-
himself has said that it “was a send-up of ourselves… all that
serious Monteverdian fantasy.” It is an
instrumental with
silly noises that can not really...
- solo
madrigals with
instrumental accompaniment,
sometimes using the
Monteverdian stile concitato tremolo effect, and in
formal design prefiguring the...
-
Heinrich Schütz, who in 1627
adapted Rinuccini's Dafne, with a
clear Monteverdian influence. In 1644,
Sigmund Theophil Staden composed Seelewig, the first...
-
Jacobs performance with
Concerto Vocale, "a
recording that all
serious Monteverdians will wish to
return to frequently",
according to Fenlon. Jacobs's version...
- moderno'. His
vocal writing reflected the
seventeenth century, with
Monteverdian derivations. His
instrumental music shows the
characteristics of the...
-
which spanned from
middle C to high B-flat, and the four
surviving non-
Monteverdian settings of
roles written for her (by Sacrati, Laurenzi,
Cesti and Ziani)...
-
occurrences of a wild 6/8
section when all **** is let
loose in true
Monteverdian concitato ("excited") manner". He
compares it to the "spectacular double...
