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Published online by Cambridge University Press: 01 January 2020
If I desired a precedent for a paper on Monteverde, I could not do better than look back to that read in 1916 by Sir Hubert Parry, then President of the Musical Association, on The Significance of Monteverde. And if I were looking out for a suitable way of introducing the subject I could not do better than quote his introduction. He said:—
“Everyone who has any idea at all of what the name of Monteverde represents must see that a proposal to discuss him fully in a single paper, even of abnormal length, would be absurd.”
1 The references are to the volumes and pages of Malipiero's complete edition of Monteverde's works (Universal Edition). This song is published separately as No. 1 of Songs and Duets from the Works of Monteverde (Oxford University Press).Google Scholar
2 Songs and Duets, &c., No. 2 (b).Google Scholar
3 Songs and Duets, &c., No. 6.Google Scholar
4 Songs and Duets, &c., No. 3.Google Scholar
5 Songs and Duets, &c., No. 5.Google Scholar
6 i.e., in the Venice manuscript. The Naples manuscript is for strings in four parts, which sometimes actually accompany the voice. The differences can be studied in Malipiero's text.Google Scholar