Claudio Monteverdi

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 E G E N D

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• L'Orfeo, Favola in Musica, SV 318, opera (prologue, 5 acts), produced Feb. 1607, pub. 1609, ( [ ]  [ ] ) pub. 1615 (  )
• 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 –   (multiple editions available)
• Lamento d'Arianna, SV 107, 5vv, bc, pub. 1614 –   (multiple editions available)

1. Lasciatemi morire
2. O Teseo, Teseo mio
3. Dove, dove è la fede
4. Ahi, ch’ei non pur risponde
5. 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  (   Finale 2005 )
• 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   (   Capella )
• 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  (   Capella )
• 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   (   Finale 2005 )
• Pur ti miro, 2vv, bc   (  Finale 2005 )

Secular works

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Score listing includes number of voices, instruments, and publication date (if known).

• A che tormi il ben mio s’io dico di morire, SV 25, 5vv, 1587 (  )
• Ah che non si conviene romper la fede, SV 125, 2vv, bc, 1619   (   LilyPond )
• Ahi come a un vago sol cortese giro, SV 101, 5vv, 1605 (  )
• Ah! dolente partita, ah fin de la mia vita, SV 75, 5vv, 1603   (   Finale 1998 zipped )
• Al lume delle stelle Tirsi sotto un alloro, SV 138, 4vv, bc, 1619   (   LilyPond )
• Alcun non mi consigli, SV 169, 3vv, bc, 1651   (  )
• Altri canti d'Amor, tenero arciero, SV 146, 6vv, 2vl, 4vla, 1638   (   Capella zipped )
• Altri canti di Marte e di sua schiera, SV 155, 6vv, 2vl, 1638 (  )
• Amor che deggio far se non mi giova amar, SV 144, 4vv, 2vl, bc, 1619   (   LilyPond )
• Anima del cor cor mio poi che da me misera me, SV 91, 5vv, 1603   (   Finale 2006 )
• Anima dolorosa che vivendo, SV 90, 5vv, 1603   (   Finale 2000 )
• A quest'olmo, a quest’ ombre et a quest’ onde, SV 119, 6vv, 2vl, 2rec, bc, 1619   (   LilyPond )
• Ardo e scoprir, ahi lasso, io non ardisco, SV 158, 2vv, bc, 1638   (   Capella zipped )
• Ardo, avvampo, mi struggo, ardo: accorrete, SV 152, 8vv, 2vl, 1638   (   Capella zipped )
• Armato i cor d'adamantina fede, SV 150, 2vv, bc, 1638   (   )
• Augellin che la voce al canto spieghi, SV 133, 3vv, bc, 1619   (   LilyPond )

• Baci soavi e cari, 5vv, 1587   ( [http://Template:Icking ] )
• Balletto de la Bellezza le dovute lodi, SV 245 – see above, Dramatic works
• Ballo delle Ingrate, SV 167 – see above, Dramatic works
• Bevea fillide mia, 5vv, 1590   (  MUP )

• Cantai un tempo, 5vv, 1590 (  MUP )
• Canzonette d'amore che m’uscite del cuore, SV 2, 3vv, 1584 (  )
• Ch'io ami la mia vita, 5vv, 1587 (  )
• Che se tu se'il cor mio, 5vv, 1603   (   Finale 2003 )
• Chi vol che m'innamori, 3vv, 1641 –   (2 editions available)
• Chi vol haver felice e lieto il core, 5vv, 1638   (   Capella )
• Chi vuol veder d'inverno un dolce aprile, 3vv, 1584 (  )
• Chiome d'oro, 2vv, 2vl, chit/hpd, 1619   (   Sibelius 2 )
• Combattimento di Tancredi e Clorinda, SV 153 – see above, Dramatic works
• Come farò cuor mio, 3vv, 1584 (  )
• Con che soavità, 1v, str, lutes, hpd, 1619   (   Sibelius 2 )
• Cor mio, mentre vi miro  (   Capella )
• Cosi sol d'una chiara fonte   ( )
• Cruda Amarilli, 5vv, 1605   (   )
• Crudel, perchè mi fuggi?     (2 editions available)

• Darà la notte il sol, 5vv, 1614   (  [ ] )
• Deh bella e cara, 5vv, 1605 (  )
• Dice la mia bellissima Licori  (   LilyPond )
• Ditelo, o fiumi e voi ch'udiste, 5vv, 1614   (   )
• Dolcemente dormiva, 5vv, 1590 (  MUP )
• Dolcissimi legami, 5vv 1590   (  MUP )
• Dolcissimo uscignolo, 5vv, 1638   (2 editions available)
• Donna nel mio ritorno, 5vv, 1590 (  MUP )
• Dorinda, ah dirò mia, se mia non sei, 5vv, 1605 (  )
• Dunque amate reliquie, 5vv, 1614   (   )
• E' questa vita un lampo, 5vv, 1641   (   )
• Ecco mormorar l'onde, 5vv, 1590 –   (7 editions available)
• Ecco, piegando le ginocchie a terra, 5vv, 1605 (  )
• Ecco, Silvio, colei ch'in odio hai tanto, 5vv, 1605 (  )
• Ecco vicine o bella Tigre  (   LilyPond )
• Eccomi pronta ai baci, 3vv, 1619   (  )
• E dicea l'una sospirando 5vv, 1590 ( Capella)
• Era l'anima mia già presso a l'ultim' hore, 5vv, 1605 (  )
• Eri già tutta mia, 1v, 1632   (  )

• Ferir quel petto, Silvio, 5vv, 1605 (  )

• Gira il nemico insidioso Amore, 3vv, 1638 (  )

• Hor che'l ciel e la terra, 6vv, 2vl, 1638   (   Finale 2000 zipped )

• I bei legami, 3instr, 3vv, bc   (   )
• Il mio martir, 3vv, 1584 –   (5 editions available)
• Intorno a due vermiglie, 5vv, 1590  (  MUP )
• Io mi son giovinetta, 5vv, 1603 –   (2 editions available)
• Io son pur vezzosetta  (   LilyPond )
• Incenerite spoglie, avara tomba, 5vv, 1614   (   )
• Interrotte speranze  (   LilyPond )

• La bocca onde, 5vv, 1590 (  MUP )
• La fiera vista, 3vv, 1584 (  )
• Lamento della Ninfa, 1–4vv, bc, 1638 – 2 editions available
• Lasciatemi morire, 5vv, 1614 –   (3 editions available); also see above: Lamento d’Arianna, under Dramatic works
• L'Orfeo, Favola in Musica, SV 318 – see above, Dramatic works
• Luci serene e chiare   ( Capella )

• Ma te raccoglie, o ninfa, 5vv, 1614   (   )
• Ma tu piu che mai dura, 5vv, 1605 (  )
• Maledetto sia l'aspetto, 1v, 1632   (  )
• Mentre io miravo fiso, 5vv, 1590 (  MUP )
• Mentre vaga angioletta, 2vv, bc, 1638   (   Capella zipped )

• Ninfa che, scalza il piede e sciolto il crine, 1–3vv, bc, 1638   (   Capella zipped )
• Non è di gentil core  (   LilyPond )
• Non giacinti o narcisi, 5vv, 1590  (  MUP )
• Non mi è grave il morire, 5vv, 1590 (  MUP )

• Non partir, ritrosetta, 3vv, bc, 1638   (   Capella zipped )   ( LilyPond )
• Non sono in queste rive, 5vv, 1590 (  MUP )
• Non si levava ancor l'alba novella 5vv, 1590 ( Capella)
• Non vedrò mai le stelle  (   LilyPond )

• O bone Jesu   ( Finale 2009 )
• O chiome d'or, neve gentil del seno, 5vv, 1614   (  [ ] )
• O ciechi, ciechi, 5vv, 2vl, bc, 1641   (   )
• O come sei gentile  (   LilyPond )
• O Mirtillo, 5w, 1605   (   )
• O primavera, gioventù de l'anno, 5vv, 1592   (2 editions available)
• O sia tranquillo il mare o pien d'orgoglio, 2vv, bc, 1638   (   Capella zipped )
• O viva fiamma  (   LilyPond )
• Ogni amante è guerrier, 2–3vv, bc, 1638   (   Capella zipped )
• Ohimè dove il mio ben  (      LilyPond )
• Ohimè, se tanto amate, 5vv, 1603 –   (2 editions available)

• Parlo miser o taccio  (   LilyPond )
• Perchè fuggi?  (   LilyPond )
• Perché se m'odiavi   ( Sibelius 6 )
• Perchè t'en fuggi, o Fillide?, 3vv, bc, 1638   (   Capella zipped )
• Piagn' e sospira     (   Finale 2006 )

• Qual si può dir maggiore, 3vv, 1584 (  )
• Quando sperai del mio servir mercede, 3vv, 1584 (  )
• Quel augellin che canta, 5vv, 1603 –   (4 editions available)
• Quell'ombra esser, 5vv, 1590 (  MUP )
• Quel sguardo sdegnosetto, 1v, 1632   (   Finale 2004 )
• Questo specchio ti dono, 5vv, 1590 (  MUP )

• Raggi, dov'è il mio bene?, 3vv, 1584 –   (2 editions available)

• S'andasse Amor a caccia, 5vv, 1590 (  MUP )
• S'el vostro cor madonna  (   LilyPond )
• Se i languidi miei sguardi  (   LilyPond )
• Se nel partir da voi, vita mia   ( [http://Template:Icking ] )
• Se per havervi oimè, 5vv, 1587 – no edition available yet
• Se pur destina  (   LilyPond )
• Se tu mi lassi, 5vv, 1590 (  MUP )
• Se vittorie sì belle, 2vv, bc, 1638   (   Capella zipped )
• Sfogava con le stelle, 5vv, 1603 –   (2 editions available)
• Sì ch'io vorrei morire, 5vv, 1603 –   (3 editions available)
• Sì come crescon, 3vv, 1584 –   (3 editions available)
• Sì dolce è'l tormento, 1v, 1624   (   Finale 2003 )
• Soave libertate  (   LilyPond )
• Son questi i crespi crini, 3vv, 1584 –   (6 editions available)
• Sovra tenere herbette, 5vv, 1592 (  )
• Spuntava il dì quando la rosa sovra, 3vv, bc, 1641   (   )
• Su, su, su che 'l giorno è fore, 3vv, 1584 (  )
• Su, su, su pastorelli vezzosi, 3vv, bc, 1638 –   (2 editions available)

• T'amo mia vita, 5vv, 1605 (  )
• Tempro la cetra, 1v, str, 1619 –   (2 editions available)
• Ti spontò l'ali amor la donna mia, 5vv, 1590 (  MUP )
• Tirsi e Clori – see above, Dramatic works
• Tornate  (   LilyPond )
• Troppo ben può questo tiranno amore, 5vv, 1605 (  )
• Tu Dormi? Ah crudo core, 4vv, 1619   (  )
• Tu ridi sempre mai, 3vv, 1584 (  )
• Tutte le bocche belle, 5vv, 1590 (  MUP )

• Vaga su spina ascosa  (   LilyPond )
• Vago augelletto che cantando vai, 6–7vv, 2vl, cb, bc, 1638   (   Capella zipped )
• Voi ch’ascoltate in rime sparse il suono, 5vv, 2vl, bc, 1641   (   )
• Volgendo il ciel per l'immortal sentiero, SV 154 – see above, Dramatic works
• Vorrei baciarti  (   LilyPond )

• Zefiro torna e di soavi accenti, 2vv, bc, 1651 –   (2 editions available)
• Zefiro torna e il bel tempo rimena, 5vv, 1614   (   )

Sacred works

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Score listing includes number of voices, instruments, and publication date (if known).

• Ab aeterno ordinata sum, 1v, 1641 –   (2 editions available)
• Adoramus te, Christe, 6vv, 1620 –   (2 editions available)
• Angelus ad pastores ait, 3vv, 1582
• Ave Maria, gratia plena, 3vv, 1582 –   (4 editions available)
• Beatus vir, 6vv, 2vl, 3vla/trb, org, 1641 –   (2 editions available)
• Beatus vir II, 5vv, bc, 1641   (   )
• Cantate Domino, 6vv, 1620   (   Sibelius 2 )
• Christe, adoramus te, 5vv, 1620   (   Encore zipped )
• Confitebor I, 8vv, bc, 1641   (   )
• Confitebor II, 3vv, 2vl, bc, 1641   (   )
• Confitebor III, 5vv, bc, 1641   (   )
• Credidi, 8vv, bc, 1641   (   )
• Crucifixus, 4vv, 1641   (  [ ] )
• Deus tuorum militum I, 1v, 2vl, bc, 1641   (   )
• Deus tuorum militum II, 3vv, 2vl, bc, 1641   (   )
• Dixit Dominus I, 8vv, 2vl, bc, 1641   (   )
• Dixit Dominus II, 8vv, 2vl, bc, 1641   (   )
• Domine ne in furore tuo, 6vv, 1620 –   (2 editions available)
• Et iterum, 3vv, bc, 1641   (   )
• Et resurrexit, 2vv, 2vl, bc, 1641   (   )
• Felle amaro (= Cruda Amarilli), 5vv, 1607 (  )
• Gloria a 8  (   Finale 2006 )
• Gloria, 7vv, 2vl, 4vla/trb, bc, 1641 –   (2 editions available)
• Gloria tua (= T'amo mia vita), 5vv, 1607 (  )
• Hodie Christus natus est   ( )
• Iste confessor I , 1v, 2vl, bc, 1641   (   )
• Iste confessor, SV 279, 2vv, 2vl, bc, 1641 –   (2 editions available)
• Jubilet tota civitas, 1v, bc, 1641   (   )
• Laetatus sum, 6vv, 2vl, 2trb, bsn, bc, 1650   (   Sibelius 2 )
• Lauda Jerusalem Dominum, 5vv, 1650   (  )
• Lauda Sion Salvatorem, 3vv, 1582   (   Encore zipped )
• Laudate Dominum in sanctis eius, 1v, bc, 1641   (   )
• Laudate Dominum omnes gentes, I, 6vv, 1641 –   (2 editions available)
• Laudate Dominum omnes gentes, II, 8vv, 2vl, bc, 1641 (  )
• Laudate Dominum omnes gentes, III   ( )
• Laudate Dominum - basso solo   ( Sibelius 6 )
• Laudate pueri Dominum, 5vv, 1650   (   Finale 2003 )
• Laudate pueri I, 5vv, 2 vl, bc, 1641   (   )
• Laudate pueri II, 5vv, bc, 1641   (   )
• Litaniae della Beata Vergine, 6vv, 1650 –   (2 editions available)
• Longe mi Jesu (=Parlo, miser, o taccio)
• Magnificat a 10/14, 8vv, 2 vl, (4 trb or stgs), bc, 1640 – Full score, vocal score and parts available
• Magnificat 2, 4vv, bc, 1641   (   )
• Maria quid ploras (= Dorinda, ah dirò mia), 5vv, 1607 (  )
• Memento, 8vv, bc, 1641   (   )
• Messa da Capella, 4vv, 1641 (  )
• Messa da Cappella, 4vv, 1650   (2 editions available)
• Missa In illo tempore, 6vv, 1610   (  ) (2 editions available)
• O Jesu mea vita (= Sì ch'io vorrei morire), 5vv, 1609 –   (2 editions available)
• O stellae coruscantes (= Sfogava con le stelle)   (   Capella 5 )
• Pascha concelebranda (Altri canti di Marte)   ( )
• Pianto della Madonna, 1v, bc, 1641   (   )
• Plorat amare (= Piagn' e sospira), 5vv, 1608 (    Capella 5 )
• Pulchræ sunt (= Ferir quel petto, Silvio), 5vv, 1607 (  )
• Quam pulchra es   ( )
• Qui laudes tuas cantat   (   Capella 5 )
• Qui pependit (= Ecco, Silvio colei), 5vv, 1607 (  )
• Rutilante in nocte (= Io mi son giovinetta)  (  )
• Sancta Maria (= Deh, bella e cara), 5vv, 1607 (  )
• Salve Regina I, 2vv, 2 vl, bc, 1641   (   )
• Salve Regina II, 2vv, bc, 1641   (   )
• Salve Regina III, 3vv, bc, 1641   (   )
• Sanctorum meritis I, 1v, 2 vl, bc, 1641   (   )
• Sanctorum meritis II, 1v, 2 vl, bc, 1641   (   )
• Spernit Deus (= Ma tu piu che mai dura), 5vv, 1607 (  )
• Stabat Virgo (= Era l'anima mia), 5vv, 1607 (  )
• Surgens Jesu, 3vv, 1582 (  )
• Te Jesu Christe (= Ecco, piegando), 5vv, 1607 –   (2 editions available)
• Ubi duo vel tres congregati fuerint), 3vv, 1582 –   (2 editions available)
• Ure me (= Troppo ben può), 5vv, 1607 (  )
• Ut queant laxis, 2vv, 2vl, bc, 1641   (   )
• Vespro della Beata Vergine, 1610

• Vespro della Beata Vergine (complete)   ( PDFs)

• Domine ad adiuvandum, 6vv, 2cornetts, 3trb, 2vl, 4vla, bc –   (3 editions available)
• Dixit Dominus, 6vv, 6instr –   (2 editions available)
• Nigra sum, 1v, bc (  [ ] )
• Laudate pueri a 8, 8v, bc –   (2 editions available)
• Pulchra es, 2v, bc (  )
• Lætatus sum, 6v, bc   (   )
• Duo Seraphim clamabant, 3vv, bc, 1610 –   (3 editions available)
• Nisi Dominus, 10vv, org   (   Finale 2000 )
• Audi cœlum, 6v, bc   (   )
• Lauda Jerusalem, Dominum, 7vv, bc –   (2 editions available)
• Sonata sopra Sancta Maria ora pro nobis, 1v, 2cornetts, 3trb, 2vl, 2vla, bc   (   Sibelius 2 )
• Ave maris stella, 2v, choir 8vv, 5instr, bc   (   Finale 2000 ) arrangement for a cappella choir also available
• Magnificat, 7vv, 2fl, 2rec, 3cornetts, 2trb, 2vl, vla, bc   (  ) MIDI files of individual movements available
• Magnificat, 6vv, bc – individual movements available

• Viues in corde (= Ahi, come a un vago sol), 5vv, 1607 (  )

Main publications

Opera

• L'Orfeo, Favola in Musica (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)

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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