Monteverdi - Sacred Works for one and two voices
£14.20
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Label: Tactus
Cat No: TC561304
Format: CD
Number of Discs: 1
Genre: Vocal/Choral
Release Date: 1st November 2007
Contents
Works
Intonatione settimo tonoIntonation on the Eighth Tone
Intonation on the Ninth Tone
Intonation on the Second Tone
Intonation on the Seventh Tone
Intonazione del primo tono
Cantate Domino canticum novum
Currite, populi, psallite timpanis, SV297
Ecce sacrum paratum convivium
Ego dormio et cor meum vigilat
Ego flos campi, SV301
Exulta filia Sion, SV303
Laudate Dominum omnes gentes
O quam pulchra es anima mea
Salve Regina
Salve o regina, SV326
Venite videte martirem, SV336
Artists
Ensemble ConcertoConductor
Roberto GiniWorks
Intonatione settimo tonoIntonation on the Eighth Tone
Intonation on the Ninth Tone
Intonation on the Second Tone
Intonation on the Seventh Tone
Intonazione del primo tono
Cantate Domino canticum novum
Currite, populi, psallite timpanis, SV297
Ecce sacrum paratum convivium
Ego dormio et cor meum vigilat
Ego flos campi, SV301
Exulta filia Sion, SV303
Laudate Dominum omnes gentes
O quam pulchra es anima mea
Salve Regina
Salve o regina, SV326
Venite videte martirem, SV336
Artists
Ensemble ConcertoConductor
Roberto GiniAbout
Monteverdi oversaw the publication of his works which quite probably explains the fact that, despite his 50 years of activity as a composer, relatively few of those works have survived to this day.
The fame enjoyed by this musician, however, (albeit controversial at the time) was sufficient to guarantee the preservation of a certain number of compositions, some of which occasionally wound up through clandestine means in the hands of contemporary anthologists whose collections were assured greater prestige by the inclusion of unpublished works by major composers. (Indeed, the publications of Bonometti, Calvi, Simonetti and others are still remembered today thanks to the presence of works by Monteverdi).
Given the unique circumstances surrounding the preservation of these works, it is difficult to determine when they were written (beyond setting a date ante quem for those works published during the composer's lifetime), and for whom. Suffice to say, these pieces present an exhaustive panorama of sacred music in the first half of the 17th century.
The eleven compositions included on this recording, all employing reduced forces (one or two voices and basso continuo), demonstrate three different aspects of the sacred repertoire: the solemnity of the Hymn, the festive tone of the Antiphon, and the intimate atmosphere of the Motet. (The terms used here should not be interpreted strictly in either a musicological or liturgical sense: they are merely intended to identify the particular stylistic genre lying at the root of the composer's inspiration).
Contents:
1. Intonazione del Settimo Tono - Giovanni Gabrieli (1557-1612)
2. Ecce sacrum paratum convivium - (Venetia, 1625)
3. Salve, o Regina - (Venetia, 1624)
4. Intonazione del Non Tono - Giovanni Gabrieli (1557-1612)
5. Ego dormio, et cor meum vigilat - (Roma, 1625)
6. O quam pulchra es, amica mea - (Venetia, 1625)
7. Ego flos campi - (Venetia, 1624)
8. Intonazione del Primo Tono - Andrea Gabrieli (1510-1586)
9. Laudate Dominum, omnes gentes - (Venetia, 1651)
10. Salve, Regina - (Venetia, 1625)
11. Intonazione del Settimo Tono - Andrea Gabrieli (1510-1586)
12. Currite, populi, psallite tympanis - (Venetia, 1625)
13. Venite, videte - (Venetia, 1645)
14. Intonazione dell'Ottavo Tono - Giovanni Gabrieli (1557-1612)
15. Exulta, filia Sion - (Venetia, 1629)
16. Intonazione del Secondo Tono - Giovanni Gabrieli (1557-1612)
17. Cantate Domino cantimumm novum - (Venetia, 1625)
The fame enjoyed by this musician, however, (albeit controversial at the time) was sufficient to guarantee the preservation of a certain number of compositions, some of which occasionally wound up through clandestine means in the hands of contemporary anthologists whose collections were assured greater prestige by the inclusion of unpublished works by major composers. (Indeed, the publications of Bonometti, Calvi, Simonetti and others are still remembered today thanks to the presence of works by Monteverdi).
Given the unique circumstances surrounding the preservation of these works, it is difficult to determine when they were written (beyond setting a date ante quem for those works published during the composer's lifetime), and for whom. Suffice to say, these pieces present an exhaustive panorama of sacred music in the first half of the 17th century.
The eleven compositions included on this recording, all employing reduced forces (one or two voices and basso continuo), demonstrate three different aspects of the sacred repertoire: the solemnity of the Hymn, the festive tone of the Antiphon, and the intimate atmosphere of the Motet. (The terms used here should not be interpreted strictly in either a musicological or liturgical sense: they are merely intended to identify the particular stylistic genre lying at the root of the composer's inspiration).
Contents:
1. Intonazione del Settimo Tono - Giovanni Gabrieli (1557-1612)
2. Ecce sacrum paratum convivium - (Venetia, 1625)
3. Salve, o Regina - (Venetia, 1624)
4. Intonazione del Non Tono - Giovanni Gabrieli (1557-1612)
5. Ego dormio, et cor meum vigilat - (Roma, 1625)
6. O quam pulchra es, amica mea - (Venetia, 1625)
7. Ego flos campi - (Venetia, 1624)
8. Intonazione del Primo Tono - Andrea Gabrieli (1510-1586)
9. Laudate Dominum, omnes gentes - (Venetia, 1651)
10. Salve, Regina - (Venetia, 1625)
11. Intonazione del Settimo Tono - Andrea Gabrieli (1510-1586)
12. Currite, populi, psallite tympanis - (Venetia, 1625)
13. Venite, videte - (Venetia, 1645)
14. Intonazione dell'Ottavo Tono - Giovanni Gabrieli (1557-1612)
15. Exulta, filia Sion - (Venetia, 1629)
16. Intonazione del Secondo Tono - Giovanni Gabrieli (1557-1612)
17. Cantate Domino cantimumm novum - (Venetia, 1625)
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