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Claudio Monteverdi

Ihre Vorschau von der Schriftart Middle Saxony Text

'Vespro della Beata Vergine, 1610'       Il combattimento di Tancredi e Clorinda      L'Orfeo, favola in musica (SV 318)         Selva morale et spirituale      Lamento della Ninfa

      Claudio Monteverdi, circa 1640, by Roman artist Domenico Fetti, (Galleria dell'Accademia, Venice). Detail of Monteverdi's finest portrait.    Image:Claudio Monteverdi 4.jpg Posthumous portrait medallion of Monteverdi, etching by Barberis, (Associazione Amici della Raccolta Bertarelli, Milan).

 

 BIOGRAPHY
 
Claudio Giovanni Antonio Monteverdi (May 15, 1567 (baptized) – November 29, 1643), was an Italian composer, gambist, and singer.
Monteverdi's work, often regarded as revolutionary, marked the transition from the music of the Renaissance to that of the Baroque. Enjoying fame in his lifetime, he wrote one of the earliest operas, L'Orfeo, which is still regularly performed.
 
 
Life
Claudio Monteverdi, circa 1597, by an anonymous artist, (Ashmolean Museum, Oxford). Thought to be the earliest known image of Monteverdi, at about age 30, painted when he was still at the Gonzaga Court in Mantua.
Claudio Monteverdi, circa 1597, by an anonymous artist, (Ashmolean Museum, Oxford). Thought to be the earliest known image of Monteverdi, at about age 30, painted when he was still at the Gonzaga Court in Mantua.

Claudio Monteverdi was born in 1567 in Cremona, in Northern Italy, to Baldassare Monteverdi, a doctor, apothecary and surgeon. During his childhood, he was taught by Marc'Antonio Ingegneri, the maestro di cappella or singing master, at the Cathedral of Cremona. He wrote his first music for publication, some motets and sacred madrigals in 1582 and 1583. By 1587, he had produced his first book of secular madrigals. Between 1590 and 1611,[1] Monteverdi worked at the court of Vincenzo I of Gonzaga in Mantua as a vocalist and viol player. In 1602, he was working as the court conductor.
In 1599 Monteverdi married the court singer Claudia Cattaneo, who was to die in September 1607, leaving him with three children.
By 1613, Monteverdi had moved to the San Marco in Venice where, as conductor, he quickly restored the musical standard of both the choir and the instrumentalists, which had declined due to the financial mismanagement of his predecessor, Giulio Cesare Martinengo. The managers of the basilica were relieved to have such a distinguished musician in charge, as the music had been in decline since the death of Giovanni Croce in 1609.
Monteverdi was ordained a Catholic priest [2] in 1632,[3] and during the last years of his life, when he was often ill, he composed his two last masterpieces; both were operas: Il ritorno d'Ulisse in patria (The Return of Ulysses, 1641), and the historic opera L'incoronazione di Poppea (The Coronation of Poppea, 1642), based on the life of the Roman emperor Nero. L'incoronazione especially is considered a culminating point of Monteverdi's work; it contains tragic, romantic, and comedic scenes (a new development in opera), as well as a more realistic portrayal of the characters, along with warmer melodies than had previously been heard. It requires a smaller orchestra, and has a less prominent role for the choir. After a long period when Monterverdi's operas were regarded as of merely historical or musicological interest, since the 1960s The Coronation of Poppea has re-entered the repertoire of major opera companies worldwide.
Monteverdi died in Venice on November 29, 1643 and is buried in the church of the Frari.
 
 
Works
 
Madrigals
 
Until the age of forty, Monteverdi worked primarily on madrigals, composing a total of nine books. As a whole, the first eight books of madrigals show the enormous development from Renaissance polyphonic music to the monodic style typical of Baroque music.
The titles of his Madrigal books are:
  • Book 1, 1587: Madrigali a cinque voci
  • Book 2, 1590: Il secondo libro de madrigali a cinque voci
  • Book 3, 1592: Il terzo libro de madrigali a cinque voci
  • Book 4, 1603: Il quarto libro de madrigali a cinque voci
  • Book 5, 1605: Il quinto libro de madrigali a cinque voci
  • Book 6, 1614: Il sesto libro de madrigali a cinque voci
  • Book 7, 1619: Concerto. Settimo libro di madrigali
  • Book 8, 1638: Madrigali guerrieri, et amorosi con alcuni opuscoli in genere rappresentativo, che saranno per brevi Episodi fra i canti senza gesto.
  • Book 9, 1651: Madrigali e canzonette a due e tre voci
 
The Fifth Madrigal Book
The Quinto Libro (Fifth Book), published in 1605, was at the heart of the controversy between Monteverdi and Giovanni Artusi. The latter attacked the "crudities" and "license" of the modern style of composing, centering his attacks on madrigals (including Cruda Amarilli from the Quinto Libro (See Fabbri, Monteverdi, p. 60) see Media, below) from the fourth book. Monteverdi made his reply in the introduction to the fifth book, with a proposal of the division of musical practice into two streams, which he called prima pratica, and seconda pratica. Prima pratica was described as the previous polyphonic ideal of the sixteenth century, with flowing strict counterpoint, prepared dissonance, and equality of voices; seconda pratica used much freer counterpoint with an increasing hierarchy of voices, emphasising soprano and bass. This represented a move towards the new style of monody. The introduction of continuo in many of the madrigals of the book was a further self-consciously modern feature. In addition, the fifth book showed the beginnings of conscious functional tonality.
 
The Eighth Madrigal Book
The Ottavo Libro, published in 1638, includes the so-called Madrigali dei guerrieri ed amorosi which many consider to be the perfection of the madrigal form.
While in Venice, Monteverdi also finished his sixth, seventh and eighth books of madrigals. The eighth is the largest, containing works written over a thirty-year period, including the dramatic scene Tancredi e Clorinda (1624), in which the orchestra and voices form two separate entities; they act as counterparts. Most likely Monteverdi was inspired to try this arrangement because of the two opposite balconies in San Marco, which had inspired much similar music from composers there, such as Gabrieli. What made this composition also stand out is the first-time use of string tremolo (fast repetition of the same tone) and pizzicato (plucking strings with fingers) for special effect in dramatic scenes.
 
The Ninth Madrigal Book
The ninth book of madrigals, published posthumously in 1651, contains lighter pieces such as canzonettas which were probably composed throughout Monteverdi's lifetime representing both styles.
 
Operas
Frontispiece of Monteverdi's opera L'Orfeo, Venice edition, 1609.
Frontispiece of Monteverdi's opera L'Orfeo, Venice edition, 1609.
 
 
 
Monteverdi composed at least eighteen operas, but only L'Orfeo, L'incoronazione di Poppea, Il ritorno d'Ulisse in patria and the famous aria, Lamento, from his second opera L'Arianna have survived. From monody (with melodic lines, intelligible text and placid accompanying music), it was a logical step for Monteverdi to begin composing opera, especially for a dramatically inclined composer who loved grand effect. In 1607, the premiere of his first opera, L'Orfeo, took place in Mantua. It was normal at that time for composers to create works on demand for special occasions, and this piece was part of the ducal celebrations of carnival. (Monteverdi was later to write for the first opera houses supported by ticket sales which opened in Venice). L'Orfeo has dramatic power and lively orchestration and is arguably the first example of a composer assigning specific instruments to parts in operas. It is also one of the first large compositions in which the exact instrumentation of the premiere has come down to us. The plot is described in vivid musical pictures and the melodies are linear and clear. With this opera, Monteverdi created an entirely new style of music, the dramma per la musica (musical drama) as it was called. L'Arianna was the second opera written by Claudio Monteverdi, and one of the most influential and famous specimens of early baroque opera. It was first performed in Mantua in 1608. Its subject matter was the ancient Greek legend of Ariadne and Theseus. During the last years of his life, when Monteverdi was often ill, he composed his two last masterpieces, both operas: Il ritorno d'Ulisse in patria (The Return of Ulysses, 1641), and the historic opera, L'incoronazione di Poppea, (The Coronation of Poppea, 1642), based on the life of the Roman emperor Nero.
 
Other Works
 
The Vespers of 1610 are also one of the best examples of early repetition and contrast, with many of the parts having a clear ritornello. The published work is on a very grand scale and there has been some controversy as to whether all the movements were intended to be performed in a single service. However, there are various indications of internal unity. In its scope it foreshadows such summits of Baroque music as Handel's Messiah, and J.S. Bach's St Matthew Passion. Each part (there are twenty-five in total) is fully developed in both a musical and dramatic sense - the instrumental textures are used to precise dramatic and emotional effect, in a way that had not been seen before
 

 
 
 
 
My  Collection
 
 
 
                                                                                      
 
  1. Monteverdi Choir Domine,ne in furore tuo Kirkby et al.John Eliot Gardner Monteverdi choir & orch   
  2. Monteverdi Choir Exulta filia Sion   Kirkby et al. John Eliot Gardner  Monteverdi choir & orch  
  3. Monteverdi Choir Exultent caeli Kirkby et al.John Eliot Gardner Monteverdi choir & orch           
  4. Monteverdi Choir Laudate Dominum Kirkby et al. John Eliot Gardner Monteverdi choir & orch 
  5. Monteverdi Choir Laudate Dominum III Kirkby et al.John Eliot Gardner Monteverdi choir & orch           
  6. Monteverdi Choir Laudate pueri Dominum Kirkby et al. John Eliot Gardner Monteverdi choir & orch   
  7. Monteverdi Choir Salve regina Kirkby et al. John Eliot Gardner Monteverdi choir & orch
  8. Monteverdi Choir Salve, o regina Kirkby et al. John Eliot Gardner Monteverdi choir & orch       
  9. Monteverdi Choir Sancta Maria Kirkby et al.John Eliot Gardner Monteverdi choir & orch
  10. Monteverdi Choir Messa da capella  1640 Kirkby et al. John Eliot Gardner  Monteverdi choir & orch   
  11. Monteverdi Choir Messa da capella 1650  Kirkby et al. John Eliot Gardner  Monteverdi choir & orch   
  12. Monteverdi Choir Ut queant Iaxis    Kirkby et al. John Eliot Gardner  Monteverdi choir & orch  
  13. Monteverdi Choir Exultent   Caeli Messana Hill John Eliot Gardner Monteverdi choir & orch     
  14. Monteverdi Choir Exultant caeli Sampson,Outram,Daniels,Harvey,Gilchrist  Robert King King's Consort         
  15. Monteverdi Choir Venite, siccientes Sampson,Outram,Daniels,Harvey,Gilchrist Robert King  King's Consort        
  16. Monteverdi Choir Currite populi Sampson,Outram,Daniels,Harvey,Gilchrist Robert King King's Consort         
  17. Monteverdi Choir Ego dormio Sampson,Outram,Daniels,Harvey,Gilchrist Robert King King's Consort         
  18. Monteverdi Choir Messa a 4 voci Sampson,Outram,Daniels,Harvey,Gilchrist Robert King King's Consort         
  19. Monteverdi Choir Cantata Domino  Sampson, Outram,Daniels,Harvey,Gilchrist Robert King King's Consort        
  20. Monteverdi Choir O beatae viae Sampson,Outram,Daniels,Harvey,Gilchrist Robert King King's Consort         
  21. Monteverdi Choir Laudate Dominum Sampson, Outram,Daniels,Harvey,Gilchrist Robert King King's Consort        
  22. Monteverdi Choir Letaniae della Beate Vergine Sampson, Outram,Daniels,Harvey,Gilchrist Robert King King's Consort         
  23. Monteverdi Choir AMOR ,  DICEA 17   duets & madrigals Alan Curtis Il complesso barocco   
  24. Monteverdi Choir Opera L'ORFEO Carmigniani,Sarti,Lepore  Vaccari, Frisani Sergio Vartolo Soloists, capella di st. Petronio 
  25. Monteverdi Choir Lamento  della ninfa Sergio Vartolo  Soloists, capella di st. Petronio 
  26. Monteverdi Choir Lamento  d'Arianna Sergio Vartolo    Soloists, capella di st. Petronio 
  27. Monteverdi Choir Lamento  d'Arianna Jaap Ter Linden-VDGB  K. Junghanel-theorbo Jacobs-contratenor Muler-Molinari-mezzo-sopr.Concerto Vocale  
  28. Monteverdi Choir Bel pastor,a 2 voci Jaap Ter Linden-VDGB K. Junghanel-theorbo Jacobs-contratenor Muler-Molinari-mezzo-sopr.         Concerto Vocale     
  29. Monteverdi Choir Non e di gentil core,a 2 voci Jaap Ter Linden-VDGB  K. Junghanel-theorbo Rene jacobs
  30. contratenor Helg Muler-Molinari-mezzo-sopr.Concerto Vocale    
  31. Monteverdi Choir O come sei gentile,a 2 voci Jaap Ter Linden-VDGB K. Junghanel-theorbo Rene jacobs
  32. contratenor Helg Muler-Molinari-mezzo-sopr.Concerto Vocale    
  33. Monteverdi Choir O hime,dove il mio ben a 2 voci Jaap Ter Linden-VDGB K. Junghanel-theorbo Rene jacobs
  34. contratenor Helg Muler-Molinari-mezzo-sopr. Concerto Vocale   
  35. Monteverdi Choir Zefiro torna a 2 voci Jaap Ter Linden-VDGB K. Junghanel-theorbo Rene Jacobs contratenor Helg Muler-Molinari-mezzo-sopr. Concerto Vocale   
  36. Monteverdi Choir Vespro  della Beata  Vergine 1610  Gomez,Tear, Palmer,Bowman Langridge John Eliot Gardner  Monteverdi choir & orch  
  37. Monteverdi Choir Magnificat  6vv,1610 Kirkby et al.John Eliot Gardner Monteverdi choir & orch           
  38. Monteverdi Choir Xantate  domino  Kirkby et al. John Eliot Gardner  Monteverdi choir & orch  
  39. Monteverdi Choir Voglio di vita uscir Marco Longhini Delitiae Musicae        
  40. Monteverdi Choir Fuggi cor Marco Longhini Delitiae Musicae   
  41. Monteverdi Choir Ahi, che si part'il mio sol Marco Longhini Delitiae Musicae        
  42. Monteverdi Choir Se d'un angel' il bel viso Marco Longhini Delitiae Musicae         
  43. Monteverdi Choir Lamento d'Olimpia Marco Longhini Delitiae Musicae       
  44. Monteverdi Choir PRIMO LIBRO DE MADRIGALI – 1587  21 CHANTS Marco Longhin  Delitiae Musicae        
  45. Monteverdi Choir SECONDO  LIBRO DE MADRIGALI – 1590 21 CHANTS Kirkby et al. Anthony Rooly The consort of musicke     
  46. Monteverdi Choir TERZO LIBRO DE MADRIGALI – 1592 18 CHANTS Kirkby et al.Anthony Rooly The consort of musicke     
  47. Monteverdi Choir QUARTO LIBRO DE' MADRIGALI  - 10  CHANTS Bertini et al.Rinaldo Alessandrini Concerto Italiano  
  48. Monteverdi Choir QUINTO LIBRO DE' MADRIGALI - 19  CHANTS  Bertini et al. Rinaldo Alessandrini Concerto Italiano  
  49. Monteverdi Choir SESTO LIBRO DE MADRIGALI – 1614  10 CHANTS Kirkby et al.Anthony Rooly The consort of musicke     
  50. Monteverdi Choir SETTIMO LIBRO DE MADRIGALI - part I 16  CHANTS  Various soloists Roberto Gini Ensemble Concerto
  51. Monteverdi Choir SETTIMO LIBRO DE MADRIGALI - part II  13  CHANTS Various soloists Roberto Gini Ensemble Concerto
  52. Monteverdi Choir L'OTTAVO LIBRO DE MADRIGALI Madrigali  amorosi – 1638 14 CHANTS Kirkby et al.Anthony Rooly The consort of musicke  
  53. Monteverdi Choir MADRIGALI EROTICI   E SPIRITUALI 15  CHANTS Kirkby et al.The consort of musicke   
  54. Monteverdi Choir Madregali Sui Testi del Tasso Primo libro  3  pieces Miatello,Pennicchi,Banditelli,Cavina,Fagoto,Spagnoli         Rinaldo Alessandrini Concerto Italiano           
  55. Monteverdi Choir Madregali Sui Testi del Tasso Secondo libro  5  pieces  atello,Pennicchi,Banditelli, Cavina,Fagoto,Spagnoli            Rinaldo Alessandrini Concerto Italiano           
  56. Monteverdi Choir Madregali Sui Testi del Tasso Secondo libro  4  pieces  Miatello,Pennicchi,Banditelli,Cavina,Fagoto,
  57. Spagnoli Rinaldo Alessandrini Concerto Italiano      
  58. Monteverdi Choir Madregali Sui Testi del Tasso Terzo libro  3  pieces          Miatello,Pennicchi,Banditelli, Cavina,Fagoto,Spagnoli        Rinaldo Alessandrini Concerto Italiano        
  59. Monteverdi Choir Madregali Sui Testi del Tasso Terzo libro  3  pieces Miatello,Pennicchi,Banditelli,Cavina,Fagoto,Spagnoli         Rinaldo Alessandrini Concerto Italiano           
  60. Monteverdi Choir Combatimento di Tancredi e Clorinda Various soloists Roberto Gini Ensemble Concerto      
  61. Monteverdi Choir Il Ballo delle Ingrate Various soloists Roberto Gini Ensemble Concerto         
  62. Monteverdi Choir Lamento della Ninfa Various soloists Roberto Gini  nsemble Concerto           
  63. Monteverdi Choir Lamento D'Arianna Rosita Frisani Manuela Custer Francesco Cera Ensemble Arte-Musica 
  64. Monteverdi Choir Scherzi Musicali 11 pieces Rosita Frisani Manuela Custer Francesco Cera Ensemble Arte-Musica      
  65. Monteverdi Choir Lamento D'Ottavia Rosita Frisani Manuela Custer Francesco Cera Ensemble Arte-Musica 
  66. Monteverdi Choir Dixit Dominus B.Fabre-Gamus  A Sei Voci     
  67. Monteverdi Choir O  bone Jesu B.Fabre-Gamus A Sei Voci        
  68. Monteverdi Choir Laudate Pueri Dominum B.Fabre-Gamus A Sei Voci         
  69. Monteverdi Choir O quam pulchra es B.Fabre-Gamus A Sei Voci        
  70. Monteverdi Choir Beatus vir   B.Fabre-Gamus A Sei Voci           
  71. Monteverdi Choir Ego dormio B.Fabre-Gamus A Sei Voci           
  72. Monteverdi Choir Lauda Jerusalem B.Fabre-Gamus A Sei Voci           
  73. Monteverdi Choir Ego flos campi B.Fabre-Gamus A Sei Voci     
  74. Monteverdi Choir Salve regina B.Fabre-Gamus A Sei Voci         
  75. Monteverdi Choir Magnificat  B.Fabre-Gamus A Sei Voci           
  76. Monteverdi Arie & Lamenti per voce sola Lettera amorosa a voce sola 7th book  Figuares-opran Koopman-cemb. Pandolfo-VDGB,Lislevand-theorb, Duftschmidt-violone,King-harp                            
  77. Monteverdi Arie & Lamenti per voce sola Ohime ch'io cado 9th book  Figuares-opran Koopman-cemb. Pandolfo-VDGB,
  78. Lislevand-theorb,Duftschmidt-violone,King-harp                             
  79. Monteverdi Arie & Lamenti per voce sola Si dolce e il tormento 9th book  Figuares-opran Koopman-cemb. Pandolfo-VDGB,
  80. Lislevand-theorb,Duftschmidt-violone,King-harp                             
  81. Monteverdi Arie & Lamenti per voce sola Lamento d'Ariana  Figuares-opran Koopman-cemb. Pandolfo-VDGB,
  82. Lislevand-theorb,Duftschmidt-violone,King-harp                             
  83. Monteverdi Arie & Lamenti per voce sola Quell sguardo sdegnosette Scherzi Musicali, 1632  Figuares-opran Koopman-cemb. Pandolfo-VDGB,Lislevand-theorb,Duftschmidt-violone,King-harp                                   
  84. Monteverdi Arie & Lamenti per voce sola Salve Regina  Figuares-opran Koopman-cemb. Pandolfo-VDGB,
  85. Lislevand-theorb,Duftschmidt-violone,King-harp                             
  86. Monteverdi Arie & Lamenti per voce sola O quam Pulchra  Figuares-opran Koopman-cemb. Pandolfo-VDGB,
  87. Lislevand-theorb,Duftschmidt-violone,King-harp                             
  88. Monteverdi Arie & Lamenti per voce sola Exulta filia Sion  Figuares-opran Koopman-cemb. Pandolfo-VDGB,
  89. Lislevand-theorb,Duftschmidt-violone,King-harp                             
  90. Monteverdi Arie & Lamenti per voce sola Pianto della Madonna sopra il Lamento d'Ariana  Figuares-opran Koopman-cemb. Pandolfo-VDGB, Lislevand-theorb Duftschmidt-violone,King-harp                                   
  91. Monteverdi Arie & Lamenti per voce sola Venite videte  Figuares-opran Koopman-cemb. Pandolfo-VDGB,Lislevand-theorb.Duftschmidt-violone,King-harp                                   
  92. Monteverdi Soprano PIANTO   DELLA MADONNA – 5  Motets Maria Cristina Kiehr Aymes            Concerto Soave      
  93. Monteverdi Contratenor PIANTO   DELLA MADONNA -  Iam moriar, mi fili Robin Blaze Peter Holman The Parley of instruments        
  94. Monteverdi Choir Gira il nemico  insidioso Edwin  Loehrer Societa CamLugano    
  95. Monteverdi Choir Combatimento di Tancredi  e Clorinda Edwin  Loehrer  Societa CamLugano           
  96. Monteverdi Choir Vago  augelletto  Edwin  Loehrer Societa CamLugano      
  97. Monteverdi Choir Zefiro  Torna Edwin  Loehrer Societa CamLugano  
  98. Monteverdi Choir Lettera  amorosa Edwin  Loehrer Societa CamLugano      
  99. Monteverdi Choir Tre canzonette a 3 voci maschili Edwin  Loehrer Societa CamLugano           
  100. Monteverdi Choir Chiome d'oro Edwin  Loehrer Societa CamLugano  
  101. Monteverdi Choir Ardo, e scoprir - ahi lasso Edwin  Loehrer   Societa CamLugano           
  102. Monteverdi Choir Cor mio non mori ? e  mori Edwin  Loehrer Societa CamLugano           
  103. Monteverdi Choir Parlo  miser o  taccio Edwin  Loehrer Societa CamLugano          
  104. Monteverdi Choir La piaga c'ho nel core Edwin  Loehrer Societa CamLugano        
  105. Monteverdi Choir Amor che deggio far ?   Edwin  Loehrer Societa CamLugano      
  106.  Monteverdi Choir  Vespro della Beata Vergine  Cantus Colln , Concerto Palatino, Konrad Junghanel, 12 pieces  
  107. Monteverdi   Choir , Magnificat , Cantus Colln , Concerto Palatino, Konrad Junghanel,

  108. Monteverdi   VDGB Consort.Lute/guitar/Chitarrone  arpadoppia  Sinfonia   Hille Perl , Muller Sagasser,Santana Rothbauer,van Laarhoven,  Lawrence-King   

  109. Monteverdi    VDGB Consort,Lute / guitar /Chitarrone  arpadoppia  Sinfonia   Hille Perl ,Muller Sagasser,Santana Rothbauer,van Laarhoven,  Lawrence-King                                    

    110.  
Claudio Monteverdi
 Venice
Veneto, Italy
 
 
 
 
Recordings  

 

L'Orfeo
 

Vespro della Beatta Vergine
 

Vespro della Beata Vergine
 

A voce sola, con sinfonie
 

The Sacred Music - 2
 

Salve Sancta Parens
 

L'Orfeo
 

Combattimento di Tancredi e Clorinda
 

Magnificat
 

Vespro della Beata Vergine
 

     

La Venexiana live!
 

Il ritorno d'Ulisse in patria
 

Easter cantatas
 

Secondo Libro dei Madrigali
 

Fire & Ashes
 
 
 
 
 

Terzo Libro
 

L'Orfeo
 

Salve Regina
 

Vespro a voce sola
 

Music of the "Chapels Royal" of England

     

Venetian Church Music
 

Quinto libro de' madrigali
 

Battaglie & Lamenti
 

Sacred vocal music
 

Quarto Libro dei Madrigali
 

Selva morale e spirituale
 

Vespro della Beata Vergine
 

L'Incoronazione di Poppea
 

Il combattimento di Tancredi e Clorinda
 

Vespro della Beata Vergine 1610
 

     

Lamento d'Arianna. Scherzi musicali
 

Music for San Marco in Venice
 

Selva Morale e Spirituale
 

L'Orfeo
 

Il combattimento di Tancredi e Clorinda
 

Pianto della Madonna
 

Gloria
Gloria 


 
 

Ottavo libro de' madrigali, vol. 1
 

The Sacred Works - Vol 1
 

L'Orfeo

     

Cantatas
 

Concerto. Settimo libro di madrigali, 1619
 

Si dolce ט il tormento
 

Cantatas for Ascension Day
 

Vespro della Beata Vergine 1610
 

Une Messe imaginaire
 

Madrigali guerrieri ed amorosi
 

L'ְge D'or du Cornet ְ Bouquin
                L'ְge D'or du Cornet ְ Bouquin 

 
 
 


 

 
 

Il quarto libro dei madrigali
 

Este libro es de Don Luis Rossi
 

Il canzionere
 
Zefiro torna

 

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