such composers as Monteverdi, Lully and Purcell, with the same goal in mind, had developed styles of recitative sensitively attuned to their own languages.

The great achievements generally ascribed to him are the further development of the recitative, introduced by Monteverdi, and of infinite importance in the history of dramatic music ; the further development of the chamber-cantata, by which Carissimi superseded the concertato madrigals which had themselves replaced the madrigals of the late Renaissance ; and the development of the oratorio, of which he was the first significant composer.

In 1989 the Monteverdi Choir had its 25th anniversary, touring the world giving performances of Handel's oratorio " Israel in Egypt " and Bach's " Magnificat " among other works.

Many Germans had gone south to study in Italy, particularly with the Venetians ; Hans Leo Hassler studied with Andrea Gabrieli, and Heinrich Schütz with Monteverdi.

He was introduced to the Italian concertato, polychoral and monodic styles — because Schütz had journeyed in Italy when a young man and he had met Giovanni Gabrieli and Monteverdi — as well as the style of Sweelinck's pupils, some of whom had settled in Hamburg.

More recently, in 1598 Monteverdi had helped the court's musical establishment to produce Giovanni Battista Guarini's play Il pastor fido, described by theatre historian Mark Ringer as a " watershed theatrical work " which inspired the Italian craze for pastoral drama.

When Monteverdi wrote the music for L ' Orfeo he had a thorough grounding in theatrical music.

Although Goehr's personal relationship to his father was not unproblematic, Walter Goehr had a determining influence on his son via his work as a conductor: the composers whose work Walter championed — Arnold Schoenberg, Claudio Monteverdi, Modest Mussorgsky, Olivier Messiaen — feature as a red-thread throughout Alexander's output.

Unlike Monteverdi, who began in a conservative style and became experimental later in life, Monte's compositional career had an opposite curve, progressing from experimentation to unity and simplicity in his later works.

She has had notable success in roles of Mozart, Handel, and Monteverdi.

In 1612 Claudio Monteverdi was appointed maestro di cappella, and though he brought the musical standards back to a high level, the vogue of the polychoral style had passed ; concertato music, much with solo voice, was now the norm ; the productions of this late period are identifiably Baroque.

Monteverdi team had pulled out of F1, meaning that two Ligiers escaped from pre-qualifying again.

Contemporaries of the composer and the librettist saw an identification between Ulysses and Monteverdi ; both are returning home —" home " in Monteverdi's case being the medium of opera which he had mastered and then left, 30 years earlier.

In July Monteverdi had fulfilled his desire to move the team to Switzerland, but that improved nothing.

By the time of the German Grand Prix, Monteverdi had succeeded in changing the teams name to Monteverdi Onyx Formula One, but once again it meant nothing as although both cars scraped onto the grid, Foitek retired early and Lehto finished 6 laps behind and was unclassified.

Opera had revealed its first stage of maturity in the hands of Monteverdi.

The chief composer of Venetian opera was Monteverdi, who had moved to the republic from Mantua in 1613, with other important composers including Pier Francesco Cavalli, Antonio Sartorio, and Giovanni Legrenzi.

Before university he had already toured chorally worldwide, and on graduation in 2000 continued on to perform regularly in concerts, global tours and CD recordings for such classical groups as John Eliot Gardiner's Monteverdi Choir, Robert King's The King's Consort, The John Rutter Singers, Synergy, Opera Rara, the London Voices and Metro Voices.

By that time, Monteverdi had started the mass production of a new kind of car, well-equipped luxurious Off-road Station wagons.

In the Lamento d ' Arianna collection, Pari derived most of the motivic material directly from Monteverdi, but worked it into a dense, archaic contrapuntal texture more akin to Gombert, who had died sixty years earlier, than to the currently popular style of monody.

Monteverdi had established himself as a leading composer of madrigals before writing his first full-length operas in the years 1606 – 08, while he was in the service of Duke Vincenzo Gonzaga in Mantua.

After falling out with Vincenzo's successor, Duke Francesco Gonzaga, Monteverdi moved to Venice in 1613 and became director of music at St Mark's Basilica, a position he held for the rest of his life.

After a disagreement in 1612 with Vincenzo's successor, Duke Francesco Gonzaga, Monteverdi moved to Venice to take up the position of director of music at St Mark's Basilica, where he remained until his death in 1643.

Historical record does not indicate whether Monteverdi actually performed the Vespers in either city ; the work may have been written as an audition piece for posts at Venice ( Monteverdi became maestro di cappella at St Mark's Basilica in Venice in 1613 ) and Rome ( where the composer was not offered a post ).

Along with the more classical sacred music of composers ranging from Mozart to Monteverdi, the Catholic Church continued to produce many popular hymns such as Lead, Kindly Light, Silent Night, O Sacrament Divine and Faith of our Fathers.

In the late 16th century Claudio Monteverdi came to Mantua from his native Cremona.

This was despite him receiving several offers to work in very prominent establishments, including an offer to take over from Claudio Monteverdi at Saint Mark's in Venice.

Cavalli's operas provide the only example of a continuous musical development of a single composer in a single genre from the early to the late 17th century in Venice — only a few operas by others ( e. g., Monteverdi and Antonio Cesti ) survive.

* Claudio Monteverdi composed at least eighteen operas, but only three ( L ' Orfeo, L ' incoronazione di Poppea, and Il ritorno d ' Ulisse in patria ) and the famous aria, Lamento, from his second opera L ' Arianna have survived.

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.

* In late 2004, Gardiner toured France and Spain with the Monteverdi Choir performing pieces from the Codex Compostelanus in cathedrals and churches along the Camino de Santiago.

In addition to the core operatic repertoire, ENO has presented a wide range of works, from early operas by Monteverdi to new commissions, operetta and Broadway shows.

An example of a setting of his work would be " O come è gran martire " from Libro Terzo dei Madrigali ( 1592 ) by Monteverdi.

Of all the composers of madrigals of the late 16th century, none was as central a figure as Claudio Monteverdi, who was often credited as the principal actor in the transition from Renaissance music to Baroque music.

* Bukofzer, Manfred F. Music in the Baroque Era from Monteverdi to Bach.

The elements from which Monteverdi constructed his first opera score — the aria, the strophic song, recitative, choruses, dances, dramatic musical interludes — were, as conductor Nikolaus Harnoncourt has pointed out, not created by him, but " he blended the entire stock of newest and older possibilities into a unity that was indeed new ".

Alexander came from an extremely musical family: his mother Laelia was a classically trained pianist, and his father was a Schoenberg pupil and pioneering conductor of Schoenberg, Messiaen ( he conducted the UK premiere of the Turangalîla Symphony in 1953 ) and Monteverdi.

Ainsley has made numerous recordings that range from Monteverdi to Britten.

She also interpreted works by Claudio Monteverdi, Heitor Villa-Lobos, Kurt Weill, Philipp Zu Eulenburg, The Beatles, folk songs from Armenia, also by the musical analyst Komitas Vartabed, and her own compositions.

After stopping counterpoint lessons with the composer, organist and pedagogue Marco Enrico Bossi, Malipiero continued studying on his own by copying out music by such composers as Claudio Monteverdi and Girolamo Frescobaldi from the Biblioteca Marciana, in Venice, thereby beginning a lifelong commitment to Italian music of that period.

At first, Monteverdi remained aloof from these activities, perhaps on account of his age ( he was over 70 ), or perhaps through the dignity of his office as maestro di capella at St. Mark's.

It is not known when Monteverdi received the libretto from Badoaro, but this was presumably during or before 1639 since the work was being prepared for performance in the 1639 – 40 carnival.

A study of the score reveals many characteristic Monteverdi features, derived from his long experience as a composer for the stage and of other works for the human voice.

These documents include: a letter from the unknown librettist of Le nozze d ' Enea in Lavinia, which discusses Monteverdi's setting of Il ritorno ; Badoaro's preface to the Il ritorno libretto, addressed to the composer, which includes the wording " I can firmly state that my Ulysses is more indebted to you than ever was the real Ulysses to the ever-gracious Minerva "; a 1644 letter from Badoaro to Michelangelo Torcigliani, which contains the words " Il ritorno d ' Ulisse in patria was embellished with the music of Claudio Monteverdi, a man of great fame and enduring name "; and finally a 1640 booklet Le Glorie della Musica which lists the Badoaro-Monteverdi pairing as the creators of the opera.

In 1946 he thus started to record music, from Monteverdi to Stravinsky, with the forces of his former Karl Ristenpart Chamber Orchestra, supplemented by vocal soloists and top musicians from other Berlin orchestras, under the label " RIAS-Choir and Chamber Orchestra ".