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Track(s) taken from CDA67487

Cantate Domino a 6 voci 1620

composer
Libro primo de motetti (1620)
author of text
after Psalm 97 (98): 1a, 4b, 5

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 & Philip Hobbs
Release date: November 2004
Total duration: 1 minutes 59 seconds
 
1
Cantate Domino a 6 voci 1620  [1'59]

Other recordings available for download

The Sixteen, Harry Christophers (conductor), Margaret Phillips (organ)
Westminster Cathedral Choir, James O'Donnell (conductor)

Reviews

'It would be difficult to praise these performances to highly … the clarity and sheer élan here defeat close rival performances by William Christie and Konrad Junghänel' (BBC Music Magazine)

'No Monteverdi enthusiast will want to be without this superb selection … Robert King's light-footed approach to the big pieces, with brisk speeds and crisp, springy rhythms, keeps up both the momentum and the excitement to produce some thrilling climaxes' (The Daily Telegraph)

'We have come to expect nothing but first rate perfomances from Robert King and his colleagues, and this recording does not disappoint. Hyperion's recorded sound is clear but warm, sumptuous, and intense, as befits the music' (American Record Guide)

'The warmly enveloping acoustic is exactly right for this opulent, exciting music; and Robert King’s trusty group disport themselves with the usual trim gusto. With performances like these I’d be happy if this series rolled on forever' (The Times)

'this is another fine issue to add to a series that has now firmly established its credentials as yet one more (brilliently plumed) feather in the respective caps of King and Hyperion' (Fanfare, USA)
‘Cantate Domino’, with a text conflated from Psalms 95 and 97 (96 and 98) is another short motet contributed by Monteverdi to the anthology of motets for from one to eight voices published in 1620 by his pupil Giulio Cesare Bianchi. It seems to have been aimed at choirs of modest ability. Whether consciously or not, Monteverdi reused for the phrase ‘Cantate et exultate’ a musical sequence that he had first used at the end of the madrigal ‘Ecco mormorar l’onde’ in his Second Book of Madrigals of 1590; this may indicate that the motet was written very much earlier than its date of publication.

from notes by John Whenham © 2004

Conçu sur un texte emprunté aux Psaumes 95 et 97 «Cantate Domino» est un autre motet concis attribué à Monteverdi dans l’anthologie de motets de un à huit voix publiée en 1620 par son élève Giulio Cesare Bianchi. Il semble avoir été destiné à des chœurs de capacité modeste. Que ce soit consciemment ou non, Monteverdi se servit de nouveau pour la phrase «Cantate et exultate» d’une séquence musicale qu’il avait exploitée pour la première fois à la fin du madrigal «Ecco mormorar l’onde» dans son Deuxième Livre de Madrigaux publié en 1590. Ceci indiquerait peut-être que le motet a été écrit bien plus tôt que sa publication ne pourrait le laisser croire.

extrait des notes rédigées par John Whenham © 2004
Français: Isabelle Battioni

In „Cantate Domino“ werden die beiden Psalmen 95 und 97 (bzw. 96 und 98) zusammengefasst und es handelt sich um eine weitere kurze Motette, die Monteverdi der Anthologie von Motetten für eine bis zu acht Stimmen beisteuerte und die von seinem Schüler Giulio Cesare Bianchi im Jahre 1620 herausgegeben wurde. Die Sammlung scheint für durchschnittlich begabte Chöre gedacht gewesen zu sein. Bei den Worten „Cantate et exultate“ verwendete Monteverdi, bewusst oder unbewusst, eine musikalische Wendung, die erstmals am Schluss des Madrigals „Ecco mormorar l’onde“ aus seinem Zweiten Madrigalbuch von 1590 auftaucht; dies könnte ein Hinweis darauf sein, dass die Motette möglicherweise lange Zeit vor ihrer Veröffentlichung entstanden ist.

aus dem Begleittext von John Whenham © 2004
Deutsch: Viola Scheffel

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