Layout Table~~~~1587~1587~~

Giovanni Legrenzi~~~~1587~1641~~

Alma Redemptoris mater~This setting of the Marian antiphon is for five voices (SATTB) and continuo, and comes from the composer's 1662 Compline publication.

Click here to see an extract from this piece.~~Six scores|LEG003.2|Score|LEG003.1|~1587~863~Legrenzi, soprano, alto, tenor, bass, sattb~

Alma Redemptoris mater~Taken from Legrenzi's Op. 6, Sentimenti Devoti, this setting of the Marian antiphon is for two sopranos and continuo.

Click here to see the first page.~~Three scores|LEG007.2|Score|LEG007.1|~1587~1090~Legrenzi, duet, soprano~

Ave, Regina coelorum~The second Marian antiphon from Legrenzi's Compline of 1662 is also scored for SATTB and continuo. The final section is an outstanding piece of simple counterpoint.

If you would like to see an extract from this piece, please click here.~~Six scores|LEG004.2|Score|LEG004.1|~1587~864~Legrenzi, soprano, alto, tenor, bass, sattb~

Ave, Regina coelorum~Taken from Legrenzi's Op. 6, Sentimenti Devoti, this setting of the Marian antiphon is for Soprano, Alto and continuo, although the upper voice is more like a mezzo.

To see the first page, click here.~~Three scores|LEG008.2|Score|LEG008.1|~1587~1053~Legrenzi, soprano, alto,~

In te, Domine, speravi~Part of the composer's set of all the music required for the service of Compline, this short motet works well with small choir and solo voices (SATTB) with continuo.

Click here to see an extract from this piece.~~Six scores|LEG002.2|Score|LEG002.1|~1587~328~Legrenzi, sattb, soprano, tenor, bass, motet~

*Memoriam fecit*~This motet for Alto and Tenor is for communion, and alternates contrapuntal passages with declamation.~~Three scores|LEG012.2|Score|LEG012.1|Continuo|LEG012.3|~1587~1007~Legrenzi, alto, tenor, at, motet~

Regina coeli laetare~The third Marian antiphon from the 1662 Compline set climaxes with a Presto Alleluia in which a rising scale is used contrapuntally.

Click here to see the first page.~~Six scores|LEG005.2|Score|LEG005.1|~1587~876~Legrenzi, soprano, alto, tenor, bass, sattb~

Salve, Regina~Arguably the most effective of the four Marian antiphons from Legrenzi's Compline, it is also the longest. The harmonies are at their richest in the final section, with lots of 9-7 chords to relish.

To see the opening section, click here.~~Six scores|LEG006.2|Score|LEG006.1|~1587~877~Legrenzi, soprano, alto, tenor, bass, sattb~

La Cremona~One of Legrenzi's three sonatas for four violins. In the part book, the bass is labelled "basso viola", but a cello would seem the most appropriate instrument.

Click here to see the first page of this piece.~~Score and parts|LEG009.2|Score|LEG009.1|~1587~707~Legrenzi, vn, violin, sonata~

La Pezzoli~This sonata for two violins, violone and continuo comes from Op. 4 of 1656, but our edition is based on the 1682 reprint. After a lyrical triple time section, each of the three upper instruments has a solo, before they join again. A brief adagio leads into a short contrapuntal section, and then the opening is reprised.

Click here to see the first page.~~Score and parts|LEG013.2|Score|LEG013.1|~1587~1038~Legrenzi, vn, vc, violin, cello, sonata~

Sonata Prima~The last of Legrenzi's known sonatas for four violins, this piece was printed in the composer's Op. 10 of 1682, La Cetra.~~Score and parts|LEG011.2|Score|LEG011.1|~1587~709~Legrenzi, violin, vn~

La Fugazza~The third of the 5-part sonatas from the 1671 print, Op. 8, requiring two violins, three violas (Alto, Tenor and Viola da brazzo) and continuo. Like La Marinona, the piece works well with two violas and cello or three violas da gamba.

Click here if you want to see the first page of this piece.~~Score and parts|LEG010.2|Score|LEG010.1|~1587~708~Legrenzi, alto, tenor, viola da brazzo, sonata~

La Marinona~Printed in Legrenzi's Op. 8 of 1671, La Marinona is scored for two violins, two violas and continuo. It is a typical patchwork affair, with fugal sections alternating with more lyrical chordal passages.~~Score and parts|LEG001.2|Score|LEG001.1|~1587~303~Legrenzi, violin, viola~

La Galini~This sonata for violin, cello or bassoon and continuo comes from Legrenzi's Op. 8 set. There are three sections, the outer two imitative and the central one featuring solos for both melody instruments. The "Organo" may be played on any continuo instrument(s).

Click here to see the opening bars.~~Score and parts|LEG014.2|Score|LEG014.1|~1587~1874~Legrenzi, violin, viola da brazzo, fagotto, cello, bassoon~

La Brembata~This trio sonata comes from Legrenzi's Op. 4 set and features obbligato "violone" as well as the standard two violins and bass. There are three broadly contrasting sections.

Click here to see the opening section.~~Score and parts|LEG016.2|Score|LEG016.1|~1587~2850~trio sonata, violin, violone, legrenzi~

La Basadona~This sonata is one of Legrenzi's richest - there are two violins, two violas and two independent bass instruments with continuo. It is a multi-section work, alternating duple and triple time, and imitation with syrupy harmonies. >>>~~Score and parts|LEG018.2|Score|LEG018.1|~1587~3062~legrenzi, chamber, 6-part~

La Buscha~This multi-section sonata by Legrenzi is for two groups of three instruments - the preferred scoring is two cornetti and bassoon, contrasting with two violins and cello, although the composer suggests that both groups can be strings.

Cliick here to see the opening.

Anyone interested in programming the work should also see Kaspar Förster's Sonata a7.~~Score and parts|LEG017.2|Score|LEG017.1|~1587~3185~~