Musiche concertate cioe madrigali, 2–4vv, bc, libro I, op.2 (1636); 1 duet ed. in Whenham
Musiche diverse, 1v, bc (1641) [incl. 1 dialogue, 2vv]
Primo parto de motetti, 2–4vv, con alcune cantilene, con suoi ripieni ad lib (1634)
Messa e salmi parte concertati, 3–8vv, 2 vn, other insts ad lib, e parte, 5vv (1640)
Messa e salmi ariosi, 3vv, concertati e parte con li ripieni ad lib (2/1643)
Motetti, 1v, bc (1643)
Salmi diversi di Compieta … 1–4vv, parte con istromenti e parte senza, con tutte le antiphone dell’anno (1646)
Motetti, 1v, bc (org/hpd/theorbo/other inst), libro II (1647)
Motetti, 2–3vv, con una messa breve (1647)
Musiche diverse, 2vv, bc (1647)
Messa e salmi, 3vv, con 2 vn, 4 parti di ripieno ad lib, libro II (1648)
2 ps repr. in 16464; 1 mass repr. in 16711
12 motets in 16464, 16491, 16531, 16593, S-Uu, F-Pn; other motets in USSR-KA; 1 mass in S-Uu; 2 ps in D-W, PL-WRu
It is built almost entirely on a descending four-note ground bass (cf the love duet at the end of Monteverdi’s L’incoronazione di Poppea). Its quite romantic expressiveness derives not only from the incredibly varied melodic writing over the anchoring bass, but also from the many tempo and dynamic changes specified by Rigatti himself and integral to his personal style – such markings are often found in his works. His church music is as inventive in other ways, for example in its coherent musical structures involving refrains, ritornellos and ground basses, in the occasional use of fugal exposition and in the often dramatic word-painting, which led him to introduce a ‘toccata da guerra’ in the stile concitato into the ‘Fecit potentiam’ verse of the Magnificat in the 1640 volume. His small-scale Compline setting of 1646, probably written for the Patriarchal household, contains some of his finest music, including a setting of the psalm Cum invocarem for alto and four strings, which is remarkable not only for its length and the virtuosity required of the singer, but also for the expressive word-setting and sense of structure. Ground basses are found too in the secular monodies of 1641; this volume also includes three cantatas – two examples of the now increasingly old-fashioned strophic-bass cantata and one of the new kind of chamber cantata in several contrasting sections, to words from Guarini’s Il pastor fido. The madrigals of 1636, many of which probably date from his late teens, are Monteverdian in manner and include luscious duets, a canzonetta and a piece using the romanesca bass. They demonstrate his melodic gift and talent for expressive word-setting, especially in the trio Ecco che pur baciate, and show clearly why even in his early twenties he was known in Udine as one of the finest musicians of the Veneto.
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