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Hyperion Records

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Track(s) taken from CDH55165
Recording details: January 1991
All Hallows, Gospel Oak, London, United Kingdom
Produced by Martin Compton
Engineered by Tony Faulkner
Release date: November 1991
Total duration: 19 minutes 21 seconds

'At the pinnacle of current Monteverdi singing on records' (Fanfare, USA)

'One of the most perfect CDs ever made. Unsurpassable: glorious music, superb performances and hair-raising sound. The performers, engineers, and Hyperion Records deserve the highest praise' (Classical Express)

Combattimento di Tancredi e Clorinda, SV153
composer
first performed at the 1624 Venice Carnival; published in Madrigals, Book 8, in 1638
author of text
from Gerusalemme liberata

Other recordings available for download
James Gilchrist (tenor), Arcangelo, Jonathan Cohen (conductor)
Introduction  EnglishFrançaisDeutsch
The Combattimento di Tancredi e Clorinda was first performed in Venice in Carnival 1624 in the apartment of Girolamo Mocenigo, now part of the Danieli Hotel. In the Combattimento Monteverdi claimed to have recreated the ‘agitated’ (concitato) genus ‘described by Plato in the third book of his Rhetoric [Republic] in these words: “Take that harmony that would fittingly imitate the utterances of a brave man who is engaged in warfare”.’ In its purest form, Monteverdi’s genere concitato involves dividing a semibreve into sixteen semiquavers repeated rapidly one after the other, a technique that can be heard most clearly in the passage where the narrator begins ‘L’onta irrita lo sdegno a la vendetta’.

The Combattimento sets an extended passage from Torquato Tasso’s epic poem Gerusalemme liberata. Tasso’s text, set in the time of the first crusade, tells of the combat between the Christian knight Tancredi and the Saracen maiden Clorinda. Paradoxically, the two are lovers, but their faces are hidden by armour when they meet in battle. Tancredi deals Clorinda a mortal blow and, removing her helmet, recognizes her. In Clorinda’s dying moments Tancredi baptizes her, and the work ends with a touching passage in which she sees heaven opening to receive her.

Most of the action of the Combattimento is conveyed by a narrator (Testo—the text). Nevertheless, it is intended to be acted out by the combatants. Monteverdi describes how this should be done:

Clorinda, armed and on foot, followed by Tancredi, armed, on a Marian horse [cavallo mariano] enter unexpectedly (after some madrigals without action have been sung) from the side of the room in which the music is performed, and the narrator will then begin the singing. They will perform steps and gestures in the way expressed by the oration … observing diligently those measures, blows and steps, and the instrumentalists’ sounds, excited or soft.

In order to convey the sounds of battle, Monteverdi includes other musical gestures—the trotting of a horse (motto del cavallo), trumpet fanfares, instrumental passages representing the two warriors circling each other and the sounds of their swords clashing, and the first ever example of written-out pizzicato to illustrate Tancredi and Clorinda hitting each other with the pommels of their swords.

from notes by John Whenham © 2014


Other albums featuring this work
'Monteverdi: Madrigals of Love and Loss' (CDA68019)
Monteverdi: Madrigals of Love and Loss
MP3 £7.99FLAC £7.99ALAC £7.99Buy by post £10.50 Studio Master: FLAC 24-bit 96 kHz £12.00ALAC 24-bit 96 kHz £12.00 CDA68019  Studio Master FLAC & ALAC downloads available

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