RECORDINGS OF THE YEAR
‘Concerto Italiano navigate their way skilfully through the grandeur, intimacy, drama and textural subtlety of the music’
David Vickers listens to a reconstruction incorporating music from Monteverdi’s Selva morale
Monteverdi Vespri solenni per la Festa di San Marco Includes music from Vespro della Beata Vergine (1610) and Selva morale e spirituale Concerto Italiano / Rinaldo Alessandrini Naïve B b (CD + ◊) OP30557 (80’ • DDD) DVD: ‘The Human and the Divine’: Alessandrini Conducts Monteverdi – a film by Claudio Rufa
Appearances can be deceptive, so be advised that this is not yet another version of the 1610 Vespers. These proceedings commence with a stately performance of that collection’s famous opener, ‘Domine ad adiuvandum me festina’, but what follows is a broad range of the composer’s later Venetian church music composed during his three-decade tenure as maestro di cappella at St Mark’s Basilica. Monteverdi was unceremoniously sacked from his job at the Gonzaga court in Mantua in July 1612, but fortunately the most prestigious musical job in northern Italy became available when the maestro di cappella of St Mark’s died. On August 1, 1613, Monteverdi auditioned for the vacancy by rehearsing a Mass with about 50 musicians in the church of San
Giorgio Maggiore; the procurators were so impressed that they hired him on the spot.
Concerto Italiano’s welcome return to Monteverdi’s sacred music is apparently the first volume in a new series that will explore the composer’s monumental anthology Selva morale e spirituale, the ‘moral and spiritual forest’ of sacred music published in Venice in 1641, just two years before his death; Rinaldo Alessandrini and Naïve’s documentation both cite the title-page’s year of 1640, although Monteverdi’s dedication is dated May 1, 1641; the dedicatee was none other than Eleonora Gonzaga – the daughter of his first Mantuan employer Duke Vincenzo I and widow of Habsburg Holy Roman Emperor Ferdinand II. The publication contains 37 different pieces, including spiritual madrigals (essentially ‘vanitas’ texts), psalms (some of them in up to three different settings), music for the Mass, hymns and more. We do not know when or why these diverse works were originally created, nor can we be certain they were all necessarily for feast days, Masses, Vespers and other ceremonies at St Mark’s: we know Monteverdi provided sacred music for special occasions at plenty of other venerable Venetian institutions. Given the impossibility of connecting specific pieces with precise dates and places, any kind of liturgical reconstruction has to be considered as nothing other than an informed speculative context that enables us to experience these magnificent works beyond their secularised modern function as concert items.
Alessandrini offers a digestibly programmed experience of a single plausible liturgical context of the festival of St Mark the Evangelist (which takes place on April 25). Accordingly, a selection of suitable psalms, motets and a large-scale Magnificat are placed within chants and responses that Alessandrini claims are drawn ‘from the liturgy in use at St Mark’s in Monteverdi’s time’ (he does not specify his sources for this – but the plainchant texts make for a fascinating change from the usual rite). In the event, half of the plainsong antiphons are substituted for assorted instrumental sonatas by various composers and Monteverdi’s motets Christe, adoramus te and Cantate Domino, both from a collection printed by Bianchi in 1620; these are
24 GRAMOPHONE RECORDINGS OF THE YEAR 2014
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