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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: 5 minutes 1 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)

Salve regina II a 2 voci, due Tenore o due Soprani 1640
composer
Selva morale e spirituale (1640/1)
author of text
Antiphon to the Virgin Mary from Trinity until Advent

Introduction  EnglishFrançaisDeutsch
If Vespers was not immediately followed by Compline, the last of the daily Hours services, it was the custom to sing instead the seasonal Marian antiphon with its associated devotions. ‘Salve Regina’ was the antiphon sung at St Mark’s from the Octave of Pentecost to the first day of Lent – i.e. for most of the Church year – which may explain why Monteverdi supplied no fewer than three settings in the Selva morale. This languorous and sensual setting for two equal voices shows clearly why Monteverdi was particularly fond of the medium of the duet, for it allowed him to explore the rhetorical devices of declamatory solo song while also allowing him to intensify them by giving them now to one voice, now to the other, now to both together, and through such repetitions to build larger-scale structures than would be possible with a single voice.

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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