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Track(s) taken from CDA67438

Ego dormio a 2 voci e B.c.

Sacri affetti (1625)
author of text

The King's Consort, Robert King (conductor)
Recording details: February 2004
St Jude-on-the-Hill, Hampstead Garden Suburb, London, United Kingdom
Release date: April 2004
Total duration: 3 minutes 8 seconds


'Monteverdi is one of those composers who really does merit a complete recording of his output. The sacred works have been a little neglected, and this splendid new series, with its informed and intelligent booklet notes, is putting things right' (BBC Music Magazine)

'… there are joys here to melt icebergs … I want Volume 3 immediately' (The Times)

'Sumptuous surround sound and full-blooded performances from Robert King and Co. combine to thrilling effect in the second release in their fabulous Monteverdi cycle' (Classic FM Magazine)

'Where this new disc really comes into its own is in the small-scale motets, where King's outstanding roster of soloists would be exceedingly difficult to better … The rarely performed motets alone should ensure the present disc its place in any Monteverdi collection, while John Whenham's notes prove as valuable an asset as those Michael Talbot provided for King's Vivaldi sacred music traversal' (Fanfare, USA)

'I'll say it straight out: the result is truly exciting! The music is magnificent, and so is the interpretation … The architecture of the programme is particularly remarkable, and the album is built on balance, variety, contrast' (Goldberg)

'The King’s Choir and Consort directed by Robert King made a complete series of the Sacred Music of Claudio Monteverdi (1567-1643) … this is music that I could listen to all day long. With Carolyn Sampson and Rebecca Outram (sopranos), Rogers Covey-Crump (high tenor), Charles Daniels and James Gilchrist (tenors) and Peter Harvey (bass) you could hardly wish for a more distinguished team of soloists' (MusicWeb International)» More

'This is an absolutely crack team of soloists, all of whom are completely at home in Monteverdi's idiom. The tenors in particular luxuriate in the ornamental roulades …' (Early Music)

'En effet, c'est avec un tact et une finesse sans précédent que King mène son corpus instrumental … La douceur séraphique de Sampson et Outram dans le Venite, Siccientes n'a d'équivalent que la parfaite maîrise de la diction, des sons enflés et de la souplesse de ces voix' (Classica, France)
The Old Testament Song of Songs (Song of Solomon), a collection of love-lyrics often written in the female voice, was a frequently mined source for motet texts during the Renaissance. In the Christian church such texts were interpreted metaphorically, sometimes as texts in praise of the Virgin Mary, sometimes, as in this case, as texts representing the Church (the woman) welcoming her beloved (Christ). Although the motet is scored for soprano and bass, Monteverdi does not treat the text as a dialogue, but uses both voices together to represent the female and male speakers. The motet was the first by Monteverdi to be published in a Roman anthology – Francesco Sammaruco’s Sacri affetti (Sacred Affections), published by Luca Antonio Soldi in Rome in 1625. Interestingly, there is no hint of the melodious triple-time refrains found in the music of northern Italian anthologies. Instead, the motet is set throughout in an expressive (‘affective’) recitative-like style.

from notes by John Whenham © 2004

Recueil de chants lyriques souvent écrits du point de vue féminin, le Cantique des Cantiques de l’Ancien Testament constituait durant la Renaissance un fonds auquel on faisait souvent appel pour réaliser de textes de motets. Dans l’église chrétienne, ces textes étaient souvent interprétés de manière métaphorique, parfois pour louer la Vierge Marie, parfois, comme dans le cas présent, sous une forme allégorique, avec la femme (l’Eglise) accueillant son bien-aimé (Christ). Si le motet est orchestré pour soprano et basse, Monteverdi ne traite pas le texte sous une forme dialoguée, mais se sert des voix pour représenter les intervenants féminin et masculin. Le motet fut le premier de Monteverdi à paraître dans une anthologie romaine – les Sacri affetti de Francesco Sammaruco – publiée par Luca Antonio Soldi à Rome en 1625. Il est intéressant de noter qu’on ne retrouve nullement les refrains mélodiques ternaires figurant dans les anthologies de l’Italie du Nord. Le motet est au contraire mis en musique dans un style expressif, « affectif », aux allures de récitatif.

extrait des notes rédigées par John Whenham © 2004
Français: Isabelle Battioni

Das alttestamentarische Hohelied Salomos, eine Sammlung von Liebestexten, die zumeist eine weibliche Erzählstimme haben, wurde in der Renaissance oft als Quelle für Motettentexte verwendet. In der christlichen Kirche wurden solche Texte metaphorisch interpretiert, zuweilen als Lobpreisungen der Jungfrau Maria, zuweilen, wie hier, als Texte, die die Kirche (die Frau) repräsentieren, die ihren Geliebten (Christus) begrüßt. Obwohl die Motette für Sopran und Bass gesetzt ist, behandelt Monteverdi den Text nicht als Dialog, sondern setzt beide Stimmen zusammen als weiblichen und männlichen Sprecher ein. Das Werk wurde als erste Motette Monteverdis in einer römischen Anthologie veröffentlicht: Francesco Sammarucos Sacri affetti („Geistliche Zuneigungen“), herausgegeben in Rom von Luca Antonio Soldi (1625). Interessanterweise erscheinen die melodiösen Dreiertakt-Refrains, die sonst in den Werken der norditalienischen Anthologien häufig auftreten, hier nicht. Stattdessen ist diese Motette durchgängig in einem expressiven („zugeneigten“), rezitativartigen Stil gehalten.

aus dem Begleittext von John Whenham © 2004
Deutsch: Viola Scheffel

Other albums featuring this work

Monteverdi: The Sacred Music, Vol. 2
This album is not yet available for downloadSACDA67438Super-Audio CD
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