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Track(s) taken from CDA67519

Beatus vir 1650

composer
Messa a quattro voci e salmi (1650)
author of text
Psalm 111 (112)

Carolyn Sampson (soprano), Rebecca Outram (soprano), Cecilia Osmond (soprano), Rogers Covey-Crump (tenor), James Gilchrist (tenor), Charles Daniels (tenor), Peter Harvey (bass), The King's Consort, Robert King (conductor)
Recording details: February 2004
St Jude-on-the-Hill, Hampstead Garden Suburb, London, United Kingdom
Produced by Ben Turner
Engineered by Jonathan Stokes
Release date: November 2005
Total duration: 8 minutes 19 seconds
 
1
Beatus vir 1650  [8'19]

Reviews

'Robert King never rushes the music but cannily treads the fine line between dizzying excitement and authoritative splendour. Even if you already admire seminal recordings of Monteverdi sacred music by the likes of Andrew Parrott, Konrad Junghänel and Rinaldo Alessandrini, there are plenty of less familiar gems included that make this series essential' (Gramophone)

'This series of recordings is proving to be the definitive account of the neglected side of Monteverdi’s genius, and one that’s unlikely to be surpassed in range and quality for many years' (BBC Music Magazine)

'Robert King's essential exploration of Monteverdi offers yet more evidence of the master's genius. Here the familiar sits with lesser known settings of sacred settings, all works of staggering beauty. King and the soloists capture the essence of this music, with outstanding contributions from Carolyn Sampson, Charles Daniels and James Gilchrist' (The Independent)

'This magnificent series goes from strength to strength, each fresh instalment reaching even more stratospheric standards of excellence than its predecessor' (The Daily Telegraph)

'The opening Laetatus sum is irresistible—typical in its bounce and clarity of every track in the fourth volume of the King's Consort's survey of sacred Monteverdi … Monteverdi collectors shouldn't hesitate' (The Times)

'All played and sung with style' (The Sunday Times)

'I'm inclined to think this superbly engineered disc the most successful issue yet in a splendid series. Fervently recommended' (Goldberg)

'The King's Consort has grown in confidence in this music as the recordings progress; each of these pieces is a joy. The soloists are uniformly excellent, with James Gilchrist comining into his own … These are Rolls-Royce recordings, drawing on the very best of British musicians and recording experience. Even the ripieno choir is peopled with some of the country's most experienced singers' (Early Music)
In this setting of Psalm 111 (112), as in the more famous six-voice setting of the Selva morale (see volume 1), Monteverdi treats the first line of the psalm as a refrain, binding together what would otherwise be disparate sections of music which translate the images of the text in a more or less madrigalian manner – the full texture for ‘Potens in terra’ (verse 2), for example, or the sustained bass-line for ‘quia in aeternum non commovebitur’ (verse 5), or the angry quaver phrases for ‘irascetur’ (verse 9).

from notes by John Whenham © 2005

Dans cette mise en musique du psaume 111 (112) comme dans celle à six voix, plus célèbre, extraite des Selva morale (cf. vol. 1), Monteverdi traite le premier vers comme un refrain et lie ce qui serait, sinon, des sections de musique disparates traduisant les images du texte d’une manière plus ou moins madrigalesque – la texture complète pour «Potens in terra» (verset 2), la ligne de basse tenue pour «quia in aeternum non commovebitur» (verset 5) ou encore les phrases en croches rageuses pour «irascetur» (verset 9).

extrait des notes rédigées par John Whenham © 2005
Français: Hypérion

In dieser Vertonung des Psalms 111 (112), ebenso wie in der berühmteren sechsstimmigen Vertonung der Selva morale (siehe 1. CD), behandelt Monteverdi die erste Zeile des Psalms als Refrain und verbindet auf diese Weise ansonsten völlig verschiedene Musikpassagen miteinander, die die textlichen Bilder auf mehr oder weniger madrigalische Art darstellen – so etwa erklingt „Potens in terra“ (Vers 2) mit Vollstimmigkeit, „quia in aeternum non commovebitur“ (Vers 5) mit einer ausgehaltenen Bassstimme und das Wort „irascetur“ (Vers 9) mit zornigen Achtelfiguren.

aus dem Begleittext von John Whenham © 2005
Deutsch: Viola Scheffel

Other albums featuring this work

Monteverdi: The Sacred Music, Vol. 4
This album is not yet available for downloadSACDA67519Super-Audio CD — Deleted
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