of sacred music received a second edition. Later publication After the original print, the next time parts from the Vespers were published was in an 1834 book by Carl von Winterfeld devoted to the music of Giovanni Gabrieli. He chose the beginning of the Dixit Dominus and of the Deposuit from the Magnificat, discussing the variety of styles in detail. Luigi Torchi published the Sonata as the first complete movement from the Vespers at the turn of the 20th century. The first modern edition of the Vespers appeared in 1932 as part of Gian Francesco Malipiero's edition of Monteverdi's complete works. Two years later, Hans F. Redlich published an edition which dropped two psalms, arranged the other movements in different order, and implemented the figured bass in a complicated way. In 1966, Gottfried Wolters edited the first critical edition. Critical editions were published by, among others, Clifford Bartlett in 1986, Jerome Roche in 1994, and Uwe Wolf in 2013, while Antonio Delfino has edited the Vespers for a complete edition of the composer's works. Performance The historical record does not indicate whether Monteverdi actually performed the Vespers in Mantua or in Rome, where he was not offered a post. He assumed the position of maestro di cappella at the Basilica di San Marco in Venice in 1613 and a performance there seems likely. Church music in Venice is well documented and performers can draw information for historically informed performances from that knowledge, for example that Monteverdi expected a choir of all male voices. The Vespers is monumental in scale and requires a choir of ten or more vocal parts split into separate choirs, and seven soloists. Solo instrumental parts are written for violin and cornetto. Antiphons preceding each psalm and the Magnificat, sung in plainchant, would vary with the occasion. Some scholars have argued that the Vespers was not intended as a single work but rather as a collection to choose from. The edition by Hans Redlich was the basis for performances in Zurich in February 1935 and of parts in New York in 1937, followed by Switzerland (mid-1940s), Brussels (1946) and London (on 14 May 1946 at Westminster Central Hall). It was printed in 1949 and used for the first recording in 1953. The first recording of the work with added antiphons was conducted in 1966 by Jürgen Jürgens. More recent performances have usually aimed to provide the complete