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Claudio Giovanni Antonio Monteverdi (1567-1643)

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Monteverdi - Balli and Dramatic Madrigals from Madrigali guerrieri et amorosi

Monteverdi - Balli and Dramatic Madrigals from Madrigali guerrieri et amorosi


Monteverdi:

Altri canti d'Amor (Book 8)

Il Combattimento di Tancredi e Clorinda

Volgendo il ciel (Ballo ‘Movete')

Il Ballo delle ingrate


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Monteverdi: Madrigals of Love and Loss

Monteverdi: Madrigals of Love and Loss


Merula:

Ciaccona

Monteverdi:

Volgendo il ciel (Ballo ‘Movete')

Thomas Walker (tenor)

Il Combattimento di Tancredi e Clorinda

James Gilchrist (tenor)

Or che’l ciel e la terra

Ohimè, dov'è il mio ben (Book 7)

Katherine Watson (soprano) & Anna Dennis (soprano)

Zefiro torna

Ohimè il bel viso (Book 6)

Sestina - Lagrimae d'Amante al sepolero dell'amata


Gramophone Award-winning ensemble Arcangelo (in their first recording as a vocal and instrumental group) presents a selection from Monteverdi’s last three books of madrigals. These ardent and passionate works are microcosms of Monteverdi’s great operas, and among his most celebrated music.

Most of the madrigals of Book 6 (1614) are songs of parting and loss. Book 7 (1619) is entitled Concerto, meaning that all the works it contains require instrumental accompaniment. And Book 8 (1638) introduces the genere concitato—the ‘agitated’ manner that Monteverdi devised to convey the emotions of war, whether physical or psychological. Combattimento di Tancredi e Clorinda sets an extended passage from Tasso’s epic poem Gerusalemme liberata. Tasso’s text, set in the time of the first crusade, tells of the combat between the Christian knight Tancredi and the Saracen maiden Clorinda. Most of the action of the Combattimento is conveyed by a narrator (Testo—the text), sung here by celebrated tenor James Gilchrist.

“All of Cohen's singers come from the world of opera, and it shows in performances that place the drama of le parole to the fore...But among so much vocal athleticism, it's still the instrumentalists that dominate...Arcangelo's musicians deploy rough-edged expressive risk-taking within a framework of complete stylistic control.” Gramophone Magazine, March 2014

“The first impression given by the opening track on this disc is of enormous energy and breadth. There is some superb singing from the assured and polished tenor Thomas Walker, while even more impressive is the remarkably full-bodied sound and glorious instrumental textures from the dozen players” International Record Review, March 2014

“These are not easy pieces, but the opening ballet swings along with panache, and there is some excellent tenor solo singing in the first section.” BBC Music Magazine, April 2014 ****

“Of the two emotional foci of the disc, the Combattimento and the Sestina, the former is the more draining listening, thanks to the thrilling, visceral singing of James Gilchrist, in whose narration is summoned up every sword clash, every colour of the night, and almost every exhausted breath. I can’t imagine better performances of the middle-of-the- programme madrigals.” Early Music Today

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Monteverdi - Masses

Monteverdi - Masses


Monteverdi:

Cantate Domino a 6 voci (1620)

Messa a 4 voci da Cappella (1650)

Domine, ne il furore

Missa 'In illo tempore' (1610)


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Monteverdi - Sacred Vocal Music

Monteverdi - Sacred Vocal Music


Monteverdi:

Su le penne de' venti

Confitebor tibi Domine, SV266

Iste confessor Domini sacratus

Laudate Dominum omnes gentes

Confitebor tibi Domine, SV194

Confitebor tibi III alla francese

Ab aeterno ordinata sum

Nisi Dominus aedificaverit domum

Deus tuorum militum sors et corona


Emma Kirkby (soprano), Ian Partridge (tenor) & David Thomas (bass)

Parley of Instruments, Roy Goodman & Peter Holman

“One of the most beautiful records I have heard this year” The Guardian

“Music of exhilarating inspiration, superbly performed. A recording as near as may be to the ideal … for audiophile and music-lovers, this is essential” Hi-Fi News

“There are few records of Monteverdi's solo vocal music as persuasive as this...the performances are outstanding, with the edge of Emma Kirkby's voice attractively presented in an aptly reverberant acoustic.” Penguin Guide, 2011 edition

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Monteverdi - The Sacred Music 1

Monteverdi - The Sacred Music 1


Monteverdi:

Dixit Dominus Primo à 8 voci concertato

Confitebor Primo à 3 voci con 5 altre voci ne ripieni

Beatus vir (from Selva Morale e Spirituali)

Laudate pueri Primo à 5 concertato

Laudate Dominum omnes gentes à 5 concertato

Christe redemptor omnium 'Himnus unius Martyris'

Magnificat Primo à 8 voci

Messa a 4 voci da Cappella from Selva morale e spirituale (1640)


Carolyn Sampson, Rebecca Outram (sopranos), Roger Covey-Crump, Nicholas Mulroy, Daniel Auchincloss (high tenors), Charles Daniels, James Gilchrist (tenors), Peter Harvey, Robert Evans (basses)

The King's Consort, Robert King

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Hyperion Monteverdi Sacred Music - CDA67428

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Monteverdi - The Sacred Music 2

Monteverdi - The Sacred Music 2


Monteverdi:

Exultent caeli

Venite, siccientes

Currite populi

Ego dormio

Messa a 4 voci da Cappella (1650)

Cantate Domino a 2 voci (1615)

O beatae viae

Laudate Dominum

Laetaniae della Beata Vergine a 6 voci


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Monteverdi - The Sacred Music 2

Monteverdi - The Sacred Music 2


Monteverdi:

Exultent caeli

à 5

Venite, siccientes

à 2

Currite populi

à voce sola e B.c

Ego dormio

à 2 voci e B.c.

Messa a 4 voci da Cappella (1650)

da Cappella

Cantate Domino a 2 voci (1615)

à 2

O beatae viae

à 2 voci

Laudate Dominum

Basso solo

Laetaniae della Beata Vergine a 6 voci


Carolyn Sampson, Rebecca Outram (sopranos), Rogers Covey-Crump, Charles Daniels, James Gilchrist (tenors), Peter Harvey (bass)

The King's Consort, Choir of The King's Consort, Robert King

“... there are joys here to melt icebergs ... I want Volume 3 immediately” The Times

Super Audio CD

Format:

Hybrid Multi-channel

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Monteverdi - The Sacred Music 3

Monteverdi - The Sacred Music 3


Monteverdi:

Dixit Dominus II

Sancta Maria a 2 e B.c.

Lauda, Jerusalem, Dominum I

Memento Domine David

Confitebor tibi III alla francese

Christe, adoramus te

Salve Regina II a 2 voci, due Tenore

Nisi Dominus I à 3 voci & duoi violini

Cantate Domino a 6 voci (1620)

Ecce sacrum paratum a voce sola e B.c.

Gloria in excelsis Deo à 7 voci


Carolyn Sampson, Rebecca Outram (sopranos), Daniel Auchincloss, Rogers Covey-Crump (high tenors), Charles Daniels, James Gilchrist (tenors), Peter Harvey, Robert Evans (basses)

The King’s Consort, Robert King

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Hyperion Monteverdi Sacred Music - CDA67487

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Monteverdi - The Sacred Music 4

Monteverdi - The Sacred Music 4


Monteverdi:

Laetatus sum I - S S T T B B soli, choir

Salve Regina - T solo

Domine, ne il furore

Salve Regina I - T T soli

Dixit Dominus II - choir

Sanctorum meritis II - T solo

Adoramus te, Christe

Beatus vir (from Selva Morale e Spirituali)

Exulta, filia Sion

Magnificat II - choir

Salve, o Regina, o Mater - T solo

Laudate Dominum omnes gentes III - S S HT HT T T B B soli


“The disc opens with a splendid Laetatus sum for six solo singers, choir and instruments. …the tenor in Salve, o Regina delivers some wonderfully impassioned decoration, and the sopranos in the final Laudate Dominum are flashingly bright throughout and end on a perfect unison. Nor should we forget the instrumentalists: the violinists in Sanctorum meritis dance their way through the music in a way that transfigures the bare notes on the page.” BBC Music Magazine, December 2005 *****

“The fourth volume of Robert King's exploration of Monteverdi's sacred music continues to mix pieces from different sources: the composer's authorised collection Selva morale e spirituale, the posthumous Venetian collection Messa aquattro voci e salmi, and various Italian anthologies.
The beginning of Laetatus sum I instantly establishes the impeccable technical credentials of these stunning performances. The organ and chitarrone continuo is steady and sure-footed, joined a few bars later by a flamboyant violin duel stunningly dispatched by Simon Jones and Andrea Morris, and then crowned with a glorious duet by Carolyn Sampson and Rebecca Outram. The Choir of The King's Consort reinforce tutti passages with some splendid contributions and meet the florid, extrovert eightpart writing in Dixit Dominus II with colourful commitment. In the motet Adoramus te, Christe – not to be confused with the comparably beautiful but better known Christe adoramus, te – the choir shows its skill at gentler music, although I wonder if the use of solo voices might have been equally attractive and closer to what Monteverdi would have expected.
Charles Daniels and James Gilchrist beautifully judge several intimate tenor solos; Gilchrist's glorious and heartfelt singing in Salveregina I features some wonderful echo contributions from Daniels. Their tender communication of the text and sweet high registers consolidate their status as the finest English tenors of their type. 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 Classical Music Guide, 2010

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Hyperion Monteverdi Sacred Music - CDA67519

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Monteverdi - Vespers

Monteverdi - Vespers


Monteverdi:

Vespro della beata Vergine (1610)

Missa 'In illo tempore' (1610)


Carolyn Sampson, Rebecca Outram, Daniel Auchincloss & Nicholas Mulroy

The King’s Consort, Robert King

A dazzling array of soloists join King - his choir and orchestra on top form - in presenting this new recording of a true masterpiece to the world: a project made possible by the generosity of all the many hundreds of people who donated to Hyperion’s appeal for recording funds in 2005.

“More than any other version, this one sounds like its director has set out to enjoy himself and forget the musicological baggage. Gleefully choral and revelling in presenting the Vespers as a work of splendour, it benefits from some strong solo singing (notably from Charles Daniels and James Gilchrist)” Gramophone Magazine, June 2010

“Despite four wonderful volumes of Monteverdi's sacred music from The King's Consort, nothing will prepare you for the ecstatic consequences of taking seriously at least one aspect of Monteverdi's so-called seconda pratica – using much freer counterpoint, with an increasing hierarchy of voices: that the word is mistress of the music. And what ecstasy! Never mind the majestic opening psalm: just listen to the eloquent gestures in the 'Dixit Dominus', which range from the declamatory to the reticent with astonishing flexibility. Or the freedom and delicacy of tenor James Gilchrist in the 'Nigra sum', equally matched by the fragile spaciousness of Caroline Sampson's and Rebecca Outram's 'Pulchra es'.
Spaciousness soon loses its fragility in the propulsive 'Nisi Dominus' and the 'Lauda Jerusalem' with its luxuriant finale. And although the 'Sonata sopra Sancta Maria' is still preferable with a solo soprano line, its instrumental variations are here dispatched with such fluency it's hard not to be won over; the 'Ave maris stella' is similarly eloquent.
The second disc includes equally superb performances of the alternative six-voice Magnificat and the Missa In illo tempore.
The cumulative effect here is of a dazzling chiaroscuro that Monteverdi surely would have recognised. With its use of full choir, King's recording has room to manoeuvre – which gives the imagination more room to take flight.”
Gramophone Classical Music Guide, 2010

“The majesty and the ecstasy - King's forces are glorious in Monteverdi… Never mind the majestic opening psalm: just listen to the eloquent gestures in the 'Dixit Dominus', which range from the declamatory to the reticent with astonishing flexibility. Or the freedom and delicacy of tenor James Gilchrist in the 'Nigra sum', equally matched by the fragile spaciousness of Caroline Sampson's and Rebecca Outram's 'Pulchra es'.” Gramophone Magazine, June 2006

GGramophone Magazine

Editor's Choice - June 2006

Building a Library

First Choice - April 2007

Building a Library

First Choice - December 2010

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Hyperion Monteverdi Sacred Music - CDA67531/2

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