Trackimage | Playbut | Trackname | Playbut | Trackname |
---|---|---|---|---|
82630139 | Play | Missa super mon coeur se recomande: Sanctus | 00:00 Tools | |
82630140 | Play | Super flumina Babylonis | 00:00 Tools | |
82630141 | Play | Miserere mei, Deus | 00:00 Tools | |
88566361 | Play | Missa 8 vocum: La dolce vista V. Benedictus | 00:00 Tools | |
88566362 | Play | Missa si ambulavero: Sanctus & Agnus Dei (à 6) | 00:00 Tools | |
82630142 | Play | Agnus dei | 00:00 Tools | |
82630143 | Play | Lungo le chiare linfe | 00:00 Tools | |
82630146 | Play | O suavitas et dulcedo | 00:00 Tools | |
82630144 | Play | Oculi Domini super justos | 00:00 Tools | |
82630145 | Play | Occhi vaghi, amorosi - Occhi leggiandri | 00:00 Tools | |
82630147 | Play | Kyrie | 00:00 Tools | |
82630148 | Play | Canzon | 00:00 Tools | |
82630149 | Play | Credo | 00:00 Tools | |
88566363 | Play | La Deesse Venus (Chanson zu 5 Stimmen) | 00:00 Tools | |
82630151 | Play | Beata Es Virgo Maria | 00:00 Tools | |
82630152 | Play | Si ambulavero in medio tribulationis | 00:00 Tools | |
82630150 | Play | Sanctus und Benedictus | 00:00 Tools | |
88566364 | Play | Comme la tourterelle (Chanson zu 5 Stimmen) | 00:00 Tools | |
82630154 | Play | Voce mea ad Dominum clamavi (from Motets Book V) | 00:00 Tools | |
82630158 | Play | Quare tristis es, anima mea | 00:00 Tools | |
82630160 | Play | Comme La Tourterelle | 00:00 Tools | |
82630163 | Play | Hodie, dilectissimi, omnium sanctorum | 00:00 Tools | |
82630155 | Play | O mitissime Jesu | 00:00 Tools | |
82630153 | Play | Super flumina Babylonis a8 | 00:00 Tools | |
88566365 | Play | Dolce mio caro (Madrigal zu 4 Stimmen) | 00:00 Tools | |
88566368 | Play | Comme la tourterelle (Intavolierung für Laute) | 00:00 Tools | |
82630159 | Play | Laudate Dominum | 00:00 Tools | |
82630157 | Play | Io Parto O Mio Fedele | 00:00 Tools | |
82630162 | Play | Bonjour mon cœur | 00:00 Tools | |
82630164 | Play | Beati qui habitant | 00:00 Tools | |
88566367 | Play | La dolce vista (Madrigal zu 6 Stimmen) | 00:00 Tools | |
82630156 | Play | Gloria | 00:00 Tools | |
88566366 | Play | Missa 8 vocum: La dolce vista II. Gloria | 00:00 Tools | |
82630161 | Play | Domine, quid multiplicati sunt (from Motets Book V) | 00:00 Tools | |
82630166 | Play | Harmonia miscellae cantionum sacrarum Nurnberg: Ad te levavi | 00:00 Tools | |
82630165 | Play | Missa super mon coeur se recomande: Agnus Dei | 00:00 Tools | |
82630169 | Play | Missa super mon coeur se recomande: Kyrie | 00:00 Tools | |
82630188 | Play | Filiae Jerusalem | 00:00 Tools | |
88566369 | Play | Missa 8 vocum: La dolce vista I. Kyrie | 00:00 Tools | |
82630168 | Play | Tulerunt Dominum meum | 00:00 Tools | |
88566371 | Play | Missa 8 vocum: La dolce vista VI. Agnus Dei | 00:00 Tools | |
88566370 | Play | O Suavitas et dulcedo (Motette zu 8 Stimmen) | 00:00 Tools | |
82630178 | Play | Ogni mio ben crudel | 00:00 Tools | |
88566372 | Play | Missa 8 vocum: La dolce vista III. Credo | 00:00 Tools | |
82630172 | Play | Pulchra es et decora | 00:00 Tools | |
82630173 | Play | Miserere mei, Deus (from Motets Book V) | 00:00 Tools | |
82630193 | Play | Hodie nobis caelorum Rex | 00:00 Tools | |
82630175 | Play | Motet Adventi ignis divinus | 00:00 Tools | |
82630171 | Play | La dolce vista | 00:00 Tools | |
88566374 | Play | Missa 8 vocum: La dolce vista IV. Sanctus | 00:00 Tools | |
82630181 | Play | Missa super mon coeur se recomande: Credo | 00:00 Tools | |
88566373 | Play | Parce Mihi, Domine (Motette zu 6 Stimmen) | 00:00 Tools | |
82630167 | Play | Clamavi De Tribulatione Mea | 00:00 Tools | |
82630196 | Play | Anima dolorosa | 00:00 Tools | |
82630187 | Play | Son questi i chiari lumi | 00:00 Tools | |
82630174 | Play | Le premier jour du mois de mai | 00:00 Tools | |
82630186 | Play | Benedictio et claritas | 00:00 Tools | |
88566378 | Play | Lasso ben so | 00:00 Tools | |
82630192 | Play | Missa super mon coeur se recomande: Gloria | 00:00 Tools | |
82630212 | Play | Gaudent in caelis | 00:00 Tools | |
82630179 | Play | Motet Quasi cedrus | 00:00 Tools | |
82630185 | Play | Motet Domine Deus salutis meae | 00:00 Tools | |
88566382 | Play | Ogni mio ben crudel II | 00:00 Tools | |
82630176 | Play | Missa de Requiem: VIII. Agnus Dei | 00:00 Tools | |
82630170 | Play | Leggiadre ninfe | 00:00 Tools | |
82630177 | Play | Benedictus Deus | 00:00 Tools | |
88566379 | Play | Le grand amour | 00:00 Tools | |
82630183 | Play | Domini Est Terra | 00:00 Tools | |
82630184 | Play | Missa super Cara la vita mia: I. Kyrie | 00:00 Tools | |
88566381 | Play | Que me servent mes vers | 00:00 Tools | |
82630191 | Play | Motet Ecce ego mitto vos | 00:00 Tools | |
82630180 | Play | Di mie dogliose note | 00:00 Tools | |
82630216 | Play | Dolce mio caro | 00:00 Tools | |
82630210 | Play | Avrai diviso il core: Havrai diviso il core | 00:00 Tools | |
82630182 | Play | Assai Fervida Amante | 00:00 Tools | |
82630190 | Play | Missa super Cara la vita mia: II. Gloria | 00:00 Tools | |
82630201 | Play | Missa super Cara la vita mia: IV. Sanctus | 00:00 Tools | |
82630207 | Play | Missa de Requiem: VI. Sanctus | 00:00 Tools | |
82630194 | Play | Missa de Requiem: V. Domine Jesu Christe | 00:00 Tools | |
82630195 | Play | Motet Non turbetur cor vestrum | 00:00 Tools | |
82630189 | Play | Incipite Domino | 00:00 Tools | |
82630199 | Play | Missa super Cara la vita mia: III. Credo | 00:00 Tools | |
82630202 | Play | Missa de Requiem: IX. Lux aeterna | 00:00 Tools | |
90237902 | Play | Beati qui habitant II | 00:00 Tools | |
82630200 | Play | Missa de Requiem: I. Requiem aeternam | 00:00 Tools | |
88566375 | Play | Missa de Requiem: II. Te decet hymnus | 00:00 Tools | |
88566376 | Play | Missa de Requiem: VII. Benedictus | 00:00 Tools | |
82630206 | Play | Missa de Requiem: IV. Si ambulem | 00:00 Tools | |
88566377 | Play | Missa super Cara la vita mia: VI. Agnus Dei | 00:00 Tools | |
82630208 | Play | Missa super Cara la vita mia: V. Benedictus | 00:00 Tools | |
82630209 | Play | Motet Sancte Johannes Baptista | 00:00 Tools | |
82630213 | Play | Missa super Confitebor tibi Domine: I. Credo | 00:00 Tools | |
82630214 | Play | Missa super Confitebor tibi Domine: II. Gloria | 00:00 Tools | |
82630217 | Play | Langue a´ll vostro languir | 00:00 Tools | |
82630219 | Play | Le premier jour du mois de may | 00:00 Tools | |
82630220 | Play | Usquequo, Domine, oblivisceris me? | 00:00 Tools | |
82630221 | Play | La Déesse Vénus | 00:00 Tools | |
82630197 | Play | Peccantem me quotidie | 00:00 Tools | |
88566380 | Play | Missa de Requiem: X. Requiem aeternam | 00:00 Tools | |
82630203 | Play | Missa Aspice Domine | 00:00 Tools | |
82630204 | Play | Si trop souvent | 00:00 Tools | |
82630205 | Play | Havrai Diviso Il Core | 00:00 Tools | |
90237903 | Play | Missa de Requiem: III. Kyrie | 00:00 Tools | |
90237904 | Play | Monte: La dolce vista della donna mia | 00:00 Tools | |
90237905 | Play | Missa super Confitebor tibi Domine: I. Kyrie | 00:00 Tools | |
90237906 | Play | Miserere mei | 00:00 Tools | |
82630211 | Play | Quand de ta lèvre | 00:00 Tools | |
82630215 | Play | Usquequo, domine | 00:00 Tools | |
88566384 | Play | Parce mihi, Domine | 00:00 Tools | |
82630218 | Play | Io parto o moi fedele | 00:00 Tools |
Philippe de Monte (1521 – July 4, 1603), sometimes known as Philippus de Monte, was a Flemish composer of the late Renaissance. He was a member of the 3rd generation madrigalists and wrote more madrigals than any other composer of the time. Sources cite him as being "the best composer in the entire country, particularly in the new manner and musica reservata." Others compare his collections of music with that of other influential composers, such as Lassus. Philippe de Monte was born in Mechelen. After boyhood musical training in St. Rumbolds Cathedral in Mechelen, where he was a choirboy, Monte went to Italy — a common destination for a young Flemish composer in the sixteenth century — where he made a name for himself as a composer, singer, and teacher. He lived and worked in Naples for a while, and in Rome, in the employ of Cardinal Orsini, although he was in England for a brief period, 1554-1555, during the reign of Queen Mary I, while she was married to King Philip II of Spain. Monte reported that he disliked working in Philips's choir since all the other members were Spaniards. "Though Monte was not likely to have been a supporter of the Reformation, he took part in a variety of intellectual exchanges on sensitive topics, some of which involved Italian academics." Some of Monte's accomplishments include singing for the Grand Duke of Tuscany, Fernando de'Medici, and in 1568 Monte was appointed as successor to Jacobus Vaet as Kapellmeister to the chapel of Maximilian II. A majority of his music was published in Venice under the direction of Gardano, Monte's exclusive publisher in Italy. He wanted to utilize Italian publishers in order to stay close to the home of the madrigal. He was successful at recruiting new musicians to the chapel, for Lassus himself noted the astonishing quality of music-making in Vienna just two years after Monte became leader there. During his first ten years at the Imperial Court, Monte served as an active teacher. Monte worked for the remainder of his long life in Habsburg courts both in Vienna and Prague. Even though his accomplishments were many, he is not known to have held any positions as a church musician or in a noble household. Philippe de Monte died in Prague in 1603. Music and Influence: Monte was a hugely prolific composer, and wrote both sacred and secular music, primarily printed in the German language. He wrote about 40 masses and about 260 other sacred pieces, including motets and madrigali spirituali (works differing only from madrigals in that they have sacred texts). He published over 1100 secular madrigals, in 34 books, but not all of them survived over time. His first publication was in 1554 when he was 33. Most of his publications, from then on, included self written prefaces that were primarily utilized to express his gratitude to patrons of financial support. Monte's madrigals have been referred to as "the first and most mature fruits of the compositions for five voices." Stylistically, Monte's madrigals vary from an early, very progressive style with frequent use of chromaticism to express the text (though he not quite as experimental in this regard as Marenzio or Lassus), to a late style which was much simplified, featuring short motifs and frequent homophonic textures. Some of his favorite poets of the time included Petrarch, Bemembo, and Sannazaro. 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. Some believe that this comes from his change in poetry selections, whereas others believe it was a reflection from the imperial courts. Philippe de Monte was renowned all over Europe; editions of his music were printed, reprinted, and widely circulated. He has been described as "a quiet, unassuming man, gentle as a girl." He had many students, including Gian Vincenzo Pinelli from Padua, thereby passing on his compositional skills and experience to the generation who developed the early Baroque style. Believed to be one of the most prominent composers, Philippe de Monte's madrigals are still performed today. Read more on Last.fm. User-contributed text is available under the Creative Commons By-SA License; additional terms may apply.