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Track(s) taken from CDA67487

Salve regina II a 2 voci, due Tenore o due Soprani 1640

Selva morale e spirituale (1640/1)
author of text
Antiphon to the Virgin Mary from Trinity until Advent

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: 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)
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

Si les Vêpres n’étaient pas immédiatement suivies de Complies, la dernière heure des offices liturgiques, on avait pour habitude d’insérer en sa place une antienne mariale de l’année liturgique lui correspondant riche de ses associations dévotionnelles. «Salve Regina» était l’antienne chantée à Saint-Marc, de l’Octave de la Pentecôte au premier jour du Carême, ce qui peut expliquer pourquoi Monteverdi écrivit avec pas moins de trois compositions sur ce texte dans ses Selva morale. Cette réalisation langoureuse et sensuelle pour deux voix égales montre clairement pourquoi Monteverdi aimait aussi fortement ce genre qu’était le duo. Il lui permettait d’explorer les traits rhétoriques de la déclamation pour voix soliste seule tout en lui permettant de l’intensifier en la concevant tantôt pour une voix tantôt pour l’autre, tantôt pour les deux réunies. Avec de telles répétitions il élaborait d’importantes structures en s’appuyant uniquement sur une voix seule.

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

Wenn auf die Vesper nicht unmittelbar die Komplet, das letzte Stundengebet, folgte, dann wurde stattdessen traditionsgemäß eine passende marianische Antiphon mit den entsprechenden Anrufungen gesungen. Die Antiphon „Salve Regina“ wurde von der Pfingstwoche bis zum ersten Tag der Fastenzeit – also für den größten Teil des Kirchenjahres – gesungen, was erklären mag, dass Monteverdi in der Selva morale nicht weniger als drei Vertonungen veröffentlichte. Die vorliegende, fast sinnliche Vertonung ist für zwei gleiche Stimmen angelegt und zeigt deutlich, warum Monteverdi sich so sehr für das Medium Duett interessierte: hier konnte er die rhetorischen Mittel des deklamatorischen Sololieds erkunden und sie gleichzeitig intensivieren, indem er sie einmal in nur eine Stimme legte, dann in die andere, dann in beide zusammen; solche Wiederholungen erlaubten es ihm, größere Gefüge zu entwickeln, als er es mit nur einer einzelnen Stimme hätte tun können.

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

Other albums featuring this work

Monteverdi: The Sacred Music, Vol. 3
This album is not yet available for downloadSACDA67487Super-Audio CD — Deleted
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