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Anonymous
Dall' Abaco
Ahle
Albrechtsberger
Albrici
Altnikol
Ariosti
Georg Arnold
C. P. E. Bach
Heinrich Bach
J. S. Bach
Badia
Becker
Franz Benda
Bernabei
Bertali
Biber
Bodinus
Bononcini
Boxberg
Burney
Buxtehude
Francesca Caccini
Caldara
Capricornus
Cavalli
Charpentier
Clemens
Corrette
Croft
Dittersdorf
Donati
Du Mont
Endler
Erlebach
Fasch
Ferrandini
Finger
Foerster
Fux
Galuppi
Gassmann
Geist
Gentili
Gletle
Goldberg
Gombert
Grandi
J. G. Graun
K. H. Graun
Graupner
Graziani
Handel
Michael Haydn
Heinichen
J. W. Hertel
Hoeckh
Hoffner
Josquin
Keiser
Kraus
Lassus
Legrenzi
Leonarda
Leopold I
Lully
Manfredini
Biagio Marini
Rupert Ignaz Mayr
Virgilio Mazzochi
Meck
Meder
Merula
Monteverdi
Muffat
Naumann
Nichelmann
Oliver y Astorga
d'Ordonez
Andreas Oswald
Pachelbel
Pepusch
Peranda
Pfleger
Pohle
D. Purcell
Rameau
Ranisius
T. Richter
Rigatti
Ristori
Roellig
Rogers
Rosenmüller
Luigi Rossi
Rovetta
de la Rue
Sances
A. Scarlatti
Schelle
Schmelzer
Sebastian
Smieton
Somis
Steffani
Stölzel
B. Strozzi
Luigi Taglietti
Tartini
Taverner
Telemann
Tunder
Vaet
Vanhal
Veracini
Wagenseil
S. Wesley
Wetzke
Zelenka
Heinrich Biber
The first section of the 1693 publication is entitled "extended settings" for Marian Vespers. They are scored for SATB solo and tutti, five-part strings, with optional brass doubling the ripieno voices. The pull-down menus give full details of what is available. The final option "SET" includes the four wind parts and four choral scores.

  Yale Schola Cantorum
Yale Schola Cantorum
 This delightful CD is the first fruit of a collaborative project between Prima la musica! and Yale Schola Cantorum, directed by Simon Carrington. The recording features music by Heinrich Biber (the Vespers set as listed below), Rupert Ignaz Mayr (his Deus in adjutorium and Sancta Maria), Leopold I (the hymn, Ave maris stella) and Legrenzi (Salve Regina), as well as instrumental music by Biber, Muffat and Wolfgang Ebner.

This is not a commercial recording as such; all profits from sales go towards financing future projects. In December 2005, Yale Schola Cantorum and the New York-based wind group Spiritus, directed by Simon Carrington, will celebrate the 400th anniversary of the birth of Antonio Bertali.

Please note that the price of the CD includes postage and packing.

    
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Dixit Dominus
In D major, this setting lasts about six minutes.

Click here to see the opening bars.

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Confitebor tibi, Domine
The second psalm from this set of Marian vespers is in B minor and 3/2 time throughout. Although not strictly an ostinato, there is a recurring figure which gives the movement a cohesive shape.

If you would like to see the first page of the score, please click here.

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Beatus vir
The third psalm of the set is in G major and features extended solo sections (including several bottom Ds for the bass) and ends with an elaborate Amen.

Click here to see the first page.

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Laudate, pueri, Dominum
The fourth psalm in the Vespers for the Blessed Virgin, this particular setting balances the four soloists with the choir. The bass soloist should have a range of two octaves, going down to the D below the clef.

Click here to see the first page of the piece.

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Laudate Domnium
This is the shortest text of the canon, and also Biber's most economical setting. There are no solo parts at all.

Click here to see the opening.

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Magnificat
As befits the final piece in the service, this is the most elaborate of Biber's longiores settings, with extended solos for all four voices, marked solos for violins, a section for alto and tenor with the two violas, and some fine choral writing.

Click here to see an extract.

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VESPERS SET
This set includes all of the Vesperae longiores settings. Six full scores allow the conductor, the continuo player and the soloists to follow the individual parts, while choral scores are sufficient for doubling singers. Single string parts are included, and there is an option to include the brass doubling parts.

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Fidicinium Sacro-Profanum (1682/83?)

We are delighted to make available Pierre Pascal's new Urtext editions of these wonderful five-part sonatas. When this set is complete, Pierre wants to devote some time to the music of Georg Muffat - and we can't wait!
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Sonata 1
The B minor sonata that opens the set quickly reveals Biber's mastery of five-part texture, exploiting both the dark harmonies of B minor and the related keys, and giving the violins ample scope for virtuosity.

Click here to see the opening.

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Sonata 2
The second of Biber's five-part sonatas is in F major, and consists of several contrasting sections rather than individual movements.

To see the opening section, click here.

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Sonata 3
The third of Biber's five-part sonatas is in D minor, and is another patchwork of contrasting sections.

Click here to see the first page.

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The second Prima la musica! project from the 1693 set is the Vespers for Marian Feasts. Initially each of the psalms will be published separately, but eventually a complete set (with hymns and antiphons by other composers) will be available.
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Dixit Dominus
The first psalm in the Marian Vespers plan is Dixit Dominus and Biber opens with one bar of solo strings before introducing the full Tutti in Bar 2. (Click here to see the opening.) There follows a fine patchwork piece with solos, small ensembles and tutti work, culminating in an extended Amen.

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Magnificat
The last piece in the set is a fine setting of the Magnificat, which begins with close imitation in the strings and ends with a double-canonic Amen. Biber also re-inforces the cyclical nature of the set by returning to G minor.
Click here to see the first page.

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Laudate, pueri, Dominum
The second psalm in the Marian sequence is built on an ostinato bass, initially in B flat major, but modulating to both the dominant and - just before the clse - to the sub-dominant. Biber's imaginative powers and cunning use of cross rhythms come into full play.

Click here to see the opening.

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Laetatus sum
The opening of this piece is quite unusual: a solo soprano starts over the continuo and is answered by the three lower voices (Tutti) and the strings. This is the third psalm of the sequence and full of fantastic music!

Click here to see the first few bars:

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Nisi Dominus
This is arguably the most complex of the psalms in this set, at least as far as the continuo player is concerned, as Biber uses a ground bass. Unbounded by the device, he produces a wide variety of colours and textures in the upper parts.

To see the first page, click here.

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Lauda Jerusalem
Of the psalms in this set, Lauda Jerusalem is perhaps the most soloistic - click here to see the opening, for example. The writing is typical of Biber: flowing melody and tight counterpoint alternate.



Buy product
VESPERS SET
This set includes all of the Marian Vespers settings. Six full scores allow the conductor, the continuo player and the soloists to follow the individual parts, while choral scores are sufficient for doubling singers. Single string parts are included, and there is an option to include the brass doubling parts.

Buy product
line
The second Prima la musica! project from the 1693 set is the Vespers for Marian Feasts. Initially each of the psalms will be published separately, but eventually a complete set (with hymns and antiphons by other composers) will be available.
line
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