The Monteverdi Vespers of 1610 : Music, Context, Performance: Music, Context, PerformanceClarendon Press, 2000 M01 6 - 624 pages This is a thorough-going study of Monteverdi's Vespers, the single most significant and most widely known musical print from before the time of J.S. Bach. The author examines Monteverdi's Vespers from multiple perspectives, combining his own research with all that is known and thought of the Vespers by other scholars. The historical origin as well as the musical and liturgical context of the Vespers are surveyed; similarly the controversial historiography of the Vespers in the nineteenth and twentieth centuries is scrutinized and evaluated. A series of analytical chapters attempt to clarify Monteverdi's compositional process and the relationship between music and text in the light of recent research on modal and tonal aspects of early seventeenth century music. The final section is devoted to thirteen chapters investigating performance practice issues of the early seventeenth century and their application to the Vespers, including general and specific recommendations for performance where appropriate. The book concludes with a series of informational appendices, including the psalm cursus for Vespers of all major feasts in the liturgical calendar, texts, and structural outlines for the Vespers compositions based on a cantus firmus, an analytical discography, and bibliographies of seventeenth-century musical and theoretical sources. |
Contents
11 | |
The Liturgy of Vespers and the Antiphon Problem | 56 |
A Brief History of Vespers in the Sixteenth Century | 79 |
A Comparison | 99 |
THE MUSIC | 110 |
A Preliminary Note on Analytical Method and Terminology | 185 |
The Response | 202 |
The Magnificats | 256 |
Vocal Style | 386 |
Pitch and Transposition | 404 |
Obbligato Instruments | 412 |
Instrumental Doubling and Substitution for Vocal Parts | 423 |
Metre and Tempo | 433 |
Vocal and Instrumental Ornamentation | 467 |
Tuning and Temperament | 488 |
Historical Pronunciation | 495 |
The Hymn and | 293 |
Nigra sum | 308 |
Pulchra | 325 |
A Philosophical Note on Historical Performance Practice | 347 |
Continuo Instruments | 354 |
Continuo Realization | 367 |
Voices and Choirs | 376 |
Appendix B Rubrics Regarding Vespers and Marian Antiphons | 503 |
Discography | 515 |
Appendix E Sixteenth and SeventeenthCentury Musical Sources | 525 |
Appendix F Theoretical Treatises of the Sixteenth and Seventeenth | 542 |
Index of Text Incipits and Composition Titles | 573 |
592 | |
Other editions - View all
The Monteverdi Vespers of 1610: Music, Context, Performance Jeffrey G. Kurtzman No preview available - 1999 |
Common terms and phrases
Adriano Banchieri ALTUS Audi coelum Ave maris stella Banchieri bars bass basso continuo BASSUS GENERALIS cadence cadential cantus firmus cappella chant choir chord church Claudio Monteverdi composers compositions Concerti cornettos cursus discussion Dixit Dominus duet Duo Seraphim duple Early Music early seventeenth century falsibordoni feasts Francesco Giacomo Vincenti Giovanni harmonic hymn Ibid imitative instruments Italian Laetatus sum Lauda Jerusalem Laudate pueri liturgical maestro Magnificat Magnificat tone Mantua melismas melodic mode Monteverdi's Monteverdi's Vespers motets Nigra sum Nisi Dominus notated note values octave organ ornamentation passage passaggi performance practice phrase pieces pitch plainchant plainchant antiphons Polychoral polyphonic Praetorius psalm tone Pulchra reciting note RISM ritornello rubric Salmi Sancta Maria Santa Barbara semibreve settings sextus Sicut singers singing sixteenth solo soloists Sonata sopra Sancta soprano style sung tactus tempo tenor texture tonal trans transposed transposition triple metre trombones Venice verses vibrato violins virtuoso vocal voci vocibus voices