Throughout the movement, one tenor part in each choir sings the plainchant cantus firmus in longer notes. Monteverdi set it for three tenors. The Monteverdi Vespers of 1610 : Music, Context, Performance: Nigra sum: This sensual poem from the Song of Solomon had long been associated allegorically with Mary. "[2] Kurtzmann concluded from his detailed research of Monteverdi's Vespro della Beata Vergine and contemporary sacred music: Monteverdi's objective was clearly to carry to new heights the Renaissance concept of varietas and to provide as many forms of musical splendour as he could muster. Hre, o Himmel, meine Worte voller Sehnsucht und durchstrmt von Freude. Monteverdi said the text was the mistress to the music and as such the music needed to express and reflect the emotions of that text. Echo: Mary! In Laudate pueri a rising run in two of the inner voice parts at Excelsus super omnes gentes Dominus (The Lord is high above all nations) leads to the topmost voice singing this text while two lower voices sing a florid passage on et super caelos gloria eius (his glory above the heavens). In order to make a complete service, one would have to add to Monteverdi's music the parts of the liturgy that change from one feast to another by inserting the appropriate Gregorian chants. Finally there is the continuo section, which is responsible for playing the bass line and improvising the harmonic accompaniment. TEXT AND TRANSLATIONS Vespers of 1610 - Monteverdi English Translation by John Kilpatrick (biblical sections based on King James Bible) Deus in adjutorium Deus, in adjutorium meum intende: Domine, ad adjuvandum me festina. [46], The fourth psalm, Psalm 127, opens with the words Nisi Dominus (Except the Lord [build the house]), and is for two tenors singing the cantus firmus and two four-part choirs, one echoing the other in overlapped singing. ha dunque introdotto la Vita? Avanzi Dio per noi, Vespers of 1610 (Claudio Monteverdi) - LA Phil For music to survive four hundred years and to remain popular is not only quite remarkable but also testament to its innate quality. According to Artusi, musical form took precedence over text; there were important rules of composition that needed to be Monteverdi set it for a six-part choir with divided sopranos and tenors, and six instruments, prescribing sex vocibus & sex instrumentis. This was as far as it's possible to get from our cathedral choral sound. It is the only true solo song in the Vespers. Sag mir, ich flehe dich an, Its seven stanzas are set in different scoring. Monteverdi composed the music while musician and composer for the Gonzagas, the dukes of Mantua. In the Sonata sopra Sancta Maria, imitative sections for the full ensemble lead to pairs of instruments accompanied by basso continuo. Que Dieu nous l'accorde, Laetatus sum, for six voices, is distinguished by two styles of writing. Laetatus sum VII. 'Quia fecit' only, Title: Vespro della Beata Vergine (Vespers of 1610) In the first decade of the seventeenth century, Monteverdis name became very well known for other reasons. The best example of this kind of writing in the Vespers is "Nisi Dominus," with its moments of almost incomprehensively complex counterpoint and its chorus-versus-chorus . questo Padre, e Filfio, e Madre I beseech you, A church performance would have included antiphons in Gregorian chant for the specific feast day. In order to make a complete Vesper service, added to Monteverdi's music would have been the parts of the liturgy that change from one feast to another - the chants appropriate for that day - before each of the psalms and the Magnificat. Later, a long, rising line in the voice and accompaniment depicts surge (arise); the bass line then mirrors this in the closing measures. The way the two female voices languidly intertwine in Pulchra es, for example, sounds almost like a love duet. The music begins with a walking bass, which the first tenor enters with the cantus firmus. This is a preview of the beginning of the chart. 7.4K views Claudio Monteverdi: Music Claudio Monteverdi began working as a court musician for the Duke of Mantua in Hungary in 1595. II. Mon-Fri 10:00am-5:00pm, Admin Office Hours: Like the music itself, the performing forces required by the Vespers are on a grand scale. Of the endless details in the Vespers, here are a few that might be useful while listening: I. Deus in adjutorium: In this introductory movement, the chorus chants the text on one chord, while the instruments play music from the opening toccata of Monteverdi's opera Orfeo (1607). For one, a major Marian feast, such as this one, might be an appropriate occasion to employ a large ensemble, such as the one Monteverdi requires here. 2, The Dutch Masters of Music and Art, Vol. This creates a clash of styles - an astonishing variety of "modern" music superimposed upon an old-style technique. Title: Vespro della Beata Vergine (Vespers of 1610) Composer: Claudio Monteverdi. Monteverdi has already used a similar idea earlier in the duet, first on the word pulchra (beautiful), then on decora (lovely). @free.kindle.com emails are free but can only be saved to your device when it is connected to wi-fi. There are dramatic unisons for the chorus with athletic fugal passages, in addition to the solo voices all deployed with virtuosic ornamentation, in a way that's coherent and moving. We follow that practice in this performance, using chants for the Feast of the Assumption (August 15). Original text and translations may be found at Ave maris stella. The melody is in the soprano in all verses except verse6, which is for tenor solo. Suivons-la donc tous, Firstpublished: 1610in Messa e Vespro della Beata Vergine, no. Styles range from chordal falsobordone to virtuoso singing, from recitative to polyphonic setting of many voices, and from continuo accompaniment to extensive instrumental obbligato. [44] The music has been described as "a call to attention" and "a piece whose brilliance is only matched by the audacity of its conception". No one knows whether it was actually performed in Mantua or written with an eye toward applying elsewhere--Venice or even Rome (the publication was dedicated to Pope Paul V). The music could therefore be used for various Marian feasts during the year. [6] Monteverdi's first opera was L'Orfeo which premiered in 1607. Verses2 and3 are the same vocal four-part setting, verse2 for choir1, verse3 for choir3. Another wonderful moment occurs at et hi tres unum sunt (and they are three in one) as Monteverdi brings all three voice parts to a single pitch on unum sunt before launching once more into a final virtuoso section on plena est omnis terra gloria eius (the whole earth is full of his glory). As the text continues Tres sunt qui testimonium dant in coelo (There are three who bear witness in heaven), a third voice is added and again the voices flow between the contrapuntal control of church music and the virtuosity of opera. New Liturgical Movement: Monteverdi Vespers in DC Dic, quaeso, mihi: Duo Seraphim clamabant VIII. Instruments: Mixed ensemble. No other surviving work from that time is written on such a scale, combining the grandest of public music with the most intimate of solo songs; no other such work calls for the many colorful obbligato instruments and uses them in such a daringly modern, virtuosic way. Dixit dominus III. [58] Gardiner recorded the Vespers twice, in 1974 and in 1989. The hymn for Marian feasts was "Ave maris stella". Ritornellos, featuring different instrumental combinations, refresh the ear and provide a palette that complements the voices in variety and continuity. Eco: [Ri]medio! tell me who is she that rises up, bright as the dawn, and I shall bless her. [32] The first modern edition of the Vespers appeared in 1932 as part of Gian Francesco Malipiero's edition of Monteverdi's complete works. please confirm that you agree to abide by our usage policies. Language links are at the top of the page across from the title. [62] Whenham summarised about the use of chant: It allowed him to show that such settings, though conservative at base, could incorporate thoroughly up-to-date elements of musical style. The two styles are reconciled with breathtaking beauty, and the technique allows Monteverdi to build an enormous structure that goes beyond anything his contemporaries were able to achieve. This page was last edited on 1 January 2022, at 18:29. Once engrained into the texture, Monteverdi then moves the chant to the highest vocal part for the Doxology. Echo: Diese! [49] The movement opens with an instrumental section comparable to a pair of pavane and galliard, the same material first in even metre, then in triple metre. Scholars debate if they were meant to replace antiphons[16] or rather as embellishments of the preceding psalm. Each line of theMagnificatfor seven voices is treated differently and with stunning virtuosity. Audi coelum: This movement features a wonderful word-play. Monteverdi set additional textsall but one associated with Mary and none specified in the Vespers serviceas solo movements. Not until Bachs Passions do we find such a variety of stylesgrand public music next to intimate song, sacred chant alongside sensual melodyall in a wonderfully opulent tribute to the Virgin Mary. [20] There are just two Marian songs in the whole work ("Audi coelum" and "Ave maris stella"); and the sonata could easily be rearranged to any saint's name. Alternating patterns provide contrast and continuity in the Vespers, beginning with the opening movement. Musical composition by Claudio Monteverdi, Title page of the "Bassus Generalis" for one of the, 1 Deus in adjutorium meum intende/Domine ad adjuvandum me festina. [50], The penultimate section is devoted to the 8th century Marian hymn "Ave maris stella". The last stanza repeats the first for formal symmetry. Right from the beginning he is mixing sacred and secular styles. The duke was quick to recognise the potential of this new musical form for bringing prestige to those willing to sponsor it. In any case, Monteverdi was hired and spent the rest of his life in Venice. Verse1 is a seven-part setting. Even today, in an age which has heard Bach's Mass in B minor, Beethoven's Missa Solemnis, and the requiems of Berlioz and Verdi, the Monteverdi Vespers of 1610 is astonishing for the grandeur of its conception and the opulence of its sound. The Vespers can be divided into two main types of music. In less than ten years, he was promoted to the director of. Of the endless details in the Vespers, here are a few that might be useful while listening: I. Deus in adjutorium: In this introductory movement, the chorus chants the text on one chord, while the instruments play music from the opening toccata of Monteverdi's opera Orfeo (1607). Together with this work was a new composition by Baltimore-based composer, Joshua Bornfield, Beatis videamus, taking as its text the Litany of the Saints and as its musical inspiration . Vespro Della Beata Vergine - Claudio Monteverdi - YouTube It is set for two tenors, who sing in call and response (prima ad una voce sola), and expands to six voices at the word omnes (all). and also on ordinata (formation). [4] While Monteverdi was court musician in Mantua, the opera genre emerged, first as entertainment for nobility, to become public musical theatre later. Echo: Maria! In this respect his collection of vesper music goes far beyond any other publication of sacred music of his day.[19]. Benedetta sei, Vergine Maria, nei secoli dei secoli. Magnificat anima mea2. Wikimedia Commons [23] The publisher was Ricciardo Amadino,[22] who had published Monteverdi's opera L'Orfeo in 1609. Monteverdi was inspired not by words or music alone, but by the rhetorical potential of their union. As soon as the role of narrator is complete, the voices become the Seraphim proclaiming Sanctus, sanctus, sanctus Dominus Deus Sabaoth (Holy, holy, holy Lord of Hosts) using virtuosic vocal techniques: florid passages, but also repeated notes sung both individually and together. Echo: a mediator! Eco: Medium! And, perhaps not least, it helped him solve a problem inherent in setting the psalms and Magnificat that of achieving musical coherence when working with texts that were sometimes long and unwieldy and certainly not designed for setting by an early seventeenth-century madrigalist. . III. Tu es bnie, Vierge Marie, dans les sicles des sicles. It is written for tenor solo in the new style of monody (a melodic solo line with accompaniment). Luigi Torchi published the Sonata as the first complete movement from the Vespers at the turn of the 20th century. Monteverdi's Vespro della Beata Vergine, 1610 Boston Baroque In addition, the Vespers includes a sonata, as well as non-liturgical motets, which Monteverdi interpolates between the psalms. In addition, the Feast of the Assumption occurs at the time of year when Monteverdi was auditioning for his post at St. Mark's, and he almost certainly would have performed the work at that time. They sing the text "these three are one" in unison. [50], In Monteverdi's time, it was common to improvise and make adjustments during performances, depending on the acoustics and the availability and capability of performers. pro culpis remedium. Pater hoc et Filius, et Mater John Eliot Gardiner: Monteverdi and me | Music | The Guardian He began as a viol player under Duke Vincenzo Gonzaga[2] and advanced to become maestro della musica in late 1601. For the composer, who published it 400 years ago in 1610, it was a calculated summation of his skill as a writer of sacred music at a time when he most needed to advertise it. il cui noome dolcemente invochiamo Monteverdi Vespers - Handel and Haydn Society The 40-odd singers and instrumentalists who filled First Baptist Church in Shaker Heights on Saturday, October 8 had musical riches to spare, and a distinctive . Early Music Recordings as Mythography: Monteverdi and the 'Other' Vespers 2023 Los Angeles Philharmonic Association. A towering masterpiece of the early Baroque at once intimate and grand, prayerful and dramatic, exalted and sensual. [39] The first recording of the work with added antiphons was conducted in 1966 by Jrgen Jrgens. Eco: Dimmi! Sie ist immer die sichere Mittlerin zwischen den Menschen und Gott fr die Vergebung der Snden. [14], On ordinary Sundays, the vespers service might by sung in Gregorian chant, while on high holidays, such as the feast day of a patron saint, elaborate concertante music was preferred. Visita nuestra pgina web en espaol. [11] The five psalms for Marian feasts (as well as other female saints) begin with Psalm 110 in Hebrew counting, but known to Monteverdi as Psalmus 109 in the numbering of the Vulgate:[12], The individual psalms and the Magnificat are concluded by the doxology Gloria Patri. Eco: Talis! . cho: Marie! The movement ends with a remarkable diminuendo, in which the voices of the choir successively drop out, leaving only two tenor soloists to finish the piece -- a seventeenth-century Farewell Symphony. XI. This fanfare, the same that opened Monteverdis opera LOrfeo, then alternates with a dance-like instrumental passage. Published in Venice (with a dedication to Pope Paul V dated 1 September 1610) as Sanctissimae Virgini Missa senis vocibus ac Vesperae pluribus decantandae, cum nonnullis sacris concentibus, ad Sacella sive Principum Cubicula accommodata ("Mass for the Most Holy Virgin for six voices, and Vespers for several voices with some sacred songs, suitable for chapels and ducal chambers"), it is sometimes called Monteverdi's Vespers of 1610. Completed in 1610, the Vespers was written for the court of the Gonzaga family in Mantua, where Monteverdi was employed from 1590 to 1612, and dedicated to Pope Paul V. But the composition's true home is undoubtedly the Cathedral of St. Mark in Venice, where Monteverdi was appointed maestro di cappella in 1613. [38] Some scholars have argued that the Vespers was not intended as a single work but rather as a collection to choose from. Quae semper tutum est medium The choral movements, with their dense counterpoint, are remarkably similar to those of Gombert. Nisi Dominum: In this psalm, the chorus separates into two choirs of five voice parts each. Suivons! The Monteverdi Choir, hardwired to this music, sang from the text up, with incisively responsive word-painting and vivid vocal colours. but gradually the tenor part is subsumed into the overall texture at Non fecit taliter omni nationi (He has not done so with any other nation). In the 16th century Venice was a political, economic, and cultural force. * Views captured on Cambridge Core between #date#. Vespers 1610 was probably never heard in its entirety in Monteverdi's lifetime, and was never intended to be heard as a single work; it was, rather, a collection of showpieces composed both in the older, liturgical style and the newer, text-driven style. The movement is accompanied by a six-part orchestra with two cornettos, three trombones (which double the lower strings), strings, and continuo. qua cum gratia mereamur The winds also include three sackbuts (early trombones), Renaissance recorders, and, in our performance, a dulcian (early bassoon). The author examines Monteverdi's Vespers from multiple perspectives, combining his own research with all that is known and thought of theVespers by other scholars. [19], Graham Dixon suggests the setting is more suited for the feast of Saint Barbara, claiming, for example, that the texts from the Song of Songs are applicable to any female saint but that a dedication to fit a Marian feast made the work more "marketable". Kurtzman, who edited a publication of the work for Oxford University Press,[60] notes: "it seems as if Monteverdi were intent in displaying his skills in virtually all contemporary styles of composition, using every modern structural technique". Laudate pueri: As in other psalms, this piece opens with music based on the appropriate plainchant for this text. 3 and 6 [19] Monteverdi achieved overall unity by using the Gregorian plainchant as a cantus firmus,[54][61] for the beginning, the psalms, the litany and the Magnificat. Vespro della Beata Vergineby Claudio Monteverdi (1567-1643)was first published in Venice in 1610. (While interpolating motets in this way became a frequent practice in Italy, Monteverdi's was the first printed publication to do so.) A repeated letter means the voice part is divided, for example TT means "tenor1 and tenor2". In so doing, he both displays his prowess with traditional sacred compositional techniques and shows how they can be merged with modern expressive sensibilities. The print of his Vespers shows unusual detail in reducing this freedom, for example, by precise notation of embellishments and even organ registration. In 1610, Monteverdi published a grand collection of church music, including a mass in the old style and a set of vespers demonstrating his mastery of the new style (in its use of the figured bass line, voices and instruments in combination, dance forms, virtuoso solo singing, and operatic declamation) alongside elements of the old (cantus firmus technique, divided choirs, and a strict a cappella polyphony). ", "Monteverdi's Mass and Vespers of 1610: The Economic, Social, and Courtly Context", "Monteverdi / Vespers 1610 / Dunedin Consort", "Review recording of the month / Claudio Monteverdi (15671643) / Vespro della Beata Vergine (1610)", "Claudio Monteverdi: Vespro della Beata Vergine / Marienvesper / Vespers 1610", "Claudio Monteverdi: Vespro della Beata Vergine", Journal of the American Musicological Society, Sanctissimae Virgini Missa senis vocibus ac Vesperae pluribus decantandae (Monteverdi, Claudio), International Music Score Library Project, Literature about Vespro della Beata Vergine, "Monteverdi: Vespers of 1610 / CD review authentic but incoherent", Monteverdi Vespers of 1610: John Kilpatrick's Edition, for 2010, https://en.wikipedia.org/w/index.php?title=Vespro_della_Beata_Vergine&oldid=1149404848, Articles containing Italian-language text, Pages containing links to subscription-only content, Articles with International Music Score Library Project links, Articles with MusicBrainz work identifiers, Creative Commons Attribution-ShareAlike License 3.0, Biblical and liturgical, including several, Praise ye [the Lord, O ye] servants of the Lord, This page was last edited on 12 April 2023, at 01:14.
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