Déjà Review: this review was first published in January 2003 and the recording is still available.

Claudio Monteverdi (1567-1643)
Madrigali amorosi (from the late madrigal books c.1614-19)
Cantus Cölln/Konrad Junghänel (lute)
Gerald Hambitzer (harpsichord)
rec. 1992, Sendesaal des Deutschlandfunk, Köln, Germany
Deutsche Harmonia Mundi 05472 778552 [67]

Having caught the superb six-strong vocal group Cantus Cölln a couple of years ago at the York Early Music festival, I was looking forward to hearing this selection, recorded in the early 90s, of late Monteverdi masterpieces. The first thing to say is that the recording, whilst very full-bodied and well balanced, was made in the studio and given something approaching artificial reverberation, presumably to give us the feeling of being in a spacious, church-like acoustic. It is reasonably successful, though hi-fi buffs or those (like me) who often listen on high quality headphones, may find the sound a bit sterile and lacking in the last degree of atmosphere.

The second and much more important gripe, is the lack of any texts or translations. I know it’s a familiar refrain these days from reviewers, but the truth is that with these particular madrigals, as much as any I can think of, the absence of the words robs us of a major dimension of appreciation. Monteverdi’s response to his texts is one of the revolutionary features of the music, and his subtle and justly famous word painting is lost on us if we don’t know what he is actually setting! Other budget series’ (Apex comes to mind) manage to provide texts, and in Baroque and Renaissance vocal music it is, to my mind, an absolute necessity. Hopefully, future incarnations will redress the omission.

Enough of the carping. The actual performances are truly excellent, with Monteverdi’s multi-layered settings, original vocal colours and subtle word play all brought out with impeccable taste and musicianship. The big, 15-minute setting of Lagrime d’Amante that opens the disc has a sumptuous 5-part vocal texture and instrumental accompaniment (plus interpolations) that cover enough dramatic contours for a small opera. The beauty of the alternating 3-part soprano line that opens Tu dormi is well realised, a mixture of dexterity and extreme purity giving the music the desired ethereal quality. Monteverdi’s new fondness for variations on ostinato bass models came from folk music and instrumental improvisation. His madrigals constantly exploit these practises. Thus we find in a piece like Ohime dov’e il mio bene the composer delighting in splitting up the group into contrasting sections, a highly virtuosic tenor line being set in dialogue with a soprano duet, all superbly performed here.

In fact, there is not a dud amongst the performances, and I can’t think of any better disc at budget price with which to get to know these marvellous works. You can certainly but with confidence on the artistic front and maybe, like me, go hunting for the texts from libraries or the web. We really shouldn’t have to do it, though.

Tony Haywood

Help us financially by purchasing from

Contents

Sestina, Lagrime d’Amante al Sepolcro dell’Amante
Ninfa che scalza il piede
O come sei gentile
Lamento della Ninfa
Tu dormi
S’el vostro cor, Madonna
Ohime dove il mio ben
Alle danze
Ohime il bel viso
Zefiro torna
Non e il gentil core
Qui rise Tirsi
O mio bene
Soave libertate