Claudio Monteverdi: Selva morale et spirituale. Salmi I - Partition | Carus-Verlag

Claudio Monteverdi Selva morale et spirituale. Salmi I

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Today Monteverdi's Selva morale et spirituale (1641) stands entirely in the shadow of his famous Vespers 1610. The editions from 1610 and 1641 both include music for the Mass and Vespers, but each of these collections was composed under much different circumstances during Monteverdi's lifetime. If the works of 1610 are a bold combination of traditional compositional techniques and avant garde music, which were intended by this weary Court Composer at Mantua as an application portfolio for a new job, the 1641 collection is the only church music by the mature Monteverdi which was published after almost thirty years in his position as Music Director of St. Mark's Cathedral: the latter, a kind of "best of" collection from his many years of experience as a church musician. In Venice the composer had not only a fabulous, but a large ensemble at his disposal (finally, about 35 singers, alone)! The big effect in this music is the combination of soloistic and weighty tutti sections, it makes the music, with its clearly defined sections and, for the most part homophonic choral passages more easily performable than the Vespers for today's choirs.The new edition, comprised initially of three volumes, also includes those works from the Selva Morale (a Mass and two Magnificats) which have already been published by Carus, as well as all further liturgical compositions for use in the church. The present volume, Salmi I, contains each of the first of the multiple settings of the psalms, as well as the "Credidi."


The edition is based on the methods employed in the much acclaimed Carus edition of the Vespers:

  • It contains a detailed foreword with suggestions for notation, scoring and for the liturgical use of individual compositions.
  •  For the present edition four of the five surviving printed copies, as well as contemporary manuscript were consulted. Facsimiles illustrate special characteristics of the edition of 1641. A Critical Report makes clear all of the editorial decisions made in the edition.
  • All of the pieces are printed untransposed and using the original note values.
  • All of the pieces are available in single editions with complete performance material.
  • Vocal scores of all works with obbligato instruments facilitate rehearsal.
  • Instrumental parts for collaparte accompaniment of tutti-sections (including text underlay).
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recueil Carus 27.802/00, ISMN 979-0-007-16778-3 148 Pages, 23 x 32 cm, cartonné
disponible
92,00 € / pièce
partitions numériques à télécharger, fichier pdf Carus 27.802/00-010-000, ISMN 979-0-007-25657-9 148 Pages, 23 x 32 cm
disponible
82,80 € / pièce
  • 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. Plus d'information sur la personne
  • Uwe Wolf studied musicology, history, and historical ancillary science at Tübingen and Göttingen. After receiving his doctorate in 1991 he was a research assistant at the Johann-Sebastian-Bach-Institut in Göttingen. From 2004 he worked at the Bach-Archiv Leipzig. There he directed a both research departments, was substantially responsible for the redisigning of the Bach Museum, and he developed the digital Online-Projekt Bach. Since October 2011 he has been the Chief Editor at Carus-Verlag, Stuttgart. He has taught at various universities and also belongs to the editorial boards of several complete editions. Plus d'information sur la personne

Critiques

... Ein Best-of aus langjähriger kirchenmusikalischer Praxis ...
Musik & Liturgie, 3/2017

Ein detaillierter Kritischer Bericht komplettiert diese feine Neuausgabe.
Singende Kirche, 3/2016

 

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