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Track(s) taken from CDA67487

Nisi Dominus, SV200

setting I; a 3 voci e duoi violini; from Messa a quattro voci e salmi (1650)
author of text
Psalm 126 (127)

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: 6 minutes 57 seconds

Other recordings available for download

Emma Kirkby (soprano), Ian Partridge (tenor), David Thomas (bass), The Parley of Instruments


'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)
From its style, this setting of Psalm 126 appears to be one of Monteverdi’s last pieces of church music, and possibly one of his last compositions. It is not found in the Selva morale but in the posthumous Messa a quattro voci et salmi, which suggests that it was written between 1641 and 1643. It is mainly constructed over a jaunty walking bass in the manner of a canzonetta, but at the word ‘surgite’ (‘get up’) the onward flow is interrupted by a series of fanfares passing from voice to voice which are themselves contrasted with a series of exquisite dissonances illustrating the word ‘doloris’ (‘misery’). The doxology contains two of Monteverdi’s favourite devices: cascades of ornaments at the word ‘Gloria’ followed by the traditional pun at ‘Sicut erat in principio’.

from notes by Peter Holman © 1981

D’après son style, cette version du Psaume 126 semble être l’un des derniers morceaux de musique religieuse de Monteverdi, et peut-être I’une de ses dernières compositions. On ne la trouve pas dans le Selva morale, mais dans la Messa a quattro voci et salmi posthume, ce qui suggère qu’elle daterait de 1640–43. Elle se base sur une figure de basse enjouée, à la manière d’une canzonetta, mais au mot «surgite» (debout), le flot sonore est interrompu par une série de fanfares passant d’une voix à une autre et contrastées avec une série d’exquises dissonances illustrant le mot «doloris» (douleur). La doxologie comprend deux des procédés favoris de Monteverdi: des cascades d’ornements au mot «Gloria», suivies d’un retour au début du psaume à «Sicut erat in principio»: une sorte de jeu de mots musical.

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

Vom Stil her scheint die Vertonung von Psalm 126 eines der letzten Kirchenmusikstücke Monteverdis zu sein, möglicherweise sogar eine seiner letzten Kompositionen. In der Selva morale ist sie nicht zu finden, jedoch in der posthum veröffentlichten Messa a quattro voce et salmi, was auf ein Entstehungsdatum von etwa 1640–43 schließen läßt. Sie besteht in der Hauptsache aus einer beschwingt laufenden Baßfiguration nach Art einer Kanzonette, doch bei dem Wort „surgite“ („erhebt euch“) wird der Vorwärtsfluß durch eine Reihe von Fanfaren unterbrochen, die von Stimme zu Stimme springen, die selbst mit einer Reihe von exquisiten Dissonanzen kontrastiert werden und das Wort „doloris“ („Mühsal“) verdeutlichen. Die Doxologie enthält zwei der bevorzugten Kunstgriffe Monteverdis: sich überstürzende, brillante Verzierungen bei dem Wort „Gloria“, denen eine Rückkehr zur Eröffnung des Psalms bei „Sicut erat in principio“ folgt eine Art musikalisches Wortspiel also.

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

Other albums featuring this work

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