The musical language, stylistic conventions, and the instrumentarium of Monteverdi and his contemporaries are not only strikingly different from those of today, but also differ in many important ways from the practises of later Baroque musicians. Even those expert in historical performance of 18th century repertoire might find some surprises on exploring the early 17th century in detail.
The links below lead to a selection of materials and documents that give more insight into some interesting topics, and the sub-menu takes you to dedicated pages on ornamentation, instruments and performance issues in Monteverdi's 1610 Vespers.
The links below lead to a selection of materials and documents that give more insight into some interesting topics, and the sub-menu takes you to dedicated pages on ornamentation, instruments and performance issues in Monteverdi's 1610 Vespers.
Caccini and his contemporaries on ornamentation
Note that instrumental and vocal ornamentation are very closely related: instrumentalists are constantly encouraged in treatises from this period to imitate good singing, so we can learn a great deal from reading advice to singers.
Note that instrumental and vocal ornamentation are very closely related: instrumentalists are constantly encouraged in treatises from this period to imitate good singing, so we can learn a great deal from reading advice to singers.