Claudio Monteverdi was active as a composer for almost six decades in the late 16th and early seventeenth centuries, essentially the period of transition from Renaissance to Baroque music. Much of Monteverdi's music was unpublished and is forever lost; the lists below include lost compositions only when there is performance history or other documentary evidence of the music's one-time existence. In the "Voices/instrumentation" column of the chronological list, S= soprano, A= alto, T= tenor, Bar= baritone, B= Bass. The "SV" numbers are as per the Stattkus-Verzeichnis catalogue, first published in 1985 and revised in 2006.

Claudio Monteverdi was active as a composer for almost six decades in the late 16th and early seventeenth centuries, essentially the period of transition from Renaissance to Baroque music. Much of Monteverdi's music was unpublished and is forever lost; the lists below include lost compositions only when there is performance history or other documentary evidence of the music's one-time existence. In the "Voices/instrumentation" column of the chronological list, S= soprano, A= alto, T= tenor, Bar= baritone, B= Bass. The "SV" numbers are as per the Stattkus-Verzeichnis catalogue, first published in 1985 and revised in 2006.

Claudio Monteverdi was active as a composer for almost six decades in the late 16th and early seventeenth centuries, essentially the period of transition from Renaissance to Baroque music. Much of Monteverdi's music was unpublished and is forever lost; the lists below include lost compositions only when there is performance history or other documentary evidence of the music's one-time existence. In the "Voices/instrumentation" column of the chronological list, S= soprano, A= alto, T= tenor, Bar= baritone, B= Bass. The "SV" numbers are as per the Stattkus-Verzeichnis catalogue, first published in 1985 and revised in 2006.

Catholic Marian music shares a trait with some other forms of Christian music in adding another emotional dimension to the process of veneration and in being used in various Marian ceremonies and feasts. Marian music is now an inherent element in many aspects of the veneration of the Blessed Virgin Mary in Catholic Mariology. Throughout the centuries Marian music has grown and progressed, and witnessed a resurgence along with the Renaissance, e.g. with the composition of the Ave Maria motet by Josquin des Prez. The tradition continued with a number of great composers up to the late 19th century, e.g. with Giuseppe Verdi's Ave Maria in 1880 followed by his Laudi alla Vergine Maria.

A sackbut is an early form of the trombone used during the Renaissance and Baroque eras. A sackbut has the characteristic telescopic slide of a trombone, used to vary the length of the tube to change pitch, but is distinct from later trombones by its smaller, more cylindrically-proportioned bore, and its less-flared bell. Unlike the earlier slide trumpet from which it evolved, the sackbut possesses a U-shaped slide with two parallel sliding tubes, rather than just one. Records of the term trombone predate the term sackbut by two decades, and evidence for the German term Posaune is even older. Sackbut, originally a French term, was used in England until the instrument fell into disuse in the eighteenth century; when the instrument regained popularity in the late eighteenth and early nineteenth centuries the Italian term trombone became dominant. In modern English, an older trombone or a replica is called a sackbut. The bell section was more resonant, since it did not contain the tuning slide and was loosely stayed rather than firmly braced to itself. This trait and its smaller bore and bell produce a "covered, blended sound which was a timbre particularly effective for working with voices,... zincks and crumhorns", as in an alta cappella. The revived instrument had changed in specific ways. In the mid-18th century, the bell flare increased, crooks fell out of use, and flat, removable stays were replaced by tubular braces. The new shape produced a stronger sound, suitable for open-air performance in the marching bands where trombones became popular again in the 19th century. Before the early 19th century, most trombone players adjusted their tuning using a crook placed at the joint between the bell and the slide or seldom between the mouthpiece and the slide.", rather than the modern tuning slide on the bell curve, whose cylindrical sections prevent the instrument from flaring smoothly through this section. Older trombones also generally don't have water keys, stockings, a leadpipe, or a slide lock, but as these parts are not critical to sound, replicas may include them. Bore size remained variable, as it still is today.

Claudio Monteverdi was active as a composer for almost six decades in the late 16th and early seventeenth centuries, essentially the period of transition from Renaissance to Baroque music. Much of Monteverdi's music was unpublished and is forever lost; the lists below include lost compositions only when there is performance history or other documentary evidence of the music's one-time existence. In the "Voices/instrumentation" column of the chronological list, S= soprano, A= alto, T= tenor, Bar= baritone, B= Bass. The "SV" numbers are as per the Stattkus-Verzeichnis catalogue, first published in 1985 and revised in 2006.

For over 60 years, the Monteverdi Choir has been recognised as one of the greatest and most influential choirs in the world. Founded in 1964 by Sir John Eliot Gardiner for a performance of the Vespro della Beata Vergine in King's College Chapel, Cambridge, the Choir has become famous for its stylistic conviction and extensive repertoire, encompassing music from the Renaissance period to Classical music of the 20th century. They often appear with the English Baroque Soloists and Orchestre Révolutionnaire et Romantique, also founded by John Eliot Gardiner. In 2023, the Choir and English Baroque Soloists performed at the Coronation of HM King Charles III, with The Daily Telegraph proclaiming “if the Monteverdi Choir isn’t singing when I get to the gates of Heaven, I want my money back.” In 2000, the 250th anniversary of Johann Sebastian Bach's death, the choir undertook the Bach Cantata Pilgrimage, performing and recording most of his church cantatas in more than 60 historic churches throughout Europe, and some in the U.S. On 5 March 2014 the Choir celebrated its 50th anniversary with a repeat performance of the Monteverdi Vespers from King's College Chapel, in a live broadcast live by BBC Radio 3. In 2023, it was one of the choirs selected to sing at the coronation of Charles III and Camilla. The Choir together with the Orchestre Révolutionnaire et Romantique toured Europe with Berlioz's Les Troyens, conducted by Dinis Sousa, in the summer of 2023. The Choir was named ‘Best Choir’ at the Oper! Awards ceremony held at the Dutch National Opera in Amsterdam on 29 January 2024. In July 2024, it was announced that John Eliot Gardiner was resigning as Artistic Director of the choir. in December 2024 they Record with The English Baroque Solists a Baroque Christmas : Messe de minuit H.9, In nativitatem Domini canticum H.416, Noëls sur les instruments H.531 & H.534 by Marc-Antoine Charpentier. The conductor is this time Christophe Rousset (Monteverdi productions ltd. SDG737. 2025).

Claudio Monteverdi was active as a composer for almost six decades in the late 16th and early seventeenth centuries, essentially the period of transition from Renaissance to Baroque music. Much of Monteverdi's music was unpublished and is forever lost; the lists below include lost compositions only when there is performance history or other documentary evidence of the music's one-time existence. In the "Voices/instrumentation" column of the chronological list, S= soprano, A= alto, T= tenor, Bar= baritone, B= Bass. The "SV" numbers are as per the Stattkus-Verzeichnis catalogue, first published in 1985 and revised in 2006.

Claudio Monteverdi was active as a composer for almost six decades in the late 16th and early seventeenth centuries, essentially the period of transition from Renaissance to Baroque music. Much of Monteverdi's music was unpublished and is forever lost; the lists below include lost compositions only when there is performance history or other documentary evidence of the music's one-time existence. In the "Voices/instrumentation" column of the chronological list, S= soprano, A= alto, T= tenor, Bar= baritone, B= Bass. The "SV" numbers are as per the Stattkus-Verzeichnis catalogue, first published in 1985 and revised in 2006.

Claudio Monteverdi was active as a composer for almost six decades in the late 16th and early seventeenth centuries, essentially the period of transition from Renaissance to Baroque music. Much of Monteverdi's music was unpublished and is forever lost; the lists below include lost compositions only when there is performance history or other documentary evidence of the music's one-time existence. In the "Voices/instrumentation" column of the chronological list, S= soprano, A= alto, T= tenor, Bar= baritone, B= Bass. The "SV" numbers are as per the Stattkus-Verzeichnis catalogue, first published in 1985 and revised in 2006.

Claudio Monteverdi was active as a composer for almost six decades in the late 16th and early seventeenth centuries, essentially the period of transition from Renaissance to Baroque music. Much of Monteverdi's music was unpublished and is forever lost; the lists below include lost compositions only when there is performance history or other documentary evidence of the music's one-time existence. In the "Voices/instrumentation" column of the chronological list, S= soprano, A= alto, T= tenor, Bar= baritone, B= Bass. The "SV" numbers are as per the Stattkus-Verzeichnis catalogue, first published in 1985 and revised in 2006.

Claudio Monteverdi was active as a composer for almost six decades in the late 16th and early seventeenth centuries, essentially the period of transition from Renaissance to Baroque music. Much of Monteverdi's music was unpublished and is forever lost; the lists below include lost compositions only when there is performance history or other documentary evidence of the music's one-time existence. In the "Voices/instrumentation" column of the chronological list, S= soprano, A= alto, T= tenor, Bar= baritone, B= Bass. The "SV" numbers are as per the Stattkus-Verzeichnis catalogue, first published in 1985 and revised in 2006.

Claudio Monteverdi was active as a composer for almost six decades in the late 16th and early seventeenth centuries, essentially the period of transition from Renaissance to Baroque music. Much of Monteverdi's music was unpublished and is forever lost; the lists below include lost compositions only when there is performance history or other documentary evidence of the music's one-time existence. In the "Voices/instrumentation" column of the chronological list, S= soprano, A= alto, T= tenor, Bar= baritone, B= Bass. The "SV" numbers are as per the Stattkus-Verzeichnis catalogue, first published in 1985 and revised in 2006.

A sackbut is an early form of the trombone used during the Renaissance and Baroque eras. A sackbut has the characteristic telescopic slide of a trombone, used to vary the length of the tube to change pitch, but is distinct from later trombones by its smaller, more cylindrically-proportioned bore, and its less-flared bell. Unlike the earlier slide trumpet from which it evolved, the sackbut possesses a U-shaped slide with two parallel sliding tubes, rather than just one. Records of the term trombone predate the term sackbut by two decades, and evidence for the German term Posaune is even older. Sackbut, originally a French term, was used in England until the instrument fell into disuse in the eighteenth century; when the instrument regained popularity in the late eighteenth and early nineteenth centuries the Italian term trombone became dominant. In modern English, an older trombone or a replica is called a sackbut. The bell section was more resonant, since it did not contain the tuning slide and was loosely stayed rather than firmly braced to itself. This trait and its smaller bore and bell produce a "covered, blended sound which was a timbre particularly effective for working with voices,... zincks and crumhorns", as in an alta cappella. The revived instrument had changed in specific ways. In the mid-18th century, the bell flare increased, crooks fell out of use, and flat, removable stays were replaced by tubular braces. The new shape produced a stronger sound, suitable for open-air performance in the marching bands where trombones became popular again in the 19th century. Before the early 19th century, most trombone players adjusted their tuning using a crook placed at the joint between the bell and the slide or seldom between the mouthpiece and the slide.", rather than the modern tuning slide on the bell curve, whose cylindrical sections prevent the instrument from flaring smoothly through this section. Older trombones also generally don't have water keys, stockings, a leadpipe, or a slide lock, but as these parts are not critical to sound, replicas may include them. Bore size remained variable, as it still is today.

Claudio Monteverdi was active as a composer for almost six decades in the late 16th and early seventeenth centuries, essentially the period of transition from Renaissance to Baroque music. Much of Monteverdi's music was unpublished and is forever lost; the lists below include lost compositions only when there is performance history or other documentary evidence of the music's one-time existence. In the "Voices/instrumentation" column of the chronological list, S= soprano, A= alto, T= tenor, Bar= baritone, B= Bass. The "SV" numbers are as per the Stattkus-Verzeichnis catalogue, first published in 1985 and revised in 2006.

The Missa solemnis in D major, Op. 123, is a Solemn Mass composed by Ludwig van Beethoven from 1819 to 1823. It was first performed on 7 April 1824 in Saint Petersburg, Russia, under the auspices of Beethoven's patron Prince Nikolai Golitsyn; an incomplete performance was given in Vienna on 7 May 1824, when the Kyrie, Credo, and Agnus Dei were conducted by the composer. It is generally considered one of the composer's supreme achievements and, along with Bach's Mass in B minor, one of the most significant Mass settings of the common practice period. Written around the same time as his Ninth Symphony, it is Beethoven's second setting of the Mass, after his Mass in C major, Op. 86. The work was dedicated to Archduke Rudolf of Austria, Archbishop of Olomouc, Beethoven's foremost patron as well as pupil and friend. The copy presented to Rudolf was inscribed "Von Herzen—Möge es wieder—Zu Herzen gehn!" ("From the heart – may it return to the heart!")

Claudio Monteverdi was active as a composer for almost six decades in the late 16th and early seventeenth centuries, essentially the period of transition from Renaissance to Baroque music. Much of Monteverdi's music was unpublished and is forever lost; the lists below include lost compositions only when there is performance history or other documentary evidence of the music's one-time existence. In the "Voices/instrumentation" column of the chronological list, S= soprano, A= alto, T= tenor, Bar= baritone, B= Bass. The "SV" numbers are as per the Stattkus-Verzeichnis catalogue, first published in 1985 and revised in 2006.

A sackbut is an early form of the trombone used during the Renaissance and Baroque eras. A sackbut has the characteristic telescopic slide of a trombone, used to vary the length of the tube to change pitch, but is distinct from later trombones by its smaller, more cylindrically-proportioned bore, and its less-flared bell. Unlike the earlier slide trumpet from which it evolved, the sackbut possesses a U-shaped slide with two parallel sliding tubes, rather than just one. Records of the term trombone predate the term sackbut by two decades, and evidence for the German term Posaune is even older. Sackbut, originally a French term, was used in England until the instrument fell into disuse in the eighteenth century; when the instrument regained popularity in the late eighteenth and early nineteenth centuries the Italian term trombone became dominant. In modern English, an older trombone or a replica is called a sackbut. The bell section was more resonant, since it did not contain the tuning slide and was loosely stayed rather than firmly braced to itself. This trait and its smaller bore and bell produce a "covered, blended sound which was a timbre particularly effective for working with voices,... zincks and crumhorns", as in an alta cappella. The revived instrument had changed in specific ways. In the mid-18th century, the bell flare increased, crooks fell out of use, and flat, removable stays were replaced by tubular braces. The new shape produced a stronger sound, suitable for open-air performance in the marching bands where trombones became popular again in the 19th century. Before the early 19th century, most trombone players adjusted their tuning using a crook placed at the joint between the bell and the slide or seldom between the mouthpiece and the slide.", rather than the modern tuning slide on the bell curve, whose cylindrical sections prevent the instrument from flaring smoothly through this section. Older trombones also generally don't have water keys, stockings, a leadpipe, or a slide lock, but as these parts are not critical to sound, replicas may include them. Bore size remained variable, as it still is today.

Hans-Christoph Rademann (born 5 August 1965 in Dresden) is a German choral conductor, currently the director of the Dresdner Kammerchor and the Internationale Bachakademie Stuttgart.

Il ballo delle ingrate (The Ballet of the Female Ingrates) is a semi-dramatic ballet by the Italian composer Claudio Monteverdi set to a libretto by Ottavio Rinuccini. It was first performed in Mantua on Wednesday, 4 June 1608 as part of the wedding celebrations for Francesco Gonzaga (the son of Monteverdi's patron Duke Vincenzo of Mantua) and Margaret of Savoy. Both Vincenzo and Francesco Gonzaga took part in the dancing. Monteverdi also composed the opera L'Arianna (to another libretto by Rinuccini) and the music for the prologue to Guarini's play L'idropica for the occasion. Il ballo delle ingrate was published as part of Monteverdi's Eighth Book of Madrigals (Madrigali guerrieri, et amorosi) in 1638. This printed version probably contains revisions Monteverdi made for a revival in Vienna. The virtuosic bass writing for Plutone is closer in style to Monteverdi's late operas than to that of his Orfeo (1607). The musicologist Paolo Fabbri believes that the revisions were made for a performance to celebrate the coronation of Ferdinand III, Holy Roman Emperor in 1636. The sudden death of the previous emperor meant Monteverdi had to produce music at short notice, so he reworked Il ballo delle ingrate, removing the references to the Mantuan wedding.

Claudio Monteverdi was active as a composer for almost six decades in the late 16th and early seventeenth centuries, essentially the period of transition from Renaissance to Baroque music. Much of Monteverdi's music was unpublished and is forever lost; the lists below include lost compositions only when there is performance history or other documentary evidence of the music's one-time existence. In the "Voices/instrumentation" column of the chronological list, S= soprano, A= alto, T= tenor, Bar= baritone, B= Bass. The "SV" numbers are as per the Stattkus-Verzeichnis catalogue, first published in 1985 and revised in 2006.

Claudio Monteverdi was active as a composer for almost six decades in the late 16th and early seventeenth centuries, essentially the period of transition from Renaissance to Baroque music. Much of Monteverdi's music was unpublished and is forever lost; the lists below include lost compositions only when there is performance history or other documentary evidence of the music's one-time existence. In the "Voices/instrumentation" column of the chronological list, S= soprano, A= alto, T= tenor, Bar= baritone, B= Bass. The "SV" numbers are as per the Stattkus-Verzeichnis catalogue, first published in 1985 and revised in 2006.

Claudio Monteverdi was active as a composer for almost six decades in the late 16th and early seventeenth centuries, essentially the period of transition from Renaissance to Baroque music. Much of Monteverdi's music was unpublished and is forever lost; the lists below include lost compositions only when there is performance history or other documentary evidence of the music's one-time existence. In the "Voices/instrumentation" column of the chronological list, S= soprano, A= alto, T= tenor, Bar= baritone, B= Bass. The "SV" numbers are as per the Stattkus-Verzeichnis catalogue, first published in 1985 and revised in 2006.

Claudio Monteverdi was active as a composer for almost six decades in the late 16th and early seventeenth centuries, essentially the period of transition from Renaissance to Baroque music. Much of Monteverdi's music was unpublished and is forever lost; the lists below include lost compositions only when there is performance history or other documentary evidence of the music's one-time existence. In the "Voices/instrumentation" column of the chronological list, S= soprano, A= alto, T= tenor, Bar= baritone, B= Bass. The "SV" numbers are as per the Stattkus-Verzeichnis catalogue, first published in 1985 and revised in 2006.

Claudio Monteverdi was active as a composer for almost six decades in the late 16th and early seventeenth centuries, essentially the period of transition from Renaissance to Baroque music. Much of Monteverdi's music was unpublished and is forever lost; the lists below include lost compositions only when there is performance history or other documentary evidence of the music's one-time existence. In the "Voices/instrumentation" column of the chronological list, S= soprano, A= alto, T= tenor, Bar= baritone, B= Bass. The "SV" numbers are as per the Stattkus-Verzeichnis catalogue, first published in 1985 and revised in 2006.

Claudio Monteverdi was active as a composer for almost six decades in the late 16th and early seventeenth centuries, essentially the period of transition from Renaissance to Baroque music. Much of Monteverdi's music was unpublished and is forever lost; the lists below include lost compositions only when there is performance history or other documentary evidence of the music's one-time existence. In the "Voices/instrumentation" column of the chronological list, S= soprano, A= alto, T= tenor, Bar= baritone, B= Bass. The "SV" numbers are as per the Stattkus-Verzeichnis catalogue, first published in 1985 and revised in 2006.

Claudio Giovanni Antonio Monteverdi (baptized 15 May 1567 – 29 November 1643) was an Italian composer, choirmaster and string player. A composer of both secular and sacred music, and a pioneer in the development of opera, he is considered a crucial transitional figure between the Renaissance and Baroque periods of music history. Born in Cremona, where he undertook his first musical studies and compositions, Monteverdi developed his career first at the court of Mantua (c. 1590–1613) and then until his death in the Republic of Venice where he was maestro di cappella at the basilica of San Marco. His surviving letters give insight into the life of a professional musician in Italy of the period, including problems of income, patronage and politics. Much of Monteverdi's output, including many stage works, has been lost. His surviving music includes nine books of madrigals, large-scale religious works, such as his Vespro della Beata Vergine (Vespers for the Blessed Virgin) of 1610, and three complete operas. His opera L'Orfeo (1607) is the earliest of the genre still widely performed; towards the end of his life he wrote works for Venice, including Il ritorno d'Ulisse in patria and L'incoronazione di Poppea. While he worked extensively in the tradition of earlier Renaissance polyphony, as evidenced in his madrigals, he undertook great developments in form and melody, and began to employ the basso continuo technique, distinctive of the Baroque. No stranger to controversy, he defended his sometimes novel techniques as elements of a seconda pratica, contrasting with the more orthodox earlier style which he termed the prima pratica. Largely forgotten during the eighteenth and much of the nineteenth centuries, his works enjoyed a rediscovery around the beginning of the twentieth century. He is now established both as a significant influence in European musical history and as a composer whose works are regularly performed and recorded.

L'Arianna (SV 291, Ariadne) is the lost second opera by Italian composer Claudio Monteverdi. One of the earliest operas in general, it was composed in 1607–1608 and first performed on 28 May 1608, as part of the musical festivities for a royal wedding at the court of Duke Vincenzo Gonzaga in Mantua. All the music is lost apart from the extended recitative known as "Lamento d'Arianna" ("Ariadne's Lament"). The libretto, which survives complete, was written in eight scenes by Ottavio Rinuccini, who used Ovid's Heroides and other classical sources to relate the story of Ariadne's abandonment by Theseus on the island of Naxos and her subsequent elevation as bride to the god Bacchus. The opera was composed under severe pressure of time; the composer later said that the effort of creating it almost killed him. The initial performance, produced with lavish and innovative special effects, was highly praised, and the work was equally well received in Venice when it was revived under the composer's direction in 1640 as the inaugural work for the Teatro San Moisè. Rinuccini's libretto is available in a number of editions. The music of the "Lamento" survives because it was published by Monteverdi, in several different versions, independently from the opera. This fragment became a highly influential musical work and was widely imitated; the "expressive lament" became an integral feature of Italian opera for much of the 17th century. In recent years the "Lamento" has become popular as a concert and recital piece and has been frequently recorded.

Claudio Monteverdi was active as a composer for almost six decades in the late 16th and early seventeenth centuries, essentially the period of transition from Renaissance to Baroque music. Much of Monteverdi's music was unpublished and is forever lost; the lists below include lost compositions only when there is performance history or other documentary evidence of the music's one-time existence. In the "Voices/instrumentation" column of the chronological list, S= soprano, A= alto, T= tenor, Bar= baritone, B= Bass. The "SV" numbers are as per the Stattkus-Verzeichnis catalogue, first published in 1985 and revised in 2006.

Vespro della Beata Vergine (Vespers for the Blessed Virgin), SV 206, is a musical setting by Claudio Monteverdi of the evening vespers on Marian feasts, scored for soloists, choirs, and orchestra. It is an ambitious work in scope and in its variety of style and scoring, and has a duration of around 90 minutes. Published in Venice (with a dedication to Pope Paul V dated 1 September 1610) as Sanctissimae Virgini Missa senis vocibus ac Vesperae pluribus decantandae, cum nonnullis sacris concentibus, ad Sacella sive Principum Cubicula accommodata ("Mass for the Most Holy Virgin for six voices, and Vespers for several voices with some sacred songs, suitable for chapels and ducal chambers"), it is sometimes called Monteverdi's Vespers of 1610. Monteverdi composed the music while musician and composer for the Gonzagas, the dukes of Mantua. The libretto is compiled from several Latin Biblical and liturgical texts. The thirteen movements include the introductory Deus in adiutorium, five Psalms, four concertato motets and a vocal sonata on the "Sancta Maria" litany, several differently scored stanzas of the hymn "Ave maris stella", and a choice of two Magnificats. A church performance would have included antiphons in Gregorian chant for the specific feast day. The composition demonstrates Monteverdi's ability to assimilate both the new seconda pratica, such as in the emerging opera, and the old style of the prima pratica, building psalms and Magnificat on the traditional plainchant as a cantus firmus. The composition is scored for up to ten vocal parts and instruments including cornettos, violins, viole da braccio, and basso continuo. Monteverdi travelled to Rome to deliver the composition to the Pope in person, and a partbook is held by the Vatican Library. No performance during the composer's lifetime can be positively identified from surviving documents, though parts of the work might have been performed at the ducal chapels in Mantua and at San Marco in Venice, where the composer became director of music in 1613. The work received renewed attention from musicologists and performers in the 20th century. They have discussed whether it is a planned composition in a modern sense or a collection of music suitable for Vespers, and have debated the role of the added movements, instrumentation, keys and other issues of historically informed performance. The first recording of excerpts from the Vespers was released in 1953; many recordings that followed presented all the music printed in 1610. In some recordings and performances, antiphons for a given occasion of the church year are added to create a liturgical vespers service, while others strictly present only the printed music. Monteverdi's Vespers are regarded as a unique milestone of music history, at the transition from Renaissance to Baroque.

A sackbut is an early form of the trombone used during the Renaissance and Baroque eras. A sackbut has the characteristic telescopic slide of a trombone, used to vary the length of the tube to change pitch, but is distinct from later trombones by its smaller, more cylindrically-proportioned bore, and its less-flared bell. Unlike the earlier slide trumpet from which it evolved, the sackbut possesses a U-shaped slide with two parallel sliding tubes, rather than just one. Records of the term trombone predate the term sackbut by two decades, and evidence for the German term Posaune is even older. Sackbut, originally a French term, was used in England until the instrument fell into disuse in the eighteenth century; when the instrument regained popularity in the late eighteenth and early nineteenth centuries the Italian term trombone became dominant. In modern English, an older trombone or a replica is called a sackbut. The bell section was more resonant, since it did not contain the tuning slide and was loosely stayed rather than firmly braced to itself. This trait and its smaller bore and bell produce a "covered, blended sound which was a timbre particularly effective for working with voices,... zincks and crumhorns", as in an alta cappella. The revived instrument had changed in specific ways. In the mid-18th century, the bell flare increased, crooks fell out of use, and flat, removable stays were replaced by tubular braces. The new shape produced a stronger sound, suitable for open-air performance in the marching bands where trombones became popular again in the 19th century. Before the early 19th century, most trombone players adjusted their tuning using a crook placed at the joint between the bell and the slide or seldom between the mouthpiece and the slide.", rather than the modern tuning slide on the bell curve, whose cylindrical sections prevent the instrument from flaring smoothly through this section. Older trombones also generally don't have water keys, stockings, a leadpipe, or a slide lock, but as these parts are not critical to sound, replicas may include them. Bore size remained variable, as it still is today.

Claudio Monteverdi was active as a composer for almost six decades in the late 16th and early seventeenth centuries, essentially the period of transition from Renaissance to Baroque music. Much of Monteverdi's music was unpublished and is forever lost; the lists below include lost compositions only when there is performance history or other documentary evidence of the music's one-time existence. In the "Voices/instrumentation" column of the chronological list, S= soprano, A= alto, T= tenor, Bar= baritone, B= Bass. The "SV" numbers are as per the Stattkus-Verzeichnis catalogue, first published in 1985 and revised in 2006.

This is a list of Private Passions episodes from 2005 to 2009. It does not include repeated episodes or compilations.

Claudio Monteverdi was active as a composer for almost six decades in the late 16th and early seventeenth centuries, essentially the period of transition from Renaissance to Baroque music. Much of Monteverdi's music was unpublished and is forever lost; the lists below include lost compositions only when there is performance history or other documentary evidence of the music's one-time existence. In the "Voices/instrumentation" column of the chronological list, S= soprano, A= alto, T= tenor, Bar= baritone, B= Bass. The "SV" numbers are as per the Stattkus-Verzeichnis catalogue, first published in 1985 and revised in 2006.

A sackbut is an early form of the trombone used during the Renaissance and Baroque eras. A sackbut has the characteristic telescopic slide of a trombone, used to vary the length of the tube to change pitch, but is distinct from later trombones by its smaller, more cylindrically-proportioned bore, and its less-flared bell. Unlike the earlier slide trumpet from which it evolved, the sackbut possesses a U-shaped slide with two parallel sliding tubes, rather than just one. Records of the term trombone predate the term sackbut by two decades, and evidence for the German term Posaune is even older. Sackbut, originally a French term, was used in England until the instrument fell into disuse in the eighteenth century; when the instrument regained popularity in the late eighteenth and early nineteenth centuries the Italian term trombone became dominant. In modern English, an older trombone or a replica is called a sackbut. The bell section was more resonant, since it did not contain the tuning slide and was loosely stayed rather than firmly braced to itself. This trait and its smaller bore and bell produce a "covered, blended sound which was a timbre particularly effective for working with voices,... zincks and crumhorns", as in an alta cappella. The revived instrument had changed in specific ways. In the mid-18th century, the bell flare increased, crooks fell out of use, and flat, removable stays were replaced by tubular braces. The new shape produced a stronger sound, suitable for open-air performance in the marching bands where trombones became popular again in the 19th century. Before the early 19th century, most trombone players adjusted their tuning using a crook placed at the joint between the bell and the slide or seldom between the mouthpiece and the slide.", rather than the modern tuning slide on the bell curve, whose cylindrical sections prevent the instrument from flaring smoothly through this section. Older trombones also generally don't have water keys, stockings, a leadpipe, or a slide lock, but as these parts are not critical to sound, replicas may include them. Bore size remained variable, as it still is today.

The Mass (Latin: missa, Italian: messa, French: messe, German: Messe) is a form of musical composition that sets the invariable portions of the western Christian Eucharistic liturgy (principally that of the Catholic Church, the Anglican Communion and Lutheranism) known as the Mass. Most Masses are settings of the liturgy in Latin, the sacred language of the Catholic Church's Roman Rite, but there are a significant number written in the languages of non-Catholic countries where vernacular worship has long been the norm. For example, there have been many Masses written in English for a United States context since the Second Vatican Council, and others (often called "communion services") for the Church of England. Masses can be a cappella, that is, without an independent accompaniment, or they can be accompanied by instrumental obbligatos up to and including a full orchestra. Many masses, especially later ones, were never intended to be performed during the celebration of an actual mass.

Selva morale e spirituale (SV 252–288) is the short title of a collection of sacred music by the Italian composer Claudio Monteverdi, published in Venice in 1640 and 1641. The title translates to "Moral and Spiritual Forest". The full title is: "Selva / Morale e Spirituale / di Clavdio Monteverde / Maestro di Capella della Serenissima / Republica Di Venetia / Dedicata / alla Sacra Cesarea Maesta dell' Imperatrice / Eleonora / Gonzaga / Con Licenza de Superiori & Priuilegio. / In Venetia M DC X X X X / Appresso Bartolomeo Magni".

Selva morale e spirituale (SV 252–288) is the short title of a collection of sacred music by the Italian composer Claudio Monteverdi, published in Venice in 1640 and 1641. The title translates to "Moral and Spiritual Forest". The full title is: "Selva / Morale e Spirituale / di Clavdio Monteverde / Maestro di Capella della Serenissima / Republica Di Venetia / Dedicata / alla Sacra Cesarea Maesta dell' Imperatrice / Eleonora / Gonzaga / Con Licenza de Superiori & Priuilegio. / In Venetia M DC X X X X / Appresso Bartolomeo Magni".

Selva morale e spirituale (SV 252–288) is the short title of a collection of sacred music by the Italian composer Claudio Monteverdi, published in Venice in 1640 and 1641. The title translates to "Moral and Spiritual Forest". The full title is: "Selva / Morale e Spirituale / di Clavdio Monteverde / Maestro di Capella della Serenissima / Republica Di Venetia / Dedicata / alla Sacra Cesarea Maesta dell' Imperatrice / Eleonora / Gonzaga / Con Licenza de Superiori & Priuilegio. / In Venetia M DC X X X X / Appresso Bartolomeo Magni".

Selva morale e spirituale (SV 252–288) is the short title of a collection of sacred music by the Italian composer Claudio Monteverdi, published in Venice in 1640 and 1641. The title translates to "Moral and Spiritual Forest". The full title is: "Selva / Morale e Spirituale / di Clavdio Monteverde / Maestro di Capella della Serenissima / Republica Di Venetia / Dedicata / alla Sacra Cesarea Maesta dell' Imperatrice / Eleonora / Gonzaga / Con Licenza de Superiori & Priuilegio. / In Venetia M DC X X X X / Appresso Bartolomeo Magni".

The Mass (Latin: missa, Italian: messa, French: messe, German: Messe) is a form of musical composition that sets the invariable portions of the western Christian Eucharistic liturgy (principally that of the Catholic Church, the Anglican Communion and Lutheranism) known as the Mass. Most Masses are settings of the liturgy in Latin, the sacred language of the Catholic Church's Roman Rite, but there are a significant number written in the languages of non-Catholic countries where vernacular worship has long been the norm. For example, there have been many Masses written in English for a United States context since the Second Vatican Council, and others (often called "communion services") for the Church of England. Masses can be a cappella, that is, without an independent accompaniment, or they can be accompanied by instrumental obbligatos up to and including a full orchestra. Many masses, especially later ones, were never intended to be performed during the celebration of an actual mass.

Bath Bach Choir, formerly The City of Bath Bach Choir (CBBC), is based in Bath, Somerset, England, and is a registered charity. Founded in 1946 by Cuthbert Bates, who also became a founding father of the Bath Bach Festival in 1950, the choir's original aim was to promote the music of Johann Sebastian Bach via periodic music festivals. Bates – an amateur musician with a great love and understanding of this composer's works – was also the CBBC's principal conductor and continued in this role until his sudden death, in April 1980. This untimely exit pre-empted his planned retirement concert performance of J. S. Bach's Mass in B minor, scheduled for July of the same year, and effectively ended the first period of the choir's history. Distinguished Handel scholar Denys Darlow succeeded Cuthbert Bates as musical director in 1980 and remained in the post until 1990. He was followed by Nigel Perrin, who remained Musical Director until December 2022. Perrin began his musical life as a chorister at Ely Cathedral, then won a choral scholarship to King's College, Cambridge, studying under Sir David Willcocks. In 1970 he also joined the newly formed King's Singers, having sung with them on an occasional basis after graduation in the summer of 1969, and thereafter entertaining the world throughout the 1970s as the highest voice (counter-tenor) of the irrepressible and ground-breaking vocal group. In 2023, Benedict Collins Rice was appointed music director, only the fourth in 75 years. Originally from Oxfordshire, Collins Rice held two conducting scholarships at the University of Cambridge before continuing his studies with the Heads of Conducting at the Royal College of Music, the Royal Northern College of Music, the University of Music and Performing Arts Vienna and the University of Birmingham where he studied under Simon Halsey. Performing throughout Europe and the US, he has recorded for several labels, broadcast live on BBC Radio 3, and founded a chamber group, The Facade Ensemble. The first president of the CBBC was Dr Ralph Vaughan Williams until 1958. Sir Arthur Bliss, then Master of the Queen's Music (Musik), took over as president in 1959, followed in 1975 by Sir David Willcocks, until 2015. In 2016 David Hill, musical director of The Bach Choir, was elected president of Bath Bach Choir, and Jonathan Willcocks a vice president.

The Missa solemnis in D major, Op. 123, is a Solemn Mass composed by Ludwig van Beethoven from 1819 to 1823. It was first performed on 7 April 1824 in Saint Petersburg, Russia, under the auspices of Beethoven's patron Prince Nikolai Golitsyn; an incomplete performance was given in Vienna on 7 May 1824, when the Kyrie, Credo, and Agnus Dei were conducted by the composer. It is generally considered one of the composer's supreme achievements and, along with Bach's Mass in B minor, one of the most significant Mass settings of the common practice period. Written around the same time as his Ninth Symphony, it is Beethoven's second setting of the Mass, after his Mass in C major, Op. 86. The work was dedicated to Archduke Rudolf of Austria, Archbishop of Olomouc, Beethoven's foremost patron as well as pupil and friend. The copy presented to Rudolf was inscribed "Von Herzen—Möge es wieder—Zu Herzen gehn!" ("From the heart – may it return to the heart!")

Claudio Monteverdi was active as a composer for almost six decades in the late 16th and early seventeenth centuries, essentially the period of transition from Renaissance to Baroque music. Much of Monteverdi's music was unpublished and is forever lost; the lists below include lost compositions only when there is performance history or other documentary evidence of the music's one-time existence. In the "Voices/instrumentation" column of the chronological list, S= soprano, A= alto, T= tenor, Bar= baritone, B= Bass. The "SV" numbers are as per the Stattkus-Verzeichnis catalogue, first published in 1985 and revised in 2006.

Claudio Monteverdi was active as a composer for almost six decades in the late 16th and early seventeenth centuries, essentially the period of transition from Renaissance to Baroque music. Much of Monteverdi's music was unpublished and is forever lost; the lists below include lost compositions only when there is performance history or other documentary evidence of the music's one-time existence. In the "Voices/instrumentation" column of the chronological list, S= soprano, A= alto, T= tenor, Bar= baritone, B= Bass. The "SV" numbers are as per the Stattkus-Verzeichnis catalogue, first published in 1985 and revised in 2006.

Claudio Monteverdi was active as a composer for almost six decades in the late 16th and early seventeenth centuries, essentially the period of transition from Renaissance to Baroque music. Much of Monteverdi's music was unpublished and is forever lost; the lists below include lost compositions only when there is performance history or other documentary evidence of the music's one-time existence. In the "Voices/instrumentation" column of the chronological list, S= soprano, A= alto, T= tenor, Bar= baritone, B= Bass. The "SV" numbers are as per the Stattkus-Verzeichnis catalogue, first published in 1985 and revised in 2006.

Claudio Monteverdi was active as a composer for almost six decades in the late 16th and early seventeenth centuries, essentially the period of transition from Renaissance to Baroque music. Much of Monteverdi's music was unpublished and is forever lost; the lists below include lost compositions only when there is performance history or other documentary evidence of the music's one-time existence. In the "Voices/instrumentation" column of the chronological list, S= soprano, A= alto, T= tenor, Bar= baritone, B= Bass. The "SV" numbers are as per the Stattkus-Verzeichnis catalogue, first published in 1985 and revised in 2006.

Claudio Monteverdi was active as a composer for almost six decades in the late 16th and early seventeenth centuries, essentially the period of transition from Renaissance to Baroque music. Much of Monteverdi's music was unpublished and is forever lost; the lists below include lost compositions only when there is performance history or other documentary evidence of the music's one-time existence. In the "Voices/instrumentation" column of the chronological list, S= soprano, A= alto, T= tenor, Bar= baritone, B= Bass. The "SV" numbers are as per the Stattkus-Verzeichnis catalogue, first published in 1985 and revised in 2006.

Claudio Monteverdi was active as a composer for almost six decades in the late 16th and early seventeenth centuries, essentially the period of transition from Renaissance to Baroque music. Much of Monteverdi's music was unpublished and is forever lost; the lists below include lost compositions only when there is performance history or other documentary evidence of the music's one-time existence. In the "Voices/instrumentation" column of the chronological list, S= soprano, A= alto, T= tenor, Bar= baritone, B= Bass. The "SV" numbers are as per the Stattkus-Verzeichnis catalogue, first published in 1985 and revised in 2006.

Claudio Monteverdi was active as a composer for almost six decades in the late 16th and early seventeenth centuries, essentially the period of transition from Renaissance to Baroque music. Much of Monteverdi's music was unpublished and is forever lost; the lists below include lost compositions only when there is performance history or other documentary evidence of the music's one-time existence. In the "Voices/instrumentation" column of the chronological list, S= soprano, A= alto, T= tenor, Bar= baritone, B= Bass. The "SV" numbers are as per the Stattkus-Verzeichnis catalogue, first published in 1985 and revised in 2006.

Claudio Monteverdi was active as a composer for almost six decades in the late 16th and early seventeenth centuries, essentially the period of transition from Renaissance to Baroque music. Much of Monteverdi's music was unpublished and is forever lost; the lists below include lost compositions only when there is performance history or other documentary evidence of the music's one-time existence. In the "Voices/instrumentation" column of the chronological list, S= soprano, A= alto, T= tenor, Bar= baritone, B= Bass. The "SV" numbers are as per the Stattkus-Verzeichnis catalogue, first published in 1985 and revised in 2006.

Claudio Monteverdi was active as a composer for almost six decades in the late 16th and early seventeenth centuries, essentially the period of transition from Renaissance to Baroque music. Much of Monteverdi's music was unpublished and is forever lost; the lists below include lost compositions only when there is performance history or other documentary evidence of the music's one-time existence. In the "Voices/instrumentation" column of the chronological list, S= soprano, A= alto, T= tenor, Bar= baritone, B= Bass. The "SV" numbers are as per the Stattkus-Verzeichnis catalogue, first published in 1985 and revised in 2006.

Claudio Monteverdi was active as a composer for almost six decades in the late 16th and early seventeenth centuries, essentially the period of transition from Renaissance to Baroque music. Much of Monteverdi's music was unpublished and is forever lost; the lists below include lost compositions only when there is performance history or other documentary evidence of the music's one-time existence. In the "Voices/instrumentation" column of the chronological list, S= soprano, A= alto, T= tenor, Bar= baritone, B= Bass. The "SV" numbers are as per the Stattkus-Verzeichnis catalogue, first published in 1985 and revised in 2006.

Claudio Giovanni Antonio Monteverdi (baptized 15 May 1567 – 29 November 1643) was an Italian composer, choirmaster and string player. A composer of both secular and sacred music, and a pioneer in the development of opera, he is considered a crucial transitional figure between the Renaissance and Baroque periods of music history. Born in Cremona, where he undertook his first musical studies and compositions, Monteverdi developed his career first at the court of Mantua (c. 1590–1613) and then until his death in the Republic of Venice where he was maestro di cappella at the basilica of San Marco. His surviving letters give insight into the life of a professional musician in Italy of the period, including problems of income, patronage and politics. Much of Monteverdi's output, including many stage works, has been lost. His surviving music includes nine books of madrigals, large-scale religious works, such as his Vespro della Beata Vergine (Vespers for the Blessed Virgin) of 1610, and three complete operas. His opera L'Orfeo (1607) is the earliest of the genre still widely performed; towards the end of his life he wrote works for Venice, including Il ritorno d'Ulisse in patria and L'incoronazione di Poppea. While he worked extensively in the tradition of earlier Renaissance polyphony, as evidenced in his madrigals, he undertook great developments in form and melody, and began to employ the basso continuo technique, distinctive of the Baroque. No stranger to controversy, he defended his sometimes novel techniques as elements of a seconda pratica, contrasting with the more orthodox earlier style which he termed the prima pratica. Largely forgotten during the eighteenth and much of the nineteenth centuries, his works enjoyed a rediscovery around the beginning of the twentieth century. He is now established both as a significant influence in European musical history and as a composer whose works are regularly performed and recorded.

Claudio Monteverdi was active as a composer for almost six decades in the late 16th and early seventeenth centuries, essentially the period of transition from Renaissance to Baroque music. Much of Monteverdi's music was unpublished and is forever lost; the lists below include lost compositions only when there is performance history or other documentary evidence of the music's one-time existence. In the "Voices/instrumentation" column of the chronological list, S= soprano, A= alto, T= tenor, Bar= baritone, B= Bass. The "SV" numbers are as per the Stattkus-Verzeichnis catalogue, first published in 1985 and revised in 2006.

Claudio Achillini (Latin: Claudius Achillinus; 18 September 1574 – 1 October 1640) was an Italian philosopher, theologian, mathematician, poet, and jurist. He is a major figure in the history of Italian Baroque poetry.

Claudio Monteverdi was active as a composer for almost six decades in the late 16th and early seventeenth centuries, essentially the period of transition from Renaissance to Baroque music. Much of Monteverdi's music was unpublished and is forever lost; the lists below include lost compositions only when there is performance history or other documentary evidence of the music's one-time existence. In the "Voices/instrumentation" column of the chronological list, S= soprano, A= alto, T= tenor, Bar= baritone, B= Bass. The "SV" numbers are as per the Stattkus-Verzeichnis catalogue, first published in 1985 and revised in 2006.

Claudio Monteverdi was active as a composer for almost six decades in the late 16th and early seventeenth centuries, essentially the period of transition from Renaissance to Baroque music. Much of Monteverdi's music was unpublished and is forever lost; the lists below include lost compositions only when there is performance history or other documentary evidence of the music's one-time existence. In the "Voices/instrumentation" column of the chronological list, S= soprano, A= alto, T= tenor, Bar= baritone, B= Bass. The "SV" numbers are as per the Stattkus-Verzeichnis catalogue, first published in 1985 and revised in 2006.

A madrigal is a form of secular vocal music most typical of the Renaissance (15th–16th centuries) and early Baroque (1580–1650) periods, although revisited by some later European composers. The polyphonic madrigal is unaccompanied, and the number of voices varies from two to eight, but the form usually features three to six voices, whilst the metre of the madrigal varies between two or three tercets, followed by one or two couplets. Unlike verse-repeating strophic forms sung to the same music, most madrigals are through-composed, featuring different music for each stanza of lyrics, whereby the composer expresses the emotions contained in each line and in single words of the poem being sung. Madrigals written by Italianized Franco–Flemish composers in the 1520s partly originated from the three- to four-voice frottola (1470–1530); partly from composers' renewed interest in poetry written in vernacular Italian; partly from the stylistic influence of the French chanson; and from the polyphony of the motet (13th–16th centuries). The technical contrast between the musical forms is in the frottola consisting of music set to stanzas of text, whilst the madrigal is through-composed, a work with different music for different stanzas. As a composition, the madrigal of the Renaissance is unlike the two- to three-voice Italian Trecento madrigal (1300–1370) of the 14th century, having in common only the name madrigal, which some have suggested derives from the Latin matricalis (maternal) denoting musical work in service to the mother church or from the postclassical Latin matricalis (maternal, simple, primitive). Other sources note that the word "madrigal" comes from the Hebrew word "madriga" meaning "step" (the "-al" suffix of the word also is Hebrew, in this case meaning "in the style of") and describes the step-like progression of the tune. Artistically, the madrigal was the most important form of secular music in Renaissance Italy, and reached its formal and historical zenith in the later-16th century, when the form also was taken up by German and English composers, such as John Wilbye (1574–1638), Thomas Weelkes (1576–1623), and Thomas Morley (1557–1602) of the English Madrigal School (1588–1627). Although of British temper, most English madrigals were a cappella compositions for three to six voices, which either copied or translated the musical styles of the original madrigals from Italy. By the mid-16th century, Italian composers began merging the madrigal into the composition of the cantata and the dialogue; and by the early 17th century, the aria replaced the madrigal in opera.

Claudio Monteverdi was active as a composer for almost six decades in the late 16th and early seventeenth centuries, essentially the period of transition from Renaissance to Baroque music. Much of Monteverdi's music was unpublished and is forever lost; the lists below include lost compositions only when there is performance history or other documentary evidence of the music's one-time existence. In the "Voices/instrumentation" column of the chronological list, S= soprano, A= alto, T= tenor, Bar= baritone, B= Bass. The "SV" numbers are as per the Stattkus-Verzeichnis catalogue, first published in 1985 and revised in 2006.

Claudio Monteverdi was active as a composer for almost six decades in the late 16th and early seventeenth centuries, essentially the period of transition from Renaissance to Baroque music. Much of Monteverdi's music was unpublished and is forever lost; the lists below include lost compositions only when there is performance history or other documentary evidence of the music's one-time existence. In the "Voices/instrumentation" column of the chronological list, S= soprano, A= alto, T= tenor, Bar= baritone, B= Bass. The "SV" numbers are as per the Stattkus-Verzeichnis catalogue, first published in 1985 and revised in 2006.

Claudio Monteverdi was active as a composer for almost six decades in the late 16th and early seventeenth centuries, essentially the period of transition from Renaissance to Baroque music. Much of Monteverdi's music was unpublished and is forever lost; the lists below include lost compositions only when there is performance history or other documentary evidence of the music's one-time existence. In the "Voices/instrumentation" column of the chronological list, S= soprano, A= alto, T= tenor, Bar= baritone, B= Bass. The "SV" numbers are as per the Stattkus-Verzeichnis catalogue, first published in 1985 and revised in 2006.

Claudio Monteverdi was active as a composer for almost six decades in the late 16th and early seventeenth centuries, essentially the period of transition from Renaissance to Baroque music. Much of Monteverdi's music was unpublished and is forever lost; the lists below include lost compositions only when there is performance history or other documentary evidence of the music's one-time existence. In the "Voices/instrumentation" column of the chronological list, S= soprano, A= alto, T= tenor, Bar= baritone, B= Bass. The "SV" numbers are as per the Stattkus-Verzeichnis catalogue, first published in 1985 and revised in 2006.

Claudio Monteverdi was active as a composer for almost six decades in the late 16th and early seventeenth centuries, essentially the period of transition from Renaissance to Baroque music. Much of Monteverdi's music was unpublished and is forever lost; the lists below include lost compositions only when there is performance history or other documentary evidence of the music's one-time existence. In the "Voices/instrumentation" column of the chronological list, S= soprano, A= alto, T= tenor, Bar= baritone, B= Bass. The "SV" numbers are as per the Stattkus-Verzeichnis catalogue, first published in 1985 and revised in 2006.

Claudio Monteverdi was active as a composer for almost six decades in the late 16th and early seventeenth centuries, essentially the period of transition from Renaissance to Baroque music. Much of Monteverdi's music was unpublished and is forever lost; the lists below include lost compositions only when there is performance history or other documentary evidence of the music's one-time existence. In the "Voices/instrumentation" column of the chronological list, S= soprano, A= alto, T= tenor, Bar= baritone, B= Bass. The "SV" numbers are as per the Stattkus-Verzeichnis catalogue, first published in 1985 and revised in 2006.

Claudio Monteverdi was active as a composer for almost six decades in the late 16th and early seventeenth centuries, essentially the period of transition from Renaissance to Baroque music. Much of Monteverdi's music was unpublished and is forever lost; the lists below include lost compositions only when there is performance history or other documentary evidence of the music's one-time existence. In the "Voices/instrumentation" column of the chronological list, S= soprano, A= alto, T= tenor, Bar= baritone, B= Bass. The "SV" numbers are as per the Stattkus-Verzeichnis catalogue, first published in 1985 and revised in 2006.

Claudio Giovanni Antonio Monteverdi (baptized 15 May 1567 – 29 November 1643) was an Italian composer, choirmaster and string player. A composer of both secular and sacred music, and a pioneer in the development of opera, he is considered a crucial transitional figure between the Renaissance and Baroque periods of music history. Born in Cremona, where he undertook his first musical studies and compositions, Monteverdi developed his career first at the court of Mantua (c. 1590–1613) and then until his death in the Republic of Venice where he was maestro di cappella at the basilica of San Marco. His surviving letters give insight into the life of a professional musician in Italy of the period, including problems of income, patronage and politics. Much of Monteverdi's output, including many stage works, has been lost. His surviving music includes nine books of madrigals, large-scale religious works, such as his Vespro della Beata Vergine (Vespers for the Blessed Virgin) of 1610, and three complete operas. His opera L'Orfeo (1607) is the earliest of the genre still widely performed; towards the end of his life he wrote works for Venice, including Il ritorno d'Ulisse in patria and L'incoronazione di Poppea. While he worked extensively in the tradition of earlier Renaissance polyphony, as evidenced in his madrigals, he undertook great developments in form and melody, and began to employ the basso continuo technique, distinctive of the Baroque. No stranger to controversy, he defended his sometimes novel techniques as elements of a seconda pratica, contrasting with the more orthodox earlier style which he termed the prima pratica. Largely forgotten during the eighteenth and much of the nineteenth centuries, his works enjoyed a rediscovery around the beginning of the twentieth century. He is now established both as a significant influence in European musical history and as a composer whose works are regularly performed and recorded.

Claudio Monteverdi was active as a composer for almost six decades in the late 16th and early seventeenth centuries, essentially the period of transition from Renaissance to Baroque music. Much of Monteverdi's music was unpublished and is forever lost; the lists below include lost compositions only when there is performance history or other documentary evidence of the music's one-time existence. In the "Voices/instrumentation" column of the chronological list, S= soprano, A= alto, T= tenor, Bar= baritone, B= Bass. The "SV" numbers are as per the Stattkus-Verzeichnis catalogue, first published in 1985 and revised in 2006.

Les Arts Florissants is a French Baroque musical ensemble housed in the Philharmonie de Paris. The organization was founded by conductor William Christie in 1979. The ensemble derives its name from the 1685 opera Les Arts florissants by Marc-Antoine Charpentier. The organization consists of a chamber orchestra of period instruments and a small vocal ensemble. Christie remains the organization's artistic director, alongside British tenor Paul Agnew who became co-musical director in 2020.

L'Orfeo (SV 318) (Italian pronunciation: [lorˈfɛːo]), or La favola d'Orfeo [la ˈfaːvola dorˈfɛːo], is a late Renaissance/early Baroque favola in musica, or opera, by Claudio Monteverdi, with a libretto by Alessandro Striggio. It is based on the Greek legend of Orpheus, and tells the story of his descent to Hades and his fruitless attempt to bring his dead bride Eurydice back to the living world. It was written in 1607 for a court performance during the annual Carnival at Mantua. While Jacopo Peri's Dafne is generally recognised as the first work in the opera genre, and the earliest surviving opera is Peri's Euridice, L'Orfeo is the earliest that is still regularly performed. By the early 17th century the traditional intermedio—a musical sequence between the acts of a straight play—was evolving into the form of a complete musical drama or "opera". Monteverdi's L'Orfeo moved this process out of its experimental era and provided the first fully developed example of the new genre. After its initial performance the work was staged again in Mantua, and possibly in other Italian centres in the next few years. Its score was published by Monteverdi in 1609 and again in 1615. After the composer's death in 1643 the opera went unperformed for many years, and was largely forgotten until a revival of interest in the late 19th century led to a spate of modern editions and performances. At first these performances tended to be concert (unstaged) versions within institutes and music societies, but following the first modern dramatised performance in Paris, in 1911, the work began to be seen in theatres. After the Second World War many recordings were issued, and the opera was increasingly staged in opera houses, although some leading venues resisted it. In 2007, the quatercentenary of the premiere was celebrated by performances throughout the world. In his published score Monteverdi lists around 41 instruments to be deployed, with distinct groups of instruments used to depict particular scenes and characters. Thus strings, harpsichords and recorders represent the pastoral fields of Thrace with their nymphs and shepherds, while heavy brass illustrates the underworld and its denizens. Composed at the point of transition from the Renaissance era to the Baroque, L'Orfeo employs all the resources then known within the art of music, with particularly daring use of polyphony. The work is not orchestrated as such; in the Renaissance tradition instrumentalists followed the composer's general instructions but were given considerable freedom to improvise.

Claudio Giovanni Antonio Monteverdi (baptized 15 May 1567 – 29 November 1643) was an Italian composer, choirmaster and string player. A composer of both secular and sacred music, and a pioneer in the development of opera, he is considered a crucial transitional figure between the Renaissance and Baroque periods of music history. Born in Cremona, where he undertook his first musical studies and compositions, Monteverdi developed his career first at the court of Mantua (c. 1590–1613) and then until his death in the Republic of Venice where he was maestro di cappella at the basilica of San Marco. His surviving letters give insight into the life of a professional musician in Italy of the period, including problems of income, patronage and politics. Much of Monteverdi's output, including many stage works, has been lost. His surviving music includes nine books of madrigals, large-scale religious works, such as his Vespro della Beata Vergine (Vespers for the Blessed Virgin) of 1610, and three complete operas. His opera L'Orfeo (1607) is the earliest of the genre still widely performed; towards the end of his life he wrote works for Venice, including Il ritorno d'Ulisse in patria and L'incoronazione di Poppea. While he worked extensively in the tradition of earlier Renaissance polyphony, as evidenced in his madrigals, he undertook great developments in form and melody, and began to employ the basso continuo technique, distinctive of the Baroque. No stranger to controversy, he defended his sometimes novel techniques as elements of a seconda pratica, contrasting with the more orthodox earlier style which he termed the prima pratica. Largely forgotten during the eighteenth and much of the nineteenth centuries, his works enjoyed a rediscovery around the beginning of the twentieth century. He is now established both as a significant influence in European musical history and as a composer whose works are regularly performed and recorded.

Claudio Monteverdi was active as a composer for almost six decades in the late 16th and early seventeenth centuries, essentially the period of transition from Renaissance to Baroque music. Much of Monteverdi's music was unpublished and is forever lost; the lists below include lost compositions only when there is performance history or other documentary evidence of the music's one-time existence. In the "Voices/instrumentation" column of the chronological list, S= soprano, A= alto, T= tenor, Bar= baritone, B= Bass. The "SV" numbers are as per the Stattkus-Verzeichnis catalogue, first published in 1985 and revised in 2006.

Claudio Monteverdi was active as a composer for almost six decades in the late 16th and early seventeenth centuries, essentially the period of transition from Renaissance to Baroque music. Much of Monteverdi's music was unpublished and is forever lost; the lists below include lost compositions only when there is performance history or other documentary evidence of the music's one-time existence. In the "Voices/instrumentation" column of the chronological list, S= soprano, A= alto, T= tenor, Bar= baritone, B= Bass. The "SV" numbers are as per the Stattkus-Verzeichnis catalogue, first published in 1985 and revised in 2006.

Claudio Monteverdi was active as a composer for almost six decades in the late 16th and early seventeenth centuries, essentially the period of transition from Renaissance to Baroque music. Much of Monteverdi's music was unpublished and is forever lost; the lists below include lost compositions only when there is performance history or other documentary evidence of the music's one-time existence. In the "Voices/instrumentation" column of the chronological list, S= soprano, A= alto, T= tenor, Bar= baritone, B= Bass. The "SV" numbers are as per the Stattkus-Verzeichnis catalogue, first published in 1985 and revised in 2006.

Claudio Monteverdi was active as a composer for almost six decades in the late 16th and early seventeenth centuries, essentially the period of transition from Renaissance to Baroque music. Much of Monteverdi's music was unpublished and is forever lost; the lists below include lost compositions only when there is performance history or other documentary evidence of the music's one-time existence. In the "Voices/instrumentation" column of the chronological list, S= soprano, A= alto, T= tenor, Bar= baritone, B= Bass. The "SV" numbers are as per the Stattkus-Verzeichnis catalogue, first published in 1985 and revised in 2006.

Claudio Monteverdi was active as a composer for almost six decades in the late 16th and early seventeenth centuries, essentially the period of transition from Renaissance to Baroque music. Much of Monteverdi's music was unpublished and is forever lost; the lists below include lost compositions only when there is performance history or other documentary evidence of the music's one-time existence. In the "Voices/instrumentation" column of the chronological list, S= soprano, A= alto, T= tenor, Bar= baritone, B= Bass. The "SV" numbers are as per the Stattkus-Verzeichnis catalogue, first published in 1985 and revised in 2006.

Howard Arman (born 1954 in London) is an English choral conductor and opera director. He won the Handel Prize of the Handel Festival, Halle, in 1996, shaped the festival's orchestra and conducted operas of George Frideric Handel. He is a conductor of the Theater and Philharmonie Thüringen, also the Luzerner Theater. Since 2017 he is the director of the Bayerische Rundfunk Chor.

This is a discography of the recordings of Vespro della Beata Vergine by Claudio Monteverdi – also known as his Vespers of 1610. Since the first vinyl recordings of the work in 1953, the Vespers have been recorded in numerous versions. Some versions are choral-based, others use one voice per part (OVPP). Some versions use modern instruments, but since the first recording on period instruments appeared in the 1960s their use has become normal. Sir John Eliot Gardiner has recorded the Vespers with both modern and period instruments, explaining that the latter are now played to a higher standard than when he made his first recording in the 1970s. In the late 1970s the Monteverdi orchestra, which he founded, transitioned to period instruments and became the English Baroque Soloists. The recordings also reflect the fact that there is a debate about whether the Vespers were originally performed as a single work. Sometimes it has been decided to add material or omit items in order to replicate a church service. In a few cases, for example the Stevens recording, the "sacred concertos" that divide the psalms are replaced by antiphonal chants. In the list, the "Year" column indicates year of initial issue of each recording. For pre-1982 recordings, details of the first compact disc issue are included; thereafter, all issues refer to CDs. Where the date of recording is significantly earlier than the issue date, a note has been added. Many of the recordings have been reissued, sometimes multiple times, often under different labels – reissue details are not included.

Claudio Monteverdi was active as a composer for almost six decades in the late 16th and early seventeenth centuries, essentially the period of transition from Renaissance to Baroque music. Much of Monteverdi's music was unpublished and is forever lost; the lists below include lost compositions only when there is performance history or other documentary evidence of the music's one-time existence. In the "Voices/instrumentation" column of the chronological list, S= soprano, A= alto, T= tenor, Bar= baritone, B= Bass. The "SV" numbers are as per the Stattkus-Verzeichnis catalogue, first published in 1985 and revised in 2006.

Claudio Monteverdi was active as a composer for almost six decades in the late 16th and early seventeenth centuries, essentially the period of transition from Renaissance to Baroque music. Much of Monteverdi's music was unpublished and is forever lost; the lists below include lost compositions only when there is performance history or other documentary evidence of the music's one-time existence. In the "Voices/instrumentation" column of the chronological list, S= soprano, A= alto, T= tenor, Bar= baritone, B= Bass. The "SV" numbers are as per the Stattkus-Verzeichnis catalogue, first published in 1985 and revised in 2006.