Classics of seventeenth-century Italian sacred music set in modern notation, this third part of Vesper and Compline Music for Multiple Choirs features works by Giacomo Giacobbi, Viriglio Mazzochi, Tarquinio Merula and Francesco Soriano.

Drawing on the riches of a largely unknown repertoire, this innovative makes available in modern score a large selection of Italian sacred music scored from printed part-books that have never before been published in modern editions. Each genre is organized for easy accessibility. Mass settings are presented in chronological order. Vesper and compline music is arranged according to the number of voices, chronologically within each volume, beginning with works for one and two voices and progressing to compositions for multiple choirs. Motets present individual works from the most significant collections, arranged according to composer, with special emphasis on the compositions of Alessandro Grandi.

Part of a series of full-score volumes of 17th-century Italian sacred music which have been largely been unavailable for study or performance, includes a comprehensive introduction, composer history and offers modern notation for performers.

Although he is often identified as a Monteverdi scholar (Approaches to Monteverdi: Aesthetic, Psychological, Analytical and Historical Studies, published in the Variorum series in 2013), the majority of Jeffrey Kurtzman's work has focused on other sixteenth- and seventeenth-century Italian sacred music. Organized into three sections, part one begins with a chapter on the Monteverdi Mass and Vespers of 1610 which spotlights the other major work in Monteverdi's first prominent sacred print, the Missa in illo tempore, followed by examples of Kurtzman's work on the sacred music of other composers such as Giovanni Francesco Capello and Palestrina. The section concludes with a piece on polyphonic psalm structures in seventeenth-century Italian Office music. Part two includes pieces which explore the relationship between the standard clef set, the high clef set, specific Magnificat tones and sounding pitch in the Magnificats of Roman composers; the issue of polyphonic psalm antiphons and the question of vocal and instrumental substitutes for plainchant antiphons in the Vespers service; and the use of instruments in the performance of sacred music, demonstrating that the concertato style of the seventeenth century had its origins in the practice of substituting instruments for voices and doubling voices with instruments, thereby introducing multifaceted possibilities for varying sonorities through the course of a composition. Part 3 contains two articles: the first surveying various styles in the Office repertoire of the seventeenth-century based on the approximately 1500 prints of Italian Office music in Kurtzman's and Anne Schnoebelen's catalogue of Mass, Office and Holy Week Music Printed in Italy, 1516-1770. The second article, published for the first time in this volume, assesses the impact on Italian liturgical music of the Catholic reform of the second half of the sixteenth-century.

This volume gathers together twelve essays on the composer's music, reflecting the author's interests in aesthetic and psychological issues, the sacred works, methods of structural analysis, and the problems of making critical editions. The opera Orfeo and two madrigals from Monteverdi's Book Eight are the subject of aesthetic and psychological investigation, especially from the perspective of Michel Foucault's The Order of Things and the psychology of C.J. Jung, all supported by musical analysis. Two essays analyze in detail the structural principles of the psalms Laetatus sum from the 1610 Vespers and the first Dixit Dominus from the Sevla Morale e spirituale of 1641. Two others re-examine the story of Monteverdi's Mass of Thanksgiving and consider the question of what sacred music Monteverdi actually or likely wrote but is now lost. The final essay critiques and compares the methodology and problems of the Malipiero and Cremona editions of Monteverdi's Opera Omnia. All but one of these essays were originally published over a time span of twenty years in journals, conference reports, Festschriften, and as book chapters. The majority of them were not widely distributed or readily available until now. The essay on the Malipiero and Cremona editions appears here for the first time.

Classics of seventeenth-century Italian sacred music set in modern notation, this second part of Vesper and Compline Music for Multiple Choirs features works by Francesco Cavalli, Giovanni Legrenzi, Natale Monferrato, Agostino Steffani, Lorenzo Penna, Giovanni Paolo Colonna and Lodovico Viadana.

This volume is part of a series of 25 full-score volumes of 17th-century Italian sacred music, a repertoire that has largely been unavailable for study or performance. It includes a comprehensive historical and biographical introduction, focuses on composers significant in their own time, and offers modern notation for contemporary performers.

This is the only thoroughgoing study of the Monteverdi Vespers, vastly expanding on the author's 1978 set of essays on the subject, long since out of print. The volume studies the Vespers from the standpoint of its musical and liturgical origins and context, contains analytical essays on the music, and examines 17th-century performance practice as it pertains to the Vespers. Appendices include bibliographies and an analytical discography.

This edition is designed to meet the needs of both the scholar and the performer. It contains the complete music of all fourteen compositions as in Monteverdi's original print, plus the psalm 'Lauda Jerusalem' and the two Magnificats in a choice of pitches. Also provided are a continuo realization, notes on performance, Gregorian antiphons for the feasts of the Virgin, and examples of typical early seventeenth-century embellishments. Complete performing material is available on hire, and a Critical Commentary is available for sale from the OUP Hire Library.