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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 Rovetta
O intemerata
An unusual motet from Rovetta's Salmi Concertati of 1626, this prayer setting is scored for two basses (one of whom has to sing a bottom D), two violins and continuo.

Click here to see the first page of this piece.

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*Beatus vir a5*
This psalm setting for SSATB and continuo comes from Rovetta's 1626 print and, apart from the opening of the Gloria section, is contrapuntal throughout, with a recurring figure "Beatus vir" giving the piece an overall shape.

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*Credidi a6*
Marked "Alla Breve" this psalm setting for SSATTB and continuo is written in an older style than many of the other pieces in the 1626 set. Rovetta combines different pairs of voices to create an ever-varying sonority and uses short imitative figures to build the texture.

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*Dixit Dominus a5*
This piece is more soloistic and virtuosic than many of the others from 1626 publication. Score for SATTB and continuo, it alternates Tutti passages with extended solos and duets.

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*Lauda Jerusalem a5*
Apart from the Gloria section, which consists of a series of duets, this 5-part setting (SATTB and continuo) is characterised by its use of imitative points for each of the verses. Particularly illustrative of the text are "quis sustinebit?" and "et liquefaciet".

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Salve O Regina
This duet sets a variant of the standard Marian antiphon text for two tenors and continuo. As well as the parts in voice part books, the continuo book from Rovetta's 1626 set of psalms and motets contains a textless score of the piece.

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*Canzon 3 a4*
This canzona pairs two violins and two violas above continuo. The second of the violas is originally printed in Alto and Bass clefs, but the music fits perfectly on a standard viola. Clearly Rovetta considered the instrument every bit as agile as the violins!

Click here to see the opening page.

Score: 8pp. Five parts, 4pp each.

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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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*Salve Regina*
A Marian antiphon setting from Rovetta's Op. 3 of 1635 scored for Soprano, Mezzo, Alto, Tenor, Bass and Continuo.

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*Alma Redemptoris mater*
This duet for Sopranos or Tenors comes from the composer's Motetti Concertati, Op. 3. Be warned that Rovetta's setting of "Tu quae genuisti tuum sanctum genitorem" is a bit of a tongue-twister.

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*Dominus illuminatio mea*
Published in Rovetta's 1635 book of Motetti Concertati, this duet alternates solo passages with imitation until the final Alleluia section which is in triple time.

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*Exultavit cor meum*
Another duet from Rovetta's first book of motets. It is possibly more virtuosic than the others we have so far published with several semiquaver flourishes.

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*Cantate Domino*
This motet for SATB and continuo comes from Rovetta's 1635 book of Motetti Concertati.

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*Laudate pueri*
This fine setting of Psalm 112 (113) for SSATB, two violins and continuo comes from Rovetta's 1626 set. Slightly unusually, it is in triple time throughout.

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*Magnificat*
This is one of the grandest pieces in Rovetta's 1626 set. It is scored for six voices (SSATTB), two violins and continuo, and has extended solos for each of the voices. In the violin writing, Rovetta anticipates the Selva morale set by his boss at San Marco, Monteverdi.

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*Laetatus sum*
In this unusual psalm setting from Rovetta's 1626 set, the violins are held in reserve for over 100 bars. When they do enter, they accompany a bass solo. The Gloria section sees the full forces (SSATB) join with the instruments. Elsewhere, there is ample evidence of Rovetta's contrapuntal skill.

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*Ave Regina caelorum*
This exquisite trio is one of the Marian antiphons included with Rovetta's 1626 Vespers psalms. The three voices are beautifully balanced in each of the sections.

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*Canzon secunda a3*
Rovetta's instrumental output is often ignored in favour of his more popular church music (even the solos, duets and concerted madrigals are not known very widely). This trio for two violins or cornettos, trombone and continuo, shows that he is as much the master of chamber music as he is of the voice. There are forte / piano echo passages, a two octave scale from the trombone, and plenty of excitement for players and listeners alike.

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*O Maria quam pulchra es*
This is a beautiful solo motet for Tenor and continuo. It was published in the same anthology as the four Monteverdi motets that Dennis has edited, and shares with them stylish lyricism and demanding passagework.

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*Canzon prima a3*
This fine canzona is scored for two violins, viola and continuo.

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*Salve regina*
This richly-scored setting of the Marian antiphon uses four men's voices (TTBB) and continuo. Rovetta cleverly uses different pairings of voices to achieve contrast, and exploits the sonority to the full at musical and textual highpoints.

To see the opening page, click here.

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*Missa concertata a4*
This mass setting is for Alto, two Tenors and Bass with continuo. All the Ordinary of the Mass (Kyrie, Gloria, Credo, Sanctus and Agnus Dei) are set (unusually for a Venetian mass of this period).

Click here to see the first page.

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*Quam pulchra es amica mea*
Rovetta's setting of texts from the Song of Songs is printed as if for Soprano and Alto with continuo, but the composer suggests that any combination of voices (including Tenor and Bass) can sing it.

By clicking here you can see the first page.

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*Salve regina*
This is one of Rovetta's best-known works, partly because it was attributed to various other composers, including Tunder and none other than Emperor Leopold I (where the source says the string parts were by Bertali…).

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Dennis has now also turned his hand to some of Rovetta's exceptionally fine madrigals.
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*Voi partite crudele*
This impassioned soprano duet confirms Rovetta's mastery of the genre. Setting a text about the departure of a heartless lover, he uses rich harmonies and clever imitative figures to convey the emotional intensity.

To see the opening, click here.

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*O quante volte*
This soprano duet is longer than the previous one and sets a text about an unhappy man who is yet to find true love. Rovetta uses snippets of triple time to interrupt the flow, to masterful effect.

Click here to see the first page.

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