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Track(s) taken from CDA67519

Exulta, filia Sion

composer
Quarta raccolta de' sacri canti
author of text
Communion for Mass at dawn on Christmas Day (adapted)

James Gilchrist (tenor), 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: 5 minutes 7 seconds
 
1
Exulta, filia Sion  [5'07]

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)
This solo motet, with a text adapted and extended from the Communion for the Mass at dawn on Christmas Day, was published in 1629 in the Fourth Collection of Sacred Songs (Quarta raccolta de’ sacri canti) published by Lorenzo Calvi, by then choirmaster of Pavia Cathedral. It opens with music in the tuneful triple-time style of Venetian songs of the 1620s, and this opening music returns before the final ‘Alleluia’, which employs another song technique of the 1620s – the walking bass. These styles are contrasted with more declamatory and ornamented writing.

from notes by John Whenham © 2005

Ce motet solo, qui présente un texte (adapté et étoffé) tiré de la Communion pour la messe de l’aurore du jour de Noël, parut en 1629 dans le Quatrième recueil de chants sacrés (Quarta raccolta de’ sacri canti) édité par Lorenzo Calvi, alors maître de chœur de la cathédrale de Pavie. La musique initiale, sise dans le mélodieux style ternaire des chants vénitiens des années 1620, revient avant l’«Alléluia» final qui, lui, recourt à une autre technique de chant contemporaine: la basse «allante» (walking bass). Ces styles contrastent avec une écriture davantage déclamatoire et ornée.

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

Der Text dieser Solomotette entstammt der Kommunion der Frühmesse am Ersten Weihnachtsfeiertag, liegt hier jedoch in bearbeiteter und erweiterter Form vor. Das Werk wurde 1629 in der Vierten Sammlung Geistlicher Lieder (Quarta raccolta de’ sacri canti) von Lorenzo Calvi herausgegeben, der zu dem Zeitpunkt Kantor der Kathedrale zu Pavia war. Es beginnt mit melodiöser Musik im Dreiertakt, wie sie in den venezianischen Liedern der 1620er Jahre vorkam. Diese Musik kehrt vor dem „Alleluia“ am Schluss noch einmal zurück, in dem wiederum eine andere Liedtechnik der 1620er, der schreitende Bass, zum Einsatz kommt. Diese Stile sind eher deklamatorischen und verzierten Passagen gegenübergestellt.

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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