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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
Ignazio Donati
In te, Domine, speravi
A duet for two sopranos or tenors, this setting of texts based on Psalms 30 and 70 comes from the composer's fourth book of Concerti Ecclesiastici of 1618.

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O Domine, salvum me fac
This is the first piece in Donati's Motetti Concertati of 1627. The setting of words from psalm 117 is suitable for solo voices or choir, and lasts around four minutes.

In the interests of spacing, the continuo realisation has been omitted from the score, but one can be supplied - use the order box below.

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The following motets were edited by Dennis Collins and do not include keyboard realisations. These can be supplied separately if required at an additional charge of £1 per piece if ordered at the same time.
Ego dormio
Taken from the composer's 1619 book of solo motets, Ego dormio sets a text from The Song of Songs for either soprano or tenor. Donati uses descending scales to represent the singer falling asleep, and faster notes to denote his or her excitement when the loved one knocks on the door.

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Gaudens gaudebo
This fine duet for soprano and bass comes from Donati's Op. 5 Concerti Ecclesiastici, first published in 1618. The jubilant text from Isaiah 61 is set mostly imitatively, although there are short passages of declamation for both singers as well. There is none of the virtuosity associated with the composer's solo motets.

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Salve Regina
This Marian antiphon setting comes from the composer's Il secondo libro de motetti a voce sola, first published in 1636. It was printed "for the education of boys and girls" although several passages in the present work are clearly aimed at Donati's more able pupils! There are several vocal flourishes, though none as ornate as the final "Virgo Maria".

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Exaudisti Domine
This setting of a text from the Pentecost liturgy (asking the Lord to bless his church) also comes from the 1636 didactic set, Op. 14. Here again passages of declamation are interspersed with flourishes, the most dramatic of them reserved for "in toto corde" and "Deus".

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Da mihi Domine
Congratulamini
Obstupescite caeli

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