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Vespers


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Audio CD, November 16, 2004
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$30.31 & FREE Shipping on orders over $35. Details Only 1 left in stock (more on the way). Ships from and sold by Amazon.com. Gift-wrap available.


Editorial Reviews


Disc: 1
1. Vespro della beata vergine, for chorus & instruments, SV 206: Responsorium domine adiuvandum me festina
2. Vespro della beata vergine, for chorus & instruments, SV 206: Psalmus 109. Dixit dominus
3. Vespro della beata vergine, for chorus & instruments, SV 206: Concerto nigra sum
4. Vespro della beata vergine, for chorus & instruments, SV 206: Psalmus 112. Laudate pueri
5. Vespro della beata vergine, for chorus & instruments, SV 206: Concerto pulchra es
6. Vespro della beata vergine, for chorus & instruments, SV 206: Psalmus 121. Laetatus sum
7. Vespro della beata vergine, for chorus & instruments, SV 206: Concerto duo seraphim
8. Vespro della beata vergine, for chorus & instruments, SV 206: Psalmus 126. Nisi dominus
9. Vespro della beata vergine, for chorus & instruments, SV 206: Concerto audi coelum
Disc: 2
1. Vespro della beata vergine, for chorus & instruments, SV 206: Psalmus 147. Lauda Jerusalem
2. Vespro della beata vergine, for chorus & instruments, SV 206: Sonata sopra sancta maria
3. Vespro della beata vergine, for chorus & instruments, SV 206: Ave maris stella
4. Vespro della beata vergine, for chorus & instruments, SV 206: Magnificat 1. Magnificat
5. Vespro della beata vergine, for chorus & instruments, SV 206: Magnificat 1. Et exultavit
6. Vespro della beata vergine, for chorus & instruments, SV 206: Magnificat 1. Quia respexit
7. Vespro della beata vergine, for chorus & instruments, SV 206: Magnificat 1. Quia fecit
8. Vespro della beata vergine, for chorus & instruments, SV 206: Magnificat 1. Et misericordia
9. Vespro della beata vergine, for chorus & instruments, SV 206: Magnificat 1. Fecit potentiam
10. Vespro della beata vergine, for chorus & instruments, SV 206: Magnificat 1. Esurientes
See all 25 tracks on this disc

Product Details

  • Audio CD (November 16, 2004)
  • SPARS Code: DDD
  • Number of Discs: 2
  • Label: Naive
  • ASIN: B000231VD0
  • Average Customer Review: 4.9 out of 5 stars  See all reviews (8 customer reviews)
  • Amazon Best Sellers Rank: #157,632 in Music (See Top 100 in Music)

Customer Reviews

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Most Helpful Customer Reviews

21 of 21 people found the following review helpful By B.B. Lilikoi on February 24, 2006
Format: Audio CD Verified Purchase
I agree wholeheartedly with Johji Josquin, who points out the key elements to this splendid performance--it is sung "one to a part" and closely miked--which combine to help to make the music so immediate and alive, my head spun around from my desk at the first sung notes and I caught myself staring at the speaker. I have four other versions of these Vespers--Suzuki's on BIS, Gardiner's on London, Harnoncourt's, and Garrido's on K167/Harmonia Mundi--and, though Suzuki's is superb and finely done, this Alessandrini version is the one that brings the music to intimate life.

I don't write amazon reviews, but I must urge any love of Monteverdi a/o baroque choral music to take this performance completely seriously. It is so lovely, achingly so, it reminds me of how I felt the first time I heard any great piece of music.

Fabulously moving, beautiful, and both tenderly and fulsomely performed. Bravo! Really.
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16 of 16 people found the following review helpful By Sator on July 20, 2005
Format: Audio CD Verified Purchase
The Vesper's by Monteverdi have now achieved the status of a landmark work in the history of music which like the music of J.S. Bach gazes Janus-like into the future as well as backwards to the past. As one of the fathers of opera there is a flair and drama that looks forward to the Baroque era while at the same time - as a work written to try to impress the conservative tastes of the Roman papacy - it looks backwards with its complex part writing in the form of parody of a mass by Nicolas Gombert, In Ilio Temporo. Despite Monteverdi's acknowledgement of the rich polyphonic traditions established by the Prima Prattica, his fusion of this with radical new elements appears to have rather disconcerted the papacy and Monteverdi came away from this venture empty handed. I can only imagine the bitterness of the dissappointed this would have caused him as he has clearly put heart and soul into this extraordinary composition, for which only prosterity would acknowledge him long after his death.

Renaldo Alessandrini's reputation has been largely built around his recordings of Monteverdi's music and so the recording of the Monteverdi Vespers is something of a genuine event. The results are everything you could have wished for - even if some of the more dogmatic critics were surprisingly sniffy in their reaction. I too usually tend to fight shy of one-to-a-part performances but when it is done with as much elan as it is here it totally silences all criticism. I love the subtle moudling of phrasing, decoration, and tempi that a smaller ensemble with a highly select group of the best singers allows. The results here are more than just merely refreshing for often they are totally revelatory.

This recording takes pride of precedence amongst one-to-a-part performances of the Vespers.
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9 of 9 people found the following review helpful By Giordano Bruno on October 9, 2008
Format: Audio CD Verified Purchase
There is absolutely nothing to fault in the musicianship of this performance of the Vespers by Concerto Italiano. Every one of the eleven singers delivers beautiful tone, sparkling style, and tight ensemble. Likewise the corps of instruments - cornetti, tromboni, flauti, strings, tiorba, arciliuto, and organo - is flawless in intonation and timbre. My ears tell me that conductor Rinaldo Alessandrini has given his cornetti, led by Doron Sherwin, unusual freedom to improvise ornamentation; at least I hear some licks that I don't recall from other performances.

It's the most subtle level of interpretation that I find a wanting in Alessandrini's Vespers. The whole performance seems vaguely neutral to me, and being neutral, Alessandrini has difficulty convincing my ears of the unity of the whole 2-CD affair. In comparison, the performance by Les Arts Florissants, led by William Christie, offers a thoroughly majestic, triumphant interpretation. Christie takes slightly more stately tempi and uses choral forces and extra instruments, but the key difference is in the conducting. At the other end of the interpretational spectrum, the recording by Tragicomedia under Stephen Stubbs is jubilant and amorous. Tragicomedia performs strictly one-on-a-part, and Stubbs takes brighter tempi in almost every section than either Christie or Alessandrini. Stubbs's conducting is more incisive rhythmically and he handles the triple rhythms more joyfully, a la ritornello. Both Christie and Stubbs get more definition from their continuo players, especially from the organs, emphasizing the structure of the music in three layers - voices, obbligato instruments, and continuous bass.
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8 of 10 people found the following review helpful By Simon on August 11, 2010
Format: Audio CD
Let me say it straight and clear:
music is a universal and (!) a local affair.
I believe that a good music can cross every boundary, but on 3 conditions:
1. The musician is a master of his instrument.
2. He has something to say, That is, his playing is more than the sum of the notes.
3. He has a very close affinity or a natural attitude to the music he plays.

I found all these traits in this performance.
This is a Monteverdi piece by an excellent Italian musicians, and you can smell in it the Italian flavour, that is so natural, of course, to this great music.
Years ago i had the Gardiner and Christie versions. They are very good in respect of the first two conditions mentioned above, but in respect of the third condition i find them too universal, if you know what i mean. That is, with them Monteverdi sounds a European composer of a vague nationality and nature.

Therefore, i usually prefer to listen to an English Music performed by an English musicians, German music by German musicians, and so on. Usually, not always.
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