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Hyperion’s record of the month for May brings us the monumental Monteverdi Vespers—a perennial bastion of the choral repertory, and the fifth release in The King’s Consort’s acclaimed series: ‘The definitive representation of Monteverdi on disc’ (BBC Music Magazine). In 1610, disgruntled with his lot as choirmaster to the Duke of Mantua, Monteverdi set about compiling what was to become one of the most significant choral publications in history. At its heart lies the Vespers—a blistering array of virtuosic solo movements and magisterial choruses to texts from which can be assembled music suitable for any Solemn Vespers, whatever the forces available. Many movements offer abridged versions and a complete alternative Magnificat is provided. This performance is of the full work in all its opulent glory, with the addition of the simplified Magnificat and the Missa In illo tempore—a setting of the Mass without which no liturgical publication of the time could have been complete. And what a recording this turns out to be. As the cornerstone of The King’s Consort’s twenty-fifth anniversary concert series, the Vespers scored a knockout performance at The Sage Gateshead in February this year. Over the following weekend Robert King led the same jubilant forces in the creation of this recording, the fruit of some two-and-a-half decades of research and performance—the glorious result being a rendition cut free from transient artifice and embued with a degree of fully formed confidence that can only spring ‘from the heart’. 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. This new recording is available in multichannel DSD hybrid SACD and conventional CD formats.
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GRAMOPHONE EDITOR'S CHOICE
MANCHESTER EVENING NEWS TOP 10 CLASSICAL CDs of 2006
TIME OUT NEW YORK BEST OF 2006
FANFARE BEST OF 2006
'This recording richly deserves a sheaf of awards. One for the astonishing speed of the turnaround between recording and release - just a couple of months. A second for bringing us the 1619 collection complete. A third for John Whenham's absolutely enthralling booklet essay. A fourth to all the many hundreds of people who donated to Hyperion's Appeal for Recording Funds in 2005, which made this recording possible. And a final fifth accolade to all the King's men (and women) who singly and severally know Monteverdi well enough not to have to over-sell him to unlock the music's magnificence' (International Record Review)
'Added to the "list of things to do before you die" should be "hearing Monteverdi's 1610 Vespers in as good a recording as you can find". This Monteverdi is truly mind-blowing. Vespers virgins need seek no further, and serious collectors are advised not to ignore what may prove to be more than one reviewer's "disc of the year"' (MusicWeb International)
'Wonderful music; wonderful performances. Justice has been done to Monteverdi' (The Times)
'Despite having heard four wonderful volumes of Monteverdi's sacred music from The King's Consort, and its 2004 Proms performance of the 1610 Vespers, I was still unprepared 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!' (Gramophone)
'The majesty and contrapuntal wizardy of this fabulous work never fail to astonish and this is a very fine performance, making effective use of the spatial effects that are an integral part of the music's architecture … The choir of the King's Consort sing with virtuosic skill and purity of articulation' (Sunday Telegraph)
'… it is the motets that are the crowning glory, especially James Gilchrist's gorgeously sensuous Nigra Sum. His impassioned, full-throated singing, and skillful use of pauses, rubato and sudden pianissimos, turn the piece into a wonderfully spontaneous outpouring of erotic emotion' (Daily Telegraph)
'Solo and choral singing and the instrumental playing all attain the exceptional quality one has long come to expect with the conductor...unquestionably a major addition to the Vespers discography' (Fanfare, USA)
'Même en ayant d'autres (bonnes) versions en mémoire, celle-ci se situe parmi les toutes meilleures' (ResMusica.com)
'I can only join the label in saying 'thank you' to the many contributors who sent in funds, and I urge listeners everywhere to help the investment pay off by purchasing this set without delay. It's gorgeous and you'll love it, even if you already own other versions of this extraordinary work' (ClassicsToday.com)
'Any survey of the sheerly magnificent on CD over the past year will have to begin with Robert King's astounding new account of the Monteverdi Vespers on Hyperion, which is quite the most wonderful noise to come my way in years' (Fanfare, USA)
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Vespers
CD1
1 Movement 01: Deus in adiutorium meum intende [2'00]
James Gilchrist (tenor), King's Consort Choir >>> Posłuchaj fragmentu <<<
2 Movement 02. Psalm: Dixit Dominus [7'32]
Carolyn Sampson (soprano), Rebecca Outram (soprano), Charles Daniels (tenor), James Gilchrist (tenor), Peter Harvey (bass), Robert Macdonald (bass), King's Consort Choir >>> Posłuchaj fragmentu <<<
3 Movement 03. Concerto: Nigra sum [3'53]
James Gilchrist (tenor) >>> Posłuchaj fragmentu <<<
4 Movement 04. Psalm: Laudate pueri [6'22]
Carolyn Sampson (soprano), Rebecca Outram (soprano), Daniel Auchincloss (tenor), Charles Daniels (tenor), James Gilchrist (tenor), Peter Harvey (bass), Robert Macdonald (bass), King's Consort Choir
5 Movement 05. Concerto: Pulchra es [4'26]
Carolyn Sampson (soprano), Rebecca Outram (soprano)
6 Movement 06. Psalm: Laetatus sum [7'10]
Carolyn Sampson (soprano), Rebecca Outram (soprano), Daniel Auchincloss (tenor), Charles Daniels (tenor), James Gilchrist (tenor), Peter Harvey (bass), Robert Macdonald (bass), King's Consort Choir
7 Movement 07. Concerto: Duo Seraphim [5'51]
Charles Daniels (tenor), James Gilchrist (tenor), Peter Harvey (bass)
8 Movement 08. Psalm: Nisi Dominus [4'28]
King's Consort Choir
9 Movement 09. Concerto: Audi caelum [8'59]
Charles Daniels (tenor), James Gilchrist (tenor), King's Consort Choir
10 Movement 10. Psalm: Lauda Jerusalem [4'00]
King's Consort Choir
11 Movement 11: Sonata sopra Sancta Maria [6'29]
King's Consort Choir
12 Movement 12. Hymn: Ave maris stella [9'07]
King's Consort Choir, Carolyn Sampson (soprano), Rebecca Outram (soprano), Peter Harvey (bass)
CD2 1
Movement 13. Magnificat Part 01: Magnificat [0'25]
King's Consort Choir
2 Movement 13. Magnificat Part 02: Anima mea Dominum [0'17]
Carolyn Sampson (soprano)
3 Movement 13. Magnificat Part 03: Et exultavit spiritus meus [1'12]
Charles Daniels (tenor), James Gilchrist (tenor), Daniel Auchincloss (tenor)
4 Movement 13. Magnificat Part 04: Quia respexit humilitatem [1'46]
Peter Harvey (bass)
5 Movement 13. Magnificat Part 05: Quia fecit mihi magna [1'03]
Peter Harvey (bass), Robert Evans (bass), Daniel Auchincloss (tenor)
6 Movement 13. Magnificat Part 06: Et misericordia eius [2'17]
King's Consort Choir
7 Movement 13. Magnificat Part 07: Fecit potentiam in brachio suo [0'59]
James Gilchrist (tenor)
8 Movement 13. Magnificat Part 08: Deposuit potentes de sede [2'21]
Peter Harvey (bass)
9 Movement 13. Magnificat Part 09: Esurientes implevit bonis [1'25]
Daniel Auchincloss (tenor), Nicholas Mulroy (tenor)
10 Movement 13. Magnificat Part 10: Suscepit Israel puerum suum [1'22]
Carolyn Sampson (soprano), Rebecca Outram (soprano), Peter Harvey (bass)
11 Movement 13. Magnificat Part 11: Sicut locutus est [0'55]
King's Consort Choir
12 Movement 13. Magnificat Part 12: Gloria Patri [2'25]
Charles Daniels (tenor), James Gilchrist (tenor), King's Consort Choir
13 Movement 13. Magnificat Part 13: Sicut erat in principio [1'43]
King's Consort Choir
Magnificat a 6
14 Part 01: Magnificat [0'22]
King's Consort Choir
15 Part 02: Anima mea Dominum [0'25]
Carolyn Sampson (soprano), Rebecca Outram (soprano)
16 Part 03: Et exultavit spiritus meus [1'04]
Charles Daniels (tenor), James Gilchrist (tenor), Daniel Auchincloss (tenor)
17 Part 04: Quia respexit humilitatem [1'16]
Peter Harvey (bass)
18 Part 05: Quia fecit mihi magna [1'26]
King's Consort Choir
19 Part 06: Et misericordia eius [1'15]
Carolyn Sampson (soprano), Rebecca Outram (soprano), Peter Harvey (bass)
20 Part 07: Fecit potentiam in brachio suo [0'59]
Carolyn Sampson (soprano), Rebecca Outram (soprano), Peter Harvey (bass)
21 Part 08: Deposuit potentes de sede [2'18]
Carolyn Sampson (soprano), Rebecca Outram (soprano), Peter Harvey (bass)
22 Part 09: Esurientes implevit bonis [1'02]
Charles Daniels (tenor), James Gilchrist (tenor)
23 Part 10: Suscepit Israe puerum suum [1'21]
Carolyn Sampson (soprano), Rebecca Outram (soprano)
24 Part 11: Sicut locutus est [1'19]
Carolyn Sampson (soprano), Rebecca Outram (soprano), Charles Daniels (tenor), Robert Evans (bass), Peter Harvey (bass)
25 Part 12: Gloria Patri [1'44]
Peter Harvey (bass), King's Consort Choir
26 Part 13: Sicut erat in principio [0'59]
King's Consort Choir
Missa In illo tempore
27 Movement 1: Kyrie [4'27]
King's Consort Choir, Matthew Halls (organ)
28 Movement 2: Gloria [5'51]
King's Consort Choir, Matthew Halls (organ)
29 Movement 3: Credo [10'48]
King's Consort Choir, Matthew Halls (organ)
30 Movement 4: Sanctus [2'34]
King's Consort Choir, Matthew Halls (organ}
31 Movement 5: Benedictus [1'40]
King's Consort Choir, Matthew Halls (organ)
32 Movement 6: Agnus Dei I [3'44]
King's Consort Choir, Matthew Halls (organ)
33 Movement 7: Agnus Dei II [3'17]
King's Consort Choir, Matthew Halls (organ) |
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