Monteverdi - Vespro della Beata Vergine - L'Arpeggiata, Christina Pluhar (2011) [24bit FLAC]

  • 23.06.2016, 16:25,
  • Music
Monteverdi — Vespro della Beata Vergine — L'Arpeggiata, Christina Pluhar (2011) [24bit FLAC]
Monteverdi — Vespro della Beata Vergine — L'Arpeggiata, Christina Pluhar (2011) [24bit FLAC]

Claudio Monteverdi (1567-1643)
Monteverdi — Vespro della Beata Vergine (1610)
L'Arpeggiata, Christina Pluhar

Genre: Authoritative, Choral
Denomination: © EMI Records Ltd./Virgin Classics
Manumit Man: 2011
Mark: Outrageous-Fidelity FLAC Stereo 44,1kHz/24bit
Duration: 01:14:57
Recorded: 15-22 April 2010 at the Metz Arsenal

L’Arpeggiata, the multi-faceted composite led by Christina Pluhar, celebrates its 10th birthday by marking the 400th anniversary of Monteverdi’s Vespro della beata vergine, one of the extraordinary masterpieces of music experience. As Pluhar explains: “All 30 singers and instrumentalists on our recording have had a covet and irrational relationship with this line.”
2010 remarkable the 400th anniversary of one of the landmarks of melodic experience, Monteverdi’s Vespro della beata Vergine, better known absolutely as the Vespers. Exactly 50 times younger is the multi-faceted vocal and contributory composite L’Arpeggiata, founded 10 years ago by Christina Pluhar. Pluhar’s fulfilment was recognised in 2009 with Germany’s important Reproduction Klassik confer for L’Arpeggiata’s first Virgin Classics manumit, Teatro d’Amore, which presented a varying, improvisational pr of items by Monteverdi. Here, Pluhar and her musicians bespeak more formally with an extended line by the same composer.
“The Vespers is one of the extraordinary masterpieces of music experience,” says Pluhar. “Monteverdi exploits all the skills and compositional techniques that existed at the every so often old-fashioned. All 30 singers and instrumentalists on our recording have had a covet and irrational relationship with this line and were very nervous by creating this recording with L«Arpeggiata. Over the last 25 years, the nearer to performing the Vespers has changed considerably, and hopefully l»Arpeggiata's kind will make room its mark."
This Vespers is the fruit of L’Arpeggiata's collaboration with the Gala Day de Música Antiga de Barcelona, De Bijloke music heart in Ghent and L’Arsenal concert amphitheatre in Metz in eastern France, which, with its much-praised acoustic, was the venue for recording the line. L’Arpeggiata was in residency at L’Arsenal over the 2009-10 season.
“We have taken an cherished nearer: the way the music is written suggests not a choir, but a pick speech for each outline,” explains Pluhar. “It is always very leading for me to line with voices that I want suit the colours in the music, and I have made different choices for each group of the Vespers.” Distinctly, the often low-false alto parts were shared between mezzo-sopranos, countertenors and outrageous tenors. “The twelve singers on this recording all have wonderful voices and are astounding soloists who recall c raise both tonal attractiveness and a fragrant showy mien. I gave them a lot of fault in the composite line, which I want brings us closer to bent of the source performances. Polyphony for six or ten voices does not need too much intervention from a conductor in a authoritative quick-wittedness.”
Pluhar herself plays the theorbo in this recording, and L’Arpeggiata’s famed improvisational skills are brought to new heights in the spectacular ornamentation by the cornetti and violins. Again inspired by the music’s colours, Pluhar’s chosen instrumentation includes two organs for the sections with spitting image choir, and features the psaltery; its tonality is closely linked with L’Arpeggiata’s soundworld and Pluhar feels it evokes archaic scenes at moments in the score.
“The texts are certainly varying … there is the virginity of the Magnificat or the stimulating exhort of Nigra sum from the Melody of Songs, and then there is the more money bent of the Dixit Dominus ... We cannot be sure whether Monteverdi conceived the Vespers as a pick line or as a series of bifurcate motets, but nevertheless there is a obeahism in the construction of this chiding, which leaves me as for oneself in no conviction that Monteverdi ingeniously conceived the line as a sameness, both musically and theatrically.”
L’Arpeggiata’s good in capturing every interpretation of the Vespers was recognised by the Metz newspaper Le Républicain Lorrain: “L’Arpeggiata intrepidly tackles this complex architecture with both monastic rigour and unprecedented flamboyance, with unrivalled contributory and vocal mastery … [The] validity of the tempos is always in substantiation, athletic and volatile. Above all, the vocal declamation is real. Closely top-hole is the different tonality of the manful singers … whose voices bolt up … like the pillars of a cathedral … as they deploy their vocal possessions, and, through their presentation, proffer an operatic wherewithal which has accommodated to baroque style.
“… The melodiously rounded conclusion of the three sopranos and the mezzo, with their tender coloratura, honestly reflects the virginal bent of the Vespers … As for the orchestra, the cornetts assert their mien to marvellous conclusion, and the genius trombones are brilliantly grating, while the theorbos, archlute and harp anticipate limpid tracery. Passion, and then jubilation increase in interest from the Lauda Jerusalem to the Ave Maris Stella, sung in a prayerful speech, to the splendid Magnificat, in which the voices and the gibberish instruments incandescence into eagerness. All in all, a launching that is both cloistered and profane.”

It«s not hands down to pinpoint smack what makes Christina Pluhar and L»Arpeggiata«s performances of Baroque music, particularly Monteverdi, so extraordinary and characteristic, even in a every so often old-fashioned -- the first 21st century -- when (forgiving the oxymoron) exceptionally amerce recordings of this repertoire are the commonly rather than the find fault with. One fundamental may be the inventiveness of her realizations of the continuo with. Composers of the first Baroque mainly wrote only a bass outline for the accompaniment, an foreshadowing of the compatibility, and again a listing as to what instruments should be used, leaving the option of the tangible notes to be played, and usually, which instruments to the option of the artiste. On this recording, for example, Pluhar uses at various times Baroque harp, psaltery (a hammered dulcimer), two parsimonious organs, violas da gamba, archlutes, and theorbos to produce unusual, fittingly textured, and mixed accompaniments, and the figures they deportment are fanciful and nuanced. A second fundamental may be her option of vocalists. Pluhar tends to use singers who are not universal stars but who have voices with artistic mark and individuality but are also body players, able to combine with the sort. Perhaps her distinctiveness is a outcome of her uncanny kinship for music of this era, of which this recording of Monteverdi»s Vespro della beata vergine is further evidence; the conduct to all intents shimmers with dynamism and get-up-and-go. Although at 75 minutes, it is 15 minutes shorter than the worn out conduct of the chiding, it unfolds not with any quick-wittedness of upset, but with a enliven dynamism that feels entirely genius. The virginity, vehemence, and fervor of the vocal performances is extraordinary throughout. Each of the 12 singers is featured as a soloist or in a parsimonious composite, and the singing is so constantly resplendent that it seems unfair to pick out individuals, but tenors Emiliano Gonzalez-Toro, Markus Brutscher, and Jan van Elsacker in «Duo Seraphim,» and sopranos Núria Rial and Raquel Andueza in «Pulchra es» particularly misconstruction in the remembrance. Virgin Classics' conclusion is, as worn out, snow-white, balanced, and the resonance is example: huge, but still cherished. Well recommended. --AllMusic Commentary by Stephen Eddins

First, let’s obvious away a little uncertainty. The Vespers were published in 1610 but composed over an mysterious time several years before. Monteverdi, often associated with Venice, was living, rather unhappily, in Mantua working for the hopelessly impassive Gonzaga one's own flesh. Secondly, he may have submitted the line as trade-reveal all on his industry for the circumstances of Maestro di Capella; we don’t really know. We do however know that Monteverdi expressed the wish on the christen summon forth that the Vespers could be performed not only in church but also as consortium music. I recall c raise up from the first order and comprehensive booklet notes by Christina Pluhar: ‘it is stated that the movements scored for smaller forces, can be performed in royal chambers, that is to say, divorced from liturgical occasions, thus suggesting that the line is not ineluctably to be given as a concluded entity.”
At least two types of conduct and recording seem to be incomparably appropriate. One, a reconstruction of Vespers with fit antiphons. Two, a concert kind, which, in the category of these things, offers the performers the plausibility of a superb showpiece. It’s the latter pack we have here. Any CD aggregation would good from both types of recording and there is no conviction that this new one is far-out and certainly one for own times.

There was a every so often old-fashioned when performances — and recordings — of this line were occasional; there was a quick-wittedness of wink of an eye about a conduct. Now, it is all too friendly. Only a few year’s ago I sang in a philosophy conduct of the Vespers and I have heard of others. This sociability has led to a self-reliance and a surety but with this comes the risk of becoming blasé. I wouldn’t like to accuse ‘L’Arpeggiata’ of that loyalties but the extraordinary timeliness of several movements has provoked some in the melodic news services. Indeed, the certainty that the whole line, for the first every so often old-fashioned, fits onto one CD is distinguished. The album comes with a second disc which — enduring twenty-two minutes — gives us some concept of how the performers recorded and rehearsed. It’s odd that the pieces are not presented in gone phut. The last of the four tracks which bears the christen ‘Dixit Dominus’ is just a series of stills taken at the tangible conduct. Nevertheless, watching how the singers line together and conduct oneself to each other and how Pluhar discreetly directs from the theorbo marshalling her troops is quite fascinating.

I scheme that it might be quite fascinating to put this new kind beside two shed weight unfashionable ones, the second recording by Nikolaus Harnoncourt with the Arnold Schoenberg Choir of 1986 on Das Alte Werk (4509 92629-2) and that by René Jacobs on Harmonia Mundi (901566.67) in 1995. Both use antiphons and both, like many others have a massive choir. Jacobs uses the Nederlands Kamerkoor. The new kind uses only speech per with. In many cases because the singing is so amerce, admirably articulated and recorded it does not seem to context, except in two cases. In the contributory ‘Sonata Sopra Sancta Maria’ the vocal plainchant outline is carried by the two sopranos. They do so a little feebly and with much fulfilment against the fragrant contributory contribution. Alike Resemble struggles can be heard in the ‘Lauda Jerusalem’. L’Arpeggiata chose the transposed kind (down a fourth) enchanting away the turmoil of the lustrous, antsy sympathetic of the seven-with milieu. Its timeliness and tumbling words make room it seem too faint and madrigalian but very skip-like. The Magnificat is also performed in the transposed version; the estimate in both cases being that Monteverdi uses a outrageous clef called a chiavette and may well have expected a stoop pitch.

The ‘Ave Maris Stella’ in which differing contributory groups pleasingly deportment the ritornelli, sounds rather like a galliard with its one-in-a-bar pulsating. Honestly the suspect of tempi must be addressed. Likeness with the two versions above every so often old-fashioned-advise proves what one might foresee. Removing the antiphons from the equation and enchanting the first Dixit Dominus as an example, Jacobs clocks up just over eight minutes; interestingly Harnoncourt is twenty seconds faster. These steadier speeds do add a certain distinction, even influence and calm pacing to the milieu. L’Arpeggiata take just, six and a half minutes, which is forty seconds faster than the expert John Eliot Gardiner on Archiv. Does it matter?
Except for the occasions mentioned above the step never feels pushed beyond the limits. One is constantly astonished by the definition of the singing and the articulation of the contributory line as they dizzily add cadential expansion and other decorations.

We have to be aware the nearer as, at the end of her notes, Christina Pluhar explains, “the cantus firmus must be able to propagate its own musicality and outline through the option of prompt tempos while at the same every so often old-fashioned permitting concertante virtuosity….” So, this for me will never be my only kind of the Vespers but it’s one I will often refer to and derive option for its bluff get-up-and-go and turmoil. It’s admirably recorded and presented with fragrant addictive-disown packaging and crammed texts. Much to my option we also get bifurcate tracks for the sections of the Magnificat. --Gary Higginson, MusicWeb International

Claudio Monteverdi (1567-1643)
Vespro della Beata Vergine (1610)
1 Introitus: Deus In Adiutorium — Toccata: Domine Ad Adiuvandum 2:06
2 Psalmus 109: Dixit Dominus 6:32
3 Concerto: Nigra Sum 3:20
4 Psalmus 112: Laudate Pueri 5:41
5 Concerto: Pulchra Es 3:18
6 Psalmus 121: Laetatus Sum 6:04
7 Concerto: Duo Seraphim 5:08
8 Psalmus 126: Nisi Dominus 3:53
9 Concerto: Audi Coelum 6:39
10 Psalmus 147: Lauda Jerusalem 4:10
11 Sonata Sopra Sancta Maria, Ora Pro Nobis 5:59
12 Hymnus: Ave Maris Stella 6:17
13 Magnificat 0:39
14 Et Exultavit 1:06
15 Quia Respexit 1:36
16 Quia Fecit 1:00
17 Et Misericordia Eius 1:43
18 Fecit Potentiam 0:53
19 Deposuit Potentes 2:00
20 Esurientes 1:10
21 Suscepit Israel 1:14
22 Sicut Locutus 1:00
23 Gloria Patri 1:46
24 Sicut Erat 1:58

Nuria Rial, Raquel Andueza, Miriam Allan, sopranos
Luciana Mancini, mezzo-soprano
Pascal Bertin, contre-ténor
Emiliano Gonzalez Toro, Markus Brutscher, Jan van Elsacker, Fernando Guimarães, ténors
Fulvio Bettini, baryton
Hubert Claessens, João Fernandes, basses
Eero Palviainen, archiluth
Daniel Zapico théorbe, tiorbino
Sarah Ridy, harpe baroque
Elisabeth Seitz, psaltérion
Veronika Skuplik, Mira Glodeanu, violon baroque
Christine Plubeau, Florencia Bardavid, violes
Doron Sherwin, Gebhard David, Frithjof Smith, cornets
Simen van Mechelen, Stefan Legée, Direct Poitrineau, trombones
Elodie Peudepièce, violone
Elisabeth Geiger, Haru Kitamika, orgue
Christina Pluhar théorbe, administering

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