SKU: UT.TME-3
ISBN 9790215319158. 9 x 12 inches.
Cessate, mortis funera. Mottetto a 5 voci (SSATB) con Trombe, Oboi, Cornetti, Archi e Basso Continuo; Benedictus. Cantico a 8 voci (SATB-SATB) con Basso Continuo; Benedictus. Cantico a 5 voci (SSATB) con Archi e Basso Continuo; Canite, cives. Mottetto a 5 voci (SSATB) con Trombe, Cornetto, Archi e Basso Continuo; Alleluia. Mottetto a 8 voci (SATB-SATB) con Oboe, Archi e Basso ContinuoPerformance Material on HireSix grandiose Motets, with rich appendix, and two solemn Benedictus make the opera omnia of the Bolognese Perti for the court of the Florence Grand Duke: the scores, rendered here in the tricentennial of their composition, in that time impressed the Emilian audience as much as the Tuscan one. The second volume volume includes the 3 Motets Cessate, mortis funera, Canite, cives e Alleluia, and the 2 Benedictus, first performed between 1707 and 1709.
SKU: UT.TME-2
ISBN 9790215318380. 9 x 12 inches.
Gaudeamus omnes. Mottetto a 8 voci (SATB-SATB) con Trombe, Cornetti, Archi e Basso Continuo; Date melos, date honores. Mottetto a 8 voci (SATB-SATB) con Archi e Basso Continuo; Cantate laeta carmina. Mottetto a 5 voci (SSATB) con Trombe, Cornetti, Archi e Basso ContinuoPerformance Material on HireSix grandiose Motets, with rich appendix, and two solemn Benedictus make the opera omnia of the Bolognese Perti for the court of the Florence Grand Duke: the scores, rendered here in the tricentennial of their composition, in that time impressed the Emilian audience as much as the Tuscan one. The first volume includes the Motets Gaudeamus omnes, Date melos, date honores and Cantate laeta carmina, first performed respectively in 1704, 1705 and 1706.
SKU: HL.50601044
ISBN 9788881920075. UPC: 888680723804. 7.75x10.5 inches.
This Marian antiphon survives in autograph score among the manuscripts once in Vivaldi's possession, today preserved in the Biblioteca Nazionale Universitaria di Torino. It was evidently originally a four-movement work composed, possibly in 1726, for the Ospedale della Pietà in Venice, but the openingtwo movements, which must have occupied one or more separate gatherings, are lost. In these circumstances, a reconstruction of the complete work is not a worthwhile proposition, and the edition is therefore presented as a fragment. Its vocal part was notated by Vivaldi in the tenor clef, which was used at the Pietà by a number of singers among the figlie di coro who, in today's terms, would be classified as “low (or second) contraltos”. The score is of particular interest for featuring two parts named “Trombe” that are almost certainly not for brass instruments but for “violini in tromba marina”: specially adapted violins with only three strings anda distinctive bridge designed to mimic the raucous, rattling sound of a tromba marina.
