Claudio Monteverdi 'Vespro della Beata Vergine, 1610' - 15
- Length: 7:26
- Rating: 5.00 (4 ratings)
- Views: 354
- Author: gppkoq
Tags: Beata classical Claudio della Monteverdi Vergine Vespro
'Vespro della Beata Vergine, 1610'MAGNIFICATPerformed :Coro del Festival Barocco di Lugano,Coro della Radio Svizzera, Lugano,Ensemble More Antiquo,and Concerto PalatinoI BarocchistiDirector : Diego Fasolis (harpsichord)*****Claudio Giovanni Antonio Monteverdi (May 15, 1567 (baptized) -- November 29, 1643), was an Italian composer, gambist, and singer.Monteverdi's work, often regarded as revolutionary, marked the transition from the music of the Renaissance to that of the Baroque. Enjoying fame in his lifetime, he wrote one of the earliest operas, L'Orfeo, which is still regularly performed.*****Vespro della Beata Vergine 1610 (SV 206 and 206a, Vespers for the Blessed Virgin, 1610), or simply the Vespers of 1610, as it is commonly called, is a musical composition by Claudio Monteverdi. Vespers is a term taken from the Hours of the Divine Office and has remained structurally unchanged for the past 1500 years. The Vespers are built around several Biblical texts that are traditionally used as part of the liturgy for several Marian feasts in the Roman Catholic church; the introductory Deus in adjutorium (Psalm 69), five psalms taken from Psalms 109-147, sacred concertos between the psalms, a hymn, a setting of the Magnificat text, and the concluding Benedicamus Domino.Monteverdi's Marian Vespers of 1610, his first sacred work since his very first publication twenty-eight years prior, stands out for its assimilation of both old and new styles, although these contrasting styles cannot be exactly classified as prima pratica and seconda pratica, per se. The Vespers were published in July of 1610, in combination with a six-voice mass that parodies a motet of Nicolas Gombert, In illo tempore loquante Jesu. Nearly four hundred years after its completion, the precise intentions of this large work are not clearly known or understood. This has been a great topic of debate among musicologists for decades, and it has even been suggested by Graham Dixon that Monteverdi's setting of the Vespers is more suited towards use for the feast of Saint Barbara, claiming, for example, that the texts taken from Song of Songs are applicable to any female saint. He goes on to write that formatting the Vespers to fit a Marian feast makes the work more "marketable". There are several facts that support this view: There are just two Marian songs in the whole Vespers; Audi Coelum and Ave Maris Stella, (the sonata could very easily be rearranged to any saint's name) and the text of the Duo Seraphim is connected with Saint Barbara (because she is generally connected with Trinity).The Vespers was first printed in Venice, Italy, in 1610 when the composer was working at the ducal court in Mantua, Italy. The historical record does not indicate whether Monteverdi actually performed the Vespers either in Mantua or Venice; the work may have been written as an audition piece for posts at Venice (Monteverdi became maestro di cappella at St Mark's Basilica in Venice in 1613) and Rome (where the composer was not offered a post).The Vespers is a monumental work of music, calling for a choir large enough and skilful enough to cover up to 10 vocal parts in some movements and split into separate choirs in others while accompanying seven different soloists during the course of the piece. Interestingly, solo parts are included for violin and cornetto, but the ripieno instrumentation is not specified by Monterverdi. Additionally, Monteverdi did not specify a specific set of plainchant antiphons to insert before each psalm and the concluding Magnificat. This allows the performers to tailor the music according to the available instrumental forces and the occasion of the performance (the particular feast day's liturgy would have included suggested antiphons that could be chanted before Monterverdi's psalm settings).Monterverdi's unique approach to each movement of the Vespers earned the work a place in history. The work not only presents intimate, prayerful moments within its monumental scale, but it also incorporates secular music in this decidedly religious performance and its individual movements present an array of musical forms - sonata, motet, hymn, and psalm - without losing focus. The Vespers achieves overall unity by building each movement on the traditional Gregorian plainchant for each text, which becomes a cantus firmus in Monteverdi's setting.
Claudio Monteverdi 'Vespro della Beata Vergine, 1610' - 14
- Length: 10:1
- Rating: 5.00 (2 ratings)
- Views: 183' favoriteCount='1
- Author: gppkoq
Tags: Beata classical Claudio della Monteverdi Vergine Vespro
'Vespro della Beata Vergine, 1610'MAGNIFICATPerformed :Coro del Festival Barocco di Lugano,Coro della Radio Svizzera, Lugano,Ensemble More Antiquo,and Concerto PalatinoI BarocchistiDirector : Diego Fasolis (harpsichord)*****Claudio Giovanni Antonio Monteverdi (May 15, 1567 (baptized) -- November 29, 1643), was an Italian composer, gambist, and singer.Monteverdi's work, often regarded as revolutionary, marked the transition from the music of the Renaissance to that of the Baroque. Enjoying fame in his lifetime, he wrote one of the earliest operas, L'Orfeo, which is still regularly performed.*****Vespro della Beata Vergine 1610 (SV 206 and 206a, Vespers for the Blessed Virgin, 1610), or simply the Vespers of 1610, as it is commonly called, is a musical composition by Claudio Monteverdi. Vespers is a term taken from the Hours of the Divine Office and has remained structurally unchanged for the past 1500 years. The Vespers are built around several Biblical texts that are traditionally used as part of the liturgy for several Marian feasts in the Roman Catholic church; the introductory Deus in adjutorium (Psalm 69), five psalms taken from Psalms 109-147, sacred concertos between the psalms, a hymn, a setting of the Magnificat text, and the concluding Benedicamus Domino.Monteverdi's Marian Vespers of 1610, his first sacred work since his very first publication twenty-eight years prior, stands out for its assimilation of both old and new styles, although these contrasting styles cannot be exactly classified as prima pratica and seconda pratica, per se. The Vespers were published in July of 1610, in combination with a six-voice mass that parodies a motet of Nicolas Gombert, In illo tempore loquante Jesu. Nearly four hundred years after its completion, the precise intentions of this large work are not clearly known or understood. This has been a great topic of debate among musicologists for decades, and it has even been suggested by Graham Dixon that Monteverdi's setting of the Vespers is more suited towards use for the feast of Saint Barbara, claiming, for example, that the texts taken from Song of Songs are applicable to any female saint. He goes on to write that formatting the Vespers to fit a Marian feast makes the work more "marketable". There are several facts that support this view: There are just two Marian songs in the whole Vespers; Audi Coelum and Ave Maris Stella, (the sonata could very easily be rearranged to any saint's name) and the text of the Duo Seraphim is connected with Saint Barbara (because she is generally connected with Trinity).The Vespers was first printed in Venice, Italy, in 1610 when the composer was working at the ducal court in Mantua, Italy. The historical record does not indicate whether Monteverdi actually performed the Vespers either in Mantua or Venice; the work may have been written as an audition piece for posts at Venice (Monteverdi became maestro di cappella at St Mark's Basilica in Venice in 1613) and Rome (where the composer was not offered a post).The Vespers is a monumental work of music, calling for a choir large enough and skilful enough to cover up to 10 vocal parts in some movements and split into separate choirs in others while accompanying seven different soloists during the course of the piece. Interestingly, solo parts are included for violin and cornetto, but the ripieno instrumentation is not specified by Monterverdi. Additionally, Monteverdi did not specify a specific set of plainchant antiphons to insert before each psalm and the concluding Magnificat. This allows the performers to tailor the music according to the available instrumental forces and the occasion of the performance (the particular feast day's liturgy would have included suggested antiphons that could be chanted before Monterverdi's psalm settings).Monterverdi's unique approach to each movement of the Vespers earned the work a place in history. The work not only presents intimate, prayerful moments within its monumental scale, but it also incorporates secular music in this decidedly religious performance and its individual movements present an array of musical forms - sonata, motet, hymn, and psalm - without losing focus. The Vespers achieves overall unity by building each movement on the traditional Gregorian plainchant for each text, which becomes a cantus firmus in Monteverdi's setting.
Claudio Monteverdi 'Vespro della Beata Vergine, 1610' - 13
- Length: 7:52
- Rating: ( ratings)
- Views: 118
- Author: gppkoq
Tags: Beata classical Claudio della Monteverdi Vergine Vespro
'Vespro della Beata Vergine, 1610'MAGNIFICATPerformed :Coro del Festival Barocco di Lugano,Coro della Radio Svizzera, Lugano,Ensemble More Antiquo,and Concerto PalatinoI BarocchistiDirector : Diego Fasolis (harpsichord)*****Claudio Giovanni Antonio Monteverdi (May 15, 1567 (baptized) -- November 29, 1643), was an Italian composer, gambist, and singer.Monteverdi's work, often regarded as revolutionary, marked the transition from the music of the Renaissance to that of the Baroque. Enjoying fame in his lifetime, he wrote one of the earliest operas, L'Orfeo, which is still regularly performed.*****Vespro della Beata Vergine 1610 (SV 206 and 206a, Vespers for the Blessed Virgin, 1610), or simply the Vespers of 1610, as it is commonly called, is a musical composition by Claudio Monteverdi. Vespers is a term taken from the Hours of the Divine Office and has remained structurally unchanged for the past 1500 years. The Vespers are built around several Biblical texts that are traditionally used as part of the liturgy for several Marian feasts in the Roman Catholic church; the introductory Deus in adjutorium (Psalm 69), five psalms taken from Psalms 109-147, sacred concertos between the psalms, a hymn, a setting of the Magnificat text, and the concluding Benedicamus Domino.Monteverdi's Marian Vespers of 1610, his first sacred work since his very first publication twenty-eight years prior, stands out for its assimilation of both old and new styles, although these contrasting styles cannot be exactly classified as prima pratica and seconda pratica, per se. The Vespers were published in July of 1610, in combination with a six-voice mass that parodies a motet of Nicolas Gombert, In illo tempore loquante Jesu. Nearly four hundred years after its completion, the precise intentions of this large work are not clearly known or understood. This has been a great topic of debate among musicologists for decades, and it has even been suggested by Graham Dixon that Monteverdi's setting of the Vespers is more suited towards use for the feast of Saint Barbara, claiming, for example, that the texts taken from Song of Songs are applicable to any female saint. He goes on to write that formatting the Vespers to fit a Marian feast makes the work more "marketable". There are several facts that support this view: There are just two Marian songs in the whole Vespers; Audi Coelum and Ave Maris Stella, (the sonata could very easily be rearranged to any saint's name) and the text of the Duo Seraphim is connected with Saint Barbara (because she is generally connected with Trinity).The Vespers was first printed in Venice, Italy, in 1610 when the composer was working at the ducal court in Mantua, Italy. The historical record does not indicate whether Monteverdi actually performed the Vespers either in Mantua or Venice; the work may have been written as an audition piece for posts at Venice (Monteverdi became maestro di cappella at St Mark's Basilica in Venice in 1613) and Rome (where the composer was not offered a post).The Vespers is a monumental work of music, calling for a choir large enough and skilful enough to cover up to 10 vocal parts in some movements and split into separate choirs in others while accompanying seven different soloists during the course of the piece. Interestingly, solo parts are included for violin and cornetto, but the ripieno instrumentation is not specified by Monterverdi. Additionally, Monteverdi did not specify a specific set of plainchant antiphons to insert before each psalm and the concluding Magnificat. This allows the performers to tailor the music according to the available instrumental forces and the occasion of the performance (the particular feast day's liturgy would have included suggested antiphons that could be chanted before Monterverdi's psalm settings).Monterverdi's unique approach to each movement of the Vespers earned the work a place in history. The work not only presents intimate, prayerful moments within its monumental scale, but it also incorporates secular music in this decidedly religious performance and its individual movements present an array of musical forms - sonata, motet, hymn, and psalm - without losing focus. The Vespers achieves overall unity by building each movement on the traditional Gregorian plainchant for each text, which becomes a cantus firmus in Monteverdi's setting.
Claudio Monteverdi 'Vespro della Beata Vergine, 1610' - 12
- Length: 9:25
- Rating: ( ratings)
- Views: 160
- Author: gppkoq
Tags: Beata classical Claudio della Monteverdi Vergine Vespro
'Vespro della Beata Vergine, 1610'Hymn: Ave maris stella: two choirs and soloistsPerformed :Coro del Festival Barocco di Lugano,Coro della Radio Svizzera, Lugano,Ensemble More Antiquo,and Concerto Palatino.I BarocchistiDirector : Diego Fasolis (harpsichord)*****Claudio Giovanni Antonio Monteverdi (May 15, 1567 (baptized) -- November 29, 1643), was an Italian composer, gambist, and singer.Monteverdi's work, often regarded as revolutionary, marked the transition from the music of the Renaissance to that of the Baroque. Enjoying fame in his lifetime, he wrote one of the earliest operas, L'Orfeo, which is still regularly performed.*****Vespro della Beata Vergine 1610 (SV 206 and 206a, Vespers for the Blessed Virgin, 1610), or simply the Vespers of 1610, as it is commonly called, is a musical composition by Claudio Monteverdi. Vespers is a term taken from the Hours of the Divine Office and has remained structurally unchanged for the past 1500 years. The Vespers are built around several Biblical texts that are traditionally used as part of the liturgy for several Marian feasts in the Roman Catholic church; the introductory Deus in adjutorium (Psalm 69), five psalms taken from Psalms 109-147, sacred concertos between the psalms, a hymn, a setting of the Magnificat text, and the concluding Benedicamus Domino.Monteverdi's Marian Vespers of 1610, his first sacred work since his very first publication twenty-eight years prior, stands out for its assimilation of both old and new styles, although these contrasting styles cannot be exactly classified as prima pratica and seconda pratica, per se. The Vespers were published in July of 1610, in combination with a six-voice mass that parodies a motet of Nicolas Gombert, In illo tempore loquante Jesu. Nearly four hundred years after its completion, the precise intentions of this large work are not clearly known or understood. This has been a great topic of debate among musicologists for decades, and it has even been suggested by Graham Dixon that Monteverdi's setting of the Vespers is more suited towards use for the feast of Saint Barbara, claiming, for example, that the texts taken from Song of Songs are applicable to any female saint. He goes on to write that formatting the Vespers to fit a Marian feast makes the work more "marketable". There are several facts that support this view: There are just two Marian songs in the whole Vespers; Audi Coelum and Ave Maris Stella, (the sonata could very easily be rearranged to any saint's name) and the text of the Duo Seraphim is connected with Saint Barbara (because she is generally connected with Trinity).The Vespers was first printed in Venice, Italy, in 1610 when the composer was working at the ducal court in Mantua, Italy. The historical record does not indicate whether Monteverdi actually performed the Vespers either in Mantua or Venice; the work may have been written as an audition piece for posts at Venice (Monteverdi became maestro di cappella at St Mark's Basilica in Venice in 1613) and Rome (where the composer was not offered a post).The Vespers is a monumental work of music, calling for a choir large enough and skilful enough to cover up to 10 vocal parts in some movements and split into separate choirs in others while accompanying seven different soloists during the course of the piece. Interestingly, solo parts are included for violin and cornetto, but the ripieno instrumentation is not specified by Monterverdi. Additionally, Monteverdi did not specify a specific set of plainchant antiphons to insert before each psalm and the concluding Magnificat. This allows the performers to tailor the music according to the available instrumental forces and the occasion of the performance (the particular feast day's liturgy would have included suggested antiphons that could be chanted before Monterverdi's psalm settings).Monterverdi's unique approach to each movement of the Vespers earned the work a place in history. The work not only presents intimate, prayerful moments within its monumental scale, but it also incorporates secular music in this decidedly religious performance and its individual movements present an array of musical forms - sonata, motet, hymn, and psalm - without losing focus. The Vespers achieves overall unity by building each movement on the traditional Gregorian plainchant for each text, which becomes a cantus firmus in Monteverdi's setting.
Page: 2 of 32
