Monteverdi, Claudio
Complete Madrigals (10 Vols.)

Vol. 1: Madrigali. Libro I (Venezia 1587) (ed. Bornstein)

Vol. 2: Madrigali. Libro II (Venezia 1590) (ed. Bornstein)

Vol. 3: Madrigali. Libro III (Venezia 1592) (ed. Bornstein)

Vol. 4: Madrigali. Libro IV (Venezia 1603) (ed. Bornstein)

Vol. 5: Madrigali. Libro V (Venezia 1605) (ed. Bornstein)

Vol. 6: Madrigali. Libro VI (Venezia 1614) (ed. Bornstein)

Vol. 7: Madrigali. Libro VII (Venezia 1619) (ed. Gabbrielli)

Vol. 8.1: Madrigali Guerrieri. Libro VIII (Venezia 1638) (ed. Bornstein)

Vol. 8.2: Madrigali Amorosi. Libro VIII (Venezia 1638) (ed. Bornstein)

Vol. 9: Madrigali. Libro IX (Venezia 1651) (ed. Gabbrielli)

Author: Claudio Monteverdi (1567-1643)
Editor: Andrea Bornstein, Michelangelo Gabbrielli
Fecha de publicación: 2011
Series: Odhecaton. Vocal Music
Pages: pp. 1312
Tamaño:: 235x315 mm
Encuadernación: rústica
ISMN: 979-0-2153-1922-6
Code: ODH 32


Claudio Monteverdi’s (Cremona 1567 – Venezia 1643) nine books of madrigals can be divided into three groups. The first two books were written in the so-called Cremonese period (until 1590), when the composer was still very much under the influence of his teacher, Marcantonio Ingegneri. Books 3-5 were composed during the Mantuan years (1591-1612); the innovative style of these compositions – especially those in the fourth book – gave origin to a controversy with Artusi and other musicians, which ended, on Monteverdi’s side, with the theoretical definition of ‘seconda pratica’, which is mentioned in the preface to the fifth book, and further developed by his brother Cesare in the introduction to Scherzi musicali (1607). The last four books were conceived during the composer’s Venetian years; in 1613 Monteverdi was hired as maestro di cappella in S. Marco, an office he held until his death; he thus became the foremost musical figure in the entire Republic. The ninth book was published posthumously in Venice (1651).
This is the first complete Urtext publication including the entire corpus of madrigals composed by the great Cremonese master. An edition which was impatiently expected by musicologists and musicians who have until now had to use the admirable, albeit timeworn Malipiero edition.