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Track(s) taken from CDH55345

Deus tuorum militum, SV280

setting II; Himnus unius martyris; from Selva morale e spirituale (1640/1)
author of text
Hymn at Vespers for the Common of One Martyr

Emma Kirkby (soprano), Ian Partridge (tenor), David Thomas (bass), The Parley of Instruments
Recording details: February 1981
St Jude-on-the-Hill, Hampstead Garden Suburb, London, United Kingdom
Produced by Martin Compton
Engineered by Tony Faulkner
Release date: April 1985
Total duration: 2 minutes 7 seconds

Cover artwork: Angel playing a rebec (c1500). A linden-wood sculpture statuette, South German
Reproduced by courtesy of the Metropolitan Museum of Art, The Cloisters Collections, New York
Deus tuorum militum SV280  [2'07]


'There are few records of Monteverdi's solo vocal music as persuasive as this … superb' (The Penguin Guide to Compact Discs)

'Wonderful. Performed with the vigour, intelligence and sense of sheer enjoyment of the music that one would expect from this group of artists' (International Record Review)

'One of the most beautiful records I have heard this year' (The Guardian)

'Music of exhilarating inspiration, superbly performed. A recording as near as may be to the ideal … a very remarkable recording indeed. For audiophile and music-lovers, this is essential' (Hi-Fi News)

'If you don't already own this joyous disc … add it to your collection without delay. It will repay the outlay a hundred times' (Goldberg)

'Emma Kirkby is at her bewitching best' (Amazon.co.uk)
A Vesper hymn for the feast of a martyr. Monteverdi sets it to a graceful triple-time melody which must come close to Beethoven’s ideal of a melody that combines beauty with simplicity. Three verses are provided in the Selva morale, which correspond to verses 1, 3 and 5 of the hymn. Although there is a possibility that the even-numbered verses would have been sung in alternate fashion to plainsong, it is most likely that the string ritornello would have served as a substitute in a Venetian Vespers of the period. At first sight it appears that the top vocal part is intended for a tenor as it is printed in the tenor clef. But it is placed in the alto partbook, which suggests that it may have been intended to sound an octave higher.

from notes by Peter Holman © 1981

Un hymne de vêpres pour la fête d’un martyr. Monteverdi lui donne une gracieuse melodie à trois temps qui doit se rapprocher de l’idéal de Beethoven: une mélodie qui associe la beauté à la simplicité. Trois strophes du Selva morale correspondent aux versets 1, 3 et 5 de I’hymne. Il est possible que les strophes aux numéros pairs aient été chantées en alternance avec le plain-chant, mais il est probable que la ritournelle des cordes I’aurait remplacé dans les vêpres de I’époque, à Venise. Au premier abord, il semblerait que la partie vocale supérieure ait été destinée au ténor puisqu’elle est imprimée en clef d’ut quatrième ligne. Mais elle est placée dans la partie d’alto, ce qui suggère qu’elle aurait pu être jouée un octave plus haut.

extrait des notes rédigées par Peter Holman © 1981
Français: Madeleine Jay

Eine Vesperhymne für das Fest eines Märtyrers. Monteverdi vertont sie mit einer gazilen Tripeltaktmelodie, die wohl nicht weit von Beethovens Idealvorstellung einer Melodie ist, in der Schönheit mit Einfachheit verbunden wird. Drei Verse bietet die Selva morale an, welche dem 1., 3. und 5. Vers der Hymne entsprechen. Zwar ist es möglich, daß die geradzahligen Verse abwechselnd als Choral gesungen wurden, so scheint es doch wahrscheinlicher, daß das Streicher-Ritornell in den venezianischen Vespern der damaligen Zeit einen Ersatz bildete. Auf den ersten Blick läßt sich vermuten, daß die oberste Singstimme für einen Tenor bestimmt war, weil sie im Tenorschlüssel geschrieben ist. Aber sie erscheint in der Altstimme, was darauf hindeutet, daß sie eine Oktave höher klingen sollte.

aus dem Begleittext von Peter Holman © 1981
Deutsch: Meckie Hellary


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