Monteverdi Madrigali Amorosi
View record and artist detailsRecord and Artist Details
Composer or Director: Claudio Monteverdi
Label: Deutsche Harmonia Mundi
Magazine Review Date: 10/1993
Media Format: CD or Download
Media Runtime: 67
Mastering:
DDD
Catalogue Number: 05472 77282-2
Tracks:
| Composition | Artist Credit |
|---|---|
| Madrigals, Book 6 (Il sesto libro de madrigali), Movement: Ohimè, il bel viso (wds. Petrach) |
Claudio Monteverdi, Composer
Cantus Cölln Claudio Monteverdi, Composer Konrad Junghänel, Lute |
| Madrigals, Book 6 (Il sesto libro de madrigali), Movement: Qui rise, O Tirsi (wds. Tirsi) |
Claudio Monteverdi, Composer
Cantus Cölln Claudio Monteverdi, Composer Konrad Junghänel, Lute |
| Madrigals, Book 6 (Il sesto libro de madrigali), Movement: Sestina: Lagrime d'amante (wds. Agnelli) |
Claudio Monteverdi, Composer
Cantus Cölln Claudio Monteverdi, Composer Konrad Junghänel, Lute |
| Madrigals, Book 7 (Concerto: settimo libro de madr, Movement: Non è di gentil core (wds. degl'Atti) |
Claudio Monteverdi, Composer
Cantus Cölln Claudio Monteverdi, Composer Konrad Junghänel, Lute |
| Madrigals, Book 7 (Concerto: settimo libro de madr, Movement: O come sei gentile, caro augellino (wds. Guarini) |
Claudio Monteverdi, Composer
Cantus Cölln Claudio Monteverdi, Composer Konrad Junghänel, Lute |
| Madrigals, Book 7 (Concerto: settimo libro de madr, Movement: Ohimè, dovè il mio ben? (wds. B. Tasso) |
Claudio Monteverdi, Composer
Cantus Cölln Claudio Monteverdi, Composer Konrad Junghänel, Lute |
| Madrigals, Book 7 (Concerto: settimo libro de madr, Movement: S'el vostro cor, madonna (wds. Guarini) |
Claudio Monteverdi, Composer
Cantus Cölln Claudio Monteverdi, Composer Konrad Junghänel, Lute |
| Madrigals, Book 7 (Concerto: settimo libro de madr, Movement: Soave libertate (wds. Chiabrera) |
Claudio Monteverdi, Composer
Cantus Cölln Claudio Monteverdi, Composer Konrad Junghänel, Lute |
| Madrigals, Book 7 (Concerto: settimo libro de madr, Movement: Tu dormi? Ah crudo core |
Claudio Monteverdi, Composer
Cantus Cölln Claudio Monteverdi, Composer Konrad Junghänel, Lute |
| Madrigals, Book 8 (Madrigali guerrieri et amorosi., Movement: Ardo, avvampo, mi struggo |
Claudio Monteverdi, Composer
Cantus Cölln Claudio Monteverdi, Composer Konrad Junghänel, Lute |
| Madrigals, Book 8 (Madrigali guerrieri et amorosi., Movement: Altri canti di Marte (wds. Guarini) |
Claudio Monteverdi, Composer
Cantus Cölln Claudio Monteverdi, Composer Konrad Junghänel, Lute |
| Madrigals, Book 8 (Madrigali guerrieri et amorosi., Movement: Ninfa che scalza il piede |
Claudio Monteverdi, Composer
Cantus Cölln Claudio Monteverdi, Composer Konrad Junghänel, Lute |
| Madrigals, Book 8 (Madrigali guerrieri et amorosi., Movement: Non havea Febo ancora (lamento della ninfa) |
Claudio Monteverdi, Composer
Cantus Cölln Claudio Monteverdi, Composer Konrad Junghänel, Lute |
| Scherzi musicali, Movement: Zefiro torna, 'ciacona', 2vv (wds. Rinuccini) |
Claudio Monteverdi, Composer
Cantus Cölln Claudio Monteverdi, Composer Konrad Junghänel, Lute |
Author: Jonathan Freeman-Attwood
Cantus Colln have already proved themselves an accomplished consort of singers who have hitherto concentrated on unsung heroes of their homeland: distinguished discs of Lechner, Schein and Rosenmuller are notable for a rich and homogenous vocal blend, solidly underpinned by their lute-playing director, Konrad Junghanel. The particular virtues of a rigorous approach to ensemble are again heard to good effect in this latest compilation of madrigals from Monteverdi's Venetian publications. But, as the accompanying note is quick to point out, the abandonment of the statutory colla parte bass from his earlier years in Mantua, for the fashionable new basso continuo gives rise to extended mini-cantatas full of textural and dramatic variety. Cantus Colln have acquired many skills essential to the successful execution of the concerted style, though a cross-section of Monteverdi's secular music (not all the Venetian works were written in Venice) is an altogether more daunting task than resurrecting lesser-known masters.
Monteverdi's doleful 'mannerism' alone, articulated in the remarkably expressive sestina,Lagrime d'Amante al Sepolcro dell'Amata, from the Sixth Book of 1614, requires exceptional insight to bring sustained intensity to its love-death indulgences. Cantus Colln approach the consorted works with their customary ripeness of sound and sensitivity to timbre but they tend to exploit sensuality abstractly without luring the listener into the esoteric and surreal world of the texts. Distant focusing leaves the music short on the intimacy, exaggeration and imploring imagery which The Consort of Musicke have so artfully refined in their series for Virgin Classics Veritas. Smooth flirtatiousness will not do here.
The more continuo-oriented works are delivered with a varied instrumental accompaniment which adds considerable colour to an already imaginative palette in Quirise, O Tirsi. This is a magically paced performance truly upholding Monteverdi's noble ritornellos. Solo voices come under scrutiny in much of the later repertoire and the two sopranos show the greatest control and dramatic flair despite a tendency to sharpness. The men are less interesting as soloists as they are in tandem: Zefiro torna is sadly short on definition and personality (for purely vocal excellence go for Nigel Rogers and Ian Partridge on Archiv Produktion, 1/93). Mixed feelings then, though as always with Cantus Colln there is much to admire. A slightly warmer recorded sound is certainly called for: the reverberation gives the impression of artificiality—a type of chrome edge at the end of phrases.'
Monteverdi's doleful 'mannerism' alone, articulated in the remarkably expressive sestina,
The more continuo-oriented works are delivered with a varied instrumental accompaniment which adds considerable colour to an already imaginative palette in Qui
Monteverdi Madrigali Amorosi
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