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Track(s) taken from CDA67519

Laudate Dominum omnes gentes III 1640

composer
Selva morale e spirituale (1640/1)
author of text
Psalm 116 (117)

Carolyn Sampson (soprano), Rebecca Outram (soprano), Rogers Covey-Crump (tenor), Daniel Auchincloss (tenor), Charles Daniels (tenor), James Gilchrist (tenor), Robert Evans (bass), 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: 4 minutes 27 seconds
 
1
Laudate Dominum omnes gentes III 1640  [4'27]

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)
The very brevity of the text of ‘Laudate Dominum’ (two verses plus the ‘Gloria Patri’) posed a problem for the composer. In this setting from the Selva morale Monteverdi solved the problem by turning the text into a dramatic dialogue between the two sopranos (perhaps representing angels) and the remainder of the ensemble. The sopranos enjoin the people to praise the Lord, but are at first met only by the single word ‘quoniam’, which in this context becomes a question – ‘because?’. Only after the sopranos answer this question, by singing the words of verse 2 – ‘quoniam confirmata est …’ (‘Because his mercy upon us is confirmed …’) – do ‘the people’ respond at greater length, at first seeking further confirmation, and then singing the complete psalm text, verse 1 as a full eight-part ensemble, verse 2 in two four-part choirs each led by one of the sopranos. The ‘Gloria Patri’ is then sung by the two sopranos alone, cadencing in a way that seems to fade into the distance.

from notes by John Whenham © 2010

Dans cette mise en musique extraite des Selva morale, Monteverdi fit du texte du «Laudate Dominum», dont l’extrême brièveté (deux versets plus le «Gloria Patri») lui posait problème, un dialogue dramatique entre les deux sopranos (symbole possible des anges) et le reste de l’ensemble. Les sopranos enjoignent les peuples de louer le Seigneur, mais ne rencontrent d’abord pour toute réponse que le «quoniam», qui se meut alors en question: pourquoi? C’est seulement lorsque les sopranos y répondent, en chantant le verset 2 – «quoniam confirmata est …» («car il a signalé …») – que les peuples répondent plus longuement, cherchant d’abord une nouvelle confirmation, puis chantant l’intégralité du texte psalmique: le verset 1 sous forme d’ensemble complet à huit parties, le verset 2 en deux chœurs à quatre parties menés chacun par un des sopranos. Puis le «Gloria Patri» est chanté par les deux sopranos seuls, qui cadencent de manière à sembler s’évanouir au loin.

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

Die Kürze des Texts des „Laudate Dominum“ (zwei Verse plus das „Gloria Patri“) stellte für den Komponisten ein Problem dar. In dieser Vertonung der Selva morale löste Monteverdi es, indem er den Text als dramatischen Dialog zwischen den beiden Sopranstimmen (vielleicht zwei Engel) und dem restlichen Ensemble darstellte. Die Soprane fordern das Volk dazu auf, den Herrn zu loben, worauf zunächst mit nur einem Wort, „quoniam“, reagiert wird, das in diesem Zusammenhang als Frage zu verstehen ist – „da?“. Erst als die Sopranstimmen diese Frage mit den Worten des zweiten Verses – „quoniam confirmata est …“ („Da seine Barmherzigkeit über uns bekräftigt ist …“) – beantworten, kommen die „Völker“ der Aufforderung nach, bitten zunächst noch um weitere Bekräftigung und singen dann den gesamten Psalmtext; Vers 1 als vollständiges achtstimmiges Ensemble und Vers 2 in zwei vierstimmigen Chören, die jeweils von einem der beiden Soprane geführt werden. Das „Gloria Patri“ wird dann von den beiden Sopranen allein gesungen, die in einer Weise kadenzieren, dass sich die Musik langsam zu entfernen scheint.

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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