in the soprano in all verses except verse6, which is for tenor solo. Verse1 is a seven-part setting. Verses2 and3 are the same vocal four-part setting, verse2 for choir1, verse3 for choir3. Similarly, verses4 and5 are set for soprano, first soprano1, then soprano2. Verses1 to5 are all followed by the same ritornello for five instruments. Verse7 is the same choral setting as verse1, followed by Amen. The hymn setting has been regarded as conservative, the chant melody in the upper voice throughout, but variety is achieved by different numbers of voices and interspersion of a ritornello. The instruments are not specified, to provide further variety. The last stanza repeats the first for formal symmetry. 13 Magnificat The last movement of a vespers service is the Magnificat. Monteverdi devotes a movement to every verse of the canticle, and two to the doxology. Depending on the mood of the text, the Magnificat is scored for a choir of up to seven voices, in solo, duo, or trio singing. Monteverdi uses the Magnificat tone in every movement, a tone similar to the psalm tones but with an initium (beginning) which provides the possibility of more harmonic variety. The publication contains a second setting of the Magnificat for six voices and continuo accompaniment. Analysis Monteverdi achieved a collection of great variety both in style and structure, which was unique at the time. Styles range from chordal falsobordone to virtuoso singing, from recitative to polyphonic setting of many voices, and from continuo accompaniment to extensive instrumental obbligato. Structurally, he demonstrated different organisation in all movements. John Butt, who conducted a recording in 2017 with the Dunedin Consort using one voice per part, summarised the many styles: Butt described the first three psalms as radical in style, while the other two rather follow the polychoral style of Gabrieli, suggesting that the first three may have been composed especially with the publication in mind. The musicologist Jeffrey Kurtzman observed that the five free concertos (or motets) follow a scheme to first increase then decrease the number of singers, from one to three and back to one, but they increase the number of performers from the first to the last, adding more voices at the end of the fourth and having eight instruments play for the last. In prints by other composers, such concertos appear as a group, usually sorted by number of voices, while Monteverdi interspersed them