Strictly speaking, the modern revival of interest in Monteverdi's 1610 Vespers dates from 1834, when Carl von Winterfeld, one of the founding fathers of historical musicology, published transcriptions of the opening of ‘Dixit Dominus’ and the ‘Deposuit’ section of the sevenpart Magnificat to illustrate his extended discussion of the 1610 publication. In the early years of this century the ‘Sonata sopra Sancta Maria’ was published in modern editions by Luigi Torchi (Milan, 1907) and, in a ‘versione ritmica e strumentale’, by Bernardino Molinari (Milan, 1919). But it was not until 1932, when it appeared in Gian Francesco Malipiero's collected edition of Monteverdi's works, that all the 1610 Vespers music was made available, and not until February 1935 that it was revived in performance in Zörich, and then at Winterthur and Lausanne, by the Häusermann Privatchor under Hermann Dubs. The edition used for these performances was prepared from Malipiero's by Hans Redlich, and it formed the basis of a number of other first performances of the Vespers over the following decade: in New York under Hugh Ross (1937); on Radio Beromünster (Switzerland) under Hermann Scherchen (early and mid-1940s); in Brussels under Paul Collaer (1946); and at Central Hall, Westminster, London, under Walter Goehr (14 May 1946). The last of these was organised by the composer Michael Tippett, who also wrote his Preludio al Vespro di Monteverdi for the performance in order to help the choir find their first notes.