Claudio Monteverdi: Pianto della Madonna. Vocal transcription by Clytus Gottwald - Sheet music | Carus-Verlag

Claudio Monteverdi Pianto della Madonna. Vocal transcription by Clytus Gottwald

2009

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  • Unbenanntes Dokument

    Pianto della Madonna

    Laisse-moi mourir, mon fils
    car qui pourrait consoler une mère dans cette douleur
    atroce, dans ces tourments sévères.
    Laisse-moi mourir, mon fils.

    Mon Jésus, O mon Jésus, mon fiancé, mon-élu,
    mon espoir, ma vie, tu me quittes,
    ah ! mon cœur est blessé.
    Regarde-moi, mon Jésus, je t’en supplie,
    regarde celle qui soupire après toi, pâle et épuisée
    et qui demande à partager avec toi cette mort atroce,
    clouée sur la croix dure et terrible.
    Mon Jésus, O mon Jésus, O homme de pouvoir, O Dieu,

    ...
  • Unbenanntes Dokument

    Pianto della Madonna

    Lass mich sterben, mein Sohn,
    welche Mutter könnte getröstet werden
    in diesem wilden Schmerz, in dieser harten Qual.
    Lass mich sterben, mein Sohn.

    Mein Jesus, o Jesus, mein Bräutigam,
    mein Erwählter, meine Hoffnung, mein Leben,
    du verlässt mich, ach, mein Herz ist verwundet.
    Sieh mich an, mein Jesus, ich flehe dich an, siehe deine Mutter,
    die nach dir seufzt, bleich und ermattet, und in einem entsetzlichen Tod
    zusammen mit dir an das harte und schreckliche Kreuz
    genagelt werden will.
    Mein Jesus, o mein Jesus, o machtvoller Mann, o Gott,

    ...
  • Unbenanntes Dokument

    Pianto della Madonna

    Let me die, my son,
    for what mother can be consoled in this fierce pain;
    in such harsh torment?
    Let me die, my son.

    My Jesus, O Jesus my spouse, my beloved,
    my hope, my life, you are leaving me,
    alas, my heart is wounded.
    Look upon me, Jesus, I beg you,
    look upon your mother who is groaning, pale and exhausted,
    she seeks to be fixed with you

    ...
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full score Carus 9.137/00, ISMN 979-0-007-13114-2 12 pages, DIN A4, without cover Minimum order quantity: 20 copies
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  • During his youth in Cremona, Monteverdi received his first musical training from Marc'Antonio Ingegneri, the maestro di cappella at the Cathedral. After making his name with his first publications, including his First Book of Madrigals, he moved to the Gonzaga court in Mantua in 1590: he remained in the service of the family for twenty-two years, first as singer and violist, and later as maestro di cappella. There he composed further books of madrigals and, with L'Orfeo in 1607, one of the earliest operas in the history of music. The Vespers of the Blessed Virgin were also written in Mantua in 1610. In 1613 became Monteverdi maestro di cappella at St Mark's in Venice. He spent thirty musically fruitful years in this post. He composed sacred works, but remained interested in secular music and published his most extensive secular collections with books six to eight of his Madrigals. After the opening of the Venice opera house in 1637, the first public opera house ever , he returned to composing opera once more: both of his late operas, Il ritorno d'Ulisse in Patria and L'incoronazione di Poppea received their first performances here. Personal details
  • The choral conductor, composer and musicologist Clytus Gottwald (1925 - 2023) made significant contributions to contemporary choral music. As editor for New Music at Südfunk Stuttgart and founder and director of the Schola Cantorum Stuttgart, he was in productive exchange with his contemporaries, Pierre Boulez, Mauricio Kagel, György Ligeti, Luigi Nono, Karlheinz Stockhausen and many others. With his Schola Cantorum, a 16-voice chamber vocal ensemble, Gottwald decisively shaped the a cappella choral culture of the highest technical level that is taken for granted today. Clytus Gottwald's transcriptions of piano songs and instrumental pieces for unaccompanied choir are appreciated by choirs all over the world. Modelled on the style of Ligeti, his works set the highest of musical standards. Clytus Gottwald has received several awards for his services, including the Cultural Prize of Baden-Württemberg in 2009, the European Church Music Prize in 2012, and the Cross of Merit of the Federal Republic of Germany in 2014. His importance for the development of contemporary choral music cannot be overestimated. Personal details

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