ABSTRACT
This chapter shows that 'obligatory transposition' is implicit in the notation of much vocal music of the late 16th and early 17 th centuries and that some of Claudio Monteverdi's music requires it. It suggests that downward transposition of a 4th brings those Vespers movements into line with what is known both of contemporary vocal types and of instrumental technique, and demonstrates that instrumentalists were equipped to transpose. The chapter focuses on Monteverdi's reasons for choosing to notate certain pieces at what is, to us, the 'wrong' pitch. It concentrates on Italian and German sources; the latter are often concerned with Italian practices and are therefore an invaluable supplement. Reactions to the idea of the transpositions have been predictably mixed: one of our best-known Monteverdi conductors has described them as an 'aberration', while others find the results revelatory.
