | |||
* {{NoComp|Laudate Dominum|Claudio Monteverdi| Secondo| ''omnes gentes'', II}}, 8vv, 2vl, bc, 1641 | *{{NoCo|Et resurrexit}}, 2vv, 2vl, bc, 1641 | ||
* | *{{NoCo|Exultent caeli}} 5vv, bc | ||
* | *{{NoComp|Felle amaro|Claudio Monteverdi| / Cruda Amarilli| ({{eq}} ''Cruda Amarilli'')}}, 5vv, 1607 | ||
* {{ | *{{NoCo|Fuge, anima mea, mundum}}, 2vv, 1620 | ||
* {{ | *{{NoCo|Gloria a 8}} | ||
*{{NoCo|Gloria}}, 7vv, 2vl, 4vla/trb, bc, 1641 | |||
* {{NoComp| | *{{NoComp|Gloria tua|Claudio Monteverdi| / T'amo mia vita| ({{eq}} ''T'amo mia vita'')}}, 5vv, 1607 | ||
* {{NoComp| | *{{NoComp|Haec sunt promissa|Claudio Monteverdi}}, 5vv | ||
* {{ | *{{NoCo|Hei fili non respondes}},5vv | ||
* {{ | *{{NoCo|Hodie Christus natus est}}, 3vv. 1582 {{editions|3}} | ||
* {{ | *{{NoCo|Iam moriar mi fili}}, 5vv | ||
* {{ | *{{NoCo|In tua patientia}}, 3vv, 1582 | ||
*{{NoCo|Iste confessor I}}, 1v, 2vl, bc, 1641 | |||
* {{ | *{{NoCo|Iste confessor, SV 279}}, 2vv, 2vl, bc, 1641 | ||
* {{ | *{{NoCo|Iusti tulerunt}}, 3vv, 1582 | ||
* {{ | *{{NoCo|Jubilet tota civitas}}, 1v, bc, 1641 | ||
*{{NoCo|Laetatus sum a 5 voci}} | |||
* | *{{NoComp|Laetatus sum|Claudio Monteverdi| a 6}}, 6vv, 2vl, 2trb, bsn, bc, 1650 | ||
* {{ | *{{NoCo|Lapidabant Stephanum}}, 3vv, 1582 | ||
* | *{{NoCo|Lauda, Jerusalem, Dominum}}, 3vv,bc | ||
* {{ | *{{NoCo|Lauda Jerusalem a 5 voci da Cappella}} | ||
* | *{{NoCo|Lauda Sion Salvatorem}}, 3vv, 1582 {{editions|2}} | ||
* | *{{NoCo|Laudate Dominum in sanctis eius}} | ||
*{{NoComp|Laudate Dominum|Claudio Monteverdi|| ''omnes gentes'', I}}, 6vv, 1641 | |||
* | *{{NoComp|Laudate Dominum|Claudio Monteverdi| Secondo| ''omnes gentes'', II}}, 8vv, 2vl, bc, 1641 | ||
* {{NoComp| | *{{NoCo|Laudate Dominum omnes gentes, III}} | ||
* {{ | *{{NoCo|Laudate Dominum omnes gentes|Laudate Dominum - basso solo}} | ||
* {{NoComp| | *{{NoComp|Laudate pueri|Claudio Monteverdi| a 5 voci da Cappella| ''Dominum''}}, 5vv, 1650 | ||
* {{NoComp| | *{{NoCo|Laudate pueri I}}, 5vv, 2 vl, bc, 1641 | ||
* {{ | *{{NoCo|Laudate pueri II}}, 5vv, bc, 1641 | ||
* {{ | *{{NoCo|Litaniae della Beata Vergine}}, 6vv, 1650 | ||
*{{NoCo|Longe mi Jesu}} (={{NoCo|Parlo miser o taccio}}) | |||
* {{ | *{{NoCo|Magnificat primo, a 8}}''vv'', 2 vl, (4 trb or stgs), bc, 1640 – ''Full score, vocal score and parts available'' | ||
* {{ | *{{NoCo|Magnificat secondo, a 4}}''vv'', bc, 1641 | ||
* {{ | {{mdl}} | ||
* {{NoComp| | *{{NoComp|Maria quid ploras|Claudio Monteverdi| / Dorinda| ({{eq}} ''Dorinda, ah dirò mia'')}}, 5vv, 1607 | ||
* {{NoComp| | *{{NoCo|Memento}}, 8vv, bc, 1641 | ||
* {{NoComp| | *{{NoComp|Messa da Capella|Claudio Monteverdi| a quattro voci (1641)}}, 4vv, 1641 | ||
*{{NoComp|Messa|Claudio Monteverdi| a quattro voci da Cappella (1650)| ''da Cappella''}}, 4vv, 1650 | |||
*{{NoCo|Mi Jesu}}, 5vv | |||
*{{NoCo|Missa In illo tempore}}, 6vv, 1610 | |||
*{{NoCo|Nisi Dominus (a 3 vv)}} 3vv, 2vl, bc, 1650 | |||
*{{NoCo|Nisi Dominus (a 6 vv)}} 6vv, bc, 1650 | |||
*{{NoCo|O beatae viae, o felices gressus}}, 2vv, 1620 | |||
*{{NoCo|O bone Jesu}}, 3vv, 1582 {{editions|3}} | |||
*{{NoCo|O Domine Jesu Christe I}}, 3vv, 1582 | |||
*{{NoCo|O Domine Jesu Christe II}}, 3vv, 1582 | |||
*{{NoCo|O crux benedicta}}, 3vv, 1582 | |||
*{{NoCo|O Jesu mea vita}} (= {{NoComp|Sì ch'io vorrei morire|Claudio Monteverdi}}), 5vv, 1609 | |||
*{{NoCo|O magnum pietatis opus}}, 3vv, 1582 | |||
*{{NoCo|O quam pulchra es}}, 1v, Bc | |||
*{{NoCo|O stellae coruscantes}} (= [[Sfogava con le stelle (Claudio Monteverdi)|''Sfogava con le stelle'']]) | |||
*{{NoCo|Pascha concelebranda|Pascha concelebranda (Altri canti di Marte)}} | |||
*{{NoCo|Pater venit hora}}, 3vv, 1582 | |||
*{{NoCo|Pianto della Madonna}}, 1v, bc, 1641 | |||
*{{NoCo|Plorat amare}} (= [[Piagn' e sospira (Claudio Monteverdi)|''Piagn' e sospira'']]), 5vv, 1608 | |||
*{{NoComp|Pulchræ sunt|Claudio Monteverdi| / Ferir quel petto| ({{eq}} ''Ferir quel petto, Silvio'')}}, 5vv, 1607 | |||
*{{NoCo|Quam pulchra es}}, 3vv, 1582 {{editions|2}} | |||
*{{NoCo|Qui laudes tuas cantat}} | |||
*{{NoComp|Qui pependit|Claudio Monteverdi| / Ecco Silvio colei| ({{eq}} ''Ecco, Silvio colei'')}}, 5vv, 1607 | |||
*{{NoCo|Qui vult venire}}, 3vv, 1582 | |||
*{{NoCo|Quia vidisti me}}, 3vv, 1582 | |||
*{{NoCo|Rutilante in nocte}} (= {{NoCo|Io mi son giovinetta}}) | |||
*{{NoCo|Salve crux pretiosa}}, 3vv, 1582 | |||
*{{NoCo|Salve o regina (1624)|Salve o Regina (1624)}}, 1v, bc, 1624 | |||
*{{NoCo|Salve Regina (1625)}}, 1v, bc, 1625 | |||
*{{NoCo|Salve Regina I}}, 2vv, 2 vl, bc, 1641 | |||
*{{NoCo|Salve Regina II}}, 2vv, bc, 1641 | |||
*{{NoCo|Salve Regina III}}, 3vv, bc, 1641 | |||
*{{NoComp|Sancta Maria|Claudio Monteverdi| / Deh bella e cara| ({{eq}} ''Deh, bella e cara'')}}, 5vv, 1607 | |||
*{{NoCo|Sanctorum meritis I}}, 1v, 2 vl, bc, 1641 | |||
*{{NoCo|Sanctorum meritis II}}, 1v, 2 vl, bc, 1641 | |||
*{{NoComp|Spernit Deus|Claudio Monteverdi| / Ma tu piu che mai dura| ({{eq}} ''Ma tu piu che mai dura'')}}, 5vv, 1607 | |||
*{{NoComp|Stabat Virgo|Claudio Monteverdi| / Era l'anima mia| ({{eq}} ''Era l'anima mia'')}}, 5vv, 1607 | |||
*{{NoCo|Surge, propera}}, 3vv, 1582 | |||
*{{NoCo|Surgens Jesu|Surgens Jesus}}, 3vv, 1582 {{editions|2}} | |||
*{{NoComp|Te Jesu Christe|Claudio Monteverdi| / Ecco piegando| ({{eq}} ''Ecco, piegando'')}}, 5vv, 1607 | |||
*{{NoCo|Tu es pastor ovium}}, 3vv, 1582 | |||
*{{NoCo|Tu es Petrus}}, 3vv, 1582 | |||
*{{NoComp|Ubi duo|Claudio Monteverdi|| ''vel tres congregati fuerint'')}}, 3vv, 1582 {{editions|3}} | |||
*{{NoComp|Ure me|Claudio Monteverdi| / Troppo ben può| ({{eq}} ''Troppo ben può'')}}, 5vv, 1607 | |||
*{{NoCo|Ut queant laxis}}, 2vv, 2vl, bc, 1641 | |||
*{{NoCo|Veni sponsa Christi}}, 3vv, 1582 | |||
*'''{{NoCo|Vespro della Beata Vergine}}''', 1610 | |||
*# {{NoCo|Domine ad adiuvandum}}, 6vv, 2cornetts, 3trb, 2vl, 4vla, bc | |||
*# {{NoCo|Dixit Dominus}}, 6vv, 6instr | |||
*# {{NoCo|Nigra sum}}, 1v, bc | |||
*# {{NoCo|Laudate pueri a 8}}, 8v, bc | |||
*# {{NoCo|Pulchra es}}, 2v, bc | |||
*# {{NoCo|Lætatus sum}}, 6v, bc | |||
*# {{NoCo|Duo Seraphim clamabant à 3}}, 3vv, bc, 1610 | |||
*# {{NoCo|Nisi Dominus}}, 10vv, org | |||
*# {{NoCo|Audi cœlum}}, 6v, bc | |||
*# {{NoCo|Lauda Jerusalem Dominum}}, 7vv, bc | |||
*# {{NoCo|Sonata sopra Sancta Maria ora pro nobis}}, 1v, 2cornetts, 3trb, 2vl, 2vla, bc | |||
*# {{NoCo|Ave maris stella}}, 2v, choir 8vv, 5instr, bc | |||
*# {{NoComp|Magnificat|Claudio Monteverdi| a 7 voci}}, 7vv, 2fl, 2rec, 3cornetts, 2trb, 2vl, vla, bc | |||
*# {{NoComp|Magnificat|Claudio Monteverdi| a 6 voci}}, 6vv, bc | |||
*{{NoComp|Viues in corde|Claudio Monteverdi| / Ahi come a un vago sol| ({{eq}} ''Ahi, come a un vago sol'')}}, 5vv, 1607 | |||
{{btm}} | |||
==Main publications== | ==Main publications== | ||
'''Opera''' | '''Opera''' | ||
* {{ | *{{NoCo|L'Orfeo, SV 318}} (Venice, 1609, 1615) | ||
* {{NoComp| |Claudio Monteverdi|Lasciatemi morire| ''Lamento d'Arianna''}}, only surviving excerpt from ''L'Arianna'' (Venice, 1623) | *{{NoComp| |Claudio Monteverdi|Lasciatemi morire| ''Lamento d'Arianna''}}, only surviving excerpt from ''L'Arianna'' (Venice, 1623) | ||
Other dramatic works published in ''Scherzi musicali'' (1607), ''Madrigali guerreri et amorosi'' (1638), and ''Madrigali e canzonette'' (1651) below.<br> | Other dramatic works published in ''Scherzi musicali'' (1607), ''Madrigali guerreri et amorosi'' (1638), and ''Madrigali e canzonette'' (1651) below.<br> | ||
'''Secular vocal''' | '''Secular vocal''' | ||
* {{ | *{{NoCo|Canzonette a tre voci}} (Venice, 1584) | ||
* {{ | *{{NoCo|Il primo libro de madrigali a cinque voci}} (Venice, 1587) | ||
* {{ | *{{NoCo|Il secondo libro de madrigali a cinque voci}} (Venice, 1590) | ||
* {{ | *{{NoCo|Il terzo libro de madrigali a cinque voci}} (Venice, 1592) | ||
* {{ | *{{NoCo|Il quarto libro de madrigali a cinque voci}} (Venice, 1603) | ||
* {{ | *{{NoCo|Il quinto libro de madrigali a cinque voci}} (Venice, 1605) | ||
* {{ | *{{NoCo|Scherzi musicali}} (Venice, 1607) | ||
* {{ | *{{NoCo|Il sesto libro de madrigali a cinque voci}} (Venice, 1614) | ||
* {{ | *{{NoCo|Concerto: settimo libro de madrigali}} (Venice, 1619) | ||
* {{ | *{{NoCo|Scherzi musicali cioè arie et madrigali}} (Venice, 1632) | ||
* {{ | *{{NoCo|Madrigali guerrieri et amorosi}}… (Venice, 1638) | ||
* {{ | *{{NoCo|Madrigali e canzonette libro nono}} (Venice, 1651) | ||
'''Sacred vocal''' | '''Sacred vocal''' | ||
* {{ | *{{NoCo|Sacræ cantiunculæ liber primus}}, 3vv (Venice, 1582) | ||
* ''Madrigali spirituali a quattro voci'' (Brescia, 1584) | * ''Madrigali spirituali a quattro voci'' (Brescia, 1584) | ||
* [[Coppini edition (1607)|''Musica tolta da i madrigali'']] (Milan, 1607; 24 madrigal contrafacta with sacred texts, 11 by Monteverdi) | * [[Coppini edition (1607)|''Musica tolta da i madrigali'']] (Milan, 1607; 24 madrigal contrafacta with sacred texts, 11 by Monteverdi) | ||
* ''Il secondo libro della musica'' | * ''Il secondo libro della musica''… (Milan 1608; 8 madrigal contrafacta with sacred texts) | ||
* ''Il terzo libro della musica'' | * ''Il terzo libro della musica''… (Milan 1609; 19 madrigal contrafacta with sacred texts) | ||
* [[Messa e Vespro della Beata Vergine (Claudio Monteverdi)|''Sanctissimæ Virgini Missa senis | * [[Messa e Vespro della Beata Vergine (Claudio Monteverdi)|''Sanctissimæ Virgini Missa senis vocibus… ac Vesperæ pluribus decantandæ'']] (Venice, 1610) | ||
* {{ | *{{NoCo|Selva morale e spirituale}} (Venice, 1641) | ||
* {{ | *{{NoCo|Messa a quattro voci, et salmi, concertati}} (Venice, 1650) | ||
{{Whatlinkshere}} | {{Whatlinkshere}} | ||
==External links== | ==External links== | ||
*English translations of the Fourth Book of Monteverdi's Madrigals (Quarto libro dei madrigali) at http://marshall.charles.googlepages.com | *English translations of the Fourth Book of Monteverdi's Madrigals (Quarto libro dei madrigali) at http://marshall.charles.googlepages.com |
Revision as of 14:47, 9 November 2019
Aliases: Claudio Monteverde
Life
Baptised: 15 May 1567
Died: 29 November 1643
Biography
Monteverdi's compositional career spans sixty years from the end of the Renaissance to the early Baroque: like Beethoven two centuries later he was the major transitional figure between two distinct musical eras.
He was the first composer to realise the potential of opera for expressing powerful emotions, and he brought to his church music the musical innovations of his madrigal and instrumental style that he continued to refine throughout his lifetime.
Claudio (Giovanni Antonio) Monteverdi was born in Cremona in 1567, and baptised – probably at an age of several days – on the 15th of May. Monteverdi’s father Baldassare was a chemist and also practiced medicine; his mother Maddalena (née Zignani) died young, and Baldassare married twice more. Claudio had one elder sister, a younger brother Giulio Cesare who also pursued a musical career, and three more half-siblings from his father’s second marriage. Both Claudio and Giulio Cesare received a good musical education from Marc’Antonio Ingegneri, who was maestro di cappella of Cremona Cathedral, and whom Monteverdi would acknowledge as his teacher on the title page of his first book of madrigals. Claudio was clearly a precociously gifted boy, at the age of 15 sending a collection of three-part motets to be published in Venice by the printing house of Gardane, and following these with two further publications before he reached the age of 18, the latter of which, the volume of three-part canzonets, was published by Ricciardo Amadino, whose printing firm would go on to publish much of Monteverdi’s subsequent work.
By the time Monteverdi was ready to publish his second book of five-part madrigals, he had evidently outstripped his teacher and was looking for a musical posting outside Cremona; he visited Milan to obtain patronage, and within three years he was in full-time employment as a violinist or gamba player at the court of the Gonzaga family in Mantua. The third book of madrigals that was published soon after show the influence of the Mantuan maestro di cappella, Giaches de Wert, but Monteverdi's fame quickly spread and he became one of the leading court musicians. After the death of de Wert in 1596 he was succeeded by a more senior musician, Pallavicino, but upon his death in 1601 came Monteverdi's opportunity as musical director of the Mantuan court. In the meantime, Monteverdi had married one of the court singers, Claudia de Cattaneis, on 20 May 1599, who would bear him three children; Francesco (1601–?1677/78), Leonora (1603), and Massimiliano (1604–61).
In 1600 Monteverdi was the subject of an attack by the musical theorist Artusi, who criticised certain of Monteverdi’s harmonic practices and his modern style of word-painting, concerning works which were yet to appear in print but must have been circulating in manuscript. In 1603 and 1605 Monteverdi published the fourth and fifth books of madrigals, including much of the secular music he had worked on in the previous decade at Mantua that had attracted the ire of Artusi. The fifth book includes a brief reply to the criticism, which was amplified two years later by Monteverdi’s younger brother Giulio Cesare in the introduction to the Scherzi musicali of 1607; this only served to further popularise Monteverdi’s music and enhance his fame.
Monteverdi’s final years at Mantua were dominated by the composition of a series of dramatic works and unhappiness in his personal life, while the star of his fame ascended ever further. His first opera, L'Orfeo received its successful premiere at the beginning of 1607 during Carnival, and was followed by commissions for a second opera, L'Arianna, and several other smaller dramatic works including the balletto Il ballo delle ingrate. In the middle of the year Monteverdi returned to Cremona with his wife, who having been seriously ill for some time, was to be cared for by Monteverdi’s apothecary father. Claudia died on September 10; after little more than a fortnight he was recalled to Mantua. The inherent amount of overwork during the next year precipitated a nervous collapse; Claudio for a time again returned to his father’s house in Cremona to recuperate, before an angry exchange of letters resulted in a pay rise from the Gonzagas, more or less obliging him to return to court duties. However, Monteverdi’s desire to remain any longer in Mantua was effectively at an end.
The subsequent publication of the Vespro della beata Vergine in 1610 has been sometimes interpreted by music historians as being nothing less than an elaborate curriculum vitae, or job application for a church posting elsewhere: it was the first sizeable collection of church music published since the motets of his youth. The volume includes a learned six-part parody mass based on a motet of Nicolas Gombert, written in the Renaissance polyphonic style which he described as the prima prattica, or first practice, which strongly leans to the Roman school of church music dominated in the previous century by Palestrina; in August he travelled to Rome to obtain permission to dedicate the volume to Pope Paul V. On the other hand, the Vespers music inventively fuses traditional plainsong psalmody with the new technical innovations from Monteverdi’s dramatic music, described as the seconda prattica (second practice), interspersed with more intimate motets “designed for princely chapels or apartments”, thus lending itself to the elaborate instrumental and choral resources of Venice under the long line of maestri di cappella culminating in Andrea and Giovanni Gabrieli; following the latter’s death in 1611, Monteverdi was invited to perform for the procurators of the Basilica of San Marco. Monteverdi succeeded, and in 1613 moved to Venice, where he would remain as maestro di cappella for the rest of his life.
View the Wikipedia article on Claudio Monteverdi.
Monteverdi's works are sorted below by genre: there are also lists of Monteverdi's works
- sorted in alphabetical order
- sorted by publication order.
Dramatic works
- L'Orfeo, SV 318, opera (favola in musica) (prologue, 5 acts), produced Feb. 1607, pub. 1609,
- De la Bellezza le dovute lodi, SV 245, ballet, 3vv+instr, pub. in Scherzi musicali, 1607
- L'Arianna, SV 291, opera, 1608 – lost, aside from lament:
- Lamento d'Arianna, SV 22, 1v, bc, pub. 1623
- Lamento d'Arianna, SV 107, 5vv, bc, pub. 1614
- Lasciatemi morire
- O Teseo, Teseo mio
- Dove, dove è la fede
- Ahi, che non pur risponde
- Misera ancor do loco [1623 version only]
- Il ballo delle Ingrate, SV 167, ballet, 4vv, 1608, pub. 1638
- Prologue to L'Idropica, comedy with music, 1608 – lost
- Tirsi e Clori, SV 145, ballet, 1616
- Le nozze di Tetide, favola marittima, 1616 – work begun and abandoned, lost
- Andromeda, opera, 1618–20 – lost
- Apollo, dramatic cantata – lost
- Combattimento di Tancredi e Clorinda, SV 153, dramatic scena, 3vv, 2vl, va, vc, cb, bc, 1624, pub. 1638 (2 editions available)
- La finta pazza Licori, 1627 – lost
- Gli amori di Diana e di Endimione, 1628 – lost
- Mercurio e Marte, torneo, 1628 – lost
- Proserpina rapita, SV 323, opera, 1630 – lost, aside from trio:
- Come dolce oggi l’auretta spira, SV 173, 3vv, bc, pub. 1651
- Volgendo il ciel per l'immortal sentiero, SV 154, ballet, ca 1636, pub. 1638 (2 editions available)
- Il ritorno d’Ulisse in patria, SV 325, opera, 1640
- Le nozze d’Enea con Lavinia, opera, 1641 – lost
- La vittoria d’Amore, ballet, 1641 – lost
- L’incoronazione di Poppea, SV 308, opera, 1642
- Amici, è giunta l'ora, 1v, 3vv, bc
- Pur ti miro, 2vv, bc
Secular works
Score listing includes number of voices, instruments, and publication date (if known).
Madrigali e canzonette libro nono (Madrigals and song nineth book, Venice, 1651)
- Bel pastor dal cui bel guardo
- Zefiro torna e di soavi accenti, 2vv, bc, 1651
- Se vittorie sì belle, 2vv, bc, 1638
- Armato il cor d'adamantina fede, SV 150, 2vv, bc, 1638
- Ardo e scoprir, ahi lasso, io non ardisco, SV 158, 2vv, bc, 1638
- O sia tranquillo il mare o pien d'orgoglio, 2vv, bc, 1638
- Alcun non mi consigli, SV 169
- Di far sempre gioire amor speranza dà
- Quando dentro al tuo seno
- Non voglio amare per non penare
- Come dolce oggi
- Alle danze, alle gioie
- Perché se m'odiavi
- Si si ch'io v'amo, occhi vaghi, occhi belli
- Su, su, su, pastorelli vezzosi (1651)
- O mio bene, o mia vita
Other madrigals
Sacred works
Score listing includes number of voices, instruments, and publication date (if known).
Main publications
Opera
- L'Orfeo, SV 318 (Venice, 1609, 1615)
- Lamento d'Arianna, only surviving excerpt from L'Arianna (Venice, 1623)
Other dramatic works published in Scherzi musicali (1607), Madrigali guerreri et amorosi (1638), and Madrigali e canzonette (1651) below.
Secular vocal
- Canzonette a tre voci (Venice, 1584)
- Il primo libro de madrigali a cinque voci (Venice, 1587)
- Il secondo libro de madrigali a cinque voci (Venice, 1590)
- Il terzo libro de madrigali a cinque voci (Venice, 1592)
- Il quarto libro de madrigali a cinque voci (Venice, 1603)
- Il quinto libro de madrigali a cinque voci (Venice, 1605)
- Scherzi musicali (Venice, 1607)
- Il sesto libro de madrigali a cinque voci (Venice, 1614)
- Concerto: settimo libro de madrigali (Venice, 1619)
- Scherzi musicali cioè arie et madrigali (Venice, 1632)
- Madrigali guerrieri et amorosi… (Venice, 1638)
- Madrigali e canzonette libro nono (Venice, 1651)
Sacred vocal
- Sacræ cantiunculæ liber primus, 3vv (Venice, 1582)
- Madrigali spirituali a quattro voci (Brescia, 1584)
- Musica tolta da i madrigali (Milan, 1607; 24 madrigal contrafacta with sacred texts, 11 by Monteverdi)
- Il secondo libro della musica… (Milan 1608; 8 madrigal contrafacta with sacred texts)
- Il terzo libro della musica… (Milan 1609; 19 madrigal contrafacta with sacred texts)
- Sanctissimæ Virgini Missa senis vocibus… ac Vesperæ pluribus decantandæ (Venice, 1610)
- Selva morale e spirituale (Venice, 1641)
- Messa a quattro voci, et salmi, concertati (Venice, 1650)
Click here to search for this composer on CPDL
External links
- English translations of the Fourth Book of Monteverdi's Madrigals (Quarto libro dei madrigali) at http://marshall.charles.googlepages.com
- Monteverdi: List of Works