Monteverdi- Vespers (1610) (Cambridge Music Handbooks) by John Whenham
By John Whenham
Monteverdi's Vespers is a phenomenal number of sacred tune, either within the inventiveness of the compositions that it comprises and within the debate that it has provoked over its use within the 17th century and over Monteverdi's intentions in publishing it. This guide presents a advisor to the track in all its facets – from an advent to the carrier of Vespers itself, in the course of the perform of chanting psalms in plainsong to research of Monteverdi's settings, starting from the rhetoric of the motet 'Nigra sum' to the sub-text of the psalm 'Laetatus sum'. It additionally examines the problems taken with acting the Vespers and evaluates quite a few scholarly debates at the song, not easy the long-held principles that the sacred concertos are antiphon substitutes and that the track couldn't were played at Santa Barbara, Mantua. The e-book comprises the texts and plainsongs utilized by Monteverdi, and a discography.
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Monteverdi- Vespers (1610) (Cambridge Music Handbooks)
Monteverdi's Vespers is a phenomenal selection of sacred song, either within the inventiveness of the compositions that it includes and within the debate that it has provoked over its use within the 17th century and over Monteverdi's intentions in publishing it. This guide offers a advisor to the tune in all its elements – from an creation to the carrier of Vespers itself, in the course of the perform of chanting psalms in plainsong to research of Monteverdi's settings, starting from the rhetoric of the motet 'Nigra sum' to the sub-text of the psalm 'Laetatus sum'.
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Extra resources for Monteverdi- Vespers (1610) (Cambridge Music Handbooks)
Sample text
Et hi tres unum sunt. V Tres sunt qui testimonium dant in coelo Pater, Verbum, et Spiritus Sanctus. Et hi tres unum sunt. Epistula Iohannis I [First Epistle of John] (5, 7) Quoniam tres sunt, qui testimonium dant in caelo: Pater, verbum, & spiritus sanctus: & hi tres unum sunt. Sanctus, sanctus, sanctus Dominus Deus Sabaoth. Plena est omnis terra gloria eius. Sanctus, sanctus, sanctus Dominus Deus Sabaoth. Gloria Patri et Filio, et Spiritui Sancto. Plena est omnis terra gloria eius. Isias [Isaiah] (6,3) Sanctus, sanctus, sanctus, Dominus Deus exercituum plena est omnis terra gloria eius.
The melodic and harmonic language of 'Duo Seraphim' (and the other settings in the 1610 print) is modal. 16 As we have already noted, the text of 'Duo Seraphim' is not obviously linked to Marian devotion, though its Trinitarian associations would certainly have been appropriate for the feast of St Barbara who was martyred for her belief in the Trinity. It may be that Monteverdi included it in his publication either because he was particularly proud of the setting or because pressure of time meant that he had to include pieces that he had to hand whether entirely appropriate or not.
At the Imperial camp this group was responsible for performing both sacred and secular music, promoting the image of Vincenzo Gonzaga as a liberal Catholic prince. 17 The repertory of Vespers music that the group performed is uncertain, though it may have consisted of little more than plainsong and 29 Vespers (1610) falsobordone psalm settings and motets for a few voices with organ. 18 Whether any of the 1610 settings date from these years is a moot point. This is the first and the only secure information that we have of Monteverdi's performing church music for Vincenzo Gonzaga.