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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: 4 minutes 37 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)

Laudate Dominum omnes gentes a 5 concertato 1640
composer
Selva morale e spirituale (1640/1)
author of text
Psalm 116 (117)

Introduction  EnglishFrançaisDeutsch
à 5 concertato con due violini et un choro a quattro voci qual potrasi e cantare e sonare con quattro viole o Tromboni et anco lasciare se acadesse il bisogno

‘Laudate Dominum’ is the shortest of all Vespers psalms (only two verses plus the Gloria Patri), and it requires some ingenuity on the part of the composer to produce a setting that does not seem perfunctory. Monteverdi rises to the challenge by using contrasts of texture, by repeating lines of the text in different permutations of voices to build larger structures, and by using the two violins to extend and repeat the vocal phrases. His setting of the first half of verse 2 is particularly striking. Here he contrasts a lively setting over a walking bass for ‘Quoniam confirmata est super nos’ with a strikingly harmonised descending chromatic line for ‘misericordia eius’. The contrasting blocks of material are presented three times, reaching a climax as all eight voices and instruments join for a final statement of the chromatic line. The full ensemble is used in two other places: at the end of verse 1, where they represent ‘all nations’ / ‘all people’ (omnes gentes / omnes populi) and at the end of the Gloria Patri, where the same music is used for the words ‘As it was in the beginning, is now, and ever shall be’ (Sicut erat in principio, et nunc, et semper). The reference back to music heard at, or near, the beginning of the psalm for ‘As it was in the beginning’ is a device that Monteverdi used in several of his psalm settings.

from notes by John Whenham © 2003

Other albums featuring this work
'Monteverdi: The Sacred Music, Vol. 1' (SACDA67428)
Monteverdi: The Sacred Music, Vol. 1
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