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Hyperion Records

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Track(s) taken from CDA67428
Recording details: February 2003
St Jude-on-the-Hill, Hampstead Garden Suburb, London, United Kingdom
Produced by Ben Turner
Engineered by Philip Hobbs
Release date: October 2003
Total duration: 8 minutes 36 seconds

'This is life-enhancing stuff, breathtakingly exciting at times, exquisitely beautiful at others. If King and his forces maintain the standard they set here, this series is surely set to be the definitive representation of Monteverdi on disc' (BBC Music Magazine)

'The King's Consort shows complete affinity with both the dramatic and the lyrical aspects of Monteverdi's style. No ensemble could be better suited to this magnificent undertaking' (The Daily Telegraph)

'…one of the glories of the new disc is the gloriously full-toned and marvelously projected singing of his two sopranos, Carolyn Sampson and Rebecca Outram … A further distinct plus is Hyperion's superb engineering, which presents the performances with glowing, yet sharply defined immediacy' (Fanfare, USA)

'…a highly successful opening instalment' (Goldberg)

'This music is already familiar from other recordings of Venetian vespers, yet these are magisterial performances, the Christmas setting giving them an appropriately festive focus' (Early Music)

Confitebor tibi I a 3 voci con 5 altre voci ne ripieni 1640
Selva morale e spirituale (1640/1)
author of text
Psalm 110 (111)

Introduction  EnglishFrançaisDeutsch
à 3 voci con 5 altre voci ne ripieni

Here Monteverdi uses a primary group of three solo voices, adding a further five to produce a full eight-part texture for verses 2 and 6, the first half of verse 9 and the Gloria Patri. The three soloists sing, for the most part, in triple time and in imitative textures, but Monteverdi is careful always to allow the text to be clearly declaimed, and to punctuate it with cadences to mark the caesuras in the middle and at the ends of verses. When he uses the full texture of eight voices he allots it the same music each time—a rich harmonic progression in block chords. The reasons for his choice of one texture over another are sometimes easy to explain. For example, soloists are used for verse 1, in which the psalmist declares his intention to praise the Lord; the full texture is then used for verse 2, a statement that the works of the Lord are great. Similarly, a full texture is used for the first half of verse 9 to reinforce the striking statement ‘Holy and fearsome is his name’ and to round off the setting in the Gloria Patri, though here Monteverdi introduces a central section for three voices singing a line of his own invention extrapolated from the normal text—‘Semper gloria Patri et Filio et Spiritui Sancto’ ([Let there] always be glory to the Father and the Son and the Holy Spirit). His use of a full texture for verse 6 is more difficult to explain in terms of the text; he may have introduced it simply for the sake of musical variety.

from notes by John Whenham © 2003

Other albums featuring this work
'Monteverdi: The Sacred Music, Vol. 1' (SACDA67428)
Monteverdi: The Sacred Music, Vol. 1
This album is not yet available for download SACDA67428  Super-Audio CD — Deleted  
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