As with scarcely any other work of the 17th century, Monteverdi’s Vespers has found its way into today’s repertoire. Nevertheless, the Vespers still leaves open many questions. The edition, with its critical examination of the sources, takes up these oft-discussed issues concerning scoring possibilities, performance practice, transpositions and liturgical unity. Performance material is organized in a flexible manner to allow for the use of different instruments in those movements without obbligato instruments in order to reinforce the vocal parts and thus invites an individual musical approach to the challenge presented by Monteverdi’s Vespers.
Critical edition
- based on all surviving copies of the print from 1610- early handwritten additions in these copies were taken into consideration for the edition, however these were not adopted without written indication- variant readings between the parts and the basso continuo score are rendered on ossia staves
- the original note values and pitch levels have been retained
- detailed foreword with an explanation of the work, the history of its transmission, and a history of the various editions and liturgical performance practice
Flexible use of performance material
- choirs may use either the vocal score or the economical choral score- colla-parte instrumental parts are available for each of thepsalms and for the hymn
- each of the colla-parte parts includes the complete corresponding vocal part with singing text, and the beginning of each verse is also indicated
- the use of the parts is fl exible and allows for diverse scoring variants; for example, in pieces for double choir each of the winds and string parts contains both choir parts
- alternative scoring possibilities are suggested in the foreword
- the performance material included in the edition enables Monteverdi’s Vespers to be performed using the maximum scoring, but the work may also be performed with a smaller ensemble
The editor Uwe Wolf is a specialist for notational practice of the early 17th century has a broad editorial experience. He has published a number of articles and studies on the Vespers and has held seminars on the work at various universities. And he brings his practical experience to the edition as a cornettist (Zink player) through numerous performances of the Vespers both in Germany and abroad.
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- Deus in adjutorium
- Dixit Dominus
- Nigra sum
- Laudate pueri
- Pulchra es
- Laetatus sum
- Duo Seraphim
- Nisi Dominus
- Audi caelum
- Lauda Jerusalem
- Sonata sopra Sancta Maria
- Ave maris stella
- Magnificat anima mea
- Et exsultavit
- Quia respexit
- Quia fecit mihi magna
- Et misericordia
- Fecit potentiam
- Deposuit potentes de sede
- Esurientes implevit bonis
- Suscepit Israel
- Sicut locutus est
- Gloria Patri
- Sicut erat in principio
Practise
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Practice aids
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Practice aids voice part soprano
- Deus in adjutorium (Choir Coach, soprano 1)
- Deus in adjutorium (Choir Coach, Slow mode, soprano 1)
- Deus in adjutorium (Choir Coach, soprano 2)
- Deus in adjutorium (Choir Coach, Slow mode, soprano 2)
- Dixit Dominus (Choir Coach, soprano 1)
- Dixit Dominus (Choir Coach, Slow mode, soprano 1)
- Dixit Dominus (Choir Coach, soprano 2)
- Dixit Dominus (Choir Coach, Slow mode, soprano 2)
- Laudate pueri (Choir Coach, soprano 1)
- Laudate pueri (Choir Coach, Slow mode, soprano 1)
- Laudate pueri (Choir Coach, soprano 2)
- Laudate pueri (Choir Coach, Slow mode, soprano 2)
- Laetatus sum (Choir Coach, soprano 1)
- Laetatus sum (Choir Coach, Slow mode, soprano 1)
- Laetatus sum (Choir Coach, soprano 2)
- Laetatus sum (Choir Coach, Slow mode, soprano 2)
- Nisi Dominus (Choir Coach, soprano 1)
- Nisi Dominus (Choir Coach, Slow mode, soprano 1)
- Nisi Dominus (Choir Coach, soprano 2)
- Nisi Dominus (Choir Coach, Slow mode, soprano 2)
- Audi caelum (Choir Coach, soprano 1)
- Audi caelum (Choir Coach, Slow mode, soprano 1)
- Audi caelum (Choir Coach, soprano 2)
- Audi caelum (Choir Coach, Slow mode, soprano 2)
- Lauda Jerusalem (Choir Coach, soprano 1)
- Lauda Jerusalem (Choir Coach, Slow mode, soprano 1)
- Lauda Jerusalem (Choir Coach, soprano 2)
- Lauda Jerusalem (Choir Coach, Slow mode, soprano 2)
- Ave maris stella (Choir Coach, soprano 1)
- Ave maris stella (Choir Coach, Slow mode, soprano 1)
- Ave maris stella (Choir Coach, soprano 2)
- Ave maris stella (Choir Coach, Slow mode, soprano 2)
- Magnificat anima mea (Choir Coach, soprano 1)
- Magnificat anima mea (Choir Coach, Slow mode, soprano 1)
- Magnificat anima mea (Choir Coach, soprano 2)
- Magnificat anima mea (Choir Coach, Slow mode, soprano 2)
- Et misericordia (Choir Coach, soprano 1)
- Et misericordia (Choir Coach, Slow mode, soprano 1)
- Et misericordia (Choir Coach, soprano 2)
- Et misericordia (Choir Coach, Slow mode, soprano 2)
- Sicut erat in principio (Choir Coach, soprano 1)
- Sicut erat in principio (Choir Coach, Slow mode, soprano 1)
- Sicut erat in principio (Choir Coach, soprano 2)
- Sicut erat in principio (Choir Coach, Slow mode, soprano 2)
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Practice aids voice part alto
- Deus in adjutorium (Choir Coach)
- Deus in adjutorium (Choir Coach, Slow mode)
- Dixit Dominus (Choir Coach)
- Dixit Dominus (Choir Coach, Slow mode)
- Laudate pueri (Choir Coach, Alto 1)
- Laudate pueri (Choir Coach, Slow mode, Alto 1)
- Laudate pueri (Choir Coach, Alto 2)
- Laudate pueri (Choir Coach, Slow mode, Alto 2)
- Laetatus sum (Choir Coach)
- Laetatus sum (Choir Coach, Slow mode)
- Nisi Dominus (Choir Coach, Alto 1)
- Nisi Dominus (Choir Coach, Slow mode, Alto 1)
- Nisi Dominus (Choir Coach, Alto 2)
- Nisi Dominus (Choir Coach, Slow mode, Alto 2)
- Audi caelum (Choir Coach)
- Audi caelum (Choir Coach, Slow mode)
- Lauda Jerusalem (Choir Coach, Alto 1)
- Lauda Jerusalem (Choir Coach, Slow mode, Alto 1)
- Lauda Jerusalem (Choir Coach, Alto 2)
- Lauda Jerusalem (Choir Coach, Slow mode, Alto 2)
- Ave maris stella (Choir Coach, Alto 1)
- Ave maris stella (Choir Coach, Slow mode, Alto 1)
- Ave maris stella (Choir Coach, Alto 2)
- Ave maris stella (Choir Coach, Slow mode, Alto 2)
- Magnificat anima mea (Choir Coach)
- Magnificat anima mea (Choir Coach, Slow mode)
- Magnificat anima mea (Choir Coach)
- Magnificat anima mea (Choir Coach, Slow mode)
- Et misericordia (Choir Coach)
- Et misericordia (Choir Coach, Slow mode)
- Sicut erat in principio (Choir Coach)
- Sicut erat in principio (Choir Coach, Slow mode)
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Practice aids voice part tenore
- Deus in adjutorium (Choir Coach, Tenore 1)
- Deus in adjutorium (Choir Coach, Slow mode, Tenore 1)
- Deus in adjutorium (Choir Coach, Tenore 2)
- Deus in adjutorium (Choir Coach, Slow mode, Tenore 2)
- Dixit Dominus (Choir Coach, Tenore 1)
- Dixit Dominus (Choir Coach, Slow mode, Tenore 1)
- Dixit Dominus (Choir Coach, Tenore 2)
- Dixit Dominus (Choir Coach, Slow mode, Tenore 2)
- Laudate pueri (Choir Coach, Tenore 1)
- Laudate pueri (Choir Coach, Slow mode, Tenore 1)
- Laudate pueri (Choir Coach, Tenore 2)
- Laudate pueri (Choir Coach, Slow mode, Tenore 2)
- Laetatus sum (Choir Coach, Tenore 1)
- Laetatus sum (Choir Coach, Slow mode, Tenore 1)
- Laetatus sum (Choir Coach, Tenore 2)
- Laetatus sum (Choir Coach, Slow mode, Tenore 2)
- Nisi Dominus (Choir Coach, Tenore 1)
- Nisi Dominus (Choir Coach, Slow mode, Tenore 1)
- Nisi Dominus (Choir Coach, Tenore 2)
- Nisi Dominus (Choir Coach, Slow mode, Tenore 2)
- Audi caelum (Choir Coach, Tenore 1)
- Audi caelum (Choir Coach, Slow mode, Tenore 1)
- Audi caelum (Choir Coach, Tenore 2)
- Audi caelum (Choir Coach, Slow mode, Tenore 2)
- Lauda Jerusalem (Choir Coach)
- Lauda Jerusalem (Choir Coach, Slow mode)
- Ave maris stella (Choir Coach, Tenore 1)
- Ave maris stella (Choir Coach, Slow mode, Tenore 1)
- Ave maris stella (Choir Coach, Tenore 2)
- Ave maris stella (Choir Coach, Slow mode, Tenore 2)
- Magnificat anima mea (Choir Coach, Tenore 1)
- Magnificat anima mea (Choir Coach, Slow mode, Tenore 1)
- Magnificat anima mea (Choir Coach, Tenore 2)
- Magnificat anima mea (Choir Coach, Slow mode, Tenore 2)
- Et misericordia (Choir Coach)
- Et misericordia (Choir Coach, Slow mode)
- Sicut erat in principio (Choir Coach, Tenore 1)
- Sicut erat in principio (Choir Coach, Slow mode, Tenore 1)
- Sicut erat in principio (Choir Coach, Tenore 2)
- Sicut erat in principio (Choir Coach, Slow mode, Tenore 2)
- Nisi Dominus (Choir Coach)
- Nisi Dominus (Choir Coach, Slow mode)
- Nisi Dominus (Choir Coach)
- Nisi Dominus (Choir Coach, Slow mode)
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Practice aids voice part basso
- Deus in adjutorium (Choir Coach)
- Deus in adjutorium (Choir Coach, Slow mode)
- Dixit Dominus (Choir Coach)
- Dixit Dominus (Choir Coach, Slow mode)
- Laudate pueri (Choir Coach, Basso 1)
- Laudate pueri (Choir Coach, Slow mode, Basso 1)
- Laudate pueri (Choir Coach, Basso 2)
- Laudate pueri (Choir Coach, Slow mode, Basso 2)
- Laetatus sum (Choir Coach)
- Laetatus sum (Choir Coach, Slow mode)
- Nisi Dominus (Choir Coach, Basso 1)
- Nisi Dominus (Choir Coach, Slow mode, Basso 1)
- Nisi Dominus (Choir Coach, Basso 2)
- Nisi Dominus (Choir Coach, Slow mode, Basso 2)
- Audi caelum (Choir Coach)
- Audi caelum (Choir Coach, Slow mode)
- Lauda Jerusalem (Choir Coach, Basso 1)
- Lauda Jerusalem (Choir Coach, Slow mode, Basso 1)
- Lauda Jerusalem (Choir Coach, Basso 2)
- Lauda Jerusalem (Choir Coach, Slow mode, Basso 2)
- Ave maris stella (Choir Coach, Basso 1)
- Ave maris stella (Choir Coach, Slow mode, Basso 1)
- Ave maris stella (Choir Coach, Basso 2)
- Ave maris stella (Choir Coach, Slow mode, Basso 2)
- Magnificat anima mea (Choir Coach, Basso 1)
- Magnificat anima mea (Choir Coach, Slow mode, Basso 1)
- Magnificat anima mea (Choir Coach, Basso 2)
- Magnificat anima mea (Choir Coach, Slow mode, Basso 2)
- Quia fecit mihi magna (Choir Coach, Basso 1)
- Quia fecit mihi magna (Choir Coach, Slow mode, Basso 1)
- Quia fecit mihi magna (Choir Coach, Basso 2)
- Quia fecit mihi magna (Choir Coach, Slow mode, Basso 2)
- Et misericordia (Choir Coach, Basso 1)
- Et misericordia (Choir Coach, Slow mode, Basso 1)
- Et misericordia (Choir Coach, Basso 2)
- Et misericordia (Choir Coach, Slow mode, Basso 2)
- Sicut erat in principio (Choir Coach, Basso 1)
- Sicut erat in principio (Choir Coach, Slow mode, Basso 1)
- Sicut erat in principio (Choir Coach, Basso 2)
- Sicut erat in principio (Choir Coach, Slow mode, Basso 2)
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Additional material
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Digital text (without sheet music) incl. printing licence, html file, singing text, english translationhtml file, singing text, english translation (Sample)1. Deus in adjutorium Make haste, O God, to deliver me.
Make haste to help me, O Lord.
Glory be to the Father, and to the Son,
and to the Holy Ghost;
as it was in the beginning,
is now, and ever shall be:
world without end. Amen.
Alleluia.
Ingressus of the Vespers. Psalms 69:2 (Vulgate 69:2)2. Dixit Dominus The Lord said unto my Lord,
sit thou at my right hand,
until I make thine enemies
thy footstool.
The Lord shall send the rod of thy strength out of Zion:
rule thou in the midst of thine enemies.
Thine shall be the dominion in the day of thy power,
...
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Digital text (without sheet music) incl. printing licence, html file, singing text, german translationhtml file, singing text, german translation (Sample)1. Deus in adjutorium
Gott, auf meine Hilfe sei bedacht.
Herr, eile mir zu helfen.
2. Dixit Dominus
Ehre sei dem Vater und dem Sohne
und dem Heiligen Geiste:
wie es war im Anfange
und jetzt und allezeit
und von Ewigkeit zu Ewigkeit. Amen.
Alleluja.
Vesper-Ingressus. Psalm 69,2 (Vulgata 69,2)Es sprach der Herr zu meinem Herrn:
Setze dich zu meiner Rechten,
bis ich deine Feinde hinlege als Schemel für deine Füße.
Das Zepter deiner Macht wird der Herr von Sion ausgehen lassen:
Herrsche inmitten deiner Feinde.
Bei dir ist Herrschaft am Tage deiner Macht
im Glanze der Heiligen;
ich habe dich aus meinem Schoße gezeugt vor...
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Digital text (without sheet music) incl. printing licence, html file, singing text, originalhtml file, singing text, original (Sample)1. Deus in adjutorium
Deus in adjutorium meum intende:
Domine ad adjuvandum me festina.
2. Dixit Dominus
Gloria Patri, et Filio,
et Spiritui Sancto.
Sicut erat in principio,
et nunc, et semper,
et in saecula saeculorum. Amen.
Alleluja.
Vesper-Ingressus. Psalm 69,2 (Vulgata 69,2)Dixit Dominus Domino meo:
Sede a dextris meis.
Donec ponam inimicos tuos
scabellum pedum tuorum.
Virgam virtutis tuae emittet
Dominus ex Sion:
dominare in medio inimicorum tuorum.
Tecum principium in die virtutis tuae
in splendoribus sanctorum:...
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Digital text (without sheet music) incl. printing licence, html file, Introductory text, englishhtml file, Introductory text, english (Sample)Text from the CD Carus 83.394
Uwe Wolf
Translation: Elizabeth Robinson1610. Claudio Monteverdi has been in service in Mantua for about 20 years, for the last seven as “maestro della musica” to the Duke of Mantua. Thanks to this employment he was able to write works including the operas L’Orfeo (1607) and L’Arianna (1608) which enjoyed great success beyond the region. But the numerous duties of his position drained his energies. He found it difficult to recover from the death of his wife in the autumn of 1607 and after her funeral initially did not want to return to Mantua at all. A church music position which might provide regular employment seemed worth striving for, but he was turned down for one such position, that of succeeding Giovanni Giacomo Gastoldi, who had died in 1609, as maestro di cappella at S. Barbara in Mantua. In 1610 Monteverdi had the opportunity
...
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Digital text (without sheet music) incl. printing licence, html file, Introductory text, germanhtml file, Introductory text, german (Sample)Booklet-Text der CD Carus 83.394
Uwe Wolf
1610. Claudio Monteverdi ist seit rund 20 Jahren in Mantuaer Diensten, seit sieben Jahren als „maestro della musica“ des Duca di Mantova. Dieser Anstellung verdanken wir u. a. die Opern L’Orfeo (1607) und L’Arianna (1608), mit denen Monteverdi große, überregional beachtete Erfolge feiern konnte. Aber die zahlreichen Verpflichtungen seines Amtes zehren an Monteverdi, der sich zudem nur schwer von dem Tod seiner Frau im Herbst 1607 erholen kann und nach deren Beisetzung er zunächst sogar gar nicht mehr nach Mantua zurückkehren wollte. Erstrebenswert scheint Monteverdi eine kirchenmusikalische Anstellung, von der er sich einen geregelteren Dienst erhoffen kann, doch die Nachfolge des 1609 verstorbenen Kapellmeisters an S. Barbara in Mantua, Giovanni Giacomo Gastoldi, bleibt ihm verwehrt. In dieser Situation bietet sich Monteverdi 1610
...
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Contents
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Composer
Claudio Monteverdi
| 1567-1643During 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
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Editor
Uwe Wolf
| 1961As a musicologist, Dr. Uwe Wolf is particularly at home in the 17th and 18th centuries. The focus of his work ranges from the time of Monteverdi and Schütz to Bach and the generation of Bach's sons and pupils through to Viennese Classicism. He has been head of the editorial department at Carus-Verlag since October 2011. Prior to this, he worked in Bach research for over 20 years. Personal details
Reviews
Eine wissenschaftlich mustergültig gearbeitete Ausgabe, die beweist, dass sich Wissenschaft und Praxis letztlich nur gegenseitig bereichern können.
Die Besprechung 12/2015
Nicht nur erscheinen alle Entscheidungen des Herausgebers plausibel und ausführlich begründet, sondern mit der Offenlegung von Gedankengängen und der Demonstration vielfältigen Materials – darunter etliche kenntnisreich kommentierte Faksimiles – leitet Wolf Leser und Musiker so behutsam wie intelligent zu jenen Problemen, die sich bei der Realisierung einer Komposition des 17. Jahrhunderts allenthalben stellen. ... In dieser Diskretion, die entschiedenes wissenschaftliches Urteil mit künstlerischer Liberalität verbindet, gerät Wolfs exzellente Ausgabe der Marienvesper zum Paradigma moderner Editionstechnik.
Michael Heinemann, Edition in der Kritik, Bd. 7 2015
... That said, this beautifully presented score is astoundingly good value, containing as it does not only an excellent new edition of the piece by Uwe Wolf but also seven facsimile pages of the earliest printed edition, full texts and translations, and a Foreword whose erudition is matched only by the enthusiasm of its author.
Jeremy Summerly, Choir & Organ, September/Oktober 2014
...das Aufführungsmaterial bietet für jeweils zwei Varianten die praktikablen Grundlagen (sodass man ggf. etwas streichen kann, aber nichts ergänzen muss).
Gottesdienst und Kirchenmusik 05/06.2015
Die Stimmen sind so ausgearbeitet, dass sie sowohl bei einer Aufführung mit kleiner Besetzung wie mit großem Chor gute Dienste leisten...
Schweizer Musikzeitung 05.2015
... die Ausgabe des Carus-Verlages ist sehr praxisorientiert, die Partitur ist vom Notenbild und von der Gliederung her sehr angenehm zu lesen. Vorbildlich ist der kritische Bericht mit exakten Quellenangaben zu jedem Abschnitt und mit verschiedenen Besetzungsvorschlägen für die Vokal- und Instrumentalstimmen. Ausführliche Hinweise zur Aufführungspraxis ergänzen die Publikation.
Gustav Danzinger, CHOR aktuell, 3/2014
... Uwe Wolf, Cheflektor des Carus-Verlags hat mit Monteverdis „Vespro della Beata Vergine” eine beeindruckende Neuedition vorgelegt... Übersetzungen, Faksimileseiten, Besetzungsvorschläge sowie ein detaillierter kritischer Bericht runden diese feine Edition ab, zu der sämtliche Stimmen erhältlich sind.
Singende Kirche, 2/2014
Uwe Wolf, Herausgeber der Neuausgabe bei Carus, hat den Druck von 1610 als Grundlage genommen, ergänzt um weitere Exemplare der Entstehungszeit. ... [Die Ausgabe] bietet ein ausführliches und instruktives Vorwort.
Kirchenmusik im Bistum Limburg, 1/2014
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