Professional Documents
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Claudio Monteverdi
Selva morale e spirituale Vol. I
Claudio Monteverdi
Selva morale e spirituale Vol. II Vespers
These are some of
the most spirited
and individual
There is a sense of deep
familiarity with the music
in this recording, a feeling of
of 1610
performances of this easiness with Monteverdis
repertory available. harmonic and, especially,
bbc music rhythmic vocabulary that
magazine lends a tripping lightness
to the performances...
cor16087 cor16101 international
record review
Claudio Monteverdi
Selva morale e spirituale Vol. III Palestrina Volume 5
As we might expect, The energy The Sixteen
The Sixteen bring to their Palestrina
performances are is admirable.
lively and nicely tuned... gramophone
the instrumental playing
is sensitive
and supportive.
bbc music
magazine
cor16109 cor16124
To find out more about The Sixteen, concert tours, and to buy CDs visit
The Sixteen
www.thesixteen.com cor16126
harry christophers
M onteverdis Vespers of 1610 is quite simply one of the with. The difference is sufficient to make you wince and is called a comma. The comma
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and each would have been preceded and substitutes for the repeated antiphon after Monteverdis time; like most publications though not in the ducal basilica of Santa
followed by a plainsong antiphon, the text the psalm (which leaves the performer of church music, it was at one level a Barbara, for which a separate musical
of which was related to the specific feast with one antiphon substitute too few, since resource book, from which choirmasters establishment was maintained. The choirs
day. The hymn Ave maris stella was sung at there is none provided for the Magnificat); who had the resources to tackle the music for which he wrote church music would
all feasts of the Blessed Virgin. On major another view holds that they are simply that it contained would have chosen as few have consisted entirely of men, with
feast days various of the texts usually sung extra pieces to be performed between the or as many settings as they needed. castratos singing the upper parts; and for
to plainsong would be treated to more psalms, perhaps allowing the Sonata to be most occasions there would have been
elaborate musical settings, varying from played and sung after the last psalm, where Monteverdi joined the dukes chapel one voice per part. As is apparent from
simple harmonisations of the plainsong it is placed in the book, or perhaps before probably early in 1590, and though we are the 1610 Vespers settings, Monteverdis
through to full-blown polyphony with or after the Magnificat. mainly aware of his secular music from singers were a group of highly trained
organ, strings, cornets and sackbuts. the Mantuan period madrigals, a ballet virtuosos, as we might expect of one of the
The music that Monteverdi published and two operas much of his daily work richest courts in Italy.
In Monteverdis publication, each of his in 1610 was probably written at various must have involved singing, playing and
polyphonic psalm settings is followed times during the years in which he served composing for the daily round of services The reasons why Monteverdi published
by one of the pieces that he calls sacred in the chapel of Vincenzo Gonzaga, duke that the duke would have attended. He was only one collection of church music at
concertos: that is, motets in which of Mantua in northern Italy. It gives the evidently a trusted figure in this respect, Mantua can be sought in his growing
voices and instruments perform together, impression of unity since, as Monteverdi for as early as 1595 the duke took him on dissatisfaction with his employment
whether just a solo voice and continuo or boasted at the head of the collection, a military expedition against the Turks as there after 1608. In addition to his work
just chitarrone, as in the case of Nigra sum, these were Vespers composed on cantus choirmaster in charge of a group of singers, as a church musician, he was expected
or a full panoply of instruments with a firmi: that is, all the strictly liturgical and in the camp, on the order of the duke, to supply secular music for the court;
single vocal line, as in the splendid Sonata items the psalms, hymn and Magnificat on solemn [days] Vespers was sung with and from 1607 this included the new
sopra Sancta Maria. Various arguments incorporate within their textures an music by singers and an organ which he genre of opera. For a royal wedding in
have been rehearsed as to the function of appropriate plainsong, whether a psalm had brought with him. In December 1601 1608 he wrote and rehearsed not only an
these pieces within Vespers, since they do or Magnificat tone, or a hymn melody. Monteverdi was appointed the dukes opera Arianna but also a ballet and
not appear as part of the official liturgy of Nevertheless, the collection may never choirmaster, in charge of both sacred incidental music for a play. While there
the church. One view holds them to be have been performed as a whole in and secular music at the Mantuan court, is no doubt that Monteverdi relished his
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work in these fields he felt that he was Vespers is, then, our way of reviewing and phrases that are used respectively to Verse by verse setting also characterises
taken for granted and rewarded far less appreciating Monteverdis portfolio. chant each half of the psalm verse. In the other psalm settings, the hymn and
than either the dukes star women singers verse 1 Monteverdi presents the first half the Magnificat, and one of the pleasures of
or visiting composers. By the time the Monteverdis portfolio opens with one of of the psalm tone, rhythmicised, for a listening to the Vespers is the sheer variety
wedding festivities were over, in July 1608 the collections most magnificent pieces. single vocal part, as though sung by the and ingenuity that Monteverdi brings to
he was ill with overwork and retired to After the priests Deus in adiutorium, the priest, then immediately clothes it with this basically simple procedure. In Laudate
his fathers house in Cremona. His father choir chants the response on a single chord counterpoint. The second part of the pueri, for example, the psalm tone is heard
wrote to the duke asking that he should surrounded by music for strings, wind and tone, for sede a dextris, is then presented in every verse. In verses 4 and 5 it represents
be released from the dukes service or, at brass developed from the Toccata the chordally with a wonderful slide from G God by soaring above the tenor and bass
least, his work confined to church music. call to attention that opened Monteverdis natural to G sharp in the harmony at meis. duets that accompany it; and in verse 7 it
The request was refused. For Monteverdi opera Orfeo in 1607. The setting, therefore, Verse 2 is set in falsobordone, a technique can be heard peeping through as a faster
then the choice was limited. He could not has Mantuan resonances; perhaps a that was often used at Sunday Vespers. line in the middle of a rich texture, perhaps
look for employment in another royal diplomatic gesture in a volume that There is no plainsong here. Instead, the representing the poor man set among
household without the dukes permission; Monteverdi dedicated to the pope, for choir chants the text to an unmeasured princes. In Laetatus sum the bouncing bass
but he might present himself as capable with papal acceptance who would dare to chord which then flowers into an imitative line with which the setting begins is only
of holding a major church post. His argue against him as a church composer. texture for the final two syllables; the same one of three contrasting basses (heard first
1610 Vespers can be seen in this light as Between the phrases of the response, procedure, with a different chord and at verses 1, 2 and 4), all of which harmonise
a portfolio of his work, with its contents and its concluding Gloria Patri, the imitative phrase for the cadence is used the psalm tone, which is sometimes present
presented in the liturgical order of a instruments play a brief ritornello into for the second half verse. For verse 3 the (verses 1 and 4, for example), sometimes
Vespers of the Blessed Virgin and it was which is woven the first plainsong phrase plainsong is placed first in the bass of the absent (verses 2 and 3). The second of
certainly viewed as a recommendation of the psalm Dixit Dominus; this ritornello organ, with imitative phrases above it for the basses is actually one that was used
by the audition panel that appointed then forms the basis of the concluding, two sopranos, and then given to the bass by improvising singers and players in the
Monteverdi to the post of choirmaster triumphant Alleluia. Dixit Dominus is voice under the sopranos. The approaches 16th and 17th centuries the so-called
of San Marco, Venice, in 1613, following then an object lesson in ways of singing used for verses 2 and 3 are then alternated, Romanesca and by using it to set verses
his dismissal from Mantua in 1612. A psalms in the 17th century. Its underlying with increasingly complex textures, for the 2 and 6 Monteverdi may have intended to
modern concert performance of The plainsong is a psalm tone two short remaining verses. flatter papal Rome as the new Jerusalem.
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Nisi Dominus is a massive piece for two BothLauda Ierusalem and the Magnificat phrases repeated and varied for rhetorical the Virgin and thus tends to confirm the
five-part choirs in which the opening and are scored with a combination of high effect and an impassioned setting of surge idea that Monteverdi was simply keen to
closing sections are scored for the full clefs (chiavetti) with (unusually) a amica mea that could have come straight include his finest work in the 1610 book.
ten-part ensemble; between these choir 1 treble clef for the topmost line and a from the new form of opera. Pulchra es, It is a Trinitarian motet which may have
sings a verse and choir 2 then repeats it to baritone clef for the lowest. This type of a mans expression of love, begins as a been first performed in Mantua in 1605
build a large-scale structure. Again, after cleffing is thought to have been a signal lyrical duet for two sopranos (males in when Rubens painting of the Gonzaga
its striking opening call to praise, Lauda to the performers to transpose their parts the 17th century), but again has a more family worshipping the Holy Trinity
Ierusalem also uses dialogue between down the interval of a fourth (singers passionate continuation as the man begs was installed in the Jesuit church of the
ensembles, though this time with trios of and instrumentalists of the time were his beloved to avert the eyes that make Santissima Trinit. Monteverdis motet
voices around the plainsong in the tenor. adept at transposition). On this recording him flee. depicts first two and then three archangels
both settings are performed at written calling across the vault of heaven; and
As we approach the climax of Vespers pitch (CD1 track 10; CD 2 tracks 1-12) Audi coelum again expresses devotion because they are heavenly beings they
we hear first the exquisite harmonisation and transposed down (CD 2 tracks 13-25), to the Virgin through the medium of an sing using the highly ornamented style
of the plainsong hymn Ave maris stella, for comparison. echo madrigal in which the last syllables that was the preserve of the most highly
whose first and last verses present a of a line are transformed into a different trained 17th-century singers. Likewise,
complex tapestry of voices, and then the The first two of the sacred concertos, Nigra word, reflected back by a heavenly the highly ornamented style of the Sonata
Magnificat, every verse of which is treated sum and Pulchra es, employ texts from voice. Some of the imagery here may be sopra Sancta Maria was designed to show
to an individual texture, sometimes simple, the Song of Songs. This biblical book is an unfamiliar. The prophet Ezekiel spoke of off the expertise of the string and wind
as in verse 1, sometimes with a variety of anthology of love lyrics; it was interpreted the eastern gate of the temple as the one players in Vincenzo Gonzagas employ.
instruments, including ornamental string allegorically in the church as representing through which God entered; this was The sonata is a set of variations on three
and wind lines seemingly borrowed either Christs relationship with his church later interpreted as a reference to Mary, basic motifs, from which soprano voices
from the opera Orfeo, as in verse 7 and or with the beloved representing the the door through which Christ entered emerge, as if by magic, singing a short
the beginning of the Gloria Patri whose Virgin Mary. Monteverdis setting of Nigra the world. phrase of plainsong to the text Holy Mary,
spine tingling opening for solo tenor sum, for solo tenor, though it is a womans pray for us.
gives way to a single soprano line with an utterance, unleashes the full power of the Duo Seraphim is the one work in the
echo accompaniment. new form of accompanied solo song, with collection that has no connection with 2014 John Whenham
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Claudio Monteverdi (1567-1643) CD 1
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in splendoribus sanctorum: in the beauties of holiness I have born thee 4 Laudate pueri Psalm 112 (113)
ex utero ante luciferum genui te. from the womb before the morning star.
soprano: Grace Davidson, Charlotte Mobbs
ritornello tenor: Mark Dobell, Jeremy Budd
Iuravit Dominus et non penitebit eum; The Lord hath sworn and will not repent; bass: Ben Davies, Eamonn Dougan
tu es sacerdos in aeternum thou art a priest for ever
secundum ordinem Melchisedech. after the order of Melchisedech. Laudate pueri Dominum: Praise the Lord, ye children,
Dominus a dextris tuis confregit The Lord at thy right hand has broken laudate nomen Domini. praise the name of the Lord.
in die irae suae reges. kings in the day of his anger. Sit nomen Domini benedictum, Blessed be the name of the Lord,
ritornello ex hoc nunc, et usque in saeculum. from this time forth for evermore.
Iudicabit in nationibus, He will judge the nations, A solis ortu usque ad occasum, From sunrise to sunset,
implebit ruinas: he will ll them with ruins: laudabile nomen Domini. the Lords name is worthy of praise.
conquassabit capita in terra multorum. he will break the heads in the populous land.
De torrente in via bibet: He shall drink of the torrent on the way;
propterea exaltabit caput. therefore he shall lift up his head.
Gloria Patri, et Filio, Glory be to the Father and to the Son
et Spiritui Sancto. and to the Holy Ghost.
Sicut erat in principio, et nunc et semper, As it was in the beginning, now and for ever,
et in saecula saeculorum. Amen. world without end. Amen.
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Excelsus super omnes gentes Dominus, The Lord is high above all nations 6 Laetatus sum PSALM 121 (122)
et super caelos gloria eius. and his glory above the heavens.
Quis sicut Dominus Deus noster, Who is like the Lord our God, Laetutus sum in his quae dicta sunt mihi: I was glad when they said unto me:
qui in altis habitat et humilia who dwells on high and looks down on in domum Domini ibimus. we shall go into the house of the Lord.
respicit in caelo et in terra, the humble things in heaven and earth, Stantes erant pedes nostri Our feet were standing
suscitans a terra inopem raising the helpless from the earth in atriis tuis Ierusalem. within thy gates, O Jerusalem.
et de stercore erigens pauperem, and lifting the poor man from the dungheap, Ierusalem, quae aedificatur ut civitas Jerusalem, which is built as a city
ut collocet eum cum principibus, to place him alongside princes, cuius participatio eius in idipsum. that is compact together.
cum principibus populi sui? with the princes of his people? Illuc enim ascederunt tribus, For thither ascended the tribes,
Qui habitare facit sterilem in domo, He makes a home for the barren woman, tribus Domini, testimonium Israel the tribes of the Lord, to testify unto Israel,
matrem filiorum laetantem. a joyful mother of children. ad confitendum nomini Domini. to give thanks to the name of the Lord.
Gloria Patri et Filio Glory be to the Father and to the Son
et Spiritui Sancto. and to the Holy Ghost.
Sicut erat in principio, et nunc, et semper, As it was in the beginning, now and for ever,
et in saecula saeculorum. Amen. world without end. Amen.
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Quia illic sederunt sedes in iudicio, For there sat the seats of judgement, 8 Nisi Dominus PSALM 126 (127)
sedes super domum David. the seats over the house of David.
Rogate quae ad pacem sunt Ierusalem O pray for the peace of Jerusalem Nisi Dominus aedificaverit domum, Except the Lord build the house,
et abundantia diligentibus te. and may prosperity attend those who love thee. in vanum laboraverunt qui aedificant eam. they have laboured in vain that build it.
Fiat pax in virtute tua Peace be within thy strength, Nisi Dominus custodierit civitatem, Except the Lord keep the city,
et abundantia in turribus tuis. and prosperity within thy towers. frustra vigilat qui custodit eam. the watchman waketh but in vain.
Propter fratres meos et proximos meos For my brothers and my neighbours sake, Vanum est vobis ante lucem surgere: It is vain for you to rise before dawn:
loquebar pacem de te. I will ask for peace for thee; surgite postquam sederitis, to rise when you have sat down,
Propter domum Domini Dei nostri for the sake of the house of the Lord our God qui manducatis panem doloris. ye who eat the bread of sorrow.
quaesivi bona tibi. I have sought blessings for thee. Cum dederit dilectis suis somnum; When he has given sleep to those he loves,
Gloria Patri et Filio Glory be to the Father and to the Son ecce hereditas Domini, filii: behold, children are an inheritance of the Lord,
et Spiritui Sancto. and to the Holy Ghost. merces, fructus ventris. a reward, the fruit of the womb.
Sicut erat in principio, et nunc, et semper, As it was in the beginning, now and for ever, Sicut sagittae in manu potentis: As arrows in the hand of the mighty,
et in saecula saeculorum. Amen. world without end. Amen. ita filii excussorum. so are children of the vigorous.
Beatus vir qui implevit Blessed is the man who has fullled
desiderium suum ex ipsis: his longing by them:
non confundetur he shall not be perplexed
cum loquetur inimicis suis in porta. when he speaks to his enemies at the gate.
7 Duo Seraphim ISAIAH 6: 2-3; 1 JOHN 5: 7
Gloria Patri et Filio Glory be to the Father and to the Son
tenor: Mark Dobell, Jeremy Budd, Ben Davies et Spiritui Sancto. and to the Holy Ghost.
Sicut erat in principio, et nunc, et semper, As it was in the beginning, now and for ever,
Duo Seraphim clamabant alter ad alterum: Two Seraphim were calling one to the other: et in saecula saeculorum. Amen. world without end. Amen.
Sanctus, sanctus, sanctus Dominus Deus Sabaoth: Holy, holy, holy Lord God of Hosts:
plena est omnis terra gloria eius. the whole earth is full of his glory.
Tres sunt qui testimonium dant in coelo: There are three who give testimony in heaven:
Pater, Verbum et Spiritus Sanctus; the Father, the Word and the Holy Spirit: 9 Audi coelum
et hi tres unum sunt. and these three are one.
tenor: Jeremy Budd, Mark Dobell
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audio. i hear. amen. amen.
Dic, quaeso, mihi: Quae est ista Tell me, I pray, who is she Benedicta es, Virgo Maria, Blessed art thou, Virgin Mary,
quae consurgens ut aurora who, rising like the dawn, in saeculorum saecula. world without end.
rutilat, ut benedicam? shines, that I may bless her?
dicam. i shall tell you.
Dic, nam ista pulchra ut luna, Tell, for she is beautiful as the moon,
electa ut sol replet laetitia exquisite as the sun which fills with joy bl (and CD 2, track bo ) Lauda Ierusalem PSALM 146 (147): 12-20
terras, coelos, maria. the earth, the heavens and the seas.
Lauda Ierusalem, Dominum Praise the Lord, O Jerusalem:
maria. mary.
lauda Deum tuum, Sion. praise thy God, O Zion.
Maria Virgo illa dulcis, Mary, that sweet virgin
Quoniam confortavit seras portarum tuarum: For he hath strengthened the bars of your gates:
praedicata de propheta Ezechiel foretold by the prophet Ezechiel,
benedixit filiis tuis in te. he hath blessed thy children within thee.
porta orientalis? gate of the orient,
Qui posuit fines tuos pacem, He maketh peace in thy borders,
talis. such is she! et adipe frumenti satiat te. and lleth thee with the nest of the wheat.
Illa sacra et felix porta, That holy and happy gate Qui emittit eloquium suum terrae: He sendeth forth his commandment upon earth:
per quam mors fuit expulsa, through which death was driven out, velociter currit sermo eius. his word runneth very swiftly.
introducta autem vita. but life brought in. Qui dat nivem sicut lanam He giveth snow like wool:
ita. even so! nebulam sicut cinerem spargit. he scattereth the cloud like ashes.
Quae semper tutum est medium Who is always a sure mediator Mittit cristallum suum sicut bucellas He casteth forth his ice like morsels:
inter homines et Deum, between man and God, ante faciem frigoris eius quis sustinebit? who will stand before his cold?
pro culpis remedium. a remedy for our sins. Emittet verbum suum, et liquefaciet ea: He will send out his word and melt them:
flabit spiritus eius, et fluent aquae. he will cause his wind to blow and the waters will ow.
medium. a mediator.
Qui annuntiat verbum suum Iacob He announces his word unto Jacob,
(Choir) Omnes! All!
iustitias et iudicia sua Israel. his statutes and judgements unto Israel.
Omnes hanc ergo sequamur, So let us all follow her
Non fecit taliter omni nationi He hath not dealt so with any nation:
qua cum gratia mereamur by whose grace we gain
et iudicia sua non manifestavit eis. and he has not shown his judgements to them.
vitam aeternam. Consequamur. eternal life. Let us seek after her.
Gloria Patri, et Filio, Glory be to the Father and to the Son
sequamur. let us follow.
et Spiritui Sancto. and to the Holy Ghost.
Praestat nobis Deus Pater May God the Father grant us this,
Sicut erat in principio, et nunc et semper, As it was in the beginning, now and for ever,
hoc et Filius et Mater, and the Son and the Mother,
et in saecula saeculorum. Amen. world without end. Amen.
cuius nomen invocamus, on whose name we call,
dulce miseris solamen. sweet solace for the unhappy.
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bm Sonata sopra Sancta Maria ritornello
Virgo singularis, Peerless virgin,
Sancta Maria, ora pro nobis. Holy Mary, pray for us. inter omnes mitis, gentle above all others,
nos culpis solutos when we are pardoned for our sins,
mites fac et castos. make us gentle and pure.
ritornello
bn Ave maris stella Vitam praesta puram, Grant us a pure life,
iter para tutum, prepare a safe journey,
soprano: Grace Davidson, Charlotte Mobbs
ut videntes Iesum so that seeing Jesus
bass: Eamonn Dougan
semper collaetemur. we may rejoice for ever.
Ave maris stella, Hail, star of the sea, Sit laus Deo Patri, Praise be to God the Father,
Dei mater alma, life-giving mother of God summo Christo decus, glory to Christ most high,
atque semper virgo, and perpetual virgin, Spiritui Sancto, and to the Holy Spirit,
felix coeli porta. happy gate of heaven. tribus honor unus. triple honour in one.
Sumens illud ave Receiving that Ave Amen. Amen.
Gabrielis ore, from the mouth of Gabriel,
funda nos in pace keep us in peace,
mutans Evae nomen. reversing the name Eva.
ritornello CD 2
Solve vincla reis, Loosen the chains from the guilty,
profer lumen caecis, bring forth light to the blind,
mala nostra pelle, drive out our ills, 1 bp Magnificat LUKE 1: 46-55
bona cunctis posce. ask for blessings for all.
Magnificat anima mea Dominum. My soul doth magnify the Lord.
ritornello
Monstra te esse matrem: Show yourself to be a mother:
sumat per te preces, may he receive through you our prayers
qui pro nobis natus, who, born for us,
2 bq Et exultavit
tulit esse tuus. deigned to be yours. tenor: Mark Dobell, Jeremy Budd
Et exultavit spiritus meus in Deo salutari meo. And my spirit hath rejoiced in God my saviour.
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3 br Quia respexit 8 cm Esurientes
Quia respexit humilitatem ancillae suae, For he hath regarded the lowliness of his handmaiden, Esurientes implevit bonis, He hath lled the hungry with good things
ecce enim ex hoc beatam for behold from henceforth et divites dimisit inanes. and the rich he hath sent empty away.
me dicent omnes generationes. all generations shall call me blessed.
9 cn Suscepit Israel
4 bs Quia fecit mihi magna soprano: Grace Davidson, Charlotte Mobbs
bass: Ben Davies, Eamonn Dougan Suscepit Israel puerum suum, He has helped his child Israel,
Quia fecit mihi magna qui potens est For he that is mighty hath magnied me, recordatus misericordiae suae, mindful of his mercy,
et sanctum nomen eius. and holy is his name.
bm cp Gloria Patri
6 bu Fecit potentiam tenor: Jeremy Budd, Mark Dobell
Fecit potentiam in brachio suo; He hath shewed strength with his arm; he hath Gloria Patri, et Filio, Glory be to the Father and to the Son
dispersit superbos mente cordis sui. scattered the proud in the imagination of their hearts. et Spiritui Sancto. and to the Holy Ghost.
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After three decades of world-wide performance
and recording, The Sixteen is recognised as one
of the worlds greatest ensembles. Its special
reputation for performing early English polyphony,
masterpieces of the Renaissance, Baroque and
early Classical periods, and a diversity of 20th- and 21st-century music, all stems from
the passions of conductor and founder, Harry Christophers.
The Sixteen tours internationally giving regular performances at the major concert
halls and festivals. At home in the UK, The Sixteen are The Voices of Classic FM as
well as Associate Artists of The Bridgewater Hall, Manchester. The group also promotes
The Choral Pilgrimage, an annual tour of the UKs finest cathedrals. Photograph MolinaVisuals