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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
Giovanni Antonio Rigatti
RIG050 *Dixit Dominus*
Edited by Dennis Collins.
This fine setting of Dixit Dominus is scored for a concrtino group of two sopranos and bass, with a ripieno of SATB and two violins above the continuo. Dennis plans to publish the whole set, so a Vespers programme will be possible. If you are interested, please contact us.
Performing set: Four scores and a set of single parts. Extra scores available.
Click here to see the first page.

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RIG051 *Beatus vir*
Edited by Dennis Collins.
This is another psalm from Rigatti's set using a three-voice concertino group (SSB), four-voice ripieno (SATB) and two violins.
Performing set: Four scores and a set of single parts. Extra scores available.
Click here to see the first page.

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RIG052 *Nisi Dominus*
Edited by Dennis Collins.
This psalm setting eschews the SATB ripieno and violins of the remainder of the set. This will add even more contrast in the context of a Vespers service.
Performing set: Four scores.
Click here to see the first page.

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RIG053 *Bonum est confiteri*
Edited by Dennis Collins.
This setting of the opening versions of Psalm 91 [92] "It is good to give praise to the Lord" is scored for soprano and continuo. In common time throughout, it is a real display piece with lots of florid melismata.
Performing set: Two scores.
Click here to see the opening.

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RIG054 *Egredimini amatores*
Edited by Dennis Collins.
Paraphrasing texts from the Song of Songs, this extended motet alternates between flowing triplet time and more virtuosic or declamatory common time sections.
Performing set: Two scores.
Click here to see the opening.

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RIG055 *Quasi cedrus*
Edited by Dennis Collins.
Sopranos will love this solo motet - the text comes Ecclesiasticus and is full of imagery that Rigatti sets with great imagination: at the end, it's almost as if she's been overcome by the sweet smells of all the trees...
Performing set: Two scores.
Click here to see the opening.

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RIG056 *Jubilate gaudete*
Edited by Dennis Collins.
Paraphrasing the opening of Psalm 65 [66], this extended motet is perhaps not as virtuosic as some of Rigatti's other output, but it's constantly varying meters and sinuous lines are a delight for both singers and listeners.
Performing set: Two scores.
Click here to see the opening.

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RIG057 *O stella caeli *
S, Bc. 8pp. -""Sample page
Edited by Dennis Collins
Performing set: Two scores. A bass part is available, and a continuo realization can be provided within a week.

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RIG058 *Salve regina*
A, Bc. 4pp. -""Sample page
Edited by Dennis Collins
Performing set: Two scores. A bass part is available, and a continuo realization can be provided within a week.

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RIG059 *Hymnum jucunditatis*
S, Bc. 4pp. -""Sample page
Edited by Dennis Collins
Performing set: Two scores. A bass part is available, and a continuo realization can be provided within a week.

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RIG060 *Jubilent in caelis*
S, Bc. 8pp. -""Sample page
Edited by Dennis Collins
Performing set: Two scores. A bass part is available, and a continuo realization can be provided within a week.

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RIG061 *Consolamini*
A, Bc. 4pp. -""Sample page
Edited by Dennis Collins
Performing set: Two scores. A bass part is available, and a continuo realization can be provided within a week.

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*Confitebor tibi Domine*
Edited by Brian Clark
Rigatti published a large volume of church music in 1640 and dedicated it to Ferdinand III of Austria, possibly in the hope of securing a job, perhaps even ahead of his boss at the time, Claudio Monteverdi. This Confitebor setting shows that he was quite a serious threat to the older man, and it is a tragedy that Rigatti died prematurely.
Click here to see the opening bars.

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The following pieces are from Dennis Collins's Celesti Fiori series. For a complete listing of editions available from Prima la musica! click here, or click here to visit his website.
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*Gaudent in caelis*
This duet for Sopranos or Tenors comes from Rigatti's 1647 book of concertato motets, his third and last such publication. The text is from Common of Several Martyrs.

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*Haec est vera fraternitas*
This duet for Sopranos or Tenors with continuo comes from Rigatti's third and last book of concertato motets, published in 1647. The text is from the Common of Several Martyrs.

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*Lauda Sion Salvatorem*
This cantilena comes from the 1634 book of concertato motets. A trio of two tenors and bass sing verse sections, which alternate with a tutti refrain. The text is for the Feast of Corpus Christi.

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*Tota pulchra es*
This setting of texts from the Song of Songs comes from Rigatti's first book of concertato motets, first published in 1634. The present edition is based on the 1640 reprint.

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*Justus germinabit*
Published in 1634, this cantilena contrasts a solo group of two tenors and bass, and a ripieno of SATB. The text comes from the common of doctors, confessors and martyrs. The two tenors may be replaced by sopranos.

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*Plaudite manibus*
This Marian cantilena opens with a triple time refrain, which recurs after three solo sections for two sopranos (or tenors) and bass.

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*Gaudete omnes*
There are a number of ways to perform this motet, that sets a Marian text (which allows for the substitution of the name of another female saint). Either five soloists (SSATB) can sing throughout, or the solo group (SST) can be joined for the alleluias by a tutti group.

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*Surge columba*
This solo motet from Rigatti's 1643 book sets a text after the Song of Songs. The tenor range is from the E below middle C to the G above. The close of the first section and most of the second require a certain vocal agility.

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*Salve regina*
This extended solo motet is scored for soprano and continuo. Tha range is from the D at the bottom of the staff to the G at the top. Of several virtuosic sections the final "triumphemus" is the most demanding and features echo-like dynamics.

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*Veni Domine*
This motet (for Soprano and Tenor, or two Tenors and continuo) sets a simple text that calls to Jesus, the Redeemer of mankind, to come and bring redemption. The music is simple but extremely effective.

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*Audite omnes gentes*
This motet is written in praise of the Virgin. There are two lyrical triple time sections and two imitative duple time passages. The unusual combination of voices (Soprano and Tenor, although the composer does suggest two Tenors as an alternative) make it all the more appealling.

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*Omnes jubilent*
This Soprano duet is written for celebrations of a male saint's day. It consists of a patchwork of duple and triple time sections. The saint's name should have three syllables!

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*Cur plaudit hodie*
This is another duet (this time for Alto and Bass) in praise of a male saint (again with a three-syllable name). The city of Venice and the mother Church join the singers in their celebrations and rejoicning.

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*Audite vocem Domini*
This motet begins with sections for Soprano duet and then for solo Bass. The three voices only join for the final triple time section, exalting the faithful to work with joy, and reap the rewards of glory everlasting.

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*Salve o regina*
This beautiful setting of a variant of Salve Regina is scored for two Tenors (or Sopranos), Bass and continuo. It opens with 17 strikingly homophonic bars, before Rigatti uses all his contrapuntal ingenuity and lyricism to convey the sentiments of the devotional text.

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*O suavissimum verbum*
After a chromatic imitative setting of the opening words, this motet for SATB and continuo consists of a solo for Tenor, which turns into a duet with the soprano, then a duple time section for all four voices, then a rolling triple time passage leading into the final "for his mercy endures for ever" that is stately and homophonic.

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*Magnificat*
Taken from the 1648 set of Mass and Psalm settings, this Magnificat features a solo group of two sopranos and bass, two violins, and a ripieno group of soprano, alto, tenor and bass. It is a fine piece and deserves a place in the regular repertoire, lacking any of the more demanding virtuosity of many settings from the period.

Click here to see the first page.

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The following pieces come from Rigatti's extensive collection of music for Compline. Several sections are set twice, enabling the participation of instruments, so performers must choose for themselves exactly which piece they wish to perform.

If you are in any doubt, or require assistance, please e-mail us.

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*Nunc dimittis I*
This setting of the Nunc Dimittis is from Rigatti's complete Compline publication and is scored for Soprano, two violins and continuo. At over 160 bars, it is one of the lengthiest pieces by the composer in our catalogue. The violins play little ritornello and imitative motifs between the singer's phrases.

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*Jube Domne*
This section is a dialogue between a Tenor accompanied by continuo alone, and a Bass with a pair of violins and continuo.

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*Confiteor*
Another duet, this time for Soprano and Alto with continuo, alternating passages in thirds with more imitative writing.

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*Cum invocarem I*
This very extensive motet is for Alto voice with two violins and an optional two violas (one alto, one bass) and continuo. It really is something of a technical challenge!

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*Cum invocarem II*
This extensive setting (over 200 bars!) alternates solos for Soprano, Alto, Tenor and Bass with duets, trios and quartets.

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*In te Domine speravi I*
For the first setting of Psalm 30 (31), Rigatti chooses a vocal trio of two Tenors (or Sopranos) and Bass.

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*In te Domine speravi II*
For the second setting, Rigatti employs Alto and Tenor solos with a pair of violins and two optional violas (one alto and one bass).

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*Qui habitat*
Scored for SATB, this setting of Psalm 90 (91) has solos and duets as well as Tutti sections.

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*Ecce nunc*
Psalm 133 (134) is also scored for SATB, but is mostly Tutti.

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*Nunc dimittis II*
This second setting of the Nunc dimittis ("Lord, now let thy servant depart in peace") has solos and duets, as well as full SATB sections.

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*In manus tuas*
This section of the service consists of Soprano (or Tenor) verses, which require plainchant responses - these can be supplied as required.

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*Ave regina coelorum I*
This first setting is a trio for two Tenors (or Sopranos) and Bass. The central section is a lovely duet for the Tenors.

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*Alma Redemptoris mater*
This is a challenging setting for solo Soprano (or Tenor) and continuo.

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*Ave regina coelorum II*
This lovely Marian antihpon setting for solo Soprano (or Tenor) and continuo opens with a lengthy triple time section.

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*Salve regina*
This setting uses five voices (SATTB) for the first time in the Compline service.

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*Regina coeli*
This solo setting is for Tenor (or Soprano) and continuo, and climaxes with an extraordinarily ornate Alleluia.

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Having concentrated on Rigatti's sacred output, Dennis Collins now turns his focus on to the composer's secular music.
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*O Dio Fillide*
Only one book of madrigals survives, dated 1636. This setting for SATB and continuo deals with a lover's attempts to convince her that her jealousy is unfounded.

To see the first page, click here.

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*O dolcezza incredibile*
This soprano duet - called a Romanesca in the 1636 print - sets a text based on Marino's Adone. An extended solo for the first soprano is framed by beautiful three-part writing, typical of Rigatti's melodic and often poignant harmonies.

Click here to see the opening of the piece.

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*Ah Clori*
This duet is marked "allegro", and it is full of the passion that the text describes. If the second soprano part is consistently the lower, it is no less demanding technically.

Click here to see the first page of the score.

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*Occhi miei*
This soprano duet (marked adasio (sic) several times) is an intense setting of a text about the eyes of a lover who cannot help behold beauty and then burst into tears…

Click here to see the first page.

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*Parto e non moro*
This four-voice madrigal (SATB and continuo) is divided into three sections: a contrapuntal opening, a brief Tenor solo, and then a final section that begins chordally.

To see the opening, click here.

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*O tu ch'hai cosi care*
This Tenor duet sets two verses of a poem about weeping bitter tears. Two common time sections frame a triple-time passacalia.

To see the first page, click here.

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*Felice chi vi mira*
This fine setting of one of the happier texts Rigatti selected for his only extant book of madrigals is scored for SATB and continuo and would make a fine concert partner to Parto e non moro above.

Click here to see the opening.

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*Udite meraviglia*
Another setting of an amorous text for the not-so-common pairing of Tenor, Bass & continuo, this time fixated upon blond hair!

Click here to see the first page.

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*Tu ti dogli*
The text of this lovely trio for Alto, Tenor, Bass and continuo plays with words - if you suffer, I suffer; if you grieve, I grieve: that sort of thing.

Click here to see the first page.

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*O misera Dorinda*
Another Tenor and Bass duet, this madrigal focusses on Dorinda's vain hopes - a fire that does not burn, and someone who exhales love, yet does not themself love.



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*Bacia Lidio*
A short but beautiful Soprano duet giving Lidio advice on where best to place his kisses!



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*Le più belle zitelle*
The zitelle of this virtuoso soprano duet's text are two pretty countryside spinsters, whose natural beauty adorns their virtuous quest for true love.



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*Vivo in foco amoroso*
Another fine Alto, Tenor, Bass trio ruminating on the metaphor of love as a fire.



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