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Parts
Название пользователя: Concerto. Madrigals, Book VII – Parts
Инструменты |
Клавесин, Контральто, Тенор, Бас, Голос |
Состав исполнителей |
Квинтет |
Тип нот |
Партии |
Издатель |
Bartolomeo Magni |
Язык |
Итальянский |
Уровень сложности |
Выше среднего |
Sinfonia No.1
Название пользователя: Madrigalbuch 7 - 1. Sinfonia
Инструменты |
Скрипка, Альт, Виолончель, Виолоне |
Состав исполнителей |
Камерный оркестр |
Тип нот |
Партитура |
Части |
1 до 1 из 1 |
Издатель |
Felix Thiedemann |
Уровень сложности |
Легко |
Время звучания |
1'0 |
Жанр |
Классика/Инструментальная |
No.01 Tempro la cetra a5
Название пользователя: Monteverdi Madrigals Book 7 - 01. Tempro la cetra a5
Инструменты |
Баритон-горн, Альтгорн, Корнет, Эуфониум, Валторна, Тромбон, Труба, Туба, Тенор горн, Туба бас |
Состав исполнителей |
Квинтет |
Тип нот |
Партитура, Партии |
Части |
1 до 1 из 20 |
Аранжировщик |
Mike Lyons |
Издатель |
Mike Lyons |
Уровень сложности |
Средний уровень |
Время звучания |
5'45 |
Жанр |
Классика/Транскрипция |
As part of my continuing project to transcribe Monteverdi's madrigals onto winds, here is the 6th book. In this book we see a much greater development towards dramatic representation. In a way, this book is divisible into two Scenes with a number of single items in between. The vocal lines are all much more complex and we can also see the beginnings of monodic writing appear in the semi-recit sections of some of the songs.
Also clearly developing are delineations of the voices into soloists and chorus. Several songs in this book are almost akin to arias, with clear soloistic writing for the higher voices (Cantus/Tenor).
This is the final song in the book and it forms a kind of short scena all by itself. The words are very evocative and descriptive. The title translates as "By a tranquil river".
As with all things madrigalian, the lyrics are rife with double entendres. Monteverdi uses some very close dissonances to describe death and release.
No.03 Non e di gentil core
Название пользователя: Monteverdi Madrigals Book 7 - 03. Non e di gentil core
Инструменты |
Тромбон тенор, Баритон-горн, Альтгорн, Корнет, Эуфониум, Валторна, Тромбон, Труба, Туба, Тенор горн, Туба бас |
Состав исполнителей |
Секстет |
Тип нот |
Партитура, Партии |
Части |
2 до 2 из 20 |
Аранжировщик |
Mike Lyons |
Издатель |
Mike Lyons |
Уровень сложности |
Выше среднего |
Время звучания |
4'36 |
Жанр |
Классика/Транскрипция |
At long last I have nearly finished the 7th book. This book has posed some issues as it is such complex music it is almost impossible to cut it down to 5 parts while maintaining its integrity. As a result, some songs (like this one) will be in 6 or more parts.
The seventh book is quite a change from the earlier ones. Monteverdi seems to be concentrating on developing solos and duets, trios and small accompanied ensembles. The accompaniments are often written out with more than just long note chords. The intricate instrumental parts are more than just filling in the harmony (hence the difficulty in paring them down.)
Once again, these songs are exquisitely crafted and travel well onto brass.
"Non e di gentil core" translates as "It is not from a gentle heart"
This song in some ways foreshadows the Madrigals of Love and War. It is a dialogue between two sopranos.
No.04 A quest'olmo, a quest'onbre a6
Название пользователя: Monteverdi Madrigals Book 7 - 04. A quest'olmo, a quest'onbre a6
Инструменты |
Тромбон тенор, Альтгорн, Корнет, Эуфониум, Валторна, Тромбон, Труба, Туба, Тенор горн, Туба бас |
Состав исполнителей |
Секстет |
Тип нот |
Партитура, Партии |
Части |
4 до 4 из 20 |
Аранжировщик |
Mike Lyons |
Издатель |
Mike Lyons |
Уровень сложности |
Средний уровень |
Время звучания |
5'46 |
Жанр |
Классика/Транскрипция |
At long last I have nearly finished the 7th book. This book has posed some issues as it is such complex music it is almost impossible to cut it down to 5 parts while maintaining its integrity. As a result, some songs - like this one - will be in 6 or more parts.
A quest'olmo is described as "a sei voci concertato", which basically means it is an operatic chorus, The title translates as "In this elm, in these shadows" and describes a clandestine meeting between two lovers.
The seventh book is quite a change from the earlier ones. Monteverdi seems to be concentrating on developing solos and duets, trios and small accompanied ensembles. The accompaniments are often written out with more than just long note chords. The intricate instrumental parts are more than just filling in the harmony (hence the difficulty in paring them down.)
Once again, these songs are exquisitely crafted and travel well onto brass.
No.05 O come sei gentile a6
Название пользователя: Monteverdi Madrigals Book 7 - 05. O come sei gentile a6
Инструменты |
Тромбон тенор, Баритон-горн, Альтгорн, Корнет, Эуфониум, Валторна, Тромбон, Труба, Туба, Тенор горн, Туба бас |
Состав исполнителей |
Секстет |
Тип нот |
Партитура, Партии |
Части |
5 до 5 из 20 |
Аранжировщик |
Mike Lyons |
Издатель |
Mike Lyons |
Уровень сложности |
Средний уровень |
Время звучания |
3'46 |
Жанр |
Классика/Транскрипция |
At long last I have nearly finished the 7th book. This book has posed some issues as it is such complex music it is almost impossible to cut it down to 5 parts while maintaining its integrity. As a result, some songs - like this one - will be in 6 or more parts.
O come sei gentile is a duet for two sopranos, The title translates as "O how gentle you are" and describes a lover comparing his fate with that of a caged bird.
The seventh book is quite a change from the earlier ones. Monteverdi seems to be concentrating on developing solos and duets, trios and small accompanied ensembles. The accompaniments are often written out with more than just long note chords. The intricate instrumental parts are more than just filling in the harmony (hence the difficulty in paring them down.)
Once again, these songs are exquisitely crafted and travel well onto brass.
No.06 Io son pur vezzosetta pastorella a6
Название пользователя: Monteverdi Madrigals Book 7 - 06. Io son pur vezzosetta pastorella a6
Инструменты |
Тромбон тенор, Баритон-горн, Альтгорн, Корнет, Валторна, Тромбон, Труба, Туба, Тенор горн |
Состав исполнителей |
Секстет |
Тип нот |
Партитура, Партии |
Части |
6 до 6 из 20 |
Аранжировщик |
Mike Lyons |
Издатель |
Mike Lyons |
Уровень сложности |
Средний уровень |
Время звучания |
3'19 |
Жанр |
Классика/Транскрипция |
At long last I have nearly finished the 7th book. This book has posed some issues as it is such complex music it is almost impossible to cut it down to 5 parts while maintaining its integrity. As a result, some songs - like this one - will be in 6 or more parts.
Io son pur vezzosetta pastorella is a duet for two sopranos, The title translates as "I am a pretty young shepherdess" and describes a young girl trying to woo a suitor. The young man, Lydius, seems indifferent to her charms
The seventh book is quite a change from the earlier ones. Monteverdi seems to be concentrating on developing solos and duets, trios and small accompanied ensembles. The accompaniments are often written out with more than just long note chords. The intricate instrumental parts are more than just filling in the harmony (hence the difficulty in paring them down.)
Once again, these songs are exquisitely crafted and travel well onto brass.
No.07 O viva fiamma a5
Название пользователя: Monteverdi Madrigals Book 7 - 07. O viva fiamma a5
Инструменты |
Тромбон тенор, Баритон-горн, Альтгорн, Корнет, Эуфониум, Валторна, Тромбон, Труба, Туба, Тенор горн, Туба бас |
Состав исполнителей |
Квинтет |
Тип нот |
Партитура, Партии |
Части |
7 до 7 из 20 |
Аранжировщик |
Mike Lyons |
Издатель |
Mike Lyons |
Уровень сложности |
Средний уровень |
Время звучания |
2'53 |
Жанр |
Классика/Транскрипция |
At long last I have nearly finished the 7th book. This book has posed some issues as it is such complex music it is almost impossible to cut it down to 5 parts while maintaining its integrity. As a result, some songs will be in 6 or more parts. O viva fiamma has fairly simple harmonies, so I was able to reduce it to 5 parts.
O viva fiamma is a duet for two sopranos, The title translates as "O living flame" and is a passionate - and quite vivid - description of the act of love. All the "o - o - o-ing" is quite graphic! Good job the words are missing from this version!
The seventh book is quite a change from the earlier ones. Monteverdi seems to be concentrating on developing solos and duets, trios and small accompanied ensembles. The accompaniments are often written out with more than just long note chords. The intricate instrumental parts are more than just filling in the harmony (hence the difficulty in paring them down.)
Once again, these songs are exquisitely crafted and travel well onto brass.
No.08 Vorrei baciarti
Название пользователя: Monteverdi Madrigals Book 7 - 08. Vorrei baciarti
Инструменты |
Тромбон тенор, Баритон-горн, Альтгорн, Корнет, Эуфониум, Валторна, Тромбон, Труба, Туба, Тенор горн, Туба бас |
Состав исполнителей |
Квинтет |
Тип нот |
Партитура, Партии |
Части |
8 до 8 из 20 |
Аранжировщик |
Mike Lyons |
Издатель |
Mike Lyons |
Уровень сложности |
Средний уровень |
Время звучания |
4'0 |
Жанр |
Классика/Транскрипция |
At long last I have nearly finished the 7th book. This book has posed some issues as it is such complex music it is almost impossible to cut it down to 5 parts while maintaining its integrity. As a result, some songs will be in 6 or more parts. Vorrei baciarti has fairly simple harmonies, so I was able to keep it to 5 parts.
Vorrei baciarti is a duet for two contraltos, taken by parts 2 and 3 in this setting. The title translate as "I want to kiss you", so typifies the kind of love songs that Monteverdi was writing. The poet is singing these words to his lover Phyllis, so we can probably assume that he is Amyntas. In the poem he is deciding where to plant his first kiss.
The seventh book is quite a change from the earlier ones. Monteverdi seems to be concentrating on developing solos and duets, trios and small accompanied ensembles. The accompaniments are often written out with more than just long note chords. The intricate instrumental parts are more than just filling in the harmony (hence the difficulty in paring them down.)
Once again, these songs are exquisitely crafted and travel well onto brass.
No.09 Dice la mia bellissima Licori a6
Название пользователя: Monteverdi Madrigals Book 7 - 09. Dice la mia bellissima Licori a6
Инструменты |
Тромбон тенор, Баритон-горн, Альтгорн, Корнет, Эуфониум, Тромбон, Труба, Туба, Тенор горн, Туба бас |
Состав исполнителей |
Секстет |
Тип нот |
Партитура, Партии |
Части |
9 до 9 из 20 |
Аранжировщик |
Mike Lyons |
Издатель |
Mike Lyons |
Уровень сложности |
Средний уровень |
Время звучания |
1'46 |
Жанр |
Классика/Транскрипция |
At long last I have nearly finished the 7th book. This book has posed some issues as it is such complex music it is almost impossible to cut it down to 5 parts while maintaining its integrity. As a result, some songs will be in 6 or more parts.
Dice la mia bellissima Licori is a duet for two tenors, The title translates as "My beautiful Licori says" and it is about a girl, obviously reluctant to be kissed, but eventually won over.
I decided to use two euphoniums/baritones for the soloists, with the accompaniment managed by 2 cornets/trumpets, a horn and a tuba.
The seventh book is quite a change from the earlier ones. Monteverdi seems to be concentrating on developing solos and duets, trios and small accompanied ensembles. The accompaniments are often written out with more than just long note chords. The intricate instrumental parts are more than just filling in the harmony (hence the difficulty in paring them down.)
Once again, these songs are exquisitely crafted and travel well onto brass.
No.10 Ah, che non si conviene a6
Название пользователя: Monteverdi Madrigals Book 7 - 10. Ah, che non si conviene a6
Инструменты |
Тромбон тенор, Баритон-горн, Альтгорн, Корнет, Эуфониум, Валторна, Тромбон, Труба, Туба, Тенор горн, Туба бас |
Состав исполнителей |
Секстет |
Тип нот |
Партитура, Партии |
Части |
10 до 10 из 30 |
Аранжировщик |
Mike Lyons |
Издатель |
Mike Lyons |
Уровень сложности |
Средний уровень |
Время звучания |
4'45 |
Жанр |
Классика/Транскрипция |
At long last I have nearly finished the 7th book. This book has posed some issues as it is such complex music it is almost impossible to cut it down to 5 parts while maintaining its integrity. As a result, some songs will be in 6 or more parts.
Ah, che non si conviene a6 is a duet for two tenors, The title translates as "It is wrong to break faith" the text is about a young man professing that his love is strong even though he is apart from the object of his love.
I decided to use a horn and a euphonium for the soloists, with the accompaniment managed by 2 cornets/trumpets, a horn and a tuba. although both voices are tenor, the upper voice makes it a little uncomfortable on that instrument.
The seventh book is quite a change from the earlier ones. Monteverdi seems to be concentrating on developing solos and duets, trios and small accompanied ensembles. The accompaniments are often written out with more than just long note chords. The intricate instrumental parts are more than just filling in the harmony (hence the difficulty in paring them down.)
Once again, these songs are exquisitely crafted and travel well onto brass.
No.11 Non vedrò mai le stelle
Название пользователя: Monteverdi Madrigals Book 7 - 11. Non vedrò mai le stelle
Инструменты |
Тромбон тенор, Баритон-горн, Альтгорн, Корнет, Эуфониум, Валторна, Тромбон, Труба, Туба, Тенор горн, Туба бас |
Состав исполнителей |
Секстет |
Тип нот |
Партитура, Партии |
Части |
11 до 11 из 30 |
Аранжировщик |
Mike Lyons |
Издатель |
Mike Lyons |
Уровень сложности |
Выше среднего |
Время звучания |
3'40 |
Жанр |
Классика/Транскрипция |
At long last I have nearly finished the 7th book. This book has posed some issues as it is such complex music it is almost impossible to cut it down to 5 parts while maintaining its integrity. As a result, some songs will be in 6 or more parts.
Non vedrò mai le stelle is a duet for two tenors, The title translates as "Never will I see the stars" the poet is berating his lover for spurning him
I decided to use two euphoniums/baritones for the soloists, with the accompaniment managed by 2 cornets/trumpets, a horn and a tuba.
The seventh book is quite a change from the earlier ones. Monteverdi seems to be concentrating on developing solos and duets, trios and small accompanied ensembles. The accompaniments are often written out with more than just long note chords. The intricate instrumental parts are more than just filling in the harmony (hence the difficulty in paring them down.)
Once again, these songs are exquisitely crafted and travel well onto brass.
No.12 Ecco vicine o bella Tigre
Название пользователя: Monteverdi Madrigals Book 7 - 12. Ecco vicine o bella Tigre
Инструменты |
Тромбон тенор, Баритон-горн, Альтгорн, Корнет, Эуфониум, Валторна, Тромбон, Труба, Туба, Тенор горн, Туба бас |
Состав исполнителей |
Секстет |
Тип нот |
Партитура, Партии |
Части |
12 до 12 из 30 |
Аранжировщик |
Mike Lyons |
Издатель |
Mike Lyons |
Уровень сложности |
Выше среднего |
Время звучания |
5'14 |
Жанр |
Классика/Транскрипция |
At long last I have nearly finished the 7th book. This book has posed some issues as it is such complex music it is almost impossible to cut it down to 5 parts while maintaining its integrity. As a result, some songs will be in 6 or more parts.
Ecco vicine o bella Tigre is a duet for two tenors, The title translates as "The time is near, beautiful tigress" . In it, the poet is sad that his lover must leave him and he is telling her he longs to be with her wherever she goes. (It's all lies, of course!)
I decided to use two euphoniums/baritones for the soloists, with the accompaniment managed by 2 cornets/trumpets, a horn and a tuba.
The seventh book is quite a change from the earlier ones. Monteverdi seems to be concentrating on developing solos and duets, trios and small accompanied ensembles. The accompaniments are often written out with more than just long note chords. The intricate instrumental parts are more than just filling in the harmony (hence the difficulty in paring them down.)
Once again, these songs are exquisitely crafted and travel well onto brass.
No.13 Perchè Fuggi
Название пользователя: Monteverdi Madrigals Book 7 - 13. Perchè Fuggi
Инструменты |
Тромбон тенор, Альтгорн, Корнет, Эуфониум, Валторна, Тромбон, Труба, Туба, Тенор горн, Туба бас |
Состав исполнителей |
Секстет |
Тип нот |
Партитура, Партии |
Части |
13 до 13 из 23 |
Аранжировщик |
Mike Lyons |
Издатель |
Mike Lyons |
Уровень сложности |
Средний уровень |
Время звучания |
2'30 |
Жанр |
Классика/Транскрипция |
At long last I have nearly finished the 7th book. This book has posed some issues as it is such complex music it is almost impossible to cut it down to 5 parts while maintaining its integrity. As a result, some songs will be in 6 or more parts.
Perchè Fuggi is a duet for two tenors, The title translates as "Why do you flee?" . In it, the poet is sad that the object of his desire runs away and hides when he tries to kiss her.
I decided to use two euphoniums/baritones for the soloists, with the accompaniment managed by 1 cornet/trumpet, a horn and a tuba. I managed to retain the quintet as the accompaniment is very simple, almost 'secco' in style
The seventh book is quite a change from the earlier ones. Monteverdi seems to be concentrating on developing solos and duets, trios and small accompanied ensembles. The accompaniments are often written out with more than just long note chords. The intricate instrumental parts are more than just filling in the harmony (hence the difficulty in paring them down.)
Once again, these songs are exquisitely crafted and travel well onto brass.
No.15 Soave libertate a6
Название пользователя: Monteverdi Madrigals Book 7 - 15. Soave libertate a6
Инструменты |
Тромбон тенор, Баритон-горн, Альтгорн, Корнет, Эуфониум, Валторна, Тромбон, Труба, Туба, Тенор горн, Туба бас |
Состав исполнителей |
Секстет |
Тип нот |
Партитура, Партии |
Тональность |
Си-бемоль мажор |
Части |
15 до 15 из 23 |
Аранжировщик |
Mike Lyons |
Издатель |
Mike Lyons |
Уровень сложности |
Средний уровень |
Время звучания |
3'41 |
At long last I have nearly finished the 7th book. This book has posed some issues as it is such complex music it is almost impossible to cut it down to 5 parts while maintaining its integrity. As a result, some songs (like this one) will be in 6 or more parts.
Soave libertate - Sweet freedom is a song in which a young man is bemoaning being captured by a young lady, and losing his freedom. Monteverdi sets the text as a tenor duet, perhaps creating the impression of the young man bemoaning his loss of freedom to himself.
The seventh book is quite a change from the earlier ones. Monteverdi seems to be concentrating on developing solos and duets, trios and small accompanied ensembles. The accompaniments are often written out with more than just long note chords. The intricate instrumental parts are more than just filling in the harmony (hence the difficulty in paring them down.)
Once again, these songs are exquisitely crafted and travel well onto brass.
No.14 Tornate, O cari baci a6
Название пользователя: Monteverdi madrigals Book 7 - 14. Tornate, O cari baci a6
Инструменты |
Тромбон тенор, Баритон-горн, Альтгорн, Корнет, Эуфониум, Валторна, Тромбон, Труба, Туба, Тенор горн, Туба бас |
Состав исполнителей |
Секстет |
Тип нот |
Партитура, Партии |
Части |
14 до 14 из 23 |
Аранжировщик |
Mike Lyons |
Издатель |
Mike Lyons |
Уровень сложности |
Средний уровень |
Время звучания |
2'51 |
Жанр |
Классика/Транскрипция |
At long last I have nearly finished the 7th book. This book has posed some issues as it is such complex music it is almost impossible to cut it down to 5 parts while maintaining its integrity. As a result, some songs will be in 6 or more parts.
Tornate, O cari baci is another duet for two tenors, The title translates as "Return, O Beloved ?" . In it, the poet is pleading with his lover to return and kiss him back to life - with the usual proviso that 'life' and 'death' are euphemisms.
I decided to use two euphonious/baritones for the soloists, with the accompaniment managed by 2 cornets/trumpets, a horn and a tuba.The accompaniment is, in places, quite complex. There are many places where there is imitation, not just between the soloists, but also between them and the accompaniment.
The seventh book is quite a change from the earlier ones. Monteverdi seems to be concentrating on developing solos and duets, trios and small accompanied ensembles. The accompaniments are often written out with more than just long note chords. The intricate instrumental parts are more than just filling in the harmony (hence the difficulty in paring them down.)
Once again, these songs are exquisitely crafted and travel well onto brass.
No.16 S'el vostro cor, Madonna a6
Название пользователя: Monteverdi Madrigals Book 7 - 16. S'el vostro cor, Madonna a6
Инструменты |
Тромбон тенор, Баритон-горн, Альтгорн, Корнет, Эуфониум, Валторна, Тромбон, Труба, Туба, Тенор горн, Туба бас |
Состав исполнителей |
Секстет |
Тип нот |
Партитура, Партии |
Части |
16 до 16 из 23 |
Аранжировщик |
Mike Lyons |
Издатель |
Mike Lyons |
Уровень сложности |
Средний уровень |
Время звучания |
2'16 |
At long last I have nearly finished the 7th book. This book has posed some issues as it is such complex music it is almost impossible to cut it down to 5 parts while maintaining its integrity. As a result, some songs will be in 6 or more parts.
S'el vostro cor, Madonna is set as a tenor and bass duet. Monteverdi tries out many different combinations of voices in this book as he works to build the different tools which will eventually all find their way into opera. The first lines translate as "If your heart, Lady, So soft towards others" and is a plea from an obviously love-stricken young man to the object of his desires who favours another.
The seventh book is quite a change from the earlier ones. Monteverdi seems to be concentrating on developing solos and duets, trios and small accompanied ensembles. The accompaniments are often written out with more than just long note chords. The intricate instrumental parts are more than just filling in the harmony (hence the difficulty in paring them down.)
Once again, these songs are exquisitely crafted and travel well onto brass.
No.17 Interrotte speranze a6
Название пользователя: Monteverdi Madrigals Book 7 - 17 Interrotte speranze a6
Инструменты |
Тромбон тенор, Баритон-горн, Альтгорн, Корнет, Эуфониум, Валторна, Тромбон, Труба, Туба, Тенор горн, Туба бас |
Состав исполнителей |
Секстет |
Тип нот |
Партитура, Партии |
Части |
17 до 17 из 23 |
Аранжировщик |
Mike Lyons |
Издатель |
Mike Lyons |
Уровень сложности |
Средний уровень |
Время звучания |
2'38 |
Жанр |
Классика/Транскрипция |
At long last I have nearly finished the 7th book. This book has posed some issues as it is such complex music it is almost impossible to cut it down to 5 parts while maintaining its integrity. As a result, some songs will be in 6 or more parts.
Interrotte speranze is another song about unrequited love for two tenors. "Interrupted hopes, eternal faith, Powerful flames and beams in the weak heart" His love is unrequited, so he wishes the lady ill! (Spoiled brat!)
The seventh book is quite a change from the earlier ones. Monteverdi seems to be concentrating on developing solos and duets, trios and small accompanied ensembles. The accompaniments are often written out with more than just long note chords. The intricate instrumental parts are more than just filling in the harmony (hence the difficulty in paring them down.)
Once again, these songs are exquisitely crafted and travel well onto brass.
No.18 Augellin a7
Название пользователя: Monteverdi Madrigals Book 7 - 18. Augellin a7
Инструменты |
Тромбон тенор, Баритон-горн, Альтгорн, Корнет, Эуфониум, Валторна, Тромбон, Труба, Туба, Тенор горн, Туба бас |
Состав исполнителей |
Септет |
Тип нот |
Партитура, Партии |
Части |
18 до 18 из 23 |
Аранжировщик |
Mike Lyons |
Издатель |
Mike Lyons |
Уровень сложности |
Средний уровень |
Время звучания |
2'6 |
At long last I have nearly finished the 7th book. This book has posed some issues as it is such complex music it is almost impossible to cut it down to 5 parts while maintaining its integrity. As a result, some songs will be in 6 or more parts.
Augellin translates as "Little Bird". A young man pines for the affections of his beloved and sends a little bird to tell her that he is sad.
This is a trio for two tenors and a bass - unlikely voices to be singing of birds. maybe?
The seventh book is quite a change from the earlier ones. Monteverdi seems to be concentrating on developing solos and duets, trios and small accompanied ensembles. The accompaniments are often written out with more than just long note chords. The intricate instrumental parts are more than just filling in the harmony (hence the difficulty in paring them down.)
Once again, these songs are exquisitely crafted and travel well onto brass.
No.19 Vaga su spina ascosa à7
Название пользователя: Monteverdi Madrigals Book 7 - 19. Vaga su spina ascosa à7
Инструменты |
Тромбон тенор, Баритон-горн, Альтгорн, Корнет, Эуфониум, Валторна, Тромбон, Труба, Туба, Тенор горн, Туба бас |
Состав исполнителей |
Октет |
Тип нот |
Партитура, Партии |
Части |
19 до 19 из 26 |
Аранжировщик |
Mike Lyons |
Издатель |
Mike Lyons |
Уровень сложности |
Средний уровень |
Время звучания |
3'45 |
Жанр |
Классика/Транскрипция |
Continuing my edition of Monteverdi's complete madrigal books, here is no 19. This is a love poem describing the virtues of a young lady. The language is flowery and obtuse, but none-the-less beautiful. The first line translates as "Gentle midst the hidden thorns".
It is obvious that Monteverdi is enlarging his scope with this trio for all male voices (2 tenors and a bass) as the soloists, with a more complex accompaniment that many of the previous songs.
The accompaniment is complex enough to deserve it's own ensemble, so I have arranged it à7 as follows:
1 - Part 1 in F/Eb (Tenor 1) - Horn
2 - Part 2 in F/Eb (Tenor 2) - Horn
3 - Part 3 in C/Bb (Bass) - Euph/Trom/Barit
4 - Part 4 in Bb - Trumpet/Cornet
5 - Part 5 in Bb - Trumpet/Cornet
6 - Part 6 in C/Bb - Trom/Euph/Barit
7 - Part 7 in C/Eb - Tuba/Eb Bass
No.20 Eccomi pronta ai baci a6
Название пользователя: Monteverdi Madrigals Book 7 - 20. Eccomi pronta ai baci a6
Инструменты |
Тромбон тенор, Баритон-горн, Альтгорн, Корнет, Эуфониум, Валторна, Тромбон, Труба, Туба, Тенор горн, Туба бас |
Состав исполнителей |
Секстет |
Тип нот |
Партитура, Партии |
Части |
20 до 20 из 23 |
Аранжировщик |
Mike Lyons |
Издатель |
Mike Lyons |
Уровень сложности |
Средний уровень |
Время звучания |
2'58 |
At long last I have nearly finished the 7th book. This book has posed some issues as it is such complex music it is almost impossible to cut it down to 5 parts while maintaining its integrity. As a result, some songs will be in 6 or more parts.
Eccomi pronta ai baci "Here am I ready for kisses!" A rather explicit song about kisses and biting!
The seventh book is quite a change from the earlier ones. Monteverdi seems to be concentrating on developing solos and duets, trios and small accompanied ensembles. The accompaniments are often written out with more than just long note chords. The intricate instrumental parts are more than just filling in the harmony (hence the difficulty in paring them down.)
Once again, these songs are exquisitely crafted and travel well onto brass.
No.21 Parlo miser o taccio a7
Название пользователя: Monteverdi Madrigals Book 7 - 21. Parlo miser o taccio a7
Инструменты |
Тромбон бас, Тромбон тенор, Баритон-горн, Альтгорн, Корнет, Эуфониум, Валторна, Тромбон, Труба, Туба, Тенор горн, Туба бас |
Состав исполнителей |
Септет |
Тип нот |
Партитура, Партии |
Части |
21 до 21 из 23 |
Аранжировщик |
Mike Lyons |
Издатель |
Mike Lyons |
Уровень сложности |
Выше среднего |
Время звучания |
6'26 |
At long last I have nearly finished the 7th book. This book has posed some issues as it is such complex music it is almost impossible to cut it down to 5 parts while maintaining its integrity. As a result, some songs will be in 6 or more parts.
Parlo miser o taccio is a trio for two sopranos and bass. I have set this for trumpets/cornets and euphonium/trombone, leaving the accompaniment in the hands of the horns and tubas, but with an extra high Bb part.
The title translates as "Should, poor wretch, speak out or hold my tongue? Yet again our young man is in a romantic (lustful) state, and the words of the lyrics carry many double entendres in rspect of what he and his lady are getting up to! The strong dissonances followed by long drawn out resolutions and suspensions were a common device in this type of song to indicate how "matters were progressing". At 6 and a half minutes, this is quite a long song, compared to the 2 or 3 minutes of most of the book.
The seventh book is quite a change from the earlier ones. Monteverdi seems to be concentrating on developing solos and duets, trios and small accompanied ensembles. The accompaniments are often written out with more than just long note chords. The intricate instrumental parts are more than just filling in the harmony (hence the difficulty in paring them down.)
Once again, these songs are exquisitely crafted and travel well onto brass.
No.22 Tu dormi a8
Название пользователя: Monteverdi Madrigals Book 7 - 22. Tu dormi a8
Инструменты |
Тромбон тенор, Баритон-горн, Альтгорн, Корнет, Эуфониум, Валторна, Тромбон, Труба, Туба, Тенор горн, Туба бас |
Состав исполнителей |
Октет |
Тип нот |
Партитура, Партии |
Части |
22 до 22 из 23 |
Аранжировщик |
Mike Lyons |
Издатель |
Mike Lyons |
Уровень сложности |
Средний уровень |
Время звучания |
4'20 |
At long last I have nearly finished the 7th book. This book has posed some issues as it is such complex music it is almost impossible to cut it down to 5 parts while maintaining its integrity. As a result, some songs will be in 6 or more parts.
Tu dormi? means "Are you sleeping" The next phrase "Oh cruel heart" gives the clue that we are listening to our young man's unrequited feelings again!
It appears he has had his wicked way once already but now she is sleeping.
This is the first song for a quartet of Soprano, Alto, Tenor and Bass.
The seventh book is quite a change from the earlier ones. Monteverdi seems to be concentrating on developing solos and duets, trios and small accompanied ensembles. The accompaniments are often written out with more than just long note chords. The intricate instrumental parts are more than just filling in the harmony (hence the difficulty in paring them down.)
Once again, these songs are exquisitely crafted and travel well onto brass.
No.23 Al lume delle stelle a8
Название пользователя: Monteverdi Madrigals - Book 7 - 23. Al lume delle stelle a8
Инструменты |
Тромбон тенор, Баритон-горн, Альтгорн, Корнет, Эуфониум, Валторна, Тромбон, Труба, Туба, Тенор горн, Туба бас |
Состав исполнителей |
Октет |
Тип нот |
Партитура, Партии |
Части |
23 до 23 из 30 |
Аранжировщик |
Mike Lyons |
Издатель |
Mike Lyons |
Уровень сложности |
Средний уровень |
Время звучания |
4'48 |
Жанр |
Классика/Транскрипция |
At long last I have nearly finished the 7th book. This book has posed some issues as it is such complex music it is almost impossible to cut it down to 5 parts while maintaining its integrity. As a result, some songs will be in 6 or more parts.
Ai lume delle stelle is a song of loss. By the light of the stars, Tirsi bemoans the loss of his beloved whose eyes were like flickering stars or torches flickering in the night.
This setting is for an expanded ensemble of 8 players as follows:
Part 1 in Bb - Trumpet/Cornet 1
Part 2 in Bb - Trumpet/Cornet 2
Part 3 in F/C/Bb/Eb - Horn/Euphonium/Trombone/Baritone
Part 4 in C/Eb/Bb - Euphonium/Baritone/Trombone/Tuba/Eb Bass
Part 5 in Bb - Trumpet/Cornet 3
Part 6 in Bb/F/Eb - Trumpet/Cornet/Horn
Part 7 in C/F/Bb - Trombone/Horn/Euphonium
Part 8 in C/Eb - Tuba/Eb Bass
The seventh book is quite a change from the earlier ones. Monteverdi seems to be concentrating on developing solos and duets, trios and small accompanied ensembles. The accompaniments are often written out with more than just long note chords. The intricate instrumental parts are more than just filling in the harmony (hence the difficulty in paring them down.)
Once again, these songs are exquisitely crafted and travel well onto brass.
No.24 Con che soavità
Название пользователя: Monteverdi Madrigals - Book 7 - 24. Con che soavità
Инструменты |
Тромбон тенор, Баритон-горн, Альтгорн, Корнет, Эуфониум, Валторна, Тромбон, Труба, Туба, Тенор горн, Туба бас |
Состав исполнителей |
Большой ансамбль (9 и более исполнителей) |
Тип нот |
Партитура, Партии |
Части |
24 до 24 из 30 |
Аранжировщик |
Mike Lyons |
Издатель |
Mike Lyons |
Уровень сложности |
Выше среднего |
Время звучания |
5'0 |
Жанр |
Классика/Транскрипция |
At long last I have nearly finished the 7th book. This book has posed some issues as it is such complex music it is almost impossible to cut it down to 5 parts while maintaining its integrity. As a result, some songs will be in 6 or more parts.
This is the largest song so far. It is very complex and was originally composed as a Soprano solo with a 9-part 'orchestra' split into three unequally sized 'choirs'. Choir 1 consisted of two cittarones (a kind of theorbo or archlute), a clavicembalo (early harpsichord) and a spinet.
Choir 2 comprised a string orchestra (viole da brazza, violins, viole da braccia, clavicembano (sic) and basso continuo).
Choir 3 comprised individual instruments viola da braccio or gamba, basso da braccio or gamba, contrabass and an (unnamed) keyboard.
As you might imagine, this was well nigh impossible to reduce to 5 players, so I have transcribed it for 9 brass instruments, more or less keeping to the original 'choir' groupings with a trumpet/cornet solo line. This is also one of the longest songs so far.
I hope you enjoy the result.
The text translates as: How softly, scented lips, I kiss you or listen to you. The poet is describing his inability to both kiss and hear his beloved's voice at the same time.
The following parts are supplied:
Part 1 in Bb (Solo) - Trumpet/Cornet Part 2 in Bb (Tutti 1) - Trumpet/Cornet Part 3 in C/Bb (Basso) - Euphonium/Trombone/Baritone Part 4 in Bb (Tutti 2) - Trumpet/Cornet Part 5 in Bb (Tutti 3) - Trumpet/Cornet Part 6 in F/Eb - Horn Part 7 in F/Eb - Horn Part 8 in C/Bb - Trombone/Euphonium/Baritone Part 9 in C/Bb - Trombone/Euphonium/Baritone Part 10 in C/Eb - Tuba/Eb Bass
The seventh book is quite a change from the earlier ones. Monteverdi seems to be concentrating on developing solos and duets, trios and small accompanied ensembles. The accompaniments are often written out with more than just long note chords. The intricate instrumental parts are more than just filling in the harmony (hence the difficulty in paring them down.)
Once again, these songs are exquisitely crafted and travel well onto brass.
No.25 Ohimè, dov'è il mio ben
Название пользователя: Monteverdi Madrigals Book 7 - 25. Ohimè, dov'è il mio ben
Инструменты |
Тромбон тенор, Баритон-горн, Альтгорн, Корнет, Эуфониум, Валторна, Тромбон, Труба, Туба, Тенор горн, Туба бас |
Состав исполнителей |
Секстет |
Тип нот |
Партитура, Партии |
Части |
25 до 25 из 35 |
Аранжировщик |
Mike Lyons |
Издатель |
Mike Lyons |
Уровень сложности |
Средний уровень |
Время звучания |
5'28 |
Жанр |
Классика/Транскрипция |
At long last I have nearly finished the 7th book. This book has posed some issues as it is such complex music it is almost impossible to cut it down to 5 parts while maintaining its integrity. As a result, some songs will be in 6 or more parts.
Here is a group of four very short songs for soprano duet with continuo. I have arranged them as a duet for trumpet/cornet with a four part accompaniment.
The four songs are related under the commone title "Ohimè, dov'è il mio ben" but each also has a title of its own:
1. Romanesca a 2 (This is the subtitle. A romanesca was a musical formula characterised by a falling sequence of 5 notes and with a fixed harmonic progression.) The text translates as "Alas, where is my beloved?"
2. Dunque ha potuto sol desio d'onore - "Can it be that love of honour..."
3. Dunque ha potuto in me, più che il mio amore - "Can it be that ambition and vainglory..."
4. Ahi, sciocco mondo - "Alas, foolish blind world"
Each song is a setting of a pair of couplets which together form the whole poem, which is why I have collected them together here. Besides, on their own, each is too short.
Here also is evidence of Monteverdi's progress in telling a story through music.
These four songs work beautifully on brass, with gorgeous suspensions and resolutions and well directed rhythmic drive from the accompaniment.
The seventh book is quite a change from the earlier ones. Monteverdi seems to be concentrating on developing solos and duets, trios and small accompanied ensembles. The accompaniments are often written out with more than just long note chords. The intricate instrumental parts are more than just filling in the harmony (hence the difficulty in paring them down.)
Once again, these songs are exquisitely crafted and travel well onto brass.
No.28 Chiome d'oro – Brass Septet
Название пользователя: Monteverdi Madrigals Book 7 - 28. Chiome d'oro – Brass Septet
Инструменты |
Тромбон тенор, Баритон-горн, Альтгорн, Корнет, Эуфониум, Валторна, Тромбон, Труба, Туба, Тенор горн, Туба бас |
Состав исполнителей |
Септет |
Тип нот |
Партитура, Партии |
Части |
28 до 28 из 30 |
Аранжировщик |
Mike Lyons |
Издатель |
Mike Lyons |
Уровень сложности |
Выше среднего |
Время звучания |
2'56 |
Жанр |
Классика/Транскрипция |
At long last I have nearly finished the 7th book. This book has posed some issues as it is such complex music it is almost impossible to cut it down to 5 parts while maintaining its integrity. As a result, some songs will be in 6 or more parts.
"Chiome d'oro, bel tesoro" tells of golden tresses of hair, strings of pearls and roses that all charm and bind the lover to his love. It's a typical slushy romantic poem of the time and Monteverdi gives it some special treatment indeed. Originally for 'two voices (unspecified) two violins and basso continuo (now a standard part of any accompaniment) I have chosen to arrnage it for Two horns, Two Trumpets/Cornets, two trombones (baritone/euphonium) and tuba.The range of the violin parts is quite small, so it fits rather well on the trumpets. Of course, we are in the era when music was apt to be composed to fit any combination of instruments and so all the ranges would have to be similar to enable this to happen. I decided to give the duet lines to the horns.
The seventh book continues to be a challenge. Monteverdi seems to be concentrating on developing solos and duets, trios and small accompanied ensembles. The accompaniments are often written out with more than just long note chords. The intricate instrumental parts are more than just filling in the harmony (hence the difficulty in paring them down.)
Once again, this song is exquisitely crafted and travels well onto brass.
No.29 Amor che deggio far
Название пользователя: Monteverdi Madrigals - Book 7 - 29. Amor che deggio far
Инструменты |
Тромбон тенор, Баритон-горн, Альтгорн, Корнет, Валторна, Тромбон, Труба, Туба, Туба бас, Труба-пикколо, Корнет сопрано |
Состав исполнителей |
Большой ансамбль (9 и более исполнителей) |
Тип нот |
Партитура, Партии |
Части |
29 до 29 из 32 |
Аранжировщик |
Mike Lyons |
Издатель |
Mike Lyons |
Уровень сложности |
Выше среднего |
Время звучания |
5'12 |
Жанр |
Классика/Транскрипция |
At long last I have nearly finished the 7th book. This book has posed some issues as it is such complex music it is almost impossible to cut it down to 5 parts while maintaining its integrity. As a result, some songs will be in 6 or more parts.
In Amor che deggio far, the poet is pleading with his love for constancy. he feels she doesn't love him enough to be his lover forever.
This is one of the longer poems set in the seventh book and has a variety of musical forms within it. It begins with an opening statment of the 3 ritornelli that will reappear after each solo, duet, trio or quartet from the soloists. In this way, the composer prepares the listener for what will come and it will therefore be familiar and recognisable in the context of the song.
This ia also one of the most demanding songs in the book. It requires a set of four solo singers (Trumpet/Horn/Trombone/Tuba) a pair of obbligato violins (Eb trumpet and Bb trumpet) and a string+ keyboard continuo part (Trumpet/Horn/Euphonium/Tuba) making 10 instruments in all. I had to use an Eb trumpet as the range of the obbligato is quite adventurous for the period and covers some of the clarino range that was to become popular in the High Baroque.
At 5 minutes in length, this is a great finisher for either hafl of a concert, especially as Monteverdi has reserved use of all the instruments/voices until the very end, creating a rousing finish.
The seventh book continues to be a challenge. Monteverdi seems to be concentrating on developing solos and duets, trios and small accompanied ensembles. The accompaniments are often written out with more than just long note chords. The intricate instrumental parts are more than just filling in the harmony (hence the difficulty in paring them down.)
Once again, this song is exquisitely crafted and travels well onto brass.
No.33 Tirsi e Clori
Название пользователя: Monteverdi Madrigals - Book 7 - 33. Tirsi e Clori
Инструменты |
Тромбон тенор, Баритон-горн, Альтгорн, Корнет, Эуфониум, Валторна, Тромбон, Труба, Туба, Тенор горн, Туба бас |
Состав исполнителей |
Большой ансамбль (9 и более исполнителей) |
Тип нот |
Партитура, Партии |
Части |
33 до 33 из 33 |
Аранжировщик |
Mike Lyons |
Издатель |
Mike Lyons |
Уровень сложности |
Средний уровень |
Время звучания |
8'17 |
Жанр |
Классика/Транскрипция |
At long last I have nearly finished the 7th book. This book has posed some issues as it is such complex music it is almost impossible to cut it down to 5 parts while maintaining its integrity. As a result, some songs will be in 6 or more parts.
This section of the 7th book is really a miniature scena (although Monteverdi describes it as a ballet), telling the story of Tirsi and Clori (Thyrsis and Chloris) two lovers from ancient greek myths. This piece is the final section of Tirsi e Clori, which Monteverdi describes as the Ballo (Dance) where all the characters in the story provide a spectacle of celebration at the end of the performance. There is a short (12 measure) section forming an introduction at a slow tempo, followed by a 1-in-a-bar dance, a change occurs at measure 113 to simple duple time before returning to a rousing reprise of the lively 3/2 music. The whole is brought to a rousing conclusion with a long cadence in what is rapidly approaching the Baroque style.
The instruments are divided between two 'choirs' a 5-part one, representing the singers (Cantus,Quintus, Alto, Tenor and Bass) and a four part accompanying group representing the continuo. There is also an optional percussion part, as the original would have been so accompanied, even though it was not notated in the score.
At just over 8 minutes in length, this is a great finisher for a concert - or, in the right circumstances, a starter - especially as Monteverdi has made the ending very loud and full.
The seventh book has been a challenge. The much more intricate music, showing Monteverdi's development towards a true operatic technique requires a really careful study of his orchestrations. It has been a great pleasure to set this music and I hope lots of ensembles will 'give it a go'!
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