Monteverdi: Vespro della Beata Vergine

Featuring

Roland Wilson
Dorothee Mields
Constanze Backes
Markus Flaig
Hans Jörg Mammel
Hermann Oswald

Markus Brutscher
Georg Poplutz
Stephan Schreckenberger
Rolf Ehlers
Alexander Schneider
Veronika Winter
Musica Fiata
La Capella Ducale
Claudio Monteverdi

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Composition History

Monteverdi's 1610 collection of sacred music, which includes the Vespro della Beata Vergine, uniquely places 'concerti' between the psalms, suggesting it was conceived as a unified whole.

Interpretation

The recording transposes the 'Lauda Jerusalem' down one tone and the 'Magnificat' down a minor third to maintain consistent vocal ranges, a practice Monteverdi could achieve with organs having split keys.

Interpretation

This recording uses a high pitch of a=465 Hz, based on the 1565 Antegnati organ in Mantua, differing from the modern orchestral pitch of a=440 Hz.

Compositional Technique

Monteverdi's desire for control over performance extended to writing down vocal and instrumental 'improvisations,' dynamic markings like 'più forte che si puo,' organ registrations, and specific tempo indications.

Composer's Artistic Vision

Monteverdi's Vespers were intended for both liturgical use and 'princely chambers,' indicating that sacred music and music for church services were not always synonymous in his view.

Compositional Technique

The Vespro della Beata Vergine is a compendium of all contemporary sacred music styles and genres, creating a unified whole despite its diversity and contrasts.