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Hyperion Records

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Track(s) taken from CDA67487
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: 7 minutes 13 seconds

'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)

Lauda Ierusalem I a 3
composer
Messa a quattro voci e salmi (1650)
author of text
Psalm 147

Introduction  EnglishFrançaisDeutsch
This madrigalian setting of Psalm 147, published posthumously in 1650, serves as a reminder of just how expert some of Monteverdi’s singers at St Mark’s were, allowing him to write rapid virtuoso lines for words like ‘spargit’ (‘scattereth’ – verse 5) and ‘fluent’ (‘run’ – verse 7). Most of the setting is conceived in a dance-like triple time, but the text ‘et liquefaciet ea’ (‘and shall melt them’ – verse 7) is set in suitably melting duple-time harmonies, and verses 2 and 6 are set to a duple-time refrain which is also used for the ‘Gloria Patri’, where it is unexpectedly interrupted by a repeat of the joyful music (and the text) with which the setting began. This refrain is marked ‘tutti’, as distinct from ‘à 3’ (for three voices), suggesting choir with soloists; at these points, an editorial chorus part has been added since the harmony often seems surprisingly thin, perhaps indicating that, as in other Monteverdi psalms, there may be additional parts missing.

from notes by John Whenham © 2004

Other albums featuring this work
'Monteverdi: The Sacred Music, Vol. 3' (SACDA67487)
Monteverdi: The Sacred Music, Vol. 3
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