작곡가

:   Claudio Monteverdi (클라우디오 몬테베르디)

장르

:  

Choral

스타일

:  

Vespers

작곡년도

:   1610

평균연주

:   90:53

악장

1

Domine ad adiuvandum, Mxiv 123

2:06

2

Dixit Dominus, Mxiv 133

8:06

3

Nigra sum sed formosa, Mxiv150

3:38

4

Laudate, pueri, Dominum, Mxiv153

6:31

5

Pulchra es, amica mea, Mxiv170

3:54

6

Laetatus sum, Mxiv174

7:22

7

Duo Seraphim clamabant, Mxiv190

5:53

8

Nisi Dominus aedificaverit domum, Mxiv198

4:55

9

Audi, coelum, verba mea, Mxiv227

8:18

10

Lauda, Jerusalem, Dominum, Mxiv237

4:36

11

Sonata sopra 'Sancta Maria' ora pro nobis, Mxiv250

7:08

12

Ave maris stella, Mxiv250

8:14

13

Magnificat 1 à 7, Mxiv285

18:10

14

Magnificat 2 à 6, Mxiv327

9:39

Vespro della Beata Vergine (Vespers for the Blessed Virgin; SV 206 and 206a) — also called Vespers of 1610 — is a musical composition by Claudio Monteverdi. The term "Vespers" (evening prayers) is taken from the Hours of the Divine Office, a set of daily prayers of the Catholic Church which have remained structurally unchanged for 1500 years. In scale, Monteverdi's Vespers was the most ambitious work of religious music before Bach. This 90-minute piece includes soloists, chorus, and orchestra and has both liturgical and extra-liturgical elements. Vespers is composed around several Biblical texts that are traditionally used as part of the liturgy for several Marian feasts in the Roman Catholic church: the introductory Deus in adjutorium (Psalm 69), five Psalm settings, sacred motets (called “concerti”) between the Psalms, a traditional Hymn, a setting of the Magnificat text and the concluding Benedicamus Domino.
Monteverdi’s Marian Vespers of 1610 was his first sacred work after his first publication twenty-eight years prior, and stands out for its assimilation of both old and new styles, although it cannot be specifically classified as prima pratica or seconda pratica, per se. The Vespers were published in July 1610, in combination with a six-voice mass which parodied a motet of Nicolas Gombert; In illo tempore loquante Jesu. Today, over four hundred years later, the precise intentions of this large work are not clearly known or understood. This has been a great topic of debate among musicologists for decades, and it has even been suggested by Graham Dixon that Monteverdi’s setting of the Vespers is more suited towards use for the feast of Saint Barbara, claiming, for example, that the texts taken from Song of Songs are applicable to any female saint. He goes on to write that formatting the Vespers to fit a Marian feast made the work more "marketable". There are several facts that support this view: there are just two Marian songs in the whole work (Audi Coelum and Ave Maris Stella); the sonata could very easily be rearranged to any saint's name; and the text of the Duo Seraphim is connected with Saint Barbara (because she is generally connected with Trinity).

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