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Carolyn Sampson, Charles Daniels, Peter Harvey, Robert King - Monteverdi: Vespro della Beata Vergine, Missa In illo tempore (2006)

Carolyn Sampson, Charles Daniels, Peter Harvey, Robert King - Monteverdi: Vespro della Beata Vergine, Missa In illo tempore (2006)
  • Title: Monteverdi: Vespro della Beata Vergine, Missa In illo tempore
  • Year Of Release: 2006
  • Label: Hyperion
  • Genre: Classical
  • Quality: FLAC (tracks+.cue,log,scans)
  • Total Time: 02:17:01
  • Total Size: 591 MB
  • WebSite:
Tracklist:

CD 1
01. Deus in adiutorium meum intende (Psalm 69:2) [00:02:00]
02. Dixit Dominus (Psalm 109) [00:07:32]
03. Nigra sum (Song of Songs 1:4; 2:10-12) [00:03:53]
04. Laudate pueri (Psalm 112) [00:06:22]
05. Pulchra es (Song of Songs 6:3-4) [00:04:26]
06. Laetatus sum (Psalm 121) [00:07:10]
07. Duo Seraphim (Isaiah 6: 2-3; 1 John 5:7) [00:05:51]
08. Nisi Dominus (Psalm 126) [00:04:28]
09. Audi caelum [00:08:59]
10. Lauda Jerusalem (Psalm 146: 12-20) [00:04:00]
11. Sonata sopra Sancta Maria [00:06:29]
12. Ave maris stella (Hymn at First Vespers of the Blessed Virgin Mary) [00:09:07]

CD 2
01. Magnificat a 7 - Magnificat [00:00:25]
02. Magnificat a 7 - Animea mea Dominum [00:00:17]
03. Magnificat a 7 - Et exultavit spiritus meus [00:01:12]
04. Magnificat a 7 - Quia respexit humilitatem [00:01:45]
05. Magnificat a 7 - Quia fecit mihi magna [00:01:03]
06. Magnificat a 7 - Et misericordia eius [00:02:17]
07. Magnificat a 7 - Fecit potentiam in brachio suo [00:00:59]
08. Magnificat a 7 - Deposuit potentes de sede [00:02:21]
09. Magnificat a 7 - Esurientes implevit bonis [00:01:25]
10. Magnificat a 7 - Suscepit Israel puerum suum [00:01:22]
11. Magnificat a 7 - Sicut locutus est [00:00:55]
12. Magnificat a 7 - Gloria Patri [00:02:25]
13. Magnificat a 7 - Sicut erat in principio [00:01:51]
14. Magnificat a 6 - Magnificat [00:00:22]
15. Magnificat a 6 - Anima mea Dominum [00:00:25]
16. Magnificat a 6 - Et exultavit spiritus meus [00:01:04]
17. Magnificat a 6 - Quia respexit humilitatem [00:01:16]
18. Magnificat a 6 - Quia fecit mihi magna [00:01:26]
19. Magnificat a 6 - Et misericordia eius [00:01:15]
20. Magnificat a 6 - Fecit potentiam in brachio suo [00:00:59]
21. Magnificat a 6 - Deposuit potentes de sede [00:02:18]
22. Magnificat a 6 - Esurientes implevit bonis [00:01:02]
23. Magnificat a 6 - Suscepit Israel puerum suum [00:01:21]
24. Magnificat a 6 - Sicut locutus est [00:01:18]
25. Magnificat a 6 - Gloria Patri [00:01:44]
26. Magnificat a 6 - Sicut erat in principio [00:01:06]
27. Missa In illo tempore - 1. Kyrie [00:04:28]
28. Missa In illo tempore - 2. Gloria [00:05:52]
29. Missa In illo tempore - 3. Credo [00:10:50]
30. Missa In illo tempore - 4. Sanctus [00:02:35]
31. Missa In illo tempore - 5. Benedictus [00:01:43]
32. Missa In illo tempore - 6. Agnus Dei I [00:03:44]
33. Missa In illo tempore - 7. Agnus Dei II [00:03:16]

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



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