The Monteverdi Vespers of 1610 : Music, Context, Performance: Music, Context, PerformanceClarendon Press, 6 sty 2000 - 624 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. |
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Strona xvii
... Giovanni Gastoldi , Nisi Dominus from Tutti li salmi , 1601 Ex . 4.2 . Leo Leoni , Dixit Dominus from Sacri fiori mottetti , 1606 Ex . 4.3 . Don Severo Bonini , Cum invocarem from Il secondo libro de madrigali e motetti , 16092 Ex . 4.4 ...
... Giovanni Gastoldi , Nisi Dominus from Tutti li salmi , 1601 Ex . 4.2 . Leo Leoni , Dixit Dominus from Sacri fiori mottetti , 1606 Ex . 4.3 . Don Severo Bonini , Cum invocarem from Il secondo libro de madrigali e motetti , 16092 Ex . 4.4 ...
Strona 1
... Giovanni Battista Artusi's censure of his contrapuntal skill , about which Monteverdi may still have chafed in 1610. The other personal remark refers to this music as the result of his ' nocturnal labours ' . I am grateful to Prof ...
... Giovanni Battista Artusi's censure of his contrapuntal skill , about which Monteverdi may still have chafed in 1610. The other personal remark refers to this music as the result of his ' nocturnal labours ' . I am grateful to Prof ...
Strona 5
... Giovanni Gabrieli . But after the purely instrumental opening section ( beginning like a pavane - and - galliard pair with the same music presented first in duple metre and then in triple ) , the instruments are joined by the soprano ...
... Giovanni Gabrieli . But after the purely instrumental opening section ( beginning like a pavane - and - galliard pair with the same music presented first in duple metre and then in triple ) , the instruments are joined by the soprano ...
Strona 15
... Giovanni Gabrieli and his contempo- raries in 1834.17 Winterfeld included in his volume of examples transcriptions of the first part of Dixit Dominus , up to the end of the first ritornello , and the first half - verse of the Deposuit ...
... Giovanni Gabrieli and his contempo- raries in 1834.17 Winterfeld included in his volume of examples transcriptions of the first part of Dixit Dominus , up to the end of the first ritornello , and the first half - verse of the Deposuit ...
Strona 25
... Giovanni Francesco Anerio's Antiphonae of 1613 demonstrated not only that antiphon texts could be rather freely ... Giovanni Rovetta and Francesco Cavalli ( Ann Arbor : UMI Research Press , 1981 ) , 151-2 . 64 ' The Antiphonae , sen ...
... Giovanni Francesco Anerio's Antiphonae of 1613 demonstrated not only that antiphon texts could be rather freely ... Giovanni Rovetta and Francesco Cavalli ( Ann Arbor : UMI Research Press , 1981 ) , 151-2 . 64 ' The Antiphonae , sen ...
Spis treści
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 |
General Index | 592 |
Inne wydania - Wyświetl wszystko
The Monteverdi Vespers of 1610: Music, Context, Performance Jeffrey G. Kurtzman Podgląd niedostępny - 1999 |
Kluczowe wyrazy i wyrażenia
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
Popularne fragmenty
Strona 511 - Magnificat anima mea Dominum; Et exultavit spiritus meus in Deo salutari meo. Quia respexit humilitatem ancillae suae; ecce enim ex hoc beatam me dicent omnes generationes Quia fecit mihi magna qui potens est, et sanctum nomen ejus.
Strona 320 - I am the true vine, and my Father is the husbandman. Every branch in me that beareth not fruit, he taketh away ; and every branch that beareth fruit, he purgeth it, that it may bring forth more fruit.
Strona 507 - I was glad when they said to me, "Let us go to the house of the LORD!
Strona 507 - LORD, unto the testimony of Israel, to give thanks unto the name of the LORD. 5 For there are set thrones of judgment, the thrones of the house of David. 6 Pray for the peace of Jerusalem : they shall prosper that love thee. 7 Peace be within thy walls, and prosperity within thy palaces. 8 For my brethren and companions' sakes, I will now say, Peace be within thee.
Strona 332 - Quoniam tres sunt, qui testimonium dant in coelo : Pater, Verbum, et Spiritus sanctus; et hi tres n,mm sunt.
Strona 332 - For there are three that bear witness in heaven: the Father, the Word, and the Holy Spirit; and these three are one.