Product Description
This collection of reprinted essays takes the trends of the author's "Music, Patronage and Printing in Late Renaissance Florence" (also in the "Variorum" series) in a somewhat different direction. If the focus there was primarily on archival documents, here it is on the actual music. The starting-point is similar - the rise of the "new music" for solo voice and basso continuo in late 16th- and early 17th-century Florence, in particular the songs of Giulio Caccini. But it moves on to broader aesthetic issues crystallized in contemporary theoretical debate and musical practice - not least the rise of aria-based styles - and concludes with a series of studies of Claudio Monteverdi's works for the theatre, including the operas "Il ritorno d'Ulisse in patria" (1640) and the ever-problematic "L'incoronazione de Poppea". ... Read more

Product Description
This collection of lectures, talks and essays focuses on three major composers of the 17th and 18th centuries.Amazon.com Review
Nikolaus Harnoncourt has been one of the most important and influential leaders of the 20th-century revival of Baroque instruments and period performance practice--not just because he's a hardworking and talented musician, but because he's articulate. (He has had to be articulate: in the 1960s and 1970s, most of the classical-music establishment was contemptuous of, if not downright hostile to, his ideas.) The Musical Dialogue, along with Harnoncourt's Baroque Music Today: Music as Speech (to which this volume was issued as a companion), is a valuable collection of lectures and essays laying out those ideas. In the previous book, Harnoncourt discussed his views on phrasing (using short phrases based on the idea of rhetoric rather than on a long, unbroken legato line) and the use of period instruments (not simply because the composer used them, but because, when played well, they reveal more of the music to our ears now).

In The Musical Dialogue, Harnoncourt gets specific: he discusses how Monteverdi, Bach, and Mozart used particular instruments and forms and talks about his own experience analyzing and performing particular works. Among the topics he treats are the various possibilities for instrumentation in Monteverdi's works (and why there are so many), how he figured out what exactly was the oboe da caccia ("hunting oboe") called for in some of Bach's vocal works, and the performance history of the St. Matthew Passion and the Mass in B Minor and how that history has affected audience reactions to modern-day period-instrument performances of the works.

Perhaps most valuable are Harnoncourt's discussions of Mozart: for example, how the meaning of tempo markings such as "allegro" and "andante" has changed from the 18th century to today, as well as the many and varied conventions of phrasing that were widely understood--and therefore were not written out in Mozart's scores and performing parts. One caveat: these essays were written in the 1970s and 1980s, and there are a few cases where subsequent events have overtaken Harnoncourt's observations. For example, Monteverdi's large-scale works were probably not orchestrated quite as freely as he indicates; there are now a number of mixed adult choirs that can reproduce fairly well the pure tone of boys' choirs (which was not true in the 1960s and 1970s); and present-day composers and audiences are no longer completely alienated from each other, especially in the United States. Nevertheless, the observations of this important, influential, and idiosyncratic maestro make fascinating reading. --Matthew Westphal ... Read more

Customer Reviews (2)

Superb
Superb study focusing on interpretation/performance of the works of the three named composers. Familiarity with the works discussed, and some knowledge of music notation, will be helpful - having records, CDs, or DVDs of Harnoncourt's performances of course adds an extra dimension. Highly recommended.

Musical linguist decodes the old masters
This is a very educational read for lovers of the music of Monteverdi, Bach, and Mozart who are interested in 'how' they are performed and what is 'period-consistent' ... according to the legendary conductor.

It is not an easy read... quite technical and require that you can at least read music score and have at least some understanding of classical composition. Herr Harnoncourt discusses what he deduces from what 'is not' written in the score of these composers (ex: when there're markings that seem redundant or unnecessary, they're there to cancel out something else that was so taken for granted as 'traditional way of playing' in those times that the composers didn't feel they needed to put it on the score, etc). He also discusses some specific works like Monteverdi's 'L'incoronazione di Poppea', Mozart's 'Idomeneo', and Bach's 'St Matthew's Passion'.

Very well written (and translated)... thought provoking and helps me understand Herr Harnoncourt's style of conducting these music better. But you've gotta do your homeworks and know something about music composition before trying this book (at the very least, know how to read music and about harmony and musical structure). I'd have loved it if he had included some photos of autograph scores by the composers... or a CD. But then I think the book was written for his musical colleague rather than to the general public. ... Read more

Product Description
The Coronation Of Poppea. An opera in a prologue and three acts. Text by G.F. Busenello, music attributed to Claudio Monteverdi and Francesco Sacrati. Edited by Alan Curtis and English singing version by Arthur Jacobs. ... Read more

Product Description
All madrigals from one of the Baroque master’s most popular books, reprinted from authoritative Italian edition. New preface, new English translations of the original prefatory material and the Italian texts printed in poem form facing new English line-for-line literal translations.
... Read more

Customer Reviews (1)

Supplement Your Listening Pleasure
Here are the madrigals of Monteverdi's Ottavo Libro (Book 8) in modern notation with text underlay, plus various commentaries. This is not a faultless edition of the sort that a top notch recording ensemble could rely on, but if you can read music, you might find that it enhances your pleasure in listening to any of the three splendid recordings of these madrigals what I've reviewed elsewhere:
La Venexiana - Book 8 complete on 3 disks
Concerto Italiano - complete
The Consort of Musicke - excellent but not complete
And if you can sing, and have friends who also can sing, hey, give it a try! ... Read more

Product Description
SHEET MUSICSFOGAVA CON LE STELLESeries: Schott Publisher: SchottSSATBComposer: Claudio MonteverdiChoral score in Italian and English. ... Read more

Product Description
A beautiful facsimile reproduction of the composers autograph score. Imported from Italy. ... Read more

Product Description
This digital document is an article from Epoca, published by Difusora de Informacion Periodica, S.A. (DINPESA) on December 28, 1998. The length of the article is 1600 words. The page length shown above is based on a typical 300-word page. The article is delivered in HTML format and is available in your Amazon.com Digital Locker immediately after purchase. You can view it with any web browser.

Citation Details
Title: Claudio Monteverdi.(opera; Madrid, España)(TT: Claudio Monteverdi.)(TA: opera; Madrid, Spain)
Author: Joaquin Turina
Publication: Epoca (Magazine/Journal)
Date: December 28, 1998
Publisher: Difusora de Informacion Periodica, S.A. (DINPESA)
Page: 79(1)

Distributed by Thomson Gale ... Read more

Product Description
Chapters: Claudio Monteverdi, Sofonisba Anguissola, Liutprand of Cremona, Gianluca Vialli, Ugo Tognazzi, Gerard of Cremona, Eugenio Beltrami, Antonio Cabrini, Ascanio Sforza, Giuseppe Cremonini, Ippolita Maria Sforza, Tarquinio Merula, Sandrone Dazieri, Realdo Colombo, Anthony Maria Zaccaria, Alfenus Varus, Costanzo Porta, Altobello Melone, Saint Homobonus, Erminio Favalli, Nicolò Amati, Tiburtio Massaino, Donato Creti, Quartetto Di Cremona, Massimo Capra, Aymo Maggi, Luigi Turci, Giuseppe Caletti, Giulio Campi, Antonio Campi, Giovanni Angelo Borroni, Giovanni Battista Trotti, Marco Girolamo Vida, Juanelo Turriano, Pietro Vidoni, Ivan Goi, Giuseppe Bottani, Vincenzo Campi, Giovanni Francesco Bembo, Praepositinus, Alfredo Pizzoni, Antonio Beduschi, Agostino Bonisoli, Aldo Protti, Aristide Guarneri, Francesco Novati, Camillo Boccaccino, Giuseppe Natali, Antonio Maria Viani, Francesco Maria Bassi the Elder, Galeazzo Campi, Sigismondo Benini, Euclide Trotti, Francesco Brenti, Saverio Gandini, Bruno Boni, Felice Fanetti, Girolamo Del Prato, Bertolino Bragerio, Giuseppe Sigismondo Ala Ponzone, Lambert of Cremona. Source: Wikipedia. Pages: 193. Not illustrated. Free updates online. Purchase includes a free trial membership in the publisher's book club where you can select from more than a million books without charge. Excerpt: Claudio Giovanni Antonio Monteverdi (15 May 1567 (baptized) 29 November 1643) was an Italian composer, gambist, and singer. Monteverdi's work, often regarded as revolutionary, marked the transition from the Renaissance style of music to that of the Baroque period. He developed two individual styles of composition: the new basso continuo technique of the Baroque and the heritage of Renaissance polyphony. Enjoying fame in his lifetime, he wrote one of the earliest operas, L'Orfeo, which is still regularly performed. Claudio Monteverdi, circa 1597, by an anonymous artist, (Ashmolean Museum, Oxford). Thought to be ...More: http://booksllc.net/?id=6226 ... Read more

Product Description
Purchase includes free access to book updates online and a free trial membership in the publisher's book club where you can select from more than a million books without charge. Chapters: Cremonese Painters, Claudio Monteverdi, Sofonisba Anguissola, Liutprand of Cremona, Gianluca Vialli, Ugo Tognazzi, Gerard of Cremona, Eugenio Beltrami, Antonio Cabrini, Ascanio Sforza, Giuseppe Cremonini, Ippolita Maria Sforza, Tarquinio Merula, Sandrone Dazieri, Realdo Colombo, Anthony Maria Zaccaria, Alfenus Varus, Costanzo Porta, Altobello Melone, Saint Homobonus, Erminio Favalli, Nicolò Amati, Tiburtio Massaino, Donato Creti, Quartetto Di Cremona, Massimo Capra, Aymo Maggi, Luigi Turci, Giuseppe Caletti, Giulio Campi, Antonio Campi, Giovanni Angelo Borroni, Bernardino Gatti, Giovanni Battista Trotti, Marco Girolamo Vida, Juanelo Turriano, Boccaccio Boccaccino, Pietro Vidoni, Ivan Goi, Giuseppe Bottani, Bernardino Campi, Vincenzo Campi, Giovanni Francesco Bembo, Praepositinus, Francesco Bassi, Alfredo Pizzoni, Antonio Beduschi, Agostino Bonisoli, Aldo Protti, Aristide Guarneri, Francesco Tacconi, Francesco Novati, Camillo Boccaccino, Giuseppe Natali, Antonio Maria Viani, Tommaso de Aleni, Francesco Maria Bassi the Elder, Galeazzo Campi, Sigismondo Benini, Euclide Trotti, Francesco Brenti, Antonio Beltrami, Saverio Gandini, Bruno Boni, Cristoforo Augusta, Felice Fanetti, Giovanni Battista Tortirole, Girolamo Del Prato, Bertolino Bragerio, Stefano Lambri, Giuseppe Sigismondo Ala Ponzone, Girolamo Da Cremona, Galeazzo Rivelli, Angelo Massarotti, Lambert of Cremona. Excerpt:Agostino Bonisoli (1633 1700) was an Italian painter of the Baroque period, active mainly in Cremona . He was the pupil of the slightly older painter Giovanni Battista Tortoroli, and later working with Luigi Miradoro. He painted a Life of St. Anthony for the church of San Francesco in Cremona. He painted in the style of Paolo Veronese .References (URLs online) A hyperlinked version of this chapter is at Port... ... Read more

Product Description
Les achats comprennent une adhésion à l'essai gratuite au club de livres de l'éditeur, dans lequel vous pouvez choisir parmi plus d'un million d'ouvrages, sans frais. Le livre consiste d'articles Wikipedia sur : Claudio Monteverdi, Riccardo Drigo, Cesare Pugni, Vittorio Monti, Vittorio Rieti, Giorgio Mainerio. Non illustré. Mises à jour gratuites en ligne. Extrait : Claudio Monteverdi (15 mai 1567 - 29 novembre 1643) est un compositeur italien. Son œuvre, exclusivement vocale, se situe à la charnière de la Renaissance et de la musique baroque. Au cours de sa longue vie, il a produit des pièces appartenant aussi bien au style ancien qu'au nouveau et a apporté d'importants changements dans le style de son époque. Il est considéré comme l'un des créateurs de l'opéra et, avec l'Orfeo, comme l'auteur du premier chef d'œuvre du genre. Il est également le dernier grand représentant de l'école italienne du madrigal, genre auquel il a consacré neuf Livres, ainsi que l'auteur d'une abondante œuvre de musique religieuse (messes, vêpres, motets...). Né à Crémone dans la patrie des luthiers, élève de Marc'Antonio Ingegneri, il y apprit, en même temps qu'il acquérait une formation humaniste, l'orgue, la viole, le chant et le contrepoint, en usage à la fin de la Renaissance. Agé de vingt ans à peine, il publie en 1587, à Venise, son premier Livre de Madrigaux à cinq voix.En 1590, Monteverdi commença à travailler comme maître de musique de la chambre, à la cour de l'exubérant Vincenzo Ier de Mantoue. En 1601 il y devient maître de chapelle. Il y restera, malgré de nombreuses difficultés, jusqu'en 1613, ne quittant la ville qu'après la mort, en 1612, de son premier patron. A Mantoue, comme plus tard à Venise, Monteverdi se consacra aussi bien à l'écriture de madrigaux, composant les Livres II à V, qu'à la musique religieuse et au tout nouveau genre de l'opéra. Dans le cinquième Livre de Madrigaux, publié en 1605, le compositeur, pour la premièr...http://booksllc.net/?l=fr ... Read more

Product Description
Les achats comprennent une adhésion à l'essai gratuite au club de livres de l'éditeur, dans lequel vous pouvez choisir parmi plus d'un million d'ouvrages, sans frais. Le livre consiste d'articles Wikipedia sur : Claudio Monteverdi, Altobello Melone, Antonio Stradivari, Ugo Tognazzi, Gianluca Vialli, Francesco Bianchi, Eugenio Beltrami, Antoine-Marie Zaccaria, Alfredo Pizzoni, Saint Hommebon de Crémone, Leonida Bissolati, Marco Girolamo Vida, Sergio Franchi, Antonio Cabrini, Amilcare Ponchielli, Carlo Francesco Nuvolone, Vincenzo Campi, Antonio Campi, Giuseppe Bottani, Ambrogio Bianchi, Sofonisba Anguissola, Camillo Boccaccino, Lucia Anguissola, Girolamo De'corradi, Alceo Dossena, Realdo Colombo, Luca Tencati, Gaspare Aselli, Giovanni Francesco Bembo, Aristide Guarneri, Gérard de Crémone, Agostino Bonisoli, Ignazio Giovanni Cadolino, Giovanni Angelo Borroni, Diego Ferrari, Aldo Protti, Francesco Tacconi, Pietro Vidoni, Jacopo Barbello, Giulio Campi, Luigi Turci, Guarnerius Del Gesù, Gabriele Faerno, Galeazzo Campi, Donato Creti, Minerva Anguissola, Luigi Secchi, Giuseppe Sigismondo Ala Ponzone, Pietro Giovanni Guarneri, Ivan Goi, Giuseppe Giovanni Guarneri, Pietro Guarneri, Juanelo Turriano. Non illustré. Mises à jour gratuites en ligne. Extrait : Claudio Monteverdi (15 mai 1567 - 29 novembre 1643) est un compositeur italien. Son œuvre, exclusivement vocale, se situe à la charnière de la Renaissance et de la musique baroque. Au cours de sa longue vie, il a produit des pièces appartenant aussi bien au style ancien qu'au nouveau et a apporté d'importants changements dans le style de son époque. Il est considéré comme l'un des créateurs de l'opéra et, avec l'Orfeo, comme l'auteur du premier chef d'œuvre du genre. Il est également le dernier grand représentant de l'école italienne du madrigal, genre auquel il a consacré neuf Livres, ainsi que l'auteur d'une abondante œuvre de musique religieuse (messes, vêpres, motets...). Né à Crém...http://booksllc.net/?l=fr ... Read more

Product Description
Chapters: Claude Debussy, Claudio Monteverdi, Pyotr Ilyich Tchaikovsky, Béla Bartók, Maurice Ravel, Leonard Bernstein, Igor Stravinsky, Arnold Schoenberg, Paul Dukas, Edward Elgar, Benjamin Britten, Richard Strauss, Gustav Holst, Sergei Prokofiev, Arthur Sullivan, Darius Milhaud, André Campra, Richard Rodgers, Francis Poulenc, Johann Strauss Ii, Christoph Willibald Gluck, Ralph Vaughan Williams, Georges Auric, Arvo Pärt, Jean-Philippe Rameau, William Walton, Constant Lambert, Arthur Bliss, Carl Czerny, Marius Petipa, Cesare Pugni, Riccardo Drigo, Ludwig Minkus, Josef Tal, Alexander Glazunov, Malcolm Arnold, Fernando Sor, Peter Maxwell Davies, Geirr Tveitt, Malcolm Williamson, Yuri Khanon, Jules Massenet, Walter Piston, Charles Wuorinen, Reinhold Glière, Aram Khachaturian, César Franck, Geoffrey Toye, André Messager, Duke Peter Georgievich of Oldenburg, Morton Gould, Viktor Kalabis, Peter Sculthorpe, Ferdinand Hérold, Michel Colombier, Rodion Shchedrin, Albert Roussel, Manuel de Falla, Marcel Delannoy, John Lanchbery, Nikolai Tcherepnin, Jean-Joseph de Mondonville, Joseph Bodin de Boismortier, Violeta Dinescu, Leonid Desyatnikov, Jacques Ibert, Léo Delibes, Humphrey Searle, Adalbert Gyrowetz, Toshiro Mayuzumi, André Cardinal Destouches, Raoul Pugno, Adolphe Adam, Graham Fitkin, Michael Costa, Elena Kats-Chernin, Hershy Kay, Florent Schmitt, Jean-Antoine Petipa, Graeme Koehne, Valery Gavrilin, Teiji Ito, Nicolas Nabokov, Bright Sheng, Michael Torke, Napoléon Henri Reber, Oscar Stoumon, Edouard Deldevez, Vittorio Rieti, Romualdo Marenco, Bruno Moretti, Andrei Eshpai, Baron Boris Vietinghoff-Scheel, François Benoist, Josef Bayer, Louis Duport, Max D'ollone, Boris Asafyev, Richard Peaslee, Giacomo Orefice, Marin Goleminov, Jean-Baptiste Blache, Jean-Joseph Rodolphe, Alexey Nikolayevich Titov, Louis Alexandre Piccinni, Antonio Capuzzi, Paul Reade, Robert Prince, Jean Schneitzhoeffer, Antun Dobronić, Riccardo Pick-Mangiagalli, Nicco...More: http://booksllc.net/?id=45280 ... Read more

Product Description
This digital document is an article from Arts and Humanities Through the Eras, brought to you by Gale®, a part of Cengage Learning, a world leader in e-research and educational publishing for libraries, schools and businesses.The length of the article is 615 words.The article is delivered in HTML format and is available in your Amazon.com Digital Locker immediately after purchase.You can view it with any web browser.Profiling milestones and movements in the arts, literature, music, and religion from a specific period that provides an understanding of the various disciplines of the humanities in relation to each other, as well as to history and culture. An overview of the period and a chronology of major world events covering the major branches of the humanities: architecture and design, dance, fashion, literature, music, philosophy, religion, theater, and visual arts. Articles cover the movements, schools of thought, and masterworks that characterize the discipline during the era and biographical profiles of pioneers, masters, and other prominent figures in the field. ... Read more

Product Description
Chapters: Ballets by Claudio Monteverdi, Operas by Claudio Monteverdi, L'incoronazione Di Poppea, Il Ritorno D'ulisse in Patria, L'orfeo, Vespro Della Beata Vergine 1610, L'arianna, Il Ballo Delle Ingrate, Il Combattimento Di Tancredi E Clorinda, Selva Morale E Spirituale. Source: Wikipedia. Pages: 79. Not illustrated. Free updates online. Purchase includes a free trial membership in the publisher's book club where you can select from more than a million books without charge. Excerpt: L'incoronazione di Poppea (SV 308, The Coronation of Poppea) is an Italian baroque opera comprising a prologue and three acts, first performed in Venice during the 164243 carnival season. The music, attributed to Claudio Monteverdi, is a setting of a libretto by Giovanni Francesco Busenello. One of the first operas to use historical events and people rather than classical mythology, it adapts incidents from the writings of Tacitus, Suetonius and others to recount how Poppea, mistress of the Roman emperor Nerone (Nero), is able to achieve her ambition and be crowned empress. The opera was revived in Naples in 1651, but was then neglected until the rediscovery of the score in 1888, after which it became the subject of scholarly attention in the late 19th and early 20th centuries. Since the 1960s, the opera has been performed and recorded many times. The original manuscript of the score does not exist; two surviving copies from the 1650s show significant divergences from each other, and each differs to some extent from the libretto. How much of the music is actually Monteverdi's, and how much the product of others, is a matter of dispute. None of the existing versions of the libretto, printed or manuscript, can be definitively tied to the first performance at the Teatro Santi Giovanni e Paolo, the precise date of which is unknown. Details of the original cast are few, and largely speculative, and there is no record of the opera's initial public r...More: http://booksllc.net/?id=1988236 ... Read more