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Мадригал «Altri canti d’Amor» К. Монтеверди — партитура и партии

К. Монтеверди "Altri canti d'Amor, tenero Arciero" — партитура и партии
"Altri canti d'Amor, tenero Arciero", madrigal by Claudio Monteverdi, score & parts.
 

Партия Факсимиле Уртекст
Партитура, формат PDF   скачать
Партия 1 сопрано (canto primo) скачать скачать
Партия 2 сопрано-квинто (canto secondo qvinto) скачать скачать
Партия альтов (alto) скачать скачать
Партия 1 теноров (tenore primo) скачать скачать
Партия 2 теноров (tenore secondo) скачать скачать
Партия басов (basso) скачать скачать
Партия 1 скрипки (violino primo) скачать скачать
Партия 2 скрипки (violino secondo) скачать скачать
Партия виолы-альта (viola alto primo) скачать скачать
Партия виолы да гамба-квинты (viola da gamba, qvinto) скачать скачать
Партия виолы да гамба-2 альта (viola da gamba, alto secondo) скачать скачать
Партия виолы-контрабаса (viola contrabasso) скачать скачать
Партия basso continuo (B. C.) скачать скачать
Исходный файл, формат Sibelius 6   скачать

Итальянский текст и его перевод на русский язык (пер. с ит. А. Ахметова)

This score is prepared for the Baroque Opera Studio (Open Academies of Baroque Music in Saint Petersburg, Russia, in 2012.
This piece opens the VIII book of madrigals by C. Monteverdi, its first part: Canti guerrieri (Songs of war), published in Venice in 1638.
Although its content was composed during the 30-years period.
The title can be translated as "Let others sing of love, the tender archer…". Lyrics are a sonnet by unknown poet.
I took the digital score by Björn Sothmann (2004), published at the ChoralWiki library (CPDL). Thanks Björn for your great job!
I've corrected multiple mistakes, comparing it to the facsimile of the VIII book, published at the digital Petrucci Music Library (IMSLP).
Some evident mistakes in facsimile are fixed as well in bars 196, 206, 213, 214.
Clefs, time signatures, bar lines, beaming is all improved to match the original manuscript and common rules better.
Measure numbers and basso continuo figures are added (taken from the original B. C. manuscript).
The score layout is optimized for the performance practice: less pages (in 5 times!), more information.
The score is converted from the Capella format to Sibelius. The parts are prepared to print and use separately. They are named according
to the original instrument (voice) names, i. e.:
— Canto Primo — C1
— Canto Secondo, or Qvinto — C2(Q)
— Alto — A
— Tenore Primo — T1
— Tenore Secondo — T2
— Basso — B
— Violino Primo — V1
— Violino Secondo — V2
— Viola Alto Primo — V(A1)
— Viola da Gamba, or Qvinto — G(Q)
— Viola da Gamba (Alto Secondo) — G(A2)
— Viola Contrabasso — VCb
— Basso continuo — B. C.

Send me feedback info@pratticaterza.ru

 

 

Georgy Blagodatov, Prattica Terza, 2012

 

 

 

 

Оратория «Иеффай» Дж. Кариссими: партитура и партии

Оратория "Иеффай" Джакомо Кариссими: партитура и партии.
"Jephte", oratorio by Giacomo Carissimi, score & parts.
 

Партитура, формат PDF скачать
Партия 1 скрипки (violino primo) скачать
Партия 2 скрипки (violino secondo) скачать
Партия альта (viola) скачать
Партия теноров (tenori) скачать
Партия basso continuo (B. C.) скачать
Исходный файл, формат Finale 2009 скачать

I prepared this score for performance of "Jephte" at Open Academies of Baroque Music in Saint Petersburg in 2012. The main source taken for this score is the publication by Sabine Cassola at the ChoralWiki (CPDL) library (SMC 2008). I fixed several minor errors of that edition.

As we know, "Jephte" was performed with a string ensemble. But we do not have the original score with obligato parts for strings or with any indications for them. Whether string players were doubling choir singers or played any written obligato parts, we don't know. The only source with written parts for strings is a later copy by Henrik Rung (19th century) from Det Kongelige Bibliotek Denmark (H. & Fr. Rungs Musik-Arkiv #1595). Its digital copy is published at the Petrucci Music Library (IMSLP). In my score I've incorporated those string parts. That's why this score is 1 bar longer (movement XIII has a "praeludium" instrumental bar #165).

However, the manuscript by Rung includes only several of the oratorio movements, i. e. XIII, XV-XXI, XXIV. That manuscript also lacks pages 6 & 7 (probably missing in the original manuscript, or they were not scanned when preparing a digital version). So, we do not have string parts for bars from 241 to 271. They are left blank in this score and can be reconstructed without serious problems (or missing pages can be published as well). Whether those string parts are genious is questionable, they differ from vocal parts stylistically, but they match harmonic structure of the Charpentier's version (see below).

Anyway, we do not have any other version. Violinists may choose between playing the C1 & C2 parts of the choir, or those parts V1 & V2 from the Rung's version.

Then I integrated basso continuo figures, as they are missing in the original SMC 2008 score. I used the facsimile of the copy by M.-A. Charpentier found at the Gallica digital library (La Bibliothèque nationale de France). This is curious, but the pages in this manuscript are messed as well: the list #27 must follow the list #24, not #26, so the valid order of the last lists should be: 24, 27, 25, 26. And that means that this pagination problem is in the original volume!

Other differences between sources can be found in the beautiful final chorus. In both Rung's and Charpentier's versions it is published in a truncated version, compared to SMC 2008: bars from 414 to 425 & 430 are missing. However, it was not difficult to reconstruct missing string parts and b. c. figures, using the rest of the chorus (already done by me in this score). I've checked available recordings: some (such as W. Christie's) use the full version, some (such as M. Gester's) the truncated one.

About b. c. figures: all signatures in brackets are added by me, the rest are from the Charpentier's version. In the following example all three notes (6th, 5th, and low 3d) must be taken simultaneously: 65b
In the following example the 4th should be taken first, high 3d at the next beat: 4_#

There were few differences in my sources found in the bass line. There are slight changes in b. c. line in the article from the Grove Music Dictionary, but I would not trust it, because there are several evident mistakes. In cases of differences I kept both lines in this score. I made parts for violino primo, violino secondo, viola, tenors, and basso continuo, convenient for performance practice. They all include a b. c. line for easy navigation. Also, I optimized the score layout, so now there are less pages, but more information, and no dangerous page turns. Enjoy. Send me feedback info@pratticaterza.ru

 

 

Georgy Blagodatov, Prattica Terza, 2012

 

 

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