18 January 1622, ducal palace Mantua, Text: Strozzi. The following 108 pages are in this category, out of 108 total. in Fourth Book 1603, Monteverdi, Venice 1603, repub. He was the oldest of five children. 1594, 1600, 1604, 1607, 1611, 1615, 1621, 3 voices using Treble, S, Bar, and B combinations, Nuremberg 1597, repub. Text Chiabrera. 1607, 1621, Monteverdi, Venice 1590, repub. It was around this time that Monteverdi 's name became widely known, due largely to the criticism levied at him by G.M. Monteverdi letter 26 March ) 1611: Sacred: 2 motets: 2–5 voices: Lost work (ref. Ah crudo core, for soprano, alto, tenor & bass (from Book 7), SV 137, Tutte le bocche belle in questo nero volto, madrigal for 5 voices (from Book 2), SV 46, Ure me, Domine, motet for 5 voices, SV 102.k (contrafacta of SV 102), Usciam, ninfe, homai fuor di questi boschi, madrigal for 5 voices (from Book 1), SV 34, Ut queant laxis resonare fibris, motet for 2 sopranos & 2 violins (from Selva morale e spirituale), SV 279a, La vaga pastorella sen va tra fiori, madrigal for 5 voices (from Book 1), SV 36, Vaga su spina ascosa, madrigal for 2 tenors & bass, (from Book 7), SV 134, Vaghi rai di cigli ardenti, madrigal for 3 voices (from Scherzi musicali a tre voci), SV 239, Vago augelletto, che cantando vai, madrigal for 7 voices, 2 violins & continuo (from Book 8), SV 156, Vattene pur, crudel, con quella pace, madrigal in 3 sections for 5 voices (from Book 3), SV 67, Veni in hortum meum, motet for 3 voices (from Sacrae cantiunculae), SV 208, Venite siccientes ad aquas Domini, motet for 2 sopranos, SV 335, Venite, videte martyrem quam sit carus, motet for voice & continuo, SV 336, Vespro della Beata Vergine, for chorus & instruments, SV 206, La violetta, madrigal for 3 voices (from Scherzi musicali a tre voci), SV 240, Vives in corde meo, motet for 5 voices, SV 101.k (contrafacta of SV 101), Vivrò fra i miei tormenti e le mie cure, madrigal in 3 sections for 5 voices (from Book 3), SV 72, Voglio di vita uscir, madrigal for soprano, Voi ch'ascoltate in rime sparse, motet for 5 voices & 2 violins (from Selva morale e spirituale), SV 253, Voi pur da me partite, anima dura, madrigal for 5 voices (from Book 4), SV 83, Volgea l'anima mia soavemente, madrigal for 5 voices (from Book 4), SV 79, Vorrei baciarti, o Fill, madrigal for 2 voices (from Book 7), SV 123, Zefiro torna e'l bel tempo rimena, madrigal for 5 voices (from Book 6), SV 108, Zefiro Torna, madrigal for 2 tenors and continuo (from Book 9 & Scherzi musicali), SV 251. Jacobsen, Egtved 1985, Monteverdi, Venice 1609, repub. In Claudio Monteverdi: The Gonzaga court …it was his first opera, Orfeo, performed in 1607, that finally established him as a composer of large-scale music rather than of exquisite miniature works. 1615, 1620, 1639, Monteverdi, Venice 1619 (in Seventh Book), Text: Andreini. His work marks the transition from Renaissance to Baroque music. ensemble, Texts: Petrarch, Strozzi, Rinuccini, Marino, Guarini and others. Monteverdi Claudio. Perf. 28 May 1608. Madrigali Guirreri et Amorosi 4. He became interested in the experimental musical dramas of Jacopo Peri, who was music director at the court of the Medici family, and in … 1–5 voices, choirs, basso continuo, violins, viole da braccio/tromb. Early Career. Claudio Giovanni Antonio Monteverdi. Orchestration: 2/3 violins, 3 trumpets in D, 1 trumpet in B flat, 2/3 violas, 2 cellos, 1 double bass, 3 trombones, 1 bass trombone, 2 recorders, 2 flutes. It was around this time that Monteverdi's name became widely known, due largely to the criticism levied at him by G.M. His compositions from the Mantuan period betray the influence of Giaches de Wert, whom Monteverdi eventually succeeded as the maestro di cappella. Claudio Monteverdi was an Italian Renaissance composer and a significant developer of new genre — ‘operas’. Text: Rinuccini. Rev. L'Arianna L'Arianna was the second opera written by Claudio Monteverdi. Listen to albums and tracks from Claudio Monteverdi. In 1587, he published the first of nine books of madrigals. His father was Baldassare Monteverdi, a doctor, apothecary and surgeon. During his era, being appointed as director of the … At a young age, Monteverdi studied composition under the Flemish composer and orchestra director Giaches de Wert and soon surpassed him, creating more avant garde compositions than his teacher. He was born on the 15th of May 1567 and went on to craft both sacred and secular music, specializing in opera. El a ajuns la un grad de popularitate neobișnuit de mare față de contemporanii săi. His compositions from the Mantuan period betray the influence of Giaches de Wert, who Monteverdi eventually succeeded as the maestro di cappella. Claudio Giovanni Antonio Monteverdi (15 May 1567 (baptized)–29 November 1643) was an Italian composer, gambist, singer and Roman Catholic priest. Classic Choral Works. Perf. Music lost. His compositions from the Mantuan period betray the influence of Giaches de Wert, who Monteverdi eventually succeeded as the maestro di cappella. Lived in: Italy. Italian composer Claudio Monteverdi (1567–1643) was one of the most important composers of the turn of the 17th century. 21 December 1628. His compositions from the Mantuan period betray the influence of Giaches de Wert, whom Monteverdi eventually succeeded as the maestro di cappella. SUMMARY: The main topic of this Thesis is Claudio Monteverdi’s work and its importance for the development of dealing with text in music of the late Renaissance and early Baroque period. One of his most famous opera compositions is L’Orfeo. Forces or Category: SSTTBB soloists, SATTB chorus, orchestra . Artusi in his famous 1600 treatise "on the imperfection of modern music." At the age of 15, Monteverdi composed his first work, a set of three-part motets, and by 1605 he had composed five books of madrigals. Bianchi, Venice 1620. Advertisement. Selva Morale e Spirituale,1640 3. 16 April 1630. It is one of the most influential and famous specimens of early baroque opera. First perf. Text: Achillini. Even as a teenager, Monteverdi drew notice for writing music in the more dramatic new styles. If one were to name the composer that stitches the seam between the Renaissance and the Baroque, it would likely be Claudio Monteverdi -- the same composer who is largely and frequently credited with making the cut in the first place. Related topics. He was the first opera composer whose works, which include Orfeo and L’incoronazione di Poppea, are regularly performed today.His music marks the end of the Renaissance style and the beginning of the Baroque. power point about monteverdi Slideshare uses cookies to improve functionality and performance, and to provide you with relevant advertising. Just eleven years later Monteverdi wrote an opera Orfeo which was a really great work. The "SV" numbers are as per the Stattkus-Verzeichnis catalogue, first published in 1985 and revised in 2006. period of transition from Renaissance to Baroque music, "Claudio Monteverdi Verzeichnis der erhaltenen Werke", https://en.wikipedia.org/w/index.php?title=List_of_compositions_by_Claudio_Monteverdi&oldid=968453253, Short description with empty Wikidata description, Creative Commons Attribution-ShareAlike License, 3 voices using Treble, S, A and T combinations, Monteverdi, Venice 1587, repub. Venice, SS Giovanni e Paolo, 25 May 1621. He followed that up with a sacred madrigal titled the Madrigali Spirituali in 1584, a collection of three voice canzonettes in 1584, and a five part madrigal in 1587. Monteverdi composed around 40 operas, of which only L'Orfeo, L'incoronazione di Poppea, Il ritorno, and the famous aria "Lamento" from his second opera L'Ariannahave survived: 1. He lived at a time of great change in musical style. Though many of his pieces were composed in the early seventeenth century, Claudio Monteverdi wrote music to which modern audiences can still relate. ensemble, Lost work (ref. Claudio Monteverdi, (baptized May 15, 1567, Cremona, Duchy of Milan—died November 29, 1643, Venice) was an Italian composer in the late Renaissance, and the most important developer of the then new genre, the opera.He also did much to bring a “modern” secular spirit into church music. Monteverdi, a key figure in the transition between the Renaissance and Baroque eras, was largely a vocal composer. 1622, 1623, 1628, 1641, Text: Guarini, Marino, Chibrera, Tasso, Rinuccini and others. MONTEVERDI, CLAUDIO (1567 – 1642), Italian composer of madrigals, operas, and sacred music; one of the most pivotal figures in the history of music. Composer. 1656. Monteverdi may have attended some of the performances of the earliest operas, those composed by the Florentine composers Jacopo Peri and Giulio Caccini, and he… Read More; history of. Monteverdi, Claudio: La favola d'Orfeo An example of early operatic recitative, “Tu sei morta, mia vita, ed io respire,” from Act II of Claudio Monteverdi's La favola d'Orfeo (1607; “The Fable of Orpheus”); from a 2004 live recording by La Grande Écurie et la Chambre du Roy, conducted by Jean-Claude Malgoire. In the "Voices/instrumentation" column of the chronological list, S= soprano, A= alto, T= tenor, Bar= baritone, B= Bass. Claudio Monteverdi discography and songs: Music profile for Claudio Monteverdi, born 15 May 1567. Text and music lost. May 29, 2013 - Claudio Monteverdi (1567 – 1643) was an Italian composer, gambist, singer and Roman Catholic priest. Claudio Monteverdi Facts. Claudio Monteverdi was an Italian Renaissance composer and a significant developer of new genre — ‘operas’. Whenham, John (2007): "The works of Monteverdi: catalogue and index" in Whenhem, John and Wistreich, Richard: This page was last edited on 19 July 2020, at 14:01. Il ritorno d'Ulisse in patria,1641 4. He studied music and published serval books of his compositions when he was very young — some of his most famous books of music were published when he was only 20! In Claudio Monteverdi's lifetime, Western art music stood at a crossroads. 2 June 1608. At the age of 15, Monteverdi composed his first work, a set of three-part motets, and by 1605 he had composed five books of madrigals. Genres: Baroque Music, Madrigal, Renaissance Music. Claudio Giovanni Antonio Monteverdi(15 May 1567 (baptized)–29 November 1643) was an Italian composer, gambist, singer and Roman Catholic priest. Artusi in his famous 1600 treatise "on the imperfection of modern music." The path from his earliest canzonettas and madrigals to his latest operatic work exemplifies the shifts in musical thinking that … 1607, 1621, Venice 1592, repub. Operas (61) Psalm settings (8) Cultural depictions of Godfrey of Bouillon (3) Operas based on works by Torquato Tasso (3) 1610 works (1) His progressive mind led to breakthroughs in com... Start now Log In x Music Apps & Devices Search … Lost work (ref. Perf. Claudio Giovanni Antonio Monteverdi (Italian pronunciation: ['klaudjo mõnte'verdi]; 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 styles of composition—the heritage of Renaissance polyphony and the new basso … Compositions by: Monteverdi, Claudio. First perf. 1. Claudio Zuan Antonio Monteverdi (n. 15 mai 1567, Cremona, Imperiul Spaniol – d. 29 noiembrie 1643, Veneția, Republica Veneția) a fost un compozitor, violonist și cântăreț italian.. Claudio Monteverdi este considerat primul reprezentat important al operei moderne. 1638 in Eighth Book, 10 voices, basso continuo, inst. Vienna 1629, 1–6 voices, basso continuo, instr. Instrumentation 1609 score: Monteverdi’s listing of instruments is shown on the right. Claudio Monteverdi Biography Click Here for Arrangements, Compositions and Recordings. Italian composer Claudio Monteverdi (1567 – 1643) was centuries ahead of his time. Monteverdi wrote one of the earliest operas, L’Orfeo, a novel work th… He developed two styles of composition—the heritage of Renaissance polyphony and the new basso continuo technique of the Baroque. Claudio Monteverdi was born in 1567 in Cremona, a town in Northern Italy. A che tormi il ben mio, madrigal for 5 voices (from Book I), SV 25, A Dio, Florida bella, madrigal for 5 voices (from Book 6), SV 110, A quest'olmo, a quest'ombre, madrigal for 6 voices, 2 violins and 2 recorders/flutes (from Book 7), SV 119, A un giro sol de' bell'occhi lucenti, madrigal for 5 voices (from Book 4), SV 84, Ab aeterno ordinata sum, motet for bass (from Selva morale e spirituale), SV 262, Adoramus te, Christe, motet for 6 voices & continuo, SV 289, Ah dolente partita, madrigal for 5 voices (from Book 4), SV 75, Ah, che non si conviene romper la fede?, madrigal for 2 voices (from Book 7), SV 125, Ahi che si parte il mio sol adorno, for 3 voices, SV 290, Ahi, com'a un vago sol cortese giro, madrigal for 5 voices & continuo (from Book 5), SV 101, Al lume delle stelle, madrigal for 2 sopranos, tenor & bass (from Book 7), SV 138, Alcun non mi consigli, madrigal for 3 voices (from Book 9), SV 169, Alle danze, alle gioie, madrigal for 3 voices (from Book 9), SV 174, Altri canti d'amor, dramatic madrigal for 6 voices, 2 violins & 4 violas (from Book 8), SV 146, Altri canti di Marte, madrigal for 6 voices and 2 violins (from Book 8), SV 155, Amarili onde m'assale, madrigal for 3 voices (from Scherzi musicali á 3 voci), SV 231, Amor che deggio far, madrigal for 2 sopranos, tenor, bass, 2 violins and chittarone/harpsichord (from Book 7), SV 144, Amor per tua mercè vatene a quella, madrigal for 5 voices (from Book 1), SV 26, Amor s'il tuo ferire, madrigal for 5 voices (from Book 1), SV 37, Amor, se giusto sei, madrigal for 5 voices & continuo (from Book 5), SV 103, Amorosa pupilletta, madrigal for 3 voices (from Scherzi musicali á 3 voci), SV 238, Angelus ad pastores ait, motet for 3 voices (from Sacrae cantiunculae), SV 222, Anima del cor mio, madrigal for 5 voices (from Book 4), SV 91, Anima dolorosa, madrigal for 5 voices (from Book 4), SV 90, Anima mia, perdona, madrigal for 5 voices (from Book 4), SV 80, Anima miseranda, for 5 voices, SV 90.k (contrafacta of Anima dolorosa, SV 90), Ardebat igne, motet for 5 voices, SV 80/1.k (contrafacta of SV 80/1), Ardo e scoprir, ahi lasso, io non ardisco, madrigal for 2 tenors (from Book 8 & Book 9), SV 158, Ardo si ma non t'amo, madrigal in 3 sections for 5 voices (from Book 1), SV 39, Ardo, avvampo, mi struggo, madrigal for 8 voices and 2 violins (from Book 8), SV 152, Armato il cor d'adamantina fede, madrigal for 2 tenors (from Book 8, 9, & Scherzi musicale), SV 150, Audi, coelum, verba mea, motet for 7 voices (from Vespro della Beata Vergine), SV 206/9, Augellin, che la voce al canto spieghi, madrigal for 3 voices (from Book 7), SV 133, Ave Maria, gratia plena, motet for 3 voices (from Sacrae cantiunculae), SV 213, Ave maris stella, for soprano, tenor & chorus (from Vespro della Beata Vergine), SV 206/12, Baci soavi e cari, madrigal for 5 voices (from Book 1), SV 27, Ballo delle ingrate, semi-dramatic ballet (from Book 8), SV 167, Batto, qui pianse Ergasto, madrigal for 5 voices (from Book 6), SV 115, Beatus Vir (I), motet for 6 voices, 2 violins, 3 violas/trombones and continuo (from Seva morale e spirituale), SV 268, Beatus Vir (II), motet for 5 voices (from Seva morale e spirituale), SV 269, Beatus Vir, motet for 7 voices & 2 violins (from Messa a quatro voci, et Salmi), SV 195, Bel pastor dal cui bel guardo, dialogue of a nymph & a shepherd for soprano & tenor (from Book 9), SV 168, Bevea Fillide mia, madrigal for 5 voices (from Book 2), SV 41, La bocc'onde l'asprissime parole solean uscir, madrigal for 5 voices (from Book 2), SV 54, Cantai un tempo, e se fu dolc'il canto, madrigal for 5 voices (from Book 2), SV 59, Cantata Domino canticum novum, motet, version for 2 voices, SV 292, Cantate Domino canticum novum, motet, version for 6 voices, SV 293, Cantemus laeti, motet for 5 voices, SV 84.k (contrafacta of SV 84), Ch'io ami la mia vita, madrigal for 5 voices (from Book 1), SV 23, Ch'io non t'ami, cor mio, madrigal for 5 voices (from Book 3), SV 70, Ch'io t'ami e t'ami piu de la mia vita, madrigal for 5 voices (from Book 5), SV 98, Che dar più vi poss'io, madrigal for 5 voices (from Book 5), SV 99, Chi vol che m'innamori, motet for alto, tenor, bass & 3 strings (from Selva morale e spirituale), SV 256, Chi vol haver felice e lieto il core, madrigal for 5 voices (from Book 8), SV 162, Chi vuol veder un bosco (from Canzonettas for 3 voices), SV 20, Chiome d'oro, bel thesoro, madrigal for 2 sopranos, 2 violins and lute/harpsichord (from Book 7), SV 143, Christe, adoramus te, motet for 5 voices, SV 294, Christmas Vespers for soloists, chorus & orchestra (reconstructed by Denis Stevens), Clori amorosa, madrigal for 5 voices (from Scherzi musicale), SV 243, Combattimento di Tancredi e Clorinda, dramatic cantata (from Book 8), SV 153, Come dolce hoggi l'auretta spira, madrigal for 3 voices (from Book 9), SV 173, Come farò, cuor mio, (from Canzonettas for 3 voices), SV 11, Con che soavità, labbra odorate, madrigal for soprano and instruments (from Book 7), SV 139, Confitebor tibi, Domine I, motet for 1 voice & 2 violins (from Missa á 4 voci et Salmi), SV 193, Confitebor tibi, Domine I, motet for 3 voices & 5-part chorus (from Salve morale e spirituale), SV 265, Confitebor tibi, Domine II, motet for 2 voices & 2 violins (from Missa á 4 voci et Salmi), SV 194, Confitebor tibi, Domine II, motet for 3 voices & 2 violins (from Salve morale e spirituale), SV 266, Confitebor tibi, Domine III (Terzo alla francese), motet for 5 voices/or 1 voice & 4 strings (from Salve morale e spirituale), SV 267, Confitebor tibi, Domine, motet for soprano, 5 viola da braccio, organ & continuo (doubtful, probably by J. Rosenmüller), SV 296, Cor mio, mentre vi miro, madrigal for 5 voices (from Book 4), SV 76, Cor mio, non mori?, madrigal for 5 voices (from Book 4), SV 77, Credidi propter quod locutus sum, motet for 8 voices (from Selva morale e spirituale), SV 275, Crucifixus (alternative parts for Credo section of Mass SV257), motet for 4 voices (from Selva morale), SV 259, Crucifuxus, Et Resurrexit, Et iterum venturus est (alternative parts for Credo section of Mass SV257), SV 259-261, Cruda Amarilli, madrigal for 5 voices (from Book 5), SV 94, Crudel, perchè mi fuggi?, madrigal for 5 voices (from Book 2), SV 55, Currite populi, psallite timpanis, motet for tenor, SV 297, Damigella tutta bella, madrigal for 3 voices (from Scherzi musicali), SV 235, Darà la notte il Sol, madrigal for 5 voices (from Lagrime d'amante al sepolcro dell'amata), SV 111/3, De la bellezza le dovute lodi, balletto for 3 voices (from Scherzi musicali á 3 voci), SV 245, Deh, bella e cara, madrigal for 5 voices (from Ch'io t'ami e t'ami), SV 98/2, Deus tuorum militum sors et corona, motet for alto, tenor, bass & 2 violins (from Selva morale et spirituale), SV 280, Deus tuorum militum sors et corona, motet for tenor & 2 violins (from Selva morale e spirituale), SV 278a, Di far sempre gioire amor speranza dá, madrigal for alto, tenor & bass (from Book 9), SV 170, Dice la mia bellissima Licori, madrigal for 2 voices (from Book 7), SV 124, Ditelo, o fiume e voi ch'udiste, madrigal for 5 voices (from Lagrime d'amante al sepolcro dell'amata), SV 111/2, Dixit Dominus (I), motet for 8 voices (from Messa a quatro voci, et Salmi), SV 191, Dixit Dominus (II) (alla breve), motet for 8 voices (from Messa a quatro voci, et Salmi), SV 192, Dixit Dominus I, motet for 8 voices, 2 violins & 4 violas/trombones (from Selva morale et spirituale), SV 263, Dixit Dominus II, motet for 8 voices, 2 violins & 4 violas/trombones (from Selva morale et spirituale), SV 264, Dixit Dominus, motet for 6 voices and 6 strings (from Vespers), SV 206/2, Dolcemente dormiva la mia Clori, madrigal for 5 voices (from Book 2), SV 52, Dolci miei sospiri, madrigal for 3 voices (from Scherzi musicali á 3 voci), SV 242, Dolcissimi legami di parole amorose, madrigal for 5 voices (from Book 2), SV 42, Dolcissimo uscignolo, madrigal for 5 voices (from Book 8), SV 161, Domine ad adiuvandum, motet for 6 voices (from Vespers), SV 206/1, Domine, ne in furore tuo arguas me, motet for 6 voices, SV 298, Una Donna fra l'altre honesta e bella vidi, madrigal for 5 voices (from Book 6), SV 109, Donna, nel mio ritorno, madrigal for 5 voices (from Book 2), SV 47, Donna, s'io miro voi, giaccio divengo, madrigal for 5 voices (from Book 1), SV 38, Dorinda, ah dirò mio, se mia non sei, madrigal for 5 voices (from Ecco Silvio), SV 97/3, Dunque amate reliquie, madrigal for 5 voices (from Lagrime d'amante al sepolcro dell'amata), SV 111/6, Duo Seraphim clamabant, motet for 3 tenors (from Vespers), SV 206/7, E così a poc'a poco torno farfalla, madrigal for 7 voices & continuo (from Book 5), SV 105, E dicea l'una sospirando, madrigal for 5 voices (Part 2 of Non si levav'ancor) (from Book 2), SV 40, È questa vita un lampo, motet for 5 voices (from Selva morale et spirituale), SV 254, Ecce sacrum paratum convivium, motet for solo voice and continuo, SV 299, Ecco di dolci raggi, madrigal for tenor (from Scherzi musicali), SV 249/1, Ecco mormorar l'onde, madrigal for 5 voices (from Book 2), SV 51, Ecco piegando le ginocchie a terra, madrigal for 5 voices (from Ecco Silvio), SV 97/4, Ecco vicine, o bella tigre, l'hore, madrigal for 2 voices (from Book 7), SV 127, Ecco, Silvio, colei ch'in odio hai tanto, madrigal for 5 voices (from Book 5), SV 97, Eccomi pronta ai baci, Ergasto mio, madrigal for 3 voices (from Book 7), SV 135, Ego dormio et cor meum vigilat, motet for soprano and bass, SV 300, Ego flos campi et lilium convallium, motet for alto, SV 301, Ego sum pastor bonus, motet for 3 voices (from Sacrae cantiunculae), SV 209, En gratulemur hodie, motet for tenor & 2 violins, SV 302, Era l'anima mia già presso a l'ultim' hore, madrigal for 5 voices (from Book 5), SV 96, Eri già tutta mia, madrigal for soprano (from Scherzi musicali), SV 248, Et è pur dunque vero, madrigal for soprano (from Scherzi musicali), SV 250, Et iterum venturus est (alternative parts for Credo section of Mass SV257), motet for 2 altos & bass (from Selva morale), SV 261, Et resurrexit (alternative parts for Credo section of Mass SV257), motet for 2 voices & 2 violins (from Selva morale), SV 260, Exulta filia Sion, madrigal for soprano, SV 303, Exulta filia Sion, motet for 3 voices & continuo, Exultent caeli et gaudeant angeli, motet for 5 voices, SV 304, Felle amaro, motet for 5 voices, SV 94.k (contrafacta of SV 94), Ferir quell petto, Silvio, madrigal for 5 voices (from Ecco Silvio), SV 97/5, La fiera vista (from Canzonettas for 3 voices), SV 3, Filli cara e amata, madrigal for 5 voices (from Book 1), SV 29, Fugge il verno dei dolori, madrigal for 3 voices (from Scherzi musicali a tre voci), SV 232, Fugge, anima mea, mundum, motet for soprano, alto & violin, SV 305, Fumia la pastorella, madrigal for 5 voices (from Book 1), SV 31, La giovinetta pianta, madrigal for 5 voices (from Book 3), SV 60, Giovinetta ritrosetta, madrigal for 5 voices (from Scherzi musicali a tre voci), SV 241, Gira il nemico insidioso, madrigal for alto, tenor & bass (from Book 8), SV 148, Gloria in excelsis Deo, motet for 7 voices, 2 violins & 4 violas/trombones (from Selva morale et spirituale), SV 258, Gloria tua, motet for 5 voices, SV 104.k (contrafacta of SV 104), Hodie Christus natus est, motet for 3 voices (from Sacrae cantiunculae), SV 218, Hor ch'el ciel e la terra e'l vento tace, madrigal for 6 voices and 2 violins (from Book 8), SV 147, I bei legami, madrigal for 3 voices (from Scherzi musicali a tre voci), SV 230, Iam moriar, mi Fili, motet for soprano (from Selva morale e spirituale), SV 288, Incenerite spoglie, avara tomba, madrigal for 5 voices (from Lagrime d'amante al sepolcro dell'amata), SV 111/1, L'incoronazione di Poppea, opera in 3 acts, SV 308, Interrotte speranze, madrigal for 2 voices (from Book 7), SV 132, Intorno a due vermiglie e vaghe labbra, madrigal for 5 voices (from Book 2), SV44, Io ardo, sì ma'l fuoco di tal sorte, madrigal for 2 sopranos & bass, SV 309, Io che armato sin hor, madrigal for tenor (from Scherzi musicali), SV 249/2, Io mi son giovinetta, madrigal for 5 voices (from Book 4), SV 86, Io son fenice e voi sete la fiamma (from Canzonettas for 3 voices), SV 19, Io son pur vezzosetta pastorella, madrigal for 2 voices (from Book 7), SV 121, Iste confessor Domini sacratus (I), motet for tenor & 2 violins (from Selva morale e spirituale), SV 279, Iste confessor Domini sacratus (II), motet for 2 sopranos & 2 violins (from Selva morale e spirituale), SV 279, Jesu, dum te contemplor, motet for 5 voices, SV 76.k (contrafacta of SV 76), Jubilet tota civitas, motet for soprano (from Selva morale e spirituale), SV 286, Justi tulerunt spolia impiorum, motet for 3 voices (from Sacrae cantiunculae), SV 229, Laetaniae della Beata Vergine, motet for 6 voices (from Messa a quatro voci, et Salmi), SV 204, Laetatus sum (I), motet for 6 voices, bassoon, 2 trombones & 2 violins (from Messa a quatro voci, et Salmi), SV 198, Laetatus sum (II), motet for 5 voices (from Messa a quatro voci, et Salmi), SV 199, Laetatus sum, motet for 6 voices (from Vespers), SV 206/6, Lagrime d'amante al sepolcro dell'amata, madrigal in 6 sections for 5 voices and instruments (from Book 6), SV 111, Lamento d'Arianna, for voice & continuo ("Lasciatemi morire"), SV 22, Lamento d'Arianna, madrigal in 4 sections for 5 voices (from Book 6), SV 107, Lamento d'Olimpia, madrigal in 3 sections for soprano, SV A2, Lamento Della Ninfa, madrigal in 3 sections for 1-4 voices (from Book 8), SV 163, Lapidabant Stephanum, motet for 3 voices (from Sacrae cantiunculae), SV 207, Lauda, Jerusalem, Dominum (I), motet for alto, tenor & bass (from Messa a quatro voci, et Salmi ), SV 202, Lauda, Jerusalem, Dominum (II), motet for 5 voices (from Messa a quatro voci, et Salmi), SV 203, Lauda, Jerusalem, Dominum, motet for 7 voices (from Vespers), SV 206/10, Laudate Dominum in sanctis eius, motet for solo voice (from Selva morale e spirituale), SV 287, Laudate Dominum, O omnes gentes, motet for bass (from Messa a quatro voci, et Salmi), SV 197, Laudate Dominum, omnes gentes (I), motet for 5 voices, chorus, 2 violins & 4 violas/trombones (from Selva morale e spiritual), SV 272, Laudate Dominum, omnes gentes (II), motet for 8 voices & 2 violins (from Selva morale e spirituale), SV 273, Laudate Dominum, omnes gentes (III), motet for 8 voices (from Selva morale e spirituale), SV 274, Laudate, pueri, Dominum (I), motet for 5 voices & 2 violins (from Selva morale e spirituale), SV 270, Laudate, pueri, Dominum (II), motet for 5 voices (from Selva morale e spirituale), SV 271, Laudate, pueri, Dominum, motet for 5 voices (from Messa a quatro voci, et Salmi), SV 196, Laudate, pueri, Dominum, motet for 8 voices & organ (from Vespers), SV 206/4, Lidia, spina del mio core, madrigal for 5 voices (from Scherzi musicali a tre voci), SV 244, Longe da te, cor mio, struggomi di dolore, madrigal for 5 voices (from Book 4), SV 92, Luci serene e chiare, voi m'incendete, madrigal for 5 voices (from Book 4), SV 81, Lumi miei, cari lumi, madrigal for 5 voices (from Book 3), SV 73, M'è più dolce il penar per Amarilli, madrigal for 5 voices (from Book 5), SV 100, Ma se con la pietà non è in te spenta, madrigal for 5 voices (from Ecco Silvio), SV 97/2, Ma te racoglie, o ninfa, madrigal for 5 voices (from Lagrime d'amante al sepolcro dell'amata), SV 111/4, Ma tu più che mai dura, madrigal for 5 voices (from Chi'io t'ami e t'ami), SV 98/3, Madrigals (& canzonettas), Book 9, for 2 & 3 voices, SV 168-178, Madrigals, Book 1, for 5 voices, SV 23-39, Madrigals, Book 2, for 5 voices, SV 40-59, Madrigals, Book 3, for 5 voices, SV 60-74, Madrigals, Book 4, for 5 voices, SV 75-93, Madrigals, Book 5, for 5 voices, SV 94-106, Madrigals, Book 6, for 5 voices, SV 107-116, Madrigals, Book 7, for 1,2,3,4 & 6 voices, SV 117-145, Madrigals, Book 8 (Madrigali guerrieri, et amorosi), for 1,2,3,4 & 6 voices, SV 146-167, Magnificat (I), for 8 voices, 2 violins and 4 violas/trombones (from Selva morale e spirituale), SV 281, Magnificat (II), for 4 voices (from Selva morale e spirituale), SV 282, Magnificat I, for 7 voices, 9 winds, 2 violins & cembalo (from Vespers), SV 206/13, Magnificat II, for 6 voices and organ (from Vespers), SV 206a, Maledetto sia l'aspetto, madrigal for soprano (from Scherzi musicali), SV 246, Maria, quid ploras?, motet for 5 voices SV 97/3.k (contrafacta of SV 97/3), Mass de Cappella for 6 voices on Gomberti's motet "In Illo Tempore" (from Vespers), SV 205, Mass for 4 voices da cappella, for 4 voices & organ (from Mass for 4 voices & Psalms), SV 190, Mass for 4 voices da cappella, for 4 voices & organ (from Selva morale et spirituale), SV 257, Mentre io miravo fiso de la mia donna, gl'occh' ardenti e e belli, madrigal for 5 voices (from Book 2), SV 50, Mentre vaga Angioletta ogn'anima gentil cantando alletta, madrigal for 2 tenors (from Book 8), SV 157, La mia turca che d'amor, madrigal for solo voice, SV 310, Misero Alceo, madrigal for 5 voices (from Book 6), SV 114, Missa et salmi, concertati, e parti de capella for solo voices, Momento, et omnis mansuetudini eius, motet for 8 voices (from Selva morale e spirituale), SV 276, Movete al mio bel suon le piante snelle, semi-dramatic ballet (from Book 8), SV 154, Nigra sum sed formosa, antiphon for tenor (from Vespers), SV 206/3, Ninfa che scalza il piede, madrigal in 3 sections for 2 & 3 voices (from Book 8), SV 160, Nisi Dominus aedificaverit domum (I), for soprano, tenor, bass & 2 violins (from Mass for 4 voices & Psalms), SV 200, Nisi Dominus aedificaverit domum (II), for 6 voices (from Mass for 4 voices & Psalms), SV 201, Nisi Dominus aedificaverit domum, for 10 voices (from Vespers), SV 206/8, Non così tosto io miro, madrigal for 3 voices (from Scherzi musicali for 3 voices), SV 234, Non è di gentil core chi non arde, madrigal for 2 sopranos (from Book 7), SV 118, Non giacinti o narcisi, madrigal for 5 voices (from Book 2), SV 43, Non m'è grave il morire, madrigal for 5 voices (from Book 2), SV 57, Non partir, ritrosetta, madrigal for 2 altos & bass (from Book 8), SV 165, Non più guerra pietate, madrigal for 5 voices (from Book 4), SV 88, Non si levav'ancor l'alba novella, madrigal in 2 sections for 5 voices (from Book 2), SV 40, Non sono in queste rive fiori così vermigli, madrigal for 5 voices (from Book 2), SV 45, Non vedrò mai le stelle, madrigal for 2 voices (from Book 7), SV 126, Non voglio amare per non penare, for 2 tenors and bass (from Book 9), SV 172, O beatae viae, O felices gressus, motet for 2 sopranos, SV 312, O bone Jesu, illumina oculos meos, motet for 3 voices (from Sacrae cantiunculae tribus vocibus), SV 226, O bone Jesu, O piissime Jesu, motet for 2 sopranos, SV 313, O chiome d'or, neve gentil del seno, madrigal for 5 voices (from Lagrime d'amante al sepolcro dell'amata), SV 111/5, O ciechi il tanto affaticar che giova, motet for 5 voices & 2 violins (from Selva morale e spirituale), SV 252, O come è gran martire, madrigal for 5 voices (from Book 3), SV 61, O come sei gentile, caro augellino, madrigal for 2 sopranos (from Book 7), SV 120, O come vaghi, o come cari, madrigal for 2 tenors, SV 315, O dolce anima mia, madrigal for 5 voices (from Book 3), SV 63, O gloriose martyr, for 5 voices, SV 80/1.k (contrafacta of Che se tu se'il cor mio, SV 80/2), O infelix recessus, for 5 voices, SV 75.k (contrafacta of Ah dolente partita, SV 75), O Jesu mea vita, motet for 5 voices, SV 89.k (contrafacta of Si ch'io vorrei morire, SV 89), O mio bene, o mia vita, madrigal for 2 tenors & bass (from Book 9), SV 178, O Mirtillo, Mirtill'anima mia, madrigal for 5 voices (from Book 5), SV 95, O Primavera, gioventù de l'anno, madrigal for 5 voices (from Book 3), SV 68, O quam pulchra es, amica mea, motet for solo tenor, SV 317, O rosetta, che rosetta, madrigal for 3 voices (from Scherzi musicali a tre voci), SV 237, O rossignuol ch'in queste verdi fronde, madrigal for 5 voices (from Book 3), SV 65, O sia tranquillo il mare, madrigal for 2 tenors (from Book 8 & 9), SV 159, O stellae coruscantes, motet for 5 voices, SV 78.k (contrafacta of SV 78), O viva fiamma, o miei sospiri ardenti, madrigal for 2 voices (from Book 7), SV 122, Occhi miei, se mirar, più non debb'io, madrigal for 2 sopranos & bass, SV 314, Occhi un tempo, mia vita, occhi di questo cor fido sostegno, madrigal for 5 voices (from Book 3), SV 71, Ogni amante è guerrier, madrigal in 4 sections for 1-3 voices (from Book 8), SV 151, Ohimè ch'io cado, ohimè ch'inciampo, madrigal, SV 316, Ohimè il bel viso, madrigal for 5 voices (from Book 6), SV 112, Ohimè, dov'è il mio ben?, madrigal in 4 parts for 2 sopranos (from Book 7), SV 140, Ohimè, se tanto amate di sentir dir ohimè, madrigal for 5 voices (from Book 4), SV 85, Parlo, miser'o taccio?, madrigal for 2 sopranos & bass (from Book 7), SV 136, Parnassus Musicus Ferdinandeus di G.B. 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