Claudio Monteverdi: Magnificat primo tuono à 4 voci - Sheet music | Carus-Verlag

Claudio Monteverdi Magnificat primo tuono à 4 voci

aus: Selva morale et spirituale 1641

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The four-part "Magnificat" presented in this edition is an alternatim setting - i.e. polyphony alternating with plainsong - and as such represents the conservative side of Monteverdi's output.
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full score Carus 40.438/00, ISMN 979-0-007-06829-5 20 pages, DIN A4, paperback
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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
  • Paul Horn war ein deutscher Kirchenmusiker, Organist, Komponist und Musikwissenschaftler. Er studierte Kirchenmusik und Orgel an der Evangelischen Kirchenmusikschule Esslingen am Neckar bei Hans-Arnold Metzger und Musikwissenschaft, Theologie und Geschichte an der Universität Tübingen. Seine berufliche Laufbahn begann als Kantor an der Evangelischen Michaelskirche in Stuttgart-Degerloch. 1954 wurde er Kantor an der Evangelischen Stadtkirche Ravensburg, eine Position, die er bis zu seiner Pensionierung innehatte. Als Musikwissenschaftler arbeitete Horn bis ins hohe Alter eng mit Carus zusammen. So stammen zahlreiche Carus-Klavierauszüge aus seiner Feder. Personal details

Reviews

Claudio Monteverdi: Magnificat

Dieses Magnificat findet sich zusammen mit einem weiteren (bereits im Carus-Verlag erschienen) in „Selva morale” von 1640, Monteverdis einziger Sammlung geistlicher Musik, die während seiner Jahre in Venedig zum Druck gelangte. Auch in dieser Komposition herrscht die Mannigfaltigkeit der Musiksprache des maestro di capella vor. Das Magnificat ist wohl für eine außerordentliche Aufführung an der herzoglichen Basilika San Marco geschrieben. Überaus beeindruckend ist die Abwechslung in der formalen Organisation seiner groß angelegten Musik. Besonders bemerkenswert ist die Verwendung eines Refrains („fecit potentiam in brachio suo”), um die Bilder der Macht zu verstärken: Eine fünf- zehntaktige Repetition eines G-Dur-Akkordes zeigt Monteverdi nicht nur als psychologisch gewieften Dramatiker, das Magnificat ist ein sinnfälliges Beispiel für den stile concitato. Das etwa 13-minütige Werk gliedert sich in drei breite Abschnitte: Magnificat - Et misericordia, Fecit potentiam - Esurientes, Suscepit Israel - Amen. Der erste Abschnitt wird bestimmt von Tutti-Chorklängen mit einer zentralen kontrastierenden Episode für zwei Soprane, die später mit den übrigen chorischen und instrumentalen Kräften dialogisieren. Im Mittelabschnitt findet sich die oben erwähnte stile-concitato-Technik, um drei aufeinanderfolgende Duette einzuleiten. Reiche homophone und kontrapunktische Vielfalt chorischer und instrumentaler Texturen bestimmt den Schlussabschnitt. Von erlesen ausgewählten Farbwerten ist das Instrumentalensemble: Zwei Violinen und vier Posaunen sind Monteverdis Idealfarben, als Besetzungsalternativen schlägt er statt der Posaunen vier Gamben vor oder - falls auch diese nicht verfügbar sind - drei Bratschen und Violoncello. Ausdrücklich bietet Monteverdi im Titel seines Magnificat auch die Möglichkeit an, auf Posaunen oder Violen ganz zu verzichten und nur den Basso continuo zu benutzen. Selbstredend büßt dann das Werk aber viel von seinem Charakter und stilistischen Identität ein.
Udo Klotz, Musica Sacra, 116. Jahrgang, Heft 6 1996, S. 433

The four-voice Magnificat is from ”Selva morale e spirtuale” (1640), Monteverdi’s compendium of sacred music for voices and instruments. A festive setting of the Marian text, this work of moderate difficulty is suitable for performances by college choirs and early music ensembles. [ ] David Blazey’s authoritative edition provides useful information regarding performance practice. The publication is clean and practical, meeting most ACDA/MPA standards (no translation of the Latin text is incIuded). The score is helpfully edited with contemporary clefs, though archaic rhythmic notation using long note values is employed. In the preface, Blazey suggests that the work may have been performed down a fourth or fifth. While this is impractical for today’s mixed-voice choirs, transposition a major second down makes the third part more accessible to tenors, without making the second part too low for most female altos. The ranges and tessituras of the soprano, alto, and bass parts are quite reasonable. The third part, however, frequently includes g1 and a1 for tenors and remains mostly above C1, making it difficult to sustain. Since it often descends to g or f at cadences and other important points, a strong, yet resonant tone may be difficult to achieve by substituting female altos. If no transposition is used, and in the absence of male altos or countertenors, a combination of low female altos and high tenors may best serve the demands of the part.
”Selva morale” includes an organ partbook in which a basso continuo part for the Magnificat is contained. Apparently realized by the editor, the part mostly doubles vocal lines and occasionally provides additional rhythmic or melodic interest. The piece may be performed with or without continuo Instruments.
Though not as difficult as the Vespers of 1610 or same of Monteverdi’s highly polyphonic madrigals, this work may prove too challenging for groups unaccustomed to the amount of independence required and the old-fashioned rhythmic notation in long notes. The compositional craft that creates interest and variety in the setting also provides a great challenge to the chorister inexperienced in this musical style. For those up to the challenge, this Magnificat is an excellent introduction to Monteverdi’s choral works and an expressive, joyous illumination of the Marian text.
Elizabeth R. Schauer, Quelle: Choral Journal 11/96, S. 83

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