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Track(s) taken from CDA67438

Laudate Dominum omnes gentes, SV197

Basso solo; setting IV; from Messa a quattro voci e salmi (1650)
author of text
Psalm 116 (117)

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 1 seconds

Other recordings available for download

David Thomas (bass), The Parley of Instruments


'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)
This concise but vivid setting of the very short Psalm 116 is found in two posthumous sources: a simple version in Gasparo Casati’s Raccolta di motetti a 1, 2, 3 voci (1651) and a more ornamented one in the Messa a quattro voci et salmi of the same year. The latter probably has more authority and must be closer to what a contemporary singer would have sung. The doxology (‘Gloria Patri’) is set to a descending chord sequence heard three times in F major and then three times in A minor—another example of Monteverdi’s preoccupation with ground-bass techniques in his later music.

from notes by Peter Holman © 1981

Cette adaptation concise mais frappante du très court Psaume 116 se trouve dans deux sources posthumes: une version simple dans la Raccolta di motetti a 1, 2, 3 voci (1651) de Gasparo Casati, et une version plus ornée dans la Messa a quattro voci et salmi de la même année. Cette dernière source semble plus autorisée et est certainement plus proche de ce qu’un interprète de l’époque aurait chanté. La doxologie («Gloria Patri») est mise en musique sur une suite d’accords descendants que l’on entend trois fois en fa majeur, puis trois fois en la mineur—autre exemple de la préoccupation de Monteverdi des techniques de basse obstinée dans la musique de ses dernières années.

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

Diese knappe, aber lebhafte Vertonung des sehr kurzen Psalms 116 tritt in zwei posthum veröffentlichten Quellen auf: eine einfache Version in Gasparo Casatis Raccolta di motetti a 1, 2, 3 voci (1651), und eine verziertere Form in der Messa a quattro voci et salmi des gleichen Jahres. Die letztgenannte Quelle wahrscheinlich die größere Autorität besitzt. Außerdem scheint sie besser wiederzugeben, was ein zeitgenössischer Sänger gesungen hätte. Die Doxologie („Gloria Patri“) enthält eine abfallende Akkordfolge, die dreimal in F-Dur und dann dreimal in a-Moll erseheint wieder ein Beispiel für Monteverdis Beschäftigung mit der Grundbaßtechnik in seiner späteren Musik.

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

Other albums featuring this work

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