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Track(s) taken from CDA67487

Confitebor tibi Domine 'Alla francese', SV267

composer
setting III; from Selva morale e spirituale (1640/1); based on Monteverdi's madrigals Dolcissimo uscignolo and Chi vol haver felice
author of text
Psalm 110 (111)

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: 6 minutes 15 seconds
 
1
Confitebor tibi Domine 'Alla francese' SV267  [6'15]

Other recordings available for download

Emma Kirkby (soprano), The Parley of Instruments, Roy Goodman (conductor), Peter Holman (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)
This curious piece is a reworking of sections from the madrigals Dolcissimo uscignolo and Chi vol haver felice from Monteverdi’s Eighth Book of 1638. Both madrigals are in the French style, which means that they imitate the syllabic word-setting with the fluctuating pulse of the French vers mesuré tradition. The Psalm is really written for soprano solo, choir and continuo but, as Monteverdi explains in a note, it can be performed with ‘four violin family instruments, leaving the soprano part to a solo voice’. At the ‘Gloria Patri’ the restraint of the French style is suddenly cast aside in an impassioned burst of virtuosity from the soprano, returning to sobriety at ‘Sicut erat in principio’, when the opening music is heard—a kind of musical pun.

from notes by Peter Holman © 1981

Cet étrange morceau est une révision d’extraits des madrigaux Dolcissimo uscignolo et Chi vol haver felice du huitième livre de Monteverdi, de 1638. Ces deux madrigaux sont dans le style français, c’est à dire qu’ils imitent le texte syllabique avec le rythme varié de la tradition française du vers mesuré. Le psaume est composé, en réalité, pour soprano solo, chœur et continuo, mais, comme Monteverdi l’écrit dans une annotation de l’édition originale, il peut être interprété avec «quatre instruments de la famille du violon, laissant la partie de soprano à une voix en soliste». Au «Gloria Patri» la réserve du style français fait soudain place à un éclat de virtuosité passionnée de la cantatrice, avec un retour à la discrétion pour le jeu de mot traditionnel de «Sicut erat».

extrait des notes rédigées par Peter Holman © 1981
Français: Madeleine Jay

Dieses merkwürdige Stück ist eine Bearbeitung von Abschnitten aus den Madrigalen Dolcissimo uscignolo und Chi vol haver felice aus Monteverdis 8. Buch von 1638. Beide Madrigale sind im französischen Stil geschrieben, was heißt, daß sie die silbenhafte Vertonung der Worte mit schwankendem Puls der französischen vers mesuré-Tradition nachahmen. Tatsächlich ist der Psalm für Solosopran, Chor und Continuo geschrieben, doch wie Monteverdi in einer Anmerkung zur Originalausgabe, kann er mit „vier Instrumenten der Geigenfamilie aufgeführt werden, wobei der Sopran einer Solostimme überlassen“ wird. Im „Gloria Patri“ wird die Zurückhaltung des französischen Stils mit leidenschaftlicher Virtuosität des Soprans plötzlich fallengelassen und kehrt für das traditionelle Wortspiel bei „Sicut erat“ zur Mäßigkeit zurück.

aus dem Begleittext von Peter Holman © 1981
Deutsch: Meckie Hellary

Other albums featuring this work

Monteverdi: Sacred vocal music
CDH55345Helios (Hyperion's budget label)
Monteverdi: The Sacred Music, Vol. 3
This album is not yet available for downloadSACDA67487Super-Audio CD — Last few CD copies remaining
The Emma Kirkby Collection
This album is not yet available for downloadCDA66227
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