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Track(s) taken from CDA67519

Magnificat II 1640

Selva morale e spirituale (1640/1)
author of text
Luke 1: 46-55

King's Consort Choir, 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
Release date: November 2005
Total duration: 9 minutes 26 seconds


'Robert King never rushes the music but cannily treads the fine line between dizzying excitement and authoritative splendour. Even if you already admire seminal recordings of Monteverdi sacred music by the likes of Andrew Parrott, Konrad Junghänel and Rinaldo Alessandrini, there are plenty of less familiar gems included that make this series essential' (Gramophone)

'This series of recordings is proving to be the definitive account of the neglected side of Monteverdi’s genius, and one that’s unlikely to be surpassed in range and quality for many years' (BBC Music Magazine)

'Robert King's essential exploration of Monteverdi offers yet more evidence of the master's genius. Here the familiar sits with lesser known settings of sacred settings, all works of staggering beauty. King and the soloists capture the essence of this music, with outstanding contributions from Carolyn Sampson, Charles Daniels and James Gilchrist' (The Independent)

'This magnificent series goes from strength to strength, each fresh instalment reaching even more stratospheric standards of excellence than its predecessor' (The Daily Telegraph)

'The opening Laetatus sum is irresistible—typical in its bounce and clarity of every track in the fourth volume of the King's Consort's survey of sacred Monteverdi … Monteverdi collectors shouldn't hesitate' (The Times)

'All played and sung with style' (The Sunday Times)

'I'm inclined to think this superbly engineered disc the most successful issue yet in a splendid series. Fervently recommended' (Goldberg)

'The King's Consort has grown in confidence in this music as the recordings progress; each of these pieces is a joy. The soloists are uniformly excellent, with James Gilchrist comining into his own … These are Rolls-Royce recordings, drawing on the very best of British musicians and recording experience. Even the ripieno choir is peopled with some of the country's most experienced singers' (Early Music)
The singing of the Magnificat, the Canticle of the Virgin Mary (Luke 1: 46–55), formed the climax, though not the end, of Vespers, and during its singing the altar was ceremonially censed. This second Magnificat setting from the Selva morale, in complete contrast to the opulence of the first (see volume 1), is for choir alone, in the ‘old style’, with the organ line merely doubling the lowest vocal part. In the context of the Selva morale the two settings were no doubt intended to demonstrate that Monteverdi was equally expert in both styles. Here he sets only the even-numbered verses, leaving the others to be chanted to the plainsong psalm tone for Mode 1, which he also uses, though not rigidly, in his settings of the other verses.

from notes by John Whenham © 2005

Le chant du Magnificat, le cantique de la Vierge Marie (Luc 1: 46–55), marquait l’apogée, mais non la fin, des vêpres et son exécution s’accompagnait d’un encensement cérémoniel de l’autel. En total contraste avec l’opulence du premier Magnificat (cf. vol. 1), ce second Magnificat extrait des Selva morale est pour chœur seul, dans le «style ancien», la ligne d’orgue doublant simplement la partie vocale la plus grave. Sans doute la présence de ces deux pièces dans les Selva morale entendait-elle démontrer la maîtrise de Monteverdi, aussi à l’aise dans un style que dans l’autre. Ici, seuls les versets pairs sont mis en musique, les autres devant être cantillés selon le ton psalmodique du mode 1, lequel est également utilisé, mais sans rigidité, dans les mises en musique des autres versets.

extrait des notes rédigées par John Whenham © 2005
Français: Hypérion

Das Singen des Magnifikat, der Lobgesang auf die Jungfrau Maria (Lukas 1, 46–55), war der Höhepunkt, jedoch nicht das Ende, des Vespergottesdienstes und während des Gesangs wurde der Altar traditionsgemäß in Weihrauch gehüllt. Diese zweite Magnifikatvertonung aus der Selva morale steht im völligen Gegensatz zu der Üppigkeit der ersten (siehe 1. CD), ist im „alten Stil“ und für Chor a cappella komponiert, wobei die Orgelstimme lediglich die tiefste Singstimme verdoppelt. Im Kontext der Selva morale sollten die beiden Vertonungen sicherlich als Beweis dafür dienen, dass Monteverdi in beiden Stilen gleich versiert war. Hier vertont er lediglich die Verse mit geraden Zahlen und lässt die anderen im einstimmigen Psalmton des ersten Kirchentons singen, den er ebenfalls – jedoch nicht in starrer Weise – in seinen Vertonungen der anderen Verse einsetzt.

aus dem Begleittext von John Whenham © 2005
Deutsch: Viola Scheffel

Other albums featuring this work

Monteverdi: The Sacred Music, Vol. 4
This album is not yet available for downloadSACDA67519Super-Audio CD — Deleted
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