Welcome to Hyperion Records, an independent British classical label devoted to presenting high-quality recordings of music of all styles and from all periods from the twelfth century to the twenty-first.

Hyperion offers both CDs, and downloads in a number of formats. The site is also available in several languages.

Please use the dropdown buttons to set your preferred options, or use the checkbox to accept the defaults.

Click cover art to view larger version
Track(s) taken from CDD22072

Udite, chiari e generosi figli

composer
madrigal a 16; Landesbibliothek der Stadt Kassel, 20MSMus.57h
author of text

The King's Consort, Robert King (conductor)
Recording details: February 1998
St Jude-on-the-Hill, Hampstead Garden Suburb, London, United Kingdom
Produced by Ben Turner
Engineered by Philip Hobbs
Release date: July 1998
Total duration: 8 minutes 5 seconds

Cover artwork: Return of the Bucintoro on Ascension Day by Antonio Canaletto (1697-1768)
Aldo Crespi Collection, Milan / Bridgeman Art Library, London
 
The processions and journey across the lagoon
1
Udite, chiari e generosi figli  [8'05]

Giovanni Gabrieli’s massive, double-choir, sixteen-part madrigal Udite, chiari e generosi figli is a vocal pièce de résistance, with a text full of references to nautical mythological figures; this mythology would have been readily comprehensible to any educated Venetian. Gabrieli sets the work for fourteen voices, supporting them below with basso continuo and above with a lone ‘cornetto muto’. The eight singers of the first choir take the role of Tritons, calling on the citizens of Adria to listen to Poseidon, King of the Oceans (here Adria is an allusion to Venice, rather than the town which sat between the mouths of the rivers Po and Adige). Triton himself was the son of Poseidon, and dwelt in a golden palace at the bottom of the sea. ‘Gradita’ (literally ‘chargers’, or white horses) refers to Triton’s practice of riding sea horses or other monsters. The Tritons (part human, part fish) would, at the command of Poseidon, blow on a trumpet made out of a shell and soothe the waves. The second choir takes the role of Sirens. In mythology, these were sea nymphs who had the power of charming all who heard them with their singing. Ulysses avoided their wiles by tying himself to the mast of his ship and by filling the ears of his companions with wax. When Jason and the Argonauts sailed by, the Sirens sang in vain, surpassed by Orpheus and his lyre; finding someone who was unmoved by their songs, they threw themselves into the sea, and were metamorphosed into rocks. Amphitrite was one of the fifty Nereids (another was Thetis, mother of Achilles) and was the mother of Triton. Gabrieli’s madrigal is a magnificent, large-scale composition, full of word-painting and dramatic contrasts, climaxing in a remarkable sixteen-part final chorus which urges the Venetians to be bold and proud.

from notes by Robert King © 1998

Le madrigal Udite, chiari e generosi figli, œuvre massive, à seize parties, pour double chœur, de Giovanni Gabrieli est une pièce de résistance vocale; son texte abonde en références à des personnages mythologiques marins—une mythologie immédiatement accessible à tout Vénitien éduqué. Gabrieli composa pour quatorze voix, soutenues avec une basse continue par-dessous et un unique «cornetto muto» par-dessus. Les huit chanteurs du premier chœur assument le rôle des Tritons qui appellent les citoyens d’Adria à écouter Poséidon, roi des océans (Adria symbolisant plutôt Venise que la ville sise entre les embouchures du Pô et de l’Adige). Triton, lui-même fils de Poséidon, demeurait dans un palais d’or, au fond de la mer. «Gradita» (littéralement «destriers», ou chevaux blancs) fait référence à la manière dont Triton chevauchait des hippocampes ou autres monstres. Les Tritons (mi-hommes, mi-poissons), sur ordre de Poséidon, soufflaient dans une trompette-coquillage pour apaiser les vagues. Le second chœur tient le rôle des Sirènes, néréides capables de charmer quiconque entendait leur chant. Ulysse échappa à leurs séductions en s’attachant au mât de son bateau et en bouchant les oreilles de ses compagnons avec de la cire. Quand Jason et les Argonautes voguèrent près d’elles, elles chantèrent en vain, surpassées par Orphée et sa lyre; découvrant quelqu’un d’insensible à leurs chants, elles se jetèrent à la mer et furent métamorphosées en rochers. L’une de ces cinquantes Néréides (parmi lesquelles Thétis, mère d’Achille) était Amphitrite, mère de Triton. Le madrigal de Gabrieli est une magnifique composition à grande échelle, toute de figuralisme et de contrastes dramatiques, qui trouve son apogée dans un remarquable chœur final à seize parties exhortant les Vénitiens à la hardiesse et à la fierté.

extrait des notes rédigées par Robert King © 1998
Français: Hypérion

Il poderoso madrigale Udite, chiari e generosi figli in sedici parti, a doppio coro, di Giovanni Gabrieli è un pièce de résistance vocale, con un testo ricco di riferimenti alle figure mitologiche nautiche con cui i Veneziani colti avevano certamente dimestichezza. Gabrieli compose l’opera per quattordici voci, sostenendole sotto con basso continuo e sopra con un solitario ‘cornetto muto’. Gli otto cantori del primo coro assumono il ruolo dei Tritoni, convocando i cittadini di Adria ad ascoltare Poseidone, Re degli Oceani (qui Adria è un’allusione a Venezia, piuttosto che alla città tra le foci del Po e dell’Adige). Tritone era il figlio di Poseidone e abitava in un palazzo dorato sul fondo del mare. Il termine ‘gradita’ (letteralmente ‘cavalli bianchi’) si riferisce al modo in cui Tritone era solito cavalcare gli ippocampi o altri mostri marini. Secondo la mitologia, i Tritoni (figure mitiche raffigurate con corpo umano e appendici pisciformi), al comando di Poseidone, suonavano una tromba fatta di conchiglia e calmavano così le onde. Il secondo coro interpreta il ruolo delle Sirene. Nella mitologia queste erano le ninfe marine che avevano il potere di ammaliare tutti coloro che ne sentivano il canto. Ulisse evitò le loro malie facendosi legare all’albero maestro della sua nave e mettendo cera nelle orecchie dei compagni. Quando Giasone e gli Argonauti passarano vicino alle Sirene, il canto di queste fu vano e superato dal canto di Orfeo e dalla musica della sua lira. Non riuscendo più ad ammaliare i navigatori col loro canto, le Sirene si tuffarono in mare e si trasformarono in rocce. Amfitrite, una delle cinquanta Nereidi (un’altra era Teti, madre di Achille), era la madre di Tritone. Il madrigale di Gabrieli è una magnifica composizione di grandi proporzioni, ricca di decorazioni verbali e di contrasti drammatici, che raggiunge l’apice in uno splendido coro finale in sedici parti che incita i Veneziani a mostrare forza e coraggio.

Robert King © 1998
Italiano: Gianfranca Shepheard

Search

There are no matching records. Please try again.