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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
Claudio Monteverdi
It's not every day a "new" piece by a major composer sees the light of day, but that's exactly what appears to be the case here...
Confitebor tibi Domine
It seems that this setting of Psalm 110 has been overlooked by musicologists. It survives in a manuscript in the Düben Collection and the similarity of the scoring (soprano and five viole) to that of the well-known alla francese setting of the same text may explain the situation. The piece is built around two recurring sinfonie, and will be enjoyed by any singers (or players) looking for "new" Monteverdi!

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In the first issue of a new series, Dennis Collins has edited four motets for tenor and continuo from the 1625 Ghirlanda sacra, the first anthology of solo motets to be published in Italy. They are available separately or as a book or four, and may be ordered at different pitches, if required. Should you want the music in a key other than those given, please e-mail a request.

*Ecce sacrum paratum*
This Communion motet was originally published in G major, with a range from D to G.

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*Currite populi*
This prayer for intercession by an unnamed saint was published in G, ranging from C sharp to E.

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*O quam pulchra es*
Despite its typically erotic tones, Monteverdi chooses D minor for his setting. The range is C to G.

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*Salve regina*
This short setting of the fourth Marian antiphon is likewise in D minor, all within an octave of the key note.

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*Four motets for Tenor and continuo*
All four motets as listed above in a single volume.

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MON027 *Ego dormio*
SB, Bc. 4pp. -""Sample page
Edited by Dennis Collins
Performing set: Three scores.


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*Salve o regina*
This virtuosic setting of a gloss on the Marian antiphon Salve Maria is for Tenor (or Soprano) and Continuo.

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*Venite videte*
This lengthy Soprano motet demands more power of expression from the singer than virtuosity - not that the final 'Amen' lacks decoration!

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*Venite venite*
This may be a sacred duet, but there is something quite sensuous about it - perhaps drawing the Christian to enjoy the extasy of knowing Christ?

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*Ego flos campi*
This Alto motet sets a text from the Song of Songs: "I am the flower of the field..."

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line
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Having concentrated on Monteverdi's sacred output, Dennis Collins now turns his focus on to the composer's secular music, beginning with three fine madrigals.
*S'el vostro cor Madonna*
Taken from the composer's 7th Book of Madrigals of 1619, this Tenor / Bass duet sets a typically passionate text by Guarini.

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*Vorrei baciarti*
This duet is slightly unusual for the period in that the voices are labelled "Contralto", perhaps suggesting low female voices. The flirtatious text is by Marino, and the setting was published in Monteverdi's 7th Book of Madrigals, dated 1619.

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*O come sei gentile*
This is one of the best-known of Monteverdi's classic soprano duets. Overlapping vocal lines, sometimes angular lines, passionate outbursts of semiquavers (16ths) - these are all hallmarks of the stile concitato,

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*Interrote speranze*
Two tenors lament the pain and torture of unrequited love, in dark tones and heavily overlaid chords.

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*Non e di gentil core*
One of Monteverdi's most celebrated duets, this "you've never lived until you've loved" setting is the composer at his best.

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*Ardo e scoprir*
This astonishing Tenor duet from the composer's Book VIII is quite simply one of the marvels of the repertoire. The pacing of the text, the delightful word-setting at the close - all confirm Monteverdi's operatic gifts and sense of drama.

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*O viva fiamma*
The text of this soprano duet is almost a litany to the trials and tribulations of love. The piece ends appropriately with something akin to a hymn, asking for salvation, or at least recognition.

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*Io son pur vezzosetta*
This playful soprano duet sets a text about a charming shepherdess, so confident in her beauty and allure that one can positively see her rosy cheeks…

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*Se vittorie si belle*
This Book VIII duet has many "Combattimento" resonances, from the arpeggiated triple time opening, to the intertwining tenor lines. A tour de force for both singers.

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*T'amo mia vita*
This beautiful love song setting is for SSATB and comes from Monteverdi's delightful Book 5.

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*Chi vol haver felice*
This is one of the love songs from Monteverdi's Book 8. The text stipulates that it should be sung with full voice "in the French manner".

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*Lamento della ninfa*
This famous piece involves a trio of male singers who introduce and comment upon a young lady who is pained by the contents of a love letter - it is one of the defining moments of Monteverdi's power as a theatrical composer.

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*Non partir ritrosetta*
Taken from Book 8, this AAB trio has three verses.

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*Su su su pastorella*
This trio for two sopranos, alto and continuo similarly sets three verses, and comes from the 8th Book.

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